Display Picture Quotes

While our country remains untainted with the principles and manners which are now producing desolation in so many parts of the world; while she continues sincere, and incapable of insidious and impious policy, we shall have the strongest reason to rejoice our local destination. But should the people of America once become capable of that deep simulation towards one another, and towards foreign nations, which assumes the language of justice and moderation, while it is practising iniquity and extravagance, and displays in the most captivating manner the charming pictures of candour, frankness, and sincerity, while it is rioting in rapine and insolence, this country will be the most miserable habitation in the world.

If a couple has their picture taken at a wedding or other social gathering, and the woman looks hot, her guy could be blinking, chewing, or even mid-sneeze, and she’ll still display it on her desk at work.

I saw a meme the other day with a picture of Marilyn Manson and Robin Williams. It said about the former, this isn’t the face of depression, and about the latter, this is. This really struck a chord and it’s been on my mind since then. As someone who has continuously dipped in and out of chronic depression and anxiety for close to three decades now, and I’ve never previously spoken about the subject, I finally thought it was time I did. These days it’s trendy for people to think they’re cool and understanding about mental illness, posting memes and such to indicate so. But the reality is far different to that. It seems most people think if they publicly display such understanding then perhaps a friend will come to them, open up, and calmly discuss their problems. This will not happen. For someone in that seemingly hopeless void of depression and anxiety the last thing they are likely to do is acknowledge it, let alone talk about it. Even if broached by a friend they will probably deny there is a problem and feel even more distanced from the rest of the world. So nobody can do anything to help, right? No. If right now you suspect one of your friends is suffering like this then you’re probably right. If right now you think that none of your friends are suffering like this then you’re probably wrong. By all means make your public affirmations of understanding, but at least take on board that an attempt to connect on this subject by someone you care about could well be cryptic and indirect. When we hear of celebrities who suffered and finally took their own lives the message tends to be that so many close friends had no idea. This is woeful, but it’s also great, right? Because by not knowing there was a problem there is no burden of responsibility on anyone else. This is another huge misconception, that by acknowledging an indirect attempt to connect on such a complex issue that somehow you are accepting responsibility to fix it. This is not the case. You don’t have to find a solution. Maybe just listen. Many times over the years I’ve seen people recoil when they suspect that perhaps that is the direct a conversation is about to turn, and they desperately scramble for anything that can immediately change the subject. By acknowledging you’ve heard and understood doesn’t mean you are picking up their burden and carrying it for them. Anyway, I’ve said my piece. And please don’t think this is me reaching out for help. If this was my current mindset the last thing I’d ever do is write something like this, let alone share it.

A friend of Diagoras pointed out an expensive display of votive gifts and said, 'You think the gods have no care for man? Why, you can see from all these votive pictures here how many people have escaped the fury of storms at sea by praying to the gods who have brought them safe to harbor.' To which Diagoras replied, 'Yes, indeed, but where are the pictures of all those who suffered shipwreck and perished in the waves?

If one busies himself with an outer display of scriptural wealth, what time is left for silent inward diving after the priceless pearls?” Sri

named me. “Psycho’s cute.” I kiss her cheek and she freezes as I take a selfie and then put it as the display picture. “There. Much better. You can ogle this when you miss me.

Perception requires imagination because the data people encounter in their lives are never complete and always equivocal. For example, most people consider that the greatest evidence of an event one can obtain is to see it with their own eyes, and in a court of law little is held in more esteem than eyewitness testimony. Yet if you asked to display for a court a video of the same quality as the unprocessed data catptured on the retina of a human eye, the judge might wonder what you were tryig to put over. For one thing, the view will have a blind spot where the optic nerve attaches to the retina. Moreover, the only part of our field of vision with good resolution is a narrow area of about 1 degree of visual angle around the retina’s center, an area the width of our thumb as it looks when held at arm’s length. Outside that region, resolution drops off sharply. To compensate, we constantly move our eyes to bring the sharper region to bear on different portions of the scene we wish to observe. And so the pattern of raw data sent to the brain is a shaky, badly pixilated picture with a hole in it. Fortunately the brain processes the data, combining input from both eyes, filling in gaps on the assumption that the visual properties of neighboring locations are similar and interpolating. The result - at least until age, injury, disease, or an excess of mai tais takes its toll - is a happy human being suffering from the compelling illusion that his or her vision is sharp and clear. We also use our imagination and take shortcuts to fill gaps in patterns of nonvisual data. As with visual input, we draw conclusions and make judgments based on uncertain and incomplete information, and we conclude, when we are done analyzing the patterns, that out “picture” is clear and accurate. But is it?

Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

There is a famous black-and-white photograph from the era of the Third Reich. It is a picture taken in Hamburg, Germany, in 1936, of shipyard workers, a hundred or more, facing the same direction in the light of the sun. They are heiling in unison, their right arms rigid in outstretched allegiance to the Führer. If you look closely, you can see a man in the upper right who is different from the others. His face is gentle but unyielding. Modern-day displays of the photograph will often add a helpful red circle around the man or an arrow pointing to him. He is surrounded by fellow citizens caught under the spell of the Nazis. He keeps his arms folded to his chest, as the stiff palms of the others hover just inches from him. He alone is refusing to salute. He is the one man standing against the tide. Looking back from our vantage point, he is the only person in the entire scene who is on the right side of history. Everyone around him is tragically, fatefully, categorically wrong. In that moment, only he could see it. His name is believed to have been August Landmesser. At the time, he could not have known the murderous path the hysteria around him would lead to. But he had already seen enough to reject it.

I might as well have offered up my vagina to the Museum of Natural History. Surely, it would be shown in the fossils display. I could already picture it, right beside Tyrannosaurus Rex’s teeth. The Last Virginal Vagina in New York. Georgia Cummings 1990-2080 Died happily in her Chelsea apartment, surrounded by all sixteen of her tabby cats.

(If you meet a curator, ask them about what they do, then wait for them to explain that their job title comes from curare, a Latin verb meaning ‘to arrange’ or ‘to care for’, and how actually their role is about nurturing or healing collections, not just displaying them – it happens nearly every time.)

Now the journey is ending, the wind is losing heart. Into your hands it's falling, a rickety house of cards. The cards are backed with pictures displaying all the world. You've stacked up all the images and shuffled them with words. And how profound the playing that once again begins! Stay, the card you're drawing is the only world you'll win.

if readers have a sincere desire to make life miserable for themselves, they might learn to compare themselves to other people. For those unfamiliar with this practice, he provides a few exercises. The first one displays full-length pictures of a man and a woman who embody ideal physical beauty by contemporary media standards. Readers are instructed to take their own body measurements, compare them to those superimposed on the pictures of the attractive specimens, and dwell on the differences.

Another strike of lightening – now accompanied by the deep-bellied rumble, and the horse reared, incidentally setting Henry very picturesquely against the inconstant moon. Alas, Catherine was deeply engaged in her argument with Old Edric and this missed entirely the melodramatic display. But we may assume that, possessing so strong an imagination, Catherine had often pictured Henry thus...

The struggle for power had reached a new stage; it was fought with scientific formulas. The weapons vanished in the abyss like fleeting images, like pictures one throws into the fire.... When new models were displayed to the masses at the great parades on Red Square in Moscow or elsewhere, the crowds stood in reverent silence and then broke into jubilant shouts of triumph.... Though the display was continual, in this silence and these shouts something evil, old as time, manifested itself in man, who is an outsmarter and setter of traps. Invisible, Cain and Tubalcain marched past in the parade of phantoms.

Sydney's the kind of port that leaves a mark on a sailor," the old man mused. "Really?" Haakon said, wondering what the man meant. "It did on me," he said, opening up his shirt to display his chest. It was covered with tattoos! At the top, SYDNEY was printed in elaborate red and blue letters. Beneath that was an enticing selection of names and dates. "Mary, 1838...Adella, 1840..." The old sailor began laughing. "Beatrice, 1843...Helen, 1846." And then finally, "Mother." There was no date after "Mother." "Mothers you love forever," he said. Everybody laughed then, including Haakon, though the thought brought some sadness to his heart. He did love his mother forever, and he missed her as well.

What horrifies me most about war memorials is that no anti-war sentiments are ever displayed. It's as if war is fun or noble, when actually it's all about shit and snot and blood and guts and soldiers stomachs hanging out and people with their faces blown off. But they never showed that side of it. Perhaps, if they did, there'd be less of it. I remember seeing a picture of a soldier in Vietnam who was sitting, waiting to die, with his jaw missing. His head now started at the top row of teeth; everything beneath that was gone. They didn't put that on the recruitment posters, did they? But that's what war is to me. And I don't care who we're fighting, I don't hate them enough to do something like that to them.

Brutality is boring. Over and over, hell night after hell night, the same old dumb, tedious, bestial routine: making men crawl; making men groan, hanging men from the bars; shoving men; slapping men; freezing men in the showers; running men into walls; displaying shackled fathers to their sons and sons to their fathers. And if it turned out that you'd been given the wrong man, when you were done making his life unforgettably small and nasty, you allowed him to be your janitor and pick up the other prisoners' trash. There was always another prisoner, and another. Faceless men under hoods: you stripped them of their clothes, you stripped them of their pride. There wasn't much more you could take away from them, but people are inventive: one night some soldiers took a razor to one of Saddam's former general in Tier 1A and shaved off his eyebrows. He was an old man. "He looked like a grandfather and seemed like a nice guy," Sabrina Harman said, and she had tried to console him, telling him he looked younger and slipping him a few cigarettes. Then she had to make him stand at attention facing a boom box blasting the rapper Eminem, singing about raping his mother, or committing arson, or sneering at suicides, something like that⁠—these were some of the best-selling songs in American history. "Eminem is pretty much torture all in himself, and if one person's getting tortured, everybody is, because that music's horrible," Harman said. The general maintained his bearing against the onslaught of noise. "He looked so sad," Harman said. "I felt so bad for the guy." In fact, she said, "Out of everything I saw, that's the worst." This seems implausible, or at least illogical, until you think about it. The MI block was a place where a dead guy was just a dead guy. And a guy hanging from a window frame or a guy forced to drag his nakedness over a wet concrete floor⁠—well, how could you relate to that, except maybe to take a picture? But a man who kept his chin up while you blasted him with rape anthems, and old man shorn of his eyebrows whose very presence made you think of his grandkids--you could let that get to you, especially if you had to share in his punishment: "Slut, you think I won't choke no whore / til the vocal cords don't work in her throat no more!..." or whatever the song was.

Within the fair’s buildings visitors encountered devices and concepts new to them and to the world. They heard live music played by an orchestra in New York and transmitted to the fair by long-distance telephone. They saw the first moving pictures on Edison’s Kinetoscope, and they watched, stunned, as lightning chattered from Nikola Tesla’s body. They saw even more ungodly things—the first zipper; the first-ever all-electric kitchen, which included an automatic dishwasher; and a box purporting to contain everything a cook would need to make pancakes, under the brand name Aunt Jemima’s. They sampled a new, oddly flavored gum called Juicy Fruit, and caramel-coated popcorn called Cracker Jack. A new cereal, Shredded Wheat, seemed unlikely to succeed—“shredded doormat,” some called it—but a new beer did well, winning the exposition’s top beer award. Forever afterward, its brewer called it Pabst Blue Ribbon. Visitors also encountered the latest and arguably most important organizational invention of the century, the vertical file, created by Melvil Dewey, inventor of the Dewey Decimal System. Sprinkled among these exhibits were novelties of all kinds. A locomotive made of spooled silk. A suspension bridge built out of Kirk’s Soap. A giant map of the United States made of pickles. Prune makers sent along a full-scale knight on horseback sculpted out of prunes, and the Avery Salt Mines of Louisiana displayed a copy of the Statue of Liberty carved from a block of salt. Visitors dubbed it “Lot’s Wife.

... I think for some people the purpose of a memoir is to really display the facts, to share the story exactly how it hapopened. And while I worked to make sure this story was as honest as possible, that was never the point for me. This book was never about sharing memories; it was about sharing a feeling. I don't care what year the competition was it what dress I was actually wearing; I care about how it felt to be there; how it felt to win. And that's why I avoided all memorabilia. It seemed like driving to the rink to take a look of finding the pictures from my childhood iPhone would tell a different story, an external story. I wanted every moment in this book to come from my own head, with all its flaws and inconsistencies.

To a Japanese, accustomed to simplicity of ornamentation and frequent change of decorative method, a Western interior permanently filled with a vast array of pictures, statuary, and bric-a-brac gives the impression of mere vulgar display of riches. It calls for a mighty wealth of appreciation to enjoy the constant sight of even a masterpiece, and limitless indeed must be the capacity for artistic feeling in those who can exist day after day in the midst of such confusion of color and form as is to be often seen in the homes of Europe and America.

The ambassador doesn’t have any authority in and of himself. He has authority only because he represents a king who has authority. Here’s God’s amazing plan. He makes his invisible authority visible by sending visible authority figures as his representatives. This means that every time you exercise authority in the lives of your children, it must be a beautiful picture of the authority of God. In the lives of your children, you are the look of God’s face, you are the touch of his hand, and you are the tone of his voice. You must never exercise authority in an angry, impatient way. You must never exercise authority in an abusive way. You must never exercise authority in a selfish way. Why? Because you have been put into your position as parent to display before your children how beautiful, wise, patient, guiding, protective, rescuing, and forgiving God’s authority is. This

As Dylan’s reputation grew over the next couple of years, those traits went hand in hand. Shelton had previously called him “one of the most compelling white blues singers ever recorded,” but now wrote, “His voice is small and homely, rough but ready to serve the purpose of displaying his songs.

Other March law offences included truce-breaking, attacking castles, impeding a Warden, importing wool, and a delightful local custom known as “bauchling and reproaching”. This meant publicly vilifying and upbraiding someone, usually at a day of truce; such abuse might be directed at a man who had broken his word, or had neglected to honour a bond or pay a ransom. The “bauchler” (also known as brangler, bargler, etc.) sometimes made his reproof by carrying a glove on his lance-point, or displaying a picture of his enemy, and by crying out or sounding a horn-blast, indicating that his opponent was a false man and detestable.

Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.

Yep, I must have done something wrong in a past life because I was definitely being tested. He wore an aged pair of jeans, faded in all the right spots and hanging low on his hips. The lean muscles of his upper body were on full display in a charcoal long-sleeved shirt. Basically, he looked mouth-watering, panty-drenching good. Crap.

Billy was displayed there in the zoo in a simulated Earthling habitat. Most of the furnishings had been stolen from the Sears & Roebuck warehouse in Iowa City, Iowa. There was a color television set and a couch that could be converted into a bed. There were end tables with lamps and ashtrays on them by the couch. There was a home bar and two stools. There was a little pool table. There was wall-to-wall carpeting in federal gold, except in the kitchen and bathroom areas and over the iron manhole cover in the center of the floor. There were magazines arranged in a fan on the coffee table in front of the couch. There was a stereophonic phonograph. The phonograph worked. The television didn't. There was a picture of one cowboy shooting another one pasted to the television tube. So it goes. There were no wall in the dome, nor place for Billy to hide. The mint green bathroom fixtures were right out in the open. Billy got off his lounge chair now, went into the bathroom and took a leak. The crowd went wild.

I picture the customers pressing their faces to the display window outside to look at quibes, pastéis, and codfish bolinhos. I listen for our old stereo alternating between static crackling and forró songs swelling with melancholy accordions. I search for the tangy scent of ground beef simmering in a clay pot ready to turn into coxhina filling.

Choosing is hard, but not choosing is, in my view, much more debilitating. Sitting in limbo – not fully in your marriage and not out of it, looking at piles of pictures sitting on the floor rather than displaying them on a wall, letting time pass in a job you don’t love but are reluctant to leave – and the non-choices are what will eat away at you.

...her own restless coveting of his love and the slow but sure ebullience of her desire for him; then the Nawab's martydom and her spiritual homelessness and physical loneliness; there was so much, so many portraits and landscapes, like the bright pages of an album of words and pictures. They filled her heart overflowing with the tangy, coppery taste of blood that flows from failure, and pricked her soul with nostalgia, for what was and what could have been. She had never thought that happy memories could come accompanied with so much regret, so much pain, so much repining, and discontent. If you plucked a rose without due care, its thorn pricked you to protest the thoughtlessness and the inconsiderateness you had displayed in taking away its crowning glory. Here, it was nothing else but the rose which was the thorn: its each and every petal was saturated with the scents of the past but it stung like the scorpion plant. But was it possible not to touch those memories? For their scents traveled in and out of your being like breath, and their colours were inside every blink of your eye.

My heart sank within me to behold that stately mansion in the midst of its expansive grounds — the park as beautiful now, in its wintry garb, as it could be in its summer glory; the majestic sweep, the undulating swell and fall, displayed to full advantage in that robe of dazzling purity, stainless and printless — save one long, winding track left by the trooping deer — the stately timber-trees with their heavy laden branches gleaming white against the full, grey sky; the deep, encircling woods; the broad expanse of water sleeping in frozen quiet; and the weeping ash and willow drooping their snowclad boughs above it — all presented a picture, striking, indeed, and pleasing to an unencumbered mind, but by no means encouraging to me.

Let people see how glorious God is by letting them see your failures. When you are transparent about your failures, you promote God’s glory. Our failures allow God to display his faithful and merciful love. Failures allow God’s power to be put on display. Failures allow God to prove that he is as forgiving as he says he is. So consider being open and transparent about your failures in order to show God’s glory.

He has no friends that I know of, and his few neighbours consider him a bit of a weirdo, but I like to think of him as my friend as he will sometimes leave buckets of compost outside my house, as a gift for my garden. The oldest tree on my property is a lemon, a sprawling mass of twigs with a heavy bow. The night gardener once asked me if I knew how citrus trees died: when they reach old age, if they are not cut down and they manage to survive drought, disease and innumerable attacks of pests, fungi and plagues, they succumb from overabundance. When they come to the end of their life cycle, they put out a final, massive crop of lemons. In their last spring their flowers bud and blossom in enormous bunches and fill the air with a smell so sweet that it stings your nostrils from two blocks away; then their fruits ripen all at once, whole limbs break off due to their excessive weight, and after a few weeks the ground is covered with rotting lemons. It is a strange sight, he said, to see such exuberance before death. One can picture it in animal species, those million salmon mating and spawning before dropping dead, or the billions of herrings that turn the seawater white with their sperm and eggs and cover the coasts of the northeast Pacific for hundreds of miles. But trees are very different organisms, and such displays of overripening feel out of character for a plant and more akin to our own species, with its uncontrolled, devastating growth. I asked him how long my own citrus had to live. He told me that there was no way to know, at least not without cutting it down and looking inside its trunk. But, really, who would want to do that?

As beautiful as you are my lady, You sick answers to why love is never by your side Your heart wonders around trying to find your ideal love But yet nothing is completing your need. You’re a women of strength and resemble power within, Filled with joy on your angelic face, yet no good man appreciates it A laughter that one can capture for a lifetime, too bad that all the men you seem to meet erase it all You display Emotions that one can wish to dwell in and feel the energy you hold within. Take a stand my lady, no rose ever dies without growing back again, You need no tears to fall for a man who sees less in you You need no sad feeling to crush that happy self, he’ll never be worth the joy in you Show him no sad emotions, you’re too strong to give in now. As a flower you bloomed gracefully and a beautiful lady rose up from that seed the Lord God planted As a pillar you balanced yourself against all negative forces of life and that was your strength As an ocean you cried your tears out but that never hindered the ocean from being full again As a beautiful picture frame you lit up the room and no soul will ever take that away from you. Let yourself love you, is the greatest love one can ever behold, I’m done seeing you cry!!!

what rainbow silks and satins! what pinking of thin stockings, and pinching of thin shoes, and fluttering of ribbons and silk tassels, and display of rich cloaks with gaudy hoods and linings! The young gentlemen are fond, you see, of turning down their shirt-collars and cultivating their whiskers, especially under the chin; but they cannot approach the ladies in their dress or bearing, being, to say the truth, humanity of quite another sort.

Her Instagram feed filled up with gorgeous photos of her creations displayed alongside books, some of their links tenuous at best. Double chocolate cookies made with huge chunks of Valrhona chocolate found their American-Parisian mash-up reference in Alcott's Little Women. Currant cinnamon rolls as big as a baby's head were paired with The Secret Garden. Her lemon-blueberry muffins posed alongside a favorite childhood picture book, Blueberries For Sal.

On Easter Monday there was a great display of fireworks from the Castle of St. Angelo. We hired a room in an opposite house, and made our way, to our places, in good time, through a dense mob of people choking up the square in front, and all the avenues leading to it; and so loading the bridge by which the castle is approached, that it seemed ready to sink into the rapid Tiber below. There are statues on this bridge (execrable works), and, among them, great vessels full of burning tow were placed: glaring strangely on the faces of the crowd, and not less strangely on the stone counterfeits above them. The show began with a tremendous discharge of cannon; and then, for twenty minutes or half an hour, the whole castle was one incessant sheet of fire, and labyrinth of blazing wheels of every colour, size, and speed: while rockets streamed into the sky, not by ones or twos, or scores, but hundreds at a time. The concluding burst - the Girandola - was like the blowing up into the air of the whole massive castle, without smoke or dust. In half an hour afterwards, the immense concourse had dispersed; the moon was looking calmly down upon her wrinkled image in the river; and half - a - dozen men and boys with bits of lighted candle in their hands: moving here and there, in search of anything worth having, that might have been dropped in the press: had the whole scene to themselves.

When it came to "getting away from it all," there really weren’t many places quite like the top of the tallest mountain in the world. He glanced around the summit, noting the other reason why he enjoyed coming up here. It was tradition for every expedition to the top of Everest to leave something behind—a small token or marker indicating their successful climb to the famous peak. Each one was different and each one seemed to reflect the personality of the party it represented: small flags and banners with the hand-written names of climbers past, a used oxygen canister, a spare glove, even a small metal lunchbox with (Clark noted with a small smile) a picture of Superman on the cover. To Clark, each of these markers indicated the pinnacle of human achievement, the fulfilled promise of the best the human race had to offer. And today, it represented something else as well: man’s ability to conquer the harsh reality of nature… a point in stark contrast to the previous night’s activities. This set were Sherpa prayer flags, each displaying a symbol, not of a distant god or mythological beast, but denoting some aspect of the enlightened human mind: compassion, perfect action, fearlessness. His thoughts turned to another example of the peak of human achievement, of what one man with drive, desire and dedication could accomplish without the benefit of superpowers or metagene enhancement. One that held a much more personal meaning to Clark. Bruce.

The reader is requested to note a seeming contradiction in the two views which have been given of Graham Bretton—the public and private—the out-door and the in-door view. In the first, the public, he is shown oblivious of self; as modest in the display of his energies, as earnest in their exercise. In the second, the fireside picture, there is expressed consciousness of what he has and what he is; pleasure in homage, some recklessness in exciting, some vanity in receiving the same. Both portraits are correct.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin.” “As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed, long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

A bang rattled the otherwise sturdy fence right before Wick saw small hands grasp the thankfully pointless top. Following that display of persistence came a kid flying through the air and hurrying to meet the ground. "Damn, superboy! Tuck and roll, tuck and roll," Wick hollered as the kid landed on his side with a thick thud. He hit send on his text message then quickly raised his phone and snapped a picture of one very pissed off looking kid. "That was awesome, all you need is the big S on your shirt and you'd be legit.

Impressing the ladies is an arduous task ', as the narrator is always saying on Animal Planet...'Perhaps no creature has a more elaborate courtship display than the bower bird'. No creature? That's a joke, right? You can't think of one? Clue: as part of its elaborate courtship displays this creature has invented telephones, moving pictures, cars, music, money, organized warfare, tigerskin rugs, alcohol, mood-lighting, speedboats, mink coats, cities and poetry. So, please, no sniggering at the bower birds' attempts to get laid.

The enemy of my soul didn't want me painting that day. To create meant that I would look a little bit like my Creator. To overcome the terrifying angst of the blank canvas meant I would forever have more compassion for other artists. You better believe as I placed the first blue and gray strokes onto the white emptiness before me, the "not good enough" statement was pulsing through my head in almost deafening tones... This parlaying lie is one of his favorite tactics to keep you disillusioned by disappointments. Walls go up, emotions run high, we get guarded, defensive, demotivated, and paralyzed by the endless ways we feel doomed to fail. This is when we quit. This is when we settle for the ease of facebook.... This is when we get a job to simply make money instead of pursuing our calling to make a difference. This is when we put the paintbrush down and don't even try. So there I was. Standing before my painted blue boat, making a choice of which voice to listen to. I'm convinced God was smiling. Pleased. Asking me to find delight in what is right. Wanting me to have compassion for myself by focusing on that part of my painting that expressed something beautiful. To just be eager to give that beauty to whoever dared to look at my boat. To create to love others. Not to beg them for validation. But the enemy was perverting all that. Perfection mocked my boat. The bow was too high, the details too elementary, the reflection on the water too abrupt, and the back of the boat too off-center. Disappointment demanded I hyper-focused on what didn't look quite right. It was my choice which narrative to hold on to: "Not good enough" or "Find delight in what is right." Each perspective swirled, begging me to declare it as truth. I was struggling to make peace with my painting creation, because I was struggling to make make peace with myself as God's creation. Anytime we feel not good enough we deny the powerful truth that we are a glorious work of God in progress. We are imperfect because we are unfinished. So, as unfinished creations, of course everything we attempt will have imperfections. Everything we accomplish will have imperfections. And that's when it hit me: I expect a perfection in me and in others that not even God Himself expects. If God is patient with the process, why can't I be? How many times have I let imperfections cause me to be too hard on myself and too harsh with others? I force myself to send a picture of my boat to at least 20 friends. I was determined to not not be held back by the enemy's accusations that my artwork wasn't good enough to be considered "real art". This wasn't for validation but rather confirmation that I could see the imperfections in my painting but not deem it worthless. I could see the imperfections in me and not deem myself worthless. It was an act of self-compassion. I now knew to stand before each painting with nothing but love, amazement, and delight. I refused to demand anything more from the artist. I just wanted to show up for every single piece she was so brave to put on display.. Might I just be courageous enough to stand before her work and require myself to find everything about it I love? Release my clenched fist and pouty disappointments, and trade my "live up" mentality for a "show up" one? It is so much more freeing to simply show up and be a finder of the good. Break from the secret disappointments. Let my brain venture down the tiny little opening of love.. And I realized what makes paintings so delightful. It's there imperfections. That's what makes it art. It's been touched by a human. It's been created by someone whose hands sweat and who can't possibly transfer divine perfection from what her eyes see to what her fingertips can create. It will be flawed.

Gilberte had still not come back to the Champs-Élysées. Yet I very much needed to set eyes on her, as I could not even remember her face. When we look at the person we love, our inquisitive, anxious, demanding gaze, our expectation of the words which will make us hope for (or despair of) another meeting tomorrow and, until those words are spoken, our obsession fluctuating between possible joy and sorrow, or imagining both of these together, all this distracts our tremulous attention and prevents it from getting a clear picture of the loved one. Also, it may be that this simultaneous activity of all the senses, striving to discover through the unaided eyes something that is out of their reach, is too mindful of the countless forms, all the savours and movements of the living person, all those things which, in a person with whom we are not in love, we immobilize. But the beloved model keeps moving; and the only snapshots we can take are always out of focus. I could not really say what the features of Gilberte’s face were like, except at those heavenly moments when she was there, displaying them to me.

Did feminism identify some valid problems? Yes. Did it propose some helpful changes? It likely did. Can feminism be embraced along with our Christian faith? Absolutely not. Why not? Because it introduces a subtle (and sometimes not-so-subtle) distortion into the way we approach gender and male-female relationships. It contains truth, but it also contains some powerful and destructive lies. And in so doing, it strikes at the very image of God and at an important earthly picture He chose to display the redemptive story. At its core, feminist philosophy is antithetical to the gospel.

No previous games had seen such a spectacular organization nor such a lavish display of entertainment. Goering, Ribbentrop and Goebbels gave dazzling parties for the foreign visitors—the Propaganda Minister’s “Italian Night” on the Pfaueninsel near Wannsee gathered more than a thousand guests at dinner in a scene that resembled the Arabian Nights. The visitors, especially those from England and America, were greatly impressed by what they saw: apparently a happy, healthy, friendly people united under Hitler—a far different picture, they said, than they had got from reading the newspaper dispatches from Berlin.

We probably won’t arrive home in time for your wedding.” She pictured the wedding gown hanging in her closet. The veil. The shoes. Even the strands of pearls, all laid out awaiting her return. Return. The heavy word weighed on her as Ira continued to snore and Oscar continued to study her in a way that made her feel captivating and beautiful. Camille stood up, not sure if she’d been inching toward him. His lips had certainly seemed to be getting closer. “Randall will understand, I’m sure. He’s a very reasonable person,” she said, her voice rapid. Oscar started to stand. “Where are you going?” “No, please, sit,” she said. “I…I just need to, um, use the trees.” Camille jiggled her nearly empty canteen to strengthen her excuse. She turned in a circle until she spotted a copse of trees. She had to be somewhere other than hidden in the flowers with Oscar, somewhere she could try and convince herself that Randall might one day be able to look at her with the same intensity Oscar had just displayed. Oscar sat back down, and Camille trampled the grass on the way to the safety of the trees. Another attack of guilt snuck up on her as she glanced back at Oscar, who was watching her walk away. Camille would miss her own wedding-and she didn’t care one bit.

One Autumn night, in Sudbury town, Across the meadows bare and brown, The windows of the wayside inn Gleamed red with fire-light through the leaves Of woodbine, hanging from the eaves Their crimson curtains rent and thin. As ancient is this hostelry As any in the land may be, Built in the old Colonial day, When men lived in a grander way, With ampler hospitality; A kind of old Hobgoblin Hall, Now somewhat fallen to decay, With weather-stains upon the wall, And stairways worn, and crazy doors, And creaking and uneven floors, And chimneys huge, and tiled and tall. A region of repose it seems, A place of slumber and of dreams, Remote among the wooded hills! For there no noisy railway speeds, Its torch-race scattering smoke and gleeds; But noon and night, the panting teams Stop under the great oaks, that throw Tangles of light and shade below, On roofs and doors and window-sills. Across the road the barns display Their lines of stalls, their mows of hay, Through the wide doors the breezes blow, The wattled cocks strut to and fro, And, half effaced by rain and shine, The Red Horse prances on the sign. Round this old-fashioned, quaint abode Deep silence reigned, save when a gust Went rushing down the county road, And skeletons of leaves, and dust, A moment quickened by its breath, Shuddered and danced their dance of death, And through the ancient oaks o'erhead Mysterious voices moaned and fled. These are the tales those merry guests Told to each other, well or ill; Like summer birds that lift their crests Above the borders of their nests And twitter, and again are still. These are the tales, or new or old, In idle moments idly told; Flowers of the field with petals thin, Lilies that neither toil nor spin, And tufts of wayside weeds and gorse Hung in the parlor of the inn Beneath the sign of the Red Horse. Uprose the sun; and every guest, Uprisen, was soon equipped and dressed For journeying home and city-ward; The old stage-coach was at the door, With horses harnessed,long before The sunshine reached the withered sward Beneath the oaks, whose branches hoar Murmured: "Farewell forevermore. Where are they now? What lands and skies Paint pictures in their friendly eyes? What hope deludes, what promise cheers, What pleasant voices fill their ears? Two are beyond the salt sea waves, And three already in their graves. Perchance the living still may look Into the pages of this book, And see the days of long ago Floating and fleeting to and fro, As in the well-remembered brook They saw the inverted landscape gleam, And their own faces like a dream Look up upon them from below.

Farragut's first visitor was his wife. He was raking leaves in yard Y when the PA said that 734-508-32 had a visitor. He jogged up the road past the firehouse and into the tunnel. It was four flights up to cellblock F. "Visitor," he said to Walton, who let him into his cell. He kept his white shirt prepared for visits. It was dusty. He washed his face and combed his hair with water. "Don't take nuttin but a handkerchief," said the guard. "I know, I know, I know...." Down he went to the door of the visitor's room, where he was frisked. Through the glass he saw that his visitor was Marcia. There were no bars in the visitor's room, but the glass windows were chicken-wired and open only at the top. A skinny cat couldn't get in or out, but the sounds of the prison moved in freely on the breeze. She would, he knew, have passed three sets of bars - clang, clang, clang - and waited in an anteroom where there were pews or benches, soft-drink engines and a display of the convict's art with prices stuck in the frames. None of the cons could paint, but you could always count on some wet-brain to buy a vase of roses or a marine sunset if he had been told that the artist was a lifer. There were no pictures on the walls of the visitor's room but there were four signs that said: NO SMOKING, NO WRITING, NO EXCHANGE OF OBJECTS, VISITORS ARE ALLOWED ONE KISS.

As soon as Ben had been set down and the lorry driver had plodded off to unload the next waxwork, Ben darted off down the corridor. He needed to find the scene of the crime, to see if there were any clues the police had missed. Eventually, after passing the waxworks of presidents and popes and pop stars, but strangely no plumbers, he found the room where the figures of the British royal family were on display. As the theft had been in the news, the room was full of tourists eager to catch a glimpse of the empty space where the waxwork of the Queen had stood. Some were even taking pictures of… well, nothing. Ben looked around the ornate red-and-gold room, decorated to look like the

Words are not cubicles for truth telling. Words do not allow us to touch the face of God or define the contours of the soul. Words are imprecise and cannot capture all aspects of reality or replicate all facets of a person’s emotional mélange. Language allows for limited explorations of reality and minimal probing of the human mind. I accept that the only possible relation between language and the world is the image displayed in each person’s head by the picture invoking ability of language. Select word pictures might accurately portray what I perceive and still be vague, blatantly inaccurate, completely meaningless, misleading, distorted, or incomprehensible in other persons’ minds.

But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.

Stupid, infuriating, overgrown ass!” I hiss as I slam the back door behind me and stomp my foot for good measure. I’m home, I think to myself. I can finally throw a satisfying fit all by myself. Fuming, I stomp both of my feet on the kitchen floor again and again, picturing my cousin’s face each time I bring my feet down. He is the most infuriating oaf on the face of the planet, and I want nothing more than to punch him. I’m still muttering to myself when I hear chuckling and jump in response. Whirling around, I look up and find Flint standing by the coffee pot watching my display of temper and shaking his head. “I certainly hope you’re not talking about me.” I scowl at him. “For once, no. You may be an infuriating ass, but I’ve never considered you stupid. Looks like sparking my temper isn’t an exclusive ability of yours, after all.

You seem surprised to find us here,’ the man said. ‘I am,’ I said. ‘I wasn’t expecting to find anyone.’ ‘We are everywhere,’ the man said. ‘We are all over the country.’ ‘Forgive me,’ I said, ‘but I don’t understand. Who do you mean by we?’ ‘Jewish refugees.’ [...] ‘Is this your land?’ I asked him. ‘Not yet,’ he said. ‘You mean you are hoping to buy it?’ He looked at me in silence for a while. Then he said, ‘The land is at present owned by a Palestinian farmer but he has given us permission to live here. He has also allowed us some fields so that we can grow our own food.’ ‘So where do you go from here?’ I asked him. ‘You and all your orphans?’ ‘We don’t go anywhere,’ he said, smiling through his black beard. ‘We stay here.’ ‘Then you will all become Palestinians,’ I said. ‘Or perhaps you are that already.’ He smiled again, presumably at the naïvety of my questions. ‘No,’ the man said, ‘I do not think we will become Palestinians.’ ‘Then what will you do?’ ‘You are a young man who is flying aeroplanes,’ he said, ‘and I do not expect you to understand our problems.’ ‘What problems?’ I asked him. The young woman put two mugs of coffee on the table as well as a tin of condensed milk that had two holes punctured in the top. The man dripped some milk from the tin into my mug and stirred it for me with the only spoon. He did the same for his own coffee and then took a sip. ‘You have a country to live in and it is called England,’ he said. ‘Therefore you have no problems.’ ‘No problems!’ I cried. ‘England is fighting for her life all by herself against virtually the whole of Europe! We’re even fighting the Vichy French and that’s why we’re in Palestine right now! Oh, we’ve got problems all right!’ I was getting rather worked up. I resented the fact that this man sitting in his fig grove said that I had no problems when I was getting shot at every day. ‘I’ve got problems myself’, I said, ‘in just trying to stay alive.’ ‘That is a very small problem,’ the man said. ‘Ours is much bigger.’ I was flabbergasted by what he was saying. He didn’t seem to care one bit about the war we were fighting. He appeared to be totally absorbed in something he called ‘his problem’ and I couldn’t for the life of me make it out. ‘Don’t you care whether we beat Hitler or not?’ I asked him. ‘Of course I care. It is essential that Hitler be defeated. But that is only a matter of months and years. Historically, it will be a very short battle. Also it happens to be England’s battle. It is not mine. My battle is one that has been going on since the time of Christ.’ ‘I am not with you at all,’ I said. I was beginning to wonder whether he was some sort of a nut. He seemed to have a war of his own going on which was quite different to ours. I still have a very clear picture of the inside of that hut and of the bearded man with the bright fiery eyes who kept talking to me in riddles. ‘We need a homeland,’ the man was saying. ‘We need a country of our own. Even the Zulus have Zululand. But we have nothing.’ ‘You mean the Jews have no country?’ ‘That’s exactly what I mean,’ he said. ‘It’s time we had one.’ ‘But how in the world are you going to get yourselves a country?’ I asked him. ‘They are all occupied. Norway belongs to the Norwegians and Nicaragua belongs to the Nicaraguans. It’s the same all over.’ ‘We shall see,’ the man said, sipping his coffee. The dark-haired woman was washing up some plates in a basin of water on another small table and she had her back to us. ‘You could have Germany,’ I said brightly. ‘When we have beaten Hitler then perhaps England would give you Germany.’ ‘We don’t want Germany,’ the man said. ‘Then which country did you have in mind?’ I asked him, displaying more ignorance than ever. ‘If you want something badly enough,’ he said, ‘and if you need something badly enough, you can always get it.’ [...]‘You have a lot to learn,’ he said. ‘But you are a good boy. You are fighting for freedom. So am I.

The scientific world-picture vouchsafe a very complete understanding of all that happens—it makes it just a little too understandable. It allows you to imagine the total display as that of a mechanical clock-work, which for all that science knows could go on just the same as it does, without there being consciousness, will, endeavour, pain and delight and responsibility connected with it—though they actually are. And the reason for this disconcerting situation is just this, that, for the purpose of constructing the picture of the external world, we have used the greatly simplifying device of cutting our own personality out, removing it; hence it it gone, it has evaporated, it is ostensibly not needed. In particular, and most importantly, this is the reason why the scientific world-view contains of itself no ethical values, no aesthetical values, not a word about our own ultimate scope or destination, and no God, if you please. Whence came I, whither go I? Science cannot tell us a word about why music delights us, of why and how an old song can move us to tears. Science, we believe, can, in principle, describe in full detail all that happens in the latter case in our sensorium and 'motorium' from the moment the waves of compression and dilation reach our ear to the moment when certain glands secrete a salty fluid that emerges from our eyes. But of the feelings of delight and sorrow that accompany the process science is completely ignorant—and therefore reticent. Science is reticent too when it is a question of the great Unity—the One of Parmenides—of which we all somehow form part, to which we belong. The most popular name for it in our time is God—with a capital 'G'. Science is, very usually, branded as being atheistic. After what we said, this is not astonishing. If its world-picture does not even contain blue, yellow, bitter, sweet—beauty, delight and sorrow—, if personality is cut out of it by agreement, how should it contain the most sublime idea that presents itself to human mind?

In the window were displayed the covers of several pornographic videos. “The Story of O-Positive,” Armod said aloud. “I don’t understand. Is that like HIV positive?” “Idiot,” Mordr said, slapping Armod lightly upside the head. “Ah, but I am in the mood for good literature,” Ivak said with a grin. “How about these? A Tale of Two Vampyres. The Stakes of Wrath. Or that one.” He pointed to the left. “Great Neckspectations.” “I still don’t understand.” Armod was frowning, although his white skin did color when he craned his head from side to side and realized what one of the pictures depicted. “Now me, I always did like a good classic mystery movie,” Sigurd added, also grinning. “A Tomb with a View.” Vikar worried that they were embarrassing Alex, but then she said, “My favorite is Vlad Really Did Impale Her.” His brothers glanced at him, then Alex, and burst out laughing. “Mayhap I will not kill her after all,” Mordr declared, giving Alex a wink that did not sit well with Vikar. Not one bit. “Can we buy some?” Armod asked.

The deeply flushed midsummer sunlight, the strong, clear alcohol filling a dirty glass, a goat tethered with a rope, the enormous sides of a glitteringly white modern building, the solemn melody of the national orchestra, the slender-necked actress who was performing on the stage, the arc of a rainbow which, after a sudden shower, fell to the earth like an arrow from between the clouds, a sheepdog pressed flat under the wheel of a car, a herd of stubborn goats bobbing their heads with profound indifference, blue cloth fluttering in the wind, designating something sacred, a swarthy woman looking down on the street below from a first-floor window, her exposed chest leaning out over the wooden frame, cat-sized rats threading their way around the legs of market stalls, unlit signs and display windows, a sombrely lit butcher’s fridge, each dark red carcass still buttressed with the animal’s skeleton, Banchi’s printing shop, on the ground floor of a temple on the main street in the city centre, there Banchi makes picture postcards featuring his own translations of Indian sutras.

Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

No one has ever offered a better diagnosis of Norma Jeane/Marilyn Monroe than she does in her concluding paragraph: “Its not to much fun to know yourself to well or think you do—everyone needs a little conciet to carry them through & past the falls.” Most of us carry with us some kind of illusion about who we are and what we can accomplish. Certainly this is true in my case. I can think of many writing projects that I would not have completed if I had known, from the start, how much trouble they would entail. So imagine the life of a young woman who did anticipate trouble, who could not help but observe herself, and who chose a profession in which she was on display all the time. Her self-consciousness could be paralyzing and was relieved only by moments of acting when she could embody another being. What a relief it would be to act unconsciously and ultimately, to be unconscious, no longer obliged to carry the burden of self, a burden already shouldered by Norma Jeane when she was still three years away from her first appearance in a motion picture. To carry that same burden as Marilyn Monroe was all the more deadly.

She gazed at the man across from her. Her lover. His powerful shoulders worked beneath his shirt as he pulled on the oars. The display of strength and agility, set to a steady rhythm…memories of their lovemaking assailed her with quiet force. In some other place, under some other circumstance, they might have been a courting couple. Rowing across a placid lake, caressed by a glowing sunset. From a distance, this could have been the picture of romance. But the reality was confusion, and resentment, and pain. Did she feel sorry for misleading him? Sophia considered. She was not sure she could. By his own admission, he would not have made love to her had she not. And she could not regret that exquisite pleasure; nor could she regret sharing it with him. She looked at the handsome, strong, charismatic, passionate, exhausted man across from her. Selfish and wicked though she might be, she could not feel sorry that he was now bound to her-that for good or ill, he had not left her behind. Sophia was, however, unequivocally sorry for one thing. “Gray,” she said, “I’m so sorry I’ve hurt you.” His eyes flashed, and there was a slight hitch in his stroke.

On the other hand, what I myself called “thinking of Albertine” was in fact thinking of ways of getting her to return, of meeting up with her, of finding out what she was doing. So that if, during these hours of unremitting torture, my suffering could have been displayed in graphic form, it would have shown images of the Orsay railway station,16 the banknotes offered to Mme Bontemps, Saint-Loup leaning over a post-office counter filling in a form to send me a telegram, but never a picture of Albertine. In the same way that during the course of our lives we, in our egoism, constantly see before our eyes the goals which our selves find valuable, but do not perceive the “I” itself which never ceases to scrutinize them, so the desire that directs our actions swoops down upon them, but never looks back on itself, either because it is too utilitarian and, spurning knowledge, prefers to rush into action, or because we search out the future in order to compensate for the disappointments of the present, or even because the indolence of the mind tempts it to slide down the slippery slope of the imagination rather than to climb the steep slope of introspection

It was a bright cold day in April, and the clocks were striking thirteen. Winston Smith, his chin nuzzled into his breast in an effort to escape the vile wind, slipped quickly through the glass doors of Victory Mansions, though not quickly enough to prevent a swirl of gritty dust from entering along with him. The hallway smelt of boiled cabbage and old rag mats. At one end of it a coloured poster, too large for indoor display, had been tacked to the wall. It depicted simply an enormous face, more than a metre wide: the face of a man of about forty-five, with a heavy black moustache and ruggedly handsome features. Winston made for the stairs. It was no use trying the lift. Even at the best of times it was seldom working, and at present the electric current was cut off during daylight hours. It was part of the economy drive in preparation for Hate Week. The flat was seven flights up, and Winston, who was thirty-nine and had a varicose ulcer above his right ankle, went slowly, resting several times on the way. On each landing, opposite the lift-shaft, the poster with the enormous face gazed from the wall. It was one of those pictures which are so contrived that the eyes follow you about when you move. BIG BROTHER IS WATCHING YOU, the caption beneath it ran.

Cooking’s a more popular hobby than fencing.” “They don’t have a Great British Fence-Off,” muttered Dante. There was a thoughtful pause. “Oh, that sounds like such a good show,” Nicholas murmured. “I like your idea for a television show as well,” Seiji told Dante. “Why do you picture it being British specifically?” Dante’s mouth opened and closed. No sound came out. “Could be because of the European history of dueling?” Nicholas suggested, and looked to Seiji. “Like in the book you let me borrow. Did you know that if you killed someone in a duel back in the old days, you could run away to France, because in France, dueling was still a totally cool and legal way to kill someone you had beef with?” Seiji nodded, pointing at Nicholas for emphasis. “I did know that, but clearly not everybody does. You’re right; the show would be educational for many people. Perhaps they could hold fencing displays in old manor houses and castles and châteaux? And, of course, in colleges such as Cambridge, Oxford, and Trinity, where the legacy of fencing students is so illustrious.” Breakfast conversation was so awesome now that Seiji had joined them! Nicholas bet nobody else had as much fun as they did. Dante had clearly given up on talking and was giving Bobby a silent, pleading look. Nicholas guessed Dante was shy. Seiji was pretty famous, so maybe Dante was overwhelmed.

It seems to Marithe that her life has undergone two changes: one, when her father left. And two, about a year ago, when she turned thirteen, when her life and the way she felt about it and the way she viewed it suddenly tilted; like the deck of a ship in a storm. At first it seemed to her that her house, her family, her dogs, her accordion, her books, her room with its geology samples, its display of feathers, its pictures of foxes and wolves, all took on an unreal aspect. Everything felt like a stage set: she kept viewing herself as if from the outside. Instead of just acting, just doing, just running or speaking or playing or collecting, she would feel this sense of externalisation: and so, a voice inside her head would comment, you are running. Do you need to run? Where are you going? You're picking up that rock but do you want it, do you really need it, are you going to carry it home? [...] And her body! Some mornings she woke and it was as if lead weights had been attached to her limbs by some ill-meaning fairy. Even if she had the urge to walk across the paddock to feed the neighbours' horses -- which she hardly ever did any more, she didn't know why -- she wouldn't have the energy, the sap in her to do it. She wanted it returned to her, Marithe did, that sense of security in her life, of certainty, of knowing who she was and what she was about. Would it ever come back?

I left Brookstone and went to the Pottery Barn. When I was a kid and everything inside our house was familiar, cheap, and ruined, walking into the Pottery Barn was like entering heaven. If they really wanted people to enjoy church, I thought back then, they should make everything in church look and smell like the Pottery Barn. My dream was to surround myself one day with everything in the store, with the wicker baskets and scented candles, the brushed-silver picture frames. But that was a long time ago. I had already gone through a period of buying everything there was to buy at the Pottery Barn and decorating my apartment like a Pottery Barn outlet, and then getting rid of it all during a massive upgrade. Now everything at the Pottery Barn looked ersatz and mass-produced. To buy any of it now would be to regress in aspiration and selfhood. I didn’t want to buy anything at the Pottery Barn so much as I wanted to recapture the feeling of wanting to buy everything from the Pottery Barn. Something similar happened at the music store. I should try to find some new music, I thought, because there was a time when new music could lift me out of a funk like nothing else. But I wasn’t past the Bs when I saw the only thing I really cared to buy. It was the Beatles’ Rubber Soul, which had been released in 1965. I already owned Rubber Soul. I had owned Rubber Soul on vinyl, then on cassette, and now on CD, and of course on my iPod, iPod mini, and iPhone. If I wanted to, I could have pulled out my iPhone and played Rubber Soul from start to finish right there, on speaker, for the sake of the whole store. But that wasn’t what I wanted. I wanted to buy Rubber Soul for the first time all over again. I wanted to return the needle from the run-out groove to the opening chords of “Drive My Car” and make everything new again. That wasn’t going to happen. But, I thought, I could buy it for somebody else. I could buy somebody else the new experience of listening to Rubber Soul for the first time. So I took the CD up to the register and paid for it and, walking out, felt renewed and excited. But the first kid I offered it to, a rotund teenager in a wheelchair looking longingly into a GameStop window, declined on the principle that he would rather have cash. A couple of other kids didn’t have CD players. I ended up leaving Rubber Soul on a bench beside a decommissioned ashtray where someone had discarded an unhealthy gob of human hair. I wandered, as everyone in the mall sooner or later does, into the Best Friends Pet Store. Many best friends—impossibly small beagles and corgis and German shepherds—were locked away for display in white cages where they spent their days dozing with depression, stirring only long enough to ponder the psychic hurdles of licking their paws. Could there be anything better to lift your spirits than a new puppy?

Turing was offered a choice: imprisonment or probation contingent on receiving hormone treatments via injections of a synthetic estrogen designed to curb his sexual desires, as if he were a chemically controlled machine. He chose the latter, which he endured for a year. Turing at first seemed to take it all in stride, but on June 7, 1954, he committed suicide by biting into an apple he had laced with cyanide. His friends noted that he had always been fascinated by the scene in Snow White in which the Wicked Queen dips an apple into a poisonous brew. He was found in his bed with froth around his mouth, cyanide in his system, and a half-eaten apple by his side. Was that something a machine would have done? I. Stirling’s formula, which approximates the value of the factorial of a number. II. The display and explanations of the Mark I at Harvard’s science center made no mention of Grace Hopper nor pictured any women until 2014, when the display was revised to highlight her role and that of the programmers. III. Von Neumann was successful in this. The plutonium implosion design would result in the first detonation of an atomic device, the Trinity test, in July 1945 near Alamogordo, New Mexico, and it would be used for the bomb that was dropped on Nagasaki on August 9, 1945, three days after the uranium bomb was used on Hiroshima. With his hatred of both the Nazis and the Russian-backed communists, von Neumann became a vocal proponent of atomic weaponry.

Joanne Sanders, a broad woman in her forties, posed with friends, family, and Snowball in photographs displayed on the mantel of the fake fireplace. She had shoulder-length brown hair and bangs teased high above her brow. I could picture her behind ten inches of bulletproof glass sneering at me with gloss-encased lips for filling out my deposit slip incorrectly. I fed Snowball half a cup of kibble and a spoonful of wet food as my envelope of information directed. She ate it quickly while making funny little squeaking noises. Once she had licked her bowl to a bright sheen, we headed out for my first walk as a dog-walker. I steered us off of East End Avenue and onto the esplanade that runs along the river. The water reflected the sun in bright silver glints. I smelled oil and brine. We reached Carl Schurz Park and turned into the dog run for small dogs. The gate leading into the run reached only to my knees, as did the rest of the fence designed to keep small dogs in and big ones out. A sign on the gate read, "Dogs over 25 pounds not permitted." Ten dogs under 25 pounds, and one who was probably a little over, played together in the pen. Their owners, in groups of three or four, sat on worn wooden benches and talked about dogs. Snowball ran to join a poodle growling at a puppy. They intimidated it behind its owner's calves. Then the poodle, a miniature gray curly thing with long ears, mounted Snowball. I turned to the river and watched a giant barge inch by.

To the delight of visiting American sailors, the British still had a military base there, Changi, and shared it with those stout lads from Down Under, the Australians, who naturally came supplied with Down Under lassies. Australian women were the glory of Singapore. These tall, lithe creatures with tanned, muscular legs and striking white teeth that were forever being displayed in dazzling smiles somehow completed the picture, made it whole. You ran into them at Raffles, the old hotel downtown with ceiling fans and rattan chairs and doddery old gentlemen in white suits sipping gin. You ran into them in the lobbies and restaurants of the new western hotels and in the bazaars and emporiums. You saw them strolling the boulevards and haggling with small Chinese women in baggy trousers for sapphires and opals. You saw them everywhere, young, tan, enjoying life, the center of attention wherever they were. It helped that their colorful tropical frocks contrasted so vividly with the drab trousers and white shirts that seemed to be the Singaporean national costume. They were like songbirds surrounded by sparrows. “If Qantas didn’t bring them here, the United Nations should supply them as a gesture of good will to all human kind.” Flap Le Beau stated this conclusion positively to Jake Grafton and the Real McCoy as they stood outside Raffles Hotel surveying the human parade on the sidewalk. “I think I’m in love,” the Real McCoy told his companions. “I want one of those for my very own.

..."facts" properly speaking are always and never more than interpretations of the data... the Gospel accounts are themselves such data or, if you like, hard facts. But the events to which the Gospels refer are not themselves "hard facts"; they are facts only in the sense that we interpret the text, together with such other data as we have, to reach a conclusion regarding the events as best we are able. They are facts in the same way that the verdict of a jury establishes the facts of the case, the interpretation of the evidence that results in the verdict delivered. Here it is as well to remember that historical methodology can only produce probabilities, the probability that some event took place in such circumstances being greater or smaller, depending on the quality of the data and the perspective of the historical enquirer. The jury which decides what is beyond reasonable doubt is determining that the probability is sufficiently high for a clear-cut verdict to be delivered. Those who like "certainty" in matters of faith will always find this uncomfortable. But faith is not knowledge of "hard facts"...; it is rather confidence, assurance, trust in the reliability of the data and in the integrity of the interpretations derived from that data... It does seem important to me that those who speak for evangelical Christians grasp this nettle firmly, even if it stings! – it is important for the intellectual integrity of evangelicals. Of course any Christian (and particularly evangelical Christians) will want to get as close as possible to the Jesus who ministered in Galilee in the late 20s of the first century. If, as they believe, God spoke in and through that man, more definitively and finally than at any other time and by any other medium, then of course Christians will want to hear as clearly as possible what he said, and to see as clearly as possible what he did, to come as close as possible to being an eyewitness and earwitness for themselves. If God revealed himself most definitively in the historical particularity of a Galilean Jew in the earliest decades of the Common Era, then naturally those who believe this will want to inquire as closely into the historical particularity and actuality of that life and of Jesus’ mission. The possibility that later faith has in some degree covered over that historical actuality cannot be dismissed as out of the question. So a genuinely critical historical inquiry is necessary if we are to get as close to the historical actuality as possible. Critical here, and this is the point, should not be taken to mean negatively critical, hermeneutical suspicion, dismissal of any material that has overtones of Easter faith. It means, more straightforwardly, a careful scrutiny of all the relevant data to gain as accurate or as historically responsible a picture as possible. In a day when evangelical, and even Christian, is often identified with a strongly right-wing, conservative and even fundamentalist attitude to the Bible, it is important that responsible evangelical scholars defend and advocate such critical historical inquiry and that their work display its positive outcome and benefits. These include believers growing in maturity • to recognize gray areas and questions to which no clear-cut answer can be given (‘we see in a mirror dimly/a poor reflection’), • to discern what really matters and distinguish them from issues that matter little, • and be able to engage in genuine dialogue with those who share or respect a faith inquiring after truth and seeking deeper understanding. In that way we may hope that evangelical (not to mention Christian) can again become a label that men and women of integrity and good will can respect and hope to learn from more than most seem to do today.

Say I decide that it would be a good thing to insert pictures here demonstrating cultural relativism, displaying an act that is commonsensical in one culture but deeply distressing in another. I know, I think, I'll get some pictures of a Southeast Asian dog meat market. Like me, most readers will likely resonate with dogs. Good plan! On to Google Images and the result is that I spend hours transfixed, unable to stop, torturing myself with picture after picture of dogs being carted off to market. Dogs being butchered, cooked and sold. Pictures of humans going about their day's work in a market indifferent to a crate stuffed to the top with suffering dogs. I imagine the fear those dogs feel. How they are hot, thirsty, in pain. I think, what if these dogs had come to trust humans? I think of their fear and confusion. I think, what if one of the dogs whom I've loved had to experience that? What if this happened to a dog my children loved? And with my heart racing, I realize that I hate these people. Hate! Every last one of them and despise their culture. And it takes a locomotive's worth of effort for me to admit that I can't justify that hatred and contempt. That mine is a mere moral intuition. That there are things that I do that would evoke the same response in some distant person whose morality and humanity are certainly no less than mine. And that but for the randomness of where I happen to have been born, I could have readily had their views instead. The thing that makes the tragedy of commonsense morality so tragic, is the intensity with which you just know that They are deeply wrong. In general, our morally tinged cultural institutions, religion, nationalism, ethnic pride, team spirit, bias us toward our best behaviors when we are single shepherds, facing a potential tragedy of the commons. They make us less selfish in Me versus Us situations, but they send us hurtling toward our worst behaviors when confronting Thems and their different moralities.

If I had lied to the CIA, perhaps I might have passed a test. Instead of writing a book about the White House, I’d be poisoning a drug kingpin with a dart gun concealed inside a slightly larger dart gun, or making love to a breathy supermodel in the interest of national security. I’ll never know. I confessed to smoking pot two months before. The sunniness vanished from my interviewer’s voice. “Normally we like people who break the rules,” Skipper told me, “but we can’t consider anyone who’s used illegal substances in the past twelve months.” Just like that, my career as a terrorist hunter was over. I thought my yearning for higher purpose would vanish with my CIA dreams, the way a Styrofoam container follows last night’s Chinese food into the trash. To my surprise, it stuck around. In the weeks that followed, I pictured myself in all sorts of identities: hipster, world traveler, banker, white guy who plays blues guitar. But these personas were like jeans a half size too small. Trying them on gave me an uncomfortable gut feeling and put my flaws on full display. My search for replacement selves began in November. By New Year’s Eve I was mired in the kind of existential funk that leads people to find Jesus, or the Paleo diet, or Ayn Rand. Instead, on January 3, I found a candidate. I was on an airplane when I discovered him, preparing for our initial descent into JFK. This was during the early days of live in-flight television, and I was halfway between the Home Shopping Network and one of the lesser ESPNs when I stumbled across coverage of a campaign rally in Iowa. Apparently, a caucus had just finished. Speeches were about to begin. With nothing better to occupy my time, I confirmed that my seat belt was fully fastened. I made sure my tray table was locked. Then, with the arena shrunk to fit my tiny seatback screen, I watched a two-inch-tall guy declare victory. It’s not like I hadn’t heard about Barack Obama. I had heard his keynote speech at the 2004 Democratic Convention. His presidential campaign had energized my more earnest friends. But I was far too mature to take them seriously. They supported someone with the middle name Hussein to be president of the United States. While they were at it, why not cast a ballot for the Tooth Fairy? Why not nominate Whoopi Goldberg for pope?

They came in to look. I watched them. Most people go through museums like they do Macy's: eyes sweeping the display, stopping only if something really grabs their attention. These two looked at everything. They both clearly liked the bicycle picture. Yup, Dutch, I decided. He was a few steps ahead when he got to my favorite painting there. Diana and the Moon. It was-surprise surprise-of Diana, framed by a big open window, the moon dominating the sky outside. She was perched on the windowsill, dressed in a gauzy wrap that could have been nightclothes or a nod to her goddess namesake. She looked beautiful, of course, and happy, but if you looked for more than a second, you could see that her smile had a teasing curve to it and one of her hands was actually wrapped around the outside frame. I thought she looked like she might swing her legs over the sill and jump, turning into a moth or owl or breath of wind even before she was completely out of the room. I thought she looked, too, like she was daring the viewer to come along. Or at least to try. The Dutch guy didn't say anything. He just reached out a hand. His girlfriend stepped in, folding herself into the circle of his outsretched arm. They stood like that, in front of the painting, for a full minute. Then he sneezed. She reached into her pocket and pulled out a tissue.He took in and, without letting go of her, did a surprisingly graceful one-handed blow. Then he crumpled the tissue and looked around for a trash can. There wasn't one in sight. She held out her free hand; he passed over the tissue, and she stuck it right back into her pocket. I wanted to be grossed out. Instead, I had the surprising thought that I really really wanted someone who would do that: put my used Kleenex in his pocket. It seemed like a declaration of something pretty big. Finally,they finished their examination of Diana and moved on.There wasn't much else, just the arrogant Willings and the overblown sunrise. They came over to examine the bronzes. She saw my book. "Excuse me. You know this artist?" Intimately just didn't seem as true anymore. "Pretty well," I answered. "He is famous here?" "Not very." "I like him." she said thoughtfully. "He has...oh, the word...personism?" "Personality?" I offered. "Yes!" she said, delighted. "Personality." She reached behind her without looking. Her boyfriend immediately twined his fingers with hers. They left, unfolding the map again as they went, she chattering cheerfully. I think she was telling him he had personality. They might as well have had exhibit information plaques on their backs: "COUPLE." CONTEMPORARY DUTCH. COURTESY OF THE ESTATE OF LOVE, FOR THE VIEWING PLEASURE (OR NOT) OF ANYONE AND EVERYONE.

Many other inhabitants of the city were similarly afflicted. Every day, more and more people took to saving time, and the more they did so, the more they were copied by others - even by those who had no real desire to join in but felt obligated to. Radio, television, and newspapers daily advertised and extolled the merits of new, time saving gadgets that would one day leave people free to live the 'right' kind of life. Walls and billboards were plastered with posters depicting scenes of happiness and prosperity. The real picture, however, was very different. Admittedly, timesavers were better dressed than the people who lived near the old amphitheater. They earned more money and had more to spend, but they looked tired, disgruntled and sour, and there was an unfriendly light in their eyes. They'd never heard the phrase, "Why not go and see Momo?' nor did they have anyone to listen to them in a way that would make them reasonable or conciliatory, let alone happy. Even had they known such a person, they would have been highly unlikely to pay him or her a visit unless the whole affair could be dealt with in five minutes flat, or they would have considered it a waste of time. In their view, even leisure time had to be used to the full, so as to extract the maximum of entertainment and relaxation with the minimum amount of delay. Whatever the occasion, whether solemn or joyous, timesavers could no longer celebrate it properly. Daydreaming they regarded almost as a criminal offense. What they could endure least of all, however, was silence, for when silence fell they became terrified by the realization of what was happening to their lives. And so, whenever silence threatened to descend, they made a noise. It wasn't a happy sound, of course, like the hubbub in a children's playground, but an angry ill tempered din that grew louder every day. It had ceased to matter that people should enjoy their work and take pride in it; on the contrary, enjoyment merely slowed them down. All that mattered was to get through as much work as possible in the shortest possible time, so notices to the effect were prominently displayed in every factory and office building. They read: TIME IS PRECIOUS - DON'T WASTE IT! or: TIME IS MONEY - SAVE IT! Last but not least, the appearance of the city itself changed more and more. Old buildings were pulled down and replaced with modern ones devoid of all the things that were now through superfluous. No architect troubled to design houses that suited the people who were to live in them, because that would have meant building a whole range of different houses. It was far cheaper, and above all, more time saving to make them identical. Huge modern housing developments sprang up on the city's outskirts - endless rows of multi-storied tenements as indistinguishable as peas in a pod. And because all the buildings looked alike, so of course, did the streets. [.....] People never seemed to notice that, by saving time, they were losing something else. No one cared to admit that life was becoming even poorer, bleaker, and more monotonous. The ones who felt this most keenly were the children, because no one had time for them any more. But time is life itself, and life resides in the human heart. And the more people saved, the less they had.

From an early age I helped my mother clean them. We used a special cloth provided by the government, which could not be used for cleaning anything else. Even as a toddler I knew that the portraits were not like other household items. Once, when I pointed a finger at them, my mother scolded me loudly. ‘Never do that.’ Pointing, I learned, was extremely rude. If we needed to gesture towards them, we did so with the palm of the hand facing upward, with respect. ‘Like this,’ she said, showing me. They had to be the highest objects in the room and perfectly aligned. No other pictures or clutter were permitted on the same wall. Public buildings, and the homes of high-ranking cadres of the Party, were obliged to display a third portrait – of Kim Jong-suk, a heroine of the anti-Japanese resistance who died young. She was the first wife of Kim Il-sung and the sainted mother of Kim Jong-il. I thought she was very beautiful. This holy trinity we called the Three Generals of Mount Paektu. About once a month officials wearing white gloves entered every house in the block to inspect the portraits. If they reported a household for failing to clean them – we once saw them shine a flashlight at an angle to see if they could discern a single mote of dust on the glass – the family would be punished.

The point is that however much the Old Testament points to Jesus, much of this prophecy is in veiled terms—in types and shadows and structures of thought. The sacrificial system prepares the way for the supreme sacrifice; the office of high priest anticipates the supreme intermediary between God and sinful human beings, the man Christ Jesus; the Passover displays God’s wrath and provides a picture of the ultimate Passover Lamb whose blood averts that wrath; the announcement of a new covenant (Jer. 31) and a new priesthood (Ps. 110) pronounce the obsolescence in principle of the old covenant and priesthood.

He goes on and describes this as a ‘royal marriage’, in a dramatic picture which is worthy of any Disney movie: Here this rich and divine bridegroom Christ marries this poor, wicked harlot, redeems her from all her evil, and adorns her with all his goodness. Her sins cannot now destroy her, since they are laid upon Christ and swallowed up by him. And she has that righteousness in Christ, her husband, of which she may boast as of her own and which she can confidently display alongside her sins in the face of death and hell and say, ‘If I have sinned, yet my Christ, in whom I believe, has not sinned, and all his is mine and all mine is his.’41 So the gospel is a romance. A hopeless, sinful slave marries the beautiful, powerful Lord.

Nothing is properly on display, yet every guy here has by now pictured her naked.

I seriously wondered, for example, whether Lisa McElhaney had ever been to Leningrad, or Ulster, or North Waghi. Then again, I couldn’t even figure out what she really died of. Her seventeen-year-old body was found in a plastic bag in Columbus, Ohio, in April 1987. Her father was an alcoholic, her mother had tried to get an abortion when pregnant with Lisa, but couldn’t afford it. Lisa was raped as a child, became pregnant and miscarried at age fifteen, was thrown out by her family, became addicted to drugs, and worked in pornography and prostitution to support her habit. Each time she ran afoul of the law and was incarcerated in a home for delinquents, social workers noted on her file that she displayed an eagerness for relationships and was “‘starved for affection.”’ But the system was set up to rehabilitate, not to provide relationships or affection, so Lisa withdrew and “would sit for hours and hours, staring into space.”’ When photographs of her performing sexual acts were discovered by the police, she was subpoenaed to testify in a child-pornography case against Larry Miller, the pornographer. Although Miller was a suspect in her murder, police believed the killer was a client of hers, Rob Roy Baker, a thirty-four-year-old truck driver who had been linked to similar attacks on other prostitutes. When police came to question him, Baker shot himself to death in a house filled with pictures of nude women cut from pornographic magazines. So I would ask myself, did Lisa die of assault? Which assault? The lack of affordable abortion for her mother? The beating from her john? Did she die of the disease called "family" or the disease called "rehabilitation," of poverty or drugs or pornography, of economics or sexual slavery or a broken body? Or a broken spirit? When she stared into space for hours was it because she knew she was in here but had no way of trying to reach anyone in the neighboring cell? Perhaps she died on unknown causes.

I knew what was supposed to be fun and what wasn't. I made sure to smile and laugh for pictures, showing the world a mask of joy and engagement. This front I put on was for people to see a more appealing side of me, displaying mirth and contentment.

Every one of you will pass away and face the Day of Judgement and embrace the outcome; however, one's pictures and writings stay on display on this planet, as once upon a time, someone was there. - Ehsan Sehgal

I worked my way around the Tidal Basin to a Starbucks, intending to grab a quick bite, but as I was about to enter, I spotted my face on the TV mounted above the counter. I was on the morning news. The crawl at the bottom of the screen read: HUNT CONTINUES FOR TWEEN SUSPECT IN WHITE HOUSE BOMBING. Even worse, they were displaying the lousy photo from my fake St. Smithen’s student ID. So not only had I been outed as the assassin, but it had been done with the least attractive picture of me possible.

With lively bluegrass music playing in the background, Nora started to arrange a table display designed to appeal to the festival attendees heading to the Balloon Fest, the Craft Beer Fest, or the Mountain Bike Fest. “Balloons, beer, and bikes? I’m picturing Pennywise getting a DUI at the X Games.

He thought for a while before beginning. “I think it was October of 1990. I was walking on Wisconsin Avenue when I met him. I struck up a conversation and asked if he wanted to come home to my apartment for some cocktails. I also mentioned that I would pay him a hundred dollars if he let me take some nude pictures of him. He agreed, and we walked to my apartment, where we engaged in some light sex and I gave him the drink. Soon he was out, and I made love to him for about an hour or so. I decided that I would kill him, and used my hands to strangle him until he stopped breathing.” Murphy interrupted by placing the Polaroid picture found on the table in the apartment. It depicted the victim straddled on his back over the side of a bathtub. There was an incision made from the bottom of his chin to the top of his genitals. The viscera was pulled out of the body and lying, as if on display, on top of the torso. The colored Polaroid was shocking. The moist, red entrails glistened, revealing the intestines and internal organs. “What’s this all about?” Murphy said, pointing to the ghastly sight. Dahmer picked it up and shrugged. “I wanted a picture of his insides, so I placed him in the bathroom and cut him open. I pulled the viscera from his body with my hands. The look and feel of it gave me unbelievable pleasure, and I masturbated and made love to him by placing my penis in it, like having intercourse.” He took a long, slow drag from his cigarette without looking up as the rest of us sat in silence. We had identified our sixth victim: David Thomas. Murphy, serious as ever, finally broke the silence. “How did you dispose of this one? Did you keep any of his parts?” Dahmer answered that he became leery of placing the bones and flesh in the trash for fear of discovery. This is when he began to use the muriatic acid. He tried to save the skull by boiling it; however, he wanted to speed up the drying process and used a higher oven temperature. The increased heat popped the skull into smaller sections. Because it was ruined, he threw it into the acid. There were no remaining parts of this victim.

Here is an analogy that might help you to see this mystery. Suppose you entered a motion-picture theatre just as the feature picture came to its end. All that you saw of the picture was the happy ending. Because you wanted to see the entire story you waited for it to unfold again. With the anti-climatic sequence the hero is displayed as accused, surrounded by false evidence, and all that goes to wring tears, from the audience. But you secure in the knowledge of the ending remain calm with the understanding that, regardless of the seeming direction of the picture, the end has already been defined.

Over in Europe, at around the same time, people were creating art in very similar ways. Southern France is littered with caves adorned with pictures of astonishing beauty and skill that date from around this time all the way into the near present. Lascaux, near Montignac, is probably the most famous, a Pleistocene art gallery from a much more recent 17,000 years ago, displaying more than 6,000 figures, interpretations of hunts, with horses and bison, felines, the extinct colossal elk Megaloceros giganteus, and abstract symbols whose meaning we can never understand. People painted in charcoal and haematite and dabbed them onto the walls as pigments in suspensions with animal fats and clay. They are breathtaking. To the west, the Chauvet-Pont-d’Arc Cave has the oldest wall art in Europe, again with beasts in relief, from hunts, and hunters – cave lions, hyenas, bears and panthers, oh my! The oldest of these were painted 37,000 years ago, according to the most up-to-date studies in 2016.

But he wasn’t procrastinating because he didn’t want to work on the friar’s painting. No. A masterpiece did not pop immediately to mind. He had to knead the problems like dough: how could the Virgin’s face fulfill classical expectations of beauty, yet surprise the viewer with the unexpected; how could each of the figures maintain their separate identities, yet intertwine into a single whole; how could he transform a few scratches of lines on paper into a living, breathing, complex organism? Creating new life took time. Now that his first year was almost up, Leonardo needed to convince the friars to let him stay. He had barely made any progress on human flight. Relocating now would interrupt his experiments. He had to prove that he was not only working on the altarpiece, but that a painting by him would be worth the wait. So, for the last two weeks, he had been displaying his design to the public, and now he had invited the friars up to witness the spectacle. As the song came to an end, Leonardo stepped onto a raised platform next to a large panel covered in a piece of black velvet. He raised his hand with a flourish, and Salaì yanked off the cloth. His cartoon, the life-sized preparatory drawing for the altarpiece, was displayed on a gilded pedestal. Candlelight illuminated the charcoal and chalk sketch on thin, tinted paper. The picture was of St. Anne, the Virgin Mary, John the Baptist, and baby Jesus, all interconnected in a surging, pyramidal composition. The four figures were vibrant, their faces the ideal of classical beauty. He’d spent months dreaming up that image before putting it down on paper, so when he’d finally started sketching, the lines seemed to appear in a flash. Like his performance that night, it was all part of his show. Let the people think the design had arrived complete and perfect, as if sent by God himself.

Note: I am sure that now they will approach Medium to stop me from writing. Let’s see what happens. “A genuine person or celebrity doesn’t need a certificate or blue tick. Such ways are blackmailing your passion, emotion, or willingness. Criminals and money-mongers misuse and try to earn in an ugly and easy way. This trend also discriminates against others who cannot afford such an awkward notion.” Istay determined every day. I cannot tolerate liars and those who misuse their authority and attempt to victimize the righteous for their will and purpose in an illegitimate way to please their godfathers of the mafia and international criminal intelligence agencies. I am pretty sure, after reviewing again the replies from the Twitter team that mirror and endorse the Twitter team, that someone works for intelligence agencies or criminal and mafia groups. Since the beginning months of this year, I have been continuously victimized without specifying why I was posting the wrong things. I am going to publish a few emails that will exhibit the picture of how I was being victimized, harassed, and even threatened about things that I was neither aware of nor that the team explained. I was already under the attacks of criminals and even the gang of filthy-minded gays who were suffering from mental issues and sexual frustration; knowing it, I am not gay. In the Twitter team, the presence of such ones is not excluded since I felt a similar style of victimization. How do they dare to adopt such mean tactics to gain their will and desire? This reply email shows that a screenshot article has been displayed since 2020. After four years, it became an issue for someone in the Twitter team who continued to lock my account and tag the restriction flag. Text of my emails; “I am still uncertain about what to post and what not to post. You didn’t specify why my account was locked, whether it was because of the content I removed or something else. Is it permissible for me to share media and social media links in which my quotes are mentioned? My writings do not contain any personal attacks; nonetheless, thank you.” “You locked my Twitter, @EhsanSehgal, again; you know why you are doing it. Now, I can say only goodbye to my locked account and enjoy your terror. It is not a protection of my account; it is victimization. No more requests to unlock my account. Someone of angelic character will do it without my request. Shame on you all, involved ones.” Team replied; Hello, “We had a look at your account, and it appears that everything is now resolved! If that’s not the case, please reply to this message, and we’ll continue to help. Thanks,” X Support This was a screenshot article from Wikipedia about me on my profile that was illegitimately removed by such people as the Twitter team forced me to remove. Despite that, they continued locking my account to identify and provide an ID or passport. I did that twice and identified several times, but the team seemed not satisfied since their goal was something else; they would not approach nor be able to do it. To stop such criminal torture, I deactivated my account and decided never to come back there again.

I saw myself as I’d just been captured for posterity. Little old lady with possum-gray hair falling across her face. Baja T-shirt scrunched up to expose little-old-lady midriff. Toothy shark slipper raised in elderly menace. How soon would the photo show up on the internet? Like a California-road version of those strange “Walmart People” pictures that are always popping up on Facebook. Would I be displayed between a droopy-jeans man bent over to expose a crack the size of the San Andreas fault and an oversized woman bulging out of a thong as she licked a carton of strawberry ice cream?

I Am a Tinder Guy Holding a Fish and I Will Provide for You Photo No. 1 Behold my mackerel. I have caught it for you and it is for you to eat. Love me, for I shall fill your dinner table with many fish such as this one in the days to come. During our time together, you will never go hungry or fear famine. You will never want for trout, salmon, or otherwise. I will sustain you with my love and with my fish. Photo No. 2 As you may have suspected, my talents do not end at fishing. I excel in many areas. Working out, for instance. In this picture I display for you my abdomen. Abdomens are important for fishing excursions and mirror selfies, such as this one. I flex for you. What do you think? Photo No. 3 To get a better idea of me, here is a closeup selfie of my face with a high-contrast filter. In it, I make an expression like that young boy star Justin Bieber, but, rest assured, I am a man. I crease my forehead and raise my eyebrows, like a man. In my gaze, you can see the soul of a man. My mouth is as straight as the line I will walk for you. Peer into the depths of my heart, a small ocean of the meatiest haddock. Photo No. 4 Feast your eyes upon my Mitsubishi. In it, we will traverse the continent running your errands. Tell me about an appointment and I will offer you a ride faster than anyone has ever offered before. This and many other adventures await us. Name an ocean and I will drive to it and fish for you there. The farthest reaches of the shoreline are within our grasp. Photo No. 5 Worry not about the woman with the face scribbled out in this picture of me in formal wear. She is no one. Cast your eyes upon me as I might cast a fishing line into a bountiful river. Look unto my face, for it is chiseled. This is the face of a man who would never scribble out your face and upload the picture onto a dating app. This is the face of a man with an abdomen rock-hard and fishing rods numerous. Photo No. 6 Now I am spreading my arms wide in front of a landscape. Behold my mountain, my sky, my clouds, my wingspan. These are the arms with which I will hold you during long, dark nights. I will claim you as I have claimed this landscape, as I have claimed myriad salmon. I will fight for you as I have fought for the right to so many weight machines already in use by someone else at the Y.M.C.A. My arms ache for you, and I have nothing left but to stretch them out and fly home to your heart. For mine are the wings of an albatross that shall descend upon the water’s surface, pluck out the ripest flounder, and place it at your feet as a small offering of my love, if you swipe right.

Political authority, the authority of the State, may arise in a number of possible ways: in Locke's phrase, for instance, a father may become the "politic monarch" of an extended family; or a judge may acquire kingly authority in addition, as in Herodotus' tale. Whatever its first origin, political authority tends to include all four pure types of authority. Medieval scholastic teachings of the divine right of kings display this full extent of political authority. Even in this context, however, calls for independence of the judicial power arose, as exemplified by the Magna Carta; in this way the fact was manifested that the judge's authority, rooted in Eternity, stands apart from the three temporal authorities, which more easily go together, of father, master, and leader. The medieval teaching of the full extent of political authority is complicated and undermined by the existence of an unresolved conflict, namely that arising between ecclesiastical and state power, between Pope and Emperor, on account of the failure to work out an adequate distinction between the political and the ecclesiastical realms. The teachings of absolutism by thinkers such as Bodin and Hobbes resolved this conflict through a unified teaching of sovereignty that removed independent theological authority from the political realm. In reaction to actual and potential abuses of absolutism, constitutional teachings arose (often resting on the working hypothesis of a "social contract") and developed—most famously in Montesquieu—a doctrine of "separation of powers." This new tradition focused its attention on dividing and balancing political power, with a view to restricting it from despotic or tyrannical excess. Kojève makes the astute and fascinating observation that in this development from absolutism to constitutionalism, the authority of the father silently drops out of the picture, without any detailed analysis or discussion; political authority comes to be discussed as a combination of the authority of judge, leader, and master, viewed as judicial power, legislative power, and executive power. In this connection, Kojève makes the conservative or traditionalist Hegelian suggestion that, with the authority of the father dropped from the political realm, the political authority, disconnected from its past, will have a tendency towards constant change.

Dr. Grandin herself, even in these otherwise dry and clinical reports, uses the words "stress," "pain," "fear," and "suffering" interchangeably. The creatures she describes are sensitive, sociable, communicative, alert beings who form images in their minds, think in pictures, respond to gentleness, fear harsh treatment, act by conscious intention, anticipate danger, make choices, and dread slaughter so much that their emotional terror can trigger traumatic physiological reactions affecting meat quality. Most notable of all, they display individual differences in temperament and personality. As she describes the pig playing with the toy: "Like a dog.

So vexed was the professor that she boarded a flight to examine the current Flower portrait and later informed David Howells, the new curator of the Royal Shakespeare Company, that the painting currently on display was not the same portrait depicted in her earlier photograph. Her claim was backed by Reinhardt Altmann of the German Federal Bureau of Criminal Investigation, who supplied a written report stating the current picture had to be a copy. Professor Wolfgang Speyer, an expert on Old Masters at the Dorotheum in Salzburg, added: “The picture must have been restored, or, to put it more precisely ‘repainted’… During this process everything was smoothed out on the surface but the character had been utterly lost.

These cues can take many forms. Here are some examples keyed to particular problem situations: ✓ A sign you put on the margin of your computer monitor or on your desk within your visual field reminding you not to start surfing the web instead of doing your work. Or try a picture of your boss on which you have printed “Get to Work!” Or, do as Homer Simpson did in one memorable episode when he displayed a picture of his young daughter, Lisa, with the statement “Do it for her!” beneath it.

I would use my camera to take four different pictures of it, one from each side, and thus my friends would be able to obtain a complete conception of its structure and beauty. Now that is exactly what we have in the four Gospels. Speaking reverently, we may say that the Holy Spirit has photographed the Lord Jesus from four different angles, viewing Him in four different relationships, displaying Him as perfectly discharging the responsibilities of four different offices.

They used my name and permit to grow the weed and earn money to repay their debts and compensate their investors. To keep my girlfriend. To take her. I am uncertain if any of them have ever spent a minute in jail for any of these activities. Adam proudly showcases his new motorcycles on Instagram, posing on a hill above Barcelona. He also displays his brand new electric camper van, which they use to travel and transport drugs across Europe and Iberia, as well as his gigantic marijuana cultivation located in Portugal. People like Ruan and Martina admire his public images. I came across a picture of Ruan and Martina together in Berlin, where their mother Fernanda visited them. Martina became member of the Evil Eye Cult, and the custom made mafia group in Spain, which used her as a pawn in their porn and drug-related activities. She now operates as their representative in Berlin. Martina and I have lost the ability to genuinely smile. Her social media posts only show disinterest or a malicious demeanor. ‘A boot stomping on a human face.’ In a picture with her brother and mother, she puts on a forced fake “good vibe” and “happy” smile, revealing her flawless teeth and the subtle lines of aging. With each passing day, she bears a greater resemblance to her rich and so happy mother, the bad person. As far as I know, none of these individuals have faced consequences for their actions, such as having their teeth broken. As I had. Innocently. Taking care of business and their lives. With love. I find this to be incredibly unjust. In the 21st century. In Europe. On planet Earth. By non-EU criminals. “Matando – ganando” – “killing and gaining” like there were no Laws at all. Nowadays, you can observe Sabrina flaunting her fake lips and altered face, just like Martina her enhanced breasts. Guess who was paying for it? It seems that both girls now sustain themselves through their bodies and drug involvement, to this day, influencing criminals to gain friends in harming Tomas and having a lavish lifestyle filled with fun and mischief. Making a living. Enjoying Spain. Enjoying Life. My money. My tears. This is the situation as it stands. I was wondering what Salvador Dali was trying to tell me. I stood in front of the Lincoln portrait for a long time, but I couldn't grasp the point or the moral behind it. I can listen to Abraham Lincoln and ‘trust people. To see. If I can trust them.’ But he ultimately suffered a tragic fate, with his life being taken. (Got his head popped.) I believe there may have also been a female or two involved in that situation, too, possibly leading to his guards being let down. While he was watching: Acting performances, he was facing a: Stage. Theater. It is disheartening, considering he was a good person. Like Jesus, John Lennon and so on. Shows a pattern Machiavelli was talking about. Some individuals are too bright for those in darkness; they feel compelled to suppress those brighter minds simply because they think and act differently. Popping their heads. Reptilian lower brain-based culture, the concept of the Evil Eye, Homo erectus. He couldn't even stand up properly when I was shouting at him, urging him to stand up from the stairs. ‘Homo seditus reptilis.’ But what else was there in the Lincoln image that I didn't see? What was Dali trying to convey or express or tell me? Besides the fact that the woman is in his mind, on his mind, in the image, exactly, his head got popped open. Perhaps because he was focusing on a woman, trusting her for a split second, or turning his head away for a moment.

view instagram story highlights anonymously Instagram Story Highlights are a feature that enables users to compile and display their past stories in a lasting and well-organized manner. Unlike regular Instagram stories that vanish after 24 hours, story highlights remain on a user's profile indefinitely, making them accessible to their followers and profile visitors. The inclination to view Instagram story highlights discreetly arises from various motivations, such as curiosity or the desire to consume someone's content without revealing your identity or notifying them. However, it's crucial to grasp that Instagram, like most social media platforms, places a significant emphasis on safeguarding user privacy and has implemented policies to uphold it. Here is an extensive approach on how to view Instagram story highlights while adhering to privacy norms and Instagram's policies: 1. Access Instagram: Begin by launching the Instagram application on your mobile device. 1. Search for the User: Utilize the search functionality to locate the Instagram profile of the individual whose story highlights you wish to peruse. You can perform a search using their username or full name. To view Instagram highlights, you can view from the page of the dj downloader website. 2. Visit the Profile: After locating the user's profile, tap on their profile picture or username to access their profile page. 3. Access Highlights: Provided that the user has assembled story highlights, you will observe circular icons featuring their profile picture and titles or categories, positioned above their regular posts. Typically, these icons are located beneath their bio section. 4. Select a Highlight: Tap on the specific highlight that intrigues you. Each highlight encompasses a collection of related stories. 5. Review the Stories: The chosen story highlight will commence playing, enabling you to navigate through the individual stories within that highlight. While the above guidelines empower you to explore story highlights in a manner that respects both privacy and Instagram's policies, it is imperative to address additional facets: 1. Respect for Privacy: Always demonstrate respect for the user's privacy and content. Refrain from attempting to employ third-party tools or methods to view stories anonymously. Instagram expressly prohibits such activities, which could lead to the suspension or restriction of your Instagram account. 2. Ethical Conduct: Employ Instagram in an ethical manner. Uphold principles of honesty and transparency in your interactions with other users on the platform, contributing to a positive online community. 3. Evolving Policies: Be aware that Instagram's guidelines and features may evolve over time. Staying abreast of these modifications and adapting your usage accordingly is vital. 4. User Consent: Keep in mind that the content shared on Instagram is subject to the user's consent. If someone has chosen to make their story highlights public, they have voluntarily shared that content with a broader audience. In summary, while there may be a desire to discreetly view Instagram story highlights, it is pivotal to do so in a manner that upholds the platform's policies and respects the privacy of fellow users. By adhering to the steps delineated above, you can explore highlights in a compliant and considerate manner, contributing to a positive and ethical online environment for all users.

It seemed to me that the precision required to play good golf demanded much greater mental discipline than was necessary for good tennis. The reason for the low margin of error was not hard to discover: the speed of the club head that is necessary to hit the ball a long distance. The speed of the golfer’s arms on the downswing is not much greater than the speed of the tennis player’s arm on the serve, but because of the greater length and flexibility of the golf club, the club-head speed is much greater than that of a racket. If a club head traveling over 100 mph contacts the ball with a face open a mere degree or two, the ball can be sent off target many tens of yards. With those odds, it’s amazing that the ball ever does go exactly where we want it to. In tennis, the serve is the only shot in which the player initiates the action, whereas in golf he does so on every shot. It is interesting to note that if you miss your first serve in tennis, you get another try. Golf is not so forgiving! Further, in tennis a much larger surface hits a much larger ball a much shorter distance. Moving from tennis to golf was definitely going to require some fine-tuning of my concentration. The greater precision required in golf is also reflected in the manner in which the player addresses the ball. A tennis player can be pretty casual, or even a little flamboyant, as he sets up the service line, bounces the ball a few times, and serves. Most professional golfers display much more self-discipline. They seem to approach the ball in the same controlled, almost ritualistic way every time. Even their dress seems more meticulous. (I’ve often felt I could pick out the golfers from the tennis players at a cocktail party.) Meticulousness has never been my strong suit. There isn’t a family picture of me as a boy in which at least one shoe wasn’t untied. I could usually solve

museums struggle to offer intimate encounters with art. Adding more guards, more security cordons, more fortified display cases, more glass-fronted picture frames, and more electric eyes is not likely to improve the experience.

The last time she had been in the Roosevelt Room, President Trump had spent the entire briefing glowering at a picture of Teddy Roosevelt’s Nobel Peace Prize on display, unable to concentrate. “Trump hated it,” Hill thought. Did he think it was unfair? Did he think he deserved his own?

Use tooltips. • Pay attention to the file icons and decorations in the left pane. The decorations and icons display a great deal of information about the type and status of a file. • Start reading the Log pane. • Learn drag and drop shortcuts to simplify operations on large sets of files. • Use P4V views and filtering features to enable you to selectively display information. To get the whole picture, read