Dramatic Clouds Quotes

The next time you want to make a point,' Jude says, 'I beg you not to make it so dramatically.' His shoulder hurts, and she may be right about the iron poisoning. He certainly feels as though his head is swimming. But he smiles up at the trees, the looping electrical lines, the streaks of clouds. 'So long as you're begging,' he says.

He quivered on the ground his face pressed to the stone and didn’t rise. “Did you… did you just stick yourself to the ground?” Kaladin asked. “Just part of the plan, gon!’ Lopen called back. “If I am to become a delicate cloud upon the sky I must first convince the ground that I am not abandoning her. Like a worried lover, sure, she must be comforted and reassured that I will return following my dramatic and regal ascent to the sky. . . . Nearby, Lopen talked to the ground, against which he was still pressed. “Don’t worry dear one. The Lopen is vast enough to be possessed by many, many forces both terrestrial and celestial! I must soar to the air, for if I were to remain only on the ground, surely my growing magnitude would cause the land to crack and break

And as a cloud passed over the sun, sending the scene into shadows, the last thing Agatha saw was a new king cast in a golden glow and the old one dragged into the dark by his twisted green chains... The Snake become the Lion and the Lion become the Snake.

I have been down many blind alleys in my attempts to come to terms with my emotions. I’ve repressed them, swallowed them, drowned them in drink, ascended above them in clouds of hemp, starved them out, interred them with food, transcended them in meditation, outrun them, outsmarted them with rationalization, exorcised them, handed them over to higher beings, transmuted them into pretty lights, and even briefly felt them before purging them in dramatic catharses that promised to render them finally extinct.

What is more dramatic, even romantic, than the tumbled towers of lower Manhattan, rising suddenly to the clouds like a magic castle girdled by water? Its very touch of jumbled jaggedness, its towering-sided canyons, are its magnificence.

I’m envious of the clouds who can from time to time fall completely apart & everyone just says, It’s raining, & someone might even bring cats & dogs into it, no one says, Stop being so dramatic or You should see a professional.

You didn't hear the story I told," he goes on. "A shame. It featured a handsome boy with a heart of stone and a natural aptitude for villainy. Everything you could like." She laughs. "You really are terrible, you know that? I don't even understand why the things you say make me smile." He lets himself lean against her, lets himself hear the warmth in her voice. "There is one thing I did like about playing the hero. The only good bit. And that was not having to be terrified for you." "The next time you want to make a point," Jude says, "I beg you not to make it so dramatically." His shoulder hurts, and she may be right about the iron poisoning. He certainly feels as though his head is swimming. But he smiles up at the trees, the looping electrical lines, the streaks of clouds. "So long as you're begging," he says.

If I die tonight it will be with every single thing unfinished (like, I suppose, any other night), and yet, what a gift to die on the verge of tears. I have spent my life trying to understand the way this rock and this ache go together, why a granite peak is more dramatic half dressed in clouds...,why sunlight under fog is better than the sum of its parts, why my best days and my worst days are always the same days, why (often) leaving seems like the only solution to the predicament of loving (each other) the world.

But what I liked in Aberdeen was what I liked generally in Britain: the bread, the fish, the cheese, the flower gardens, the apples. the clouds, the newspapers, the beer, the wollen cloth, the radio programmes, the parks, the Indian restaurants and amateur dramatics, the postal service, the fresh vegetables, the trains, and the modesty and truthfulness of people.

If I am to become a delicate cloud upon the sky, I must first convince the ground that I am not abandoning her. Like a worried lover, sure, she must be comforted and reassured that I will return following my dramatic and regal ascent to the sky.

A couple hours went by, and the storm began to turn back to the sea. The dark clouds rolled away, leaving white, fluffy ones in their place. We were safe, and the rock in the distance was still there. We stepped out of the car and walked over to the rock, noticing the families of seals were back again. The seals were strong and ready to make it through any storm that would fall their way. My parents’ love was still there; that is what love means. I envy that love, and I hoped to find it someday... and I did.

Spring came late. For the children, shut in the dark, cold parsonage, adjusting to Aunt and getting over the death that brought her, the winter had seemed endless. But now the rough moor was flecked with racing cloud shadows; the maltreated holly tree had stopped weeping; the green mould on the graves had dried to an unsuggestive grey. The church could never look cheerful. It was too black, and its voice, the bell, always said 'Fu - ner -al... fu - ner- al...' even when it was only calling them to hear one of their Papa's dramatic sermons.

I clung tightly to Kwan’s mane as he propelled his great serpent body through the cloud banks. The cockatrice’s big green head dipped under the clouds, and I spotted an emerald island below, with dramatic peaks jutting up from the jungle. I asked the great cockatrice for the name of the isle, but he only laughed at me, saying that names changed faster than a century’s wind. That didn’t seem very fast to me, but I took his word for it.

I’m envious of the clouds who can from time to time fall completely apart & everyone just says, It’s raining, & someone might even bring cats & dogs into it, no one says, Stop being so dramatic or You should see a professional.

Interestingly, this speech by Prospero does not contrast the unreality of the stage with the solid, flesh-and-blood existence of real men and women. On the contrary, it seizes on the flimsiness of dramatic characters as a metaphor for the fleeting, fantasy-ridden quality of actual human lives. It is we who are made of dreams, not just such figments of Shakespeare’s imagination as Ariel and Caliban. The cloud-capped towers and gorgeous palaces of this earth are mere stage scenery after all.

Now it occurred to him the changes of mental state that might be important were just such minor things as this abnormal irritability. Not so dramatic as visions and fevers, maybe. But important. An attitude of carelessness, or annoyance, clouded your judgment, and that was not a good thing in the woods.

Some might say what I’m recommending amounts to electoral nihilism. We would end up giving the presidency over to Republicans and their extremist base. The Supreme Court would turn Red for the next thirty years. We would see the undoing of the health care law and the further erosion of the social safety net. And the country would be left in the hands of libertarians and corporatists, a remarkably high price to pay for all Americans. But these same people who shout gloom and doom fail to advocate for dramatic change to take back the country from these folks. This is the scare tactic that clouds our imaginations: that no matter the circumstances, choosing the lesser of two evils is always better. By this logic, we are imprisoned in a political cage—to accept matters as they are. I refuse to do so, because the political terrain as it is currently laid out has left black and other vulnerable communities throughout this country in shambles. I want to choose another path. I want to remake American democracy, because whatever this is, it ain’t democracy.

Furthermore, I refuse to be affected by these cheap theatrics!" She gestured to the boiling sky. "Gor!" Shelton covered his eyes with one hand. Dougal instantly went from mad to furious, and the clouds rumbled to life. Yet in that instant, he realized that this tiny little bit of a woman had just reduced centuries of a dramatic and secretive curse to "cheap theatrics." He didn't know whether to rage or laugh, but somehow, looking up into her amazing blue eyes, laughter was beginning to win. "Furthermore," she continued in high dudgeon, "I won't be cowed by a few damned drops of rain!" Shelton groaned loudly. "Law,here it comes now." But it didn't. Instead, a chuckle rippled through Dougal. Sophia appeared outraged. "Are you laughing at me?" "No,sweetheart. I'm laughing at us. We cannot even ride from the field to the house without racing. We're doomed to challenge each other forever,and if we don't have a care, my temper will try the two of us like sausages over a spit." Her lips quivered in response. "I don't particularly care for that image." "I haven't time for elegance, my love. It is getting ready to rain, so sausages are all you'll get.

THE MEETING" "Scant rain had fallen and the summer sun Had scorched with waves of heat the ripening corn, That August nightfall, as I crossed the down Work-weary, half in dream. Beside a fence Skirting a penning’s edge, an old man waited Motionless in the mist, with downcast head And clothing weather-worn. I asked his name And why he lingered at so lonely a place. “I was a shepherd here. Two hundred seasons I roamed these windswept downlands with my flock. No fences barred our progress and we’d travel Wherever the bite grew deep. In summer drought I’d climb from flower-banked combe to barrow’d hill-top To find a missing straggler or set snares By wood or turmon-patch. In gales of March I’d crouch nightlong tending my suckling lambs. “I was a ploughman, too. Year upon year I trudged half-doubled, hands clenched to my shafts, Guiding my turning furrow. Overhead, Cloud-patterns built and faded, many a song Of lark and pewit melodied my toil. I durst not pause to heed them, rising at dawn To groom and dress my team: by daylight’s end My boots hung heavy, clodded with chalk and flint. “And then I was a carter. With my skill I built the reeded dew-pond, sliced out hay From the dense-matted rick. At harvest time, My wain piled high with sheaves, I urged the horses Back to the master’s barn with shouts and curses Before the scurrying storm. Through sunlit days On this same slope where you now stand, my friend, I stood till dusk scything the poppied fields. “My cob-built home has crumbled. Hereabouts Few folk remember me: and though you stare Till time’s conclusion you’ll not glimpse me striding The broad, bare down with flock or toiling team. Yet in this landscape still my spirit lingers: Down the long bottom where the tractors rumble, On the steep hanging where wild grasses murmur, In the sparse covert where the dog-fox patters.” My comrade turned aside. From the damp sward Drifted a scent of melilot and thyme; From far across the down a barn owl shouted, Circling the silence of that summer evening: But in an instant, as I stepped towards him Striving to view his face, his contour altered. Before me, in the vaporous gloaming, stood Nothing of flesh, only a post of wood.

Sometimes, she said, she could recognize a place just by the quality of the light. In Lisbon, the light at the end of spring leans madly over the houses, white and humid, and just a little bit salty. In Rio de Janeiro, in the season that the locals instinctively call ‘autumn’, and that the Europeans insist disdainfully is just a figment of their imagination, the light becomes gentler, like a shimmer of silk, sometimes accompanied by a humid grayness, which hangs over the streets, and then sinks down gently into the squares and gardens. In the drenched land of the Pantanal in Mato Grosso, really early in the morning, the blue parrots cross the sky and they shake a clear, slow light from their wings, a light that little by little settles on the waters, grows and spreads and seems to sing. In the forests of Taman Negara in Malaysia, the light is like a liquid, which sticks to your skin, and has a taste and a smell. It’s noisy in Goa, and harsh. In Berlin the sun is always laughing, at least during those moments when it manages to break through the clouds, like in those ecological stickers against nuclear power. Even in the most unlikely skies, Ângela Lúcia is able to discern shines that mustn’t be forgotten; until she visited Scandinavia she’d believed that in that part of the world during the winter months light was nothing but the figment of people’s imagination. But no, the clouds would occasionally light up with great flashes of hope. She said this, and stood up, adopting a dramatic pose: ‘And Egypt? In Cairo? Have you ever been to Cairo?… To the pyramids of Giza?…’ She lifted her hands and declaimed: ‘The light, majestic, falls; so potent, so alive, that it seems to settle on everything like a sort of luminous mist.

Even in Africa, I had never seen such a profusion of stars as I saw on these clear nights on Pacific isles - not only big beaming planets and small single pinpricks... but also glittering clouds of them - the whole dome of the sky crowded with thick shapes formed from stars, overlaid with more shapes, a brilliant density, like a storm of light over a black depthless sea, made brighter still by twisting auroras composed of tiny star grains - points of light so fine and numerous they seemed like luminous vapor, the entire sky hung with veils of light like dazzling smoke... they made night in Oceania as vast and dramatic as day.

Mind Wanting More Only a beige slat of sun above the horizon, like a shade pulled not quite down. Otherwise, clouds. Sea rippled here and there. Birds reluctant to fly. The mind wants a shaft of sun to stir the grey porridge of clouds, an osprey to stitch sea to sky with its barred wings, some dramatic music: a symphony, perhaps a Chinese gong. But the mind always wants more than it has -- one more bright day of sun, one more clear night in bed with the moon; one more hour to get the words right; one more chance for the heart in hiding to emerge from its thicket in dried grasses -- as if this quiet day with its tentative light weren't enough, as if joy weren't strewn all around.

Philosophy is the theory of multiplicities, each of which is composed of actual and virtual elements. Purely actual objects do not exist. Every actual surrounds itself with a cloud of virtual images. This cloud is composed of a series of more or less extensive coexisting circuits, along which the virtual images are distributed, and around which they run. These virtuals vary in kind as well as in their degree of proximity from the actual particles by which they are both emitted and absorbed. They are called virtual in so far as their emission and absorption, creation and destruction, occur in a period of time shorter than the shortest continuous period imaginable; it is this very brevity that keeps them subject to a principle of uncertainty or indetermination. The virtuals, encircling the actual, perpetually renew themselves by emitting yet others, with which they are in turn surrounded and which go on in turn to react upon the actual: ‘in the heart of the cloud of the virtual there is a virtual of a yet higher order ... every virtual particle surrounds itself with a virtual cosmos and each in its turn does likewise indefinitely.’ It is the dramatic identity of their dynamics that makes a perception resemble a particle: an actual perception surrounds itself with a cloud of virtual images, distributed on increasingly remote, increasingly large, moving circuits, which both make and unmake each other. These are memories of different sorts, but they are still called virtual images in that their speed or brevity subjects them too to a principle of the unconsciousness. It is by virtue of their mutual inextricability that virtual images are able to react upon actual objects. From this perspective, the virtual images delimit a continuum, whether one takes all of the circles together or each individually, a spatium determined in each case by the maximum of time imaginable. The varyingly dense layers of the actual object correspond to these, more or less extensive, circles of virtual images. These layers, whilst themselves virtual, and upon which the actual object becomes itself virtual, constitute the total impetus of the object. The plane of immanence, upon which the dissolution of the actual object itself occurs, is itself constituted when both object and image are virtual. But the process of actualization undergone by the actual is one which has as great an effect on the image as it does on the object. The continuum of virtual images is fragmented and the spatium cut up according to whether the temporal decompositions are regular or irregular. The total impetus of the virtual object splits into forces corresponding to the partial continuum, and the speeds traversing the cut-up spatium. The virtual is never independent of the singularities which cut it up and divide it out on the plane of immanence. As Leibniz has shown, force is as much a virtual in the process of being actualized as the space through which it travels. The plane is therefore divided into a multiplicity of planes according to the cuts in the continuum, and to the divisions of force which mark the actualization of the virtual. But all the planes merge into one following the path which leads to the actual. The plane of immanence includes both the virtual and its actualization simultaneously, without there being any assignable limit between the two. The actual is the complement or the product, the object of actualization, which has nothing but virtual as its subject. Actualization belongs to the virtual. The actualization of the virtual is singularity whereas the actual itself is individuality constituted. The actual falls from the plane like a fruit, whist the actualization relates it back to the plane as if to that which turns the object back into a subject.

You’ve never seen the island as it looks now, tipping over into autumn. There are no bright colours out here to signal departure, they are simply erased, a withered tangle of greys and browns, the island shrinks and is somehow absorbed into the rain and sea and the evenings are dramatic with their desolate sunsets and banks of cloud. The darkness on an island such as this is like standing at the end of the world and all the night sounds are intensified, giving an impression of utter solitude – nature no longer frames one’s existence, but hurls it to the periphery and imposes its sovereign domination. Suddenly it’s just the sea and vast, dramatic autumn skies. Oddly enough I feel less and less inclined to leave, the less benign my surroundings grow – the security of town is more menacing.

Five actors playing allotted parts on a set stage; and now he, for whom no part had been written, had walked onto the stage unexpectedly, because one of the players had turned rebel, as she had once before. He threw everything out of focus, and them into a fever. The heat and intensity of these flying questions was enough to make a man with even partially trained clairvoyant faculties feel as if he sat in a room filled with flashing fireflies. He took warning and withdrew himself to a cold inner isolation, as he knew how to do, even while laughing and talking with surface ease. It would not do to let his mind become clouded with emotion; or open any door of his imagination. But the impressions that came across that safer inner distance did not make his companions seem less dramatic, more normal: they were still out of focus. Something about the picture was distorted, even to a clear vision. The sense of evil was as strong as ever although the lurking Presence seemed to have retreated into a far background. He saw presently what the distortion was. Their modern figures were somehow incongruous in the old house, not at home. Like actors who had somehow got onto the wrong stage, onto sets with which their voices and costumes clashed. Interlopers. Or else-actors of an old school dressed up in an unbecoming masquerade. Witch House was an old house. Not old as other houses are old, that remain beds of the continuous stream of life, of marriages and births and deaths, of children crying and children laughing, where the past is only part of the pattern, root of the present and the future. Joseph de Quincy, dead nearly a quarter of a thousand years, was still its master: he had been strong, so strong that no later personality could dim or efface him here where he had set his seal. "He left his evil here when he could no longer stay himself," Carew thought. "As a man with diphtheria leaves germs on the things he has handled, the bed he has lain in. Thoughts are tangible things; on their own plane they breed like germs and, unlike germs, they do not die. He may have forgotten; he may even walk the earth in other flesh, but what he has left here lives." As probably it had been meant to do. For the man whose malignance, swollen with the contributions of the centuries, still ensouled these walls would not have cared to build a house or found a family except as a means to an end. Witch House was set like a mold, steeped in ritual atmosphere as a temple. Dangerous business, for who could say that such a temple would not find a god? There are low, non-human beings that coalesce with and feed on such leftover forces: lair in them.

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

Chemotherapy, the third main prong in cancer treatment after surgery and radiation, came about by similarly unlikely means. Although chemical weapons had been outlawed by international treaty after World War I, several nations still produced them, if only as a precaution in the event that others did likewise. The United States was among the transgressors. For obvious reasons, this was kept secret, but in 1943 a U.S. Navy supply ship, the SS John Harvey, carrying mustard gas bombs as part of its cargo, was caught in a German bombing raid on the Italian port of Bari. The Harvey was blown up, releasing a cloud of mustard gas over a wide area, killing an unknown number of people. Realizing that this was an excellent, if accidental, test of the mustard gas’s efficacy as a killing agent, the navy dispatched a chemical expert, Lieutenant Colonel Stewart Francis Alexander, to study the effects of the mustard gas on the ship’s crew and others nearby. Luckily for posterity, Alexander was an astute and diligent investigator, for he noticed something that might have been overlooked: mustard gas dramatically slowed the creation of white blood cells in those exposed to it. From this, it was realized that some derivative of mustard gas might be useful in treating some cancers. Thus was born chemotherapy.

Liverpool, surreal. Liverpool, sardonic. Liverpool, battered dignity. Liverpool, flotsam of maritime memory. Liverpool, never quite what it was because everything it does changes what it does. Liverpool, the home of Liverpool. Liverpool, welcoming the world. Liverpool, cutting-edge, keeping pace, dropping anchor. Liverpool, lost. Liverpool, as spontaneous as life itself. Liverpool, born. Liverpool, going to sea. Liverpool, set in its ways, at the end of the line, at the beginning of time, with its back to the land, its feet in the water, its head in the clouds, its heart on its sleeve, hearts in its mouth. Liverpool, its being so cheerful that keeps us going. Liverpool, the first city to rock in Britain. Liverpool, boring people to tears. Liverpool, singing for its supper. Liverpool, a long memory for those who aimed kicks when it was down. Liverpool, eagles become seagulls. Liverpool, working. Liverpool, dreaming. Liverpool, a terminus for down and outs. Liverpool, corrupt. Liverpool, uncompromising. Liverpool, playfulness turned to art, and philosophy, and business. Liverpool, a relatively small provincial city plus hinterland with associated metaphysical space as defined by dramatic moments in history, emotional occasions and general restlessness. Liverpool, the rest of the world rubbing off. Liverpool, occupation hard knocks.

When he described the dramatic arrival of the Christ, instead of drawing on the conventional imagery of Jewish apocalypse, he used terminology that was quite new to the Jesus movement, presenting Jesus’s return as an official visit of an emperor or king to a provincial city. When the command is given, when the archangel’s voice is heard, when God’s trumpet sounds, then the Lord himself will descend from heaven; first the dead who belong to the Messiah will arise, then we who are still alive shall join them, caught up in the clouds to meet the Lord in the air.59 The word parousia (“presence”), which referred to the ceremonial “arrival” of the visiting emperor, recurs throughout the letter.60 As soon as the officials heard that the emperor was actually approaching the city, the trumpet would sound and a delegation of local dignitaries would pour through the city gates and surge toward him for the ritualized apantesis (“meeting”).61 In Paul’s description, of course, Jesus, the true Kyrios, has replaced Claudius and the people who throng to meet him are Paul’s converts, who are no longer the weak and oppressed inhabitants of the city but its most privileged citizens. They will go up in the air to greet their Lord and bring him down to earth. In the person of Jesus, his representative, God would, as it were, leave the heavenly realm and join the common people.

My mother never seemed to listen to much music, but she loved Barbara Streisand, counting The Way We Were and Yentl as two of her favorite films. I remembered how we used to sing the song "Tell Him" together, and skipped through the album until I found it on track four. "Remember this?" I laughed, turning up the volume. It's a duet between Babe and Celine Dion, two powerhouse divas joining together for one epic track. Celine plays the role of a young woman afraid to confess her feelings to the man she loves, and Barbara is her confidant, encouraging her to take the plunge. "I'm scared, so afraid to show I care... Will he think me weak, if I tremble when I speak?" Celine begins. When I was a kid my mother used to quiver her lower lip for dramatic effect when she sang the word "tremble." We would trade verses in the living room. I was Barbara and she was Celine, the two of us adding interpretive dance and yearning facial expressions to really sell it. "I've been there, with my heart out in my hand..." I'd join in, a trail of chimes punctuating my entrance. "But what you must understand, you can't let the chance to love him pass you by!" I'd exclaim, prancing from side to side, raising my hand to urge my voice upward, showcasing my exaggerated vocal range. Then, together, we'd join in triumphantly. "Tell him! Tell him that the sun and moon rise in his eyes! Reach out to him!" And we'd ballroom dance in a circle along the carpet, staring into each other's eyes as we crooned along to the chorus. My mom let out a soft giggle from the passenger seat and we sang quietly the rest of the way home. Driving out past the clearing just as the sun went down, the scalloped clouds flushed with a deep orange that made it look like magma.

The Dark One didn’t cut it in the first place,” Tairn responds. “Stop calling him that.” My knee collapses, and I throw my arms out to steady my balance, cursing my joints as I reach Tairn’s shoulder. After an hour in the saddle at these temperatures, a pissed-off knee is nothing; I’m lucky my hips still rotate. “Stop denying the truth.” Tairn enunciates every word of the damning order as I avoid a patch of ice and prepare to dismount. “His soul is no longer his own.” “That’s a little dramatic.” I’m not getting into this argument again. “His eyes are back to normal—” “That kind of power is addictive. You know it, or you wouldn’t be pretending to sleep at night.” He twists his neck in a way that reminds me of a snake and levels a golden glare on me. “I’m sleeping.” It’s not entirely a lie, but definitely time to change the subject. “Did you make me repair my saddle to teach me a lesson?” My ass protests every scale on Tairn’s leg as I slide, then land in a fresh foot of snow. “Or because you don’t trust Xaden with my gear anymore?” “Yes.” Tairn lifts his head far over mine and blasts a torrent of fire along his wing, melting off the residual ice, and I turn away from the surge of heat that painfully contrasts my body temperature. “Tairn…” I struggle for words and look up at him. “I need to know where you stand before this meeting. With or without Empyrean approval, I can’t do any of this without you.” “Meaning, will I support the myriad of ways you plan to court death in the name of curing one who is beyond redemption?” He swivels his head in my direction again. Tension crackles along Andarna’s bond. “He’s not—” I cut off that particular argument, since the rest is sound. “Basically, yes.” He grumbles deep within his chest. “I fly without warming my wings in preparation for carrying heavier weight for longer distances. Does that not answer your question?” Meaning Andarna. Relief gusts through my lips on a swift exhale. “Thank you.” Steam rolls in billowing clouds from his nostrils. “But do not mistake my unflinching support of you, my mate, and Andarna for any form of faith in him.” Tairn lifts his head, cueing the end of the conversation.

1:8 The apostles’ mission of spreading the gospel was the major reason the Holy Spirit empowered them. This event dramatically altered world history, and the gospel message eventually reached all parts of the earth (Matt. 28:19, 20). receive power. The apostles had already experienced the Holy Spirit’s saving, guiding, teaching, and miracle-working power. Soon they would receive His indwelling presence and a new dimension of power for witness (2:4; 1 Cor. 6:19, 20; Eph. 3:16, 20). witnesses. People who tell the truth about Jesus Christ (John 14:26; 1 Pet. 3:15). The Greek word means “one who dies for his faith” because that was commonly the price of witnessing. Judea. The region in which Jerusalem was located. Samaria. The region immediately to the north of Judea. Jesus Ascends to Heaven 9Now when He had spoken these things, while they watched, He was taken up, and a cloud received Him out of their sight.

Today, multiple major waves seem to be arriving simultaneously—technologies like the cloud, AI, AR/ VR, not to mention more esoteric projects like supersonic planes and hyperloops. What’s more, rather than being concentrated narrowly in a personal computer industry that was essentially a niche market, today’s new technologies impact nearly every part of the economy, creating many new opportunities. This trend holds tremendous promise. Precision medicine will use computing power to revolutionize health care. Smart grids use software to dramatically improve power efficiency and enable the spread of renewable energy sources like solar roofs. And computational biology might allow us to improve life itself. Blitzscaling can help these advances spread and magnify their sorely needed impact.

It was on the second Tuesday in January - WI night - that winter became a serious and dramatic matter, a cold, tiring, but exhilarating time, at least for the young, and a companionable time for all, when we were stranded, snowbound and sealed off in place and, it seemed, in time too, for the usual pattern of the day’s coming and going was halted. We had been in the town all day, and I had scarcely noticed the weather. But, by the time I put the car up the last, steep bit of hill, past Cuckoo Farm and Foxley Spinney, towards the village, the sky had gathered like a boil, and had an odd, sulphurous yellow gleam over iron grey. It was achingly cold, the wind coming north-east off the Fen made us cry. We ran down the steps and indoors, switched on the lamps and opened up the stove, made tea, shut out the weather, though we could still hear it; the wind made a thin, steely noise under doors and through all the cracks and crevices of the old house. But by six o’clock there had been one of those sudden changes. I opened the door to let in Hastings, the tabby cat, and sensed it at once. The wind dropped and died, everything was still and dark as coal, no moonlight, not a star showed through the cloud cover, and it was just a degree wamer. I could smell the approching snow. Everything waited.

Twenty-four hours after Tambora erupted, the ash cloud had expanded to cover an area approximately the size of Australia. Air temperatures in the region plunged dramatically, perhaps as much as twenty degrees Fahrenheit. Then a light southeasterly breeze sprang up, and over the next several days most of the ash cloud drifted over the islands west and northwest of Tambora. By the time the cloud finally departed, villages within twenty miles of the volcano were covered with ash nearly forty inches thick; those a hundred miles away found eight to ten inches of ash on the ground.

Being was understood as a place of action, not a place of things.31 It was understood as something more akin to story or drama. That story or drama was lived, subjective experience, as it manifested itself moment to moment in the consciousness of every living person. It was something similar to the stories we tell each other about our lives and their personal significance; something similar to the happenings that novelists describe when they capture existence in the pages of their books. Subjective experience—that includes familiar objects such as trees and clouds, primarily objective in their existence, but also (and more importantly) such things as emotions and dreams as well as hunger, thirst and pain. It is such things, experienced personally, that are the most fundamental elements of human life, from the archaic, dramatic perspective, and they are not easily reducible to the detached and objective—even by the modern reductionist, materialist mind.

I jogged along the deck to the stern, tracking the shipwreck as it disappeared beneath our wake. Then, just as I was starting to wonder if we’d need climbing gear to get onto the island, its steep cliffs sloped down to meet us. We rounded a headland to enter a rocky half-moon bay. In the distance I saw a little harbor bobbing with colorful fishing boats, and beyond it a town set into a green bowl of land. A patchwork of sheep-speckled fields spread across hills that rose away to meet a high ridge, where a wall of clouds stood like a cotton parapet. It was dramatic and beautiful, unlike any place I’d seen. I felt a little thrill of adventure as we chugged into the bay, as if I were sighting land where maps had noted only a sweep of undistinguished blue.

You didn't hear the story I told,' he goes on. 'A shame. It featured a handsome boy with a heart of stone and a natural aptitude for villainy. Everything you could like.' She laughs. 'You really are terrible, you know that? I don't even understand why the things you say make me smile.' He lets himself lean against her, lets himself hear the warmth in her voice. 'There is one thing I did like about playing the hero. The only good bit. And that was not having to be terrified for you.' 'The next time you want to make a point,' Jude says, 'I beg you not to make it so dramatically. His shoulder hurts, and she may be right about the iron poisoning. He certainly feels as though his head is swimming. But he smiles up at the trees, the looping electrical lines, the streaks of clouds. 'So long as you're begging,' he says.

Subjective experience—that includes familiar objects such as trees and clouds, primarily objective in their existence, but also (and more importantly) such things as emotions and dreams as well as hunger, thirst and pain. It is such things, experienced personally, that are the most fundamental elements of human life, from the archaic, dramatic perspective, and they are not easily reducible to the detached and objective—even by the modern reductionist, materialist

They played croquet the next morning. “Won’t you show me how to use your mallet against the balls, Colonel Andrews?” asked Miss Charming, her eyebrows raised so high they twitched. Colonel Andrews had trouble unplasticizing his smile. Captain East chatted away the discomfort, his working-boy build meets gentleman grace working for him every inch. Not that Jane was looking at every inch, except when his back was turned. He kept the conversation on the weather, but did it in a very beguiling manner. To Jane’s mind, clouds had never seemed so sexy. As the game progressed, Andrews and Charming took the lead with professional zeal, followed by Heartwright and Nobley, an impressive pairing. Lingering in the rear, Erstwhile and East talked the talk but couldn’t walk the walk. The worse they played, the more Jane felt inebriated on bad sports and her partner’s undulating laugh. Captain East looked like he could play pro football, but he held the mallet in his hand as though being asked to eat steak with chopsticks, which Jane somehow found hilarious. He hammed it up for her benefit and made it very easy to laugh. He straddled the ball and pulled the mallet back. “Careful, careful,” Jane said. He swung--a hollow thock, and the ball smashed into a tree. “I swear I’m trying my best.” The captain’s laugh made his voice go dry and deep, and Jane thought if he really let himself go, he might actually bray. “I’ve never played this game before.” “Captain East, do you see how Mr. Nobley keeps giving me that look?” Jane said, watching the couple ahead. “Do you suppose he’s ashamed to know us?” “No one could be ashamed to know you, Miss Erstwhile,” said Captain East. It was precisely the right thing to say, and somehow that made it wrong. Jane wondered if Mr. Nobley had heard it, wondered what he thought. Then asked herself why she cared. The only discovery she could make was a hard bite of truth, like a bite of apple stuck in her throat--she did care what Mr. Nobley thought of her. The thought rankled. Why was the judgment of the disapproving so valuable? Who said that their good opinions tended to be any more rational than those of generally pleasant people? Jane’s turn to swing. Her grip on the mallet slipped, the ball lurched forward a dramatic two inches, and they laughed again. Mr. Nobley was still staring their way. Was it possible that he wished he were laughing, too?

You’re just a kid. Have fun. Go play in the fluff.” “Not over here, though,” said a pale, miserable figure from behind a nearby pile. “I’ve constructed a Fortress of Solitude.” Lex watched the dentist for a moment more, then gave up. “What’s wrong, Edgar?” “Nothing.” He pouted. “Okay, everything.” He sighed dramatically as he approached, greasy black hair falling into his face. “I bit my tongue this morning, I dropped guacamole onto my favorite boots, Teddy Roosevelt made fun of my mustache, and—oh yeah—I’m dead.” He crossed his arms with a small huff. “Hey, Quoth,” Lex said to the bird atop his shoulder, “go poop on Teddy Roosevelt.” The raven gave a slight nod as he launched into the air and flew over to the tangle of presidents, where he stopped, aimed carefully, and dropped a plump white bomb directly onto the face of America’s twenty-sixth. Edgar stuck out his tongue. “Where’s your big stick now, Teddy Bear?” “Dammit, Poe!” Teddy roared, shaking his fist. “I’ll get you for this!” Edgar let out a screech not unlike that of a seven-year-old girl. He dove back into his fortress, sending clouds of the white fluff into the air. Lex watched them float around, her mind clicking onto something— “Oh my God, that’s it!” She jumped up from the desk. “Elysia, I’ll catch you later. Edgar—you’re a genius.” “I am aware of that,” a muffled voice replied

There is no doubt that 'force multipliers' - squad automatic weapons - have changed the character of warfare once again, just as their predecessors did during the First World War, if perhaps not to quite the same degree. In the immediate future it seems that most armies will be using some form of 5.56mm machine-gun at squad level, be it a box-fed LSW or belt-fed SAW. If there is a cloud on the horizon where modern light machine-guns are concerned it is that they are not powerful enough for long-range work, or for penetrating cover and light armour. Nevertheless, the new generation of light machine-guns will remain in use well into the next century, not least because they are popular with the soldiers who operate them, the machine-gunners. Likewise, there will still be a place for the heavier GPMG, which does have the 'punch' that the LSW lacks. Machine-guns themselves have become lighter, and their operating principles both more secure and more efficient; the ammunition they use has shrunk to a quarter of its original size and become almost 100 percent reliable. The one important thing which has not changed dramatically is the human component; the attitude with which man faces the prospect of death in battle, and how he prepares himself to face that possibility quite deliberately, for it was the original invention of the machine-gun which reformed that. More than any other single 'advance' in weapons technology, the machine-gun allowed an individual (or actually, a small team of men) to dominate a sector of the battlefield. They had an inhuman advantage which simply had to be exploited if they were to be on the winning side, whether their opponents were Zulus, Sioux, or Dervishes, or other industrialized nations to be beaten into last place in the race toward economic supremacy. Whether the machine-gun has been as important, in any sense at all of the word, as it near-contemporary, the internal combustion engine - or even, date one say it, the bicycle or sewing machine - is still to be decided, but there is one clear, irrefutable fact connected with its short history: it has killed tens of millions of men, women and children and blighted the lives of tens of millions more.

It was clear he had remained unflustered by recent public events, at the age he had reached perhaps disillusioned with the commonplaces of life; too keen a theatre-goer to spare time for any but the columns of dramatic criticism, however indifferently written, permitting no international crises from the news pages to cloud the keenness of aesthetic consideration. That was an understandable outlook.

I have referred to the air of drama which meets you everywhere in the pages of Sainte-Beuve. He sometimes gets the credit for having dramatized the situation. I wonder, was it he who dramatized the situation or was it the people who were actors in the story? And in particular, was it not Mother Angelique? That great woman was not without her faults; Bremond (who compares her unfavourably throughout with her sister Agnes) writes of her imperiousness, her prodigious freedom in passing judgements on her neighbour; there was no dealing with a woman who was at once up in the clouds and scrupulous. 1 But it is not of her faults that I would write here; they were personal to herself What is more important, it seems to me, is a single weakness which she contrived to hand on to her spiritual children. She was incurably self-conscious; she was always dramatizing situations. She herself said that the object of humiliations was to destroy self and my own will, and the I and the my; St. Cyran, Pascal, Nicole did the same. Of their supernatural achievements it is not for us to judge; but as a matter of plain earthly fact it seems clear that no one of the four ever got rid of that self-consciousness which makes you see yourself out of the comer of your eye at every turn in life.

By the end of the cold war, the prospect of nuclear winter had clouded every corner of our pop culture and psychology - a pervasive nightmare that the human experiment might be brought to an end by two jousting sets of proud, rivalrist tacticians. Just a few sets of twitchy hands hovering over the planet's self-destruct buttons. The threat of climate change is more dramatic still, and ultimately more democratic, with responsibility shared by each of us even as we shiver in fear of it. And yet we have processed that threat only in parts, typically not concretely or explicitly, displacing certain anxieties and inventing others, choosing to ignore the bleakest features of our possible future and letting our political fatalism and technological faith blur as though we've gone cross-eyed into a remarkably familiar consumer fantasy: that someone else will fix the problem for us - at no cost. Those more panicked are often hardly less complacent, living instead through climate fatalism as though it were climate optimism. Over the last few years, as the planet's own environmental rhythms seem to grow more fatalistic, skeptics have found themselves arguing not that climate change isn't happening, since extreme weather has made that undeniable, but that it's causes are unclear. Suggesting that the changes we are seeing are the result of natural cycles rather than human activities and interventions. It is a very strange argument. If the planet is warming at a terrifying pace and on a horrifying scale it should transparently concern us more, rather than less, that the warming is beyond our control, possibly even our comprehension. That we know global warming is our doing should be a comfort, not a cause for despair, however incomprehensibly large and complicated we find the processes that have brought it into being. That we know we are, ourselves, responsible for all it's punishing effects should be empowering, and not just perversely. Global warming is after all a human invention and the flip-side of our real time guilt is that we remain in command. No matter how out of control the climate system seems; with it's roiling typhones, unprecedented famines and heat waves, refugee crises and climate conflicts; we are all it's authors and still writing. Some, like our oil companies and their political patrons are more prolific authors than others. But the burden of responsibility is too great to be shouldered by a few however comforting it is to think all that is needed is for a few villians to fall. Each of us imposes some suffering on our future selves every time we flip on a light switch, buy a plane ticket, or fail to vote. Now we all share the responsibility to write the next act.

The sun was rising over the beautiful mountaintop, creating the most dramatic sunrise Polly had seen in a long time. There were a few clouds dispersed in the sky that were glowing in a radiant red color.

There’s this dark cloud surrounding you. Can you feel it?” Kord said, reaching out. Azrael lurched back. “I prefer the shadows.” Kord lowered his hand, giving a low chuckle. “Well, that’s dramatic.

God invites us into the valley. The question is whether we will accept the invitation. The valley will always be in the shadow of the mountains. The mountains, with their dramatic peaks and pillars to the clouds, will always appear more special to the world around you. Becoming a valley is truly humbling. And yet this is the place where the rain soaks deep and fruit is truly produced. The valley is the place of life. It is the place of kingdom power.

After being together with someone for a few years, their attractions stand to become grievously familiar. We will ignore them and become experts on their most trying dimensions. But we are never without a chance to reverse the process. It might be that we watch them when they are with friends. We pick up again on their shy smile, their sympathetic look, or the purposeful way they push back the sleeves of their pullover. Or perhaps we hear that a casual acquaintance thinks that they are fascinating and elegant and – mixed in with a dose of jealous irritation – via this potential rival’s eye, we see again all that we could conceivably lose. We are adaptable creatures. Disenchantment is not a one-way street. We are capable of a second, more accurate look. We can turn to art for hints on how to perform the manoeuvre of re-enchantment. Many works of art look with particular focus at what has been ignored and taken for granted. In the 18th century, the French painter Chardin didn’t paint the grand things that other painters of the period went in for: heroic battles, majestic landscapes or dramatic scenes from history. Instead he looked around him and portrayed the quiet, ordinary objects of everyday life: kitchen utensils, a basket of fruit, a teacup. He brought to these objects a deeply loving regard. Normally you might not have given them a moment’s thought. But, encouraged by Chardin, we start to see their allure. He’s not pretending; he’s showing us their real but easily missed virtues. He isolates them, he concentrates attention, he carefully notes what is worthy of respect. He re-enchants our perception. In the 19th century, the English painter John Constable did something similar for clouds. Nothing, perhaps, sounds duller. Maybe as children we liked to watch the grey banks of cloud drift and scud across the arc of the sky. We had favourites among them; we saw how they merged and separated; how they were layered; how a blue patch could be revealed and then swiftly covered. Clouds are lovely things, we once knew. Then we forgot. Constable’s many cloud paintings remind us of the ethereal poetry unfolding above our heads at all moments, ready to delight us when we have the imagination to look up. Imagine meeting your partner through the lens of art. You would find again the allure of things about them that – through familiarity and haste – had been neglected. We could study once more the magic of a palm that we once longed to caress; we could attend again to a way of tilting the head that once seemed so suggestive. In the early days, we knew how to see. Now as artists of our lives – in our own fashion – we can rediscover, we can select, refocus, appreciate. We can become the explorers of lost continents filled with one another’s overlooked qualities.

I was happier than I had been since starting this trop on The Iron Rooster. I was driving. I was in charge. I was taking my time; and Tibet was empty. The weather was dramatic-snow on the hills, a high wind, and black clouds piled up on the mountains ahead. I also thought: I didn't die the other day.

We took turns trying on a grand peacock feather masterpiece, which Kathe posed with rather dramatically, and a gold filigree sun mask that spread rays far enough that I feared I’d spear innocent bystanders every time I turned my head. A silk-lined mask of cunningly detailed papier-mâché caught my eye, with deep, rich shades of lagoon green and ocean blue around the eyes. It swept to one side in a shape like a wave, with delicately curled spray tipped in gold. The jewel-hued paint had depth and complexity to it, like the sea itself, and as I held it in my hands I picked out shapes of clouds and ships and faces, holding each briefly in my mind like a dream before it merged back into abstract washes of swirling color. From a distance, the mask would not impress as the others might, but up close, it was gorgeous. “Try it on,” Kathe suggested, and I held it up to my face. It fit comfortably enough, flexing to accommodate my features rather than forcing them into its own shape. “What do you think?” I asked. “It’s beautiful.” Kathe laid a gentle hand along my chin, tilting my face toward the light; the warmth of his touch spread through my whole body. “But does it pass the most important test?” “Only one way to tell,” I whispered, sliding my hand around the back of his neck and up into that down-soft hair as I pulled him toward me. Our lips met, slow and soft and teasing, the barest brush like falling snow. A sliver of air slipped between us, enough to take a sharp breath as lightning seemed to slide down my throat and into my belly. I’d closed my eyes, but I felt his mouth shape a smile. “Better try another angle to be sure,” I murmured. I tipped my head slightly and tried for another quick, light kiss. But somehow it turned warm and melting, and lingered longer than I’d intended. And then there was a rustle of feathers, and his arms went around me, and my own hands slid up beneath his cloak to feel the wiry muscles of his back through the soft leather of his tunic. “I think this one is good,” Kathe said when we came up for air, a husky catch in his voice.

AWS and the Seven-Year Lead When creating Amazon Web Services (cloud computing), Amazon was essentially creating their own internal Internet Operating System (IOS) and then leveraging their technology infrastructure into a profit center. He said, “IT departments are recognizing that when they adopt AWS, they get more done. They spend less time on low value-add activities like managing datacenters, networking, operating system patches, capacity planning, database scaling, and so on and so on. Just as important, they get access to powerful APIs [Application Programing Interfaces] and tools that dramatically simplify building scalable, secure, robust, high-performance systems. And those APIs and tools are continuously and seamlessly upgraded behind the scenes, without customer effort.” —Bezos (2014 Letter) In other words, Amazon took the proprietary infrastructure they built for themselves and turned it into a service that any developer could use for their own purposes.

The demo flight changed dramatically when, seemingly out of nowhere, another T-2 jumped us from behind and we were suddenly a participant in a dog fight. I had no idea at the time that this was strictly against regulations. It was ACM (air combat maneuvers) that was taught and practiced, but to do it spontaneously like this, without a thorough briefing on the ground, was against the rules for obvious reasons. From that point on, the previous maneuvers we had been doing seemed mild. My pilot was trying to outmaneuver our pursuer to get him off our tail and turn the fight around so that he was our prey, we were on his tail, and we were in kill-shot position had this been real combat. The maneuvers were violent. I kept my knees wide apart to prevent the control stick from bruising my legs as it slammed back and forth to its full limits. My helmet clanked against the left side of the canopy and then the right side. Looking directly ahead out the windshield, I was staring straight up at the sky and the clouds, and the next moment I was looking straight down at the Gulf of Mexico. The horizon and the instruments were spinning around one direction and then the other direction. The altimeter needles were whirling around as the gauge indicated a higher and higher altitude as we climbed, and then indicated a smaller and smaller number as we plummeted toward the water below. I was spatially disoriented much of the time. There were moments when the airplane seemed completely out of control; it probably was. I could hear my pilot breathing heavily in his oxygen mask through his hot mic and cursing the other plane and its pilot. I could only see the other aircraft in a small combat rearview mirror. (Page 57)