Dramatic World Quotes

People are all over the world telling their one dramatic story and how their life has turned into getting over this one event. Now their lives are more about the past than their future.

It's very dramatic when two people come together to work something out. It's easy to take a gun and annihilate your opposition, but what is really exciting to me is to see people with differing views come together and finally respect each other.

The legalization of marijuana is not a dangerous experiment – the prohibition is the experiment, and it has failed dramatically, with millions of victims all around the world.

Death, it seems," Garp wrote, "does not like to wait until we are prepared for it. Death is indulgent and enjoys, when it can, a flair for the dramatic.

Imagine immortality, where even a marriage of fifty years would feel like a one-night stand. Imagine seeing trends and fashions blur past you. Imagine the world more crowded and desperate every century. Imagine changing religions, homes, diets, careers, until none of them have any real value.Imagine traveling the world until you're bored with every square inch. Imagine your emotions, your loves and hates and rivalries and victories, played out again and again until life is nothing more than a melo-dramatic soap opera. Until you regard the birth and death of other people with no more emotion than the wilted cut flowers you throw away.

He charged again. She jabbed the cleat into his ribs, then brought it up under his jaw with a savage upper- cut. He reeled, blood now pouring from his nose, but he didn’t go down.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

Every group of people I ask thinks the world is more frightening, more violent, and more hopeless—in short, more dramatic—than it really is.

Your expectation of something unique and dramatic, of some wonderful explosion, is merely hindering and delaying your Self Realization. You are not to expect an explosion, for the explosion has already happened - at the moment when you were born, when you realized yourself as Being-Knowing-Feeling. There is only one mistake you are making: you take the inner for the outer and the outer for the inner. What is in you, you take to be outside you and what is outside, you take to be in you. The mind and feelings are external, but you take them to be intimate. You believe the world to be objective, while it is entirely a projection of your psyche. That is the basic confusion and no new explosion will set it right! You have to think yourself out of it. There is no other way.

People with eating disorders tend to be very diametrical thinkers – everything is the end of the world, everything rides on this one thing, and everyone tells you you're very dramatic, very intense, and they see it as an affectation, but it´s actually just how you think. It really seems to you that the sky will fall if you are not personally holding it up. On the one hand, this is sheer arrogance; on the other hand, this is a very real fear. And it isn't that you ignore the potential repercussions of your actions. You don't think there are any. Because you are not even there.

human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time.

Reagan took a half step closer, until he was right in his face. “When the time comes, they’ll give you up like a bad habit. Just like your filthy little henchman turned on you. It’s the way of the world

The essence of dramatic tragedy is not unhappiness. It resides in the solemnity of the remorseless working of things.

For someone with anxiety, dramatic situations are, in a way, more comfortable than the mundane. In dramatic situations the world rises to meet you anxiety.

The United States has taught the world how to outsource war, which in turn has created a new breed of fighter. Trained in the armed services, they become highly efficient and highly paid killers.

It reminds me too much of how little life changes: how, without dramatic events or high resolves, without tragedy, without even pathos, a reasonably endowed, reasonable well-intentioned man can walk through the world's great kitchen from end to end and arrive at the back door hungry.

Usually, when we think of power, we think of external power. And we think of powerful people as those who have made it in the world. A powerful woman isn’t necessarily someone who has money, but we think of her as someone with a boldness or a spark that makes her manifest in a dramatic way. When we think of a powerful man, we think of his ability to manifest abundance, usually money, in the world. Most people say that a powerful woman does best with a powerful man, that she needs someone who understands the bigness of her situation, a man who can meet her at the same or even greater level of power in the world. Now this is true, if power is defined as material abundance. A woman often faces cultural prejudice when she makes more money than a man, as does he. A woman who defines power by worldly standards can rarely feel totally relaxed in the arms of a man who doesn’t have it. If power is seen as an internal matter, then the situation changes drastically. Internal power has less to do with money and worldly position, and more to do than with emotional expansiveness, spirituality and conscious living… I used to think I needed a powerful man, someone who could protect me from the harshness and evils of the world. What I have come to realize is that…the powerful man I was looking for would be foremost, someone who supported me in keeping myself on track spiritually, and in so maintaining clarity within myself, that life would present fewer problems. When it did get rough, he would help me forgive. I no longer wanted somebody who would say to me, “Don’t worry honey, if they’re mean to you I’ll beat them up or buy them out.” Instead, I want someone who prays and meditates with me regularly so that fewer monsters from the outer world disturb me, and who when they do, helps me look within my own consciousness for answers, instead of looking to false power to combat false power. There’s a big difference between a gentle man and a weak man. Weak men make us nervous. Gentle men make us calm.

No game in the world is as tidy and dramatically neat as baseball, with cause and effect, crime and punishment, motive and result, so cleanly defined.

I wanted very much to learn to draw, for a reason that I kept to myself: I wanted to convey an emotion I have about the beauty of the world. It's difficult to describe because it's an emotion. It's analogous to the feeling one has in religion that has to do with a god that controls everything in the whole universe: there's a generality aspect that you feel when you think about how things that appear so different and behave so differently are all run "behind the scenes" by the same organization, the same physical laws. It's an appreciation of the mathematical beauty of nature, of how she works inside; a realization that the phenomena we see result from the complexity of the inner workings between atoms; a feeling of how dramatic and wonderful it is. It's a feeling of awe — of scientific awe — which I felt could be communicated through a drawing to someone who had also had this emotion. It could remind him, for a moment, of this feeling about the glories of the universe.

Death is a fascinating thing. The human mind continually returns and returns to death, to mortality, immortality, damnation, salvation. Some fear death, some seek it, but it is in our human nature to wonder at the limits of human life, at least. When you are sick like this you begin to wonder too much. Death is at your shoulder, death is your shadow, your scent, your waking and dreaming companion. You cannot help, when sleep begins to touch your eyes, but to wonder: What if? What if? And in that question, there is a longing, too much like the longing of a young girl in love. The sickness occupies your every thought, breath like a lover at your ear; the sickness stands at your shoulder in the mirror, absorbed with your body, each inch of skin and flesh, and you let it work you over, touch you with rough hands that thrill. Nothing will ever be so close to you again. You will never find a lover so careful, so attentive, so unconditionally present and concerned only with you. Some of us use the body to convey the things for which we cannot find words. Some of us decide to take a shortcut, decide the world is too much or too little, death is so easy, so smiling, so simple; and death is dramatic, a final fuck-you to the world.

You’d be surprised how powerful kindness actually is. I am not being dramatic: you can save hearts and lives with grace. Do

When one parent dies, the world is dramatically altered, absolutely, but you still have another one left. When that second parent dies, it’s the loss of all ties, and where does that leave you? You lose your history, your sense of connection to the past. You also lose the final buffer between you and death. Even if you’re an adult, it’s weird to be orphaned.

What, did he think I was just going to melt into his arms? Start a tragic and dramatic tale of star-crossed lovers on a war-torn planet?

Though Donald’s fundamental nature hasn’t changed, since his inauguration the amount of stress he’s under has changed dramatically. It’s not the stress of the job, because he isn’t doing the job—unless watching TV and tweeting insults count. It’s the effort to keep the rest of us distracted from the fact that he knows nothing—about politics, civics, or simple human decency—that requires an enormous amount of work.

This is data as you have never known it: it is data as therapy. It is understanding as a source of mental peace. Because the world is not as dramatic as it seems. Factfulness, like a healthy diet and regular exercise, can and should become part of your daily life. Start to practice it, and you will be able to replace your overdramatic worldview with a worldview based on facts. You will be able to get the world right without learning it by heart. You will make better decisions, stay alert to real dangers and possibilities, and avoid being constantly stressed about the wrong things.

You belong to the League of Nations?’ ‘I belong to the world, Madame,’ said Poirot dramatically.

Win by losing. Before your outer walls break, as break they must, build an inner place to protect your truth. Protect that you are infinite life, choosing its playground; protect that the world you know exists with your consent and for your own good reasons; protect that your purpose and mission is to shine love in your own playful way, in the moments you decide will be most dramatic.

Mother bared her fangs. "Stop being overdramatic." Kai would have loved to, if dramatic things would stop happening to him.

A smile is the best way to get oneself out of a tight spot, even if it is a fake one. Surprisingly enough, everyone takes it at face value. I read that in a book." "If you keep staring at me, I'll hit you." "I only became part of your team recently when I replaced Sasuke, so I don't know everything that's going on. I don't really understand people either. But even I can tell that Naruto really loves you. Naruto's been shouldering that promise for a long time...I think he means to shoulder it for the rest of his life. I don't know what you said to him, but it's just like what's been done to me - it feels like a curse. Sasuke causes Naruto pain, but I think you do too." "Sasuke is only helping spread his darkness across the world. Letting him live will only sow the seeds of another war. He's just another criminal now. Sasuke lost all hope of coming back when his group, Akatsuki, attacked our village. Your fellow Konoha shinobi would never accept him now. Sakura's not stupid, either. She understands the position he's put us all in. That's why she came out here, to tell you herself.

I don't have the luxury of dealing with his hormones- or mine, for that matter. What, did he think I was just going to melt into his arms? Start a tragic and dramatic tale of star-crossed lovers on a war-torn planet?

I woke up out of the ether with an utterly abandoned feeling, and asked the nurse right away if it was a boy or a girl. She told me it was a girl, and so I turned my head away and wept. ‘all right,’ I said, ‘I’m glad it’s a girl. And I hope she’ll be a fool — that’s the best thing a girl can be in this world, a beautiful little fool.

It's strange, the lack of emotion, the absence of drama in reality. When things happen in real life, extraordinary things, there's no music, there's no dah-dah-daaahhs. There's no close-ups. No dramatic camera angles. Nothing happens. Nothing stops, the rest of the world goes on.

Most officially “poor” Americans today have things that middle-class Americans of an earlier time could only dream about—including color TV, videocassette recorders, microwave ovens, and their own cars. Moreover, half of all poor households have air-conditioning. Leftist redistribution of income could never accomplish that, because there are simply not enough rich people for their wealth to have such a dramatic effect on the living standards of the poor, even if it was all confiscated and redistributed. Moreover, many attempts at redistributing wealth in various countries around the world have ended up redistributing poverty. After all, rich people can see the political handwriting on the wall, and can often take their money and leave the country, long before a government program can get started to confiscate it. They are also likely to take with them skills and entrepreneurial experience that are even harder to replace than the money.

Charity … is the opium of the privileged; from the good citizen who habitually drops ten kobo from his loose change and from a safe height above the bowl of the leper outside the supermarket; to the group of good citizens (like youselfs) who donate water so that some Lazarus in the slums can have a syringe boiled clean as a whistle for his jab and his sores dressed more hygienically than the rest of him; to the Band Aid stars that lit up so dramatically the dark Christmas skies of Ethiopia. While we do our good works let us not forget that the real solution lies in a world in which charity will have become unnecessary.

The world is a more engaging and less dramatic place than writers ever give it credit for being

I’m somewhat disgusted at myself for thinking such dramatic, girlie thoughts. But I can’t help myself. He rocks my world. You know how parents always say things like, “If all your friends jumped off a cliff, would you jump too?” Well, if Carter jumped off a cliff, I wouldn’t just jump off after him. I’d throw myself over the ledge and dive toward the earth below so I could catch up with him and hold his hand while we plummeted to our deaths. Yeah. I’m that much of a sicko.

While all doctors treat diseases, neurosurgeons work in the crucible of identity: every operation on the brain is, by necessity, a manipulation of the substance of our selves, and every conversation with a patient undergoing brain surgery cannot help but confront this fact. In addition, to the patient and family, the brain surgery is usually the most dramatic event they have ever faced and, as such, has the impact of any major life event. At those critical junctures, the question is not simply whether to live or die but what kind of life is worth living. Would you trade your ability - or your mother's - to talk for a few extra months of mute life? The expansion of your visual blind spot in exchange for eliminating the small possibility of a fatal brain hemorrhage? Your right hand's function to stop seizures? How much neurologic suffering would you let your child endure before saying that death is preferable? Because the brain mediates our experience of the world, any neurosurgical problem forces a patient and family, ideally with a doctor as a guide, to answer this question: What makes life meaningful enough to go on living?

She wasn't the same girl she'd been the year before, who though failing out of Foxfire would be the end of the world. Now she'd been kidnapped, presumed dead, banished from the Lost Cities, and helped stop a plague from killing off the entire gnomish species. She'd even snuck into the ogres' capital and helped destroy half the city--which happened to be why the Council was struggling to negotiated a new elvin-ogre treaty.

Interviewer ...In the case of "American Psycho" I felt there was something more than just this desire to inflict pain--or that Ellis was being cruel the way you said serious artists need to be willing to be. DFW: You're just displaying the sort of cynicism that lets readers be manipulated by bad writing. I think it's a kind of black cynicism about today's world that Ellis and certain others depend on for their readership. Look, if the contemporary condition is hopelessly shitty, insipid, materialistic, emotionally retarded, sadomasochistic, and stupid, then I (or any writer) can get away with slapping together stories with characters who are stupid, vapid, emotionally retarded, which is easy, because these sorts of characters require no development. With descriptions that are simply lists of brand-name consumer products. Where stupid people say insipid stuff to each other. If what's always distinguished bad writing -- flat characters, a narrative world that's cliched and not recognizably human, etc. -- is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. You can defend "Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.

I am the lady of the castle. My name is exile. My name is anguish. My name is longing. Far from the world on the windy crests of the mountain, I am kept in absolute seclusion, my time passes in an endless reverie, a perpetual swooning. I am both the Sleeping Beauty and the enchanted castle; the princess drowses in the castle of her flesh.

I wanted to lie hour after hour on a couch, pouring out the dark, secret places of my heart--do this feeling that over my shoulder sat humanity and wisdom and generosity, a munificent heart--do this until that incredibly lovely day when the great man would say to me, his voice grave and dramatic with discovery: "This is you, Exley. Rise and go back into the world a whole man.

In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery...

Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid it is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this dark world AND to illuminate the possibilities for being alive and human in it. You can defend "[American] Psycho" as being a sort of performative digest of late-eighties social problems, but it's no more than that.

Take it from me. Now is always the answer. Besides, do you have anything better to do? Mope around for a decade or two?" Casiopea drummed her fingers against her skirt and chewed her lip. The dramatic poetry she'd read would have called for this and more. There was sadness in her, of course, but she didn't wish to crack like fine china either. She could not wither away. In the world of the living, one must live. And had this not been her wish? To live. Truly live.

New York. The world's most dramatic city. Like a permanent short circuit, sputtering and sparking up into the night sky all night long. No place like it for living. And probably no place like it for dying. ("New York Blues")

Humans are born with a susceptibility to that most persistent and debilitating disease of intellect: self-deception. The best of all possible worlds and the worst get their dramatic coloration from it. As nearly as we can determine, there is no natural immunity. Constant alertness is required.

The other night we talked about literature's elimination of the unessential, so that we are given a concentrated "dose" of life. I said, almost indignantly, "That's the danger of it, it prepares you to live, but at the same time, it exposes you to disappointments because it gives a heightened concept of living, it leaves out the dull or stagnant moments. You, in your books, also have a heightened rhythm, and a sequence of events so packed with excitement that i expected all your life to be delirious, intoxicated." Literature is an exaggeration, a dramatization, and those who are nourished on it (as I was) are in great danger of trying to approximate an impossible rhythm. Trying to live up to dostoevskian scenes every day. And between writers there is a straining after extravagance. We incite each other to jazz-up our rhythm. It is amusing that, when Henry, Fred, and I talked together, we fell back into a deep naturalness. Perhaps none of us is a sensational character. Or perhaps we have no need of condiments. Henry is, in reality, mild not temperamental; gentle not eager for scenes. We may all write about sadism, masochism, the grand quignol, bubu de montparnasse (in which the highest proof of love is for a pimp to embrace his woman's syphilis as fervently as herself, a noblesse-oblige of the apache world), cocteau, drugs, insane asylums, house of the dead, because we love strong colors; and yet when we sit in the cafe de la place clichy, we talk about henry's last pages, and a chapter which was too long, and richard's madness. "One of his greatest worries," said Henry, "was to have introduced us. He thinks you are wonderful and that you may be in danger from the 'gangster author.

Much of the borderline’s dramatic behavior is related to his interminable search for something to fill the emptiness that continually haunts him. Relationships and drugs are two of the mechanisms the borderline uses to combat the loneliness and to capture a sense of existing in a world that feels real. CASE

It was strange, really, how your entire life could change just like that, from one second to the next. And there was no fireworks show, no dramatic tilting of the world on its axis to signify how everything had suddenly flipped upside down, and nothing would ever be the same.

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

I can't see that Danish episode as an adventure, or a crisis survived, or a serious quest for anything definable. It was just another happening like today's luncheon, something I got into and got out of. And it reminds me too much of how little life changes: how, without dramatic events or high resolves, without tragedy, without even pathos, a reasonably endowed, reasonably well-intentioned man can walk through the world's great kitchen from end to end and arrive at the back door hungry.

I saw a banner hanging next to city hall in downtown Philadelphia that read, "Kill them all, and let God sort them out." A bumper sticker read, "God will judge evildoers; we just have to get them to him." I saw a T-shirt on a soldier that said, "US Air Force... we don't die; we just go to hell to regroup." Others were less dramatic- red, white, and blue billboards saying, "God bless our troops." "God Bless America" became a marketing strategy. One store hung an ad in their window that said, "God bless America--$1 burgers." Patriotism was everywhere, including in our altars and church buildings. In the aftermath of September 11th, most Christian bookstores had a section with books on the event, calendars, devotionals, buttons, all decorated in the colors of America, draped in stars and stripes, and sprinkled with golden eagles. This burst of nationalism reveals the deep longing we all have for community, a natural thirst for intimacy... September 11th shattered the self-sufficient, autonomous individual, and we saw a country of broken fragile people who longed for community- for people to cry with, be angry with, to suffer with. People did not want to be alone in their sorrow, rage, and fear. But what happened after September 11th broke my heart. Conservative Christians rallies around the drums of war. Liberal Christian took to the streets. The cross was smothered by the flag and trampled under the feet of angry protesters. The church community was lost, so the many hungry seekers found community in the civic religion of American patriotism. People were hurting and crying out for healing, for salvation in the best sense of the word, as in the salve with which you dress a wound. A people longing for a savior placed their faith in the fragile hands of human logic and military strength, which have always let us down. They have always fallen short of the glory of God. ...The tragedy of the church's reaction to September 11th is not that we rallied around the families in New York and D.C. but that our love simply reflected the borders and allegiances of the world. We mourned the deaths of each soldier, as we should, but we did not feel the same anger and pain for each Iraqi death, or for the folks abused in the Abu Ghraib prison incident. We got farther and farther from Jesus' vision, which extends beyond our rational love and the boundaries we have established. There is no doubt that we must mourn those lives on September 11th. We must mourn the lives of the soldiers. But with the same passion and outrage, we must mourn the lives of every Iraqi who is lost. They are just as precious, no more, no less. In our rebirth, every life lost in Iraq is just as tragic as a life lost in New York or D.C. And the lives of the thirty thousand children who die of starvation each day is like six September 11ths every single day, a silent tsunami that happens every week.

The apocalypse didn't happen overnight. The world didn't end in a satisfying climax of explosive special effects. It was slow. It was boring. It was one little thing at a time. One moral compromise, one abandoned ideal, one more justified injustice. No dramatic wave of destruction sweeping across the world, just scattered spots of rot forming throughout the decades, seemingly isolated incidents until the moment they all merged.

The fact is if we followed the history of every little country in this world—in its dramatic as well as its quiet times—we would have no space left in which to live our own lives or to apply ourselves to our necessary tasks, never mind indulge in occasional pleasures, like swimming. Surely there is something to be said for drawing a circle around our attention and remaining within that circle. But how large should this circle be?

In those days, even in European countries, death had a solemn social importance. It was not regarded as a moment when certain bodily organs ceased to function, but as a dramatic climax, a moment when the soul made its entrance into the next world, passing in full consciousness through a lowly door to an unimaginable scene. Among the watchers there was always the hope that

In every remote corner of the world there are people like Carl Jones and Don Merton who have devoted their lives to saving threatened species. Very often, their determination is all that stands between an endangered species and extinction. But why do they bother? Does it really matter if the Yangtze river dolphin, or the kakapo, or the northern white rhino, or any other species live on only in scientists' notebooks? Well, yes, it does. Every animal and plant is an integral part of its environment: even Komodo dragons have a major role to play in maintaining the ecological stability of their delicate island homes. If they disappear, so could many other species. And conservation is very much in tune with our survival. Animals and plants provide us with life-saving drugs and food, they pollinate crops and provide important ingredients or many industrial processes. Ironically, it is often not the big and beautiful creatures, but the ugly and less dramatic ones, that we need most. Even so, the loss of a few species may seem irrelevant compared to major environmental problems such as global warming or the destruction of the ozone layer. But while nature has considerable resilience, there is a limit to how far that resilience can be stretched. No one knows how close to the limit we are getting. The darker it gets, the faster we're driving. There is one last reason for caring, and I believe that no other is necessary. It is certainly the reason why so many people have devoted their lives to protecting the likes of rhinos, parakeets, kakapos, and dolphins. And it is simply this: the world would be a poorer, darker, lonelier place without them.

I’ve concluded that bittersweetness is not, as we tend to think, just a momentary feeling or event. It’s also a quiet force, a way of being, a storied tradition—as dramatically overlooked as it is brimming with human potential. It’s an authentic and elevating response to the problem of being alive in a deeply flawed yet stubbornly beautiful world. Most of all, bittersweetness shows us how to respond to pain: by acknowledging it, and attempting to turn it into art, the way the musicians do, or healing, or innovation, or anything else that nourishes the soul. If we don’t transform our sorrows and longings, we can end up inflicting them on others via abuse, domination, neglect. But if we realize that all humans know—or will know—loss and suffering, we can turn toward each other.[*2]

Faith, hope and charity go together. Hope is practised through the virtue of patience, which continues to do good even in the face of apparent failure, and through the virtue of humility, which accepts God's mystery and trusts him even at times of darkness. Faith tells us that God has given his Son for our sakes and gives us the victorious certainty that it is really true: God is love! It thus transforms our impatience and our doubts into the sure hope that God holds the world in his hands and that, as the dramatic imagery of the end of the Book of Revelation points out, in spite of all darkness he ultimately triumphs in glory. Faith, which sees the love of God revealed in the pierced heart of Jesus on the Cross, gives rise to love. Love is the light—and in the end, the only light—that can always illuminate a world grown dim and give us the courage needed to keep living and working. Love is possible, and we are able to practise it because we are created in the image of God. To experience love and in this way to cause the light of God to enter into the world—this is the invitation I would like to extend with the present Encyclical.

It’s not a crime to wish for other worlds. You’ll get taxed for it but they can’t throw you in jail for creating your own private world…yet. Dramatics are fun, an indulgence. ‘You can’t go backward,’ ‘You can’t live in the past,’ they tell you. Why not? ‘You’ve got to put all that behind you and move on to other things,’ they say. Bullshit! These are all expressions of modern disposability. It’s a mediocritizing technique—trying to get rid of what I call ‘past orthodoxies.’ It’s our past that makes us unique, therefore it’s our past that economic interests want to rob from us, so they can sell us a new, improved future. Society now depends on a disposable world—out with the old, in with the new, including relationships. But how we weep and wish we could hold onto those cherished moments forever, to those long-whispered dreams, those tortured nights—how we want to grasp them and stop them from sifting through our fingers. I say, ‘Don’t let it happen. Keep things the way you want them and let the rest of the world be duped.

In the Bible, when God made a covenant with Abraham, He removed Abraham from the pagan world. The pagan system was such that if you were born poor, you were poor all of your life, and if you were born rich, you were rich all of your life. However, in their covenant, God said to Abraham, “You are going to increase and prosper.” This became the blessing, the rare and dramatic change that took place in Abraham’s lifetime, making Abraham different from the pagans. The pagans did not understand prosperity. They lived from hand to mouth and knew no other way of life.

When an entire cohort unintentionally eliminated time alone with their thoughts from their lives, their mental health suffered dramatically. On reflection, this makes sense. These teenagers have lost the ability to process and make sense of their emotions, or to reflect on who they are and what really matters, or to build strong relationships, or even to just allow their brains time to power down their critical social circuits, which are not meant to be used constantly, and to redirect that energy to other important cognitive housekeeping tasks. We shouldn’t be surprised that these absences lead to malfunctions.

Men may congratulate themselves for writing truly and passionately about the movements of nations; they may consider war and the search for God to be great literature's only subjects; but if men's standing in the world could be toppled by an ill-advised choice of hat, English literature would be dramatically changed.

In many places along this narrow, curving strand of pavement, the forest threads tree limbs overhead in a latticework canopy that leads one to think of the sacredness of cathedrals.  Once you enter this hallowed space, the temperature drops dramatically and a world of virtual silence wraps you in a cocoon of serenity and grace.  For Kate, it is a destination in and of itself, this magnificent temple of embracing trees, limbs arching overhead with long arms of wooded skin, reaching for their beloved partners on the other side of the road, seeking communion and the joining of lovers.

She stopped at a red light and turned to face him. “Look. You must know your eyes are truly distracting, and you keep LOOKING at me. I’ve also never talked to anyone who sounds like a movie trailer announcer before. Your voice is so cool. I’m sure you know that. It’s probably part of your famousness. But here in this car it’s unsettling, because I have this sensation you might suddenly begin sentences with some dramatic start.” She lowered her voice. “like...IN A WORLD, FAR, FAR AWAY...

Oh yes, how terrible for you. Having to have a staff wait on you, having the world for yours to take due to being born into privilege and being so unbelievably bored at the prospect of living a life of leisure thanks to the genetic lottery you won that you threw it all away for a pursuit of a career that, quite frankly, is not your strong suit, shall we say. Yes. Poor little rich girl. Everything you have now, everything you had lost and walked away from, is of your doing. You just had to maintain a life of decorum. Sorry if the expectations of being proper were unattainable for you. I hadn’t expected that to be outside of your reach.

I figure... ...that the people are now more deeply conscious than ever before in history of the existence and functioning principles of universal, inexorable physical laws; of the pervading, quietly counseling truth within each and every one of us; of the power of love; and--each man by himself--of his own developing, dynamic relationship with his own conception of the Almightiness of the All-Knowing. ...that our contemporaries just don't wear their faith on their sleeves anymore. ...that people have removed faith from their sleeves because they found out for themselves that faith is much too important for careless display. Now they are willing to wait out the days and years for the truthful events, encouraged individually from within; and the more frequently the dramatic phrases advertising love, patriotism, fervent belief, morals, and good fellowship are plagiarized, appropriated and exhibited in the show windows of the world by the propaganda whips for indirect and ulterior motives, no matter how meager the compromise--the more do people withdraw within themselves and shun taking issue with the nauseating perversions, though eternally exhibiting quiet indifference, nonchalance or even cultivating seemingly ignorant acceptance.

Reading these stories, it's tempting to think that the arts to be learned are those of tracking, hunting, navigating, skills of survival and escape. Even in the everyday world of the present, an anxiety to survive manifests itself in cars and clothes for far more rugged occasions than those at hand, as though to express some sense of the toughness of things and of readiness to face them. But the real difficulties, the real arts of survival, seem to lie in more subtle realms. There, what's called for is a kind of resilience of the psyche, a readiness to deal with what comes next. These captives lay out in a stark and dramatic way what goes on in every life: the transitions whereby you cease to be who you were. Seldom is it as dramatic, but nevertheless, something of this journey between the near and the far goes on in every life. Sometimes an old photograph, an old friend, an old letter will remind you that you are not who you once were, for the person who dwelt among them, valued this, chose that, wrote thus, no longer exists. Without noticing it you have traversed a great distance; the strange has become familiar and the familiar if not strange at least awkward or uncomfortable, an outgrown garment. And some people travel far more than others. There are those who receive as birthright an adequate or at least unquestioned sense of self and those who set out to reinvent themselves, for survival or for satisfaction, and travel far. Some people inherit values and practices as a house they inhabit; some of us have to burn down that house, find our own ground, build from scratch, even as a psychological metamorphosis.

Why have such scores of lovely, gifted girls Married impossible men? Simple self-sacrifice may be ruled out, And missionary endeavour, nine times out of ten. Repeat 'impossible men': not merely rustic, Foul-tempered or depraved (Dramatic foils chosen to show the world How well women behave, and always have behaved). Impossible men: idle, illiterate, Self-pitying, dirty, sly, For whose appearance even in City parks Excuses must be made to casual passers-by. Has God's supply of tolerable husbands Fallen, in fact, so low? Or do I always over-value woman At the expense of man? Do I? It might be so.

Are you really a detective, then?” “At your service, Madame.” “I thought there were no detectives on the train when it passed through Yugo-Slavia—not until one got to Italy.” “I am not a Yugo-Slavian detective, Madame. I am an international detective.” “You belong to the League of Nations?” “I belong to the world, Madame,” said Poirot dramatically.

Despair is the state in which anxiety and restlessness are immanent to existence. Nobody in despair suffers from “problems”, but from his own inner torment and fire. It’s a pity that nothing can be solved in this world. Yet there never was and there never will be anyone who would commit suicide for this reason. So much for the power that intellectual anxiety has over the total anxiety of our being! That is why I prefer the dramatic life, consumed by inner fires and tortured by destiny, to the intellectual, caught up in abstractions which do not engage the essence of our subjectivity. I despise the absence of risks, madness and passion in abstract thinking. How fertile live, passionate thinking is! Lyricism feeds it like blood pumped into the heart!

Thus, instead of gaining only an internal silence, in the common sense of the word, he gains also that strange dynamic silence which preceded creation, and from which all things come—the silence of the heart of God. This silence is the root of sound, and from it pours forth the fiat that fashioned the world. This is the dynamic silence of creation, the tremendous dramatic silence of new birth forever taking place- new worlds forever fashioning.

Few would argue against safe-guarding the nation. But in the judgment of at least one of the country's most distinguished presidential scholars, the legal steps taken by the Bush Administration in its war against terrorism were a quantum leap beyond earlier blots on the country's history and traditions: more significant than John Adams' Alien and Sedition Acts, than Lincoln's suspension of habeas corpus during the Civil War, than the imprisonment of Americans of Japanese descent during World War II. Collectively, Arthur Schlesinger Jr. argued, the Bush Administration's extralegal counter-terrorism program presented the most dramatic, sustained, and radical challenge to the rule of law in American history.

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.

If J. K. Rowling had written Harry Potter in Google Docs instead of Microsoft Word, she would have granted Google the worldwide rights to her work, the right to adapt or dramatize all the Muggles as Google saw fit, to say nothing of the Hogwarts School of Witchcraft and Wizardry. Google would have retained the rights to sell her stories to Hollywood studios and to have them performed on stages around the world, as well as own all the translation rights. Had Rowling written her epic novel in Google Docs, she would have granted Google the rights to her $15 billion Harry Potter empire—all because the ToS say so.

The movement of descent and discovery begins at the moment you consciously become dissatisfied with life. Contrary to most professional opinion, this gnawing dissatisfaction with life is not a sign of "mental illness," nor an indication of poor social adjustment, nor a character disorder. For concealed within this basic unhappiness with life and existence is the embryo of a growing intelligence, a special intelligence usually buried under the immense weight of social shams. A person who is beginning to sense the suffering of life is, at the same time, beginning to awaken to deeper realities, truer realities. For suffering smashes to pieces the complacency of our normal fictions about reality, and forces us to become alive in a special sense—to see carefully, to feel deeply, to touch ourselves and our worlds in ways we have heretofore avoided. It has been said, and truly I think, that suffering is the first grace. In a special sense, suffering is almost a time of rejoicing, for it marks the birth of creative insight. But only in a special sense. Some people cling to their suffering as a mother to its child, carrying it as a burden they dare not set down. They do not face suffering with awareness, but rather clutch at their suffering, secretly transfixed with the spasms of martyrdom. Suffering should neither be denied awareness, avoided, despised, not glorified, clung to, dramatized. The emergence of suffering is not so much good as it is a good sign, an indication that one is starting to realize that life lived outside unity consciousness is ultimately painful, distressing, and sorrowful. The life of boundaries is a life of battles—of fear, anxiety, pain, and finally death. It is only through all manner of numbing compensations, distractions, and enchantments that we agree not to question our illusory boundaries, the root cause of the endless wheel of agony. But sooner or later, if we are not rendered totally insensitive, our defensive compensations begin to fail their soothing and concealing purpose. As a consequence, we begin to suffer in one way or another, because our awareness is finally directed toward the conflict-ridden nature of our false boundaries and the fragmented life supported by them.

It is lonely behind these boundaries. Some people-particularly those whom psychiatrists call schizoid-because of unpleasant, traumatizing experiences in childhood, perceive the world outside of themselves as unredeemably dangerous, hostile, confusing and unnurturing. Such people feel their boundaries to be protecting and comforting and find a sense of safety in their loneliness. But most of us feel our loneliness to be painful and yearn to escape from behind the walls of our individual identities to a condition in which we can be more unified with the world outside of ourselves. The experience of falling in love allows us this escapetemporarily. The essence of the phenomenon of falling in love is a sudden collapse of a section of an individual's ego boundaries, permitting one to merge his or her identity with that of another person. The sudden release of oneself from oneself, the explosive pouring out of oneself into the beloved, and the dramatic surcease of loneliness accompanying this collapse of ego boundaries is experienced by most of us as ecstatic. We and our beloved are one! Loneliness is no more! In some respects (but certainly not in all) the act of falling in love is an act of regression. The experience of merging with the loved one has in it echoes from the time when we were merged with our mothers in infancy. Along with the merging we also reexperience the sense of omnipotence which we had to give up in our journey out of childhood. All things seem possible! United with our beloved we feel we can conquer all obstacles. We believe that the strength of our love will cause the forces of opposition to bow down in submission and melt away into the darkness. All problems will be overcome. The future will be all light. The unreality of these feelings when we have fallen in love is essentially the same as the unreality of the two-year-old who feels itself to be king of the family and the world with power unlimited. Just as reality intrudes upon the two-year-old's fantasy of omnipotence so does reality intrude upon the fantastic unity of the couple who have fallen in love. Sooner or later, in response to the problems of daily living, individual will reasserts itself. He wants to have sex; she doesn't. She wants to go to the movies; he doesn't. He wants to put money in the bank; she wants a dishwasher. She wants to talk about her job; he wants to talk about his. She doesn't like his friends; he doesn't like hers. So both of them, in the privacy of their hearts, begin to come to the sickening realization that they are not one with the beloved, that the beloved has and will continue to have his or her own desires, tastes, prejudices and timing different from the other's. One by one, gradually or suddenly, the ego boundaries snap back into place; gradually or suddenly, they fall out of love. Once again they are two separate individuals. At this point they begin either to dissolve the ties of their relationship or to initiate the work of real loving.

The filter bubble tends to dramatically amplify confirmation bias—in a way, it’s designed to. Consuming information that conforms to our ideas of the world is easy and pleasurable; consuming information that challenges us to think in new ways or question our assumptions is frustrating and difficult. This is why partisans of one political stripe tend not to consume the media of another. As a result, an information environment built on click signals will favor content that supports our existing notions about the world over content that challenges them.

I feel to that the gap between my new life in New York and the situation at home in Africa is stretching into a gulf, as Zimbabwe spirals downwards into a violent dictatorship. My head bulges with the effort to contain both worlds. When I am back in New York, Africa immediately seems fantastical – a wildly plumaged bird, as exotic as it is unlikely. Most of us struggle in life to maintain the illusion of control, but in Africa that illusion is almost impossible to maintain. I always have the sense there that there is no equilibrium, that everything perpetually teeters on the brink of some dramatic change, that society constantly stands poised for some spasm, some tsunami in which you can do nothing but hope to bob up to the surface and not be sucked out into a dark and hungry sea. The origin of my permanent sense of unease, my general foreboding, is probably the fact that I have lived through just such change, such a sudden and violent upending of value systems. In my part of Africa, death is never far away. With more Zimbabweans dying in their early thirties now, mortality has a seat at every table. The urgent, tugging winds themselves seem to whisper the message, memento mori, you too shall die. In Africa, you do not view death from the auditorium of life, as a spectator, but from the edge of the stage, waiting only for your cue. You feel perishable, temporary, transient. You feel mortal. Maybe that is why you seem to live more vividly in Africa. The drama of life there is amplified by its constant proximity to death. That’s what infuses it with tension. It is the essence of its tragedy too. People love harder there. Love is the way that life forgets that it is terminal. Love is life’s alibi in the face of death. For me, the illusion of control is much easier to maintain in England or America. In this temperate world, I feel more secure, as if change will only happen incrementally, in manageable, finely calibrated, bite-sized portions. There is a sense of continuity threaded through it all: the anchor of history, the tangible presence of antiquity, of buildings, of institutions. You live in the expectation of reaching old age. At least you used to. But on Tuesday, September 11, 2001, those two states of mind converge. Suddenly it feels like I am back in Africa, where things can be taken away from you at random, in a single violent stroke, as quick as the whip of a snake’s head. Where tumult is raised with an abruptness that is as breathtaking as the violence itself.

More important and more relevant to the death of expertise, however, is that conspiracy theories are deeply attractive to people who have a hard time making sense of a complicated world and who have no patience for less dramatic explanations. Such theories also appeal to a strong streak of narcissism: there are people who would choose to believe in complicated nonsense rather than accept that their own circumstances are incomprehensible, the result of issues beyond their intellectual capacity to understand, or even their own fault.

Anxiety asks you, dear reader, to embrace the gift of who you are. Maybe you’ve been told that you’re too much — too sensitive, too dramatic, too emotional, too analytical — and this message was translated inside your young self to mean that you were wrong or broken in some way. But you must begin to know now, as hopefully you will as you read through this book, that there’s absolutely nothing wrong with you. You’re not broken. You’re not too much. You’re not wrong. In fact, it’s the very qualities that you’ve been shamed for that you now need to wrap up like a hurt animal and hug close to your heart. For it’s when you stop seeing your sensitivity as a burden and instead recognize it as the gift it is that you will begin to heal the hurt places inside you and bring your full presence into the world.

Back in Minneapolis, I said I would go to American. I have a remarkable ability to delete all better judgment from my brain when I get my head set on something. Everything is done at all costs. I have no sense of moderation, no sense of caution. I have no sense, pretty much. People with eating disorders tend to be very diametrical thinkers-everything is the end of the world, everything rides on this one thing, and everyone tells you you're very dramatic, very intense, and they see it as an affectation, but it's actually just how you think. It really seems to you that the sky will fall if you are not personally holding it up. On the one hand, this is sheer arrogance; on the other hand, this is a very real fear. And it isn't that you ignore the potential repercussions of your actions. You don't think there are any.

Something else emerges from this discussion about us as human individuals: we're not fixed, stable intellects riding along peering at the world through the lenses of our eyes like the pilots of people-shaped spacecraft. We are affected constantly by what's going on around us. Whether our flexibility is based in neuroplasticity or in less dramatic aspects of the brain, we have to start acknowledging that we are mutable, persuadable and vulnerable to clever distortions, and that very often what we want to be is a matter of constant effort rather than attaining a given state and then forgetting about it. Being human isn't like hanging your hat on a hook and leaving it there, it's like walking in a high wind: you have to keep paying attention. You have to be engaged with the world.

People hate thinking systematically about how to optimize their relationships. It is normal to hear someone say: “I will just wait for something to happen naturally” when talking about one of the most important aspects of their life while genuinely believing that this approach has reasonable odds of success. Imagine if people said the same thing about their careers. It would sound truly bizarre for someone to expect a successful career to “just happen naturally” and yet it is entirely normalized to expect that good relationships will. People pay tens of thousands of dollars to receive degrees in computer science, marketing, and neuroscience. They make tough sacrifices with the understanding that the skills and knowledge they build in these domains will dramatically affect their quality of life. Ironically, people spend very little time systematically examining mating strategies—despite the fact that a robust understanding of the subject can dramatically affect quality of life. We will happily argue that your sexual and relationship skills matter more than your career skills. If you want to be wealthy, the fastest way to become so is to marry rich. Nothing makes happiness easier than a loving, supportive relationship, while one of the best ways to ensure you are never happy is to enter or fail to recognize and escape toxic relationships. If you want to change the world, a great partner can serve as a force multiplier. A draft horse can pull 8000 pounds, while two working together can pull 24,000 pounds. When you have a partner with whom you can synergize, you gain reach and speed that neither you nor your partner could muster individually. Heck, even if you are the type of person to judge your self-worth by the number of people with whom you have slept, a solid grasp of mating strategies will help you more than a lifetime of hitting the gym (and we say this with full acknowledgment that hitting the gym absolutely helps). A great romantic relationship will even positively impact your health (a 2018 paper in Psychophysiology found that the presence of a partner in a room lowered participants’ blood pressure) and increase your lifespan (a 2019 paper in the journal Health Psychology showed individuals in happy marriages died young at a 20% lower rate). 

I first read The Lord of the Rings and The Hobbit when I was eighteen. It felt as though the author had taken every element I'd ever want in a story and woven them into one huge, seamless narrative; but more important, for me, Tolkien had created a place, a vast, beautiful, awesome landscape, which remained a resource long after the protagonists had finished their battles and gone their separate ways. In illustrating The Lord of the Rings I allowed the landscapes to predominate. In some of the scenes the characters are so small they are barely discernible. This suited my own inclinations and my wish to avoid, as much as possible, interfering with the pictures being built up in the reader's mind, which tends to be more closely focussed on characters and their inter-relationships. I felt my task lay in shadowing the heroes on their epic quest, often at a distance, closing in on them at times of heightened emotion but avoiding trying to re-create the dramatic highpoints of the text. With The Hobbit, however, it didn't seem appropriate to keep such a distance, particularly from the hero himself. I don't think I've ever seen a drawing of a Hobbit which quite convinced me, and I don't know whether I've gotten any closer myself with my depictions of Bilbo. I'm fairly happy with the picture of him standing outside Bag End, before Gandalf arrives and turns his world upside-down, but I've come to the conclusion that one of the reasons Hobbits are so quiet and elusive is to avoid the prying eyes of illustrators.

[…] I began to see Algiers as one of the most fascinating and dramatic places on earth. In the small space of this beautiful but congested city intersected two great conflicts of the contemporary world. The first was the one between Christianity and Islam (expressed here in the clash between colonizing France and colonized Algeria). The second, which acquired a sharpness of focus immediately after the independence and departure of the French, was a conflict at the very heart of Islam, between its open, dialectical — I would even say “Mediterranean” — current and its other, inward-looking one, born of a sense of uncertainty and confusion vis-à-vis the contemporary world, guided by fundamentalists who take advantage of modern technology and organizational principles yet at the same time deem the defense of faith and custom against modernity as the condition of their own existence, their sole identity. […] In Algiers one speaks simply of the existence of two varieties of Islam — one, which is called the Islam of the desert, and a second, which is defined as the Islam of the river (or of the sea). The first is the religion practiced by warlike nomadic tribes struggling to survive in one of the world's most hostile environments, the Sahara. The second Islam is the faith of merchants, itinerant peddlers, people of the road and of the bazaar, for whom openness, compromise, and exchange are not only beneficial to trade, but necessary to life itself.

Victor-Marie Hugo (26 February 1802 — 22 May 1885) was a French poet, novelist, playwright, essayist, visual artist, statesman, human rights campaigner, and perhaps the most influential exponent of the Romantic movement in France. In France, Hugo's literary reputation rests on his poetic and dramatic output. Among many volumes of poetry, Les Contemplations and La Légende des siècles stand particularly high in critical esteem, and Hugo is sometimes identified as the greatest French poet. In the English-speaking world his best-known works are often the novels Les Misérables and Notre-Dame de Paris (sometimes translated into English as The Hunchback of Notre-Dame). Though extremely conservative in his youth, Hugo moved to the political left as the decades passed; he became a passionate supporter of republicanism, and his work touches upon most of the political and social issues and artistic trends of his time. Source: Wikipedia

We are the last generation that can experience true wilderness. Already the world has shrunk dramatically. To a Frenchman, the Pyrenees are “wild.” To a kid living in a New York City ghetto, Central Park is “wilderness,” the way Griffith Park in Burbank was to me when I was a kid. Even travelers in Patagonia forget that its giant, wild-looking estancias are really just overgrazed sheep farms. New Zealand and Scotland were once forested and populated with long-forgotten animals. The place in the lower forty-eight states that is farthest away from a road or habitation is at the headwaters of the Snake River in Wyoming, and it’s still only twenty-five miles. So if you define wilderness as a place that is more than a day’s walk from civilization, there is no true wilderness left in North America, except in parts of Alaska and Canada. In a true Earth-radical group, concern for wilderness preservation must be the keystone. The idea of wilderness, after all, is the most radical in human thought—more radical than Paine, than Marx, than Mao. Wilderness says: Human beings are not paramount, Earth is not for Homo sapiens alone, human life is but one life form on the planet and has no right to take exclusive possession. Yes, wilderness for its own sake, without any need to justify it for human benefit. Wilderness for wilderness. For bears and whales and titmice and rattlesnakes and stink bugs. And…wilderness for human beings…. Because it is home. —Dave Foreman, Confessions of an Eco-Warrior We need to protect these areas of unaltered wildness and diversity to have a baseline, so we never forget what the real world is like—in perfect balance, the way nature intended the earth to be. This is the model we need to keep in mind on our way toward sustainability.

THIS ISN’T CHINA Hold me close and tell me what the world is like I don’t want to look outside I want to depend on your eyes and your lips I don’t want to feel anything but your hand on the old raw bumper I don’t want to feel anything else If you love the dead rocks and the huge rough pine trees Ok I like them too Tell me if the wind makes a pretty sound in the billion billion needles I’ll close my eyes and smile Tell me if it’s a good morning or a clear morning Tell me what the fuck kind of morning it is and I’ll buy it And get the dog to stop whining and barking This isn’t China nobody’s going to eat it It’s just going to get fed and petted Ok where were we? Ok go if you must. I’ll create the cosmos by myself I’ll let it all stick to me every fucking pine needle And I’ll broadcast my affection from this shaven dome 360 degrees to all the dramatic vistas to all the mists and snows that moves across the shining mountains to the women bathing in the stream and combing their hair on the roofs to the voiceless ones who have petitioned me from their surprising silence to the poor in the heart (oh more and more to them) to all the thought-forms and leaking mental objects that you get up here at the end of your ghostly life

But…” Hazel gripped his shoulders and stared at him in amazement. “Frank, what happened to you?” “To me?” He stood, suddenly self-conscious. “I don’t…” He looked down and realized what she meant. Triptolemus hadn’t gotten shorter. Frank was taller. His gut had shrunk. His chest seemed bulkier. Frank had had growth spurts before. Once he’d woken up two centimeters taller than when he’d gone to sleep. But this was nuts. It was as if some of the dragon and lion had stayed with him when he’d turned back to human. “Uh…I don’t…Maybe I can fix it.” Hazel laughed with delight. “Why? You look amazing!” “I—I do?” “I mean, you were handsome before! But you look older, and taller, and so distinguished—” Triptolemus heaved a dramatic sigh. “Yes, obviously some sort of blessing from Mars. Congratulations, blah, blah, blah. Now, if we’re done here…?” Frank glared at him. “We’re not done. Heal Nico.” The farm god rolled his eyes. He pointed at the corn plant, and BAM! Nico di Angelo appeared in an explosion of corn silk. Nico looked around in a panic. “I—I had the weirdest nightmare about popcorn.” He frowned at Frank. “Why are you taller?” “Everything’s fine,” Frank promised. “Triptolemus was about to tell us how to survive the House of Hades. Weren’t you, Trip?” The farm god raised his eyes to the ceiling, like, Why me, Demeter? “Fine,” Trip said. “When you arrive at Epirus, you will be offered a chalice to drink from.” “Offered by whom?” Nico asked. “Doesn’t matter,” Trip snapped. “Just know that it is filled with deadly poison.” Hazel shuddered. “So you’re saying that we shouldn’t drink it.” “No!” Trip said. “You must drink it, or you’ll never be able to make it through the temple. The poison connects you to the world of the dead, lets you pass into the lower levels. The secret to surviving is”—his eyes twinkled—“barley.” Frank stared at him. “Barley.” “In the front room, take some of my special barley. Make it into little cakes. Eat these before you step into the House of Hades. The barley will absorb the worst of the poison, so it will affect you, but not kill you.” “That’s it?” Nico demanded. “Hecate sent us halfway across Italy so you could tell us to eat barley?” “Good luck!” Triptolemus sprinted across the room and hopped in his chariot. “And, Frank Zhang, I forgive you! You’ve got spunk. If you ever change your mind, my offer is open. I’d love to see you get a degree in farming!” “Yeah,” Frank muttered. “Thanks.” The god pulled a lever on his chariot. The snake-wheels turned. The wings flapped. At the back of the room, the garage doors rolled open. “Oh, to be mobile again!” Trip cried. “So many ignorant lands in need of my knowledge. I will teach them the glories of tilling, irrigation, fertilizing!” The chariot lifted off and zipped out of the house, Triptolemus shouting to the sky, “Away, my serpents! Away!” “That,” Hazel said, “was very strange.” “The glories of fertilizing.” Nico brushed some corn silk off his shoulder. “Can we get out of here now?” Hazel put her hand on Frank’s shoulder. “Are you okay, really? You bartered for our lives. What did Triptolemus make you do?” Frank tried to hold it together. He scolded himself for feeling so weak. He could face an army of monsters, but as soon as Hazel showed him kindness, he wanted to break down and cry. “Those cow monsters…the katoblepones that poisoned you…I had to destroy them.” “That was brave,” Nico said. “There must have been, what, six or seven left in that herd.” “No.” Frank cleared his throat. “All of them. I killed all of them in the city.” Nico and Hazel stared at him in stunned silence. Frank

The Gap Instinct The gap instinct is very strong. The first time I lectured to the staff of the World Bank was in 1999. I told them the labels “developing” and “developed” were no longer valid and I swallowed my sword. It took the World Bank 17 years and 14 more of my lectures before it finally announced publicly that it was dropping the terms “developing” and “developed” and would from now on divide the world into four income groups. The UN and most other global organizations have still not made this change. So why is the misconception of a gap between the rich and the poor so hard to change? I think this is because human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time. Journalists know this. They set up their narratives as conflicts between two opposing people, views, or groups. They prefer stories of extreme poverty and billionaires to stories about the vast majority of people slowly dragging themselves toward better lives. Journalists are storytellers. So are people who produce documentaries and movies.

the reactions were generally the same. As a rule, most people seem to appreciate being rescued by dashing strangers. Most people, perhaps, but not Sophie Quire. “Are you insane?” she shouted, her voice hoarse from screaming at him. “You nearly killed those men!” Peter almost fell over as she wrenched a book out from under his boot. He listened as she riffled through the pages, as though inspecting the book for damage. “And what were you doing up on that lamppost, anyway?” she demanded. “Were you following me?” Peter stepped back, caught off guard. “I . . . um . . .” Obviously he had been following her. People didn’t just spend their mornings climbing lampposts for the fun of it. But to hear her describe the activity, you would think it was the worst thing in the world. “In case you forgot,” he said finally, “I just rescued you.” “Rescued me?” The girl got right in his face. She was radiating indignation like a furnace. “I was going to have to pay a fine . . . Now I’m party to attempted murder. Who knows what they will do to me, or my father? One word from the Inquisitor and we’ll be on the street or worse—and it will all be thanks to you!” Peter opened his mouth but closed it again. He could feel his whole face flushing with anger, or perhaps embarrassment—he wasn’t sure which. All he knew was this was not what he had planned. “I . . . I was only trying to help,” he said, inching back. “Next time, resist the urge.” The girl yanked her cloak over her shoulders with a dramatic flap. “And if you’re going to throw something into the river,” she added, “why not start with that ridiculous hat? You look like an ostrich in mourning.” With a dramatic heel, she turned away and ran toward the road.

Over the past fifteen years, the iconoclastic mathematician Irakli Loladze has isolated a dramatic effect of carbon dioxide on human nutrition unanticipated by plant physiologists: it can make plants bigger, but those bigger plants are less nutritious. “Every leaf and every grass blade on earth makes more and more sugars as CO2 levels keep rising,” Loladze told Politico, in a story about his work headlined “The Great Nutrient Collapse.” “We are witnessing the greatest injection of carbohydrates into the biosphere in human history—[an] injection that dilutes other nutrients in our food supply.” Since 1950, much of the good stuff in the plants we grow—protein, calcium, iron, vitamin C, to name just four—has declined by as much as one-third, a landmark 2004 study showed. Everything is becoming more like junk food. Even the protein content of bee pollen has dropped by a third. The problem has gotten worse as carbon concentrations have gotten worse. Recently, researchers estimated that by 2050 as many as 150 million people in the developing world will be at risk of protein deficiency as the result of nutrient collapse, since so many of the world’s poor depend on crops, rather than animal meat, for protein; 138 million could suffer from a deficiency of zinc, essential to healthy pregnancies; and 1.4 billion could face a dramatic decline in dietary iron—pointing to a possible epidemic of anemia. In 2018, a team led by Chunwu Zhu looked at the protein content of eighteen different strains of rice, the staple crop for more than 2 billion people, and found that more carbon dioxide in the air produced nutritional declines across the board—drops in protein content, as well as in iron, zinc, and vitamins B1, B2, B5, and B9. Really everything but vitamin E. Overall, the researchers found that, acting just through that single crop, rice, carbon emissions could imperil the health of 600 million people. In previous centuries, empires were built on that crop. Climate change promises another, an empire of hunger, erected among the world’s poor.

In every interview I’m asked what’s the most important quality a novelist has to have. It’s pretty obvious: talent. Now matter how much enthusiasm and effort you put into writing, if you totally lack literary talent you can forget about being a novelist. This is more of a prerequisite than a necessary quality. If you don’t have any fuel, even the best car won’t run.The problem with talent, though, is that in most cases the person involved can’t control its amount or quality. You might find the amount isn’t enough and you want to increase it, or you might try to be frugal and make it last longer, but in neither case do things work out that easily. Talent has a mind of its own and wells up when it wants to, and once it dries up, that’s it. Of course, certain poets and rock singers whose genius went out in a blaze of glory—people like Schubert and Mozart, whose dramatic early deaths turned them into legends—have a certain appeal, but for the vast majority of us this isn’t the model we follow. If I’m asked what the next most important quality is for a novelist, that’s easy too: focus—the ability to concentrate all your limited talents on whatever’s critical at the moment. Without that you can’t accomplish anything of value, while, if you can focus effectively, you’ll be able to compensate for an erratic talent or even a shortage of it. I generally concentrate on work for three or four hours every morning. I sit at my desk and focus totally on what I’m writing. I don’t see anything else, I don’t think about anything else. … After focus, the next most important thing for a novelist is, hands down, endurance. If you concentrate on writing three or four hours a day and feel tired after a week of this, you’re not going to be able to write a long work. What’s needed of the writer of fiction—at least one who hopes to write a novel—is the energy to focus every day for half a year, or a year, or two years. … Fortunately, these two disciplines—focus and endurance—are different from talent, since they can be acquired and sharpened through training. You’ll naturally learn both concentration and endurance when you sit down every day at your desk and train yourself to focus on one point. This is a lot like the training of muscles I wrote of a moment ago. You have to continually transmit the object of your focus to your entire body, and make sure it thoroughly assimilates the information necessary for you to write every single day and concentrate on the work at hand. And gradually you’ll expand the limits of what you’re able to do. Almost imperceptibly you’ll make the bar rise. This involves the same process as jogging every day to strengthen your muscles and develop a runner’s physique. Add a stimulus and keep it up. And repeat. Patience is a must in this process, but I guarantee results will come. In private correspondence the great mystery writer Raymond Chandler once confessed that even if he didn’t write anything, he made sure he sat down at his desk every single day and concentrated. I understand the purpose behind his doing this. This is the way Chandler gave himself the physical stamina a professional writer needs, quietly strengthening his willpower. This sort of daily training was indispensable to him. … Most of what I know about writing I’ve learned through running every day. These are practical, physical lessons. How much can I push myself? How much rest is appropriate—and how much is too much? How far can I take something and still keep it decent and consistent? When does it become narrow-minded and inflexible? How much should I be aware of the world outside, and how much should I focus on my inner world? To what extent should I be confident in my abilities, and when should I start doubting myself? I know that if I hadn’t become a long-distance runner when I became a novelist, my work would have been vastly different. How different? Hard to say. But something would definitely have been different.

For Eric, Columbine was a performance. Homicidal art. He actually referred to his audience in his journal: “the majority of the audience wont even understand my motives,” he complained. He scripted Columbine as made-for-TV murder, and his chief concern was that we would be too stupid to see the point. Fear was Eric’s ultimate weapon. He wanted to maximize the terror. He didn’t want kids to fear isolated events like a sporting event or a dance; he wanted them to fear their daily lives. It worked. Parents across the country were afraid to send their kids to school. Eric didn’t have the political agenda of a terrorist, but he had adopted terrorist tactics. Sociology professor Mark Juergensmeyer identified the central characteristic of terrorism as “performance violence.” Terrorists design events “to be spectacular in their viciousness and awesome in their destructive power. Such instances of exaggerated violence are constructed events: they are mind-numbing, mesmerizing theater.” The audience—for Timothy McVeigh, Eric Harris, or the Palestine Liberation Organization—was always miles away, watching on TV. Terrorists rarely settle for just shooting; that limits the damage to individuals. They prefer to blow up things—buildings, usually, and the smart ones choose carefully. “During that brief dramatic moment when a terrorist act levels a building or damages some entity that a society regards as central to its existence, the perpetrators of the act assert that they—and not the secular government—have ultimate control over that entity and its centrality,” Juergensmeyer wrote. He pointed out that during the same day as the first attack on the World Trade Center, in 1993, a deadlier attack was leveled against a coffee shop in Cairo. The attacks were presumably coordinated by the same group. The body count was worse in Egypt, yet the explosion was barely reported outside that country. “A coffeehouse is not the World Trade Center,” he explained. Most terrorists target symbols of the system they abhor—generally, iconic government buildings. Eric followed the same logic. He understood that the cornerstone of his plan was the explosives. When all his bombs fizzled, everything about his attack was misread. He didn’t just fail to top Timothy McVeigh’s record—he wasn’t even recognized for trying. He was never categorized with his peer group. We lumped him in with the pathetic loners who shot people.

First of all, historically, markets simply did not emerge as some autonomous domain of freedom independent of, and opposed to, state authorities. Exactly the opposite is the case. Historically, markets are generally either a side effects of government operations, especially military operations, or were directly created by government policy. This has been true at least since the invention of coinage, which was first created and promulgated as a means of provisioning soldiers; for most of Eurasian history, ordinary people used informal credit arrangements and physical money, gold, silver, bronze, and the kind of impersonal markets they made possible remained mainly an adjunct to the mobilization of legions, sacking of cities, extraction of tribute, and disposing of loot. Modern central banking systems were likewise first created to finance wars. So there's one initial problem with the conventional history. There's another even more dramatic one. While the idea that the market is somehow opposed to and independent of government has been used at least since the nineteenth century to justify laissez faire economic policies designed to lessen the role of government, they never actually have that effect. English liberalism, for instance, did not lead to a reduction of state bureaucracy, but the exact opposite: an endlessly ballooning array of legal clerks, registrars, inspectors, notaries, and police officials who made the liberal dream of a world of free contract between autonomous individuals possible. It turned out that maintaining a free market economy required a thousand times more paperwork than a Louis XIV-style absolutist monarchy. (p. 8-9)

What you describe is parasitism, not love. When you require another individual for your survival, you are a parasite on that individual. There is no choice, no freedom involved in your relationship. It is a matter of necessity rather than love. Love is the free exercise of choice. Two people love each other only when they are quite capable of living without each other but choose to live with each other. We all-each and every one of us-even if we try to pretend to others and to ourselves that we don't have dependency needs and feelings, all of us have desires to be babied, to be nurtured without effort on our parts, to be cared for by persons stronger than us who have our interests truly at heart. No matter how strong we are, no matter how caring and responsible and adult, if we look clearly into ourselves we will find the wish to be taken care of for a change. Each one of us, no matter how old and mature, looks for and would like to have in his or her life a satisfying mother figure and father figure. But for most of us these desires or feelings do not rule our lives; they are not the predominant theme of our existence. When they do rule our lives and dictate the quality of our existence, then we have something more than just dependency needs or feelings; we are dependent. Specifically, one whose life is ruled and dictated by dependency needs suffers from a psychiatric disorder to which we ascribe the diagnostic name "passive dependent personality disorder." It is perhaps the most common of all psychiatric disorders. People with this disorder, passive dependent people, are so busy seeking to be loved that they have no energy left to love…..This rapid changeability is characteristic of passive dependent individuals. It is as if it does not matter whom they are dependent upon as long as there is just someone. It does not matter what their identity is as long as there is someone to give it to them. Consequently their relationships, although seemingly dramatic in their intensity, are actually extremely shallow. Because of the strength of their sense of inner emptiness and the hunger to fill it, passive dependent people will brook no delay in gratifying their need for others. If being loved is your goal, you will fail to achieve it. The only way to be assured of being loved is to be a person worthy of love, and you cannot be a person worthy of love when your primary goal in life is to passively be loved. Passive dependency has its genesis in lack of love. The inner feeling of emptiness from which passive dependent people suffer is the direct result of their parents' failure to fulfill their needs for affection, attention and care during their childhood. It was mentioned in the first section that children who are loved and cared for with relative consistency throughout childhood enter adulthood with a deep seated feeling that they are lovable and valuable and therefore will be loved and cared for as long as they remain true to themselves. Children growing up in an atmosphere in which love and care are lacking or given with gross inconsistency enter adulthood with no such sense of inner security. Rather, they have an inner sense of insecurity, a feeling of "I don't have enough" and a sense that the world is unpredictable and ungiving, as well as a sense of themselves as being questionably lovable and valuable. It is no wonder, then, that they feel the need to scramble for love, care and attention wherever they can find it, and once having found it, cling to it with a desperation that leads them to unloving, manipulative, Machiavellian behavior that destroys the very relationships they seek to preserve. In summary, dependency may appear to be love because it is a force that causes people to fiercely attach themselves to one another. But in actuality it is not love; it is a form of antilove. Ultimately it destroys rather than builds relationships, and it destroys rather than builds people.

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

She was free in her wildness. She was a wanderess, a drop of free water. She belonged to no man and to no city. (by Roman Payne, from “The Wanderess.” How this quote became so popular, I have no idea. I wrote it about one woman: The heroine of “The Wanderess,” Saskia; yet I wrote these lines to describe Saskia at her best—praising the qualities of a heroine that all women should strive to have, or keep if they have them. I wrote these lines to make Saskia be like a statue of Psyche or Demeter. The masculine sculptor doesn’t see rock when he carves Aphrodite. He sees before him the carving of the perfect feminine creature. I was creating my ‘perfect feminine creature’ when I wrote about Saskia. She is completely wild and fearless in her dramatic performance of life. She knows that she may only have one life to live and that most people in her society wish to see her fail in her dream of living a fulfilled life. For if a woman acts and lives exactly as society wants her to live, she will never be truly happy, never fulfilled. For societies do not want girls and women to wander. I am surprised that this quote became so famous, since I didn’t spend more than a few seconds writing it. It was written merely as three sentences in a novel. I didn’t write it to be a solitary poem. This quote that touches so many people is no more than an arrangement of twenty-four words in a book of three-hundred pages. What touches me the most is when fans send me photos of tattoos they’ve had done of this quote—either a few words from it or the whole quote. The fact that these wonderful souls are willing to guard words that I’ve written on their precious skin for the rest of their lives makes me feel that what I am writing is worth something and not nothing. When I get depressed and feel the despair that haunts me from time to time, and cripples me, I look at these photos of these tattoos, and it helps me to think that what I am doing is important to some people, and it helps me to start writing again. Am I a masculine version of the wanderess in this quote? Of course I am! I am wild and fearless, I am a wanderer who belongs to no city and to nobody; I am a drop of free water. I am—to cite one of my other quotes—“free as a bird. King of the world and laughing!

Where is everybody?” “Hiding,” she said. “Except for Doolittle. He was excused from the chewing-out due to having been kidnapped. He’s napping now like he doesn’t have a care in the world. I got to hear all sorts of interesting stuff through the door.” “Give.” She shot me a sly smile. “First, I got to listen to Jim’s ‘it’s all my fault; I did it all by myself’ speech. Then I got to listen to Derek’s ‘it’s all my fault and I did it all by myself’ speech. Then Curran promised that the next person who wanted to be a martyr would get to be one. Then Raphael made a very growling speech about how he was here for a blood debt. It was his right to have restitution for the injury caused to the friend of the boudas; it was in the damn clan charter on such and such page. And if Curran wanted to have an issue with it, they could take it outside. It was terribly dramatic and ridiculous. I loved it.” I could actually picture Curran sitting there, his hand on his forehead above his closed eyes, growling quietly in his throat. “Then Dali told him that she was sick and tired of being treated like she was made out of glass and she wanted blood and to kick ass.” That would do him in. “So what did he say?” “He didn’t say anything for about a minute and then he chewed them out. He told Derek that he’d been irresponsible with Livie’s life, and that if he was going to rescue somebody, the least he could do is to have a workable plan, instead of a poorly thought-out mess that backfired and broke just about every Pack law and got his face smashed in. He told Dali that if she wanted to be taken seriously, she had to accept responsibility for her own actions instead of pretending to be weak and helpless every time she got in trouble and that this was definitely not the venue to prove one’s toughness. Apparently he didn’t think her behavior was cute when she was fifteen and he’s not inclined to tolerate it now that she’s twenty-eight.” I was cracking up. “He told Raphael that the blood debt overrode Pack law only in cases of murder or life-threatening injury and quoted the page of the clan charter and the section number where that could be found. He said that frivolous challenges to the alpha also violated Pack law and were punishable by isolation. It was an awesome smackdown. They had no asses left when he was done.” Andrea began snapping the gun parts together. “Then he sentenced the three of them and himself to eight weeks of hard labor, building the north wing addition to the Keep, and dismissed them. They ran out of there like their hair was on fire.” “He sentenced himself?” “He’s broken Pack law by participating in our silliness, apparently.” That’s Beast Lord for you. “And Jim?” “Oh, he got a special chewing-out after everybody else was dismissed. It was a very quiet and angry conversation, and I didn’t hear most of it. I heard the end, though—he got three months of Keep building. Also, when he opened the door to leave, Curran told him very casually that if Jim wanted to pick fights with his future mate, he was welcome to do so, but he should keep in mind that Curran wouldn’t come and rescue him when you beat his ass. You should’ve seen Jim’s face.” “His what?” “His mate. M-A-T-E.” I cursed. Andrea grinned. “I thought that would make your day. And now you’re stuck with him in here for three days and you get to fight together in the Arena. It’s so romantic. Like a honeymoon.” Once again my mental conditioning came in handy. I didn’t strangle her on the spot.

Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.