Draw The Circle Quotes

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Claim your space. Draw a circle of light around it. Push back against the dark. Don't just survive. Celebrate.
Charles Frazier (Nightwoods)
She was all the things I wasn't. And i was all the things she wasn't. she could paint circles around anyone; I couldn't even draw a straight line. She was never into sports; I've always been. Her hand, it fit mine.
Jodi Picoult (The Pact)
This is my living faith, an active faith, a faith of verbs: to question, explore, experiment, experience, walk, run, dance, play, eat, love, learn, dare, taste, touch, smell, listen, speak, write, read, draw, provoke, emote, scream, sin, repent, cry, kneel, pray, bow, rise, stand, look, laugh, cajole, create, confront, confound, walk back, walk forward, circle, hide, and seek.
Terry Tempest Williams (Leap)
The stage is a magic circle where only the most real things happen, a neutral territory outside the jurisdiction of Fate where stars may be crossed with impunity. A truer and more real place does not exist in all the universe.
P.S. Baber (Cassie Draws the Universe)
Each prayer is like a seed that gets planted in the ground. It disappears for a season, but it eventually bears fruit that blesses future generations. In fact, our prayers bear fruit forever.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Prayer adds an element of surprise to your life that is more fun than a surprise party or surprise gift or surprise romance. In fact, prayer turns life into a party, into a gift, into a romance.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Whether we write lyrics or craft legislation, sell homes or teach classes, design spaces or open franchises, prayer is a critical part of the creative process. Don’t just brainstorm; praystorm.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Draw a circle, not a heart, around the one you love because a heart can break but a circle goes on forever.
Danny Kaye
People don't settle for people. They resolve to be with them. It takes faith. You draw a circle in the sand and agree to stand in it and believe in it.
Zadie Smith (The Autograph Man)
The problem with the world is that we draw the circle of our family too small.
Mother Teresa
Nolan Bushnell, the creator of the Atari video game system, once stated, ‘Everyone who’s ever taken a shower has had an idea, It’s the person who gets out of the shower, dries off, and does something about it who makes a difference.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
I always liked routine. I suppose I never found boredom very boring. I doubted I could explain it to someone like Margo but drawing circles through life struck me as a kind of reasonable insanity.
John Green (Paper Towns)
I told him the story of the day I'd been mending pottery with one of the maids in the kitchen at Keramzin, waiting for him to return from one of the hunting trips that had taken him from home more and more frequently. I'd been fifteen, standing at the counter, vainly trying to glue together the jagged pieces of a blue cup. When I saw him crossing the fields, I ran to the doorway and waved. He caught sight of me and broke into a jog. I had crossed the yard to him slowly, watching him draw closer, baffled by the way my heart was skittering around in my chest. Then he'd picked me up and swung me in a circle, and I'd clung to him, breathing in his sweet, familiar smell, shocked by how much I'd missed him. Dimly, I'd been aware that I still had a shard of that blue cup in my hand, that it was digging into my palm, but I didn't want to let go. When he finally set me down and ambled off into the kitchen to find his lunch, I had stood there, my palm dripping in blood, my head still spinning, knowing that everything had changed. Ana Kuya had scolded me for getting blood on the clean kitchen floor. She'd bandaged my hand and told me it would heal. But I knew it would just go on hurting.
Leigh Bardugo (Shadow and Bone (The Shadow and Bone Trilogy, #1))
Prayer is the difference between seeing with our physical eyes and seeing with our spiritual eyes.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Qhuinn looked at each of the hoods again. How ironic, he thought. Nearly two years ago, an Honor Guard of black robes had been sent to him to make sure he knew his family didn't want him. And now, here these males were, come to draw him into a different kind of fold-- that was every bit as strong as that of blood.
J.R. Ward (Lover at Last (Black Dagger Brotherhood, #11))
Believe it or not, some of us have piercings and tattoos and dye our hair because we think it looks pretty, not for any deep sociological reason. This isn't an act of protest against cultural or social repression. It's not a grand, deliberately defiant gesture against capitalists or feminists or any other social group. It's not even the fashion equivalent to sticking two fingers up at the world. The boring truth of it, Gabriel, is that I don't dress like this to hurt my parents or draw attention to myself or make a statement. I just do it because I think it looks nice. Disappointed?
Alex Bell (The Ninth Circle)
If you were to draw a map of the two of them, of where they started out and where they would both end up, the lines would be shooting away from each other like magnets spun around on their poles. And it occurred to Owen that there was something deeply flawed about this, that there should be circles or angels or turns, anything that might make it possible for the two lines to meet again. Instead, they were both headed in the exact opposite directions. The map was as good as a door swinging shut. And the geography of the thing- the geography of them- was completely and hopelessly wrong.
Jennifer E. Smith (The Geography of You and Me)
She belonged to me," He said simply. "She was , you know, all the things I wasn't. And I was all the things she wasn't. She could paint circles around anyone; I can't even draw a straight line. She was never into sports; I've always been." He lifted his outstretched palm and curled his fingers. "Her hand," he said. "It fit mine.
Jodi Picoult
Heartache doesn't teach you to be resilient. It teaches you to protect your fragility. It teaches you to fear love. And it draws a bright red circle around all the ways you've failed as a person and laughs while you cry.
Leisa Rayven (Wicked Heart (Starcrossed, #3))
Every woman draws a circle around herself. Sometimes she has to be the only thing inside it.
Alix E. Harrow (The Once and Future Witches)
I have a handful of prayers that I pray all the time... One is that God will put my books into the right hands at the right times. I've prayed this prayer thousands of times, and God has answered it in dramatic fashion countless times. The right book in the right hands at the right time can save a marriage, avert a mistake, demand a decision, plant a seed, conceive a dream, solve a problem, and prompt a prayer. That is why I write. And that's why, for me, a book sold is not a book sold; a book sold is a prayer answered. I don't know the name and situation of every reader, but God does, and that's all that matters.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
The person with a secular mentality feels himself to be the center of the universe. Yet he is likely to suffer from a sense of meaninglessness and insignificance because he knows he’s but one human among five billion others - all feeling themselves to be the center of things - scratching out an existence on the surface of a medium-sized planet circling a small star among countless stars in a galaxy lost among countless galaxies. The person with the sacred mentality, on the other hand, does not feel herself to be the center of the universe. She considers the Center to be elsewhere and other. Yet she is unlikely to feel lost or insignificant precisely because she draws her significance and meaning from her relationship, her connection, with that center, that Other.
M. Scott Peck (A World Waiting to Be Born: Civility Rediscovered)
I like to borrow a metaphor from the great poet and mystic Rumi who talks about living like a drawing compass. One leg of the compass is static. It is fixed and rooted in a certain spot. Meanwhile, the other leg draws a huge wide circle around the first one, constantly moving. Just like that, one part of my writing is based in Istanbul. It has strong local roots. Yet at the same time the other part travels the whole wide world, feeling connected to several cities, cultures, and peoples.
Elif Shafak
Yes, it’s—” Dimitri bit off his words and glanced at Rose, then back at the drawing. “It’s a kind of marker worn by women in, uh, dhampir communes.” Rose had no problem stating what his delicate sensibilities had held back from. “A blood whore camp?” Her eyes widened, and suddenly, she turned as angry as Lissa had been earlier. “Adrian Ivashkov! You should be ashamed of yourself, going to a place like that, especially now that you’re married—
Richelle Mead (The Ruby Circle (Bloodlines, #6))
I have been asked what I mean by “word of honor.” I will tell you. Place me behind prison walls—walls of stone ever so high, ever so thick, reaching ever so far into the ground—there is a possibility that in some way or another I might be able to escape; but stand me on the floor and draw a chalk line around me and have me give my word of honor never to cross it. Can I get out of that circle? No, never! I’d die first.
Karl G. Maeser
The night was drawing in, and the house felt more and more like a glass cage, blasting its light blindly out into the dusk, like a lantern in the dark. I imagined a thousand moths circling and shivering, drawn inexorably to its glow, only to perish against the cold inhospitable glass.
Ruth Ware (In a Dark, Dark Wood)
Vision beyond your resources? Don't let fear dictate your decisions. If your vision is God-given, it will most definitely be beyond your ability and beyond your resources. The God who gives the vision is the same God who makes provision.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
We are not living in a world where all roads are radii if a circle and where all, if followed long enough, will therefore draw gradually nearer and finally meet at the centre: rather in a world where every road, after a few miles, forks into two, and each of those into two again, and at each fork you must make a decision.
C.S. Lewis (The Great Divorce)
Grandfather’s Hands             Your grandfather’s hands were brown. Your grandmother kissed each knuckle,   circled an island into his palm and told him which parts they would share, which part they would leave alone.   She wet a finger to draw where the ocean would be on his wrist, kissed him there, named the ocean after herself.   Your grandfather’s hands were slow but urgent. Your grandmother dreamt them,   a clockwork of fingers finding places to own– under the tongue, collarbone, bottom lip, arch of foot.   Your grandmother names his fingers after seasons– index finger, a wave of heat, middle finger, rainfall.   Some nights his thumb is the moon nestled just under her rib. “Your grandparents often found themselves in dark rooms, mapping out each other’s bodies,   claiming whole countries with their mouths.
Warsan Shire (Teaching My Mother How to Give Birth)
I was taught to be queen by Margaret of Anjou, and perhaps I have taught you how to be queen in turn. This is fortune’s wheel indeed.’ With my forefinger I draw a circle in the air, the sign of fortune’s wheel. ‘You can go very high and you can sink very low, but you can rarely turn the wheel at your own bidding.
Philippa Gregory (The Kingmaker's Daughter (The Plantagenet and Tudor Novels, #4; Cousins War #4))
If you draw a circle, there will always be an inside and an outside, and unless you're a total nut job, it's pretty easy to see which is which. It just happens.
Lauren Oliver (Before I Fall)
I had crossed the yard to him slowly, watching him draw closer, baffled by the way my heart was skittering around my chest. Then he'd picked me up and spun me in a circle, and I'd clung to him, breathing in his sweet, familiar smell, shocked by how much I'd missed him. Dimly, I'd been aware that I still had a shard of the blue cup in my hand, that it was digging into my palm, but I didn't want to let go. When he finally set me down and ambled off to the kitchen to find his lunch, I stood there, my palm dripping blood, my head still spinning, knowing that everything had changed. Ana Kuya had scoled me for getting blood on the clean kitchen floor. She'd bandaged my hand and told me it would heal. But I knew it would just go on hurting. In the creaking silence of the cell, Mal kissed the scar on my palm, the wound made so long ago by the edge of that broken cup, a fragile thing I'd thought beyond repair.
Leigh Bardugo (Shadow and Bone (The Shadow and Bone Trilogy, #1))
The Castle. He’d seen this expression far too many times during their marriage. The Castle was Bryony drawing up the gates and retreating deep into the inner keep. And he’d always hated it. Marriage meant that you shared your goddamn castle. You didn’t leave your poor knight of a husband circling the walls trying to find a way in.
Sherry Thomas (Not Quite a Husband (The Marsdens, #2))
Losing too is still ours; and even forgetting still has a shape in the kingdom of transformation. When something's let go of, it circles; and though we are rarely the center of the circle, it draws around us its unbroken, marvelous curve.
Rainer Maria Rilke
Like the person who felt the draw of the ocean but couldn’t swim, she felt the pull of another but didn’t know how to respond and stay safe.
Scarlett Cole (The Strongest Steel (Second Circle Tattoos, #1))
out of a shardstrewn madness I stand up and look upon my hand, how it draws the one and only circle
Paul Celan
A pen, you see, you hold it between your thumb and your index finger. No, wait, you hold it however you want. After that, it's not hard, you don't even think about it. Your hands don't exist anymore. The important thing happens elsewhere. No, this won't do, it's still too pretty. You're not being asked to come up with something pretty, you know. No one gives a damn about pretty. There are children's drawings and glossy magazines for that. So put on your mittens, little genius, little empty shell, yes, go on, put them on, I tell you, and maybe at last you'll see, you'll draw an almost perfect failed circle.
Anna Gavalda
Art directors speak in pictures. If you want an art director to understand what you're saying, you need to draw some lines and circles on a piece of paper.
Nevada Scheffler
How did I acquire those habits? Perhaps that's what happens during he forging of a relationship: if nothing else, you adopt some of the other person's habits. It makes you feel those adoptions, make him one of you. Have you picked up habits from me? Do you draw circles with a finger on your thali when you have finished eating? Do you, every once in a while, squeeze shaving cream on to your toothbrush? DO you sleep with a knee drawn up to you, the bedclothes kicked away? Do you fold the newspaper neatly and put it where you found it, when you are done? Yesterday, when a cobalt blue smudge of wall ended up on my hand, I wiped on my trouser without thinking.
Sachin Kundalkar (Cobalt Blue)
I should like to ask you: -- Does your childhood seem far off? Do the days when you sat at your mother's knee, seem days of very long ago?" Responding to his softened manner, Mr. Lorry answered: "Twenty years back, yes; at this time of my life, no. For, as I draw closer and closer to the end, I travel in the circle, nearer and nearer to the beginning. It seems to be one of the kind smoothings and preparings of the way. My heart is touched now, by many remembrances that had long fallen asleep, of my pretty young mother (and I so old!), and by many associations of the days when what we call the World was not so real with me, and my faults were not confirmed with me.
Charles Dickens (A Tale of Two Cities)
Instead of a book, what if we're actually writing (or not writing) in the margins of our lives? What if our lives are books? What is the sign of our presence? Are we pressing into the margins our interpretations and questions? Are we circling offending verbs and drawing furious arrows to the margin where we scrawl "irony," "frustration," "voiceless," "unfair!" Or do we simply turn the pages, passively receiving what's given, furiously disagreeing but remaining silent about it?
Patti Digh (Life Is a Verb: 37 Days to Wake Up, Be Mindful, and Live Intentionally)
It is a bit of a cliché to characterize life as a rambling journey on which we can alter our course at any given time--by the slightest turn of the wheel, the wisdom goes, we influence the chain of events and thus recast our destiny with new cohorts, circumstances, and discoveries. But for the most of us, life is nothing like that. Instead, we have a few brief periods when we are offered a handful of discrete options. Do I take this job or that job? In Chicago or New York? Do I join this circle of friends or that one, and with whom do I go home at the end of the night? And does one make time for children now? Or later? Or later still? In that sense, life is less like a journey than it is a game of honeymoon bridge. In our twenties, when there is still so much time ahead of us, time that seems ample for a hundred indecisions, for a hundred visions and revisions--we draw a card, and we must decide right then and there whether to keep that card and discard the next, or discard the first card and keep the second. And before we know it, the deck has been played out and the decisions we have just made shape our lives for decades to come.
Amor Towles (Rules of Civility)
If a circle shuts you out, draw a circle around it.
Marty Rubin
First, there will be no kidnapping. I know you're stronger and bigger and have magic and crap, but I'm drawing the line at kidnapping.
Carrie Ann Ryan (An Immortal's Song (Dante's Circle, #6))
The late British-born philosopher Alan Watts, in one of his wonderful lectures on eastern philosophy, used this analogy: "If I draw a circle, most people, when asked what I have drawn, will say I have drawn a circle or a disc, or a ball. Very few people will say I've drawn a hole in the wall, because most people think of the inside first, rather than thinking of the outside. But actually these two sides go together--you cannot have what is 'in here' unless you have what is out there.' " In other words, where we are is vital to who we are.
Eric Weiner (The Geography of Bliss: One Grump's Search for the Happiest Places in the World)
Oh." It seemed I'd surprised him. "There isn't a lot of that kind of thinking around here." "Of course there is," I told him, trying to draw a smile. "It's just usually a man who's doing it.
Paula McLain (Circling the Sun)
Silence will speak If given an ear; Stillness is the movement Of our atmosphere; Circles have sides When we draw the line; Death is sleep In limited time.
Alaina Odessa
We live on the circumference of a hollow circle. We draw the circumference, like spiders, out of ourselves: it is all criticism of criticism.
Laura (Riding) Jackson (Anarchism Is Not Enough)
Shebna scraped the tablet clean and began drawing circles in the soft clay. "Suppose you had six figs and you ate two. How many would--" "Four." Hezekiah answered before Shebna finished, and the tutor's thick black eyebrows rose in surprise. "And suppose I had five figs. How many would we--" "Nine." "Have you done this before?" Hezekiah thought the question was ridiculous. "I've eaten figs lots of times.
Lynn Austin (Gods and Kings (Chronicles of the Kings, #1))
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?
Zadie Smith (The Embassy of Cambodia)
If you show up to break me it won’t happen, I am water, water doesn’t break. If you need to prove superiority it won’t happen, I am air, air will always rise. If you try to draw blood it won’t happen, I am metal, your internal pain cannot penetrate my veins. If you try to suppress me it won’t happen, I am fire, my light cannot be extinguished.
debbie lynn - 360 degrees full circle
The Divine "goodness" differs from ours, but it is not sheerly different; it differs from ours not as white from black, but as a perfect circle from a child's first attempt to draw a wheel. But when the child has learned to draw, it will know that the circle it then makes is what it was trying to make from the very beginning.
C.S. Lewis (The Problem of Pain)
Julia had a friend, a man named Dennys, who was as a boy a tremendously gifted artist. They had been friends since they were small, and she once showed me some of the drawings he made when he was ten or twelve: little sketches of birds pecking at the ground, of his face, round and blank, of his father, the local veterinarian, his hand smoothing the fur of a grimacing terrier. Dennys’s father didn’t see the point of drawing lessons, however, and so he was never formally schooled. But when they were older, and Julia went to university, Dennys went to art school to learn how to draw. For the first week, he said, they were allowed to draw whatever they wanted, and it was always Dennys’s sketches that the professor selected to pin up on the wall for praise and critique. But then they were made to learn how to draw: to re-draw, in essence. Week two, they only drew ellipses. Wide ellipses, fat ellipses, skinny ellipses. Week three, they drew circles: three-dimensional circles, two-dimensional circles. Then it was a flower. Then a vase. Then a hand. Then a head. Then a body. And with each week of proper training, Dennys got worse and worse. By the time the term had ended, his pictures were never displayed on the wall. He had grown too self-conscious to draw. When he saw a dog now, its long fur whisking the ground beneath it, he saw not a dog but a circle on a box, and when he tried to draw it, he worried about proportion, not about recording its doggy-ness.
Hanya Yanagihara (A Little Life)
He draws a slow circle in the dirt with his toe, the first physical sign of discomfort or distraction he has given since we arrived. In that moment I am in awe of him: Since I've known him he has done nothing but support me and give me comfort and listen to me, and all this time he has been carrying the weight of his own secrets too.
Lauren Oliver
ceremony is essential to humans: It's a circle that we draw around important events to separate the momentous from the ordinary. And ritual is a sort of magical safety harness that guides us from one stage of our lives into the next, making sure we don't stumble or lose ourselves along the way. Ceremony and ritual march us carefully right through the center of our deepest fears about change…
Elizabeth Gilbert (Committed: A Skeptic Makes Peace with Marriage)
Take the Cup, Sophia Collins,"she said, and the room was breathlessly silent. The Council chamber was not full, but the row Tessa sat at the end was:Gideon and Gabriel, Cecily and Henry, and her and Will, all leaning forward eagerly, waiting for Sophie to Ascend. At each end of the dais stood a Silent Brother, their heads bent, their parchment robes looking as if they had been carved out of marble. Charlotte lowered the Cup, and held it out to Sophie, who took it carefully. "Do you swear, Sophia Collins, to forsake the mundane world and follow the path of the Shadowhunter? Will you take into yourself the blood of the Angel Raziel and honor that blood? Do you swear to serve the Clave, to follow the Law as set forth by the Covernant, and to obey the word of the Council? Will you defend that which is human and mortal, knowing that for your service there will be no recompense and no thanks but honor?"I swear,"said Sophie, her voice very steady. "Can you be a shield for the weak, a light in the dark, a truth among falsehoods, a tower in the flood, an eye to see when all others are blind?" I can." "And when you are dead, will you give up your body to the Nephilim to be burned, that your ashes may be used to build the City of Bones?" "I will." "The drink,"said Charlotte. Tessa heard Gideon draw in his breath. This was the dangerous part of the ritual. This was the part that would kill the untrained and unworthy. Sophie bent her dark head and set the Cup to her lips. Tessa sat forward, her chest tight with aprehension. She felt Will's hand slide over hers, a warm, comforting weight. Sophie's throat moved as she swallowed. The circle that surrounded her and Charlotte flared up once with a cold, blue-white light, obscuring them both. When it faded, Tessa was left blinking stars from her eyes as the light dwindled. She blinked hastily, and saw Sophie hold up the Cup. there was a glow about the Cup she held as she handed it back to Charlotte, who smiled broadly. "You are Nehilim now,"she said. "I name you Sophia Shadowhunter, of the blood of Jonathan Shadowhunter, child of the Nehilim. Arise, Sophia.
Cassandra Clare (Clockwork Princess (The Infernal Devices, #3))
God won’t answer 100 percent of the prayers we don’t pray.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
God draws near to us in such a way as to draw us near to himself within the circle of his knowing of himself.
Thomas F. Torrance (Trinitarian Perspectives: Toward Doctrinal Agreement)
God help us both if this is summer. The sun shines all day and all night but it has no warmth, no light, no colour.
Simon Armitage (Kid)
A physicist, an engineer and a psychologist are called in as consultants to a dairy farm whose production has been below par. Each is given time to inspect the details of the operation before making a report. The first to be called is the engineer, who states: "The size of the stalls for the cattle should be decreased. Efficiency could be improved if the cows were more closely packed, with a net allotment of 275 cubic feet per cow. Also, the diameter of the milking tubes should be increased by 4 percent to allow for a greater average flow rate during the milking periods." The next to report is the psychologist, who proposes: "The inside of the barn should be painted green. This is a more mellow color than brown and should help induce greater milk flow. Also, more trees should be planted in the fields to add diversity to the scenery for the cattle during grazing, to reduce boredom." Finally, the physicist is called upon. He asks for a blackboard and then draws a circle. He begins: "Assume the cow is a sphere....
Lawrence M. Krauss (Fear of Physics: A Guide for the Perplexed)
What’s wrong with unicorns?” she demanded from behind him, her chalk sounding as it scraped the ground. “They’re a noble and—” “They’re a noble and incredibly girly animal,” Joel said. “I’ve got my masculine reputation to think of.” “Oh hush, you,” she said. “You’ll deal with unicorns—maybe some flower people and a pegasus or two—and you’ll like it. Otherwise, you can just go draw your own circle, thank you very much.
Brandon Sanderson (The Rithmatist (The Rithmatist, #1))
We had algebra together, right?” “Yeah.” That was two years ago. I only vaguely remember him. Something about circles. “Didn’t you draw perfect circles?” “That’s what I’m known for.” “Really?” Erin goes, all excited about the circles. Jason says, “No, it’s just this one time I went up to the board and I had to draw a circle and it came out really . . . round.” “Which is always a good thing, when you’re drawing a circle,” I say. “Exactly.” Jason smiles at me. “It was more than one time,” I remind him. For some reason, it’s all coming back to me now. “It was more like three or four times.” “What can I say?” Jason goes. “You got me.” Now we’re both smiling.
Susane Colasanti (Something Like Fate)
Drawing circles through life struck me as a kind of reasonable insanity.
John Green
And when you pray to God regularly, irregular things happen on a regular basis.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
It is not the frame which matters but the picture. Make sure that the picture is beautiful. The frame is only there to draw the eyes to the picture.
Donna Goddard (Circles of Separation (Waldmeer, #3))
Too often we pray ASAP prayers — as soon as possible. We need to start praying ALAT prayers — as long as it takes.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Prayer is the way we write the future.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Something about having a child bends you back to your beginnings, as if you have been drawing a circle all your life and now are compelled to close it.
Alix E. Harrow (The Ten Thousand Doors of January)
Okay, please draw a circle.” I did. “Now draw a smaller circle within that circle.” I did. “The larger circle is virgins. The smaller circle is seventeen-year-old guys with one leg.
John Green (The Fault in Our Stars)
Bold prayers honor God, and God honors bold prayers. God isn’t offended by your biggest dreams or boldest prayers. He is offended by anything less. If your prayers aren’t impossible to you, they are insulting to God. Prayers are prophecies. They are the best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life. The greatest tragedy in life is the prayers that go unanswered because they go unasked. God does not answer vague prayers. The more specific your prayers are, the more glory God receives. Most of us don’t get what we want because we quit praying. We give up too easily. We give up too soon. We quit praying right before the miracle happens. If you don’t take the risk, you forfeit the miracle. Take a step of faith when God gives you a vision because you trust that the One who gave you the vision is going to make provision. And for the record, if the vision is from God, it will most definitely be beyond your means. We shouldn’t seek answers as much as we should seek God. If you seek answers you won’t find them, but if you seek God, the answers will find you. If your plans aren’t birthed in prayer and bathed in prayer, they won’t succeed. Are your problems bigger than God, or is God bigger than your problems? Our biggest problem is our small view of God. That is the cause of all lesser evils. And it’s a high view of God that is the solution to all other problems. Because you know He can, you can pray with holy confidence. Persistence is the magic bullet. The only way you can fail is if you stop praying. 100 percent of the prayers I don’t pray won’t get answered. Where are you most proficient, most sufficient? Maybe that is precisely where God wants you to trust Him to do something beyond your ability. What we perceive as unanswered prayers are often the greatest answers. Our heavenly Father is far too wise and loves us far too much to give us everything we ask for. Someday we’ll thank God for the prayers He didn’t answer as much or more than the ones He did. You can’t pray for open doors if you aren’t willing accept closed doors, because one leads to the other. Just as our greatest successes often come on the heels of our greatest failures, our greatest answers often come on the heels of our longest and most boring prayers. The biggest difference between success and failure, both spiritually and occupationally, is your waking-up time on your alarm clock. We won’t remember the things that came easy; we’ll remember the things that came hard. It’s not just where you end up that’s important; it’s how you get there. Goal setting begins and ends with prayer. The more you have to circle something in prayer, the more satisfying it is spiritually. And, often, the more glory God gets. I don’t want easy answers or quick answers because I have a tendency to mishandle the blessings that come too easily or too quickly. I take the credit or take them for granted. So now I pray that it will take long enough and be hard enough for God to receive all of the glory. Change your prayer approach from as soon as possible to as long as it takes. Go home. Lock yourself in your room. Kneel down in the middle of the floor, and with a piece of chalk draw a circle around yourself. There, on your knees, pray fervently and brokenly that God would start a revival within that chalk circle.
Mark Batterson (The Circle Maker: Praying Circles Around Your Biggest Dreams and Greatest Fears)
Most people live — whether physically, intellectually or morally — in a very restricted circle of their potential being. We all have reservoirs of life to draw upon of which we do not dream. William James
Robin S. Sharma (The Monk Who Sold His Ferrari: A Fable About Fulfilling Your Dreams & Reaching Your Destiny)
You can use just about anything to make a magic circle, but salt is often the most practical. It’s a symbol of the earth and of purity, and it doesn’t draw ants. You use sugar to make a circle on the carpet only once. Let me tell you.
Jim Butcher (Brief Cases (The Dresden Files, #15.1))
She believed in public service; she felt she had to roll up her sleeves and do something useful for the war effort. She organized a Comfort Circle, which collected money through rummage sales. This was spent on small boxes containing tobacco and candies, which were sent off to the trenches. She threw open Avilion for these functions, which (said Reenie) was hard on the floors. In addition to the rummage sales, every Tuesday afternoon her group knitted for the troops, in the drawing room -- washcloths for the beginners, scarves for the intermediates, balaclavas and gloves for the experts. Soon another battalion of recruits was added, on Thursdays -- older, less literate women from south of the Jogues who could knit in their sleep. These made baby garments for the Armenians, said to be starving, and for something called Overseas Refugees. After two hours of knitting, a frugal tea was served in the dining room, with Tristan and Iseult looking wanly down.
Margaret Atwood (The Blind Assassin)
Working outward in concentric circles from the single mother's situation, we can easily draw a picture of what a 'good' mother-son relationship needs in order to flourish. In its ideal form, mom would be experiencing physical, material, social, and emotional support from four interdependent sources: an intimate partner who is also attached to the child; a select group of close friends and family; a wider community that supports mom's values and goals; and a maternity-flexible workplace.
Michael Gurian (The Wonder of Boys: What Parents, Mentors and Educators Can Do to Shape Boys Into Exceptional Men)
Panic always comes to me in the same way. First, I get a knot in the pit of my stomach that turns to nausea, then a fluttery breathlessness that no amount of deep breathing can cure. But what causes my fear is different every day, I never know what will set me off. It could be a kiss from my husband, or the lingering look of sadness in his eyes when he draws back. Sometimes I know he's already grieving for me, missing me even while I'm still here. Worse yet is Marah's quiet acceptance of everything I say. I would give anything for another of our old knock-down drag-out fights. That's one of the first things I'd say to you now, Marah: Those fights were real life. You were struggling to break free of being my daughter but unsure of how to be yourself, while I was afraid to let you go. It's the circle of love. I only wish I'd recognized it then. Your grandmother told me I'd know you were sorry for those years before you did, and she was right. I know you regret some of the things you said to me, as I regret my own words. None of that matters, though. I want you to know that. I love you and I know you love me.
Kristin Hannah (Firefly Lane (Firefly Lane, #1))
I'm drawing a diagram of what time looks like if you're looking straight into it - like looking down a tunnel and seeing a circle, if the tunnel were an angry ten-dimensional crab, which is what, in vastly oversimplified terms, we mean by the human word time.
Austin Grossman (You)
If any writer in this country has collected as fine and passionate a group of readers as I have, they’re fortunate and lucky beyond anyone’s imagination. It remains a shock to me that I’ve had a successful writing career. Not someone like me; Lord, there were too many forces working against me, too many dark currents pushing against me, but it somehow worked. Though I wish I’d written a lot more, been bolder with my talent, more forgiving of my weaknesses, I’ve managed to draw a magic audience into my circle. They come to my signings to tell me stories, their stories. The ones that have hurt them and made their nights long and their lives harder.
Pat Conroy (A Lowcountry Heart: Reflections on a Writing Life)
Self-control is something for which I do not strive. Self-control means wanting to be effective at some random point in the infinite radiations of my spiritual existence. But if I do have to draw such circles round myself, then it will be better for me to do it passively, in mere wonderment and gaping at the tremendous complex, taking home with me only the refreshment that this sight gives e contrario.
Franz Kafka
When we try to make things go faster, we usually slow things down. When we try to make things easier, we usually make them harder. Don’t try to manufacture your own miracles. Don’t try to answer your own prayers. Don’t try to do God’s job for Him. Stay humble. Stay patient. Stay focused.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Why do we mistakenly think that God is offended by our prayers for the impossible? The truth is that God is offended by anything less! God is offended when we ask Him to do things we can do ourselves. It’s the impossible prayers that honor God because they reveal our faith and allow God to reveal His glory.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
The interaction between math and physics is a two-way process, with each of the two subjects drawing from and inspiring the other. At different times, one of them may take the lead in developing a particular idea, only to yield to the other subject as focus shifts. But altogether, the two interact in a virtuous circle of mutual influence.
Edward Frenkel (Love and Math: The Heart of Hidden Reality)
A ring was the accepted sign of infinity, eternity. If her own life was that carefully described pencil line, she knew it all at once that the two ends were drawing close together. I have come full circle, she told herself, and wondered what had happened to all the years. It was a question, which from time to time, caused her some anxiety and left her fretting with a dreadful sense of waste. But now, it seemed, the question had become irrelevant, and so the answer, whatever it was, was no longer of any importance.
Rosamunde Pilcher
Do you think, little flower, that there will ever come a day when you regret meeting me?” he asked quietly. “Yes,” she said simply. “I see,” he said tightly. “Would you like a specific date?” “You are teasing me,” he realized suddenly. “No, I’m dead serious. I have an exact date in mind.” Jacob pulled back to see her eyes, looking utterly perplexed as her pupils sparkled with mischief. “What date is that? And why are you thinking of pink elephants?” “The date is September 8, because, according to Gideon, that’s possibly the day I will go into labor. I say ‘possibly,’ because combining all this human/Druid and Demon DNA ‘may make for a longer period of gestation than usual for a human,’ as the Ancient medic recently quoted. Now, as I understand it, women always regret ever letting a man touch them on that day.” Jacob lurched to his feet, dropping her onto her toes, grabbing her by the arms, and holding her still as he raked a wild, inspecting gaze over her body. “You are pregnant?” he demanded, shaking her a little. “How long have you known? You went into battle with that monster while you are carrying my child?” “Our child,” she corrected indignantly, her fists landing firmly on her hips, “and Gideon only just told me, like, five seconds ago, so I didn’t know I was pregnant when I was fighting that thing!” “But . . . he healed you just a few days ago! Why not tell you then?” “Because I wasn’t pregnant then, Jacob. If you recall, we did make love between then and now.” “Oh . . . oh Bella . . .” he said, his breath rushing from him all of a sudden. He looked as if he needed to sit down and put a paper bag over his head. She reached to steady him as he sat back awkwardly on the altar. He leaned his forearms on his thighs, bending over them as he tried to catch his breath. Bella had the strangest urge to giggle, but she bit her lower lip to repress to impulse. So much for the calm, cool, collected Enforcer who struck terror into the hearts of Demons everywhere. “That is not funny,” he grumbled indignantly. “Yeah? You should see what you look like from over here,” she teased. “If you laugh at me I swear I am going to take you over my knee.” “Promises, promises,” she laughed, hugging him with delight. Finally, Jacob laughed as well, his arm snaking out to circle her waist and draw her back into his lap. “Did you ask . . . I mean, does he know what it is?” “It’s a baby. I told him I didn’t want to know what it is. And don’t you dare find out, because you know the minute you do I’ll know, and if you spoil the surprise I’ll murder you.” “Damn . . . she kills a couple of Demons and suddenly thinks she can order all of us around,” he taunted, pulling her close until he was nuzzling her neck, wondering if it was possible for such an underused heart as his to contain so much happiness.
Jacquelyn Frank (Jacob (Nightwalkers, #1))
My wrists and ankles were bleeding. My knees too—I must’ve scraped myself trying to draw the circle. So far today I’d seen a woman almost die, I’d shot a person, I’d killed another person with my shockers, I’d been strung up on wires and almost crushed by a car, and now I was bleeding all over the place. If I could, I would punch today right in the face.
Ilona Andrews (Burn for Me (Hidden Legacy, #1))
Have you ever noticed that when you pray, coincidences happen? And when you don’t, they don’t.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
You don’t need to seek opportunity. All you have to do is seek God. And if you seek God, opportunity will seek you.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Gathering God, draw us out beyond our cramped circles of care. Draw us toward the neighbor, the other, the outsider, the hurting one. May we practice compassion. Amen.
Walter Brueggemann (A Way other than Our Own: Devotions for Lent)
Let me remind you of what got me this far, picture me quitting, now draw a circle around it and put a line through it, sl#t!
All of us want to do amazing things for God, but that isn’t our job; it is God’s job.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
But God always has a holy surprise up His sovereign sleeve. And when we pray, God throws surprise parties!
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Can our prayers change our circumstances? Absolutely! But when our circumstances don’t change, it’s often an indication that God is trying to change us.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
When we try to make things go faster, we usually slow things down. When
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
God is great not just because nothing is too big for Him; God is also great because nothing is too small.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
When the sun rises, wake with a song Search Embrace dust Balance Soar - However briefly Practice stillness Release the life force Draw from the circle of life
Lynn Brunelle (Yoga for Chickens)
Don’t wait to worship God until you get to the Promised Land; you’ve got to worship along the way.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Don’t try to manufacture your own miracles. Don’t try to answer your own prayers. Don’t try to do God’s job for Him. Stay humble. Stay patient. Stay focused. Keep circling.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Sometimes life was a vicious circle. The things we love can draw us nearer to the things we hate.
Lynn Cahoon (If the Shoe Kills (A Tourist Trap Mystery, #3))
The shortest pencil is longer than the longest memory
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Only God can make the appointment, but only you can keep the appointment.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
It was like looking in a mirror. The same flickering hope in Loo, the same desperate need to be loved, was right here in Marshall's mother. And it was in Principal Gunderson, clutching Lily's waist in that old prom photo. And it was Agnes, pressing her feet into the stirrups, listening for her child's cry. And it was in Hawley, mourning with his scraps of paper in the bathroom. Their hearts were all cycling through the same madness—the discovery, the bliss, the loss, the despair—like planets taking turns in orbit around the sun. Each containing their own unique gravity. Their own force of attraction. Drawing near and holding fast to whatever entered their own atmosphere. Even Loo, penning her thousands of names way out at the edge of the universe, felt better knowing others were traveling this same elliptical course, that they would sometimes cross paths, that they would find love and lose love and recover from love and love again—because, if they were all going in circles, and Loo was Pluto, then every 248 years even she would have the chance to be closer to the sun.
Hannah Tinti (The Twelve Lives of Samuel Hawley)
I'm sure Mr da Quirm draws lovely pictures, but I for one would need a little more evidence of his amazing genius before we entrust the world to his...device. Show me one thing he can do that anyone couldn't do, if they had the time.' 'I have never considered myself a genius,' said Leonard, looking down bashfully and doodling on the paper in front of him. 'Well, if I was a genius I think I'd know it-' the Dean began, and then stopped. Absent-mindedly, while barely paying attention to what he was doing, Leonard had drawn a perfect circle.
Terry Pratchett (The Last Hero (Discworld #27; Rincewind #7))
The rajah draws the attention of every woman in the hall, but he comes to me. “You’re more beautiful every day, love.” He kisses my cheek, souring my stomach. Even at this early hour, he smells of apong and another woman’s perfume. Tarek rubs a circle on my hip. “I’m a patient man, but I don’t know if I can wait until our wedding night.” I lower my eyes in disgust. I can wait a thousand lives.
Emily R. King (The Hundredth Queen (The Hundredth Queen, #1))
We are not living in a world where all roads are radii of a circle and where all, if followed long enough, will therefore draw gradually nearer and finally meet at the centre: rather in a world where every road, after a few miles,forks into two, and each of those into two again, and at each fork you must make a decision. Even on the biological level life is not like a river but like a tree. It does not move towards unity but away from it and the creatures grow further apart as they increase in perfection. Good, as it ripens, becomes continually more different not only from evil but from other good.
C.S. Lewis (The Great Divorce)
The artist gives the beholder increasingly 'more to do,' he draws him into the magic circle of creation and allows him to experience something of the thrill of 'making' which had once been the privilege of the artist
E.H. Gombrich
Once you start offering reasons for ignoring the interests of others, however, reasoning itself will usually draw you into a kind of universality. A reason is an offer of a ground for thinking or feeling or doing something. And it isn’t a ground for me, unless it’s a ground for you. If someone really thinks that some group of people genuinely doesn’t matter at all, he will suppose they are outside the circle of those to whom justifications are due.
Kwame Anthony Appiah (Cosmopolitanism: Ethics in a World of Strangers (Issues of Our Time))
This one is bigger than the other by at least a quarter,” he said. “That’s perspective,” Will replied stubbornly. “The left one is closer, so it looks bigger.” “If it’s perspective, and it’s that much bigger, your handcart would have to be about five meters wide,” Horace told him. “Is that what you’re planning?” Again, Will studied the drawing critically. “No. I thought maybe two meters. And three meters long.” He quickly sketched in a smaller version of the left wheel, scrubbing over the first attempt as he did so. “Is that better?” “Could be rounder,” Horace said. “You’d never get a wheel that shape to roll. It’s sort of pointy at one end.” Will’s temper flared as he decided his friend was simply being obtuse for the sake of it. He slammed the charcoal down on the table. “Well, you try drawing a perfect circle freehand!” he said angrily. “See how well you do! This is a concept drawing, that’s all. It doesn’t have to be perfect!” Malcolm chose that moment to enter the room. He had been outside, checking on MacHaddish, making sure the general was still securely fastened to the massive log that held him prisoner. He glanced now at the sketch as he passed by the table. “What’s that?” he asked. “It’s a walking cart,” Horace told him. “You get under it, so the spears won’t hit you, and go for a walk.” Will glared at Horace and decided to ignore him. He turned his attention to Malcolm. “Do you think some of your people could build me something like this?” he asked. The healer frowned thoughtfully. “Might be tricky,” he said. “We’ve got a few cart wheels, but they’re all the same size. Did you want this one so much bigger than the other?” Now Will switched his glare to Malcolm. Horace put a hand up to his face to cover the grin that was breaking out there. “It’s perspective. Good artists draw using perspective,” Will said, enunciating very clearly. “Oh. Is it? Well, if you say so.” Malcolm studied the sketch for a few more seconds. “And did you want them this squashed-up shape? Our wheels tend to be sort of round. I don’t think these ones would roll too easily, if at all.” Truth be told, Malcolm had been listening outside the house for several minutes and knew what the two friends had been discussing. Horace gave vent to a huge, indelicate snort that set his nose running. His shoulders were shaking, and Malcolm couldn’t maintain his own straight face any longer. He joined in, and the two of them laughed uncontrollably. Will eyed them coldly. “Oh, yes. Extremely amusing,” he said.
John Flanagan (The Siege of Macindaw (Ranger's Apprentice, #6))
An animal of only instinct, Johnny Ferret, has in his actions drama, but no theater; theater requires that you draw a circle around the action and observe it from outside the circle; in other words, self-consciousness is theater.
Mary Ruefle (Madness, Rack, and Honey: Collected Lectures)
Drea, why don't you turn a circle and give us a good look?" the talker said, his chest all puffed out, as if he'd had something to do with making me perform. "Fuck you," I said, nice and clear, in spite of my fuller voice, so everyone could hear. A couple of teens near the back of the crowd laughed, but the mothers scowled and covered their children's ears. "Sorry about that, ladies and gentlemen," the talker called with an amiable chuckle. "Most of our exhibits were born and raised in the carnival, and they hear a lot of rough language." "Most of our handlers are full of shit," I added, drawing more laughter from the back of the crowd. "I learned to cuss the same place all of your kids did. In middle school.
Rachel Vincent (Menagerie (Menagerie, #1))
[Steven] King is an entertainment. King is a diversion. But when you try to take him as a guide to life, he won't work. The circles he draws on the deep are weak and irresolute. And this is so in part because King...is a sentimental writer. In his universe, the children...are good, right, just and true.... But bring this way of seeing the world out into experience and you'll pretty quickly pay for it. Your relation to large quadrants of experience...will likely be paranoid and fated to fail....
Mark Edmundson
The great are deceived if they imagine they have appropriated ambition and vanity to themselves. These notable qualities flourish as notably in a country church and churchyard as in the drawing room or in the closet. Schemes have indeed been laid in the vestry, which would hardly disgrace the conclave. Here is a ministry, and here is an opposition. Here are plots and circumventions, parties and factions equal to those which are to be found in courts. Nor are the women here less practiced in the highest feminine arts than their fair superiors in quality and fortune. Here are prudes and coquettes; here are dressing and ogling, falsehood, envy, malice, scandal -- in short everything which is common to the most splendid assembly or politest circle.
Henry Fielding (The History of Tom Jones, a Foundling)
There is a philosophy by which many people live their lives, and it is this: life is a shit sandwich, but the more bread you've got, the less shit you have to eat. These people are often selfish brats as kids, and they don't get better with age: think of the shifty-eyed smarmy asshole from the sixth form who grow up to be a merchant banker, or an estate agent, or one of the Conservative Party funny-handshake mine's a Rolex brigade. (This isn't to say that all estate agents, or merchant bankers, or conservatives are selfish, but that these are ways of life that provide opportunities of a certain disposition to enrich themselves at the expense of others. Bear with me.) There is another philosophy by which people live their lives, and it goes thus: You will do as I say or I will hurt you. . . . Let me draw you a Venn diagram with two circles on it, denoting sets of individuals. They overlap: the greedy ones and the authoritarian ones. Let's shade in the intersecting area in a different color and label it: dangerous. Greed isn't automatically dangerous on its won, and petty authoritarians aren't usually dangerous outside their immediate vicinity -- but when you combine the two, you get gangsters and dictators and hate-spewing preachers.
Charles Stross (The Fuller Memorandum (Laundry Files, #3))
There is an old adage: ready, set, go. And I know it’s predicated on the importance of preparation. But I think it’s backward. You’ll never be ready. You’ll never be set. Sometimes you just need to go for it. The sequence of faith is this: Go. Set. Ready.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
In Christian circles, it is common for the husband to assume that his personal call is the priority in the marriage, and to simply fold his wife’s energy and abilities into that pursuit, instead of making it a priority to pursue her heart and draw out her unique destiny.
Tony Stoltzfus (A Leader's Life Purpose Workbook: Calling and Destiny Discovery Tools for Christian Life Coaching)
In a small town, unexplained tragedy can only go so long before it grows teeth, sprouts sharp claws, and turns, snarling, on its own self. Before fragments of gossip become rumors, and the rumors become suspicions. Before neighbors start eyeing each other with the mistrustful narrowness of oft-kicked dogs. Inside the safe shelter of their homes, husbands and wives draw the blinds tight and turn to each other, worrying at small bits of information and wondering who, who among their shrinking circle of trusted friends, might still know something he isn’t telling.
Kat Rosenfield (Amelia Anne Is Dead and Gone)
Maybe we need to quit playing defense and start playing offense. Maybe we need to quit letting our circumstances get between us and God and let God get between us and our circumstances. Maybe we need to stop talking to God about our problem and start talking to our problem about God.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
We often think of prayer as nothing more than words spoken to God, but maybe it’s more than that. Prayer is not a monologue; it’s a dialogue. We speak to God with everything from words to groans to thoughts. And God speaks to us through dreams, desires, promptings, impressions, and ideas.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
After a while I noticed that the pendant heart-shaped I wore around my neck, as every angel does, had begun to pulsate with blue light. I knew that this was thanks to Raphael and that he was sending healing energy for Joshua. I took my necklace off and gently put it round his neck so as not to wake him. The blue light grew stronger and started to flicker – then, drawing circles on the sick boy’s skin, it vanished around the level of his heart chakras. As blue light pervaded his entire body from head to toe, I could feel his burning skin slowly cool and his breathing became even.
A.O. Esther (Elveszett lelkek (Összetört glóriák, #1))
Faith according to our Lord’s teaching in this paragraph is primarily thinking; and the whole trouble with a man of little faith is that he does not think. He allows circumstances to bludgeon him. . . . We must spend more time in studying our Lord’s lessons in observation and deduction. The Bible is full of logic, and we must never think of faith as something purely mystical. We do not just sit down in an armchair and expect marvelous things to happen to us. That is not Christian faith. Christian faith is essentially thinking. Look at the birds, think about them, and draw your deductions. Look at the grass, look at the lilies of the field, consider them. . . . Faith, if you like, can be defined like this: It is a man insisting upon thinking when everything seems determined to bludgeon and knock him down in an intellectual sense. The trouble with the person of little faith is that, instead of controlling his own thought, his thought is being controlled by something else [circumstances, for example], and, as we put it, he goes round and round in circles. That is the essence of worry. . . . That is not thought; that is the absence of thought, a failure to think.2 We’re
Dallas Willard (The Allure of Gentleness: Defending the Faith in the Manner of Jesus)
Mrs Ramsay, who had been sitting loosely, folding her son in her arm, braced herself, and, half turning, seemed to raise herself with an effort, and at once to pour erect into the air a rain of energy, a column of spray, looking at the same time animated and alive as if all her energies were being fused into force, burning and illuminating (quietly though she sat, taking up her stocking again), and into this delicious fecundity, this fountain and spray of life, the fatal sterility of the male plunged itself, like a beak of brass, barren and bare. He wanted sympathy. He was a failure, he said. Mrs Ramsay flashed her needles. Mr Ramsay repeated, never taking his eyes from her face, that he was a failure. She blew the words back at him. "Charles Tansley… " she said. But he must have more than that. It was sympathy he wanted, to be assured of his genius, first of all, and then to be taken within the circle of life, warmed and soothed, to have his senses restored to him, his barrenness made furtile, and all the rooms of the house made full of life—the drawing-room; behind the drawing-room the kitchen; above the kitchen the bedrooms; and beyond them the nurseries; they must be furnished, they must be filled with life.
Virginia Woolf (To the Lighthouse)
what I’d really like to know is how it feels to be on my own. Not someone’s daughter or wife, I mean…but my own person.” “Oh.” It seemed I’d surprised him. “There isn’t a lot of that kind of thinking around here.” “Of course there is,” I told him, trying to draw a smile. “It’s just usually a man who’s doing it.” —
Paula McLain (Circling the Sun)
The true purpose of prayer is to get into God’s presence so He can outline His agenda for us. Here’s my advice: pray about what to pray about. God will reveal a promise, a problem, or a person. Then circle whatever God has prompted you to pray for with the same kind of consistency with which the earth circles the sun.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
The vast universal suffering feel as thine: Thou must bear the sorrow that thou claimst to heal; The day-bringer must walk in darkest night. He who would save the world must share its pain. If he knows not grief, how shall he find grief’s cure? If far he walks above mortality’s head, How shall the mortal reach that too high path? If one of theirs they see scale heaven’s peaks, Men then can hope to learn that titan climb. God must be born on earth and be as man That man being human may grow even as God. He who would save the world must be one with the world, All suffering things contain in his heart’s space And bear the grief and joy of all that lives. His soul must be wider than the universe And feel eternity as its very stuff, Rejecting the moment’s personality Know itself older than the birth of Time, Creation an incident in its consciousness, Arcturus and Belphegor grains of fire Circling in a corner of its boundless self, The world’s destruction a small transient storm In the calm infinity it has become. If thou wouldst a little loosen the vast chain, Draw back from the world that the Idea has made, Thy mind’s selection from the Infinite, Thy senses’ gloss on the Infinitesimal’s dance, Then shalt thou know how the great bondage came. Banish all thought from thee and be God’s void.
Sri Aurobindo
Consecration is death to self. I know there is a fear that if we give more of ourselves to God, there will be less of us left, but it’s the exact opposite. It’s not until we die to self that we truly come alive. The more we give to God, the more we have and the more we become. It’s only in losing our lives that we will really find them.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
A man was lying in the middle of the room, in a circle drawn on the ground with a piece of plaster from the wall, almost naked, his clothes having fallen into tatters. He was drawing very precise geometrical lines in the circle and appeared as absorbed in solving his problem as Archimedes when he was killed by one of Marcellus’ soldiers.
Alexandre Dumas (The Count of Monte Cristo)
There was an Indian head, the head of an Indian, the drawing of the head of a headdressed, long-haired Indian depicted, drawn by an unknown artist in 1939, broadcast until the late 1970s to American TVs everywhere after all the shows ran out. It’s called the Indian Head test pattern. If you left the TV on, you’d hear a tone at 440 hertz—the tone used to tune instruments—and you’d see that Indian, surrounded by circles that looked like sights through riflescopes. There was what looked like a bull’s-eye in the middle of the screen, with numbers like coordinates. The Indian’s head was just above the bull’s-eye, like all you’d need to do was nod up in agreement to set the sights on the target. This was just a test.
Tommy Orange (There There)
There ́s a metaphor which I love: living like a drawing compass. As you know, one leg of the compass is static, rooted in a place. Meanwhile, the other leg draws a wide circle, constantly moving. Like that, my fiction as well. One part of it is rooted in Istanbul with strong Turkish roots. But the other part travels the world, connecting to different cultures.
Elif Shafak
You can plead the Blood of Jesus, over any and everything; your spirit, soul and body, your house, car, work, children, spouse, business, as a form of protection or prevention against evil. You can plead the Blood of Jesus over your journey, the road, the vehicle or aircraft, etc. If you are living or passing through a dangerous zone; you can draw a bloodline of protection, therefore making a boundary, against any evil. A man had a poultry where, all of sudden, the chickens began to die. When he saw that he was going bankrupt with the loss, he cried unto the Lord, who ministered to him about drawing a bloodline around the poultry. Thus, creating a boundary that the enemy cannot cross. He walked round and drew the bloodline around the poultry that night. The following day, he found the carcass of a wolf, about two feet into the circle that he drew. It was stone dead; it had passed its bounds. Today, I pray that any, wolf assigned against your life, shall die in the Name of Jesus. Draw the Bloodline and the enemy will keep off. These are very serious matters and we should recognise and know these secrets. Recently, there have been disasters that have destroyed many lives in many countries. I was told of a man, who saw the flood raging towards his house and he came out and pleaded the Blood of Jesus. The flood obeyed him, not a single drop of water entered his house but the houses next to him, were submerged. That is the power in the Blood of Jesus!
D.K. Olukoya (Praying by the Blood of Jesus)
Prayer isn’t just the way we cultivate our own potential; prayer is the way we recognize potential in others. Like Paul, who saw gifts in Timothy that Timothy couldn’t see in himself, we, through prayer, are enabled to see with prophetic eyes. We are given supernatural insight. Then we are prepared to speak with prophetic boldness into the lives God has positioned in our path.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
Tonight, when the walls started closing in on me, I figured a drive in the country might be nice because I couldn’t think of anything else to do. Then I got here, you opened the door, and I thought: Oh crap, he’s going to think I’m a total stalker.” “Not at all.” Seth raised their clasped hands and grinned. “I merely assumed you wanted to see my big hands again.” Laughing, she gave his shoulder a shove. “You’re such a tease!” His heart lightened. “Admitted without shame.” “Well, I’ll forgive you,” she quipped, “because you’re letting me hold your hand.” Drawing their clasped hands closer to her face, she cupped her free hand over them and smoothed circles over his as she assumed a comical expression of amazement. “Oooooooh. So big,” she breathed. Seth laughed.
Dianne Duvall (Death of Darkness (Immortal Guardians, #9))
I should like to ask you:-Does your childhood seem far off? Do the days when you sat at your mother's knee, seem days of very long ago?" Responding to his softened manner, Mr. Lorry answered: "Twenty years back, yes; at this time of my life, no. For, as I draw closer to the end, I travel in the circle, nearer and nearer to the beginning. It seems to be one of the kind smoothings and preparings of the way. My heart is touched now, by my many remembrances that had long fallen asleep, of my pretty young mother (and I so old!), and by many associations of the days when what we call the World was not so real with me, and my faults were not confirmed in me." "I understand the feeling!" exclaimed Carton, with a bright flush. "And you are the better for it?" "I hope so.
Charles Dickens (A Tale of Two Cities)
Thus he became the archetype of the Renaissance Man, an inspiration to all who believe that the “infinite works of nature,” as he put it, are woven together in a unity filled with marvelous patterns.2 His ability to combine art and science, made iconic by his drawing of a perfectly proportioned man spread-eagle inside a circle and square, known as Vitruvian Man, made him history’s most creative genius.
Walter Isaacson (Leonardo da Vinci)
It’s hard to say where a story begins and ends. You have to draw an arbitrary line somewhere. Somewhere between perception and reality. Between what is spoken and what is heard. Between what is written and what is edited out. I know this, you can’t have an ending without a beginning. Even if they are really just random pieces of the middle that tend to stand out. Staccato notes on the page. Points on a circle.
Thomas Lloyd Qualls (Waking Up at Rembrandt's)
It had only two points of egress, the door to the hallway from which I’d just entered, and against which I’d been pinned-and now leaned against for support-and the other to the stable yard where a man dressed all in black leather had shoved John’s dog, and where I was assuming John kept his horse, Alastor, another creature from the Underworld who hated my guts. He was going to have to get in line, though. The boy who’d pulled Typhon off me was standing a few feet away, next to the wooden plank table that ran down the center of the room, staring at me with a look that suggested he disliked me even more than the dog had. It was difficult not to notice the size of his bare biceps-not as large as John’s, but still impressive-since he’d folded his arms across his chest, and this had caused the muscles to bulge. The fact that they were circled in vicious-looking rings of black tattooed thorns did even more to draw attention to them. It was hard to figure out if that was why he was so much more noticeable than anyone else in the room, or if it was because he was what my friend Kayla would have called smokin’ hot, despite a jagged scar that ran down one side of his forehead, through a dark brow, and halfway to the center of his left jaw. Whoever had wielded that knife had thankfully-for him-spared his dark eye. Not so thankfully for me, however, since he was able to use both eyes to give me a deathlike stare. “Um,” I said, finally feeling the blood flow returning to my limbs. “You might want to think about getting that dog neutered.” The boy with the thorn tattoos sneered. “I’m guessing she’ll be wanting to get us all neutered,” he said.
Meg Cabot (Underworld (Abandon, #2))
When Elizabeth finally descended the stairs on her way to the dining room she was two hours late. Deliberately. “Good heavens, you’re tardy, my dear!” Sir Francis said, shoving back his chair and rushing to the doorway where Elizabeth had been standing, trying to gather her courage to do what needed to be done. “Come and meet my guests,” he said, drawing her forward after a swift, disappointed look at her drab attire and severe coiffure. “We did as you suggested in your note and went ahead with supper. What kept you abovestairs so long?” “I was at prayer,” Elizabeth said, managing to look him straight in the eye. Sir Francis recovered from his surprise in time to introduce her to the three other people at the table-two men who resembled him in age and features and two women of perhaps five and thirty who were both attired in the most shockingly revealing gowns Elizabeth had ever seen. Elizabeth accepted a helping of cold meat to silence her protesting stomach while both women studied her with unhidden scorn. “That is a most unusual ensemble you’re wearing, I must say,” remarked the woman named Eloise. “Is it the custom where you come from to dress so…simply?” Elizabeth took a dainty bite of meat. “Not really. I disapprove of too much personal adornment.” She turned to Sir Francis with an innocent stare. “Gowns are expensive. I consider them a great waste of money.” Sir Francis was suddenly inclined to agree, particularly since he intended to keep her naked as much as possible. “Quite right!” he beamed, eyeing the other ladies with pointed disapproval. “No sense in spending all that money on gowns. No point in spending money at all.” “My sentiments exactly,” Elizabeth said, nodding. “I prefer to give every shilling I can find to charity instead.” “Give it away?” he said in a muted roar, half rising out of his chair. Then he forced himself to sit back down and reconsider the wisdom of wedding her. She was lovely-her face more mature then he remembered it, but not even the black veil and scraped-back hair could detract from the beauty of her emerald-green eyes with their long, sooty lashes. Her eyes had dark circles beneath them-shadows he didn’t recall seeing there earlier in the day. He put the shadows down to her far-too-serious nature. Her dowry was creditable, and her body beneath that shapeless black gown…he wished he could see her shape. Perhaps it, too, had changed, and not for the better, in the past few years. “I had hoped, my dear,” Sir Francis said, covering her hand with his and squeezing it affectionately, “that you might wear something else down to supper, as I suggested you should.” Elizabeth gave him an innocent stare. “This is all I brought.” “All you brought?” he uttered. “B-But I definitely saw my footmen carrying several trunks upstairs.” “They belong to my aunt-only one of them is mine,” she fabricated hastily, already anticipating his next question and thinking madly for some satisfactory answer. “Really?” He continued to eye her gown with great dissatisfaction, and then he asked exactly the question she’d expected: “What, may I ask, does your one truck contain if not gowns?” Inspiration struck, and Elizabeth smiled radiantly. “Something of great value. Priceless value,” she confided. All faces at the table watched her with alert fascination-particularly the greedy Sir Francis. “Well, don’t keep us in suspense, love. What’s in it?” “The mortal remains of Saint Jacob.
Judith McNaught (Almost Heaven (Sequels, #3))
With apologies to the folks in Redmond, I’ll end on another Microsoft joke because it makes the point well (a point that applies everywhere, not just at Microsoft): A helicopter was flying around above Seattle when a malfunction disabled all of its electronic navigation and communications equipment. The clouds were so thick that the pilot couldn’t tell where he was. Finally, the pilot saw a tall building, flew toward it, circled, and held up a handwritten sign that said WHERE AM I? in large letters. People in the tall building quickly responded to the aircraft, drawing their own large sign: YOU ARE IN A HELICOPTER. The pilot smiled, looked at his map, determined the route to Sea-Tac Airport, and landed safely. After they were on the ground, the copilot asked the pilot how he had done it. “I knew it had to be the Microsoft building,” he said, “because they gave me a technically correct but completely useless answer.
William Poundstone (Are You Smart Enough to Work at Google?)
Twenty years back, yes; at this time of my life, no. For, as I draw closer and closer to the end, I travel in the circle, nearer and nearer to the beginning. It seems to be one of the kind smoothings and preparings of the way. My heart is touched now, by many remembrances that had long fallen asleep, of my pretty young mother (and I so old!), and by many associations of the days when what we call the World was not so real with me, and my faults were not confirmed in me.
Charles Dickens (A Tale of Two Cities)
For in the popular way of thinking, history draws a time “line,” as if time marched in lockstep in only one direction. Some people say that time is a river into which we can step but once, as it flows in a straight path to the sea. But Nanabozho’s people know time as a circle. Time is not a river running inexorably to the sea, but the sea itself—its tides that appear and disappear, the fog that rises to become rain in a different river. All things that were will come again.
Robin Wall Kimmerer (Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants)
Try it! You might like it !! I wrote this letter to tell you that I am very, very sorry. When you are mad at me, your face looks like Daddy’s when he smelled that skunk that was hiding in the garage. And this made me very sad. Your face, not the smelly skunk. Are you still mad? Pleeze circle one: YES NO If you are still mad, pleeze accept my sorryness for taking your clock, calling you a sandwich stealer, playing games on your phone and drawing my very cute face on it, and trying to call Price Princess Sugar Plum. I did not reech her. But I did reech a guy named Moe by mistake, and he was not very polite at all. He said if I reech him again he will call the cops. That would be very bad becuz I do not think they serve chicken nuggets in jail. Then I would starve to death, which would not be a very fun time . Anyway, I made this sandwich just for you because I really care about you. I hope you love it! You are my very best friend! After Miss Penelope and Princess Sugar Plum.
Rachel Renée Russell (Dork Diaries 8)
Why do we bury our dead?” His nose was dented in at the bridge like a sphinx; the cause of which I could only imagine had been a freak archaeological accident. I thought about my parents. They had requested in their will that they be buried side by side in a tiny cemetery a few miles from our house. “Because it’s respectful?” He shook his head. “That’s true, but that’s not the reason we do it.” But that was the reason we buried people, wasn’t it? After gazing at him in confusion, I raised my hand, determined to get the right answer. “Because leaving people out in the open is unsanitary.” Mr. B. shook his head and scratched the stubble on his neck. I glared at him, annoyed at his ignorance and certain that my responses were correct. “Because it’s the best way to dispose of a body?” Mr. B. laughed. “Oh, but that’s not true. Think of all the creative ways mass murderers have dealt with body disposal. Surely eating someone would be more practical than the coffin, the ceremony, the tombstone.” Eleanor grimaced at the morbid image, and the mention of mass murderers seemed to wake the rest of the class up. Still, no one had an answer. I’d heard Mr. B. was a quack, but this was just insulting. How dare he presume that I didn’t know what burials meant? I’d watched them bury my parents, hadn’t I? “Because that’s just what we do,” I blurted out. “We bury people when they die. Why does there have to be a reason for everything?” “Exactly!” Mr. B. grabbed the pencil from behind his ear and began gesticulating with it. “We’ve forgotten why we bury people. “Imagine you’re living in ancient times. Your father dies. Would you randomly decide to put him inside a six-sided wooden box, nail it shut, then bury it six feet below the earth? These decisions aren’t arbitrary, people. Why a six-sided box? And why six feet below the earth? And why a box in the first place? And why did every society throughout history create a specific, ritualistic way of disposing of their dead?” No one answered. But just as Mr. B. was about to continue, there was a knock on the door. Everyone turned to see Mrs. Lynch poke her head in. “Professor Bliss, the headmistress would like to see Brett Steyers in her office. As a matter of urgency.” Professor Bliss nodded, and Brett grabbed his bag and stood up, his chair scraping against the floor as he left. After the door closed, Mr. B. drew a terrible picture of a mummy on the board, which looked more like a hairy stick figure. “The Egyptians used to remove the brains of their dead before mummification. Now, why on earth would they do that?” There was a vacant silence. “Think, people! There must be a reason. Why the brain? What were they trying to preserve?” When no one answered, he answered his own question. “The mind!” he said, exasperated. “The soul!” As much as I had planned on paying attention and participating in class, I spent the majority of the period passing notes with Eleanor. For all of his enthusiasm, Professor Bliss was repetitive and obsessed with death and immortality. When he faced the board to draw the hieroglyphic symbol for Ra, I read the note Eleanor had written me. Who is cuter? A. Professor Bliss B. Brett Steyers C. Dante Berlin D. The mummy I laughed. My hand wavered between B and C for the briefest moment. I wasn’t sure if you could really call Dante cute. Devastatingly handsome and mysterious would be the more appropriate description. Instead I circled option D. Next to it I wrote Obviously! and tossed it onto her desk when no one was looking.
Yvonne Woon (Dead Beautiful (Dead Beautiful, #1))
I suppose… I shouldn’t have jumped to conclusions. But knowing what I do of your past… I assumed…” Her lame attempt at an apology seemed to erode the remnants of Sebastian’s self-control. “Well, your assumption was wrong! If you haven’t yet noticed, I’m busier than the devil in a high wind, every minute of the day. I don’t have the damned time for a tumble. And if I did—” He stopped abruptly. All semblance of the elegant viscount Evie had once watched from afar in Lord Westcliff’s drawing room had vanished. He was rumpled and bruised and furious. And he wasn’t breathing at all well. “If I did—” He broke off again, a flush crossing the crests of his cheeks and the bridge of his nose. Evie saw the exact moment when his self-restraint snapped. Alarm jolted through her, and she lurched toward the closed door. Before she had even made a step, she found herself seized and pinned against the wall by his body and hands. The smell of sweat-dampened linen and healthy, aroused male filled her nostrils. Once he had caught her, Sebastian pressed his parted lips against the thin skin of her temple. His breath snagged. Another moment of stillness. Evie felt the electrifying touch of his tongue at the very tip of her eyebrow. He breathed against the tiny wet spot, a waft of hellfire that sent chills through her entire body. Slowly he brought his mouth to her ear, and traced the intricate inner edges. His whisper seemed to come from the darkest recesses of her own mind. “If I did, Evie… then by now I would have shredded your clothes with my hands and teeth until you were naked. By now I would have pushed you down to the carpet, and put my hands beneath your breasts and lifted them up to my mouth. I would be kissing them… licking them… until the tips were like hard little berries, and then I would bite them so gently…” Evie felt herself drift into a slow half swoon as he continued in a ragged murmur. “… I would kiss my way down to your thighs… inch by inch… and when I reached those sweet red curls, I would lick through them, deeper and deeper, until I found the little pearl of your clitoris… and I would rest my tongue on it until I felt it throb. I would circle it, and stroke it… I’d lick until you started to beg. And then I would suck you. But not hard. I wouldn’t be that kind. I would do it so lightly, so tenderly, that you would start screaming with the need to come… I would put my tongue inside you… taste you… eat you. I wouldn’t stop until your entire body was wet and shaking. And when I had tortured you enough, I would open your legs and come inside you, and take you… take you…” Sebastian stopped, anchoring her against the wall while they both remained frozen, aroused, panting. At length, he spoke in a nearly inaudible voice. “You’re wet, aren’t you?” Had it been physically possible to blush any harder, Evie would have. Her skin burned with violated modesty as she understood what he was asking. She tipped her chin in the tiniest of nods. “I want you more than I’ve ever wanted anything on this earth.
Lisa Kleypas (Devil in Winter (Wallflowers, #3))
THE FOOL WHO FEEDS THE MONSTER. I knew I had to find this century-old drawing, though I wasn’t sure why. As I rode the escalator through the glass canyon of the atrium and into the bowels of the central branch of the Los Angeles Public Library to search for it, it struck me that I wasn’t just looking for some rare old newspaper. I was looking for myself. I knew who that fool was. He was me. In addiction circles, those in recovery also use the image of the monster as a warning. They tell the story of a man who found a package on his porch. Inside was a little monster, but it was cute, like a puppy. He kept it and raised it. The more he fed it, the bigger it got and the more it needed to be fed. He ignored his worries as it grew bigger, more intimidating, demanding, and unpredictable, until one day, as he was playing with it, the monster attacked and nearly killed him. The realization that the situation was more than he could handle came too late—the man was no longer in control. The monster had a life of its own.
Ryan Holiday (Trust Me, I'm Lying: Confessions of a Media Manipulator)
After they buy their tickets, Emma pulls him to the concession line. "Galen, do you mind?" she says, drawing a distracting circle on his arm with her finger, sending fire pretty much everywhere inside him. He recognizes the mischief in her eyes but not the particular game she's playing. "Get whatever you want, Emma," he tells her. With a coy smile, she orders seventy-five dollars worth of candy, soda, and popcorn. By the cashier's expression, seventy-five dollars must be a lot. If the game is to spend all his money, she'll be disappointed. He brought enough cash for five more armfuls of this junk. He helps Emma carry two large fountain drinks, two buckets of popcorn and four boxes of candy to the top row of the half-full theater. When she's situated in her seat, she tears into a box and dumps the contents in her hand. "Look, sweet lips, I got your favorite, Lemonheads!" Sweet lips? What the- Before he can turn away, she forces three of them into his mouth. His instant pucker elicits an evil snicker from her. She pops a straw into one of the cups and hands it to him. "Better drink this," she whispers. "To take the bite out of the candy." He should have known better. The drink is so full of bubbles it turns clear up to his nostrils. Pride keeps him from coughing. Pride, and the Lemonhead lodged in his throat. Several more heaping gulps and he gets it down. After a few minutes, a sample of greasy popcorn, and the rest of the soda, the lights finally dim, giving Galen a reprieve. While Emma is engrossed in what she calls "stupid previews," Galen excuses himself to vomit in the bathroom. Emma wins this round.
Anna Banks (Of Poseidon (The Syrena Legacy, #1))
The late British-born philosopher Alan Watts, in one of his wonderful lectures on eastern philosophy, used this analogy: “If I draw a circle, most people, when asked what I have drawn, will say I have drawn a circle or a disc, or a ball. Very few people will say I’ve drawn a hole in the wall, because most people think of the inside first, rather than thinking of the outside. But actually these two sides go together—you cannot have what is ‘in here’ unless you have what is ‘out there.’ ” In other words, where we are is vital to who we are.
Eric Weiner (The Geography of Bliss: One Grump's Search for the Happiest Places in the World)
„Hey, you were braver than me. And look, you did it all without losing that towel.” Amusement lit Sydney’s features as she let me draw her near. She patted the top of the towel, where it wrapped around her chest. “It’s all in how you fold it,” she said practically. “Do it the right way, and nothing will get it off.” “Challenge accepted,” I murmured, bringing my lips down to hers. … I lifted her easily in my arms and carried her over to the bed, amazed at how the strongest woman I knew could feel so light in my arms. I was also amazed at how difficult that towel was to get off. Sydney laughed softly, trailing her fingers along my cheeks. The sunlight peeping in around the window blinds made her look like she was made of gold. “Uh-oh,” she said. “Are you going to fail in your challenge?” I finally untwisted the fold and removed the towel, tossing it as far from the bed as I could. “No way,” I said, as always in awe of her body. “It takes a lot more than that to keep me away. You’ll have to try harder next time.” She helped pull my shirt off over my head. “Now why would I want to do that?
Richelle Mead (The Ruby Circle (Bloodlines, #6))
Where the road meets the Gulf, it skirts the beach for miles. I wish it ran straight over the water, like the pictures of the bridge I've seen that links the Florida Keys to the coast, wish it was an endless concrete plank that ran out over the stormy blue water of the world to circle the globe, so I could lie like this forever, feeling the fine hair on his arm, my kids silenced, not even there, his fingers on my arm drawing circles and lines that I decipher, him writing his name on me, claiming me. The world is a tangle of jewels and gold spinning and throwing off sparks. I'm already home.
Jesmyn Ward (Sing, Unburied, Sing)
After Evie had finished her plate, Sebastian tugged her to the billiards table and handed her a cue stick with a leather tip. Ignoring her attempts to refuse him, he proceeded to instruct her in the basics of the game. “Don’t try to claim this is too scandalous for you,” he told her with mock severity. “After running off with me to Gretna Green, nothing is beyond you. Certainly not one little billiards game. Bend over the table.” She complied awkwardly, flushing as she felt him lean over her, his body forming an exciting masculine cage as his hands arranged hers on the cue stick. “Now,” she heard him say, “curl your index finger around the tip of the shaft. That’s right. Don’t grip so tightly, sweet…let your hand relax. Perfect.” His head was close to hers, the light scent of sandalwood cologne rising from his warm skin. “Try to imagine a path between the cue ball—that’s the white one—and the colored ball. You’ll want to strike right about there”—he pointed to a place just above center on the cue ball—“to send the object ball into the side pocket. It’s a straight-on shot, you see? Lower your head a bit. Draw the cue stick back and try to strike in a smooth motion.” Attempting the shot, Evie felt the tip of the cue stick fail to make proper contact with the white ball, sending it spinning clumsily off to the side of the table. “A miscue,” Sebastian remarked, deftly catching the cue ball in his hand and repositioning it. “Whenever that happens, reach for more chalk, and apply it to the tip of the cue stick while looking thoughtful. Always imply that your equipment is to blame, rather than your skills.” Evie felt a smile rising to her lips, and she leaned over the table once more. Perhaps it was wrong, with her father having passed away so recently, but for the first time in a long while, she was having fun. Sebastian covered her from behind again, sliding his hands over hers. “Let me show you the proper motion of the cue stick—keep it level—like this.” Together they concentrated on the steady, even slide of the cue stick through the little circle Evie had made of her fingers. The sexual entendre of the motion could hardly escape her, and she felt a flush rise up from the neck of her gown. “Shame on you,” she heard him murmur. “No proper young woman would have such thoughts.” A helpless giggle escaped Evie’s lips, and Sebastian moved to the side, watching her with a lazy smile. “Try again.
Lisa Kleypas (Devil in Winter (Wallflowers, #3))
AFTER DINNER, WITH A GREAT FLOURISH, my friend Andrew brought out a lovely leather box. “Open it,” he said, proudly, “and tell me what you think.” I opened the box. Inside was a gleaming stainless-steel set of old mechanical drawing instruments: dividers, compasses, extension arms for the compasses, an assortment of points, lead holders, and pens that could be fitted onto the dividers and compasses. All that was missing was the T square, the triangles, and the table. And the ink, the black India ink. “Lovely,” I said. “Those were the good old days, when we drew by hand, not by computer.” Our eyes misted as we fondled the metal pieces. “But you know,” I went on, “I hated it. My tools always slipped, the point moved before I could finish the circle, and the India ink—ugh, the India ink—it always blotted before I could finish a diagram. Ruined it! I used to curse and scream at it. I once spilled the whole bottle all over the drawing, my books, and the table. India ink doesn’t wash off. I hated it. Hated it!” “Yeah,” said Andrew, laughing, “you’re right. I forgot how much I hated it. Worst of all was too much ink on the nibs! But the instruments are nice, aren’t they?” “Very nice,” I said, “as long as we don’t have to use them.
Donald A. Norman (Emotional Design: Why We Love (or Hate) Everyday Things)
There is nothing God loves more than keeping promises, answering prayers, performing miracles, and fulfilling dreams. That is who He is. That is what He does. And the bigger the circle we draw, the better, because God gets more glory. The greatest moments in life are the miraculous moments when human impotence and divine omnipotence intersect – and they intersect when we draw a circle around the impossible situations in our lives and invite God to intervene. I promise you this: God is ready and waiting. So while I have no idea what circumstances you find yourself in, I’m confident that you are only a prayer away from a dream fulfilled, a promise kept, or a miracle performed. It is absolutely imperative at the outset that you come to terms with this simple yet life-changing truth: God is for you. If you don’t believe that, then you’ll pray small timid prayers; if you do believe it, then you’ll pray big audacious prayers. And one way or another, your small timid prayers or bid audacious prayers will change the trajectory of your life and turn you into two totally different people. Prayers are prophecies. They are best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life.
Mark Batterson (The Circle Maker: Praying Circles Around Your Biggest Dreams and Greatest Fears)
I went up the stairs of the little hotel, that time in Bystřice by Benešov, and at the turn of the stairs there was a bricklayer at work, in white clothes; he was chiselling channels in the wall to cement in two hooks, on which in a little while he was going to hang a Minimax fire-extinguisher; and this bricklayer was already and old man, but he had such an enormous back that he had to turn round to let me pass by, and then I heard him whistling the waltz from The Count of Luxembourg as I went into my little room. It was afternoon. I took out two razors, and one of them I scored blade-up into the top of the bathroom stool, and the other I laid beside it, and I, too, began to whistle the waltz from The Count of Luxembourg while I undressed and turned on the hot-water tap, and then I reflected, and very quietly I opened the door a crack. And the bricklayer was standing there in the corridor on the other side of the door, and it was as if he also had opened the door a crack to have a look at me and see what I was doing, just as I had wanted to have a look at him. And I slammed the door shut and crept into the bath, I had to let myself down into it gradually, the water was so hot; I gasped with the sting of it as carefully and painfully I sat down. And then I stretched out my wrist, and with my right hand I slashed my left wrist ... and then with all my strength I brought down the wrist of my right hand on the upturned blade I'd grooved into the stool for that purpose. And I plunged both hands into the hot water, and watched the blood flow slowly ouf of me, and the water grew rosy, and yet al the time the pattern of the red blood flowing remained so clearly perceptible, as though someone was drawing out from my wrists a long, feathery red bandage, a film, dancing veil ... and presently I thickened there in the bath, as that red paint thickened when we were painting the fence all round the state workshops, until we had to thin it with turpentine - and my head sagged, and into my mouth flowed pink raspberryade, except that it tasted slightly salty .. and then those concentric circles in blue and violet, trailing feathery fronds like coloured spirals in motion ... and then there was a shadow stooping over me, and my face was brushed lightly by a chin overgrown with stubble. It was that bricklayer in the white clothes. He hoisted me out and landed me like a red fish with delicate red fins sprouting from its wrists. I laid my head on his smock, and I heard the hissing of lime as my wet face slaked it, and that smell was the last thing of which I was conscious.
Bohumil Hrabal (Closely Observed Trains: A Film)
Celestial Music” I have a friend who still believes in heaven. Not a stupid person, yet with all she knows, she literally talks to god, she thinks someone listens in heaven. On earth, she’s unusually competent. Brave, too, able to face unpleasantness. We found a caterpillar dying in the dirt, greedy ants crawling over it. I’m always moved by weakness, by disaster, always eager to oppose vitality. But timid, also, quick to shut my eyes. Whereas my friend was able to watch, to let events play out according to nature. For my sake, she intervened, brushing a few ants off the torn thing, and set it down across the road. My friend says I shut my eyes to god, that nothing else explains my aversion to reality. She says I’m like the child who buries her head in the pillow so as not to see, the child who tells herself that light causes sadness— My friend is like the mother. Patient, urging me to wake up an adult like herself, a courageous person— In my dreams, my friend reproaches me. We’re walking on the same road, except it’s winter now; she’s telling me that when you love the world you hear celestial music: look up, she says. When I look up, nothing. Only clouds, snow, a white business in the trees like brides leaping to a great height— Then I’m afraid for her; I see her caught in a net deliberately cast over the earth— In reality, we sit by the side of the road, watching the sun set; from time to time, the silence pierced by a birdcall. It’s this moment we’re both trying to explain, the fact that we’re at ease with death, with solitude. My friend draws a circle in the dirt; inside, the caterpillar doesn’t move. She’s always trying to make something whole, something beautiful, an image capable of life apart from her. We’re very quiet. It’s peaceful sitting here, not speaking, the composition fixed, the road turning suddenly dark, the air going cool, here and there the rocks shining and glittering— it’s this stillness that we both love. The love of form is a love of endings.
Louise Glück (Ararat)
Now drawing four fingers up the sides of her stomach, my hands create a kind of invisible wave that sounds beneath her skin. Molding her torso every which way as if it were clay for me to experiment, I study the lines of her iridescent form flowing in a rhythmic beauty that fascinates me into this fixation. My finger circles around the rim of her belly button as if to enjoy the sounds that might come from a crystal glass. Her every touch absorbs my ability to discern thought as I become rested in this feeling of absolute ecstasy. Life without her I know would indefinitely destroy me, having already solemnly delivered my spirit to this angel that comes down to be with me.
Luccini Shurod (The Painter)
[T]his impulse toward spiritual intimacy is found not only in the Abrahamic faiths, but in Buddhism, Hinduism, and native religions. Far too many people who understand God in these ways probably do not know how rich the tradition is that speaks of God with us, God in the stars and sunrise, God as the face of their neighbor, God in the act of justice, or God as the wonder of love. The language of divine nearness is the very heart of vibrant faith. Yet it has often been obscured by vertical theologies and elevator institutions, which, I suspect, are far easier to both explain and control. Drawing God within the circle of the world is a messy and sometimes dangerous business.
Diana Butler Bass (Grounded: Finding God in the World-A Spiritual Revolution)
[The Great Khan] said: 'It is all useless, if the last landing place can only be the infernal city, and it is there that, in ever-narrowing circles, the current is drawing us.' And Polo said: 'The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live everyday, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space.
Italo Calvino (Invisible Cities)
[The Great Khan' said: 'It is all useless, if the last landing place can only be the infernal city, and it is there that, in ever-narrowing circles, the current is drawing us.' And Polo said: 'The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live everyday, that we form by being together. There are two ways to escape suffering it. The first is easy for many: accept the inferno and become such a part of it that you can no longer see it. The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space.
Italo Calvino (Invisible Cities)
As happens in dreams, when a perfectly harmless object inspires us with fear and thereafter is frightening every time we dream of it (and even in real life retains disquieting overtones), so Dreyer's presence became for Franz a refined torture, an implacable menace. [ ... H]e could not help cringing when, with a banging of doors in a dramatic draft, Martha and Dreyer entered simultaneously from two different rooms as if on a too harshly lit stage. Then he snapped to attention and in this attitude felt himself ascending through the ceiling, through the roof, into the black-brown sky, while, in reality, drained and empty, he was shaking hands with Martha, with Dreyer. He dropped back on his feet out of that dark nonexistence, from those unknown and rather silly heights, to land firmly in the middle of the room (safe, safe!) when hearty Dreyer described a circle with his index finger and jabbed him in the navel; Franz mimicked a gasp and giggled; and as usual Martha was coldly radiant. His fear did not pass but only subsided temporarily: one incautious glance, one eloquent smile, and all would be revealed, and a disaster beyond imagination would shatter his career. Thereafter whenever he entered this house, he imagined that the disaster had happened—that Martha had been found out, or had confessed everything in a fit of insanity or religious self-immolation to her husband; and the drawing room chandelier invariably met him with a sinister refulgence.
Vladimir Nabokov
Thank, God,” Jason said as the tide of his blue eyes washed over her. “What?” Alexis asked, her own smile turning the corners of her mouth up. “You’re really here. It wasn’t just a dream,” Jason responded, kissing her forehead. “I plan on always being here,” she said, her hands drawing circles on his bare chest. He pulled her closer, their fronts molding together, one of her legs rested on his hip. “You’ve sufficiently invaded every part of me, Alexis; my heart, my mind, and now my dreams.” “You don’t have to dream to have me, Jason.” Alexis’ heart melted, realizing just how true his statement had become. This man had invaded every part of her, captured it exclusively for himself; her heart, mind, dreams, and body belonged to this man.
Lindsay Chamberlin (The Shoreline (Following the Crest, #1))
Let’s talk about ‘Coexist’ bumper stickers for a second. You’ve definitely seen them around. They’re those blue strips with white lettering that assemble a collection of religious icons and mystical symbols (e.g., an Islamic crescent, a Star of David, a Christian cross, a peace sign, a yin-yang) to spell out a simple message of inclusion and tolerance. Perhaps you instinctively roll your eyes at these advertisements of moral correctness. Perhaps you find the sentiment worthwhile, but you’re not a wear-your-politics-on-your-fender type of person. Or perhaps you actually have ‘Coexist’ bumper stickers affixed to both your Prius and your Beamer. Whatever floats your boat, man; far be it from us to cast stones. But we bring up these particular morality minibillboards to illustrate a bothersome dichotomy. If we were to draw a Venn diagram of (a) the people who flaunt their socially responsible “coexist” values for fellow motorists, and (b) the people who believe that, say, an evangelical Christian who owns a local flower shop ought to be sued and shamed for politely declining to provide floral arrangements for a same-sex wedding, the resulting circles would more or less overlap. The coexist message: You people (i.e., conservatives) need to get on board and start coexisting with groups that might make you uncomfortable. It says so right here on my highly enlightened bumper sticker. But don’t you dare ask me to tolerate the ‘intolerance’ of people with whom I disagree. Because that’s different.
Mary Katharine Ham
Walking in circles Dr. Jan Souman, of the Max Planck Institute for Biological Cybernetics, studied what happens to us when we have no map, no compass, no way to determine landmarks. I’m not talking about a metaphor—he researched what happens to people lost in the woods or stumbling around the Sahara, with no north star, no setting sun to guide them. It turns out we walk in circles. Try as we might to walk in a straight line, to get out of the forest or the desert, we end up back where we started. Our instincts aren’t enough. In the words of Dr. Souman, “Don’t trust your senses because even though you might think you are walking in a straight line when you’re not.” Human nature is to need a map. If you’re brave enough to draw one, people will follow.
Seth Godin (Poke the Box)
When the soldiers dress Jesus up in a purple robe, they do so in order to mock him, but John tells us of it in order to declare that Jesus is indeed the one in purple, the one before whom the nations will bow. Pilate circles around the possibility that Jesus is in some sense “king of the Jews,” but without realizing that, according to the Jews’ own ancient traditions, their king is to be king of the whole world. John knows that he is telling a story of someone dying the death of a criminal. He is determined that his readers will “hear” the story also as the death of the rightful king. Jesus’s kingdom will not come by violence (18:36). It will come through his own death. When he is lifted up from the earth, he will draw all people to himself (12:32).
N.T. Wright (How God Became King: The Forgotten Story of the Gospels)
Tiredness thus draws whole families into the vicious circle of poor nutrition and lack of exercise. The sluggishness that comes from poor diet feeds further exhaustion, which leads to more quick-fix junk food and telly-slumping … and so on, ad infinitum. And all this overlaps with another vicious circle. This is the one where exhausted parents attempt wanly to convince their children it’s bedtime. And the children - over-tired and brattish - play up more and more, until their parents give up the unequal struggle and let them watch ‘one more programme’ or play ‘one more computer game’. The next morning everyone wakes up tired again … and on it goes, the two vicious circles overlapping into a vicious Venn diagram, with a worn-out family trapped in the middle.
Sue Palmer (Toxic Childhood: How The Modern World Is Damaging Our Children And What We Can Do About It)
The fanatic loathes an open-ended situation. Perhaps he does not acknowledge such situation. He always has an urgent need to know what the 'bottom line' is, what the inevitable conclusion is, when we will finally 'come full circle.' Yet history, including the private history of each of us, is usually not a circle but a line: a winding line with retreats and bends, which sometimes changes course and intersects with itself and occasionally draws loops, but nevertheless, a line and not a circle. Being immune to fanaticism entails, among other things, a willingness to exist inside open-ended situations that do not come full circle and cannot be unequivocally settled. A readiness to live with questions and choices whose resolutions hide far beyond the hazy horizon.
Amos Oz (שלום לקנאים)
wet. I’d much rather have God part the river, and then I’ll step into the miracle. That way I don’t get my feet wet, but if we aren’t willing to get our feet wet, we’ll never walk through parted rivers on dry ground. At flood tide, the Jordan River was approximately two hundred feet wide. That was all that separated the Israelites from their four-hundred-year-old promise. Their dream was practically a stone’s throw away. But if the priests hadn’t stepped into the river, they may well have spent the rest of their lives on the eastern banks of the Jordan River. And that’s where many of us spend our lives. We’re so close to the dream, so close to the promise, so close to the miracle. But we’re waiting for God to part the river, while God is waiting for us to get our feet wet.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets.  2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other.  3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again.  4.  Draw two circles on one sheet while drawing one square on the other. Then switch.  5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch.  6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg).  7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all.  8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all.  9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.
Edward M. Hallowell (Delivered from Distraction)
Hundreds of eyes watched him like vultures circling a wounded dog, but they didn’t matter. Only one pair of eyes mattered to Grey at that moment. It only made sense that he should be the only one in the room not wearing a mask. He had hidden himself for so long, that it felt somehow cleansing to put himself on such blatant display. He deserved this blatant attention. And on some level, he needed it. Head high, he walked through the ballroom, the crowd parting for him. They didn’t draw back so much that he couldn’t hear their whispers. “The nerve!” “Did you see the scar?” “Always did know how to make an entrance.” “He’s so handsome!” Grey stopped listening. It didn’t matter what they said. All that mattered was finding Rose, and somehow he knew that she would be waiting at the end, letting him make this walk alone as he needed to do.
Kathryn Smith (When Seducing a Duke (Victorian Soap Opera, #1))
Perhaps the most important Stoic legacy to the history of moral thought was the concept of universal humanity. In his famous Elements of Ethics, the second-century Stoic philosopher Hierocles imagines every individual as standing at the centre of a series of concentric circles. The first circle is the individual, next comes the immediate family, followed by the extended family, the local community, the country, and finally the entire human race. To be virtuous, Hierocles suggested, is to draw these circles together, constantly to transfer people from the outer circles to the inner circles, to treat strangers as cousins and cousins as brothers and sisters, making all human beings part of our concern. The Stoics called this process of drawing the circles together oikeiosis, a word that is almost untranslatable but means something like the process by which everything is made into your home.
Kenan Malik (The Quest for a Moral Compass: A Global History of Ethics)
The 1990s to the present: feminism, historicism, postcolonialism, ethics There has never been a better time to study Virginia Woolf. Woolf studies, in the 1990s and in the new millennium, has continued to flourish and diversify in all its numerous and proliferating aspects. In this recent period the topics that occupied earlier critics continue in new debates, on her modernism, her philosophy and ethics, her feminism and her aesthetics; and there have also been marked turns in new directions. Woolf and her work have been increasingly examined in the context of empire, drawing on the influential field of postcolonial studies; and, stimulated by the impetus of new historicism and cultural materialism, there have been new attempts to understand Woolf ’s writing and persona in the context of the public and private spheres, in the present as well as in her own time. Woolf in the context of war and fascism, and in the contexts of modernity, science and technology, continue to exercise critics. Serious, sustained readings of lesbianism in Woolf ’s writing and in her life have marked recent feminist interpretations in Woolf studies. Enormous advances have also been made in the study of Woolf ’s literary and cultural influences and allusions. Numerous annotated and scholarly editions of Woolf ’s works have been appearing since she briefly came out of copyright in 1991, accompanied by several more scholarly editions of her works in draft and holograph, encouraging further critical scrutiny of her compositional methods. There have been several important reference works on Woolf. Many biographies of Woolf and her circle have also appeared, renewing biographical criticism, along with a number of works concerned with Woolf in geographical context, from landscape and London sites to Woolf ’s and her circle’s many houses and holiday retreats.
Jane Goldman (The Cambridge Introduction to Virginia Woolf)
(...)"He said we all have this different idea of what love is and that's what makes our circle. The more ideas and misconceptions you throw in, the larger the diameter and the harder it is to connect with someone. We," he said, squeezing Hunter's hand and signaling Margie and everyone around them, "all sit around the edge looking at everyone else around the circle. Sometimes we just settle for the person next to us because it's easy or convenient and we skip our way around its circumference, never really knowing what love is all about." He took a sip of his Coke and kept his eyes on Margie. "But other times, you see that person across from you, staring back at you, and you fight like hell trying to get across while he does the same. If you're lucky, there's a rope you can toss over and help draw each other in, never looking away, never worrying about those still on the circumference; just you and him, pulling each other in, deeper and deeper."
Brandon Shire (Afflicted (Afflicted, #1))
The famous Dubner maggid, a gaon, was asked by an admiring student: “How is it that you always have the perfect parable for the topic under discussion?” The gaon smiled. “I’ll answer with a parable.” And he told the following story: A lieutenant of the Tsar’s cavalry, riding through a small shtetl, drew his horse up in astonishment, for on the side of a barn he saw a hundred chalked circles—and in the center of each was a bullet hole! The lieutenant excitedly stopped the first passerby, crying, “Who is the astonishing marksman in this place? Look at all those bull’s-eyes!” The passerby sighed. “That’s Shepsel, the shoemaker’s son, who is a little peculiar.” “I don’t care what he is,” said the lieutenant. “Any man who can shoot that well—” “Ah,” the pedestrian said, “you don’t understand. You see, first Shepsel shoots—then he draws the circle.” The gaon smiled. “That’s the way it is with me. I don’t search for a parable to fit the subject. I introduce the subject for which I have a perfect parable.
Leo Rosten (The New Joys of Yiddish: Completely Updated)
So how are we going to handle this?” “This is going to sound strange, but what if we pretend, for the next ten minutes, that I don’t live here. I’ll walk you to the door. You go inside, then I’ll get back in my car and drive around the block.” I giggled. “That seems a little drastic.” “Yeah, but if we don’t do it like this I’m going to be kissing you all the way to your room. We sorta need to break the cycle.” “Okay.” He kissed me again. Slow. So Slow. His fingers in my hair. His thumb drawing a circle on my cheek. He drew back. “Okay.” He opened the car door and climbed out. I opened the door on my side, and by the time I got out, he was standing there. He took my hand, gave me a quick kiss, and led me to the front porch where my parents had left the light on. “I had a really nice time,” I said with a very serious face. He chuckled lightly. “Yeah, me, too. Maybe we could go out again sometime.” I almost burst out laughing. “I’d like that.” “Good night, Dani,” he said quietly. Then he took me in his arms and gave me a good-night kiss to remember.
Rachel Hawthorne (The Boyfriend League)
Thank you for checking on me. You even wore your sword.” Alric looked down. “I didn’t know what beast or scoundrel might be attacking the princess. I had to come prepared to do battle.” “Can you even draw that thing?” He frowned at her again. “Oh, quit it, will you? They say I fought masterfully in the Battle of Medford.” “Masterfully?” He struggled to stop himself from smiling. “Yes, some might even say heroically. In fact, I believe some did say heroically.” “You’ve watched that silly play too many times.” “It’s good theater, and I like to support the arts.” “The arts.” She rolled her eyes. “You just like it because it makes all the girls swoon and you love all the attention.” “Well…” He shrugged guiltily. “Don’t deny it! I’ve seen you with a crowd of them circling like vultures and you grinning and strutting around like the prize bull at the fair. Do you make a list? Does Julian send them to your chambers by hair color, height, or merely in alphabetical order?” “It’s not like that.” “You know, you do have to get married, and the sooner, the better. You have a lineage to protect. Kings who don’t produce heirs cause civil wars.
Michael J. Sullivan (Heir of Novron (The Riyria Revelations, #5-6))
The stars of the Milky Way galaxy trace a big, flat circle. With a diameter-to-thickness ratio of one thousand to one, our galaxy is flatter than the flattest flapjacks ever made. In fact, its proportions are better represented by a crépe or a tortilla. No, the Milky Way’s disk is not a sphere, but it probably began as one. We can understand the flatness by assuming the galaxy was once a big, spherical, slowly rotating ball of collapsing gas. During the collapse, the ball spun faster and faster, just as spinning figure skaters do when they draw their arms inward to increase their rotation rate. The galaxy naturally flattened pole-to-pole while the increasing centrifugal forces in the middle prevented collapse at midplane. Yes, if the Pillsbury Doughboy were a figure skater, then fast spins would be a high-risk activity. Any stars that happened to be formed within the Milky Way cloud before the collapse maintained large, plunging orbits. The remaining gas, which easily sticks to itself, like a mid-air collision of two hot marshmallows, got pinned at the mid-plane and is responsible for all subsequent generations of stars, including the Sun. The current Milky Way, which is neither collapsing nor expanding, is a gravitationally mature system where one can think of the orbiting stars above and below the disk as the skeletal remains of the original spherical gas cloud. This general flattening of objects that rotate is why Earth’s pole-to-pole diameter is smaller than its diameter at the equator. Not by much: three-tenths of one percent—about twenty-six miles. But Earth is small, mostly solid, and doesn’t rotate all that fast. At twenty-four hours per day, Earth carries anything on its equator at a mere 1,000 miles per hour. Consider the jumbo, fast-rotating, gaseous planet Saturn. Completing a day in just ten and a half hours, its equator revolves at 22,000 miles per hour and its pole-to-pole dimension is a full ten percent flatter than its middle, a difference noticeable even through a small amateur telescope. Flattened spheres are more generally called oblate spheroids, while spheres that are elongated pole-to-pole are called prolate. In everyday life, hamburgers and hot dogs make excellent (although somewhat extreme) examples of each shape. I don’t know about you, but the planet Saturn pops into my mind with every bite of a hamburger I take.
Neil deGrasse Tyson (Astrophysics for People in a Hurry)
When she finally reached it, she bent forward and looked through the peephole. Jay was grinning back at her from outside. Her heart leaped for a completely different reason. She set aside her crutches and quickly unbolted the door to open it. "What took you so long?" Her knee was bent and her ankle pulled up off the ground. She balanced against the doorjamb. "What d'you think, dumbass?" she retorted smartly, keeping her voice down so she wouldn't alert her parents. "You scared the crap out of me, by the way. My parents are already in bed, and I was all alone down here." "Good!" he exclaimed as he reached in and grabbed her around the waist, dragging her up against him and wrapping his arms around her. She giggled while he held her there, enjoying everything about the feel of him against her. "What are you doing here? I thought I wouldn't see you till tomorrow." "I wanted to show you something!" He beamed at her, and his enthusiasm reached out to capture her in its grip. She couldn't help smiling back excitedly. "What is it?" she asked breathlessly. He didn't release her; he just turned, still holding her gently in his arms, so that she could see out into the driveway. The first thing she noticed was the officer in his car, alert now as he kept a watchful eye on the two of them. Violet realized that it was late, already past eleven, and from the look on his face, she thought he must have been hoping for a quiet, uneventful evening out there. And then she saw the car. It was beautiful and sleek, painted a glossy black that, even in the dark, reflected the light like a polished mirror. Violet recognized the Acura insignia on the front of the hood, and even though she could tell it wasn't brand-new, it looked like it had been well taken care of. "Whose is it?" she asked admiringly. It was way better than her crappy little Honda. Jay grinned again, his face glowing with enthusiasm. "It's mine. I got it tonight. That's why I had to go. My mom had the night off, and I wanted to get it before..." He smiled down at her. "I didn't want to borrow your car to take you to the dance." "Really?" she breathed. "How...? I didn't even know you were..." She couldn't seem to find the right words; she was envious and excited for him all at the same time. "I know right?" he answered, as if she'd actually asked coherent questions. "I've been saving for...for forever, really. What do you think?" Violet smiled at him, thinking that he was entirely too perfect for her. "I think it's beautiful," she said with more meaning than he understood. And then she glanced back at the car. "I had no idea that you were getting a car. I love it, Jay," she insisted, wrapping her arms around his neck as he hoisted her up, cradling her like a small child." "I'd offer to take you for a test-drive, but I'm afraid that Supercop over there would probably Taser me with his stun gun. So you'll have to wait until tomorrow," he said, and without waiting for an invitation he carried her inside, dead bolting the door behind him. He settled down on the couch, where she'd been sitting by herself just moments before, without letting her go. There was a movie on the television, but neither of them paid any attention to it as Jay reclined, stretching out and drawing her down into the circle of his arms. They spent the rest of the night like that, cradled together, their bodies fitting each other perfectly, as they kissed and whispered and laughed quietly in the darkness. At some point Violet was aware that she was drifting into sleep, as her thoughts turned dreamlike, becoming disjointed and fuzzy and hard to hold on to. She didn't fight it; she enjoyed the lazy, drifting feeling, along with the warmth created by the cocoon of Jay's body wrapped protectively around her. It was the safest she'd felt in days...maybe weeks... And for the first time since she'd been chased by the man in the woods, her dreams were free from monsters.
Kimberly Derting (The Body Finder (The Body Finder, #1))
❝ Outside and inside form a dialectic of division, the obvious geometry of which blinds us as soon as we bring it into play in metaphorical domains. It has the sharpness of the dialectics of ‘yes’ and 'no,’ which decides everything. Unless one is careful, it is made into a basis of images that govern all thoughts of positive and negative. Logicians draw circles that overlap or exclude each other, and all their rules immediately become clear. Philosophers, when confronted with outside and inside, think in terms of being and non-being. Thus profound metaphysics is rooted in an implitcit geometry which– whether we will or no–confers spatiality upon thought; if a metaphysician could not draw, what would he think? Open and closed, for him, are thoughts. They are metaphors that he attaches to everything, even his systems. In a lecture given by Jean Hyppolite on the subtle structure of denegation (which is quite different from the simple structure of negation) Hyppolite spoke of “a first myth of outside and inside.” And he added: “you feel the full significance of this myth of outside and inside in alienation, which is founded on these two term. Beyond what is expressed in their formal opposition lie alienation and hostility between the two.” And so, simple geometrical opposition becomes tinged with agressivity. Formal opposition is incapable of remaining calm.
Gaston Bachelard (The Poetics of Space)
The belief in the magical power of language is not unusual, both in mystical and academic literature. The Kabbalists -- Jewish mystics of Spain and Palestine -- believed that super-normal insight and power could be derived from properly combining the letters of the Divine Name. For example, Abu Aharon, an early Kabbalist who emigrated from Baghdad to Italy, was said to perform miracles through the power of the Sacred Names." "What kind of power are we talking about here?" "Most Kabbalists were theorists who were interested only in pure meditation. But there were so-called 'practical Kabbalists' who tried to apply the power of the Kabbalah in everyday life." "In other words, sorcerers." "Yes. These practical Kabbalists used a so-called 'archangelic alphabet,' derived from first-century Greek and Aramaic theurgic alphabets, which resembled cuneiform. The Kabbalists referred to this alphabet as 'eye writing,' because the letters were composed of lines and small circles, which resembled eyes." "Ones and zeroes." "Some Kabbalists divided up the letters of the alphabet according to where they were produced inside the mouth." "Okay. So as we would think of it, they were drawing a connection between the printed letter on the page and the neural connections that had to be invoked in order to pronounce it." "Yes. By analyzing the spelling of various words, they were able to draw what they thought were profound conclusions about their true, inner meaning and significance.
Neal Stephenson (Snow Crash)
A striking example from the history of writing is the origin of the syllabary devised in Arkansas around 1820 by a Cherokee Indian named Sequoyah, for writing the Cherokee language. Sequoyah observed that white people made marks on paper, and that they derived great advantage by using those marks to record and repeat lengthy speeches. However, the detailed operations of those marks remained a mystery to him, since (like most Cherokees before 1820) Sequoyah was illiterate and could neither speak nor read English. Because he was a blacksmith, Sequoyah began by devising an accounting system to help him keep track of his customers’ debts. He drew a picture of each customer; then he drew circles and lines of various sizes to represent the amount of money owed. Around 1810, Sequoyah decided to go on to design a system for writing the Cherokee language. He again began by drawing pictures, but gave them up as too complicated and too artistically demanding. He next started to invent separate signs for each word, and again became dissatisfied when he had coined thousands of signs and still needed more. Finally, Sequoyah realized that words were made up of modest numbers of different sound bites that recurred in many different words—what we would call syllables. He initially devised 200 syllabic signs and gradually reduced them to 85, most of them for combinations of one consonant and one vowel. As one source of the signs themselves, Sequoyah practiced copying the letters from an English spelling book given to him by a schoolteacher. About two dozen of his Cherokee syllabic signs were taken directly from those letters, though of course with completely changed meanings, since Sequoyah did not know the English meanings. For example, he chose the shapes D, R, b, h to represent the Cherokee syllables a, e, si, and ni, respectively, while the shape of the numeral 4 was borrowed for the syllable se. He coined other signs by modifying English letters, such as designing the signs , , and to represent the syllables yu, sa, and na, respectively. Still other signs were entirely of his creation, such as , , and for ho, li, and nu, respectively. Sequoyah’s syllabary is widely admired by professional linguists for its good fit to Cherokee sounds, and for the ease with which it can be learned. Within a short time, the Cherokees achieved almost 100 percent literacy in the syllabary, bought a printing press, had Sequoyah’s signs cast as type, and began printing books and newspapers. Cherokee writing remains one of the best-attested examples of a script that arose through idea diffusion. We know that Sequoyah received paper and other writing materials, the idea of a writing system, the idea of using separate marks, and the forms of several dozen marks. Since, however, he could neither read nor write English, he acquired no details or even principles from the existing scripts around him. Surrounded by alphabets he could not understand, he instead independently reinvented a syllabary, unaware that the Minoans of Crete had already invented another syllabary 3,500 years previously.
Jared Diamond (Guns, Germs, and Steel)
1.  Position one blank sheet of paper to your right and another to your left; then take a pencil in each hand. Simultaneously, draw a vertical line on the right sheet and a circle on the left sheet. Repeat three times, alternating figures on the right and left sheets. 2.  Draw a triangle on one sheet while drawing a square on the other. Then switch: draw the square on the first sheet and the triangle on the other. 3.  Draw a circle on one sheet while drawing a triangle on the other. Switch figures and do it again. 4.  Draw two circles on one sheet while drawing one square on the other. Then switch. 5.  Draw two squares on one sheet while drawing one triangle on the other. Then switch. 6.  Draw a triangle on one sheet while drawing a square on the other and also tracing a circle on the floor with one leg. Then switch hands (and switch to the other leg). 7.  Draw a circle with one hand and a triangle with the other while tracing a square on the floor with one leg. Then switch all. 8.  Draw a triangle with one hand and two squares with the other while tracing a circle on the floor with one leg. Then switch all. 9.  Draw a triangle with one hand and a square with the other while tracing a circle on the floor with one leg and nodding your head twice forward and twice backward. 10.  Draw a triangle with one hand and a square with the other while tracing a vertical line with the leg on the same side as the hand that is drawing the triangle, and a horizontal line with leg on the same side as the hand that is drawing the square. Then switch all.
Edward M. Hallowell (Delivered from Distraction)
Lionel Messi (32), who plays for FC Barcelona in the Spanish football league, has recorded his 50th hat-trick. The team also won. Messi made his first hat-trick as a left-handed striker in the 25th round of the away game against Spain in the 2018-2019 Primera División at the Ramon Sánchez Pisjuan Stadium in Seville, Spain. Messi's 50th hat-trick. He wrote 44 hits in Barcelona and 6 hits in Argentina. The start of the game was not good. In the 22nd minute Messi's passing mistake led to a counterattack in Seville. He scored a goal for Navas and Barcelona were 0-1. Four minutes later Messi scored a fantastic goal. On the left side, Ivan Rakitić's cross came up with a direct volley shooting. It was stuck in the left corner of the goal correctly. In the second half of the second half of the match, he managed to take a right-footed shot from the front of Arc Circle, Goalkeeper Thomas Bachlick reached out his hand but he was blind. 텔레【KC98K】카톡【ACD5】라인【SPR331】 ♥100%정품보장 ♥총알배송 ♥투명한 가격 ♥편한 상담 ♥끝내주는 서비스 ♥고객님 정보 보호 ♥깔끔한 거래 ◀경영항목▶ 수면제,여성-최음제,,여성흥분제,남성발기부전치유제,비아그라,시알리스,88정,드래곤,99정,바오메이,정력제,남성성기확대제,카마-그라젤,비닉스,센돔,꽃물,남성-조-루제,네노마정 등많은제품 판매중입니다 센돔 판매,센돔 구입방법,센돔 구매방법,센돔 효과,센돔 처방,센돔 파는곳,센돔 지속시간,센돔 구입,센돔 구매,센돔 복용법 In the 39th minute of the second half, Carlos Alenya's shot was deflected and deflected, and Messi broke into the box with a penalty box. Messi helped Luis Suárez score just before the end of the game and made four goals on the day. The team had a pleasant 4-2 victory and solidified the league with 57 points (17 wins, 6 draws, 2 losses). Madrid, who have been at the top of the table for the last time.
Messi, the 50th hatched ... Team versus reverse win
Dance with me,” Merripen surprised her by murmuring. Win shook her head with a little laugh, watching the couples twirl and move sinuously around each other. Women used their hands in shimmering motions around their bodies, while men stomped with their heels and clapped their hands, and all the while they circled each other while holding each other’s gaze as long as possible. “I don’t know how,” Win said. Merripen stood behind her and crossed his arm around her front, drawing her back against him. Another surprise. She had never known him to touch her so openly. But amid the goings-on, it seemed no one noticed or cared. His voice was hot and soft in her ear. “Watch for a moment. You see how little space is needed? How they circle each other? When Roma dance they lift their hands to the sky, but they stomp their feet to express connection to the earth. And to earthly passions.” He smiled against her cheek and gently turned her to face him. “Come,” he murmured, and hooked his hand around her waist to urge her forward. Win followed him shyly, fascinated by a side of him she hadn’t seen before. She wouldn’t have expected him to be this self-assured, drawing her into the dance with animal grace, watching her with a wicked gleam in his eyes. He coaxed her to raise her arms upward, to snap her fingers, even to swish her skirts at him as he moved around her. She couldn’t seem to stop giggling. They were dancing, and he was so good at it, turning it into a cat-and-mouse game. She twirled in a circle, and he caught her around the waist, pulling her close for one scalding moment. The scent of his skin, the movement of his chest against hers, filled her with intense desire. Leaning his forehead against hers, Merripen stared at her until she was drowning in the depths of his eyes, as dark and bright as hellfire. “Kiss me,” she whispered unevenly, not caring where they were or who might see them. A smile touched his lips. “If I start now, I won’t be able to stop.
Lisa Kleypas (Seduce Me at Sunrise (The Hathaways, #2))
Arthur tried to gauge the speed at which they were traveling, but the blackness outside was absolute and he was denied any reference points. The sense of motion was so soft and slight he could almost believe they were hardly moving at all. Then a tiny glow of light appeared in the far distance and within seconds had grown so much in size that Arthur realized it was traveling toward them at a colossal speed, and he tried to make out what sort of craft it might be. He peered at it, but was unable to discern any clear shape, and suddenly gasped in alarm as the aircar dipped sharply and headed downward in what seemed certain to be a collision course. Their relative velocity seemed unbelievable, and Arthur had hardly time to draw breath before it was all over. The next thing he was aware of was an insane silver blur that seemed to surround him. He twisted his head sharply round and saw a small black point dwindling rapidly in the distance behind them, and it took him several seconds to realize what had happened. They had plunged into a tunnel in the ground. The colossal speed had been their own, relative to the glow of light which was a stationary hole in the ground, the mouth of the tunnel. The insane blur of silver was the circular wall of the tunnel down which they were shooting, apparently at several hundred miles an hour. He closed his eyes in terror. After a length of time which he made no attempt to judge, he sensed a slight subsidence in their speed and some while later became aware that they were gradually gliding to a gentle halt. He opened his eyes again. They were still in the silver tunnel, threading and weaving their way through what appeared to be a crisscross warren of converging tunnels. When they finally stopped it was in a small chamber of curved steel. Several tunnels also had their termini here, and at the farther end of the chamber Arthur could see a large circle of dim irritating light. It was irritating because it played tricks with the eyes, it was impossible to focus on it properly or tell how near or far it was. Arthur guessed (quite wrongly) that it might be ultraviolet. Slartibartfast turned and regarded Arthur with his solemn old eyes. “Earthman,” he said, “we are now deep in the heart of Magrathea.
Douglas Adams (The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide, #1))
I’ve forgotten how to pay courtly compliments,” said Amar. “For instance, etiquette demands I tell you that you look lovely and compliment your demure. But that wouldn’t be the truth.” Heat rose to my cheeks and I narrowed my eyes. “What, then, would be the truth?” “The truth,” said Amar, taking a step closer to me, “is that you look neither lovely nor demure. You look like edges and thunderstorms. And I would not have you any other way.” My breath gathered in a tight knot and I looked away, only to catch sight of the tapestry. The threads throbbed behind my eyes, sharp as any headache. My vision blurred, swallowing the room around me. I blinked rapidly, squinting at the threads. All I could see were that all the threads were out of place. Some had either skipped a stitch or poked out altogether. I walked toward the tapestry in a daze, my hands outstretched. I could feel the tapestry’s pull, sharp as hunger, dry as thirst. Nothing would sate or slake me. All I wanted was to adjust the threads, tuck them back into place. There was an order, a pattern, like a stitching trick. I could feel it like a word balancing on the tip of my tongue and all I had to do was-- Amar’s hand closed around my wrist. He moved before me, blocking the tapestry. “Stop!” I blinked, my head woolly. His hands were around my shoulders, drawing me to a wobbly stand. “Did I fall?” “That sounds ungraceful,” he said, a smile playing at his lips. He was trying to joke with me, to ward off whatever happened as though it were nothing. But his hands were tight at my shoulders and there was the slightest tremble in his fingers. “A graceful tumble, then?” I suggested, stepping out of the circle of his arms. I didn’t need any help keeping myself upright. “I should’ve explained the tapestry before showing it to you. It can be overwhelming.” Amar led me to the throne and I sank into it wearily. There was a new ache tethered inside my bones. In the haze, the pressure of Amar’s hand against my arm was warm, comforting even. I closed my eyes, concentrating on the warm pulse in his fingers. When I finally felt strong enough to speak, I opened my eyes to find Amar’s face mere inches from mine. I could count the immaculate stitching of his emerald hood, the stubble along his chin and the veins raised along his hand. His eyes, as always, lay hidden. But he was so close that if I wanted, and I did, I might be able to peek-- Amar jerked backward, his jaw tightening.
Roshani Chokshi (The Star-Touched Queen (The Star-Touched Queen, #1))
CRUNCH! Izzy jumped off the bench, which made Alex laugh all over again. “Chill out.” He pointed at a cloud of smoke. “Look, it’s over, see? Number fifty-seven won.” Terrific. The driver of a purple-and-gray wreck waved at the cheering crowd as he circled the other dead and crunched cars. “Survival of the fittest, huh?” Alex put on that smirk that signaled he was about to pass out a little more college wisdom. “Just one more example of how evolution works.” “You’re kidding, right?” This was too lame. He actually believed that smashed cars at the demolition derby proved…what? “No, look.” Alex pointed to a big green car with the back end curled up. “See that Chevy there?” The one with all the smoke coming out of it? He went on. “That’s a ‘79. You can tell by the front end.” What was left of it. But Professor Alex wasn’t done. “Then look at that Chevy right next to it. It’s a ‘77, but it came from the same assembly line. The body is almost the same.” “Okay…” “So that’s the example my professor at Tech used to explain it. Cars that look alike. It’s how scientists look at fossils too. How they can tell that one life-form comes from the next…You know, evolution.” Oh. By that time they had followed the crowd off the grandstands and were making their way to Uncle John’s minivan out in the parking lot. Who was she to argue with a college kid? And yet…something occurred to Izzy about what her cousin was trying to tell her. She turned to him after they’d piled into the backseat. “Those cars you pointed out…” she started. “Yup.”Alex knew the answers. “Just another illustration of evolution.” “Whatever.” This time she couldn’t just smile and nod. “I was just wondering, though. Do you think a real person designed the older car?” “Well, sure.” This time Alex’s face clouded a bit. “And did a real person design the newer car too?” “Sure, but—” “And would there be a chance the designer might have used some of the same ideas, or maybe some of the same drawings, for both cars?” Alex frowned and sighed this time. “That’s not the point.” Wasn’t it? Izzy tried not to rub it in, just let her cousin stew on it. Yeah, so if the cars looked like they were related, that could mean the same person thought them up. Couldn’t it? Just like in creation. Only in creation it would be the same God who used the same kind of plans for the things—and the people—he made. Good example, Alex, she thought, and she tried to keep from smiling as they drove away from the fairgrounds. “Thanks for taking us to the derby,” she told her uncle John. “Maybe we should do it again next year.
Lee Strobel (Case for a Creator for Kids: A Journalist Investigates Scientific Evidence That Points Toward God (Case for... Series for Kids))
Gentleman,” I purr smoothly in greeting. Ezra and Cort circle me like sharks scenting blood. I know who they are, but not who is who since they’re wearing black hoods over their heads. It covers them to the shoulder and has holes for the eyes and mouth. Their clothing is identical Italian designer label suits. Even their shoes are the same. Their eyes glow like steel ball-bearings from the safety of their masks. The mouths are different- one serious, one snarky- both ruby-red and kissable. While they circle Fate and me several times taking our measure, the other Master stands in a sphere of his own confidence. He’s older and I don’t mean just in age, but knowledge. Ezra and Cortez feel like babies compared to this man. I bet he’s who I really have to impress. I wait, always meeting their eyes when their path moves them back to my face. I don’t follow them with my gaze- I wait. “Hello,” the hood with the serious lips speaks in a smooth deep tone. I know it’s not his true voice, but the one Kris calls The Boss. His eyes are kind and assessing. No one pays Fate any mind as she cowers at my thigh. I hold their undivided attention. Curly-locks is quiet- watchful- a predator sighting its quarry. Snarky mouth is leering at my chest and I smirk. Caught ya, Cortez Abernathy. “I seem to be at a disadvantage conversing with you while you’re hooded. I can’t see you, but you can see me.” I try to get them to out themselves. It’s a longshot. “And who are you, Ma’am?” Ezra asks respectfully. “Please call me Queen.” I draw on all of my lessons from Hillbrook to pull me through this conversation. The power in the air is stifling. I wonder if it’s difficult for them to be in the same room without having a cage match for dominance. I feel like I’m on Animal Planet and the lions are circling. “Queen, indeed,” Cort says snidely under his breath and I wince. I turn my face from them in embarrassment. I should have gone with something less- less everything. I know I’m strong, but the word also emulates elegance and beauty. I’m neither. Have to say, tonight has sucked for my self-esteem. First, the dominant one overlooks me for Fate and now Cortez makes fun of me- lovely. “What did you say to upset her?” Ezra accuses Cortez. “Nothing,” Cort complains in confusion. “Please excuse my partner. Words are his profession and it seems they have failed him this evening. I will apologize for not sharing our names, but this gentleman is Dexter.” He gestures to the dominant man. I wait for him to shake my hand like a civilized person. He does not- he actually crosses his arms over his chest in disobedience. This shit is going to be a piece of cake.
Erica Chilson (Queened (Mistress & Master of Restraint, #6))
NOTE: Practice your most effective relaxation techniques before you begin these exercises (refer to Chapter 6 if necessary). People are better able to concentrate when they are relaxed. Listening -Pay attention to the sounds coming from outside: from the street, from above in the air, from as far away as possible. Then focus on one sound only. -Pay attention to the sounds coming from a nearby room—the kitchen, living room, etc. Identify each one, then focus on a single sound. -Pay attention to the sounds coming from the room you are in: the windows, the electrical appliances. Then focus on one sound only. -Listen to your breathing. -Hear a short tune and attempt to re-create it. -Listen to a sound, such as a ringing doorbell, a knock on the door, a telephone ringing, or a siren. How does it make you feel? -Listen to a voice on the telephone. Really focus on it. -Listen to the voices of family members, colleagues, or fellow students, paying close attention to their intonation, pacing, and accent. What mood are they conveying? Looking -Look around the room and differentiate colors or patterns, such as straight lines, circles, and squares. -Look at the architecture of the room. Now close your eyes. Can you describe it? Could you draw it? -Look at one object in the room: chair, desk, chest of drawers, whatever. Close your eyes and try to picture the shape, the material, and the colors. -Notice any changes in your environment at home, at school, or in your workplace. -Look at magazine photos and try to guess what emotions the subjects’ expressions show. -Observe the effect of light around you. How does it change shapes? Expressions? Moods? Touching -When shaking a person’s hand, notice the temperature of the hand. Then notice the temperature of your own hand. -Hold an object in your hands, such as a cup of coffee, a brick, a tennis ball, or anything else that is available. Then put it down. Close your eyes and remember the shape, size, and texture of the object. -Feel different objects and then, with your eyes closed, touch them again. Be aware of how the sensations change. -Explore different textures and surfaces with your eyes first open and then closed. Smelling and Tasting -Be aware of the smells around you; come up with words to describe them. -Try to remember the taste of a special meal that you enjoyed in the past. Use words to describe the flavors—not just the names of the dishes. -Search your memory for important smells or tastes. -Think of places with a strong tie to smell. These sensory exercises are an excellent way to boost your awareness and increase your ability to concentrate. What is learned in the fullest way—using all five senses—is unlikely to be forgotten. As you learn concentration, you will find that you are able to be more in tune with what is going on around you in a social situation, which in turn allows you to interact more fully.
Jonathan Berent (Beyond Shyness: How to Conquer Social Anxieties)
My bisnonno is such a man...Fine, you laugh again. Not so handsome,I think,but just as proud. He struts through the square with his new shoes. He buys a carriage. But he gives to the poor,too, to the Church.He is kind to his siters; he is a friend to many.He is raffinato, a gentleman. And the girl he chooses? Hmm? Hmm?" "I don't know, Nonna. Elizabeth Benedetto?" "Hah!" Nonna slapped her hand hard against her knee. It bounced soundlessly off the leopard plush. "Elisabetta. Elisabetta, daughter of a man who works on another's boat. Elisabetta who has many sisters and who is intended for the Church if she does not marry. I don't remember her family name, if I ever knew. Maybe Benedetto.Why not? It does not matter.What matters is that no one understands why Michelangelo Costa chooses this girl. No one can...oh,the word...to say a picture of: descrivere." "Describe?" "Si. Describe.No one can describe her.Small,they think. Brown, maybe. Maybe not so pretty, not so ugly. Just a girl. She sits by the seawall mending nets her family does not own. She is odd,too,her neighbors think.They think it is she who leaves little bit of shell and rock when she is done with the nets, little mosaico on the wall. So why? the piu bella girls ask, the ones with long,long necks, and long black hair, and noses that turn up at the end. Why this odd, nobody girl in her ugly dresses, with her dirty feet? "Michelangelo sends his cousins to her with gifts. A cameo, silk handkerchiefs, a fine pair of gloves. Again,the laugh.Then, you would not have laughed at a gift of gloves, piccola. Oh,you girls now. You want what? E-mails and ePods?" "That's iPods,Nonna." "Whatever. See,that word I know. Now, Elisabetta sends back the little girst. So my bisnonno sends bigger: pearls, meters of silk cloth, a horse. These,too,she will not take. And the people begin to look,and ask: Who is she, this nobody girl,to refuse him? No money,no beauty,no family name.You are a fool,they tell her. Accept. Accept! "And my proud bisnonno does not understand. He can have any girl in the town.So again,he gathers the gifts, he carries them himself, leads the horse. But Elisabetta is not to be found. She is not at her papa's house or in the square or at the seawall. Michelangelo fears she has gone to the convent. But no. As he stands at the seawall, a seabird,a gull, lands on his shoulder and says-" "Nonna-" "Shh! The girl tells him to follow the delfino....delfin? Dolphin! So he looks, and there, a dolphin with its head above the water says, 'Follow!' So he follows,the sack with gifts for Elisabetta on his back,like a peddler, the horse trailing behind.The dolphin leads him around the bay to a beach, and there is Elisabetta, old dress covered in sand,feet bare, just drawing circles in the sand. She starts to run, but Michelangelo calls to her. 'Why,' he asks her. 'Why do you hide? Why will you not take my gifts?' And she says..." I'd been fighting a losing battle with yawning for a while. I was failing fast. "I have no idea. 'I'm in love with someone else.'?
Melissa Jensen (The Fine Art of Truth or Dare)
Show me." He looks at her, his eyes darker than the air. "If you draw me a map I think I'll understand better." "Do you have paper?" She looks over the empty sweep of the car's interior. "I don't have anything to write with." He holds up his hands, side to side as if they were hinged. "That's okay. You can just use my hands." She smiles, a little confused. He leans forward and the streetlight gives him yellow-brown cat eyes. A car rolling down the street toward them fills the interior with light, then an aftermath of prickling black waves. "All right." She takes his hands, runs her finger along one edge. "Is this what you mean? Like, if the ocean was here on the side and these knuckles are mountains and here on the back it's Santa Monica, Beverly Hills, West L.A., West Hollywood, and X marks the spot." She traces her fingertips over the backs of his hands, her other hand pressing into the soft pads of his palm. "This is where we are- X." "Right now? In this car?" He leans back; his eyes are black marble, dark lamps. She holds his gaze a moment, hears a rush of pulse in her ears like ocean surf. Her breath goes high and tight and shallow; she hopes he can't see her clearly in the car- her translucent skin so vulnerable to the slightest emotion. He turns her hands over, palms up, and says, "Now you." He draws one finger down one side of her palm and says, "This is the Tigris River Valley. In this section there's the desert, and in this point it's plains. The Euphrates runs along there. This is Baghdad here. And here is Tahrir Square." He touches the center of her palm. "At the foot of the Jumhurriya Bridge. The center of everything. All the main streets run out from this spot. In this direction and that direction, there are wide busy sidewalks and apartments piled up on top of shops, men in business suits, women with strollers, street vendors selling kabobs, eggs, fruit drinks. There's the man with his cart who sold me rolls sprinkled with thyme and sesame every morning and then saluted me like a soldier. And there's this one street...." He holds her palm cradled in one hand and traces his finger up along the inside of her arm to the inner crease of her elbow, then up to her shoulder. Everywhere he touches her it feels like it must be glowing, as if he were drawing warm butter all over her skin. "It just goes and goes, all the way from Baghdad to Paris." He circles her shoulder. "And here"- he touches the inner crease of her elbow-"is the home of the Nile crocodile with the beautiful speaking voice. And here"- his fingers return to her shoulder, dip along their clavicle-"is the dangerous singing forest." "The dangerous singing forest?" she whispers. He frowns and looks thoughtful. "Or is that in Madagascar?" His hand slips behind her neck and he inches toward her on the seat. "There's a savanna. Chameleons like emeralds and limes and saffron and rubies. Red cinnamon trees filled with lemurs." "I've always wanted to see Madagascar," she murmurs: his breath is on her face. Their foreheads touch. His hand rises to her face and she can feel that he's trembling and she realizes that she's trembling too. "I'll take you," he whispers.
Diana Abu-Jaber (Crescent)
Lillian’s lashes lowered as she let him ease her closer, his hand sliding over the length of her spine. Her breasts and waist felt swollen within the insulating grip of her corset, and she suddenly longed to be rid of it. Taking as deep a breath as the stays would allow, she became aware of a sweetly spicy scent in the air. “What is that?” she murmured, drawing in the fragrance. “Cinnamon and wine…” Turning in the circle of his arms, she looked around the spacious bedroom, past the poster bed to the small table that had been set near the window. There was a covered silver dish on the table, from which a few traces of sweet-scented steam were still visible. Perplexed, she twisted back to look at Marcus. “Go and find out,” he said. Curiously Lillian went to investigate. Taking hold of the cover’s handle, which had been wrapped with a linen napkin, she lifted the lid, letting a soft burst of intoxicating fragrance into the air. Momentarily puzzled, Lillian stared at the dish, and then burst out laughing. The white porcelain dish was filled with five perfect pears, all standing on end, their skin gleaming and ruby-red from having been poached in wine. They sat in a pool of clear amber sauce that was redolent of cinnamon and honey. “Since I couldn’t obtain a pear from a bottle for you,” came Marcus’s voice from behind her, “this was the next best alternative.” Lillian picked up a spoon and dug into one of the melting-soft pears, lifting it to her lips with relish. The bite of warm, wine-soaked fruit seemed to dissolve in her mouth, the spiced honey sauce causing a tingle in the back of her throat. “Mmmm…” She closed her eyes in ecstasy. Looking amused, Marcus turned her to face him. His gaze fell to the corner of her lips, where a stray drop of honey sauce glittered. Ducking his head, he kissed and licked away the sticky drop, the caress of his mouth causing a new pleasurable ache deep inside her. “Delicious,” he whispered, his lips settling more firmly, until she felt as if her blood were flowing in streams of white-hot sparks. She dared to share the taste of wine and cinnamon with him, tentatively exploring his mouth with her tongue, and his response was so encouraging that she wrapped her arms around his neck and pressed herself closer. He was delicious, the taste of his mouth clean and sweet, the feel of his lean, solid body immeasurably exciting. Her lungs expanded with shaky-hot breaths, restrained by the clench of her corset stays, and she broke the kiss with a gasp. “I can’t breathe.” Wordlessly Marcus turned her around and unfastened the gown. Reaching her corset, he untied the laces and loosened them with a series of expert tugs, until the stays expanded and Lillian gulped in relief. “Why did you lace so tightly?” she heard him ask. “Because the dress wouldn’t fasten otherwise. And because, according to my mother, Englishmen prefer their women to be narrow-waisted.” Marcus snorted as he eased her back to face him. “Englishmen prefer women to have larger waists in lieu of fainting from lack of oxygen. We’re rather practical that way.” Noticing that the sleeve of her unfastened gown had slipped over her white shoulder, he lowered his mouth to the smooth curve.
Lisa Kleypas (It Happened One Autumn (Wallflowers, #2))
Naturally, without intending to, I transitioned from these dreams in which I healed myself to some in which I cared for others: I am flying over the Champs-Élysées Avenue in Paris. Below me, thousands of people are marching, demanding world peace. They carry a cardboard dove a kilometer long with its wings and chest stained with blood. I begin to circle around them to get their attention. The people, astonished, point up at me, seeing me levitate. Then I ask them to join hands and form a chain so that they can fly with me. I gently take one hand and lift. The others, still holding hands, also rise up. I fly through the air, drawing beautiful figures with this human chain. The cardboard dove follows us. Its bloodstains have vanished. I wake up with the feeling of peace and joy that comes from good dreams. Three days later, while walking with my children along the Champs-Élysées Avenue, I saw an elderly gentleman under the trees near the obelisk whose entire body was covered by sparrows. He was sitting completely still on one of the metal benches put there by the city council with his hand outstretched, holding out a piece of cake. There were birds flitting around tearing off crumbs while others waited their turn, lovingly perched on his head, his shoulders, his legs. There were hundreds of birds. I was surprised to see tourists passing by without paying much attention to what I considered a miracle. Unable to contain my curiosity, I approached the old man. As soon as I got within a couple of meters of him, all the sparrows flew away to take refuge in the tree branches. “Excuse me,” I said, “how does this happen?” The gentleman answered me amiably. “I come here every year at this time of the season. The birds know me. They pass on the memory of my person through their generations. I make the cake that I offer. I know what they like and what ingredients to use. The arm and hand must be still and the wrist tilted so that they can clearly see the food. And then, when they come, stop thinking and love them very much. Would you like to try?” I asked my children to sit and wait on a nearby bench. I took the piece of cake, reached my hand out, and stood still. No sparrow dared approach. The kind old man stood beside me and took my hand. Immediately, some of the birds came and landed on my head, shoulders, and arm, while others pecked at the treat. The gentleman let go of me. Immediately the birds fled. He took my hand and asked me to take my son’s hand, and he another hand, so that my children formed a chain. We did. The birds returned and perched fearlessly on our bodies. Every time the old man let go of us, the sparrows fled. I realized that for the birds when their benefactor, full of goodness, took us by the hand, we became part of him. When he let go of us, we went back to being ourselves, frightening humans. I did not want to disrupt the work of this saintly man any longer. I offered him money. He absolutely would not accept. I never saw him again. Thanks to him, I understood certain passages of the Gospels: Jesus blesses children without uttering any prayer, just by putting his hands on them (Matthew 19:13–15). In Mark 16:18, the Messiah commands his apostles, “They shall lay hands on the sick, and they shall recover.” St. John the Apostle says mysteriously in his first epistle, 1.1, “That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked upon, and our hands have handled, of the Word of life.
Alejandro Jodorowsky (The Dance of Reality: A Psychomagical Autobiography)
From an essay on early reading by Robert Pinsky: My favorite reading for many years was the "Alice" books. The sentences had the same somber, drugged conviction as Sir John Tenniel's illustrations, an inexplicable, shadowy dignity that reminded me of the portraits and symbols engraved on paper money. The books were not made of words and sentences but of that smoky assurance, the insistent solidity of folded, textured, Victorian interiors elaborately barricaded against the doubt and ennui of a dreadfully God-forsaken vision. The drama of resisting some corrosive, enervating loss, some menacing boredom, made itself clear in the matter-of-fact reality of the story. Behind the drawings I felt not merely a tissue of words and sentences but an unquestioned, definite reality. I read the books over and over. Inevitably, at some point, I began trying to see how it was done, to unravel the making--to read the words as words, to peek behind the reality. The loss entailed by such knowledge is immense. Is the romance of "being a writer"--a romance perhaps even created to compensate for this catastrophic loss--worth the price? The process can be epitomized by the episode that goes with one of my favorite illustrations. Alice has entered a dark wood--"much darker than the last wood": [S]he reached the wood: It looked very cool and shady. "Well, at any rate it's a great comfort," she said as she stepped under the trees, "after being so hot, to get into the--into the--into what?" she went on, rather surprised at not being able to think of the word. "I mean to get under the--under the--under this, you know!" putting her hand on the trunk of the tree. "What does it call itself, I wonder? I do believe it's got no name--why to be sure it hasn't!" This is the wood where things have no names, which Alice has been warned about. As she tries to remember her own name ("I know it begins with L!"), a Fawn comes wandering by. In its soft, sweet voice, the Fawn asks Alice, "What do you call yourself?" Alice returns the question, the creature replies, "I'll tell you, if you'll come a little further on . . . . I can't remember here". The Tenniel picture that I still find affecting illustrates the first part of the next sentence: So they walked on together through the wood, Alice with her arms clasped lovingly round the soft neck of the Fawn, till they came out into another open field, and here the Fawn gave a sudden bound into the air, and shook itself free from Alice's arm. "I'm a Fawn!" it cried out in a voice of delight. "And dear me! you're a human child!" A sudden look of alarm came into its beautiful brown eyes, and in another moment it had darted away at full speed. In the illustration, the little girl and the animal walk together with a slightly awkward intimacy, Alice's right arm circled over the Fawn's neck and back so that the fingers of her two hands meet in front of her waist, barely close enough to mesh a little, a space between the thumbs. They both look forward, and the affecting clumsiness of the pose suggests that they are tripping one another. The great-eyed Fawn's legs are breathtakingly thin. Alice's expression is calm, a little melancholy or spaced-out. What an allegory of the fall into language. To imagine a child crossing over from the jubilant, passive experience of such a passage in its physical reality, over into the phrase-by-phrase, conscious analysis of how it is done--all that movement and reversal and feeling and texture in a handful of sentences--is somewhat like imagining a parallel masking of life itself, as if I were to discover, on reflection, that this room where I am writing, the keyboard, the jar of pens, the lamp, the rain outside, were all made out of words. From "Some Notes on Reading," in The Most Wonderful Books (Milkweed Editions)
Robert Pinsky
Sometimes the purpose of prayer is to get us out of circumstances, but more often than not, the purpose of prayer is to get us through them. I’m certainly not suggesting we shouldn’t pray deliverance prayers, but there are times we need to pray prevailing prayers. We need to ask God to give us the grace to sustain, the strength to stand firm, and the willpower to keep on keeping on.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)
First let me take a piece of chalk and draw a circle round you, so you're safe. There. Now I'll stand guard, keeping a weather eye open for anything threatening, and we can catch up with each other while we wait.
Helen Simpson
As Giotto’s fame grew, the pope sent a representative to Tuscany to learn more about the artist and his work. When asked for a sample to take to the pontiff, Giotto dipped a brush in red, pressed his arm to his side to make a compass of it, and with a turn of his hand made an impeccable circle on a piece of paper. “Am I to have no other drawing than this one?” the flummoxed courtier asked. “It’s more than sufficient,” answered Giotto. As soon as the pope learned how Giotto had created the sample, he immediately realized that the artist did indeed surpass all other painters of his time. As this tale spread, it gave rise to the expression “più tondo dell’O di Giotto” (“rounder than Giotto’s O”), for someone slow or dense.
In Logo, the child controls a little turtle on-screen, issuing it commands to make it move around. The turtle draws a line wherever it goes, so it’s kind of like using a computerized Etch A Sketch. To draw a square, a child would tell the turtle to go forward thirty steps, turn right ninety degrees, then do the same thing three more times. Children quickly got the hang of it, using Logo to write programs that would draw all manner of things, like houses or cars. They’d laboriously write one instruction for each step of the picture, almost the way you’d set up the dots for a connect-the-dots drawing. To draw a bird, they’d connect two quarter circles together.
There is nothing God loves more than keeping promises, answering prayers, performing miracles, and fulfilling dreams. That is who He is. That is what He does. And the bigger the circle we draw, the better, because God gets more glory. The greatest moments in life are the miraculous moments when human impotence and divine omnipotence intersect — and they intersect when we draw a circle around the impossible situations in our lives and invite God to intervene.
Mark Batterson (Be a Circle Maker: The Solution to 10,000 Problems)
Gradual change is in principle, of course, a good idea, certainly in countries where a blatant disregard for civil liberties go hand in hand with outright brutality and a plundering of the nation’s resources. In such instances—and in the Arab world Egypt is an obvious example—any long reign of extreme censorship especially tends to hamper not only cultural expression, but the capacity for it as well. The most extreme example, Saudi Arabia, is a country now devoid of art or culture of any value whatsoever, Islamic or otherwise, official or clandestine. Under such circumstances, censorship, like any prohibition, strangles the soul, not only of the censored but of the censor, too, so that over time the authorities find themselves turning in an ever tighter circle as the perimeter of the permissible draws in.
John R. Bradley (Behind the Veil of Vice: The Business and Culture of Sex in the Middle East)
And when I looked away for a second and then looked back, I saw her reflection behind me, in the mirror. I was speechless. Somehow I knew I wasn't allowed to turn around--it was against the rules, whatever the rules of the place were--but we could see each other, our eyes could meet in the mirror, and she was just as glad to see me as I was to her.... She was between me and whatever place she had stepped from, what landscape beyond. And it was all about the moment when our eyes touched in the glass, surprise and amusement, her beautiful blue eyes with the dark rings around the irises, pale blue eyes with a lot of light in them: hello! Fondness, intelligence, sadness, humor. There was a motion and stillness, stillness and modulation, and all the charge and magic of a great painting. Ten seconds, eternity. It was all a circle back to her. You could grasp it in an instant, you could live in it forever: she existed only in the mirror, inside the space of the frame, and though she wasn't alive, not exactly, she wasn't dead either because she wasn't yet born, and yet never not born--as somehow, oddly, neither was I. And I knew that she could tell me anything I wanted to know (life, death, past, future) even though it was already there, in her smile, the answer to all questions, the before-Christmas smile of someone with a secret too wonderful to let slip, just yet: well, you'll just have to wait and see, won't you? But just as she was about to speak--drawing an affectionate exasperated breath I knew very well, the sound of which I can hear even now--I woke up.
Donna Tartt (The Goldfinch)
before, a slicing, tearing burning in her right leg that made her crumple and bite down on her wrist, drawing blood before she would let herself scream. She fell hard against the metal of the car. She tried to move but something held fast, something that wrenched at her leg. Her ears rang. She reached down and felt her ankle. That was a mistake. The pain seared again as she felt the metal jaws and jagged teeth that had snapped shut on her leg. A trap, left for anyone trying to use this car to escape. And she had been stupid enough to try. Gritting her teeth, her eyes streaming and the occasional whimper escaping no matter how hard she tried, she pulled apart the trap. She felt metal tearing at flesh and even the smallest effort to rest weight on her leg made her want to collapse. The trigger mechanism she’d stepped on raised and clicked back into place, the trap an open circle of serrated metal again. She moved clear, pulling herself up on the car, then she heard snarling and grunting that seemed to come out of nowhere.
Gabriel Bergmoser (The Hunted)
Rule number one: The Game is secret. But I listened and, once or twice when temptation drove me and the coast was clear, I peeked inside the box. This is what I learned. The Game was old. They'd been playing it for years. No, not playing. That is the wrong verb. Living; they had been living The Game for years. For The Game was more than its name suggested. It was a complex fantasy, an alternate world into which they escaped. There were no costumes, no swords, no feathered headdresses. Nothing that would have marked it as a game. For that was its nature. It was secret. Its only accoutrement was the box. A black lacquered case brought back from China by one of their ancestors; one of the spoils from a spree of exploration and plunder. It was the size of a square hatbox- not too big and not too small- and its lid was inlaid with semiprecious gems to form a scene: a river with a bridge across it, a small temple on one bank, a willow weeping from the sloping shore. Three figures stood atop the bridge and above them a lone bird circled. They guarded the box jealously, filled as it was with everything material to The Game. For although The Game demanded a good deal of running and hiding and wrestling, its real pleasure was enjoyed elsewhere. Rule number two: all journeys, adventures, explorations and sightings must be recorded. They would rush inside, flushed with danger, to record their recent adventures: maps and diagrams, codes and drawings, plays and books. The books were miniature, bound with thread, writing so small and neat that one had to hold them close to decipher them. They had titles: Escape from Koshchei the Deathless; Encounter with Balam and His Bear, Journey to the Land of White Slavers. Some were written in code I couldn't understand, though the legend, had I had the time to look, would no doubt have been printed on parchment and filed within the box. The Game was simple. It was Hannah and David's invention really, and as the oldest they were its chief instigators. They decided which location was ripe for exploration. The two of them had assembled a ministry of nine advisers- an eclectic group mingling eminent Victorians with ancient Egyptian kings. There were only ever nine advisers at any one time, and when history supplied a new figure too appealing to be denied inclusion, an original member would die or be deposed. (Death was always in the line of duty, reported solemnly in one of the tiny books kept inside the box.) Alongside the advisers, each had their own character. Hannah was Nefertiti and David was Charles Darwin. Emmeline, only four when governing laws were drawn up, had chosen Queen Victoria. A dull choice, Hannah and David agreed, understandable given Emmeline's limited years, but certainly not a suitable adventure mate. Victoria was nonetheless accommodated into The Game, most often cast as a kidnap victim whose capture was precipitant of a daring rescue. While the other two were writing up their accounts, Emmeline was allowed to decorate the diagrams and shade the maps: blue for the ocean, purple for the deep, green and yellow for land.
Kate Morton (The House at Riverton)
So here are my questions and my appeal to you as we talk about a healthy soul. Are you intentional about your friends? Are they helping you? Do you fit together? Yes, I think we should live big. We should draw big circles, be inclusive, be forgiving, and be kind—but we can’t be intimate friends with all seven billion people on this planet. We can’t be close friends with a few thousand people. Probably not even a few hundred people. Realistically, we might be close, intimate friends with only a dozen people. Maybe a few more or a few less, depending on our individual capacities and personalities. So we had better choose those people intentionally, carefully, and prayerfully.
Judah Smith (How's Your Soul?: Why Everything that Matters Starts with the Inside You)
We tend to view the goal as the goal, but in God’s economy, the process is the goal. It’s not about what we’re doing at all; it’s about who we’re becoming in the process.
Mark Batterson (Draw the Circle: The 40 Day Prayer Challenge)