Drawing Based On Quotes

What am I in the eyes of most people — a nonentity, an eccentric, or an unpleasant person — somebody who has no position in society and will never have; in short, the lowest of the low. All right, then — even if that were absolutely true, then I should one day like to show by my work what such an eccentric, such a nobody, has in his heart. That is my ambition, based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me. I see paintings or drawings in the poorest cottages, in the dirtiest corners. And my mind is driven towards these things with an irresistible momentum.

If we wish to draw philosophical conclusions about our own existence, our significance, and the significance of the universe itself, our conclusions should be based on empirical knowledge. A truly open mind means forcing our imaginations to conform to the evidence of reality, and not vice versa, whether or not we like the implications.

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.

Every human thought, word, or deed is based on fear or love. Fear is the energy which contracts, closes down, draws in, hides, hoards, harms. Love is the energy which expands, opens up, sends out, reveals, shares, heals. You have free choice about which of these to select.

In response to threat and injury, animals, including humans, execute biologically based, non-conscious action patterns that prepare them to meet the threat and defend themselves. The very structure of trauma, including activation, dissociation and freezing are based on the evolution of survival behaviors. When threatened or injured, all animals draw from a "library" of possible responses. We orient, dodge, duck, stiffen, brace, retract, fight, flee, freeze, collapse, etc. All of these coordinated responses are somatically based- they are things that the body does to protect and defend itself. It is when these orienting and defending responses are overwhelmed that we see trauma. The bodies of traumatized people portray "snapshots" of their unsuccessful attempts to defend themselves in the face of threat and injury. Trauma is a highly activated incomplete biological response to threat, frozen in time. For example, when we prepare to fight or to flee, muscles throughout our entire body are tensed in specific patterns of high energy readiness. When we are unable to complete the appropriate actions, we fail to discharge the tremendous energy generated by our survival preparations. This energy becomes fixed in specific patterns of neuromuscular readiness. The person then stays in a state of acute and then chronic arousal and dysfunction in the central nervous system. Traumatized people are not suffering from a disease in the normal sense of the word- they have become stuck in an aroused state. It is difficult if not impossible to function normally under these circumstances.

I had always thought that life was the actual thing, the natural thing, and that death was simply the end of living. Now, in this lifeless place, I saw with a terrible clarity that death was the constant, death was the base, and life was only a short, frgile dream. I was dead already. I had been born death, and what I thought was my life was just a game death let me play as it waited to take me. . . Death has an opposite, but the opposite is not mere living. It is not courage or faith or human will. The opposite of death is love. How had I missed that? How does anyone miss that? Love is our only weapon. Only love can turn mere life into a miracle, and draw precious meaning from suffering and fear. For a brief, magical moment, all my fears lifted, and I knew that I would not let death control me. I would walk through the godforsaken country that separated me from my home with love and hope in my heart. I wouuld walk until I had walked all the life out of me, and when I fell I would die that much closer to my father.

THE MIDDLE OF WHAT? EAST OF WHERE? THE REGION’S VERY name is based on a European view of the world, and it is a European view of the region that shaped it. The Europeans used ink to draw lines on maps: they were lines that did not exist in reality and created some of the most artificial borders the world has seen. An attempt is now being made to redraw them in blood.

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

Our Father, who has set a restlessness in our hearts and made us all seekers after that which we can never fully find, forbid us to be satisfied with what we make of life. Draw us from base content and set our eyes on far-off goals. Keep us at tasks too hard for us that we may be driven to Thee for strength. Deliver us from fretfulness and self-pitying; make us sure of the good we cannot see and of the hidden good in the world. Open our eyes to simple beauty all around us and our hearts to the loveliness men hide from us because we do not try to understand them. Save us from ourselves and show us a vision of a world made new.

single free choice you ever undertake arises out of one of the only two possible thoughts there are: a thought of love or a thought of fear. Fear is the energy which contracts, closes down, draws in, runs, hides, hoards, harms. Love is the energy which expands, opens up, sends out, stays, reveals, shares, heals. Fear wraps our bodies in clothing, love allows us to stand naked. Fear clings to and clutches all that we have, love gives all that we have away. Fear holds close, love holds dear. Fear grasps, love lets go. Fear rankles, love soothes. Fear attacks, love amends. Every human thought, word, or deed is based in one emotion or the other. You have no choice about this, because there is nothing else from which to choose. But you have free choice about which of these to select.

Reconstructions based on bone remains can only reveal the most general characteristics of the creature, since the really distinctive morphological features of any animal are soft tissues which quickly vanish after death. Therefore, due to the speculative nature of the interpretation of the soft tissues, the reconstructed drawings or models become totally dependent on the imagination of the person producing them.

To put it another way, every love relationship is based upon unwritten conventions rashly agreed upon by the lovers during the first weeks of their love. On the one hand, they are living a sort of dream; on the other, without realizing it, they are drawing up the fine print of their contracts like the most hard-nosed of lawyers. O lovers! Be wary during those perilous first days! If you serve the other party breakfast in bed, you will be obliged to continue same in perpetuity or face charges of animosity and treason!

Travis slammed into my back, wrapping his arms around my waist. “You scared the shit outta me!” I complained. He ran his hands over my skin. I noticed they felt different; slow and deliberate. I closed my eyes when he pulled me against him and buried his face in my hair, nuzzling my neck. Feeling his bare skin against mine, it took me a moment to protest. “Travis…,” He pulled my hair to one side and grazed his lips along my back from one shoulder to the other, unsnapping the clasp of my bra. He kissed the bare skin at the base of my neck and I closed my eyes, the warm softness of his mouth felt oo good to make him stop. A quiet moan escaped from his throat when he pressed his pelvis against mine, and I could feel how much he wanted me through his boxers. I held my breath, knowing the only thing keeping us from that big step I was so opposed to a few moments before was two thin pieces of fabric. Travis turned me to face him, and then pressed against me, leaning my back against the wall. Our eyes met, and I could see the ache in his expression as he scanned the bare pieces of my skin. I had seen him peruse women before, but this was different. He didn’t want to conquer me; he wanted me to say yes. He leaned in to kiss me, stopping just an inch away. I could feel the heat from his skin radiating against my lips, and I had to stop myself from drawing him in the rest of the way. His fingers were digging into my skin as he deliberated, and then his hands slid from my back to the hem of my panties. His index fingers slid down my hips, in between my skin and the lacey fabric, and in the same moment that he was about to slip the delicate threads down my legs, he hesitated. Just when I opened my mouth to say yes, he clenched his eyes shut. “Not like this,” he whispered, brushing his lips across mine. “I want you, but not like this.

Frustrated with drawing, I switched to the printmaking department, where I overturned great buckets of ink. After trying my hand at sculpture, I attempted pottery. During class critiques the teacher would lift my latest project from the table and I’d watch her arm muscles strain and tighten against the weight. With their thick, clumsy bases, my mugs weighed in at close to five pounds each. The color was muddy and the lips rough and uninviting. I gave my mother a matching set for Christmas, and she accepted them as graciously as possible, announcing that they would make the perfect pet bowls. The mugs were set on the kitchen floor and remained there until the cat chipped a tooth and went on a hunger strike.

There have been, of course, many other insatiable polymaths, and even the Renaissance produced other Renaissance Men. But none painted the Mona Lisa, much less did so at the same time as producing unsurpassed anatomy drawings based on multiple dissections, coming up with schemes to divert rivers, explaining the reflection of light from the earth to the moon, opening the still-beating heart of a butchered pig to show how ventricles work, designing musical instruments, choreographing pageants, using fossils to dispute the biblical account of the deluge, and then drawing the deluge. Leonardo was a genius, but more: he was the epitome of the universal mind, one who sought to understand all of creation, including how we fit into it.

resisting the temptation whose logic was “In this extenuating circumstance, just this once, it’s OK” has proven to be one of the most important decisions of my life. Why? My life has been one unending stream of extenuating circumstances. Had I crossed the line that one time, I would have done it over and over in the years that followed. The lesson I learned from this is that it’s easier to hold to your principles 100% of the time than it is to hold to them 98% of the time. If you give in to “just this once,” based on a marginal cost analysis, as some of my former classmates have done, you’ll regret where you end up. You’ve got to define for yourself what you stand for and draw the line in a safe place.

I believe that human beings have a tendency to live up to expectations: what we expect of ourselves, what we believe others expect of us. I believe we all fit our lives to those patterns. And I wonder if that hasn’t been part of your problem. You make choices based on how you perceive others expect you to behave. You—perhaps subconsciously—draw their attention to your flaws.

the wilderness should be preserved for political reasons. We may need it someday not only as a refuge from excessive industrialism but also as a refuge from authoritarian government, from political oppression. Grand Canyon, Big Bend, Yellowstone, and the High Sierras may be required to function as bases for guerrilla warfare against tyranny...The value of wilderness, on the other hand, as a base for resistance to centralized domination is demonstrated by recent history. In Budapest and Santo Domingo, for example, popular revolts were easily and quickly crushed because an urbanized environment gives the advantage to the power with technological equipment. But in Cuba, Algeria, and Vietnam the revolutionaries, operating in mountain, desert, and jungle hinterlands with the active or tacit support of a thinly dispersed population, have been able to overcome or at least fight to a draw official establishment forces equipped with all of the terrible weapons of twentieth century militarism.

The classic experiment I describe next shows that people will not draw from base-rate information an inference that conflicts with other beliefs. It also supports the uncomfortable conclusion that teaching psychology is mostly a waste of time.

If life has a base that it stands upon, if it is a bowl that one fills and fills and fills---then my bowl without a doubt stands upon this memory. It is of hearing the waves breaking, one, two, one, two, and sending a splash of water over the beach; and then breaking, one, two, one, two, behind a yellow blind. It is of hearing the blind draw its little acorn across the floor as the wind blew the blind out. It is of lying and hearing this splash and seeing this light, and feeling, it is almost impossible that I should be here; of feeling the purest ecstasy I can conceive.

My 30 year attempt (and subsequent failure) to reach “normal” has brought me to ponder whether “normal” even exists, or if it is nothing more than delusional grandeur based in the sounds of those sweet sirens drawing my ship in all the wrong directions.

It was the Greeks who coined the term Amazon. The word literally means “without breast”. It is said that in order to facilitate the drawing of a bow, the female’s right breast was removed, either in early childhood or with a red-hot iron after she became an adult. Even though the Greek physicians Hippocrates and Galen are said to have agreed that this operation would enhance the ability to use weapons, it is doubtful whether such operations were actually performed. Herein lies a linguistic riddle – whether the prefix “a-” in Amazon does indeed mean “without”. It has been suggested that it means the opposite – that an Amazon was a woman with especially large breasts. Nor is there a single example in any museum of a drawing, amulet or statue of a woman without her right breast, which should have been a common motif had the legend about breast amputation been based on fact.

How many winds of doctrine we have known in recent decades, how many ideological currents, how many ways of thinking. The small boat of thought of many Christians has often been tossed about by these waves - thrown from one extreme to the other: from Marxism to liberalism, even to libertinism; from collectivism to radical individualism; from atheism to a vague religious mysticism; from agnosticism to syncretism, and so forth. Every day new sects are created and what Saint Paul says about human trickery comes true, with cunning which tries to draw those into error (cf Ephesians 4, 14). Having a clear Faith, based on the Creed of the Church, is often labeled today as a fundamentalism. Whereas, relativism, which is letting oneself be tossed and 'swept along by every wind of teaching', looks like the only attitude acceptable to today's standards. We are moving towards a dictatorship of relativism which does not recognize anything as certain and which has as its highest goal one's own ego and one's own desires. However, we have a different goal: the Son of God, true man. He is the measure of true humanism. Being an 'Adult' means having a faith which does not follow the waves of today's fashions or the latest novelties. A faith which is deeply rooted in friendship with Christ is adult and mature. It is this friendship which opens us up to all that is good and gives us the knowledge to judge true from false, and deceit from truth.

The justification I hear more often than any other for leaving the Bible behind is that “everyone knows” it is antiquated and full of scientific nonsense, if not blatant errors and contradictions. Amazingly, when I ask people to cite examples, many cannot bring to mind even one. Apparently, they base their opinion on hearsay and repeat a widespread misconception. Among those who do answer my question, one Bible portion draws more vigorous attack than all others combined: the first few chapters of Genesis. This attack opens a wonderful door of opportunity for me—and for every believer who knows something about the scientific discoveries of the past few decades. Instead of offering an excuse for disbelief and rejection, these chapters present some of the most persuasive evidences ever assembled for the supernatural authorship, accuracy, and authority of the Bible.

Dreams are important to me because they are so irrational. I’m attracted to things which seem to fit together but don’t in fact make any sense. Dreams didn’t really have a lot to do with the novel whereas “The Adventuress,” which was my first visual book, is almost entirely based on dreams. I had ten more or less random drawings and then I thought well, I’ll make a plot that connects all of them. “The Three Incestuous Sisters” was kind of the same. The three characters appeared in a dream and I knew who they were.

if we don’t build a sturdy foundation with our kids—one based in trust, understanding, and curiosity—then we have nothing keeping them attached to us. I think about the term “connection capital” a lot. It refers to the reserve of positive feelings we hopefully build up with our children, which we can pull from in times of struggle or when the relationship between us gets strained. If we don’t build this up during our children’s earlier years, well, we have nothing to draw on when our kids are adolescents and young adults

Yesterday was a dark day in the history of humanity, a terrible affront to human dignity. After receiving the news, I followed with intense concern the developing situation, with heartfelt prayers to the Lord. How is it possible to commit acts of such savage cruelty? The human heart has depths from which schemes of unheard-of ferocity sometimes emerge, capable of destroying in a moment the normal daily life of a people. But faith comes to our aid at these times when words seem to fail. Christ’s word is the only one that can give a response to the questions which trouble our spirit. Even if the forces of darkness appear to prevail, those who believe in God know that evil and death do not have the final say. Christian hope is based on this truth; at this time our prayerful trust draws strength from it. ~General Audience, September 12, 2001.

Every action taken by human beings is based in love or fear, not simply those dealing with relationships. Decisions affecting business, industry, politics, religion, the education of your young, the social agenda of your nations, the economic goals of your society, choices involving war, peace, attack, defense, aggression, submission; determinations to covet or give away, to save or to share, to unite or to divide—every single free choice you ever undertake arises out of one of the only two possible thoughts there are: a thought of love or a thought of fear. Fear is the energy which contracts, closes down, draws in, runs, hides, hoards, harms. Love is the energy which expands, opens up, sends out, stays, reveals, shares, heals. Fear wraps our bodies in clothing, love allows us to stand naked. Fear clings to and clutches all that we have, love gives all that we have away. Fear holds close, love holds dear. Fear grasps, love lets go. Fear rankles, love soothes. Fear attacks, love amends. Every human thought, word, or deed is based in one emotion or the other. You have no choice about this, because there is nothing else from which to choose. But you have free choice about which of these to select.

live our lives based on the principles of a love ethic (showing care, respect, knowledge, integrity, and the will to cooperate), we have to be courageous. Learning how to face our fears is one way we embrace love. Our fear may not go away, but it will not stand in the way. Those of us who have already chosen to embrace a love ethic, allowing it to govern and inform how we think and act, know that when we let our light shine, we draw to us and are drawn to other bearers of light. We are not alone.

Amelia groped for the ring and began tugging and twisting it. “It’s stuck again.” She sounded disgruntled. Cam pinned her wrist and bent his head, taking her finger into his mouth. She gasped as his tongue swirled around the base, leaving it wet. Gently, he used his teeth to draw the gold band off. Taking the ring from between his lips, he slid it back onto his own finger. Her hand, now bare, flexed as if bereft, and she looked at him uncertainly. “You’ll get used to wearing it.” Cam smoothed his hand along the plane of her midriff and stomach. “We’ll try it on you a few minutes at a time. Like breaking a horse to harness.” He grinned at her expression.

We do not draw people to Christ by loudly discrediting what they believe, by telling them how wrong they are and how right we are, but by showing them a light that is so lovely that they want with all their hearts to know the source of it." Reflection based on Matthew 4:1-11

Thornton Wilder’s one-act play “The Angel That Troubled the Waters,” based on John 5:1-4, dramatizes the power of the pool of Bethesda to heal whenever an angel stirred its waters. A physician comes periodically to the pool hoping to be the first in line and longing to be healed of his melancholy. The angel finally appears but blocks the physician just as he is ready to step into the water. The angel tells the physician to draw back, for this moment is not for him. The physician pleads for help in a broken voice, but the angel insists that healing is not intended for him. The dialogue continues—and then comes the prophetic word from the angel: “Without your wounds where would your power be? It is your melancholy that makes your low voice tremble into the hearts of men and women. The very angels themselves cannot persuade the wretched and blundering children on earth as can one human being broken on the wheels of living. In Love’s service, only wounded soldiers can serve. Physician, draw back.” Later, the man who enters the pool first and is healed rejoices in his good fortune and turning to the physician says: “Please come with me. It is only an hour to my home. My son is lost in dark thoughts. I do not understand him and only you have ever lifted his mood. Only an hour.… There is also my daughter: since her child died, she sits in the shadow. She will not listen to us but she will listen to you.”13 Christians who remain in hiding continue to live the lie. We deny the reality of our sin. In a futile attempt to erase our past, we deprive the community of our healing gift. If we conceal our wounds out of fear and shame, our inner darkness can neither be illuminated nor become a light for others. We cling to our bad feelings and beat ourselves with the past when what we should do is let go. As Dietrich Bonhoeffer said, guilt is an idol. But when we dare to live as forgiven men and women, we join the wounded healers and draw closer to Jesus.

If you expect more from yourself than from others, you are saying that you are better than others and, therefore, must perform at a superior level. I do not mean that you should not set goals for yourself. Rather, the question is, how do you react if you cannot meet these goals? Honestly admitting that you may have not done your best is not judgement. It is judgement when you draw a conclusion about yourself based on your ideas about failure. Honesty involves taking responsibility; judgment has to do with blame. To view yourself as bad or a failure because you did not accomplish what you set out to do is judgment. To state clearly and simply that you did not accomplish your plan is taking responsibility.

Now I have discovered where it is that she goes. It's the guillotine that draws her, across the river in the Place Louis Quinze- Place de la Revolution now-where daily crowds gather, the vendors selling lemonade, the children playing prisoner's base, the old ladies gossiping as the heads fall.

I. Scots, wha hae wi' Wallace bled, Scots, wham Bruce has aften led; Welcome to your gory bed, Or to victorie! II. Now's the day, and now's the hour; See the front o' battle lour: See approach proud Edward's pow'r-- Chains and slaverie! III. Wha will be a traitor-knave? Wha can fill a coward's grave? Wha sae base as be a slave! Let him turn and flee! IV. Wha for Scotland's king and law Freedom's sword will strongly draw, Freeman stand, or freeman fa', Let him follow me! V. By oppression's woes and pains! By our sons in servile chains! We will drain our dearest veins, But they shall be free! VI. Lay the proud usurpers low! Tyrants fall in every foe! Liberty's in every blow!-- Let us do or die!

Hold him,” he told Jesper and the Fjerdan. Kaz flicked his coat sleeve, and an oyster shucking knife appeared in his hand. At any given time he had at least two knives stashed somewhere in his clothes. He didn’t even count this one, really—a tidy, wicked little blade. He made a neat slash across Oomen’s eye—from brow to cheekbone—and before Oomen could draw breath to cry out, he made a second cut in the opposite direction, a nearly perfect X. Now Oomen was screaming. Kaz wiped the knife clean, returned it to his sleeve, and drove his gloved fingers into Oomen’s eye socket. He shrieked and twitched as Kaz yanked out his eyeball, its base trailing a bloody root. Blood gushed over his face. Kaz

Before you get a bad attitude by drawing recurring conclusions to new situations based on past experiences, be sure to look for the possibilities.

Can you hear it?” she whispers. I pause, ears straining, but all I hear are faint sounds from the city below and the constant draw of the waterfall at the base of the mountain. “Hear what?” And she smiles, through the tears dried on her cheeks, through the glassiness of her eyes. The sight is so damn beautiful that it’s hard to breathe. “The sun,” Auren answers quietly, tone filled with a tentative, innocent joy. One that you’re afraid of saying too loud in case it breaks. “She’s singing to me.” Emotion clogs in my throat as I watch her tip her head back again. Watch her eyes close. I draw a knuckle down her soft cheek. “And what does she sing, Goldfinch?” I murmur. Her smile breaks through like the sunlight above us. “The song of home,” she says. “The sun is singing the song of home.” My chest swells, and when she reaches a hand up and tugs at my arm, I lie back with her, situating until we’re arm to arm, leg to leg. “Listen,” she whispers. So I do. I thread my fingers through her own, and I listen. But my song of home doesn’t come from the sun. Mine comes from her.

One thing is certain: a witch is almost always a “she.” And I’ve come to realize that the Witch is arguably the only female archetype that has power on its own terms. She is not defined by anyone else. Wife, sister, mother, virgin, whore—these archetypes draw meaning based on relationships with others. The Witch, however, is a woman who stands entirely on her own. She is more often than not an outsider, and her gift is transformation. She is a change agent, and her work is sparked by speech: an incantation, a naming, a blessing, a curse.

People have gotten into the practice of following private religious hunches rather than learning of God from His Word; we have to try to help them unlearn the pride and, in some cases, the misconceptions about Scripture which gave rise to this attitude and to base there convictions henceforth not on what they feel but on what the Bible says…modern people think of all religions as equal and equivalent – they draw their ideas about God from pagan as well as Christian sources; we have to try to show people the uniqueness and finality of the Lord Jesus Christ, God’s last word to man…people have ceased to recognize the reality of their own sinfulness, which imparts a degree of perversity and enmity against God to all that they think and do; it is our task to try to introduce people to this fact about themselves and so make them self-distrustful and open to correction by the Word of Christ…people today are in the habit of disassociating the thought of God’s goodness from that of His severity; we must seek to wean them from this habit, since nothing but misbelief is possible as long as that persists.

The only answer that I can give to this problem is based on Darwin’s principle of natural selection. The idea is that in any population of self-reproducing organisms, there will be variations in the genetic material and upbringing that different individuals have. These differences will mean that some individuals are better able than others to draw the right conclusions about the world around them and to act accordingly. These individuals will be more likely to survive and reproduce and so their pattern of behavior and thought will come to dominate. It

come. Some of you will do this successfully at your first try. Others may take longer. When you feel within yourself this source, then try to sense this power flow outward through your entire physical being, through the fingertips and toes, through the pores of your body, all directions, with yourself as center. Imagine the rays undiminished, reaching then through the foliage and clouds above, through the center of the earth below, extending even to the farthest reaches of the universe. Now I do not mean this to be merely a symbolic exercise, for though it may begin with imagination, it is based upon fact, and emanations from your consciousness and the creativity of your soul do indeed reach outward in that manner. The exercise will give you some idea of the true nature, creativity, and vitality of the soul from which you can draw your own energy and of which you are an individual and unique portion. (Humorously): You may take your break.

We startled awake, alarmed by her shouting, jumping to our feet, drawing swords, looking for imminent danger. Jeb was saying it was a false alarm, that there was nothing wrong, but Lia had somehow gotten to her feet on her own, her eyes wild, telling us we had to leave. A relieved breath hissed between my teeth and I lowered my sword. She’d only had a nightmare. I stepped toward her. “Lia, it was just a bad dream. Let me help you lie back down.” She hobbled backward, determined, sweat glistening on her face, and her arm stretched out to keep me at a distance. “No! Get ready. We leave this morning.” “Look at you,” I said. "You’re tottering like a drunk. You can’t ride.” “I can and I will." “What’s your hurry, Your Highness?” Sven asked. She looked from me to my men. Their feet were firmly planted. They weren’t going anywhere based on her wild-eyed demands. Had she spiked another fever? Her expression sobered. “Please, Rafe, you have to trust me on this.” “What did you see?” I asked. “It’s not what I saw but what I heard— Aster’s voice telling me not to tarry.” “Didn’t she say that to you a dozen times?” “At least,” she answered, but her stance remained determined. All this rush over don’t tarry? Ever since I had gathered her into my arms on that riverbank, I had been looking over my shoulder for danger. I knew it was there. But I had to weigh that uncertainty against the benefits of healing too. I looked away, trying to think. I wasn’t sure if I was making the right decision or not, but I turned back to my men. “Pack up.

Often when working with others, different ideas are put forward and end up in competition. Based on experience, we may believe we can see what each person is imagining and what the result will be. It’s impossible, though, to know exactly what someone else is thinking. And if we can’t predict how our own ideas will work—and we can’t!—how can we draw conclusions about what someone else imagines?

What if it tempt you toward the flood, my lord, Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form, Which might deprive your sovereignty of reason And draw you into madness? think of it: The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.

What if it tempt you toward the flood, my lord? Or to the dreadful summit of the cliff That beetles o'er his base into the sea, And there assume some other horrible form Which might deprive your sovereignty of reason And draw you into madness? Think of it. [The very place puts toys of desperation, Without more motive, into every brain That looks so many fathoms to the sea And hears it roar beneath.]

Despite the fact you can find the Bible almost everywhere in modern society, few people actually read it anymore. As a result, most people form their opinions about the Bible based on what other people have told them. And oftentimes, those people haven’t read the Bible either! See why I’ve been encouraging you to read the Bible for yourself? Don’t let others draw conclusions for you – not when it comes to such an important issue.

When I started to draw, most of my influences were from other painters and illustrators, so I was drawing landscape at second hand, really. The trees were Rackham trees, or trees that I had seen in paintings rather than from my own observation...and I started to feel this was a real lack in my work. Everything was too generalised, and not based on real experience. Then in 1975, after having worked for some years in London as a book cover illustrator mainly, I came down to Devon and stayed with some friends up on the moor. In the course of this one weekend, wandering around the moor, finding rivers and ancient woods, I realised that everything that I would ever want to draw was actually here. There was so much richness in the texture and forms of these fantastic trees...and I decided in the course of that weekend to come and live here. I looked at a couple of houses, found one, and made an offer on it, all in that one weekend!

He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.

I concentrated on his eyes and his facial expression. Those said a lot about a person. I’d noticed that his eyes changed color based on his mood. Right now they were a true clear green, which meant he was happy. When his eyes turned cloudy with a mix of gray, he was angry. But my favorite shade was clear dark green, the color of his eyes when he’d just kissed me. Eyes only told part of the story. Drawing a portrait could be like looking at a person’s soul, when done right.

Sexual excitement alters the lines of her body, fuses it into new lines against mine. A woman’s spine changes when she wants to fuck, a subtle, supple shifting at the base, a sharper curve at that hollow where back meets ass. Breasts tighten and lift, the slant of jaw changes as the mouth prepares and muscles draw tight. I have studied humans for a small eternity. Intent infuses their every movement. Road maps to their inner navigation, plastered all over their skin. Born to be slaves.

Stored personal memories along with handed down collective memories of stories, legends, and history allows us to collate our interactions with a physical and social world and develop a personal code of survival. In essence, we all become self-styled sages, creating our own book of wisdom based upon our studied observations and practical knowledge gleaned from living and learning. What we quickly discover is that no textbook exist how to conduct our life, because the world has yet to produce a perfect person – an ideal observer – whom is capable of handing down a concrete exemplar of epistemic virtues. We each draw upon the guiding knowledge, theories, and advice available for us in order to explore the paradoxes, ironies, inconsistencies, and the absurdities encountered while living in a supernatural world. We mold our personal collection of information into a practical practicum how to live and die. Each day we define and redefine who we are, determine how we will react today, and chart our quest into an uncertain future.

A special attendant was detailed to wait upon each flower and to wash its leaves with soft brushes made of rabbit hair. It has been written ["Pingtse", by Yuenchunlang] that the peony should be bathed by a handsome maiden in full costume, that a winter-plum should be watered by a pale, slender monk. In Japan, one of the most popular of the No-dances, the Hachinoki, composed during the Ashikaga period, is based upon the story of an impoverished knight, who, on a freezing night, in lack of fuel for a fire, cuts his cherished plants in order to entertain a wandering friar. The friar is in reality no other than Hojo-Tokiyori, the Haroun-Al-Raschid of our tales, and the sacrifice is not without its reward. This opera never fails to draw tears from a Tokio audience even to-day.

If a man seeks to change the world, he should first understand it.’ The apprentice trotted the words out as if by rote, evidently relieved to be asked a question he knew the answer to. ‘The smith must learn the ways of metals, the carpenter the ways of wood, or their work will be of but little worth. Base magic is wild and dangerous, for it comes from the Other Side, and to draw from the world below is fraught with peril. The Magus tempers magic with knowledge, and thus produces High Art, but like the smith or the carpenter, he should only seek to change that which he understands. With each thing he learns, his power is increased. So must the Magus strive to learn all, to understand the world entire. The tree is only as strong as its root, and knowledge is the root of power.

One thing is certain: a witch is almost always a “she.” And I’ve come to realize that the Witch is arguably the only female archetype that has power on its own terms. She is not defined by anyone else. Wife, sister, mother, virgin, whore—these archetypes draw meaning based on relationships with others. The Witch, however, is a woman who stands entirely on her own. She is more often than not an outsider, and her gift is transformation. She is a change agent, and her work is sparked by speech: an incantation, a naming, a blessing, a curse.

Our industries, our trade, and our way of life generally have been based first on the exploitation of the earth's surface and then on the oppression of one another--on banditry pure and simple. The inevitable result is now upon us. The unsuccessful bandits are trying to despoil their more successful competitors. The world is divided into two hostile camps: at the root of this vast conflict lies the evil of spoliation which has destroyed the moral integrity of our generation. While this contest marches to its inevitable conclusion, it will not be amiss to draw attention to a forgotten factor which may perhaps help to restore peace and harmony to a tortured world. We must in our future planning pay great attention to food--the product of sun, soil, plant, and livestock--in other words, to farming and gardening.

Clowns.” Clowns? “Really?” I tried to imagine a tiny Aiden crying over men and women with overly painted faces and red noses, but I couldn’t. The big guy was still facing me. His expression clear and even, as he dipped his chin. “Eh.” God help me, he’d gone Canadian on me. I had to will my face not to react at the fact he’d gone with the one word he usually used only when he was super relaxed around other people. “I thought they were going to eat me.” Now imagining that had me cracking a little smile. I slid my palm under my cheek. “How old were you? Nineteen?” Those big chocolate-colored eyes blinked, slow, slow, slow. His dark pink lips parted just slightly. “Are you making fun of me?” he drawled. “Yes.” The fractures of my grin cracked into bigger pieces. “Because I was scared of clowns?” It was like he couldn’t understand why that was amusing. But it was. “I just can’t imagine you scared of anything, much less clowns. Come on. Even I’ve never been scared of clowns.” “I was four.” I couldn’t help but snicker. “Four… fourteen, same difference.” Based on the mule-ish expression on his face, he wasn’t amused. “This is the last time that I come over to save you from the boogeyman.” Shocked out of my mind for a split second, I tried to pretend like I wasn’t, but… I was. He was joking with me. Aiden was in bed joking around. With me. “I’m sorry. I’m sorry, I was just messing with you.” I scooted one more millimeter closer to him, drawing my knees up so that they hit his thighs. “Please don’t leave yet.” “I won’t,” he said, settling on his pillow with his hands under his cheek, his eyes already drifting to a close. I didn’t need to ask him to promise not to leave me; I knew he wouldn’t if he said so. That was just the kind of man he was. “Aiden?” I whispered. “Hmm?” he murmured. “Thank you for coming in here with me.” “Uh-huh.” That big body adjusted itself just slightly before he let out a long, deep exhale. Without turning around, I laid the flashlight down behind me and aimed the beam toward the wall. He didn’t ask if I was really going to leave the flashlight on all night—or at least however long the battery lasted—instead, I just smiled at him as I took my glasses off and set them on the unused nightstand behind me. Then I tucked my hands under my cheek and watched him. “Good night. Thank you again for staying with me.” Peeking one eye open, just a narrow slit, he hummed. “Shh.” That ‘shh’ was about as close to a ‘you’re welcome’ as I was going to get. I closed my eyes with a little grin on my face. Maybe five seconds later, Aiden’s spoke up. “Vanessa?” “Hmm?” “Why was I saved on your work phone as Miranda P.?” That had my eyes snapping open. I hadn’t deleted that entry off the contacts when I quit, had I? “It’s a long, boring story, and you should go to sleep. Okay?” The “uh-huh” out of him sounded as disbelieving as it should have. He knew I was full of shit, but somehow, knowing he knew, wasn’t enough to keep me from falling asleep soon after

So this is how it is to be done. It is clear that in the Ostmark, the eastern region of the Reich, objects are now to be handled with care. Every silver candlestick is to be weighed. Every fork and spoon is to be counted. Every vitrine is to be opened. The marks on the base of every porcelain figure will be noted. A scholarly question mark is be appended to a description of an Old Master drawing; the dimensions of a picture will be measured correctly. And while this is going on, their erstwhile owners are having their ribs broken and teeth knocked out.

Drawing on the best modern scholarship, this book seeks to rescue the history of networks from the clutches of the conspiracy theorists, and to show that historical change often can and should be understood in terms of precisely such network-based challenges to hierarchical orders

We fool ourselves about our worldview, our ideology, our religion, the evidence of our senses, and the interpretation of the world that we use to construct our beliefs. All the evidence we notice and remember confirms our views. Everything else is ignored or forgotten—or, better, dismissed based on flaws in the analysis. A reader of mine, Sam Thomsen, said it very well: The Universe is full of dots. Connect the right ones and you can draw anything. The important question is not whether the dots you picked are really there, but why you chose to ignore all the others.

my lips, I bend down and swipe my tongue over the little slit at his tip. He teased me before, and now it’s time for some payback. I’m going to worship every inch of Jamie Canning’s cock. I’m going to torment him with my tongue until he can’t remember a time when my mouth wasn’t on his dick bringing him pleasure. I’m going to— Jamie comes the second I wrap my lips around him. Yup, he fucking comes, and I don’t know whether to laugh or groan as he starts to shake with release. In the end I do neither—I suck him all the way down to the base, drawing a strangled cry from his lips as I swallow the salty drops that shoot down my throat.

Avoid succumbing to the gambler’s fallacy or the base rate fallacy. Anecdotal evidence and correlations you see in data are good hypothesis generators, but correlation does not imply causation—you still need to rely on well-designed experiments to draw strong conclusions. Look for tried-and-true experimental designs, such as randomized controlled experiments or A/B testing, that show statistical significance. The normal distribution is particularly useful in experimental analysis due to the central limit theorem. Recall that in a normal distribution, about 68 percent of values fall within one standard deviation, and 95 percent within two. Any isolated experiment can result in a false positive or a false negative and can also be biased by myriad factors, most commonly selection bias, response bias, and survivorship bias. Replication increases confidence in results, so start by looking for a systematic review and/or meta-analysis when researching an area.

A rare orchid that gives off its scent only at night," Nettle replied. "The petals are pure white, far more delicate even than jasmine. One cannot obtain the essence by heating the blossoms- they are too fragile." "Cold enfleurage, then?" Lillian murmured, referring to the process of soaking the precious petals in sheets of fat until it was saturated with their fragrance, then using an alcohol-based solvent to draw out the pure essence. "Yes." She took another breath of the exquisite essence. "What is the orchid's name?" "Lady of the Night." That elicited a delighted chuckle from Daisy. "That sounds like the title of one of the novels my mother has forbidden me to read.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

Yet the people who cry, “What about the presumption of innocence?” often behave as though there is no objective answer to “Did he do it?” until the trial is over. As though they think people accused of crimes are literally “innocent until proven guilty.” I’m not sure how that would work, exactly—once the verdict comes in, would the accused and the victim travel back in time, so the rape in question could either happen or not happen, based on what the jury decided? If you can’t grasp that any person accused of a crime has already either done it or not done it, regardless of what a future jury has to say, you have a very interesting understanding not only of time and space but of the law. How are police supposed to investigate suspects and make arrests if no one is allowed to draw a reasonable inference that someone is guilty until a jury has officially said so? How are prosecutors supposed to meet their burden of proof, so a jury can officially say so? In reality, lots of people within the justice system—let alone outside it—start to presume guilt after a certain point, because that’s their job

As animals have no idea of the holy or the devil, they have no idea of the beautiful. The opinion held by some scientists that apes could paint, based on the 'paintings' apes had done, proved to be quite wrong. It has been confirmed that apes only imitate man. So- called 'ape art' surely does not exist. On the contrary, the cave men from Cromagnon onward knew how to paint and care. Their drawings have been found in caves of the Sahara, in Spain at Altamira, in Franc at Lascaux, and recently in Poland at Mashicka. Many of these pictures are thought to be more than 30,000 years old. Some time ago, a group of Soviet archeologists discovered a set of musical instruments, made 20,000 years ago, near the town of Chernigov in the Ukraine.

And now, dear Emma, I'll show you just what you have to be wary of," he said, and his head moved down, blotting out the light. This was no slow, sensuous caress of mouth and lip. This was no chaste salute, nor was it the wet awkwardness of an untried boy or a randy old man. He opened his mouth over hers and kissed her, using his tongue, his teeth, and all the clever weapons he had in his arsenal. She told herself she was being kissed by a practiced rake. She told herself it meant nothing, it was a trick, an act, a small skill that anyone could acquire. She told herself that as her body trembled and melted beneath him, as her mouth opened to his skillful insistence. She told herself it meant absolutely nothing as his tongue pushed into her mouth, and the moan that came from deep inside her had to be one of displeasure, didn't it? It wasn't one kiss, it was twenty, it was a long series of unending kisses, leading one into another, so that she barely had time to begin to regain her sanity when he stripped it away once more. He kissed her eyelids, the side of her mouth, the beating pulse at the base of her neck. He kissed her nose and her chin, he bit her earlobe, and then he covered her mouth once more, kissing her with a devastating thoroughness that had her damp and trembling in his arms. His hands were on her petticoats, slowly drawing them up her long legs, and her hips cradled him. He was hard against her, she belatedly recognized that fact, and the knowledge panicked her.e wanted her, his body wanted to claim hers, and there was no way she could stop him. No way, God help her, that she wanted to stop him. He broke the kiss, rising up over her as she lay on the bed, staring down at her with a hooded expression in his eyes. His mouth was wet from hers, and his breathing was slightly labored. It would have been the only sign of his arousal, had it not been for the heat pressing against her hips. "Do you want me, Emma?" he murmured, his voice low and insistent. "You don't have to say a word. Just put your mouth against mine." Oh, God, she did want him, as terrifying as that notion was. She wanted to touch him, to feel his skin against hers, and she felt a dark burning deep inside her that she knew only he could assuage. She wanted his mouth, she wanted his heart, she wanted his soul.

The Atonist nobility knew it was impossible to organize and control a worldwide empire from Britain. The British Isles were geographically too far West for effective management. In order to be closer to the “markets,” the Atonist corporate executives coveted Rome. Additionally, by way of their armed Templar branch and incessant murderous “Crusades,” they succeeded making inroads further east. Their double-headed eagle of control reigned over Eastern and Western hemispheres. The seats of Druidic learning once existed in the majority of lands, and so the Atonist or Christian system spread out in similar fashion. Its agents were sent from Britain and Rome to many a region and for many a dark purpose. To this very day, the nobility of Europe and the east are controlled from London and Rome. Nothing has changed when it comes to the dominion of Aton. As Alan Butler and Stephen Dafoe have proven, the Culdean monks, of whom we write, had been hired for generations as tutors to elite families throughout Europe. In their book The Knights Templar Revealed, the authors highlight the role played by Culdean adepts tutoring the super-wealthy and influential Catholic dynasties of Burgundy, Champagne and Lorraine, France. Research into the Templars and their affiliated “Salt Line” dynasties reveals that the seven great Crusades were not instigated and participated in for the reasons mentioned in most official history books. As we show here, the Templars were the military wing of British and European Atonists. It was their job to conquer lands, slaughter rivals and rebuild the so-called “Temple of Solomon” or, more correctly, Akhenaton’s New World Order. After its creation, the story of Jesus was transplanted from Britain, where it was invented, to Galilee and Judea. This was done so Christianity would not appear to be conspicuously Druidic in complexion. To conceive Christianity in Britain was one thing; to birth it there was another. The Atonists knew their warped religion was based on ancient Amenism and Druidism. They knew their Jesus, Iesus or Yeshua, was based on Druidic Iesa or Iusa, and that a good many educated people throughout the world knew it also. Their difficulty concerned how to come up with a believable king of light sufficiently appealing to the world’s many pagan nations. Their employees, such as St. Paul (Josephus Piso), were allowed to plunder the archive of the pagans. They were instructed to draw from the canon of stellar gnosis and ancient solar theologies of Egypt, Chaldea and Ireland. The archetypal elements would, like ingredients, simply be tossed about and rearranged and, most importantly, the territory of the new godman would be resituated to suit the meta plan.

Though one of the greatest love stories in world literature, Anna Karenin is of course not just a novel of adventure. Being deeply concerned with moral matters, Tolstoy was eternally preoccupied with issues of importance to all mankind at all times. Now, there is a moral issue in Anna Karenin, though not the one that a casual reader might read into it. This moral is certainly not that having committed adultery, Anna had to pay for it (which in a certain vague sense can be said to be the moral at the bottom of the barrel in Madame Bovary). Certainly not this, and for obvious reasons: had Anna remained with Karenin and skillfully concealed from the world her affair, she would not have paid for it first with her happiness and then with her life. Anna was not punished for her sin (she might have got away with that) nor for violating the conventions of a society, very temporal as all conventions are and having nothing to do with the eternal demands of morality. What was then the moral "message" Tolstoy has conveyed in his novel? We can understand it better if we look at the rest of the book and draw a comparison between the Lyovin-Kitty story and the Vronski-Anna story. Lyovin's marriage is based on a metaphysical, not only physical, concept of love, on willingness for self-sacrifice, on mutual respect. The Anna-Vronski alliance was founded only in carnal love and therein lay its doom. It might seem, at first blush, that Anna was punished by society for falling in love with a man who was not her husband. Now such a "moral" would be of course completely "immoral," and completely inartistic, incidentally, since other ladies of fashion, in that same society, were having as many love-affairs as they liked but having them in secrecy, under a dark veil. (Remember Emma's blue veil on her ride with Rodolphe and her dark veil in her rendezvous at Rouen with Léon.) But frank unfortunate Anna does not wear this veil of deceit. The decrees of society are temporary ones ; what Tolstoy is interested in are the eternal demands of morality. And now comes the real moral point that he makes: Love cannot be exclusively carnal because then it is egotistic, and being egotistic it destroys instead of creating. It is thus sinful. And in order to make his point as artistically clear as possible, Tolstoy in a flow of extraordinary imagery depicts and places side by side, in vivid contrast, two loves: the carnal love of the Vronski-Anna couple (struggling amid their richly sensual but fateful and spiritually sterile emotions) and on the other hand the authentic, Christian love, as Tolstoy termed it, of the Lyovin-Kitty couple with the riches of sensual nature still there but balanced and harmonious in the pure atmosphere of responsibility, tenderness, truth, and family joys.

Focusing on thoughts or images that make you feel good will enable you to be at a higher level energetically and, consequently, will draw to you a higher level of vibrational experience. In other words, positive thoughts will attract positive experiences. The reverse is also true. If you’ve fallen into the habit of negative obsessing and/or fear-based thinking, you need to know that you can shift to a healthier, happier mindset.

In a common lesson about electromagnetic forces, students are given an exercise in which a bar magnet is placed on a table surrounded by scattered iron filings. The invisible field surrounding the magnet will draw the filings into alignment with it, until the swirling starburst shape of the field becomes visible. The capital relation is a kind of social magnet, with capital at one end and labor at the other, that tends to align all other social hierarchies with the master hierarchy based on money. Hence the hierarchy of athletic ability is translated into a hierarchy of payment for performing professionally. And yet the magnetism of capital is not so strong that it can perfectly align all the systems. Fame, for example, may in general be translatable into money (as when Kim Kardashian releases a smartphone game that becomes wildly successful), but the conversion is not an exact or uniform one.

There's a theme that appears in much of your work," I say to Maurice on my last visit to Connecticut, "and I can only hint at it because it's difficult to formulate or describe. It has something to do with the lines: 'As I went over the water/the water went over me' [from As I Went over the Water] or 'I'm in the milk and the milk's in me' [from Night Kitchen]." "Obviously I have one theme, and it's even in the book I'm working on right now. It's not that I have such original ideas, just that I'm good at doing variations on the same idea over and over again. You can't imagine how relieved I was to find out that Henry James admitted he had only a couple of themes and that all of his books were based on them. That's all we need as artists - one power-driven fantasy or obsession, then to be clever enough to do variations… like a series of variations by Mozart. They're so good that you forget they're based on one theme. The same things draw me, the same images…" "What is this one obsession?" "I'm not about to tell you - not because it's a secret, but because I can't verbalize it." "There's a line by Bob Dylan in 'Just Like a Woman' which talks about being 'inside the rain.'" "Inside the rain?" "When it's raining outside," I explain, "I often feel inside myself, as if I were inside the rain… as if the rain were my self. That's the sense I get from Dylan's image and from your books as well." "It's strange you say that," Maurice answers, "because rain has become one of the potent images of my new book. It sort of scares me that you mentioned that line. Maybe that's what rain means. It's such an important ingredient in this new work, and I've never understood what it meant. There was a thing about me and rain when I was a child: if I could summon it up in one sentence, I'd be happy to. It's such connected tissue…

The master propagandist, like the advertising expert, avoids obvious emotional appeals and strives for a tone that is consistent with the prosaic quality of modern life—a dry, bland matter-of-factness. Nor does the propagandist circulate "intentionally biased" information. He knows that partial truths serve as more effective instruments of deception than lies. Thus he tries to impress the public with statistics of economic growth that neglect to give the base year from which growth is calculated, with accurate but meaningless facts about the standard of living—with raw and uninterpreted data, in other words, from which the audience is invited to draw the inescapable conclusion that things are getting better and the present régime therefore deserves the people's confidence, or on the other hand that things are getting worse so rapidly that the present régime should be given emergency powers to deal with the developing crisis.

…We tend to form comfort zones based on similarity, and then produce macro- opinions and clichés about ‘Others’, whom, in fact, we know so little about. When people stop talking, genuinely talking, to each other, they become more prone to making judgements. The less I know about, say Mongolians, the more easily and confidently I can draw conclusions about them. If I know ten Mongolians with entirely different personalities and conflicting viewpoints, I’ll be more cautious next time I make a remark about Mongolian national identity. If that number is 100, I may be even more detailed in my approach, for I will know that, while they share common cultural traits, Mongolians are not a monolithic mass of undifferentiated individuals. As a storyteller I am less interested in generalizations than in undertones and nuances. These may not be visible at first glance, but they are out there, lurking beneath the surface, durable and distinct.

That is why the second coming of the Lord is not only salvation, not only the omega that sets everything right, but also judgment. Indeed at this stage we can actually define the meaning of the talk of judgment. It means precisely this, that the final stage of the world is not the result of a natural current but the result of responsibility that is grounded in freedom. This must be regarded as the key to understanding why the New Testament clings fast, in spite of its message of grace, to the assertion that at the end men are judged "by their works" and that no one can escape giving an account of the way he has lived his life. There is a freedom that is not cancelled out even by grace and, indeed, is brought by it face to face with itself: man's final fate is not forced upon him regardless of the decisions he has made in his life. This assertion is in any case also necessary in order to draw the line between faith and false dogmatism or a false Christian self-confidence. This line alone confirms the equality of men by confirming the identity of their responsibility. ... Perhaps in the last analysis it is impossible to escape a paradox whose logic is completely disclosed only to the experience of a life based on faith. Anyone who entrusts himself to a life of faith becomes aware that both exist: the radical character of grace that frees helpless man and,no less, the abiding seriousness of the responsibility that summons man day after day. Both together mean that the Christian enjoys, on the one hand, the liberating, detached tranquility of him who lives on that excess of divine justice known as Jesus Christ. ... This is the source of a profound freedom, a knowledge of God's unrepentant love; he sees through all our errors and remains well disposed to us. ... At the same time, the Christian knows, however, that he is not free to do whatever he pleases, that his activity is not a game that God allows him and does not take seriously. He knows that he must answer for his actions, that he owes an account as a steward of what has been entrusted to him. There can only be responsibility where there is someone to be responsible to, someone to put the questions. Faith in the Last Judgment holds this questioning of our life over our heads so that we cannot forget it for a moment. Nothing and no one empowers us to trivialize the tremendous seriousness involved in such knowledge; it shows our life to be a serious business and precisely by doing so gives it its dignity.

The panic was blamed on many factors—tight money, Roosevelt’s Gridiron Club speech attacking the “malefactors of great wealth,” and excessive speculation in copper, mining, and railroad stocks. The immediate weakness arose from the recklessness of the trust companies. In the early 1900s, national and most state-chartered banks couldn’t take trust accounts (wills, estates, and so on) but directed customers to trusts. Traditionally, these had been synonymous with safe investment. By 1907, however, they had exploited enough legal loopholes to become highly speculative. To draw money for risky ventures, they paid exorbitant interest rates, and trust executives operated like stock market plungers. They loaned out so much against stocks and bonds that by October 1907 as much as half the bank loans in New York were backed by securities as collateral—an extremely shaky base for the system. The trusts also didn’t keep the high cash reserves of commercial banks and were vulnerable to sudden runs.

Our devices compel us because we respond to every search and every new piece of information (and every new text) as though it had the urgency of a threat in the wild. So stimulation by what is new (and social) draws us toward some immediate goal. But daydreaming moves us toward the longer term. It helps us develop the base for a stable self and helps us come up with new solutions. To mentor for innovation we need to convince people to slow things down, let their minds wander, and take time alone.

This state of affairs, which bodes ill for the future, causes Us great distress and anguish. But We cherish this hope: that distrust and selfishness among nations will eventually be overcome by a stronger desire for mutual collaboration and a heightened sense of solidarity. We hope that the developing nations will take advantage of their geographical proximity to one another to organize on a broader territorial base and to pool their efforts for the development of a given region. We hope that they will draw up joint programs, coordinate investment funds wisely, divide production quotas fairly, and exercise management over the marketing of these products. We also hope that multilateral and broad international associations will undertake the necessary work of organization to find ways of helping needy nations, so that these nations may escape from the fetters now binding them; so that they themselves may discover the road to cultural and social progress, while remaining faithful to the native genius of their land.

The patient brings with him into therapy all the failures and suspicions and losses he has experienced through his life. The defensive forms of insecure attachment - avoidance, ambivalence, disorganisation - will be brought into play in relation to the therapist. There will be a struggle between these habitual patterns and the skill of the therapist in providing a secure base - the capacity to be responsive and attuned to the patient's feelings, to receive projections and to transmute them in such a way that the patient can face their hitherto unmanageable feelings. To the extent that this happens, the patient will gradually relinquish their attachment to the therapist while, simultaneously, an internal secure base is built up inside. As a result, as therapy draws to a close, the patient is better able to form less anxious attachment relationships in the external world and feels more secure in himself. As concrete attachment to the therapist lessens, so the qualities of self-responsiveness and self-attunement are more firmly established in the inner world.

Most people who haven’t had direct contact with the leadership of their own and other countries form their views based on what they learn in the media, and become quite naive and inappropriately opinionated as a result. That’s because dramatic stories and gossip draw more readers and viewers than does clinical objectivity. Also, in some cases “journalists” have their own ideological biases that they are trying to advance. As a result, most people who see the world through the lens of the media tend to look for who is good and who is evil rather than what the vested interests and relative powers are and how they are being played out. For example, people tend to embrace stories about how their own country is moral and the rival country is not, when most of the time these countries have different interests that they are trying to maximize. The best behaviors one can hope for come from leaders who can weigh the benefits of cooperation, and who have long enough time frames that they can see how the gifts they give this year may bring them benefits in the future.

When Pablo Picasso was an old man, he was sitting in a café in Spain, doodling on a used napkin. He was nonchalant about the whole thing, drawing whatever amused him in that moment—kind of the same way teenage boys draw penises on bathroom stalls—except this was Picasso, so his bathroom-stall penises were more like cubist/impressionist awesomeness laced on top of faint coffee stains. Anyway, some woman sitting near him was looking on in awe. After a few moments, Picasso finished his coffee and crumpled up the napkin to throw away as he left. The woman stopped him. “Wait,” she said. “Can I have that napkin you were just drawing on? I’ll pay you for it.” “Sure,” Picasso replied. “Twenty thousand dollars.” The woman’s head jolted back as if he had just flung a brick at her. “What? It took you like two minutes to draw that.” “No, ma’am,” Picasso said. “It took me over sixty years to draw this.” He stuffed the napkin in his pocket and walked out of the café. Improvement at anything is based on thousands of tiny failures, and the magnitude of your success is based on how many times you’ve failed at something.

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

How does it feel to be a part of this beautifully ingenious design. I have faith that there is a chosen moment in which my soul will expand infinitely free from time and space. Some may find that foolish but I have reasons for my beliefs that are uniquely my own. There are hundreds of billions of galaxies making up the universe. Earth is only one planet of billions orbiting inside just one of these 500,000 billion or more galaxies. And I myself am one person. One of over seven billion people living on our dynamic little planet. Instead of being diluted by this infinitesimal proportion I accept it as a challenge and I use science to strengthen my spirituality. It provokes curiosity and redefines my view of logical thinking. I believe that existence is based on the exchange of energy and functionality. Energy is expended to carry out varying tasks ensuring the function of an organism. This is evident in every life form and has been the founding principle supporting lifetimes of discoveries. Energy is spent with purpose. I can't help but draw the conclusion that the energy required to create the universe itself was done so for a purpose. You and I were created with a purpose. -Tavia Rahki Smith

But as all pre-Christian cults were based on the idea of substitution, of representation, and tried to replace the irreplaceable, this worship was bound to remain vain. In the light of faith in Christ, the Letter to the Hebrews can dare to draw up this devastating balance sheet of the history of religion, although to express this view in a world seething with sacrifices must have seemed a tremendous outrage. It can dare to make this unqualified assertion that religions have run aground because it knows that in Christ the idea of the substitute, of the proxy, has acquired a new meaning. Christ, who in terms of the Law was a layman and held no office in Israel’s worship services, was—so the text says—the one true priest in the world. His death, which from a purely historical angle represented a completely profane event—the execution of a man condemned to death as a political offender—was in reality the one and only liturgy of the world, a cosmic liturgy, in which Jesus stepped, not in the limited arena of the liturgical performance, the Temple, but publicly, before the eyes of the world, through the curtain of death into the real temple, that is, before the face of God himself, in order to offer, not things, the blood of animals, or anything like that, but himself (Heb 9:11ff.). Let

What rending pains were close at hand! Death! and what a death! worse than any other that is to be named! Water, be it cold or warm, that which buoys up blue icefields, or which bathes tropical coasts with currents of balmy bliss, is yet a gentle conqueror, kisses as it kills, and draws you down gently through darkening fathoms to its heart. Death at the sword is the festival of trumpet and bugle and banner, with glory ringing out around you and distant hearts thrilling through yours. No gnawing disease can bring such hideous end as this; for that is a fiend bred of your own flesh, and this — is it a fiend, this living lump of appetites? What dread comes with the thought of perishing in flames! but fire, let it leap and hiss never so hotly, is something too remote, too alien, to inspire us with such loathly horror as a wild beast; if it have a life, that life is too utterly beyond our comprehension. Fire is not half ourselves; as it devours, arouses neither hatred nor disgust; is not to be known by the strength of our lower natures let loose; does not drip our blood into our faces with foaming chaps, nor mouth nor slaver above us with vitality. Let us be ended by fire, and we are ashes, for the winds to bear, the leaves to cover; let us be ended by wild beasts, and the base, cursed thing howls with us forever through the forest.

But he is wise who does not scorn any character, but, fixing a piercing eye on him, searches out his primary causes. Everything transforms quickly in man; before you can turn around, a horrible worm has grown inside him, despotically drawing all life's juices to itself. And it has happened more than once that some passion, not a broad but a paltry little passion for some petty thing, has spread through one born for better deeds, making him forsake great and sacred duties and see the great and sacred in paltry baubles. Numberless as the sands of the sea are human passions, and no one resembles another, and all of them, base or beautiful, are at first obedient to man and only later become his dread rulers. Blessed is he who has chosen the most beautiful passion; his boundless bliss grows tenfold with every hour and minute, and he goes deeper and deeper into the infinite paradise of his soul. But there are passions that it is not for man to choose. They are born with him at the moment of his birth into this world, and he is not granted the power to refuse them. They are guided by a higher destiny, and they have in them something eternally calling, never ceasing throughout one's life. They are ordained to accomplish a great earthly pursuit: as a dark image, or as a bright apparition sweeping by, gladdening the world—it makes no difference, both are equally called forth for the good unknown to man.

When countries negotiate with one another, they typically operate as if they are opponents in a chess match or merchants in a bazaar in which maximizing one’s own benefit is the sole objective. Smart leaders know their own countries’ vulnerabilities, take advantage of others’ vulnerabilities, and expect the other countries’ leaders to do the same. Most people who haven’t had direct contact with the leadership of their own and other countries form their views based on what they learn in the media, and become quite naive and inappropriately opinionated as a result. That’s because dramatic stories and gossip draw more readers and viewers than does clinical objectivity. Also, in some cases “journalists” have their own ideological biases that they are trying to advance. As a result, most people who see the world through the lens of the media tend to look for who is good and who is evil rather than what the vested interests and relative powers are and how they are being played out. For example, people tend to embrace stories about how their own country is moral and the rival country is not, when most of the time these countries have different interests that they are trying to maximize. The best behaviors one can hope for come from leaders who can weigh the benefits of cooperation, and who have long enough time frames that they can see how the gifts they give this year may bring them benefits in the future.

The emotion of love is an affective emotion, directly reacting to goodness, rather than an aggressive one, reacting to challenge. Not only our so-called natural ability to grow and propagate exemplify natural love, but every faculty has a built-in affinity for what accords with its nature. By passion we mean some result of being acted on: either a form induced by the agent (like weight) or a movement consequent on the form (like falling to the ground). Whatever we desire acts on us in this way, first arousing an emotional attachment to itself and making itself agreeable, and then drawing us to seek it. The first change the object produces in our appetite is a feeling of its agreeableness: we call this love (weight can be thought of as a sort of natural love); then desire moves us to seek the object and pleasure comes to rest in it. Clearly then, as a change induced in us by an agent, love is a passion: the affective emotion strictly so, the will to love by stretching of the term. Love unites by making what is loved as agreeable to the lover as if it were himself or a part of himself. Though love is not itself a movement of the appetite towards an object, it is a change the appetite undergoes rendering an object agreeable. Favour is a freely chosen and willing love, open only to reasoning creatures; and charity―literally, holding dear―is a perfect form of love in which what is loved is highly prized. To love, as Aristotle says, is to want someone’s good; so its object is twofold: the good we want, loved with a love of desire, and the someone we want it for (ourselves or someone else), loved with a love of friendship. And just as what exist in the primary sense are subjects of existence, and properties exist only in a secondary sense, as modes in which subjects exist; so too what we love in the primary sense is the someone whose good we will, and only in a secondary sense do we love the good so willed. Friendship based on convenience or pleasure is friendship inasmuch as we want our friend’s good; but because this is subordinated to our own profit or pleasure such friendship is subordinated to love of desire and falls short of true friendship.

Maybe we should do some more homework.” Homework had been their code word for making out before they’d realized that they hadn’t been fooling anyone. But Jay was true to his word, especially his code word, and his lips settled over hers. Violet suddenly forgot that she was pretending to break free from his grip. Her frail resolve crumbled. She reached out, wrapping her arms around his neck, and pulled him closer to her. Jay growled from deep in his throat. “Okay, homework it is.” He pulled her against him, until they were lying face-to-face, stretched across the length of the couch. It wasn’t long before she was restless, her hands moving impatiently, exploring him. She shuddered when she felt his fingers slip beneath her shirt and brush over her bare skin. He stroked her belly and higher, the skin of his hands rough against her soft flesh. His thumb brushed the base of her rib cage, making her breath catch. And then, like so many times before, he stopped, abruptly drawing back. He shifted only inches, but those inches felt like miles, and Violet felt the familiar surge of frustration. He didn’t say a word; he didn’t have to. Violet understood perfectly. They’d gone too far. Again. But Violet was frustrated, and it was getting harder and harder to ignore her disappointment. She knew they couldn’t play this unsatisfying game forever. “So you’re going to Seattle tomorrow?” He used the question to fill the rift between them, but his voice shook and Violet was glad he wasn’t totally unaffected. She wasn’t as quick to pretend that everything was okay, especially when what she really wanted to do was to rip his shirt off and unbutton his jeans. But they’d talked about this. And, time and time again, they’d decided that they needed to be sure. One hundred percent. Because once they crossed that line… She and Jay had been best friends since the first grade, and up until last fall that’s all they’d ever been. Now that she was in love with him, she couldn’t imagine losing him because they made the wrong decision. Or made it too soon. She decided to let Jay have his small talk. For now. “Yeah, Chelsea wants to go down to the waterfront and maybe do some shopping. It’s easier to be around her when it’s just the two of us. You know, when she’s not always…on.” “You mean when she’s not picking on someone?” “Exactly.

Mad world, mad kings, mad composition! John, to stop Arthur’s title in the whole, Hath willingly departed with a part; And France, whose armour conscience buckled on, Whom zeal and charity brought to the field As God’s own soldier, rounded in the ear With that same purpose-changer, that sly devil, That broker that still breaks the pate of faith, That daily break-vow, he that wins of all, Of kings, of beggars, old men, young men, maids,— Who having no external thing to lose But the word ‘maid’, cheats the poor maid of that— That smooth-faced gentleman, tickling commodity; Commodity, the bias of the world, The world who of itself is peisèd well, Made to run even upon even ground, Till this advantage, this vile-drawing bias, This sway of motion, this commodity, Makes it take head from all indifferency, 580 From all direction, purpose, course, intent; And this same bias, this commodity, This bawd, this broker, this all-changing word, Clapped on the outward eye of fickle France, Hath drawn him from his own determined aid, From a resolved and honourable war, To a most base and vile-concluded peace. And why rail I on this commodity? But for because he hath not wooed me yet— Not that I have the power to clutch my hand When his fair angels would salute my palm, But for my hand, as unattempted yet, Like a poor beggar raileth on the rich. Well, whiles I am a beggar I will rail, And say there is no sin but to be rich, And being rich, my virtue then shall be To say there is no vice but beggary. Since kings break faith upon commodity, Gain, be my lord, for I will worship thee.

Peace cannot require Palestinians to acquiesce to the denial of what was done to them. Neither can it require Israeli Jews to view their own presence in Palestine as illegitimate or to change their belief in their right to live there because of ancient historical and spiritual ties. Peace, rather, must be based on how we act toward each other now. It is unacceptable for a Palestinian to draw on his history of oppression and suffering to justify harming innocent Israeli civilians. It is equally unacceptable for an Israeli to invoke his belief in an ancient covenant between God and Abraham to justify bulldozing the home and seizing the land of a Palestinian farmer. The 1998 Good Friday Agreement, which proposes a political framework for a resolution to the conflict in Ireland, and which was overwhelmingly endorsed in referendums, sets out two principles from which Palestinians and Israelis could learn. First “[i]t is recognized that victims have a right to remember as well as to contribute to a changed society.” Second, whatever political arrangements are freely and democratically chosen for the governance of Northern Ireland, the power of the government “shall be exercised with rigorous impartiality on behalf of all the people in the diversity of their identities and traditions and shall be founded on the principles of full respect for, and equality of civil, political, social, and cultural rights, of freedom from discrimination for all citizens, and of parity of esteem and of just and equal treatment for the identity, ethos, and aspirations of both communities.” Northern Ireland is still a long way from achieving this ideal, but life has vastly improved since the worst days of “the Troubles” and it is a paradise on earth compared to Palestine/Israel.

Ultimately, this cosmologem is not just a piece of funerary geography, but conveys basic truths about the nature of human existence. It relates that the dead have no need for their memories, having passed beyond the realm in which those memories have value. But the memories of the departed are not without value for those who are yet living. The accumulated memories of the dead comprise the totality of human history. Preserved and appreciated, they are the source of true wisdom, the wisdom that is based on the full sweep of human experiences rather than the idiosyncratic events of one human life. In the last analysis, the present depends upon the past, the living upon the dead, and this world upon the other. Those who die do not just pass on but continue to contribute to the sustenance of this world, as the world of the living draws strength, meaning, and wisdom from the world of the dead, much as one draws water from a spring.

Ever since he’d set eyes on Elizabeth Cameron he’d been blind-no, he corrected himself with furious self-disgust, in England he’d recognized instinctively what she was-gentle and proud, brave and innocent and…rare. He’d known damned well she wasn’t a promiscuous little flirt, yet he’d later convinced himself she was, and then he’d treated her like one here-and she had endured it the entire time she’d been here! She had let him say those things to her and then tried to excuse his behavior by blaming herself for behaving like “a shameless wanton” in England! Bile rose up in his throat, suffocating him, and he closed his eyes. She was so damned sweet, and so forgiving, that she even did that for him. Duncan hadn’t moved; in taut silence he watched his nephew standing at the window, his eyes clenched shut, his stance like that of a man who was being stretched on the rack. Finally Ian spoke, and his voice was rough with emotion, as if the words were being gouged out of him: “Did the woman say that, or was that your own opinion?” “About what?” Drawing a ragged breath, he asked, “Did she tell you that Elizabeth was in love with me two years ago, or was that your opinion?” The answer to that obviously meant so much to Ian that Duncan almost smiled. At the moment, however, the vicar was more concerned with the two things he wanted above all else: He wanted Ian to wed Elizabeth and rectify the damage he’d done to her, and he wanted Ian to reconcile with his grandfather. In order to do the former, Ian would have to do the latter, for Elizabeth’s uncle was evidently determined that her husband should have a title if possible. So badly did Duncan want those two things to happen that he almost lied to help the cause, but the precepts of his conscience forbade it. “It was Miss Throckmorton-Jones’s opinion when she was under the influence of laudanum. It is also my opinion, based on everything I saw in Elizabeth’s character and behavior to you.” He waited through another long moment of awful suspense, knowing exactly where Ian’s thoughts would have to turn next, and then he plunged in, ready to press home his advantage with hard, systematic logic. “You have no choice except to rescue her from that repugnant marriage.

I find it hard to talk about myself. I'm always tripped up by the eternal who am I? paradox. Sure, no one knows as much pure data about me as me. But when I talk about myself, all sorts of other factors - values, standards, my own limitations as an observer - make me, the narrator, select and eliminate things about me, the narratee. I've always been disturbed by the thought that I'm not painting a very objective picture of myself. This kind of things doesn't seem to bother most people. Given the chance, people are surprisingly frank when they talk about themselves. "I'm honest and open to a ridiculous degree," they'll say, or "I'm thin-skinned and not the type who gets along easily in the world." Or "I'm very good at sensing others' true feelings." But any number of times I've seen people who say they're easily hurt or hurt other people for no apparent reason. Self-styled honest and open people, without realizing what they're doing, blithely use some self-serving excuse to get what they want. And those "good at sensing others' true feelings" are taken in by the most transparent flattery. It's enough to make me ask the question: how well do really know ourselves? The more I think about it, the more I'd like to take a rain check on the topic of me. What I'd like to know more about is the objective reality of things outside myself. How important the world outside is to me, how I maintain a sense of equilibrium by coming to terms with it. That's how I'd grasp a clearer sense of who I am. These are the kind of ideas I had running through my head when I was a teenager. Like a master builder stretches taut his string and lays one brick after another, I constructed this viewpoint - or philosophy of life, to put a bigger spin on it. Logic and speculation played a part in formulating this viewpoint, but for the most part it was based on my own experiences. And speaking of experience, a number of painful episodes taught me that getting this viewpoint of mine across to other people wasn't the easiest thing in the world. The upshot of all this is that when I was young I began to draw an invisible boundary between myself and other people. No matter who I was dealing with, I maintained a set distance, carefully monitoring the person's attitude so that they wouldn't get any closer. I didn't easily swallow what other people told me. My only passions were books and music. As you might guess, I led a lonely life.

WHY THE ADMIRALTY would seek to assign fault to Turner defies ready explanation, given that isolating Germany as the sole offender would do far more to engender global sympathy for Britain and cement animosity toward Germany. By blaming Turner, however, the Admiralty hoped to divert attention from its own failure to safeguard the Lusitania. (Questioned on the matter in the House of Commons on May 10, 1915, Churchill had replied, rather coolly, “Merchant traffic must look after itself.”) But there were other secrets to protect, not just from domestic scrutiny, but also from German watchers—namely the fact that the Admiralty, through Room 40, had known so much about U-20’s travels leading up to the attack. One way to defend those secrets was to draw attention elsewhere. The Admiralty found added motivation to do so when, on May 12, wireless stations in Britain’s listening network intercepted a series of messages from the then homebound U-20, which upon entering the North Sea had resumed communication with its base at Emden. At the Admiralty these messages drew an unusual degree of attention. Room 40 asked all the stations that had intercepted them to confirm that they had transcribed them correctly and to provide signed and certified copies.

The lack of traces is the trace of his Perfect One. In the immensity of the strength of his spirit, compared to the limited consciousness of human beings, he appears to hardly know he exists. In the guise of weakness, he has true strength; he knows he is powerful and yet appears weak. He knows he is enlightened and yet appears small and mediocre. He dulls what is sharp, clarifies what is confused, tones down his shining nature, and is outwardly identical with what is ordinary. He progresses without advancing; he absorbs without conquering; he has without owning. Becoming like everybody else, he becomes different from everybody. As he goes on, he is as prudent as one who crosses a winter stream; vigilant as one who knows he is surrounded by enemies; cold as a stranger; ephemeral as a melting snowflake; rough as a tree trunk; wide as the great valleys; impenetrable as deep water; inaccessible as solitary peaks. He arrives without walking; he penetrates without looking; achieves without willing; acts without doing; he just vanishes. He is obeyed without commanding; he wins without struggling; he draws people to himself without calling for them. How disheartening to those who uphold the myth of manhood based on muscles and metallic strength: this alone is the true man, the absolute man! He absorbs within himself the ambiguous virtue of the female.

He gave the empty flask to Arya, and as she took it, he grasped her hand, her right hand, and turned it toward the light. The skin was once more smooth and unblemished. No sign of her injury remained. “Blödhgarm healed you?” said Eragon. Arya nodded, and he released her. “Mostly. I have full use of my hand again.” She demonstrated by opening and closing it several times. “But there is still a patch of skin by the base of my thumb where I have no feeling.” She pointed with her left index finger. Eragon reached out and lightly touched the area. “Here?” “Here,” she said, and moved his hand a bit to the right. “And Blödhgarm wasn’t able to do anything about it?” She shook her head. “He tried a half-dozen spells, but the nerves refuse to rejoin.” She made dismissive motion. “It’s of no consequence. I can still wield a sword and I can still draw a bow. That is all that matters.” Eragon hesitated, then said, “You know…how grateful I am for what you did--what you tried to do. I’m only sorry it left you with a permanent mark. If I could have prevented it somehow…” “Do not feel bad because of it. It’s impossible to go through life unscathed. Nor should you want to. By the hurts we accumulate, we measure both our follies and our accomplishments.” “Angela said something similar about enemies--that if you didn’t make them, you were a coward or worse.” Arya nodded. “There is some truth to that.

The helix contains two intertwined strands of DNA. It is "right-handed"-twisting upward as if driven by a right-handed screw. Across the molecule, it measures twenty-three angstroms-one-thousandth of one-thousandth of a millimeter. One million helices stacked side by side would fit in this letter: o. the biologist John Sulston wrote, "We see it as a rather stubby double helix, for they seldom show its other striking feature: it is immensely long and thin. In every cell in your body, you have two meters of the stuff; if we were to draw a scaled-up picture of it with the DNA as thick as sewing thread, that cell's worth would be about 200 kilometers long." Each strand of DNA, recall, is a long sequence of "bases"-A,T,G,and C. The bases are linked together by the sugar-phosphate backbone. The backbone twists on the outside, forming a spiral. The bases face in, like treads in a circular staircase. The opposite strand contains the opposing bases: A matched with T and G matched with C. Thus, both strands contain the same information-except in a complementary sense: each is a "reflection," or echo, of the other (the more appropriate analogy is a yin-and-yang structure). Molecular forces between the A:T and G:C pairs lock the two strands together, as in a zipper. A double helix of DNA can thus be envisioned as a code written with four alphabets-ATGCCCTACGGGCCCATCG...-forever entwined with its mirror-image code.

Men traveling alone develop a romantic vertigo. Bech had already fallen in love with a freckled embassy wife in Russia, a buck-toothed chanteuse in Rumania, a stolid Mongolian sculptress in Kazakhstan. In the Tretyakov Gallery he had fallen in love with a recumbent statue, and at the Moscow Ballet School with an entire roomful of girls. Entering the room, he had been struck by the aroma, tenderly acrid, of young female sweat. Sixteen and seventeen, wearing patchy practice suits, the girls were twirling so strenuously their slippers were unraveling. Demure student faces crowned the unconscious insolence of their bodies. The room was doubled in depth by a floor-to-ceiling mirror. Bech was seated on a bench at its base. Staring above his head, each girl watched herself with frowning eyes frozen, for an instant in the turn, by the imperious delay and snap of her head. Bech tried to remember the lines of Rilke that expressed it, this snap and delay: did not the drawing remain/that the dark stroke of your eyebrow/swiftly wrote on the wall of its own turning? At one point the teacher, a shapeless old Ukrainian lady with gold canines, a prima of the thirties, had arisen and cried something translated to Bech as, “No, no, the arms free, free!” And in demonstration she had executed a rapid series of pirouettes with such proud effortlessness that all the girls, standing this way and that like deer along the wall, had applauded. Bech had loved them for that. In all his loves, there was an urge to rescue—to rescue the girls from the slavery of their exertions, the statue from the cold grip of its own marble, the embassy wife from her boring and unctuous husband, the chanteuse from her nightly humiliation (she could not sing), the Mongolian from her stolid race. But the Bulgarian poetess presented herself to him as needing nothing, as being complete, poised, satisfied, achieved. He was aroused and curious and, the next day, inquired about her of the man with the vaguely contemptuous mouth of a hare—a novelist turned playwright and scenarist, who accompanied him to the Rila Monastery. “She lives to write,” the playwright said. “I do not think it is healthy.

I want to test him, said Saphira. She slapped her tail against the ground, causing Fírnen to pause. Test him? How? For what? To find out if he has the iron in his bones and the fire in his belly to match me. Are you sure? he asked, understanding her intent. She again slapped her tail against the ground, and he felt her certainty and the strength of her desire. I know everything about him--everything but this. Besides--she displayed a flash of amusement--it’s not as if dragons mate for life. Very well…But be careful. He had barely finished speaking when Saphira lunged forward and bit Fírnen on his left flank, drawing blood and causing Fírnen to snarl and spring backward. The green dragon growled, appearing uncertain of himself, and retreated before Saphira as she prowled toward him. Saphira! Chagrined, Eragon turned to Arya, intending to apologize. Arya did not seem upset. To Fírnen, and to Eragon as well, she said, If you want her to respect you, then you have to bite her in return. She raised an eyebrow at Eragon, and he responded with a wry smile, understanding. Fírnen glanced at Arya and hesitated. He jumped back as Saphira snapped at him again. Then he roared and lifted his wings, as if to make himself appear larger, and he charged Saphira--and nipped her on a hind leg, sinking his teeth into her hide. The pain Saphira felt was not pain. Saphira and Fírnen resumed circling, growling and yowling with increasing volume. Then Fírnen jumped at her again. He landed on Saphira’s neck and bore her head to the ground, where he held her pinned and gave her a pair of playful bites at the base of her skull. Saphira did not struggle as fiercely as Eragon would have expected, and he guessed that she had allowed Fírnen to catch her, as it was not something even Thorn had managed to do. “The courting of dragons is no gentle affair,” he said to Arya. “Did you expect soft words and tender caresses?” “I suppose not.” With a heave of her neck, Saphira threw Fírnen off and scrambled backward. She roared and clawed at the ground with her forefeet, and then Fírnen lifted his head toward the sky and loosed a rippling pennant of green fire twice the length of his own body. “Oh!” exclaimed Arya, sounding delighted. “What?” “That’s the first time he has breathed fire!