Drawing Mood Quotes

Don't tell me," Jace said, "Simon's turned himself into an ocelot and you want me to do something about it before Isabelle makes him into a stole. Well, you'll have have to wait till tomorrow. I'm out of commission." He pointed at himself - he was wearing blue pajamas with a hole in the sleeve. "Look. Jammies." "Jace," Clary said, "this is important." "Don't tell me," he said. "You've got a drawing emergency. You need a nude model. Well, I'm not in the mood. You could always ask Hodge," he said as an afterthought. "I hear he'll do anything for a -" "JACE!" she interrupted him, her voice rising to a scream. "JUST SHUT UP FOR A SECOND AND LISTEN, WILL YOU?

You seduced a young woman in order to be able to finish your talks with her. You could not do that without living with her. You could not live with her without seducing her; but that was the by-product. The point is that you can't otherwise talk. You can't finish talks at street corners; in museums; even in drawing-rooms. You mayn't be in the mood when she is in the mood – for the intimate conversation that means the final communion of your souls. You have to wait together – for a week, for a year, for a lifetime, before the final intimate conversation may be attained...and exhausted. So that... That in effect was love.

It was amazing what an hour with her sketchpad could do for her mood. She was sure that the lines she drew with her black marker were going to save her years of worry lines in the future.

When Stephen King elaborated on his inspirations for his novel "Carrie" he draws from a time when he was a young man, and describes his impression when he came upon a statue of Christ on the cross, hanging there in misery, and he thought "If THAT guy ever came back, he probably wouldn't be in a saving mood."

My interest in drawing has died down here in England, but maybe I'll be in the mood again some day or other. Right now I am doing a great deal of reading

I love you,” he whispered, rubbing his jaw against her temple. “And you love me. I can feel it when you’re in my arms.” He felt her stiffen slightly and draw a shaky breath, but she either couldn’t or wouldn’t speak. She hadn’t thrown the words back in his face, however, so Ian continued talking to her, his hand roving over her back. “I can feel it, Elizabeth, but if you don’t admit it pretty soon, you’re going to drive me out of my mind. I can’t work. I can’t think. I make decisions and then I change my mind. And,” he teased, trying to lighten the mood by using the one topic sure to distract her, “that’s nothing to the money I squander whenever I’m under this sort of violent stress. It wasn’t just the gowns I bought, or the house on Promenade...” Still talking to her, he tipped her chin up, glorying in the gentle passion in her eyes, overlooking the doubt in their green depths. “If you don’t admit it pretty soon,” he teased, “I’ll spend us out of house and home.” Her delicate brows drew together in blank confusion, and Ian grinned, taking her hand from his chest, the emerald betrothal ring he had bought her unnoticed in his fingers. “When I’m under stress,” he emphasized, sliding the magnificent emerald onto her finger, “I buy everything in sight. It took my last ounce of control not to buy one of these in every color.

If I were to draw, I would apply myself only to studying the form of inanimate objects," I said somewhat imperiously, because I wanted to change the subjects and also because a natural inclination does truly lead me to recognise my moods in the motionless suffering of things.

I feel anger and frustration when I think that one in ten Americans beyond the age of high school is on some kind of antidepressant, such as Prozac. Indeed, when you go through mood swings, you now have to justify why you are not on some medication. There may be a few good reasons to be on medication, in severely pathological cases, but my mood, my sadness, my bouts of anxiety, are a second source of intelligence--perhaps even the first source. I get mellow and lose physical energy when it rains, become more meditative, and tend to write more and more slowly then, with the raindrops hitting the window, what Verlaine called autumnal "sobs" (sanglots). Some days I enter poetic melancholic states, what the Portuguese call saudade or the Turks huzun (from the Arabic word for sadness). Other days I am more aggressive, have more energy--and will write less, walk more, do other things, argue with researchers, answer emails, draw graphs on blackboards. Should I be turned into a vegetable or a happy imbecile?

If we stay with animal analogies for a moment, owners of dogs will have noticed that, if you provide them with food and water and shelter and affection, they will think you are god. Whereas owners of cats are compelled to realize that, if you provide them with food and water and shelter and affection, they draw the conclusion that they are god. (Cats may sometimes share the cold entrails of a kill with you, but this is just what a god might do if he was in a good mood.)

It is difficult to speak adequately or justly of London. It is not a pleasant place; it is not agreeable, or cheerful, or easy, or exempt from reproach. It is only magnificent. You can draw up a tremendous list of reasons why it should be insupportable. The fogs, the smoke, the dirt, the darkness, the wet, the distances, the ugliness, the brutal size of the place, the horrible numerosity of society, the manner in which this senseless bigness is fatal to amenity, to convenience, to conversation, to good manners – all this and much more you may expatiate upon. You may call it dreary, heavy, stupid, dull, inhuman, vulgar at heart and tiresome in form. [...] But these are occasional moods; and for one who takes it as I take it, London is on the whole the most possible form of life. [...] It is the biggest aggregation of human life – the most complete compendium of the world.

When our two souls stand up erect and strong, Face to face, silent, drawing nigh and nigher, Until the lengthening wings break into fire At either curvèd point,---what bitter wrong Can the earth do to us, that we should not long Be here contented? Think! In mounting higher, The angels would press on us and aspire To drop some golden orb of perfect song Into our deep, dear silence. Let us stay Rather on earth, Belovèd,---where the unfit Contrarious moods of men recoil away And isolate pure spirits, and permit A place to stand and love in for a day, With darkness and the death-hour rounding it.

My first morning back, and I’m in such a terrific mood that I start the day off right by blasting Nappy Roots in the kitchen while I scarf down some cereal. The loud strains of “Good Day” draw the others from their bedrooms, and Garrett is the first to appear, clad in boxers and rubbing his eyes. “Morning, Sunshine,” he mumbles. “Please tell me you made some coffee.” I point to the counter. “Go nuts.” He pours himself a cup and plops down on one of the stools. “Did cartoon chipmunks dress you this morning?” he grumbles. “You’re scarily chipper.” “And you’re scarily grumpy. Smile, dude. It’s our favorite day of the year, remember?

We don't want to live in the dark moods of imponderable mystery, but neither do we want to miss them altogether. they allow us to emerge from the tender sadness of the manger to sing with the angels in the skies above...

There is a charm to letters and cards that emails and smses can’t ever replicate, you cannot inhale them, drawing the fragrance of the place they have been mailed from, the feel of paper in your hand bearing the weight of the words contained within. You cannot rub your fingers over the paper and visualise the sender, seated at a table, writing, perhaps with a smile on their lips or a frown splitting the brow. You can’t see the pressure of the pen on the reverse of the page and imagine the mood the person might have been in when he or she was writing it. Smiley face icons cannot hope to replace words thought out carefully in order to put a smile on the other person’s face, the pressure of the pen, the sharpness or the laxity of the handwriting telling stories about the frame of mind of the writer, the smudges on the sheets of paper telling their own stories, blotches where tears might have fallen, hastily scratched out words where another would have been more appropriate, stories that the writer of the letter might not have intended to communicate. I have letters wrapped up in a soft muslin cloth, letters that are unsigned, tied up with a ribbon which I had once used to hold my soft, brown hair in place, and which had been gently untied by the writer of those letters. Occasionally, I unwrap them and breathe them in, knowing that the molecules from the hand that wrote them might still be scattered on the surface of the paper, a hand that is long dead.

In front of the fire If you haven’t got a fire, a candle will do. The one thing I really look forward to as the nights draw in is a big cozy fire and a good book—the longer the better. I love a really, really long novel, a large cup of tea, or glass of wine depending on how close to the weekend we are (or how much I am in the mood to stretch the definition of what constitutes the weekend), and a bit of peace and quiet. A dog helps, too. Dogs are tremendously good at showing you you don’t have to check your phone every two seconds to have a happy life.

We see her go through dangerous mood-swings, but I tried never to come right out and say "Annie was depressed and possibly suicidal that day" or "Annie seemed particularly happy that day."If I have to tell you, I lose. If, on the other hand, I can show you a silent, dirty-haired woman who compulsively gobbles cake and candy, then have you draw the conclusion that Annie is in the depressive part of a manic-depressive cycle, I win.

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 it is true that there are books written to escape from the present moment, and its meanness and its sordidity, it is certainly true that readers are familiar with a corresponding mood. To draw the blinds and shut the door, to muffle the noises of the street and shade the glare and flicker of its lights—that is our desire. There is then a charm even in the look of the great volumes that have sunk, like the “Countess of Pembroke’s Arcadia”, as if by their own weight down to the very bottom of the shelf. We like to feel that the present is not all; that other hands have been before us, smoothing the leather until the corners are rounded and blunt, turning the pages until they are yellow and dog’s-eared. We like to summon before us the ghosts of those old readers who have read their Arcadia from this very copy—Richard Porter, reading with the splendours of the Elizabethans in his eyes; Lucy Baxter, reading in the licentious days of the Restoration; Thos. Hake, still reading, though now the eighteenth century has dawned with a distinction that shows itself in the upright elegance of his signature. Each has read differently, with the insight and the blindness of his own generation. Our reading will be equally partial. In 1930 we shall miss a great deal that was obvious to 1655; we shall see some things that the eighteenth century ignored. But let us keep up the long succession of readers; let us in our turn bring the insight and the blindness of our own generation to bear upon the “Countess of Pembroke’s Arcadia”, and so pass it on to our successors.

It is Sunday afternoon, preferably before the war. The wife is already asleep in the armchair, and the children have been sent out for a nice long walk. You put your feet up on the sofa, settle your spectacles on your nose, and open the News of the World. Roast beef and Yorkshire, or roast pork and apple sauce, followed up by suet pudding and driven home, as it were, by a cup of mahogany-brown tea, have put you in just the right mood. Your pipe is drawing sweetly, the sofa cushions are soft underneath you, the fire is well alight, the air is warm and stagnant. In these blissful circumstances, what is it that you want to read about? Naturally, about a murder.

Women and ocean have that undulating factor to draw one to the state of peace or chaos within. It all depends on their mood!

Fiercely intelligent, yet bearing a sensibility far more porous than most, Van Gogh was unable, or unwilling, to abstract his intellect from his body's reality, unwilling to abandon the myriad things, to tame his senses and so stifle the steady eros between his flesh and the flesh of the earth. "Again and again he slides out of himself, through his eyes, to feel the hunkard silence of the olive groves, and to taste the spreading ecstasy of the leaves as they're slowly lit by the climbing sun. And again and again he is invaded, in turn, by the visible -- penetrated by the midday langor of the rolling wheat fields, or by the sullen mood of a neighbor's face. Although he writes often to his brother and a few friends (letters of luminous candor and kindness), it is only in the act of drawing and painting that he is able to give expression to this ongoing intercourse, by offering back to the visible a trace of what the visible steadily pours into his chest. "His paintings, then, are windows through which we look onto an earth no less alive and intelligent than ourselves

In The Jew of New York, Ben Katchor draws on a historical event—the early-nineteenth-century plan to set up a Jewish homeland in upstate New York—to create a weirdly real world of make-believe. Or

Along with the greening of May came the rain. Then the clouds disappeared and a soft pale lightness fell over the city, as if Kyoto had broken free of its tethers and lifted up toward the sun. The mornings were as dewy and verdant as a glass of iced green tea. The nights folded into pencil-gray darkness fragrant with white flowers. And everyone's mood seemed buoyant, happy, and carefree. When I wasn't teaching or studying tea kaiseki, I would ride my secondhand pistachio-green bicycle to favorite places to capture the fleeting lushness of Kyoto in a sketchbook. With a small box of Niji oil pastels, I would draw things that Zen pots had long ago described in words and I did not want to forget: a pond of yellow iris near a small Buddhist temple; a granite urn in a forest of bamboo; and a blue creek reflecting the beauty of heaven, carrying away a summer snowfall of pink blossoms. Sometimes, I would sit under the shade of a willow tree at the bottom of my street, doing nothing but listening to the call of cuckoos, while reading and munching on carrots and boiled egg halves smeared with mayonnaise and wrapped in crisp sheets of nori. Never before had such simple indulgences brought such immense pleasure.

Master Nathaniel looked at him. The fixed stare, the slightly-open mouth, the rigid motionless body, fettered by a misery too profound for restlessness — how well he knew the state of mind these things expressed! But there must surely be relief in thus allowing the mood to mould the body's attitude to its own shape. He had no need now to ask his son for explanations. He knew so well both that sense of emptiness, that drawing in of the senses (like the antennae of some creature when danger is no longer imminent, but there), so that the physical world vanishes, while you yourself at once swell out to fill its place, and at the same time shrink to a millionth part of your former bulk, turning into a mere organ of suffering without thought and without emotions; he knew also that other phase, when one seems to be flying from days and months, like a stag from its hunters — like the fugitives, on the old tapestry, from the moon. But when it is another person who is suffering in this way, in spite of one's pity, how trivial it all seems! How certain one is of being able to expel the agony with reasoning and persuasion!

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.

Of course, every time you have sex, it will not be identical: moods, spaces, times, touches, intentions all drift and mingle, forming new pathways, reflecting and drawing from past journeys, and ending somewhere that may look similar. But isn’t.

This new concept of the "finest, highest achievement of art" had no sooner entered my mind than it located the imperfect enjoyment I had had at the theater, and added to it a little of what it lacked; this made such a heady mixture that I exclaimed, "What a great artiste she is!" It may be thought I was not altogether sincere. Think, however, of so many writers who, in a moment of dissatisfaction with a piece they have just written, may read a eulogy of the genius of Chateaubriand, or who may think of some other great artist whom they have dreamed of equaling, who hum to themselves a phrase of Beethoven for instance, comparing the sadness of it to the mood they have tried to capture in their prose, and are then so carried away by the perception of genius that they let it affect the way they read their own piece, no longer seeing it as they first saw it, but going so far as to hazard an act of faith in the value of it, by telling themselves "It's not bad you know!" without realizing that the sum total which determines their ultimate satisfaction includes the memory of Chateaubriand's brilliant pages, which they have assimilated to their own, but which, of course, they did not write. Think of all the men who go on believing in the love of a mistress in whom nothing is more flagrant than her infidelities; of all those torn between the hope of something beyond this life (such as the bereft widower who remembers a beloved wife, or the artist who indulges in dreams of posthumous fame, each of them looking forward to an afterlife which he knows is inconceivable) and the desire for a reassuring oblivion, when their better judgement reminds them of the faults they might otherwise have to expiate after death; or think of the travelers who are uplifted by the general beauty of a journey they have just completed, although during it their main impression, day after day, was that it was a chore--think of them before deciding whether, given the promiscuity of the ideas that lurk within us, a single one of those that affords us our greatest happiness has not begun life by parasitically attaching itself to a foreign idea with which it happened to come into contact, and by drawing from it much of the power of pleasing which it once lacked.

If I knew how to draw, I would apply myself only to studying the form of inanimate objects,” I said somewhat imperiously, because I wanted to change the subject and also because a natural inclination does truly lead me to recognize my moods in the motionless suffering of things. Miss

A mood of constructive criticism being upon me, I propose forthwith that the method of choosing legislators now prevailing in the United States be abandoned and that the method used in choosing juries be substituted. That is to say, I propose that the men who make our laws be chosen by chance and against their will, instead of by fraud and against the will of all the rest of us, as now... ...that the names of all the men eligible in each assembly district be put into a hat (or, if no hat can be found that is large enough, into a bathtub), and that a blind moron, preferably of tender years, be delegated to draw out one... The advantages that this system would offer are so vast and obvious that I hesitate to venture into the banality of rehearsing them. It would in the first place, save the commonwealth the present excessive cost of elections, and make political campaigns unnecessary. It would in the second place, get rid of all the heart-burnings that now flow out of every contest at the polls, and block the reprisals and charges of fraud that now issue from the heart-burnings. It would, in the third place, fill all the State Legislatures with men of a peculiar and unprecedented cast of mind – men actually convinced that public service is a public burden, and not merely a private snap. And it would, in the fourth and most important place, completely dispose of the present degrading knee-bending and trading in votes, for nine-tenths of the legislators, having got into office unwillingly, would be eager only to finish their duties and go home, and even those who acquired a taste for the life would be unable to increase the probability, even by one chance in a million, of their reelection. The disadvantages of the plan are very few, and most of them, I believe, yield readily to analysis. Do I hear argument that a miscellaneous gang of tin-roofers, delicatessen dealers and retired bookkeepers, chosen by hazard, would lack the vast knowledge of public affairs needed by makers of laws? Then I can only answer (a) that no such knowledge is actually necessary, and (b) that few, if any, of the existing legislators possess it... Would that be a disservice to the state? Certainly not. On the contrary, it would be a service of the first magnitude, for the worst curse of democracy, as we suffer under it today, is that it makes public office a monopoly of a palpably inferior and ignoble group of men. They have to abase themselves to get it, and they have to keep on abasing themselves in order to hold it. The fact reflects in their general character, which is obviously low. They are men congenitally capable of cringing and dishonorable acts, else they would not have got into public life at all. There are, of course, exceptions to that rule among them, but how many? What I contend is simply that the number of such exceptions is bound to be smaller in the class of professional job-seekers than it is in any other class, or in the population in general. What I contend, second, is that choosing legislators from that populations, by chance, would reduce immensely the proportion of such slimy men in the halls of legislation, and that the effects would be instantly visible in a great improvement in the justice and reasonableness of the laws.

That was what a young woman was for. You seduced a young woman in order to be able to finish your talks with her. You could not do that without living with her. You could not live with her without seducing her; but that was the by-product. The point is that you can’t otherwise talk. You can’t finish talks at street corners; in museums; even in drawing-rooms. You mayn’t be in the mood when she is in the mood – for the intimate conversation that means the final communion of your souls. You have to wait together - for a week, for a year, for a lifetime, before the final intimate conversation may be attained … and exhausted … That in effect was love.

He was surprised at his own calm, but he did not have perfect faith in it. He felt as though something in the very depths of his being were bubbling, very softly, but persistently: welling up, seething, pressing on, but far, far away. He was in a mood as one who waits for something that must come from afar, a distant music that must draw near, little by little, singing, murmuring, frothing, rushing, roaring, and whirling down over him, catching him up he knew not how, carrying him he knew not whither, coming on as a flood, breaking as a surf, and then-- But now he was calm. There was only the tremulous singing in the distance; otherwise all was peace and tranquility.

Thou art like one of those fellows that when he enters the confines of a tavern claps me his sword upon the table and says “God send me no need of thee!” and by the operation of the second cup draws it on the drawer, when indeed there is no need. BENVOLIO: Am I like such a fellow? MERCUTIO: Come, come, thou art as hot a Jack in thy mood as any in Italy, and as soon moved to be moody, and as soon moody to be moved. BENVOLIO: And what to? MERCUTIO: Nay, an there were two such, we should have none shortly, for one would kill the other. Thou! why, thou wilt quarrel with a man that hath a hair more, or a hair less, in his beard, than thou hast: thou wilt quarrel with a man for cracking nuts, having no other reason but because thou hast hazel eyes: what eye but such an eye would spy out such a quarrel? Thy head is as fun of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling: thou hast quarrelled with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun: didst thou not fall out with a tailor for wearing his new doublet before Easter? with another, for tying his new shoes with old riband? and yet thou wilt tutor me from quarrelling! BENVOLIO: An I were so apt to quarrel as thou art, any man should buy the fee-simple of my life for an hour and a quarter. MERCUTIO: The fee-simple! O simple!

People in one of two states in a relationship. The first is what I call positive sentiment override, where positive emotion overrides irritability. It's a buffer. Their spouse will do something bad, and they'll say,'Oh, he's just in a crummy mood.'Or they can be in negative sentiment override, said that even a relatively new tool thing that a partner says get perceived as negative. In negative sentiment override state, people draw lasting conclusions about each other. If their spouse does something positive, it's a selfish person doing a positive thing. It's really hard to change their states, and those states determine whether when one party tries to repair things, the other party sees that as repair or hostile manipulation.

Romantics are especially aware of all that lies outside rational explanation, all that cannot neatly be summarized in words. They sense, especially late at night or in the vastness of nature, the scale of the mysteries humanity is up against. The impulse to categorize and to master intellectually is for Romantics a distinct form of vanity, like trying to draw up a list in a hurricane. There is a time when we must surrender to emotion, feel rather than try relentlessly to categorize and make sense of things. We can think too much – and grow sick from trying to pass the complexities of existence through the sieve of the conscious mind. We should more often be guided by our instincts and the voice of nature within us. Decisions must not always be probed too hard, or moods unpacked. We should respect and not tinker with emotions, especially as they relate to love and the spiritual varieties of experience. We need to fall silent – more frequently than we do – and simply listen. Sometimes the best way to honour the ineffable is through unclear language and obscure modes of expression. The supreme Romantic art form is music.

A large house left deserted by those who have filled its rooms with emotions and life, expresses a silence, a quality all its own. A house unfurnished and empty seems less impressively silent. The fact of its devoidness of sound is upon the whole more natural. But carpets accustomed to the pressure of constantly passing feet, chairs and sofas which have held human warmth, draperies used to the touch of hands drawing them aside to let in daylight, pictures which have smiled back at thinking eyes, mirrors which have reflected faces passing hourly in changing moods, elate or dark or longing, walls which have echoed back voices—all these things when left alone seem to be held in strange arrest, as if by some spell intensifying the effect of the pause in their existence.

The decades that she devoted to conserving her husband’s legacy made Eliza only more militantly loyal to his memory, and there was one injury she could never forget: the exposure of the Maria Reynolds affair, for which she squarely blamed James Monroe. In the 1820s, after Monroe had completed two terms as president, he called upon Eliza in Washington, D.C., hoping to thaw the frost between them. Eliza was then about seventy and staying at her daughter’s home. She was sitting in the backyard with her fifteen-year-old nephew when a maid emerged and presented the ex-president’s card. Far from being flattered by this distinguished visitor, Eliza was taken aback. “She read the name and stood holding the card, much perturbed,” said her nephew. “Her voice sank and she spoke very low, as she always did when she was angry. ‘What has that man come to see me for?’” The nephew said that Monroe must have stopped by to pay his respects. She wavered. “I will see him,” she finally agreed. So the small woman with the upright carriage and the sturdy, determined step marched stiffly into the house. When she entered the parlor, Monroe rose to greet her. Eliza then did something out of character and socially unthinkable: she stood facing the ex-president but did not invite him to sit down. With a bow, Monroe began what sounded like a well-rehearsed speech, stating “that it was many years since they had met, that the lapse of time brought its softening influences, that they both were nearing the grave, when past differences could be forgiven and forgotten.” Eliza saw that Monroe was trying to draw a moral equation between them and apportion blame equally for the long rupture in their relationship. Even at this late date, thirty years after the fact, she was not in a forgiving mood. “Mr. Monroe,” she told him, “if you have come to tell me that you repent, that you are sorry, very sorry, for the misrepresentations and the slanders and the stories you circulated against my dear husband, if you have come to say this, I understand it. But otherwise, no lapse of time, no nearness to the grave, makes any difference.” Monroe took in this rebuke without comment. Stunned by the fiery words delivered by the elderly little woman in widow’s weeds, the ex-president picked up his hat, bid Eliza good day, and left the house, never to return.

By the time they were pulling into the parking lot of the A&P, the mood was fading, the moment gone. Amy could feel it go. Perhaps it was nothing more than the two doughnuts expanding in her stomach full of milk, but Amy felt a heaviness begin, a familiar turning of some inward tide. As they drove over the bridge the sun seemed to move from a cheerful daytime yellow to an early-evening gold; painful how the gold light hit the riverbanks, rich and sorrowful, drawing from Amy some longing, a craving for joy.

If we stay with animal analogies for a moment, owners of dogs will have noticed that, if you provide them with food and water and shelter and affection, they will think you are god. Whereas owners of cats are compelled to realize that, if you provide them with food and water and shelter and affection, they draw the conclusion that they are god. (Cats may sometimes share the cold entrails of a kill with you, but this is just what a god might do if he was in a good mood.) Religion, then, partakes of equal elements of the canine and the feline. It exacts maximum servility and abjection, requiring you to regard yourself as conceived and born in sin and owing a duty to a stern creator. But in return, it places you at the center of the universe and assures you that you are the personal object of a heavenly plan. Indeed, if you make the right propitiations you may even find that death has no sting, and that an exception to the rules of physical annihilation may be made in your own case. It cannot be said often enough that this preachment is immoral as well as irrational.

Apparently, the draw of the screen is just too much for most people; the cell phone is like a slot machine. With every ding, a variable reward, either good or bad, is in store for the user—the ultimate dopamine rush. As Robert Kolker wrote in the New York Times Magazine, “Distraction is the devil in your ear—not always the result of an attention deficit, but borne of our own desires.” We are distracted because we want to be. Because it’s fun and obfuscates real life. Why else would they sell so many smartphones? My wife says that I’m addicted to my e-mail, and I know looking at it doesn’t improve my mood.

The Body is Like Mary The body is like Mary, and each of us has a Jesus inside. Who is not in labour, holy labour? Every creature is. See the value of true art, when the earth or a soul is in the mood to create beauty; for the witness might then for a moment know, beyond any doubt, God is really there within, so innocently drawing life from us with Her umbilical universe – infinite existence … though also needing to be born. Yes, God also needs to be born! Birth from a hand’s loving touch. Birth from a song, from a dance, breathing life into this world. The body is like Mary, and each of us, each of us has a Christ within.

If we stay with animal analogies for a moment, owners of dogs will have noticed that, if you provide them with food and water and shelter and affection, they will think you are god. Whereas owners of cats are compelled to realize that, if you provide them with food and water and shelter and affection, they draw the conclusion that they are god. (Cats may sometimes share the cold entrails of a kill with you, but this is just what a god might do if he was in a good mood.) Religion, then, partakes of equal elements of the canine and the feline. It exacts maximum servility and abjection, requiring you to regard yourself as conceived and born in sin and owing a duty to a stern creator. But in return, it places you at the center of the universe and assures you that you are the personal object of a heavenly plan. Indeed,

Necessities 1 A map of the world. Not the one in the atlas, but the one in our heads, the one we keep coloring in. With the blue thread of the river by which we grew up. The green smear of the woods we first made love in. The yellow city we thought was our future. The red highways not traveled, the green ones with their missed exits, the black side roads which took us where we had not meant to go. The high peaks, recorded by relatives, though we prefer certain unmarked elevations, the private alps no one knows we have climbed. The careful boundaries we draw and erase. And always, around the edges, the opaque wash of blue, concealing the drop-off they have stepped into before us, singly, mapless, not looking back. 2 The illusion of progress. Imagine our lives without it: tape measures rolled back, yardsticks chopped off. Wheels turning but going nowhere. Paintings flat, with no vanishing point. The plots of all novels circular; page numbers reversing themselves past the middle. The mountaintop no longer a goal, merely the point between ascent and descent. All streets looping back on themselves; life as a beckoning road an absurd idea. Our children refusing to grow out of their childhoods; the years refusing to drag themselves toward the new century. And hope, the puppy that bounds ahead, no longer a household animal. 3 Answers to questions, an endless supply. New ones that startle, old ones that reassure us. All of them wrong perhaps, but for the moment solutions, like kisses or surgery. Rising inflections countered by level voices, words beginning with w hushed by declarative sentences. The small, bold sphere of the period chasing after the hook, the doubter that walks on water and treads air and refuses to go away. 4 Evidence that we matter. The crash of the plane which, at the last moment, we did not take. The involuntary turn of the head, which caused the bullet to miss us. The obscene caller who wakes us at midnight to the smell of gas. The moon's full blessing when we fell in love, its black mood when it was all over. Confirm us, we say to the world, with your weather, your gifts, your warnings, your ringing telephones, your long, bleak silences. 5 Even now, the old things first things, which taught us language. Things of day and of night. Irrational lightning, fickle clouds, the incorruptible moon. Fire as revolution, grass as the heir to all revolutions. Snow as the alphabet of the dead, subtle, undeciphered. The river as what we wish it to be. Trees in their humanness, animals in their otherness. Summits. Chasms. Clearings. And stars, which gave us the word distance, so we could name our deepest sadness.

Ideas for Journal Entries You may find the following ideas useful in beginning your journal or keeping the entries varied. If you are not used to expressing your thoughts on paper, it may seem awkward at first. The longer you do it, the easier it will become. You’ll be amazed at the insight you gain into your life. -Write about your most memorable experience with social anxiety. How did you feel? What did you think? How did others react? Why do you think the event happened? -Write about situations that make you anxious every day. Record your thoughts, feelings, and actions. You may want to divide the page into columns with the headings: situation or event; negative thoughts; physical reactions; and actions. Following is an example of how this may look: Situation or Event Should I attend the first art class after school. Negative Thoughts I thought about skipping out. I was afraid of what people would think. I wanted to do a good job. Physical Reactions I felt a shortness of breath. In general, I was nervous and in a bad mood. Actions I took some deep breaths and visualized the class going well. Later, I became engrossed in my drawing. -Write about a time when you were pleased with how you acted in a social situation. -Identify times when anxiety symptoms kept you from doing something that you really wanted to do. How did you feel? What might have happened if you had not been afraid? -Write a letter to someone who made you feel bad about yourself. You aren’t going to show the letter to anyone, so feel free to write whatever you want. -Write out a conversation with your inner voice. Begin the entry with a question directed to yourself, then write your mental response. It may help to label the different voices A and B. Dialogue writing is a very effective way to get to the heart of the matter.

Yet, we are not Skinner's rats. Even Skinner's rats were not Skinner's rats: the patterns of addictive behavior displayed by rats in the Skinner Box were only displayed by rats in isolation, outside of their normal sociable habitat. For human beings, addictions have subjective meanings, as does depression. Marcus Gilroy-Ware's study of social media suggests that what we encounter in our feeds is hedonic stimulation, various moods and sources of arousal- from outrage porn to food porn to porn- which enable us to manage our emotions. In addition that, however, it's also true that we can become attached to the miseries of online life, a state of perpetual outrage and antagonism. There is a sense in which our online avatar resembles a 'virtual tooth' in the sense described by the German surrealist artist Hans Bellmer. In the grip of a toothache, a common reflex is to make a fist so tight that the fingernails bite into the skin. This 'confuses' and 'bisects' the pain by creating a 'virtual center of excitation,' a virtual tooth that seems to draw blood and nervous energy away from the real center of pain. If we are in pain, this suggests, self-harming can be a way of displacing it so that it appears lessened- event though the pain hasn't really been reduced, and we still have a toothache. So if we get hooked on a machine that purports to tell us, among other things, how other people see us- or a version of ourselves, a delegated online image- that suggests something has already gone wrong in our relationships with others. The global rise in depression- currently the world's most widespread illness, having risen some 18 per cent since 2005- is worsened for many people by the social industry. There is a particularly strong correlation between depression and the use of Instagram among young people. But social industry platforms didn't invent depression; they exploited it. And to loosen their grip, one would have to explore what has gone wrong elsewhere.

All the love that had been accumulating through the lonely years of her childhood was in that kiss-Ian felt it in the soft lips parting willingly for his searching tongue, the delicate hands sliding through the hair at his nape. With unselfish ardor she offered it all to him, and Ian took it hungrily, feeling it moving from her to him, then flowing through his veins and mingling with his until the joy of it was shattering. She was everything he’d ever dreamed she could be and more. With an effort that was almost painful he dragged his mouth from hers, his hand still cupping the rumpled satin of her hair, his other hand holding her pressed to his rigid body, and Elizabeth stayed in his arms, seeming neither frightened nor offended by his rigid erection. “I love you,” he whispered, rubbing his jaw against her temple. “And you love me. I can feel it when you’re in my arms.” He felt her stiffen slightly and draw a shaky breath, but she either couldn’t or wouldn’t speak. She hadn’t thrown the words back in his face, however, so Ian continued talking to her, his hand roving over her back. “I can feel it, Elizabeth, but if you don’t admit it pretty soon, you’re going to drive me out of my mind. I can’t work. I can’t think. I make decisions and then I change my mind. And,” he teased, trying to lighten the mood by using the one topic sure to distract her, “that’s nothing to the money I squander whenever I’m under this sort of violent stress. It wasn’t just the gowns I bought, or the house on Promenade…” Still talking to her, he tipped her chin up, glorying in the gentle passion in her eyes, overlooking the doubt in their green depths. “If you don’t admit it pretty soon,” he teased, “I’ll spend us out of house and home.” Her delicate brows drew together in blank confusion, and Ian grinned, taking her hand from his chest, the emerald betrothal ring he had brought her unnoticed in his fingers. “When I’m under stress,” he emphasized, sliding the magnificent emerald onto her finger, “I buy everything in sight. It took my last ounce of control not to buy one of those in every color.

We pay a high price for this ingenious neural machinery, though, because the default mode network is responsible for mind-wandering. “Experience sampling”—which involves asking people about their mood and thoughts at random moments throughout the day—suggests that our minds wander from what we’re actually doing an amazing 30 percent to 50 percent of the time that we’re awake, and that this is often associated with feelings of unhappiness.6–8 According to Harvard psychologists Matthew Killingsworth and Daniel Gilbert, who created an iPhone app, Rate Your Happiness, to gather some of this data, fluctuations in happiness depend more on what we’re thinking than what we’re doing. Crucially, the results suggest that mind-wandering is the cause rather than the consequence of negative emotions. As the opening verse of the Dhammapada expresses it, “Our life is shaped by our mind; we become what we think. Suffering follows an evil thought as the wheels of a cart follow the oxen that draw it.”9 Less poetically, the psychologists concluded that “the ability to think about what is not happening is a cognitive achievement that comes at an emotional cost.” So, while

Wendell marched down a winding path in the mountainside--- he must have conjured it himself--- to engage the elder horsemen in a square of meadow tucked between two crags. I don't know if it was some inane faerie custom or simply the custom of the horsemen, but the one who appeared to be their leader--- judging by the size of his horse and the number of scars he bore--- stepped forward as if to challenge Wendell to single combat. Wendell, still with that calm detachment, somehow cut out the beast's heart in two sharp movements and hurled it at the rider in a stomach-churning spray of blood, knocking him from his saddle. At that point, the remaining horsemen decided to abandon honor and charge him together, but their horses were, wisely, terrified of Wendell by this point, and shied away when he neared, some throwing their riders off, which Wendell dispatched in various appalling ways, sometimes appearing to forget about his sword entirely. Rose stood there the whole time, aghast, but I was familiar with Wendell's murderous moods and turned away after the third or fourth death, drawing Ariadne with me to the fireside. I was still shaking with fury. So he would risk killing himself rather than pausing to think our way out of things, would he?

I dispelled my invisibility for a few seconds in his full view, a finger resting provocatively on my lower lip, giving him a come-hither look under a streetlight. His jaw and the bottle of Żubrówka dropped at the same time. It shattered, drawing his eyes to the sidewalk, and I took the opportunity afforded by his distraction to disappear again. "That was mean," Oberon said, watching the man look wildly around for me and pawing at his eyes as if to clear them. Why? I asked. I’ve done him no harm. "Yes, you have. You will haunt him for the rest of his life. I know from experience." You’re haunted by someone flashing you on a street corner? "No. It was a dog park. Atticus and I were just arriving and she was leaving." Oh, here we go. "She was so fit and her coat was tightly curled and she had a perfect pouf on the end of her tail like a tennis ball. I saw her for maybe five seconds, until she hopped into a Honda and her human drove her away. And now I can’t see a Honda without seeing her." But that’s a good thing, isn’t it? Kind of romantic? A vision of perfection you can treasure forever, unspoiled by reality. "Well, I don’t know. In reality I’d like to try spoiling her, if she was in the mood." Look, Oberon, that man is lonely. He’s too skinny and sweaty, and I’m willing to bet you five cows that he’s socially awkward or he wouldn’t be staggering drunk at this hour. But now, for the rest of his life, he will remember the na**d woman on the street who looked at him with desire. When people treat him like something untouchable, he will have that memory to comfort him. "Or obsess over. What if he starts wandering the streets every night looking for you?" Then he’s misunderstood the nature of beauty. It doesn’t stay, except in our minds. "Oh! I think I see. That’s true, Clever Girl! Sausage never stays, because I eat it, but it’s always beautiful in my mind.

The best thing you can do for your fellow, next to rousing his conscience, is--not to give him things to think about, but to wake things up that are in him; or say, to make him think things for himself. The best Nature does for us is to work in us such moods in which thoughts of high import arise. Does any aspect of Nature wake but one thought? Does she ever suggest only one definite thing? Does she make any two men in the same place at the same moment think the same thing? Is she therefore a failure, because she is not definite? Is it nothing that she rouses the something deeper than the understanding--the power that underlies thoughts? Does she not set feeling, and so thinking at work? Would it be better that she did this after one fashion and not after many fashions? Nature is mood-engendering, thought-provoking: such ought the sonata, such ought the fairytale to be. "But a man may then imagine in your work what he pleases, what you never meant!" Not what he pleases, but what he can. If he be not a true man, he will draw evil out of the best; we need not mind how he treats any work of art! If he be a true man, he will imagine true things; what matter whether I meant them or not? They are there none the less that I cannot claim putting them there! One difference between God's work and man's is, that, while God's work cannot mean more than he meant, man's must mean more than he meant. For in everything that God has made, there is a layer upon layer of ascending significance; also he expresses the same thought in higher and higher kinds of that thought: it is God's things, his embodied thoughts, which alone a man has to use, modified and adapted to his own purposes, for the expression of his thoughts; therefore he cannot help his words and figures falling into such combinations in the mind of another as he had himself not foreseen, so many are the thoughts allied to every other thought, so many are the relations involved in every figure, so many the facts hinted in every symbol. A man may well himself discover truth in what he wrote; for he was dealing all the time things that came from thoughts beyond his own.

The attempt to develop a sense of humor and to see things in a humorous light is some kind of a trick learned while mastering the art of living. Yet it is possible to practice the art of living even in a concentration camp, although suffering is omnipresent. To draw an analogy: a man’s suffering is similar to the behavior of gas. If a certain quantity of gas is pumped into an empty chamber, it will fill the chamber completely and evenly, no matter how big the chamber. Thus suffering completely fills the human soul and conscious mind, no matter whether the suffering is great or little. Therefore the “size” of human suffering is absolutely relative. It also follows that a very trifling thing can cause the greatest of joys. Take as an example something that happened on our journey from Auschwitz to the camp affiliated with Dachau. We had all been afraid that our transport was heading for the Mauthausen camp. We became more and more tense as we approached a certain bridge over the Danube which the train would have to cross to reach Mauthausen, according to the statement of experienced traveling companions. Those who have never seen anything similar cannot possibly imagine the dance of joy performed in the carriage by the prisoners when they saw that our transport was not crossing the bridge and was instead heading “only” for Dachau. And again, what happened on our arrival in that camp, after a journey lasting two days and three nights? There had not been enough room for everybody to crouch on the floor of the carriage at the same time. The majority of us had to stand all the way, while a few took turns at squatting on the scanty straw which was soaked with human urine. When we arrived the first important news that we heard from older prisoners was that this comparatively small camp (its population was 2,500) had no “oven,” no crematorium, no gas! That meant that a person who had become a “Moslem” could not be taken straight to the gas chamber, but would have to wait until a so-called “sick convoy” had been arranged to return to Auschwitz. This joyful surprise put us all in a good mood. The wish of the senior warden of our hut in Auschwitz had come true: we had come, as quickly as possible, to a camp which did not have a “chimney”—unlike Auschwitz. We laughed and cracked jokes in spite of, and during, all we had to go through in the next few hours.

For a moment we just sit there silently, our heads tipped back as we stare at the sky. A minute passes, maybe two. And then Ryder’s hand grazes mine before settling on the ground, our pinkies touching. I suck in a breath, my entire body going rigid. I’m wondering if he realizes it, if he even knows he’s touching me, when just like that, he draws away. Ryder clears his throat. “So…I hear you’re going out with Patrick on Friday.” “And?” I ask. That brief connection that we’d shared is suddenly gone--poof, just like that. “And what?” he answers with a shrug. “Oh, I’m sure you’ve got an opinion on this--one you’re just dying to share.” Because Ryder has an opinion on everything. “Well, it’s just that Patrick…” He shakes his head. “Never mind. Forget I brought it up.” “No, go on. It’s just that Patrick what?” “Seriously, Jemma. It’s none of my business.” “C’mon, Ryder, get it out of your system. What? Patrick is looking to get a piece? Is using me? Is planning on standing me up?” I can’t help myself; the words just tumble out. “I was going to say that I think he really likes you,” he says, his voice flat. I bite back my retort, forcing myself to take a deep, calming breath instead. That was not what I had expected him to say--not at all--and it takes me completely by surprise. Patrick really likes me? I’m not sure how I feel about that--not sure I want it to be true. “What do you mean, he really likes me?” I ask stupidly. “Just what I said. It’s pretty simple stuff, Jemma. He likes you. I think he always has.” “And you know this how?” He levels a stare at me. “Trust me on this, okay? He’s got problems, sure, but he’s a decent guy. Don’t break his heart.” I scramble to my feet. “I agreed to go out with him--once. And I’m probably going to cancel, anyway, because after today’s news, I’m really not in the mood. But the last thing I need is dating advice from you.” “How come every conversation we have ends like this--with you going off on me? You didn’t use to be like this. What happened?” He’s right, and I hate myself for it--hate the way he makes me feel inside, as if I’m not good enough. I mean, let’s face it--I know I’m nothing special. I’m not beauty-pageant perfect like Morgan, or fashion-model gorgeous like Lucy. Unlike Ryder and Nan, I don’t have state-championship trophies lining my walls. My singing voice is only so-so, I can’t draw or play a musical instrument, and if the school plays are any indicator, I can’t act for shit, either.

Nothing happens while you live. The scenery changes, people come in and go out, that’s all. There are no beginnings. Days are tacked on to days without rhyme or reason, an interminable, monotonous addition. From time to time you make a semi-total: you say: I’ve been travelling for three years, I’ve been in Bouville for three years. Neither is there any end: you never leave a woman, a friend, a city in one go. And then everything looks alike: Shanghai, Moscow, Algiers, everything is the same after two weeks. There are moments—rarely—when you make a landmark, you realize that you’re going with a woman, in some messy business. The time of a flash. After that, the procession starts again, you begin to add up hours and days: Monday, Tuesday, Wednesday. April, May, June. 1924, 1925, 1926. That’s living. But everything changes when you tell about life; it’s a change no one notices: the proof is that people talk about true stories. As if there could possibly be true stories; things happen one way and we tell about them in the opposite sense. [...] “I was out walking, I had left the town without realizing it, I was thinking about my money troubles.” This sentence, taken simply for what it is, means that the man was absorbed, morose, a hundred leagues from an adventure, exactly in the mood to let things happen without noticing them. But the end is there, transforming everything. For us, the man is already the hero of the story. His moroseness, his money troubles are much more precious than ours, they are all gilded by the light of future passions. And the story goes on in the reverse: instants have stopped piling themselves in a lighthearted way one on top of the other, they are snapped up by the end of the story which draws them and each one of them in turn, draws out the preceding instant: “It was night, the street was deserted.” The phrase is cast out negligently, it seems superfluous; but we do not let ourselves be caught and we put it aside: this is a piece of information whose value we shall subsequently appreciate. And we feel that the hero has lived all the details of this night like annunciations, promises, or even that he lived only those that were promises, blind and deaf to all that did not herald adventure. We forget that the future was not yet there; the man was walking in a night without forethought, a night which offered him a choice of dull rich prizes, and he did not make his choice. I wanted the moments of my life to follow and order themselves like those of a life remembered. You might as well try and catch time by the tail.

NOTE: Practice your most effective relaxation techniques before you begin these exercises (refer to Chapter 6 if necessary). People are better able to concentrate when they are relaxed. Listening -Pay attention to the sounds coming from outside: from the street, from above in the air, from as far away as possible. Then focus on one sound only. -Pay attention to the sounds coming from a nearby room—the kitchen, living room, etc. Identify each one, then focus on a single sound. -Pay attention to the sounds coming from the room you are in: the windows, the electrical appliances. Then focus on one sound only. -Listen to your breathing. -Hear a short tune and attempt to re-create it. -Listen to a sound, such as a ringing doorbell, a knock on the door, a telephone ringing, or a siren. How does it make you feel? -Listen to a voice on the telephone. Really focus on it. -Listen to the voices of family members, colleagues, or fellow students, paying close attention to their intonation, pacing, and accent. What mood are they conveying? Looking -Look around the room and differentiate colors or patterns, such as straight lines, circles, and squares. -Look at the architecture of the room. Now close your eyes. Can you describe it? Could you draw it? -Look at one object in the room: chair, desk, chest of drawers, whatever. Close your eyes and try to picture the shape, the material, and the colors. -Notice any changes in your environment at home, at school, or in your workplace. -Look at magazine photos and try to guess what emotions the subjects’ expressions show. -Observe the effect of light around you. How does it change shapes? Expressions? Moods? Touching -When shaking a person’s hand, notice the temperature of the hand. Then notice the temperature of your own hand. -Hold an object in your hands, such as a cup of coffee, a brick, a tennis ball, or anything else that is available. Then put it down. Close your eyes and remember the shape, size, and texture of the object. -Feel different objects and then, with your eyes closed, touch them again. Be aware of how the sensations change. -Explore different textures and surfaces with your eyes first open and then closed. Smelling and Tasting -Be aware of the smells around you; come up with words to describe them. -Try to remember the taste of a special meal that you enjoyed in the past. Use words to describe the flavors—not just the names of the dishes. -Search your memory for important smells or tastes. -Think of places with a strong tie to smell. These sensory exercises are an excellent way to boost your awareness and increase your ability to concentrate. What is learned in the fullest way—using all five senses—is unlikely to be forgotten. As you learn concentration, you will find that you are able to be more in tune with what is going on around you in a social situation, which in turn allows you to interact more fully.

The Old Issue October 9, 1899 “HERE is nothing new nor aught unproven,” say the Trumpets, “Many feet have worn it and the road is old indeed. “It is the King—the King we schooled aforetime !” (Trumpets in the marshes—in the eyot at Runnymede!) “Here is neither haste, nor hate, nor anger,” peal the Trumpets, “Pardon for his penitence or pity for his fall. “It is the King!”—inexorable Trumpets— (Trumpets round the scaffold at the dawning by Whitehall!) “He hath veiled the Crown and hid the Sceptre,” warn the Trumpets, “He hath changed the fashion of the lies that cloak his will. “Hard die the Kings—ah hard—dooms hard!” declare the Trumpets, Trumpets at the gang-plank where the brawling troop-decks fill! Ancient and Unteachable, abide—abide the Trumpets! Once again the Trumpets, for the shuddering ground-swell brings Clamour over ocean of the harsh, pursuing Trumpets— Trumpets of the Vanguard that have sworn no truce with Kings! All we have of freedom, all we use or know— This our fathers bought for us long and long ago. Ancient Right unnoticed as the breath we draw— Leave to live by no man’s leave, underneath the Law. Lance and torch and tumult, steel and grey-goose wing Wrenched it, inch and ell and all, slowly from the King. Till our fathers ’stablished, after bloody years, How our King is one with us, first among his peers. So they bought us freedom—not at little cost Wherefore must we watch the King, lest our gain be lost, Over all things certain, this is sure indeed, Suffer not the old King: for we know the breed. Give no ear to bondsmen bidding us endure. Whining “He is weak and far”; crying “Time shall cure.”, (Time himself is witness, till the battle joins, Deeper strikes the rottenness in the people’s loins.) Give no heed to bondsmen masking war with peace. Suffer not the old King here or overseas. They that beg us barter—wait his yielding mood— Pledge the years we hold in trust—pawn our brother’s blood— Howso’ great their clamour, whatsoe’er their claim, Suffer not the old King under any name! Here is naught unproven—here is naught to learn. It is written what shall fall if the King return. He shall mark our goings, question whence we came, Set his guards about us, as in Freedom’s name. He shall take a tribute, toll of all our ware; He shall change our gold for arms—arms we may not bear. He shall break his judges if they cross his word; He shall rule above the Law calling on the Lord. He shall peep and mutter; and the night shall bring Watchers ’neath our window, lest we mock the King— Hate and all division; hosts of hurrying spies; Money poured in secret, carrion breeding flies. Strangers of his counsel, hirelings of his pay, These shall deal our Justice: sell—deny—delay. We shall drink dishonour, we shall eat abuse For the Land we look to—for the Tongue we use. We shall take our station, dirt beneath his feet, While his hired captains jeer us in the street. Cruel in the shadow, crafty in the sun, Far beyond his borders shall his teachings run. Sloven, sullen, savage, secret, uncontrolled, Laying on a new land evil of the old— Long-forgotten bondage, dwarfing heart and brain— All our fathers died to loose he shall bind again. Here is naught at venture, random nor untrue— Swings the wheel full-circle, brims the cup anew. Here is naught unproven, here is nothing hid: Step for step and word for word—so the old Kings did! Step by step, and word by word: who is ruled may read. Suffer not the old Kings: for we know the breed— All the right they promise—all the wrong they bring. Stewards of the Judgment, suffer not this King!

When they check you in at this hotel, one of the bellhops is obliged to bend you over and take a look up your works-but there are a lot of works, and, not to put too fine a point on it, a man who is really determined can get a fairly large item quite a ways up them-far enough to be out of sight, unless the bellhop you happen to draw is in the mood to pull on a rubber glove and go prospecting.

Endometriosis, or painful periods? (Endometriosis is when pieces of the uterine lining grow outside of the uterine cavity, such as on the ovaries or bowel, and cause painful periods.) Mood swings, PMS, depression, or just irritability? Weepiness, sometimes over the most ridiculous things? Mini breakdowns? Anxiety? Migraines or other headaches? Insomnia? Brain fog? A red flush on your face (or a diagnosis of rosacea)? Gallbladder problems (or removal)? — PART E — Poor memory (you walk into a room to do something, then wonder what it was, or draw a blank midsentence)? Emotional fragility, especially compared with how you felt ten years ago? Depression, perhaps with anxiety or lethargy (or, more commonly, dysthymia: low-grade depression that lasts more than two weeks)? Wrinkles (your favorite skin cream no longer works miracles)? Night sweats or hot flashes? Trouble sleeping, waking up in the middle of the night? A leaky or overactive bladder? Bladder infections? Droopy breasts, or breasts lessening in volume? Sun damage more obvious, even glaring, on your chest, face, and shoulders? Achy joints (you feel positively geriatric at times)? Recent injuries, particularly to wrists, shoulders, lower back, or knees? Loss of interest in exercise? Bone loss? Vaginal dryness, irritation, or loss of feeling (as if there were layers of blankets between you and the now-elusive toe-curling orgasm)? Lack of juiciness elsewhere (dry eyes, dry skin, dry clitoris)? Low libido (it’s been dwindling for a while, and now you realize it’s half or less than what it used to be)? Painful sex? — PART F — Excess hair on your face, chest, or arms? Acne? Greasy skin and/or hair? Thinning head hair (which makes you question the justice of it all if you’re also experiencing excess hair growth elsewhere)? Discoloration of your armpits (darker and thicker than your normal skin)? Skin tags, especially on your neck and upper torso? (Skin tags are small, flesh-colored growths on the skin surface, usually a few millimeters in size, and smooth. They are usually noncancerous and develop from friction, such as around bra straps. They do not change or grow over time.) Hyperglycemia or hypoglycemia and/or unstable blood sugar? Reactivity and/or irritability, or excessively aggressive or authoritarian episodes (also known as ’roid rage)? Depression? Anxiety? Menstrual cycles occurring more than every thirty-five days? Ovarian cysts? Midcycle pain? Infertility? Or subfertility? Polycystic ovary syndrome? — PART G — Hair loss, including of the outer third of your eyebrows and/or eyelashes? Dry skin? Dry, strawlike hair that tangles easily? Thin, brittle fingernails? Fluid retention or swollen ankles? An additional few pounds, or 20, that you just can’t lose? High cholesterol? Bowel movements less often than once a day, or you feel you don’t completely evacuate? Recurrent headaches? Decreased sweating? Muscle or joint aches or poor muscle tone (you became an old lady overnight)? Tingling in your hands or feet? Cold hands and feet? Cold intolerance? Heat intolerance? A sensitivity to cold (you shiver more easily than others and are always wearing layers)? Slow speech, perhaps with a hoarse or halting voice? A slow heart rate, or bradycardia (fewer than 60 beats per minute, and not because you’re an elite athlete)? Lethargy (you feel like you’re moving through molasses)? Fatigue, particularly in the morning? Slow brain, slow thoughts? Difficulty concentrating? Sluggish reflexes, diminished reaction time, even a bit of apathy? Low sex drive, and you’re not sure why? Depression or moodiness (the world is not as rosy as it used to be)? A prescription for the latest antidepressant but you’re still not feeling like yourself? Heavy periods or other menstrual problems? Infertility or miscarriage? Preterm birth? An enlarged thyroid/goiter? Difficulty swallowing? Enlarged tongue? A family history of thyroid problems?

Without clear priorities to draw on, the decision will be made idiosyncratically, depending on the employee’s mood at the moment.

The two young boys raced along the sidewalk, twisting their way between passers-by, their eyes frantically glancing behind them at the large pursuing policeman. Suddenly Mr. Thorn, a large, burley man dressed in black blocked their way and took them both by the collars. “So there you are!” He snatched the apple quickly from James’ hand. “What have we here?” He was about to take a bite of it, when he saw the officer racing towards them. “It’s all right officer. I have the young scoundrels and I’ll make full restitutions for their thievery.” He quickly fished coins from his pocket and with a conning smile, put them in the hand of the frowning Policeman. “And a little extra for your trouble, my good man. It’s such a small crime and the criminals so . . . minor.” The burly policeman rocked back and forth considering and then grunted, after all it was Christmas. “Very well sir. I’ll give these to the Vendor but I catch either of you snatching again, it’s behind bars with you and a good strong workhouse. You got me!” Jonas glanced down at his worn out boots, his face red with shame. “Oh yes sir.” James followed suit and then glanced up into the gruff face of the law. “Sorry, we were just hungry!” Mr. Thorn smiled and tipped his hat to the Policeman, who shaking his head, sauntered away. Immediately Mr. Thorn slapped Jonas hard across the face, drawing blood from his nose and then smacked James on the head, crushing his cap. He snatched the apple from James’ hand and pocketed them both. “So here you two no-accounts are? I’ve been searching high and wide for the lot of you. I left you at this corner and I expected to find you right where I left ya!” He then snatched the cup from Jonas’ hand with a scowl. He poured the coins into his hand and his greedy eyes took in the meager profits. Jonas immediately stammered justification for their absence. “We-we found a better corner to beg at, Mr. Thorn. I think we done all right.” Mr. Thorn cleared his throat considering and then his boisterous laughter echoed. He put his big arms around the two young lads. “Well, you done fine for us boys! We needs the money! We’ll have to have you two young Sirs representing our fine establishment again tomorrow, I do believe.” He chuckled cruelly. “We’ve great charity in our hearts for you kiddies but a soulful heart won’t put bread and molasses on the table.” He greedily poured the coins into his coat pocket. Both lads coughed mischievously at mention of such charitable actions. Thorn eyed them both to see if they are making fun of him, which they were. Jonas cleared his throat. “A bit of a tickle.” Thorn growled and gruffly took hold of the boy’s arm. “I’d tickle you both with a whip if I thought you was funning with me! Now boys, you’ve roughed my gentle nature. You know that I has nothing but love for the lot of you. My big heart swells at the sight of each and every one of you little bastards . . . I mean kiddies. Shall we on home?” “Here Jamey lad, you hold the cup. Give us a song the two of you, to beg alms by. I think I’m in the mood for “Oh Come All Ye Faithful”, but make it sweet or there’s a lashing for the both of ya!” Jonas and James exchanged tortured looks. Together the young Nicholas boys sweetly began to sing the song, as they moved through the crowd. The Tall Toymaker followed them down the sidewalk, trying not to be observed by Thorn. ”And a villain enters the scene, an ugly villain at that!

One night, Kevin Nash was in a sulky mood, grumbling about the fact that he was, "The lowest paid WWF Champion in history." Jerry Brisco overheard the comment and couldn't resist biting back. "Yeah, well that's because you're the lowest drawing champion in WWF history," he snapped.

poems were written in perfect, rich, literary German, the language spoken at home and among her friends. One can not draw any conclusion whether her focus in poetic creation would have taken a different turn, away from the trend in which she had started. Like Anne Frank, who expressed herself in prose, Selma poured out her feelings in poetry, at that same time, under similar conditions, in a different part of Europe. Her awakening feelings of love, of loss and a mood of resignation and quasi acceptance show in

Paige, I want you to know something. I know it’s too soon for you to think about a whole lifetime, but I’m not fooling around here. I don’t have any expectations, I swear. I just want you to know that. I’m in all the way. Committed. I don’t want you to ever worry that I’m just passing the time.” She ran her fingertips through the short hair at his temple. “Aren’t you a little afraid you could get tired of me, John?” He shook his head. “I’m not that kind of guy. I take it slow—too slow, sometimes. I give things a lot of time—being sure is a good thing. But I don’t change my mind. I know in some things that can be bad. I like things to stay the same.” “I won’t hold you to anything,” she said. “I’m just so happy to be here, like this, right now....” “There’s something else I want to say about that, about us. I’m not the kind of guy who doesn’t want you to talk back or have your opinions or expects you to never have a bad day when you’re all cranky and annoyed. I want all of that—I want you to speak up, make demands, insist on the most exceptional treatment and get pissed off if you don’t get it. I want you to feel safe to yell at me just because you’re in a mood. If I’m not what you want for the long haul, I can live with that. What I could never live with is you being afraid of how I’ll act when you’re just being yourself.” It was impossible to keep tears from gathering in her eyes. “John... No one’s ever loved me like that....” “Well, baby, I do. In fact, that’s the only way I love you. Every part of you—strong and bossy, scared and needy—it doesn’t matter. If I’m gonna have you, it has to be all of you, not some little part that feels safe.” She kissed him, quick, on the lips. He brushed a tear off her cheek. “I know that baby you lost wasn’t planned, and it still hurt you pretty bad that it didn’t make it. Maybe someday, when you’re ready, you’ll talk to me about adding to our family. Giving Chris a little brother or sister.” “You’d like children?” she asked. “I never thought I would. But with you, it comes to mind.” He laughed. “It comes to mind pretty hard. It’ll keep, Paige. It’s just an idea....” She gently touched his face. “You do understand that if there’s a baby between us, you might have to cut back a little?” “How much?” he asked, that frown that she had come to adore drawing his brows together. And she laughed at him. “You’re teasing me,” he said. “Okay, you asked for it,” he said, starting on her eyelids. She grabbed his face in her hands and stopped him. “John,” she said. “I want it, too. Everything. All of you. I’ve never been this happy.” He smiled. “More where that came from,” he said. “Forever, if you want.” *

Every day, in this earthly life, there are ups and downs, deep emotional valleys and steep mountains to overcome. We have not yet learned to travel the straight and narrow road of Understanding. We still coast and veer off the path we travel. A sudden change of attitude or a jump back into a dark habitual mood always deters us from moving toward the light. How much easier does it seem to reach back to the old and outgrown thought habits of the past? But it is this light, or moment of ‘seeing with the mental eye’, that inspires us to keep moving and to get back on the road to eternal bliss - again and again. This glimpse of the Truth that all is good and all is mental, and that we are part of this Universal goodness with its wonderful effects, is what keeps us going. We instinctively know the Truth when we keep our minds open to all possibilities. Inspiration comes in many forms. A wonderful reminder of a past experience, a certain smell reminding you of a pleasant encounter, the sound of a song that triggers loving feelings, looking at nature and its wondrous bounty, or the birth of a baby are just a few examples of new hope and a fresh want for living. A new desire for a better tomorrow is born every second and readily available to you. Indeed, desire is the starting point of all achievement, but most of all it is the starting point of imagination and the active spark or beginning of all creation. Your desire is a spark in your consciousness pressing for expression. Life is unfolding itself. Life always presses for manifestation and progress. It is an ever-changing ongoing process. Like water, life flows. With this in mind I make sure that my motivation is pure, and comes from within the chambers of my loving heart. The Universe with its vast ocean of pure possibilities is ready and willing to provide, and I draw from this unlimited Universal gift. Knowing that God is close and ever-present is all the daily inspiration I need to keep moving forward. Seeing the sunrise in the early morning hours reminds me that I have another chance to change my course; and I will travel happily toward my ultimate goal, which is perfect Understanding of the Allness of Good.

All went smoothly for the first fifteen minutes--my mother was, after all, very adept at making people comfortable. She chatted, though not excessively, primarily with me. As I had predicted, Narian was silent and observant, letting me carry the conversation while he tried to get a feel for the woman across from us, not quite trusting that she was on our side. He was never rude, and never short with her; he simply hid himself behind good etiquette. During a natural pause in conversation, my mother perused Narian and me, and her mood became contemplative. “When was it that you fell in love?” she asked. “Was it right under our noses?” “More or less,” I said with a laugh, glancing at Narian. “We became friends when he first came to Hytanica. All those trips Miranna and I made to Baron Koranis’s estate were really so I could see him.” Mother smiled and Narian glanced at me as if this were news to him. Then she picked up the thread of the conversation. “I remember falling in love,” she mused, and I wondered how far she would venture into her story, knowing it was not a wholly happy one. “I was fifteen, going through the very difficult experience of losing my family in a fire. I was brought to live in the palace, for I’d been betrothed for years to Andrius, Alera’s uncle, who later died in the war before we could be married.” I realized she was not talking to me, and that, though he was still aloof, she had captured Narian’s interest, for his deep blue eyes were resting attentively upon her. “At the time, I was so lost and alone and frightened. And then Andrius and I grew close. With him, my life made sense again. I had something to hold on to, something to steady me. What was the worst time of my life became the best.” There was a pause, and she innocently met Narian’s gaze. But her story was not innocent at all. If I could recognize the parallel she was drawing to his life in the aftermath of learning of his Hytanican heritage, then he surely could, as well. He didn’t say a word, however, and she dropped the veiled attempt to connect with him before it became awkward, turning to me instead. “I’ve told you before, Alera--Andrius lives on in you. I see him in you every day.” I smiled, tipping my head in acceptance of the compliment. “And in you--” she said, once more turning to Narian, tapping a finger against her lips in thought “--I see Cannan.” She was lightly cajoling him, exactly as a parent would do. I couldn’t imagine what was going on in his mind, but he was no longer eager to leave, his eyes never once flicking toward me or the door.

But the Atlantic Ocean is surely a living thing-furiously and demonstrably so. It is an ocean that moves, impressively and ceaselessly. It generates all kinds of noise- it is forever roaring, thundering, boiling, crashing, swelling, lapping. It is easy to imagine it trying to draw breath- perhaps not so noticeably out in mid-ocean, but where it encounters land, its waters sifting up and down a gravel beach, it mimics nearly perfectly the steady inspirations and exhalations of a living creature. It crawls with symbiotic existences, too: unimaginable quantities of monsters churn within its depths in a kind of maritime harmony, giving to the waters a felling of vibration, a kind of suboceanic pulse. And it has a psychology. It has moods: sometimes dour and sullen, on rare occasions cunning and playful; always it is pondering and powerful.

sobs” (sanglots). Some days I enter poetic melancholic states, what the Portuguese call saudade or the Turks hüzün (from the Arabic word for sadness). Other days I am more aggressive, have more energy—and will write less, walk more, do other things, argue with researchers, answer emails, draw graphs on blackboards. Should I be turned into a vegetable or a happy imbecile? Had Prozac been available last century, Baudelaire’s “spleen,” Edgar Allan Poe’s moods, the poetry of Sylvia Plath, the lamentations of so many other poets, everything with a soul would have been silenced. … If large pharmaceutical companies were able to eliminate the seasons, they would probably do so—for a profit, of course. There is another danger: in addition to harming children, we are harming society and our future. Measures that aim at reducing variability and swings in the lives of children are also reducing variability and differences within our said to be Great Culturally Globalized Society.

It is wrong to see a country in a bad mood: you begin to blame the country for your mood and to draw the wrong conclusions.

What You Pray Toward “The orgasm has replaced the cross as the focus of longing and the image of fulfillment.” —Malcolm Muggeridge, 1966 I. Hubbie 1 used to get wholly pissed when I made myself come. I’m right here!, he’d sputter, blood popping to the surface of his fuzzed cheeks, goddamn it, I’m right here! By that time, I was in no mood to discuss the myriad merits of my pointer, or to jam the brakes on the express train slicing through my blood, It was easier to suffer the practiced professorial huff, the hissed invectives and the cold old shoulder, liver-dotted, quaking with rage. Shall we pause to bless professors and codgers and their bellowed, unquestioned ownership of things? I was sneaking time with my own body. I know I signed something over, but it wasn’t that. II. No matter how I angle this history, it’s weird, so let’s just say Bringing Up Baby was on the telly and suddenly my lips pressing against the couch cushions felt spectacular and I thought wow this is strange, what the hell, I’m 30 years old, am I dying down there is this the feel, does the cunt go to heaven first, ooh, snapped river, ooh shimmy I had never had it never knew, oh i clamored and lurched beneath my little succession of boys I cried writhed hissed, ooh wee, suffered their flat lapping and machine-gun diddling their insistent c’mon girl c’mon until I memorized the blueprint for drawing blood from their shoulders, until there was nothing left but the self-satisfied liquidy snore of he who has rocked she, he who has made she weep with script. But this, oh Cary, gee Katherine, hallelujah Baby, the fur do fly, all gush and kaboom on the wind. III. Don’t hate me because I am multiple, hurtling. As long as there is still skin on the pad of my finger, as long as I’m awake, as long as my (new) husband’s mouth holds out, I am the spinner, the unbridled, the bellowing freak. When I have emptied him, he leans back, coos, edges me along, keeps wondering count. He falls to his knees in front of it, marvels at my yelps and carousing spine, stares unflinching as I bleed spittle unto the pillows. He has married a witness. My body bucks, slave to its selfish engine, and love is the dim miracle of these little deaths, fracturing, speeding for the surface. IV. We know the record. As it taunts us, we have giggled, considered stopwatches, little laboratories. Somewhere beneath the suffering clean, swathed in eyes and silver, she came 134 times in one hour. I imagine wires holding her tight, her throat a rattling window. Searching scrubbed places for her name, I find only reams of numbers. I ask the quietest of them: V. Are we God?

What on earth is to become of me? What have I done?” I exclaimed as I paced the soft carpet. “Well,” I went on with sudden determination, “what MUST come, MUST — that’s all;” and, taking up the bonbons and the cigars, I ran back to the other part of the house. The fatalistic formula with which I had concluded (and which was one that I often heard Nicola utter during my childhood) always produced in me, at the more difficult crises of my life, a momentarily soothing, beneficial effect. Consequently, when I re-entered the drawing-room, I was in a rather excited, unnatural mood, yet one that was perfectly cheerful.

Women and the ocean have that undulating factor to draw one to the state of peace or chaos within. It all depends on their mood!

Women and ocean have that undulating factor to draw one to the state of peace or chaos within. It all depends on her mood and how she is treated.

the sidelines, her mouth tight and her fluttering fan almost lethal. Everyone else certainly seemed to be enjoying themselves. Now that some hours had passed—accompanied by many drinks—the laughs came easier and the mood was even lighter. It was amusing to people watch, though Signa soon found herself wanting to sneak away to her bedroom with grand illusions of lighting some candles and drawing a late-night bath. For weeks now she had been trying to keep herself together. To play pretend, and tell herself that finding her footing in social circles would get easier. But the rules were stressful and unforgiving, and Signa’s chest felt as though it might burst if she could not escape to the shadows to catch her breath

My right hand was locked so tightly in a fist, it was starting to shake. My gaze was riveted to two people on the dancefloor, and it was taking every ounce of willpower I had to remain standing there in favour of destroying the man touching Darcy Vega. Seth Capella’s hands were roaming all over her as they danced like there was no one else here but them. They were staring at each other, exchanging flirtatious smiles and their mouths were getting all too close all too many times. Through the thump of the music and clamour of voices, it was difficult to focus on the words that passed between them, but I managed to catch a couple of sentences. “Fuck being enemies, I wanna be your friend tonight,” Seth purred in her ear, his fingers twisting into the blue ends of her hair and making me spit a snarl. Darcy laughed, clearly drunk as her fingers slid down his arm while his other hand dropped onto her ass, drawing her even closer and squeezing hard. No. “What kind of friends act like this?” she laughed again and he nuzzled the side of her head, a carnal look entering his eyes that made my canines sharpen. All rational thought was exiting my mind until I was nothing but an animal about to attack. I knew in that second I was going to do it. I was going to shoot over there, tear Seth Capella off of her and make him bleed for touching her like that. She was my gir- Source. “The best of friends,” he answered with a wolfish grin and I took a step forward, but suddenly Darius was there with a scowl the size of a Dragon’s tail, blocking my line of sight. “Well?” he demanded irritably like I’d just punched him in the cock. “Well what?” I sniped back and he frowned. “Oh right, yeah. We need to go hunting.” I gritted my teeth, crushing them to dust in my mouth as I forced my feet to move towards the exit, refusing to let myself look back. Darius walked stiffly at my side, seeming as pissed off as I did to be leaving and judging by how hard he’d been grinding himself against Tory Vega, I had to wonder if she was the reason. I glanced at my friend and caught him looking back. “What?” he snapped and I looked away again. “Nothing,” I grunted. “I’m just in the mood to kill something.” “Same. Let’s find the fucking Nymph and make it suffer.” His eyes turned to reptilian slits and a group of guys in our way scarpered aside as they saw us coming. I uncurled my still clenched right hand, my knuckles white as I flexed them and brought magic to my fingertips. Is she gonna go home with him? Is she gonna fuck him? She can’t. He’s a fucking Heir. The worst fucking Heir. The urge to go back was rising in me and I had to force my legs to keep moving away from that nightclub. There was a Nymph out here somewhere, that was my priority. Not whether or not Darcy Vega chose to fuck an Heir. My heart thumped a painful tune in my chest, continuing its plea with me to go back. To stop her from making the most stupid decision of her life. She was too good for that Wolf asshole. Too sweet. He didn’t deserve to get his hands on her flesh. I pictured her pinned beneath him and stopped dead in the street. (Orion POV)

The mood at the table is convivial throughout the meal. A dried-sausage and prosciutto plate gives way to briny sardines, which give way to truffle-covered gnocchi topped with a plethora of herbs. Richness cut with acidity, herbaceousness and cool breezes at every turn. A simple ricotta and lemon fettuccine topped with sharp pecorino is the perfect counterpoint. I am not driving, and apparently Anjana isn't, either, so we both order a Cynar and soda. "How can we digest all the pasta without another digestif?" we exclaim to the waiter, giddily. Meat, carbs, sunshine, and lingering music coming from across the plaza have stirred us up, and soon our dessert--- some sort of chocolate cake with walnuts--- arrives. It's dense in that fudgey way a flourless concoction can be, like it has molded itself into the perfection of pure chocolate. The crunch of the walnuts is a counterweight, drawing me deeper into the flavor. I haven't been inspired by food like this in a long time, despite spending so much time thinking about food. The atmosphere at work has sucked so much of the joy out of thinking about recipes, but I find myself taking little notes on my phone for recipe experimentation when I get home. The realization jolts me. I've always felt like I have the perfect job for a creative who happens to also be left-brained. Recipes are an intriguing puzzle every single time. Today's fettuccine is the perfect example. The tartness of the lemon paired with the smooth pasta and pillowy ricotta is the no-brainer part. But the trickier puzzle piece--- the one that is necessary to connect the rest of the puzzle to the whole--- is the light grating of the pecorino on top. That tang, that edge, that cutting spice works in tangent with the lemon to give the dish its power. Lemon alone wouldn't have been enough. Pecorino alone wouldn't have been enough. The dish is so simple, but it has to fit together perfectly to work. These little moments, these exciting eurekas, are the elation I normally get in my job.

For Plato, the character of true deity is not merely goodness, but also oneness. Although Plato nowhere explicitly draws the conclusion from that oneness, it points to the proposition that God also represents perfection. Being perfect, the supreme God is also without passions, since passions involve change from one mood to another, and it is in the nature of perfection that it cannot change. This passionless perfection contrasts with the passion, compassion and constant intervention of Israel’s God, despite the fact that both the Platonic and the Hebrew views of God stress transcendence. There is a difficulty in envisaging how Plato’s God could create the sort of changeable, imperfect, messy world in which we live – indeed, have any meaningful contact with it.

Traditionally, both Lent and Advent are penitential seasons—not times of overflowing celebrations. This is not something we have sought to cultivate at all, even though we do observe a basic church calendar, made up of what the Reformers called the five evangelical feast days. Our reluctance to adopt this kind of penitential approach to these seasons of the year is not caused by ignorance of the practice. It is a deliberate attempt to lean in the other direction. I want to present three arguments for a rejection of this practice of extended penitential observance. First, if we were to adopt this practice, we would be in worse shape than our Old Covenant brethren, who had to afflict their souls only one day out of the year. Why would the time of anticipation of salvation be so liturgically celebratory, while the times of fulfilled salvation be so liturgically glum? Instead of establishing a sense of longing, it will tend to do the reverse. Second, each penitential season keeps getting interrupted with our weekly Easters. Many who relate exciting movies they have seen to others are careful to avoid “spoilers.” Well, these feasts we have, according to God’s ordinance every seven days, spoil the penitential mood. And last, what gospel is implicitly preached by the practice of drawing out the process of repentance and forgiveness? It is a false gospel. Now I am not saying that fellow Christians who observe their church year in this way are preaching a false gospel, but I am saying that lex orandi lex credendi—the law of prayer is the law of faith, and over time, this liturgical practice will speak very loudly to our descendants. If we have the opportunity to speak to our descendants, and we do, then I want to tell them that the joy of the Lord is our strength.

Similarly, in whatever enterprise you find yourself, practice predictability. Never impose your mood swings on your associates and customers. They should never be able to discover how your life is going. This is called being professional. Given two alternatives, most customers and clients would prefer working with someone who does not display an entirely new personality on each occasion. Needless to say, learning to present yourself as a predictable person to your world doesn’t mean developing a parallel insistence on all others doing the same in their interactions with you. Predictability is one of your competitive advantages. It will draw others to you but meanwhile you must remain flexible with others. One mark of a fine person is demanding far more of yourself than you do of others.

To do that right, you have to prototype the whole experience—give every part the weight and reality of a physical object. Regardless of whether your product is made of atoms or bits or both, the process is the same. Draw pictures. Make models. Pin mood boards. Sketch out the bones of the process in rough wireframes. Write imaginary press releases. Create detailed mock-ups that show how a customer would travel from an ad to the website to the app and what information they would see at each touchpoint. Write up the reactions you’d want to get from early adopters, the headlines you’d want to see from reviewers, the feelings you want to evoke in everyone. Make it visible. Physical. Get it out of your head and onto something you can touch. And don’t wait until your product is done to get started—map out the whole journey as you map out what your product will do.

To do that right, you have to prototype the whole experience—give every part the weight and reality of a physical object. Regardless of whether your product is made of atoms or bits or both, the process is the same. Draw pictures. Make models. Pin mood boards. Sketch out the bones of the process in rough wireframes. Write imaginary press releases. Create detailed mock-ups that show how a customer would travel from an ad to the website to the app and what information they would see at each touchpoint. Write up the reactions you’d want to get from early adopters, the headlines you’d want to see from reviewers, the feelings you want to evoke in everyone. Make it visible. Physical. Get it out of your head and onto something you can touch. And don’t wait

These guidelines will help put you in the right frame of mind to begin practicing relaxation techniques: 1. Give yourself permission to relax. You must nurture yourself. Even if it has been difficult for you to relax in the past, now is a new beginning. It may not be easy at first, but in time, and with practice, relaxation is possible for everyone. 2. Create the right environment. This means no distractions: no TV, no telephone, no music, no food. This is a time for you to be at peace with yourself. Wear comfortable clothing and allow yourself to focus only on the present. Allow yourself to let go, to relax emotionally as well as physically. Be careful not to think of letting go as losing control. The opposite—holding on—is what causes heightened anxiety. To really control anxiety, you have to let go of it, become familiar with it, and then find a new way to lessen its intensity. The process of letting go and achieving relaxation can sometimes feel uncomfortable. But it is this uncomfortable feeling that has to be worked through to achieve success. 3. Learn diaphragmatic breathing. Diaphragmatic breathing is the basis of all relaxation and internal self-regulation. Often, breathing exercises of this type are in and of themselves a good means of stress management. Start breathing deeply to slow your body and mind down in preparation for relaxation. Conscious breathing is an essential part of this exercise. Inhale through nose, draw slowly into stomach (diaphragmatic region) and exhale through your mouth. This process should be done slowly and rhythmically. 4. Learn muscle relaxation. This is fairly easy to learn. The first step is to become aware of the difference between tense muscles and relaxed muscles. Then, learn to make your muscles feel limp and heavy. 5. Cultivate warm, dry hands. As you relax, your blood vessels dilate and the peripheral blood flow (at the skin’s surface) increases, resulting in warm hands. Anxiety is related to the fight-or-flight response. When confronted with stress, the body naturally sends blood away from extremities toward the torso in preparation for escape. While normal body temperature is 98.6 degrees, hand temperature is slightly cooler, and varies considerably depending on the degree of stress or relaxation. Don’t confuse the two—extremities are always cooler. Remember the mood rings of the 1970s? True, they were a gimmick, but they relied on stress-related surface temperature changes to create the desired effect. Bio-dots and stress cards available today work the same way, and can be a useful tool in learning to bring yourself down from an anxiety state. Still, you may not need a machine or other equipment to tell you how cold your hands are. If your hands feel cold to you, they are responding to stress. If your hands are warm and dry, you’ve achieved relaxation.

My battle joy was short-lived. Iolaus seized the back of my tunic and yanked me back, stepping between me and the other fighter. He’d found his footing and his strength. The fortunes of the skirmish changed and ended with a single stab of Iolaus’s borrowed sword. My enemy made a hideous sound and crumpled. Iolaus turned to me, his face monstrous. “In the name of all the gods, Helen, what are you doing here?” He was so enraged he called me by my true name, but it was lost in the chaos of battle. “Get back to the ship now, or I swear by Zeus himself, I’ll drag you there by the hair!” I gave him a sour look. “You’ll need both hands free for that. Better give me that sword back first.” I nodded at the blade I’d brought him, the one that had saved his life. Iolaus wasn’t in the mood for inconvenient reminders. “I’ll thank you later, if you’re alive to hear it. Now get back to the ship before something else hap--” A fresh war cry from one of the remaining riders tore the air, loud and imperious enough to draw everyone’s attention.

It is quite possible that, even if you set the most relevant, realistic goals, you may not achieve them in the way or the time you wanted to. Life may throw something unexpected in your path, which stops you from achieving what you want, when you want. This is not failure. Feeling like you have failed is bound to lead to low mood, and can often come about if things haven't quite gone according to plan. However, the best thing to do is to draw a mental line under the experience, learn from what has happened and try again. As long as you are still trying, you are working towards your long-term aims; and as long as you are doing that, you are never truly failing.

Good evening.” He gazed down at her lying in her hammock and realized she had already changed into her bedclothes. Well, well, well… “Is there room for two in that hammock?” he asked, still not quite sure of his welcome. “I don’t know, but let’s try it, and if we end up on the ground, we’ll know there isn’t.” Not exactly a rousing cheer, but the boys had said she was in a mood today. Val hopped around, pulling off his boots and stockings, and surveyed the challenge before him. “You roll up that way and hold to the edge, and I’ll climb aboard.” The hammock dipped significantly, and it took some nimbleness on Val’s part, but he was soon ensconced wonderfully close to Ellen, the hammock pitching them together by design. “We need a rope,” Val murmured into Ellen’s ear, “attached to one of the trees, so I can set this thing to swinging for you.” “There’s a breeze tonight.” She turned so her cheek rested on Val’s arm. “I wasn’t sure you were coming.” “Why wouldn’t I?” Val nuzzled her hair, loving the scent and softness of it. “Because the boys are still making a racket at the pond?” “I hoped it was our boys and not those other rotten little brats. You shoo them away, and they’re like flies. They just come buzzing back.” “Are they truly rotten?” He worked an arm under her neck, drawing her closer. “I was a boy once. I hesitate to think all regarded me as an insect merely on the strength of my puerile status.” “You were a good boy.” Ellen’s voice held the first hint of a smile.

When am mad, I cry when am mad, I scream, When am mad, I want to be left alone when am mad, I sleep When am mad, I take a long walk When am mad, I write to express how I feel when am mad, i draw picture to describe my mood, when am mad, i slam doors

a. Train yourself to recognize and write down the self-critical thoughts as they go through your mind; b. Learn why these thoughts are distorted; and c. Practice talking back to them so as to develop a more realistic self-evaluation system. One effective method for accomplishing this is the “triple-column technique.” Simply draw two lines down the center of a piece of paper to divide it into thirds (see Figure 4–1, page 63). Label the left-hand column “Automatic Thoughts (Self-Criticism),” the middle column “Cognitive Distortion,” and the right-hand column “Rational Response (Self-Defense).” In the left-hand column