Drawings Easy With Quotes

Don't be too quick to draw conclusions from what happens to you; simply let it happen. Otherwise it will be too easy for you to look with blame... at your past, which naturally has a share with everything that now meets you.

Here's one of the things I learned that morning: if you cross a line and nothing happens, the line loses meaning. It's like that old riddle about a tree falling in a forest, and whether it makes a sound if there's no one around to hear it. You keep drawing a line farther and farther away, crossing it every time. That's how people end up stepping off the edge of the earth. You'd be surprised at how easy it is to bust out of orbit, to spin out to a place where no one can touch you. To lose yourself--to get lost. Or maybe you wouldn't be surprised. Maybe some of you already know. To those people, I can only say: I'm sorry.

We're not alone--at least, we're alone only if we choose to be alone. We're alone only if we choose to go through life relying solely on our own strength rather than learning to draw upon the power of God.

Crier wanted to study her like a map. Draw an easy path between all the specific yet scattered points of her.

Ah, crap. I forgot what my hands look like after drawing. You may have little gray marks...everywhere.

Any halfway clever devil would decorate the highway to Hell as beautiful as possible.

You have a freckle here," he whispered, sweeping his tongue over a spot just under my jaw. "It drives me crazy every time you 're above me. I just want to do this..." The jentle draw of his mouth pushed me over the edge, and my knees tightened around his hips as i rocked against him.

Her eyes were dark. Dark as chocolate, dark as coffee, dark as the polished wood of my father’s lute. They were set in a fair face, oval. Like a teardrop. Her easy smile could stop a man’s heart. Her lips were red. Not the garish painted red so many women believe makes them desirable. Her lips were always red, morning and night. As if minutes before you saw her, she had been eating sweet berries, or drinking heart’s blood. No matter where she stood, she was in the center of the room. Do not misunderstand. She was not loud, or vain. We stare at a fire because it flickers, because it glows. The light is what catches our eyes, but what makes a man lean close to a fire has nothing to do with its bright shape. What draws you to a fire is the warmth you feel when you come near. The same was true of Denna.

If you draw a circle, there will always be an inside and an outside, and unless you're a total nut job, it's pretty easy to see which is which. It just happens.

This commonplace cycle of falling asleep and waking, in darkness, under private cover, with another creature, a pale soft tender mammal, putting faces together in a ritual of affection, briefly settled in the eternal necessities of warmth, comfort, safety, crossing limbs to draw nearer - a simple daily consolation, almost too obvious, easy to forget by daylight.

Never ruffle the feathers of a spiteful woman because she will not only want to hurt you, but she will want to draw your blood.

His eyes looked directly at her, and she felt something jump inside. The eyes, the voice, the face, the silver hair, the easy way he moved his body, old ways, disturbing ways, ways that draw you in. Ways that whisper to you in the final moment before sleep comes, when the barriers have fallen.

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

The Quitter When you're lost in the Wild, and you're scared as a child, And Death looks you bang in the eye, And you're sore as a boil, it's according to Hoyle To cock your revolver and . . . die. But the Code of a Man says: "Fight all you can," And self-dissolution is barred. In hunger and woe, oh, it's easy to blow... It's the hell-served-for-breakfast that's hard. "You're sick of the game!" Well, now, that's a shame. You're young and you're brave and you're bright. "You've had a raw deal!" I know — but don't squeal, Buck up, do your damnedest, and fight. It's the plugging away that will win you the day, So don't be a piker, old pard! Just draw on your grit; it's so easy to quit: It's the keeping-your-chin-up that's hard. It's easy to cry that you're beaten — and die; It's easy to crawfish and crawl; But to fight and to fight when hope's out of sight — Why, that's the best game of them all! And though you come out of each gruelling bout, All broken and beaten and scarred, Just have one more try — it's dead easy to die, It's the keeping-on-living that's hard.

Those dear to me took fright for my safety and, perhaps, my sanity. Kings, they explained, do not walk like beggars for hundreds of miles. My response was that if a beggar could managed the feat, then why not a king? Did they think me less capable than a beggar? Sometimes I think that I am. The beggar knows much that the king can only guess. And yet who draws up the codes for begging ordinances? Often I wonder what my experience in life--my easy life following the Desolation, and my current level of comfort--has given me of any true experience to use in making laws. If we had to rely on what we knew, kings would only be of use in creating laws regarding the proper heating of tea and the cushioning of thrones.

A bandit, a man-hunter, a lawbreaker, a bow for hire. I never wanted any grand cause. If it looks like I'm fighting tyrants, it's only because the world's so damned full of them that you can't draw a sword without crossing some of their laws. Easy as easy, it is, to become an outlaw.

Some hopes were weeds, easy to eradicate with a yank and a pull. Some, however, were vines, fast growing, tenacious, and impossible to clear. As she played the music box again, alone in the drawing room, she began to realize that hers were of the latter kind. She would never stop hoping.

Easy enough to fight when the monster kept its distance, easy enough to draw the line. But when the moster was literally outside the door, that's when your actions mattered. The hard choice wasn't opening the door. The hard choice was keeping it closed.

At first she thought the writing would be easy. She was extremely confident in her ability to dream, to imagine, and she supposed that expressing her dreams in words, in writing, would be entirely natural, like drawing breath. She had read widely from the time she was a child, and she knew how to recognize something that was well written. She admired certain lines and passages so much that she had taken complete possession of them and committed them to memory. She could recite “The Gettysburg Address” and “The Twenty-Third Psalm.” She could recite “Jabberwocky” and Emily Dickinson’s “Further in summer that the birds” and Wallace Stevens’s “Sunday Morning.” She knew by heart the final paragraph of Joyce’s “The Dead,” and if challenged she could say in whole the parts of both Romeo and Juliet. And she knew many Kiowa stories and many long prayers in Navajo. These were not feats of memory in the ordinary sense; it was simply that she attended to these things so closely that they became a part of her most personal experience. She had assumed them, appropriated them to her being. But to write! She discovered that was something else again.

It is easy in a moment like this to want to speak over this woman, to tell Tía there is nothing more we can do, to say out loud the woman is lucky that her lungs still draw breath. But I learned young, you do not speak of the dying as if they are already dead. You do not call bad spirits into the room, & you do not smudge a person's dignity by pretending they are not still alive, & right in front of you, and perhaps about to receive a miracle. You do not let your words stunt unknown possibilities.

My child, when a mountain appears on the journey, we try to go to the left, then to the right. We try to find the easy way to navigate our way back to the easier path.…. But the mountain is there to be crossed. It is on that pilgrimage, as we climb higher, that we are forced to shed the layers upon layers we have carried for so long. Then we find that our load is lighter, and we have come to know something of ourselves in the perilous climb…..Do not seek to avoid the mountain, my child. For it has been placed there at a perfect time. It will only become larger if you seek to delay or draw back from the ascent.

She was looking at Alec instead, watching him as he talked to Jace. There was a kinetic, almost feverish energy to him that hadn’t been there before. Something about Jace sharpened him, brought him into focus. If she were going to draw them together, she thought, she would make Jace a little blurry, while Alec stood out, all sharp, clear planes and angles. Jace was looking down as Alec spoke, smiling a little and tapping his water glass with a fingernail. She sensed he was thinking of other things. She felt a sudden flash of sympathy for Alec. Jace couldn’t be an easy person to care about. I was laughing at you because declarations of love amuse me, especially when unrequited. Jace looked up as the waitress passed. “Are we ever going to get any coffee?” he said aloud, interrupting Alec midsentence. Alec subsided, his energy fading.

DRAWING IS EASY. DON'T LET ANYONE EVER TELL YOU IT ISN'T. YOU WORK HARD. AND HONE YOUR CRAFT. AND IGNORE THE HATERS. UNTIL YOU ARE IN. "THE ZONE".

The body is soft, beautiful, vulnerable. It’s easy to threaten it. It’s easy to harm it. It takes next to nothing to cause pain, to draw blood, to break bones. Takes next to nothing to blast a body to bits. It’s much harder to protect it, she says, and much more important.

People enjoy inventing slogans which violate basic arithmetic but which illustrate “deeper” truths, such as “1 and 1 make 1” (for lovers), or “1 plus 1 plus 1 equals 1” (the Trinity). You can easily pick holes in those slogans, showing why, for instance, using the plus-sign is inappropriate in both cases. But such cases proliferate. Two raindrops running down a window-pane merge; does one plus one make one? A cloud breaks up into two clouds -more evidence of the same? It is not at all easy to draw a sharp line between cases where what is happening could be called “addition”, and where some other word is wanted. If you think about the question, you will probably come up with some criterion involving separation of the objects in space, and making sure each one is clearly distinguishable from all the others. But then how could one count ideas? Or the number of gases comprising the atmosphere? Somewhere, if you try to look it up, you can probably fin a statement such as, “There are 17 languages in India, and 462 dialects.” There is something strange about the precise statements like that, when the concepts “language” and “dialect” are themselves fuzzy.

Bit by bit, I found myself relaxing into the conversation. Kitty had a natural talent for drawing people out of themselves, and it was easy to fall in with her, to feel comfortable in her presence. As Uncle Victor had once told me long ago, a conversation is like having a catch with someone. A good partner tosses the ball directly into your glove, making it almost impossible for you to miss it; when he is on the receiving end, he catches everything sent his way, even the most errant and incompetent throws. That’s what Kitty did. She kept lobbing the ball straight into the pocket of my glove, and when I threw the ball back to her, she hauled in everything that was even remotely in her area: jumping up to spear balls that soared above her head, diving nimbly to her left or right, charging in to make tumbling, shoestring catches. More than that, her skill was such that she always made me feel that I had made those bad throws on purpose, as if my only object had been to make the game more amusing. She made me seem better than I was, and that strengthened my confidence, which in turn helped to make my throws less difficult for her to handle. In other words, I started talking to her rather than to myself, and the pleasure of it was greater than anything I had experienced in a long time.

So you are tired of your life, young man! All the more reason have you to live. Anyone can die. A murderer has moral force enough to jeer at his hangman. It is very easy to draw the last breath. It can be accomplished successfully by a child or a warrior. One pang of far less anguish than the toothache, and all is over. There is nothing heroic about it, I assure you! It is as common as going to bed; it is almost prosy. Life is heroism, if you like; but death is a mere cessation of business. And to make a rapid and rude exit off the stage before the prompter gives the sign is always, to say the least of it, ungraceful. Act the part out, no matter how bad the play. What say you?

From the vast, invisible ocean of moonlight overhead fell, here and here, a slender, broken stream that seemed to plash against the intercepting branches and trickle to earth, forming small white pools among the clumps of laurel. But these leaks were few and served only to accentuate the blackness of his environment, which his imagination found it easy to people with all manner of unfamiliar shapes, menacing, uncanny, or merely grotesque. He to whom the portentous conspiracy of night and solitude and silence in the heart of a great forest is not an unknown experience needs not to be told what another world it all is - how even the most commonplace and familiar objects take on another character. The trees group themselves differently; they draw closer together, as if in fear. The very silence has another quality than the silence of the day. And it is full of half-heard whispers, whispers that startle - ghosts of sounds long dead. There are living sounds, too, such as are never heard under other conditions: notes of strange night birds, the cries of small animals in sudden encounters with stealthy foes, or in their dreams, a rustling in the dead leaves - it may be the leap of a wood rat, it may be the footstep of a panther. What caused the breaking of that twig? What the low, alarmed twittering in that bushful of birds? There are sounds without a name, forms without substance, translations in space of objects which have not been seen to move, movements wherein nothing is observed to change its place. Ah, children of the sunlight and the gaslight, how little you know of the world in which you live! ("A Tough Tussle")

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 she was 7, a boy pushed her on the playground she fell headfirst into the dirt and came up with a mouthful of gravel and lines of blood chasing each other down her legs when she told her teacher what happened, she laughed and said ‘boys will be boys honey don’t let it bother you he probably just thinks you’re cute’ but the thing is, when you tell a little girl who has rocks in her teeth and scabs on her knees that hurt and attention are the same you teach her that boys show their affection through aggression and she grows into a young woman who constantly mistakes the two because no one ever taught her the difference ‘boys will be boys’ turns into ‘that’s how he shows his love’ and bruises start to feel like the imprint of lips she goes to school with a busted mouth in high school and says she was hit with a basketball instead of his fist the one adult she tells scolds her ‘you know he loses his temper easily why the hell did you have to provoke him?’ so she shrinks folds into herself, flinches every time a man raises his voice by the time she’s 16 she’s learned her job well be quiet, be soft, be easy don’t give him a reason but for all her efforts, he still finds one ‘boys will be boys’ rings in her head ‘boys will be boys he doesn’t mean it he can’t help it’ she’s 7 years old on the playground again with a mouth full of rocks and blood that tastes like copper love because boys will be boys baby don’t you know that’s just how he shows he cares she’s 18 now and they’re drunk in the split second it takes for her words to enter his ears they’re ruined like a glass heirloom being dropped between the hands of generations she meant them to open his arms but they curl his fists and suddenly his hands are on her and her head hits the wall and all of the goddamn words in the world couldn’t save them in this moment she touches the bruise the next day boys will be boys aggression, affection, violence, love how does she separate them when she learned so early that they’re inextricably bound, tangled in a constant tug-of-war she draws tally marks on her walls ratios of kisses to bruises one entire side of her bedroom turns purple, one entire side of her body boys will be boys will be boys will be boys when she’s 20, a boy touches her hips and she jumps he asks her who the hell taught her to be scared like that and she wants to laugh doesn’t he know that boys will be boys? it took her 13 years to unlearn that lesson from the playground so I guess what I’m trying to say is i will talk until my voice is hoarse so that my little sister understands that aggression and affection are two entirely separate things baby they exist in different universes my niece can’t even speak yet but I think I’ll start with her now don’t ever accept the excuse that boys will be boys don’t ever let him put his hands on you like that if you see hate blazing in his eyes don’t you ever confuse it with love baby love won’t hurt when it comes you won’t have to hide it under long sleeves during the summer and the only reason he should ever reach out his hand is to hold yours

They’d gravitated closer while speaking, elbows kissing atop the banister. “Tell me something else,” she said. “Something embarrassing.” “That’s an easy one. I’ve been keeping your chewed-up pens in the glove compartment of my car.” A startled laugh burst out of her. “I can’t believe you just admitted to that. That is incredibly creepy.” His smile sharpened. “Bold words from a girl with a drawing of me shoved in her purse.

I do not turn to history to draw from it an easy lesson of hope, but to confront my experience with that of others, to acquire something I might call universal compassion, and also a sense of responsibility, responsibility for the state of my conscience.

Aunt Mare, do you ever wish you’d had a different life? Something not so…hard?” “Sometimes. But then the hard is what makes us who we are. The hard is usually what God uses to draw us closer…If I have to choose between what’s easy or what will bring me closer to Him, I pray my choice will be Him.” “That’s a scary prayer.” “Tell me about it.” A hint of a smile pulled up the corner of Sara’s mouth. “But you pray it anyway.

Here were these two, bandying little phrases, drawing purses, looking at cards, and both unconscious of how inarticulate all their real feelings were. Neither was wise enough to be sure of the working of the mind of the other. He could not tell how his luring succeeded. She could not realized that she was drifting, until he secured her address. Now she felt that she had yielded something - he, that he had gained a victory. Already he took control in directing the conversation. His words were easy. Her manner was relaxed.

Time vanishes behind those who leave this world, and the older I get the more my past years draw together.

It is easy to obtain mediocrity and challenging to stare into the visage of splendor.

Bold prayers honor God, and God honors bold prayers. God isn’t offended by your biggest dreams or boldest prayers. He is offended by anything less. If your prayers aren’t impossible to you, they are insulting to God. Prayers are prophecies. They are the best predictors of your spiritual future. Who you become is determined by how you pray. Ultimately, the transcript of your prayers becomes the script of your life. The greatest tragedy in life is the prayers that go unanswered because they go unasked. God does not answer vague prayers. The more specific your prayers are, the more glory God receives. Most of us don’t get what we want because we quit praying. We give up too easily. We give up too soon. We quit praying right before the miracle happens. If you don’t take the risk, you forfeit the miracle. Take a step of faith when God gives you a vision because you trust that the One who gave you the vision is going to make provision. And for the record, if the vision is from God, it will most definitely be beyond your means. We shouldn’t seek answers as much as we should seek God. If you seek answers you won’t find them, but if you seek God, the answers will find you. If your plans aren’t birthed in prayer and bathed in prayer, they won’t succeed. Are your problems bigger than God, or is God bigger than your problems? Our biggest problem is our small view of God. That is the cause of all lesser evils. And it’s a high view of God that is the solution to all other problems. Because you know He can, you can pray with holy confidence. Persistence is the magic bullet. The only way you can fail is if you stop praying. 100 percent of the prayers I don’t pray won’t get answered. Where are you most proficient, most sufficient? Maybe that is precisely where God wants you to trust Him to do something beyond your ability. What we perceive as unanswered prayers are often the greatest answers. Our heavenly Father is far too wise and loves us far too much to give us everything we ask for. Someday we’ll thank God for the prayers He didn’t answer as much or more than the ones He did. You can’t pray for open doors if you aren’t willing accept closed doors, because one leads to the other. Just as our greatest successes often come on the heels of our greatest failures, our greatest answers often come on the heels of our longest and most boring prayers. The biggest difference between success and failure, both spiritually and occupationally, is your waking-up time on your alarm clock. We won’t remember the things that came easy; we’ll remember the things that came hard. It’s not just where you end up that’s important; it’s how you get there. Goal setting begins and ends with prayer. The more you have to circle something in prayer, the more satisfying it is spiritually. And, often, the more glory God gets. I don’t want easy answers or quick answers because I have a tendency to mishandle the blessings that come too easily or too quickly. I take the credit or take them for granted. So now I pray that it will take long enough and be hard enough for God to receive all of the glory. Change your prayer approach from as soon as possible to as long as it takes. Go home. Lock yourself in your room. Kneel down in the middle of the floor, and with a piece of chalk draw a circle around yourself. There, on your knees, pray fervently and brokenly that God would start a revival within that chalk circle.

The secret is not in your hand or your eye or your voice, my aunt told me once. The secret is in your heart. Of course, she said, knowing that doesn't make it any easier. —Secret Heart

If Pakistani cities were caricatures, most would be easy to draw. Lahore is corpulent and languid, stretched out in a shalwar kameez, twirling its moustache over a greasy breakfast. Islamabad cuts a more clipped figure, holding court in a gilded drawing room, proffering Scotch and political whispers. Peshawar wears a turban or a burka, scuttling among the stalls of an ancient bazaar. But Karachi is harder to sketch. It has too many faces: the shiny-shod businessman, rushing to the gym; the hardscrabble labourer who sends his wages to a distant village; the slinky young socialite, kicking off her heels as she bends over a line of cocaine.

I remembered my father coaching me before I took my GCE exam and how he said, as I stalled in solving a long equation, 'Yes, you're getting there. Don't doubt yourself. Don't stop.' Is that why I believe now in always trying? It is, of course, too easy to draw simple causative lines. It was the wholeness of him that formed me, but it was also these incidents, slice by slice.

What would this look like if it were fun?’ has now become a guiding question in my life. And it’s surprisingly easy to draw upon. Think of a task that you don’t want to do right now, and ask what would it look like if it were fun? Could you do it in a different way? Could you add music, or a sense of humour, or get creative? What if you set out to do the task with friends, or promised yourself a treat at the end of the process? Is there a way to make this draining process a little more enjoyable?

Dear Sir, I'll gie ye some advice, You'll tak it no uncivil: You shouldna paint at angels, man, But try and paint the Devil. To paint an angel's kittle wark, Wi' Nick there's little danger; You'll easy draw a lang-kent face, But no sae weel a stranger.

So many writers had grown lyrical over spring. And, one must admit, it was easy to love a lamb: but how soon that engaging frivolity would yield to the placid idiocy of its inheritance; it was not easy to love a sheep. Summer? Yes, but it was overweighted, overcolored. No - for herself she preferred late autumn, when line returned, with wider, subtler blends of color and experience.

What You Missed That Day You Were Absent from Fourth Grade" Mrs. Nelson explained how to stand still and listen to the wind, how to find meaning in pumping gas, how peeling potatoes can be a form of prayer. She took questions on how not to feel lost in the dark. After lunch she distributed worksheets that covered ways to remember your grandfather’s voice. Then the class discussed falling asleep without feeling you had forgotten to do something else— something important—and how to believe the house you wake in is your home. This prompted Mrs. Nelson to draw a chalkboard diagram detailing how to chant the Psalms during cigarette breaks, and how not to squirm for sound when your own thoughts are all you hear; also, that you have enough. The English lesson was that I am is a complete sentence. And just before the afternoon bell, she made the math equation look easy. The one that proves that hundreds of questions, and feeling cold, and all those nights spent looking for whatever it was you lost, and one person add up to something.

You really want to know?” He drags out the suspense. “Yes.” I grow restless. “Spill.” “Well, for starters… most guys our age aren’t looking to date.” He elaborates. “They just want to fuck around. And those who do want to date are only looking for a girl to make them feel good about themselves.” “Meaning?” “Meaning they want her to laugh at their jokes, stroke their egos, give good head and… that’s pretty much it.” He draws a small smile out of me. “So, when guys like that see a girl like you, a girl who doesn’t look easy or desperate, they get intimidated. Label her high-maintenance and run like hell. You’re beauty and brains, Vee. You’re an immature high school boy’s worst nightmare.

It is easy to think that the Church has a lot of different objects—education, building, missions, holding services. Just as it is easy to think the State has a lot of different objects—military, political, economic, and what not. But in a way things are much simpler than that. The State exists simply to promote and to protect the ordinary happiness of human beings in this life. A husband and wife chatting over a fire, a couple of friends having a game of darts in a pub, a man reading a book in his own room or digging in his own garden—that is what the State is there for. And unless they are helping to increase and prolong and protect such moments, all the laws, parliaments, armies, courts, police, economics, etc., are simply a waste of time. In the same way the Church exists for nothing else but to draw men into Christ, to make them little Christs. If they are not doing that, all the cathedrals, clergy, missions, sermons, even the Bible itself, are simply a waste of time.

Have luncheon there this afternoon, all you jobless. Why not? Dine with some of the men and women who got rich off of your labor, who clip coupons with clean white fingers because your hands dug coal, drilled stone, sewed garments, poured steel to let other people draw dividends and live easy.

It is too easy to think that ‘science’ is what happens now, that modernity and scientific thought are inseparable. Yet as Laura Snyder so brilliantly shows in this riveting picture of the first heroic age, the nineteenth century saw the invention of the computer, of electrical impulses, the harnessing of the power of steam – the birth of railways, statistics and technology. In ‘The Philosophical Breakfast Club’ she draws an endearing – almost domestic – picture of four scientific titans, and shows how – through their very ‘clubbability’ – they created the scientific basis on which the modern world stands.

One of my great wishes is that people of the present will see those of the past as friendly (or irritating) acquaintances they can look to for advice. It’s easy to forget that people from the past weren’t the two-dimensional black-and-white photos or line drawings you might encounter in some dry textbooks. They weren’t just gray-faced guys in top hats. They were living, breathing, joking, burping people, who could be happy or sad, funny or boring, cool or the lamest people you ever met in your life. They had no idea they were living in the past. They all thought they were living in the present. Accordingly, like any person, past or present, could be, some of them were smart and kind and geniuses about medicine and also completely dull on a personal level. (I’m trying to come to terms with loving John Snow’s deductive brilliance and being absolutely certain I would never want to spend more than ten minutes talking to him.)

Outsong in the Jungle [Baloo:] For the sake of him who showed One wise Frog the Jungle-Road, Keep the Law the Man-Pack make For thy blind old Baloo's sake! Clean or tainted, hot or stale, Hold it as it were the Trail, Through the day and through the night, Questing neither left nor right. For the sake of him who loves Thee beyond all else that moves, When thy Pack would make thee pain, Say: "Tabaqui sings again." When thy Pack would work thee ill, Say: "Shere Khan is yet to kill." When the knife is drawn to slay, Keep the Law and go thy way. (Root and honey, palm and spathe, Guard a cub from harm and scathe!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [Kaa:] Anger is the egg of Fear-- Only lidless eyes see clear. Cobra-poison none may leech-- Even so with Cobra-speech. Open talk shall call to thee Strength, whose mate is Courtesy. Send no lunge beyond thy length. Lend no rotten bough thy strength. Gauge thy gape with buck or goat, Lest thine eye should choke thy throat. After gorging, wouldst thou sleep ? Look thy den be hid and deep, Lest a wrong, by thee forgot, Draw thy killer to the spot. East and West and North and South, Wash thy hide and close thy mouth. (Pit and rift and blue pool-brim, Middle-Jungle follow him!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [Bagheera:] In the cage my life began; Well I know the worth of Man. By the Broken Lock that freed-- Man-cub, ware the Man-cub's breed! Scenting-dew or starlight pale, Choose no tangled tree-cat trail. Pack or council, hunt or den, Cry no truce with Jackal-Men. Feed them silence when they say: "Come with us an easy way." Feed them silence when they seek Help of thine to hurt the weak. Make no bandar's boast of skill; Hold thy peace above the kill. Let nor call nor song nor sign Turn thee from thy hunting-line. (Morning mist or twilight clear, Serve him, Wardens of the Deer!) Wood and Water, Wind and Tree, Jungle-Favour go with thee! [The Three:] On the trail that thou must tread To the threshold of our dread, Where the Flower blossoms red; Through the nights when thou shalt lie Prisoned from our Mother-sky, Hearing us, thy loves, go by; In the dawns when thou shalt wake To the toil thou canst not break, Heartsick for the Jungle's sake; Wood and Water, Wind air Tree, Wisdom, Strength, and Courtesy, Jungle-Favour go with thee!

Perhaps hell is a tiny place, a single flame, Clod thought now. The thought moved him, and he imagined the pureness of the flame as he gazed through the darkness at the candelabra. Just one flame could contain all the evil that has come and gone. What if it were that easy to snuff it out? Would he do it? No. He would never interfere. Just the image of the white light, the way it swayed in the slow breeze floating through the manor, that was what mattered to him. If he could draw that, he thought, and make the picture move somehow, that would be interesting. He could suspend the drawing from a string and let the wind push it to and fro. Strange, he thought next, that fire hurts to the touch. Fire gives light. Shouldn’t the darkness hurt instead? Hell ought to be pure darkness. Nothingness. The thought chilled him. There was nothing to see there. He shrugged and pulled his back away from the wall, feeling his shirt stick to his skin with sweat.

Life batters and shapes us in all sorts of ways before it's done, but those original selves which we were born with, and which I believe we continue in some measure to be no matter what, are selves which still echo with the holiness of their origin. I believe that what Genesis suggests is that this original self, with the print of God's thumb still upon it, is the most essential part of who we are and is buried deep in all of us as a source of wisdom and strength and healing which we can draw upon or, with our terrible freedom, not draw upon as we choose. I think that among other things all real art comes from that deepest self – painting, writing music, dance, all of it that in some way nourishes the spirit and enriches the understanding. I think that our truest prayers come from there too, the often unspoken, unbidden prayers that can rise out of the lives of unbelievers as well as believers whether they recognize them as prayers or not. And I think that from there also come our best dreams and our times of gladdest playing and taking it easy and all those moments when we find ourselves being better or stronger or braver or wiser than we are.

Perhaps the most important single step in the whole history of writing was the Sumerians’ introduction of phonetic representation, initially by writing an abstract noun (which could not be readily drawn as a picture) by means of the sign for a depictable noun that had the same phonetic pronunciation. For instance, it’s easy to draw a recognizable picture of arrow, hard to draw a recognizable picture of life, but both are pronounced ti in Sumerian, so a picture of an arrow came to mean either arrow or life. The resulting ambiguity was resolved by the addition of a silent sign called a determinative, to indicate the category of nouns to which the intended object belonged. Linguists term this decisive innovation, which also underlies puns today, the rebus principle.

1. A deep question asks about someone’s values, beliefs, judgments, or experiences—rather than just facts. Don’t ask “Where do you work?” Instead, draw out feelings or experiences: “What’s the best part of your job?” (One 2021 study found a simple approach to generating deep questions: Before speaking, imagine you’re talking to a close friend. What question would you ask?) 2. A deep question asks people to talk about how they feel. Sometimes this is easy: “How do you feel about …?” Or, we can prompt people to describe specific emotions: “Did it make you happy when …?” Or ask someone to analyze a situation’s emotions: “Why do you think he got angry?” Or empathize: “How would you feel if that happened to you?” 3. Asking a deep question should feel like sharing. It should feel, a bit, like we’re revealing something about ourselves when we ask a deep question. This feeling might give us pause. But studies show people are nearly always happy to have been asked, and to have answered, a deep question.

If you harbor preferred principles and ways of behaving that have never brought you ANY happiness, or even much luck in your personal relationships over a number of years—this should not be taken as a sign that all women are bad or that none of them are serious, but A SIGN THAT YOUR OWN ATTITUDE AND DATING STRATEGIES ARE FLAWED AND NOT REALLY SUCCESSFUL—and can only bring you further disappointments with women! It seems like an elementary, easy thing to accept. Strangely, thousands of people seem, for some reason, to be unable, or stubbornly refuse, to see the truth and draw such a logical conclusion.

I'm not saying this is going toe easy. I'll make mistakes. You'll make mistakes, mostly about trying to draw attention to the differences between us. I realize it'll take time for you to get over this mind-set that you're somehow not good enough for me. It pisses me off, but I get that you can't change a lifetime of seeing yourself the way you do overnight. But I'm going to work on it and wear you down.

Consider the following questions: • Who in your life “gets you” and doesn’t think you’re weak or strange when you wrestle with the complexities of your role? • Who listens to you without feeling compelled to give you advice? • Who asks second and third questions to draw you out instead of giving pat answers, simple prescriptions, and easy formulas? • Who is your safe haven so you can be completely honest and open? • Who fills your spiritual and emotional gas tank?

He took up another long strip of towel in his right hand. He had to lean in to loop it behind her. He was so close now. His mind took in the shell of her ear, the hair tucked behind it, that rapid pulse fluttering in her throat. Alive, alive, alive. It isn’t easy for me either. He looped the bandage around again. The barest touches. Unavoidable. Shoulder, clavicle, once her knee. The water rose around him. He secured the knot. Step back. He did not step back. He stood there, hearing his own breath, hers, the rhythm of them alone in this room. The sickness was there, the need to run, the need for something else too. Kaz thought he knew the language of pain intimately, but this ache was new. It hurt to stand here like this, so close to the circle of her arms. It isn’t easy for me either. After all she’d endured, he was the weak one. But she would never know what it was like for him to see Nina pull her close, watch Jesper loop his arm through hers, what it was to stand in doorways and against walls and know he could never draw nearer. But I’m here now, he thought wildly. He had carried her, fought beside her, spent whole nights next to her, both of them on their bellies, peering through a long glass, watching some warehouse or merch’s mansion. This was nothing like that. He was sick and frightened, his body slick with sweat, but he was here. He watched that pulse, the evidence of her heart, matching his own beat for anxious beat. He saw the damp curve of her neck, the gleam of her brown skin. He wanted to … He wanted. Before he even knew what he intended, he lowered his head. She drew in a sharp breath. His lips hovered just above the warm juncture between her shoulder and the column of her neck. He waited. Tell me to stop. Push me away. She exhaled. “Go on,” she repeated. Finish the story. The barest movement and his lips brushed her skin—warm, smooth, beaded with moisture. Desire coursed through him, a thousand images he’d hoarded, barely let himself imagine—the fall of her dark hair freed from its braid, his hand fitted to the lithe curve of her waist, her lips parted, whispering his name.

A substantial good drawn from a real evil, is of the same benefit to society as if drawn from a virtue; and where men have not public spirit to render themselves serviceable, it ought to be the study of government to draw the best use possible from their vices. When the governing passion of any man, or set of men, is once known, the method of managing them is easy; for even misers, whom no public virtue can impress, would become generous, could a heavy tax be laid upon covetousness.

Participants in a well-known experiment are given a choice of drawing a marble from one of two urns, in which red marbles win a prize: Urn A contains 10 marbles, of which 1 is red. Urn B contains 100 marbles, of which 8 are red. Which urn would you choose? The chances of winning are 10% in urn A and 8% in urn B, so making the right choice should be easy, but it is not: about 30%–40% of students choose the urn with the larger number of winning marbles, rather than the urn that provides a better chance of winning.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

I contrive to get through my day by sinking the morning in bed, and killing the evening in company; dressing and dining in the intermediate space, and stopping the chinks and crevices of the few vacant moments that remain with a little easy reading. And that amiable discontent and antisociality which you reprobate in our present drawing-room-table literature, I find, I do assure you, a very fine mental tonic, which reconciles me to my favourite pursuit of doing nothing, by showing me that nobody is worth doing any thing for.

When we are totally absorbed in our own feelings and attached to our own view and agenda without recognizing it, it is virtually impossible to have a genuine communication. We will easily feel threatened by anyone who doesn't see things our way, and we will tend to be able to relate to only those people whose view of the world coincides with our own. We will find our encounters with people who hold strong opposing views to be stressful. When we react by feeling personally threatened, it is easy to draw battle lines and have the relationship to degenerate into "us" against "them." This makes the possibility of communication very difficult. When we lock in to certain restricted mind-sets, we cannot go beyond the nine dots and perceive the whole system of which we and our views are only a part.

The Quitter When you're lost in the Wild, and you're scared as a child, And Death looks you bang in the eye, And you're sore as a boil, it's according to Hoyle To cock your revolver and . . . die. But the Code of a Man says: "Fight all you can," And self-dissolution is barred. In hunger and woe, oh, it's easy to blow . . . It's the hell-served-for-breakfast that's hard. "You're sick of the game!" Well, now, that's a shame. You're young and you're brave and you're bright. "You've had a raw deal!" I know -- but don't squeal, Buck up, do your damnedest, and fight. It's the plugging away that will win you the day, So don't be a piker, old pard! Just draw on your grit; it's so easy to quit: It's the keeping-your-chin-up that's hard. It's easy to cry that you're beaten -- and die; It's easy to crawfish and crawl; But to fight and to fight when hope's out of sight -- Why, that's the best game of them all! And though you come out of each gruelling bout, All broken and beaten and scarred, Just have one more try -- it's dead easy to die, It's the keeping-on-living that's hard.

It is wrong to draw a sharp line in one's imagination between the "nature" present on the Rocky Mountain front and that available in the suburbanite's own front yard. The natural world found on even the most perfect and stylized of lawns is no less real than that at the Arctic National Wildlife Refuge. Different, yes, but to draw too sharp a distinction between the sparsely settled world of Alaska and the dense suburbs of Levittown is a prescription for the plundering of natural resources. It is easy to see how the yard, conceived as less natural and thus less important than the spotted owl, is easily ignored. The point is underscored by research showing that, surprisingly, people who evince concern for the environment are more likely to use chemicals on their yards than those who are less ecologically aware.

If we are to seek whatever is honorable, it must include seeking the honor that is inherent in God's image bearers. We must recognize their intrinsic dignity and hold it in high esteem. There is no wiggle room on this. No matter how different a person may be from us, no matter what political, social, or moral views they may hold, no matter how strongly and vehemently we disagree with them, no matter their crimes, we must not dishonor the image of God in them. To joke about their death or destruction, to celebrate their pain and loss, to openly mock and belittle their struggles is to blaspheme the God in whose image they are created. This is no easy thing---especially when someone is not living honorably themselves, when they are not living in a way that is consistent with their identity as an image bearer. Somehow their hatred, pride, and deceit are able to draw hatred, pride, and deceit from us. That's why in his first epistle, Peter makes a point to call slaves to honor unkind masters, wives to honor unbelieving husbands, and all to honor the emperor---an emperor who at that very moment was seeking their lives. In calling us to honor those who have, in all human logic, forfeited the right to honor, we testify to a greater reality: whether or not a person is living within the dignity of their identity as an image bearer does not change the fact that God has bestowed dignity on them. In honoring them, we honor God.

Hope does not mean that our protests will suddenly awaken the dead consciences, the atrophied souls, of the plutocrats running Halliburton, Goldman Sachs, Exxon Mobil or the government. Hope does not mean we will reform Wall Street swindlers and speculators. Hope does not mean that the nation’s ministers and rabbis, who know the words of the great Hebrew prophets, will leave their houses of worship to practice the religious beliefs they preach. Most clerics like fine, abstract words about justice and full collection plates, but know little of real hope. Hope knows that unless we physically defy government control we are complicit in the violence of the state. All who resist keep hope alive. All who succumb to fear, despair and apathy become enemies of hope. Hope has a cost. Hope is not comfortable or easy. Hope requires personal risk. Hope does not come with the right attitude. Hope is not about peace of mind. Hope is an action. Hope is doing something. Hope, which is always nonviolent, exposes in its powerlessness the lies, fraud and coercion employed by the state. Hope does not believe in force. Hope knows that an injustice visited on our neighbor is an injustice visited on us all. Hope sees in our enemy our own face. Hope is not for the practical and the sophisticated, the cynics and the complacent, the defeated and the fearful. Hope is what the corporate state, which saturates our airwaves with lies, seeks to obliterate. Hope is what our corporate overlords are determined to crush. Be afraid, they tell us. Surrender your liberties to us so we can make the world safe from terror. Don’t resist. Embrace the alienation of our cheerful conformity. Buy our products. Without them you are worthless. Become our brands. Do not look up from your electronic hallucinations to think. No. Above all do not think. Obey. The powerful do not understand hope. Hope is not part of their vocabulary. They speak in the cold, dead words of national security, global markets, electoral strategy, staying on message, image and money. Those addicted to power, blinded by self-exaltation, cannot decipher the words of hope any more than most of us can decipher hieroglyphics. Hope to Wall Street bankers and politicians, to the masters of war and commerce, is not practical. It is gibberish. It means nothing. I cannot promise you fine weather or an easy time. I cannot pretend that being handcuffed is pleasant. If we resist and carry out acts, no matter how small, of open defiance, hope will not be extinguished. Any act of rebellion, any physical defiance of those who make war, of those who perpetuate corporate greed and are responsible for state crimes, anything that seeks to draw the good to the good, nourishes our souls and holds out the possibility that we can touch and transform the souls of others. Hope affirms that which we must affirm. And every act that imparts hope is a victory in itself.

The Fox and the Grapes ONE hot summer’s day a Fox was strolling through an orchard till he came to a bunch of Grapes just ripening on a vine which had been trained over a lofty branch. “Just the things to quench my thirst,” quoth he. Drawing back a few paces, he took a run and a jump, and just missed the bunch. Turning round again with a One, Two, Three, he jumped up, but with no greater success. Again and again he tried after the tempting morsel, but at last had to give it up, and walked away with his nose in the air, saying: “I am sure they are sour.” “IT IS EASY TO DESPISE WHAT YOU CANNOT GET.

When I was a young girl, I studied Greek in school. It's a beautiful language and ever so many good things were written in it. When you speak Greek, it feels like a little bird flapping its wings on your tongue as fast as it can. This is why I sometimes put Greek words into my stories, even though not so many people speak Ancient Greek anymore. Anything beautiful deserves to be shared round, and anything I love goes into my stories for safekeeping. The word I love is Arete. It has a simple meaning and a complicated meaning. The simple one is: excellence. But if that were all, we'd just use Excellence and I wouldn't bring it up until we got to E. Arete means your own excellence. Your very own. A personal excellence that belongs to no one else, one that comes out of all the things that make you special and different. Arete means whatever you are best at, no matter what that is. You might think the Greeks only meant things like fighting with bronze swords or debating philosophy, but they didn't. They meant whatever you're best at. What makes you feel like you're doing the rightest thing in the world. And that might be fighting with bronze swords and it might mean debating philosophy—but it also might mean building machines, or drawing pictures, or playing the guitar, or acting in Shakespeare plays, or writing books, or making a home for people who need one, or listening so hard and so well that people tell you the things they really need to say even if they didn't mean to, or running faster than anyone else, or teaching people patiently and boldly, or even making pillow forts or marching in parades or baking bread. It could be lending out just the right library book to just the right person at just the right moment. It could be standing up to the powerful even if you don't feel very powerful yourself, even if you're lost and as far away from home as you can get. It could be loving someone with the same care and thoroughness that a Wyvern takes with alphabetizing. It could be anything in the world. And it isn't easy to figure out what that is. It's even harder to get that good at it, because nothing, not even being yourself, comes without practice. But your arete goes with you everywhere, just waiting for you to pay attention to it. You can't lose it. You can only find it. And that's my favorite thing that starts with A.

What have I done, Obie?" Obie flung his hand in the air, the gesture encompassing all the rotten things that had occur under Archie's command, at Archie's direction. The ruined kids, the capsized hopes. Renault last fall and poor Tubs Casper and all the others including even the faculty. Like Brother Eugene. "You know what you've done, Archie. I don't need to draw up a list-" "You blame me for everything, right, Obie? You and Carter and all the others. Archie Costello, the bad guy. The villain. Archie, the bastard. Trinity would be such a beautiful place without Archie Costello. Right, Obie? But it's not me, Obie, it's not me...." "Not you?" Obie cried, fury gathering in his throat, his chest, his guts. "What the hell do you mean, not you? This could have been a beautiful place to be, Archie. A beautiful time for all of us. Christ, who else, if not you?" "Do you really want to know who?" "Okay, who then?" Impatient with his crap, the old Archie crap. "It's you, Obie. You and Carter and Bunting and Leon and everybody. But especially you, Obie. Nobody forced you to do anything, buddy. Nobody made you join the Vigils. Nobody twisted your arm to make you secretary of the Vigils. Nobody pain you to keep a notebook with all that crap about the students, all their weaknesses, soft points. The notebook made your job easier, didn't it, Obie? And what was your job? Finding the victims. You found them, Obie. You found Renault and Tubs Casper and Gendreau-the first one, remember, when we were sophomores?-how you loved it all, didn't you Obie?" Archie flicked a finger against the metal of the car, and the ping was like a verbal exclamation mark. "Know what, Obie? You could have said no anytime, anytime at all. But you didn't...." Archie's voice was filled with contempt, and he pronounced Obie's name as if it were something to be flushed down a toilet. "Oh, I'm an easy scapegoat, Obie. For you and everybody else at Trinity. Always have been. But you had free choice, buddy. Just like Brother Andrew always says in Religion. Free choice, Obie, and you did the choosing....

You see that God deems it right to take from me any claim to merit for what you call my devotion to you. I have promised to remain forever with you, and now I could not break my promise if I would. The treasure will be no more mine than yours, and neither of us will quit this prison. But my real treasure is not that, my dear friend, which awaits me beneath the somber rocks of Monte Cristo, it is your presence, our living together five or six hours a day, in spite of our jailers; it is the rays of intelligence you have elicited from my brain, the languages you have implanted in my memory, and which have taken root there with all of their philological ramifications. These different sciences that you have made so easy to me by the depth of the knowledge you possess of them, and the clearness of the principles to which you have reduced them – this is my treasure, my beloved friend, and with this you have made me rich and happy. Believe me, and take comfort, this is better for me than tons of gold and cases of diamonds, even were they not as problematical as the clouds we see in the morning floating over the sea, which we take for terra firma, and which evaporate and vanish as we draw near to them. To have you as long as possible near me, to hear your eloquent speech, -- which embellishes my mind, strengthens my soul, and makes my whole frame capable of great and terrible things, if I should ever be free, -- so fills my whole existence, that the despair to which I was just on the point of yielding when I knew you, has no longer any hold over me; this – this is my fortune – not chimerical, but actual. I owe you my real good, my present happiness; and all the sovereigns of the earth, even Caesar Borgia himself, could not deprive me of this.

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

When Nietzsche declared that God is dead, this is what he meant. At least in the West, God has become an abstract idea that some accept and others reject, but it makes little difference either way. In the Middle Ages, without a god I had no source of political, moral and aesthetic authority. I could not tell what was right, good or beautiful. Who could live like that? Today, in contrast, it is very easy not to believe in God, because I pay no price for my unbelief. I can be a complete atheist, and still draw a very rich mix of political, moral and aesthetical values from my inner experience. If I believe in God at all, it is my choice to believe. If my inner self tells me to believe in God – then I believe. I believe because I feel God’s presence, and my heart tells me He is there. But if I no longer feel God’s presence, and if my heart suddenly tells me that there is no God – I will cease believing. Either way, the real source of authority is my own feelings. So even while saying that I believe in God, the truth is I have a much stronger belief in my own inner voice.

It is not that the historian can avoid emphasis of some facts and not of others. This is as natural to him as to the mapmaker, who, in order to produce a usable drawing for practical purposes, must first flatten and distort the shape of the earth, then choose out of the bewildering mass of geographic information those things needed for the purpose of this or that particular map. My argument cannot be against selection, simplification, emphasis, which are inevitable for both cartographers and historians. But the map-maker's distortion is a technical necessity for a common purpose shared by all people who need maps. The historian's distortion is more than technical, it is ideological; it is released into a world of contending interests, where any chosen emphasis supports (whether the historian means to or not) some kind of interest, whether economic or political or racial or national or sexual. Furthermore, this ideological interest is not openly expressed in the way a mapmaker's technical interest is obvious ("This is a Mercator projection for long-range navigation-for short-range, you'd better use a different projection"). No, it is presented as if all readers of history had a common interest which historians serve to the best of their ability. This is not intentional deception; the historian has been trained in a society in which education and knowledge are put forward as technical problems of excellence and not as tools for contending social classes, races, nations. To emphasize the heroism of Columbus and his successors as navigators and discoverers, and to de-emphasize their genocide, is not a technical necessity but an ideological choice. It serves- unwittingly-to justify what was done. My point is not that we must, in telling history, accuse, judge, condemn Columbus in absentia. It is too late for that; it would be a useless scholarly exercise in morality. But the easy acceptance of atrocities as a deplorable but necessary price to pay for progress (Hiroshima and Vietnam, to save Western civilization; Kronstadt and Hungary, to save socialism; nuclear proliferation, to save us all)-that is still with us. One reason these atrocities are still with us is that we have learned to bury them in a mass of other facts, as radioactive wastes are buried in containers in the earth. We have learned to give them exactly the same proportion of attention that teachers and writers often give them in the most respectable of classrooms and textbooks. This learned sense of moral proportion, coming from the apparent objectivity of the scholar, is accepted more easily than when it comes from politicians at press conferences. It is therefore more deadly. The treatment of heroes (Columbus) and their victims (the Arawaks)-the quiet acceptance of conquest and murder in the name of progress-is only one aspect of a certain approach to history, in which the past is told from the point of view of governments, conquerors, diplomats, leaders. It is as if they, like Columbus, deserve universal acceptance, as if they-the Founding Fathers, Jackson, Lincoln, Wilson, Roosevelt, Kennedy, the leading members of Congress, the famous Justices of the Supreme Court-represent the nation as a whole. The pretense is that there really is such a thing as "the United States," subject to occasional conflicts and quarrels, but fundamentally a community of people with common interests. It is as if there really is a "national interest" represented in the Constitution, in territorial expansion, in the laws passed by Congress, the decisions of the courts, the development of capitalism, the culture of education and the mass media.

When it came to my turn in the super spelling bee everyone had already been given really easy words. “Ryan,” Mr H said, “I want you to spell the word icup.” “Icup?” I thought.  I clammed up and my face went all warm and prickly, that feeling you get when you know you’re going to get the answer wrong. It’s a bit like the feeling you get when you walk up on stage to collect an award and you trip going up the stairs in front of everyone, or worse still, your pants fall down. It’s called embarrassment and I was feeling it big time. Actually it was worse than big time. It was humongous, mammoth, big time. All those long, boring afternoons sitting with Mom on the couch spelling word after word meant nothing anymore. I’d never heard of the word ‘icup’. “Oh no,” I thought. If I got this wrong I might not make the necessary criteria to get a raffle ticket before the big draw. Panic stations set in. This was going to be disastrous. ​Mom always said that if you get nervous or frightened, just imagine everyone around you is only in their underwear. It will make you laugh and you’ll forget your nerves. So I did, but it wasn’t a pretty sight. ​ “Ok get a grip of yourself Rino,” I said in my head. “Think about it and just sound the word out.” I could hear my Mom’s words bleating in my head as she so often did when I got stuck on a word. I began slowly, deep in thought and not willing to put one foot wrong sounding out each letter, “I … c.. u .. pee.”  There was silence and then the whole class erupted into hysterics, laughing their heads off, followed by Mr Higginbottom. Then I realised what I had just said when I sounded out the word; “I see you pee,” and I burst out into an embarrassed sort of laughter too. Mr Higginbottom came over and gave me a friendly pat on my head and ruffled my hair. It didn’t worry me that I’d combed it just the right way and put gel in it that morning. It was ok for Mr H to mess it up, but if my sister ever did it, she’d be dead meat. “Well

I rather liked him.I asked him to come and see us.' ‘Oh Christ !’ ‘But, Bradley, you mustn’t reject people,you musn't just write them of. You must be curious about them. Curiosity is kind of charity.’ ‘I don’t think curiosity is a kind of charity. I think it’s a kind of malice.’ ‘That’s what makes a writer, knowing the details.’ ‘It may make your kind of writer. It doesn’t make mine.’ ‘Here we go again,’ said Arnold. ‘Why pile up a jumble of “details”? When you start really imagining something you have to forget the details anyhow, they just get in the way. Art isn’t the reproduction of oddments out of life.’ ‘I never said it was!’ said Arnold. ‘I don’t draw direct from life.’ ‘Your wife thinks you do.’ ‘Oh that. Oh God.’ ‘Inquisitive chatter and cataloguing of things one’s spotted isn’t art. ‘ ‘Of course it isn’t -‘ ‘Vague romantic myth isn’t art either. Art is imagination. Imagination changes, fuses. Without imagination you have stupid details on one side and empty dreams on the othet.’ ‘Bradley, I know you -‘ ‘Art isn’t chat plus fantasy. Art comes out of endless restraint and silnce.’ ‘If the silence is endless there isn’t any art! It’s people without creative gifts who say that more mean worse!’ ‘One should only complete something when one feels one’s bloody privileged to have it all. Those who only do what’s easy will never be rewarded by -‘ ‘Nonsense. I write whether I feel like it or not. I complete things whether I think they’re perfect or not. Anything else is hypocrisy. I have no muse. That’s what being a professional writer is.’ ‘Then thank God I’m not one.’…

Later on in Culture and Society, Williams scores a few points by reprinting some absolutist sentences that, taken on their own, represent exaggerations or generalisations. It was a strength and weakness of Orwell’s polemical journalism that he would begin an essay with a bold and bald statement designed to arrest attention—a tactic that, as Williams rightly notices, he borrowed in part from GK Chesterton and George Bernard Shaw. No regular writer can re-read his own output of ephemera without encountering a few wince-making moments of this kind; Williams admits to ‘isolating’ them but has some fun all the same. The flat sentence ‘a humanitarian is always a hypocrite’ may contain a particle of truth—does in fact contain such a particle—but will not quite do on its own. Other passages of Orwell’s, on the failure of the Western socialist movement, read more convincingly now than they did when Williams was mocking them, but are somewhat sweeping for all that. And there are the famous outbursts of ill-temper against cranks and vegetarians and homosexuals, which do indeed disfigure the prose and (even though we still admire Pope and Swift for the heroic unfairness of their invective) probably deserve rebuke. However, Williams betrays his hidden bias even when addressing these relatively easy targets. He upbraids Orwell for the repeated use of the diminutive word ‘little’ as an insult (‘The typical Socialist ... a prim little man,’ ‘the typical little bowlerhatted sneak,’ etc.). Now, it is probable that we all overuse the term ‘little’ and its analogues. Williams does at one point—rather ‘loftily’ perhaps—reproach his New Left colleagues for being too ready to dismiss Orwell as ‘petit-bourgeois.’ But what about (I draw the example at random) Orwell’s disgust at the behaviour of the English crowd in the First World War, when ‘wretched little German bakers and hairdressers had their shops sacked by the mob’?

Because no one of us lives for himself and no one dies for himself. For if we live, then we live for the Lord; and if we die, then we die for the Lord. Therefore whether we live or die, we belong to the Lord.' Pastor Jón Prímus to himself: That's rather good. With that he thrust the manual into his cassock pocket, turned towards the coffin, and said: That was the formula, Mundi. I was trying to get you to understand it, but it didn't work out; actually it did not matter. We cannot get round this formula anyway. It's easy to prove that the formula is wrong, but it is at least so right that the world came into existence. But it is a waste of words to try to impute to the Creator democratic ideas or social virtues; or to think that one can move Him with weeping and wailing, and persuade Him with logic and legal quibbles. Nothing is so pointless as words. The late pastor Jens of Setberg knew all this and more besides. But he also knew that the formula is kept in a locker. The rest comes by itself. The Creation, which includes you and me, we are in the formula, this very formula I have just been reading; and there is no way out of it. Because no one lives for himself and so on; and whether we live or die, we and so on. You are annoyed that demons should govern the world and that consequently there is only one virtue that is taken seriously by the newspapers: killings. You said they had discovered a machine to destroy everything that draws breath on earth; they were now trying to agree on a method of accomplishing this task quickly and cleanly; preferably while having a cocktail. They are trying to break out of the formula, poor wretches. Who can blame them for that? Who has never wanted to do that? Many consider the human being to be the most useless animal on earth or even the lowest stage of evolution in all the universe put together, and that it is more than high time to wipe this creature out, like the mammoth in the tundras. We once knew a war maiden, you and I. There was only one word ever found for her: Úa. So wonderful was this creation that it's no exaggeration to say that she was completely unbearable; indeed I think that we two helped one another to destroy her, and yet perhaps she is still alive. There was never anything like her. ... In conclusion I, as the local pastor, thank you for having participated in carrying the Creation on your shoulders alongside me.

But my real treasure is not that, my dear friend, which awaits me beneath the sombre rocks of Monte Cristo, it is your presence, our living together five or six hours a day, in spite of our jailers; it is the rays of intelligence you have elicited from my brain, the languages you have implanted in my memory, and which have taken root there with all their philological ramifications. These different sciences that you have made so easy to me by the depth of the knowledge you possess of them, and the clearness of the principles to which you have reduced them—this is my treasure, my beloved friend, and with this you have made me rich and happy. Believe me, and take comfort, this is better for me than tons of gold and cases of diamonds, even were they not as problematical as the clouds we see in the morning floating over the sea, which we take for terra firma, and which evaporate and vanish as we draw near to them. To have you as long as possible near me, to hear your eloquent speech,—which embellishes my mind, strengthens my soul, and makes my whole frame capable of great and terrible things, if I should ever be free,—so fills my whole existence, that the despair to which I was just on the point of yielding when I knew you, has no longer any hold over me; and this—this is my fortune—not chimerical, but actual. I owe you my real good, my present happiness; and all the sovereigns of the earth, even Caesar Borgia himself, could not deprive me of this.

I know," she said, "rejection's not easy. But you reject words, whole pages, long impossible stories, and it feels good once it's done. It's no different rejecting pictures, a picture's right to hang on a wall. And most of these have hung here too long; you don't even see them any more. The best stuff you have, you don't see any more. And they kill each other because they're badly hung. Look, here's a thing of mine and here's your drawing, and they clash. We need distance, it's essential. And different periods need distance to set them apart - unless you're just cramming them together for the shock effect! You simply have to feel it… There should be an element of surprise when people's eyes move across a wall covered with pictures. We don't want to make it too easy for them. Let them catch their breath and look again because they can't help it. Make them think, make them mad, even… Now we'll give our colleagues here better light. Why did you leave so much space right here?

Elphaba’s face darkened again. Then she asked, hesitantly, as if afraid of the answer, “So, how do you get the evil life force?” “From innocent people, Elphaba,” Nick spoke so quietly he almost whispered. “I must draw the life force from innocent people. The more innocent they are, the more evil the murder is.” Elphaba jerked as though a shock had struck her in the heart. “Oh, that’s terrible!” “Yes, it is. Terrible. That word doesn’t even do it justice, terrible. There is no Magick more terrible than Magick that cheats death. I have cheated death, and death extracts its price.” Elphaba silently looked at Nick, her expression of revulsion enough to communicate her feelings. “You shouldn’t act so surprised, malyutka,” Nick said softly. “It is who I am. And it’s worked for me for centuries.” Elphaba sat for a moment, trying to calm herself. “Yes, you’re right. I knew that part of you was a monster. Sometimes it’s easy to forget, since you seem to be such a decent guy.” “Lyches are monsters.

ALL ARE WELCOME. (NO FIGHTING.) That rule is simple on the surface, but not easy in the execution, because Maz Kanata's castle has been a meeting place since time immemorial-- a nexus point drawing together countless lines of allegiance and opposition, a place not only where friend and foe can meet, but where complex conflicts are worn down flat so that all may sit, have a drink and a meal, listen to a song, and broker whatever deals their hearts or politics require. That's why the flags outside her castle represent hundreds of cities and civilizations and guilds from before forever. The galaxy is not now, nor has it ever been, two polar forces battling for supremacy. It has been thousands of forces: a tug-of-war not with as ingle rope but a spider's web of influence, dominance, and desire. Clans and cults, tribes and families, governments and anti-governments. Queens, satraps, warlords! Diplomats, buccaneers, droids! Slicers, spicers, ramblers, and gamblers! To repeat: ALL ARE WELCOME. (NO FIGHTING.)

We walked among the different plants and by using The Book, we did our best to identify them and understand how to use them. Some were easy- spearmint, "for refreshment, strength, and healing," and rosemary, "for remembrance, and the prevention of nightmares." We also found a swathe of sage, which could be used "to cultivate wisdom and intelligence." When I came across a bunch of plants with dark green leaves and tiny white flowers, it took us quite a while to identify it by its drawing in The Book: gotu kola, an herb that could "restore the senses and clear confusion." "Oh, look at this one," I said. "Saffron, for success. I should probably bake with that." "If only it grew here," said Vik. Finally, on the bank of a small stream, we found gigantic thyme stems, almost two feet tall and topped with plump clusters of purple flowers. "What's thyme good for?" I asked Vik as I plucked a dozen stems and inhaled their herbaceous scent. "Thyme attracts affection, loyalty, and the goodwill of others," read Vik, "and can foster strength and courage when needed.

LIFE BATTERS AND shapes us in all sorts of ways before it’s done, but those original selves which we were born with and which I believe we continue in some measure to be no matter what are selves which still echo with the holiness of their origin. I believe that what Genesis suggests is that this original self, with the print of God’s thumb still upon it, is the most essential part of who we are and is buried deep in all of us as a source of wisdom and strength and healing which we can draw upon or, with our terrible freedom, not draw upon as we choose. I think that among other things all real art comes from that deepest self—painting, writing music, dance, all of it that in some way nourishes the spirit and enriches the understanding. I think that our truest prayers come from there too, the often unspoken, unbidden prayers that can rise out of the lives of unbelievers as well as believers whether they recognize them as prayers or not. And I think that from there also come our best dreams and our times of gladdest playing and taking it easy and all those moments when we find ourselves being better or stronger or braver or wiser than we are.

Well," he asked, "whaddya expect?" It was so obviously a rhetorical question that of course I answered it. My truth impulse seemed stronger around this boy,my impulse control way under par. "I would expect you to be dancing." His expression was unreadable in the limited light. "Is that an invitation?" "No. An observation." He shrugged. "Okay. I needed a break. It was either keep an eye on Chase while he pukes up a fifth of cheap rum in the guys' bathroom or follow the girls into the ladies' room." I almost smiled and told him about Willing's bathrooms and me. Instead, some truly horrific and irresistible impulse had me announcing, "Amanda looks really pretty tonight." "So do you." Bizarrely, I felt my breath catch in my chest, and for a long, awful second, I thought I might cry. I gripped the top of my pad tightly, concentrated on the spiral metal binding where it dug into my skin. "It's a cool costume," he said. "Water nymph?" "Sea goddess," I answered quietly. "Roman." "Hmm." Alex was staring out toward the garden now,looking so at ease that I went from pretzel to knot. Could it really be that easy for him? To say things like he did without thinking? Without meaning them at all? "Too many mermaids tonight. Not that I have anything against mermaids.Mermaids are hot. I mean,you saw my drawing." I nodded. "You know," he went on, "that day in the hall,you compared my stuff to two Japanese artists-" I nodded again,even though he was looking out into the darkened gardens now and not at me. "Suzuki Harunobu and Utagawa Kuniyoshi. They were eighteenth and nineteeth-century woodblock print masters-" "Ella," he interrupted. "I know who they are." "Oh." "In fact, I have a couple original Kuniyoshi prints." "Oh.Wow.Wow.

Metalearning: First Draw a Map. Start by learning how to learn the subject or skill you want to tackle. Discover how to do good research and how to draw on your past competencies to learn new skills more easily. Focus: Sharpen Your Knife. Cultivate the ability to concentrate. Carve out chunks of time when you can focus on learning, and make it easy to just do it. Directness: Go Straight Ahead. Learn by doing the thing you want to become good at. Don’t trade it off for other tasks, just because those are more convenient or comfortable. Drill: Attack Your Weakest Point. Be ruthless in improving your weakest points. Break down complex skills into small parts; then master those parts and build them back together again. Retrieval: Test to Learn. Testing isn’t simply a way of assessing knowledge but a way of creating it. Test yourself before you feel confident, and push yourself to actively recall information rather than passively review it. Feedback: Don’t Dodge the Punches. Feedback is harsh and uncomfortable. Know how to use it without letting your ego get in the way. Extract the signal from the noise, so you know what to pay attention to and what to ignore. Retention: Don’t Fill a Leaky Bucket. Understand what you forget and why. Learn to remember things not just for now but forever. Intuition: Dig Deep Before Building Up. Develop your intuition through play and exploration of concepts and skills. Understand how understanding works, and don’t recourse to cheap tricks of memorization to avoid deeply knowing things. Experimentation: Explore Outside Your Comfort Zone. All of these principles are only starting points. True mastery comes not just from following the path trodden by others but from exploring possibilities they haven’t yet imagined.

I had tracked down a little cafe in the next village, with a television set that was going to show the World Cup Final on the Saturday. I arrived there mid-morning when it was still deserted, had a couple of beers, ordered a sensational conejo au Franco, and then sat, drinking coffee, and watching the room fill up. With Germans. I was expecting plenty of locals and a sprinkling of tourists, even in an obscure little outpost like this, but not half the population of Dortmund. In fact, I came to the slow realisation as they poured in and sat around me . . . that I was the only Englishman there. They were very friendly, but there were many of them, and all my exits were cut off. What strategy could I employ? It was too late to pretend that I was German. I’d greeted the early arrivals with ‘Guten Tag! Ich liebe Deutschland’, but within a few seconds found myself conversing in English, in which they were all fluent. Perhaps, I hoped, they would think that I was an English-speaker but not actually English. A Rhodesian, possibly, or a Canadian, there just out of curiosity, to try to pick up the rules of this so-called ‘Beautiful Game’. But I knew that I lacked the self-control to fake an attitude of benevolent detachment while watching what was arguably the most important event since the Crucifixion, so I plumped for the role of the ultra-sporting, frightfully decent Upper-Class Twit, and consequently found myself shouting ‘Oh, well played, Germany!’ when Helmut Haller opened the scoring in the twelfth minute, and managing to restrain myself, when Geoff Hurst equalised, to ‘Good show! Bit lucky though!’ My fixed grin and easy manner did not betray the writhing contortions of my hands and legs beneath the table, however, and when Martin Peters put us ahead twelve minutes from the end, I clapped a little too violently; I tried to compensate with ‘Come on Germany! Give us a game!’ but that seemed to strike the wrong note. The most testing moment, though, came in the last minute of normal time when Uwe Seeler fouled Jackie Charlton, and the pig-dog dolt of a Swiss referee, finally revealing his Nazi credentials, had the gall to penalise England, and then ignored Schnellinger’s blatant handball, allowing a Prussian swine named Weber to draw the game. I sat there applauding warmly, as a horde of fat, arrogant, sausage-eating Krauts capered around me, spilling beer and celebrating their racial superiority.

In a city of almost three million people, a white van stands out about as much as a pigeon in a park. White vans deliver flowers, they carry plumbers, and boxes destined for front porches. This white van is unlike the rest; it has been customized. The flooring has been torn up and replaced with sheets of steel, powder-coated with black paint so they won’t rust or show stains. Metal drains have been installed, complete with catches, drilled in three separate places for easy maintenance and cleaning. There are thick metal eyebolts fastened into the frame in several spots, impossible to remove, at various heights up and down the walls. The gas tank is a custom installation, almost double the normal size, holding up to thirty gallons of gas, which means that it can drive for almost six hundred miles, to St. Louis and back, without running out of fuel. It can also cruise the dark streets all night long—for days, even weeks—before finally becoming empty, frequent gas station stops to be avoided. And the windows are tinted black, illegal of course, but hardly drawing any attention, so dark that even standing up next to them, it’s impossible to see inside. And for the driver, that’s a good thing—a very good thing, indeed.

The Logic of the Double or Triple Threat On “career advice,” Scott has written the following, which is slightly trimmed for space here. This is effectively my mantra, and you’ll see why I bring it up: If you want an average, successful life, it doesn’t take much planning. Just stay out of trouble, go to school, and apply for jobs you might like. But if you want something extraordinary, you have two paths: 1) Become the best at one specific thing. 2) Become very good (top 25%) at two or more things. The first strategy is difficult to the point of near impossibility. Few people will ever play in the NBA or make a platinum album. I don’t recommend anyone even try. The second strategy is fairly easy. Everyone has at least a few areas in which they could be in the top 25% with some effort. In my case, I can draw better than most people, but I’m hardly an artist. And I’m not any funnier than the average standup comedian who never makes it big, but I’m funnier than most people. The magic is that few people can draw well and write jokes. It’s the combination of the two that makes what I do so rare. And when you add in my business background, suddenly I had a topic that few cartoonists could hope to understand without living it.

Their dad said, “Heaven is beautiful like your mother was beautiful, but like it beauty is fleeting and once beheld for years, for decades, gold that seemed precious and unique no longer holds the significance it once held to the one who has possessed it and been possessed by it. And heaven resides in God’s breast, not the true god, for there is no true god, only many faces and many incarnations of want, of structure, of meaning. And his heart-tent is vast drawing to it those who swear allegiance to beauty and partial truth. Partial,” their father said, stroking Maggie’s arm, “because truth is independent of religion or creed or upbringing. It is a matter of the heart, separate from fact, without the limitations of doctrine. And what would heaven feel like? More of the same corrupt single-mindedness of a deity who abhors independence, who truly and fiercely fights the accumulation of knowledge in its worshipers. So the weak run to it, the road-weary, the undecided. Because God makes things easy, they do not have to make choices for themselves, they do not have to study the greater mysteries that echo like a clarion call in their souls and resonate in their hearts, seeds planted in the dark soil of their youth that are burned to chaff in the commonplace, never tilled or watered, hopeless due to acquiescence.

What do you see?” my professor asked as he projected a picture of a small black dot in the middle of a very big white screen. I was sitting in Psychology 101 during my years at Sydney University. We all responded immediately: “A black dot.” I was excited, thinking, If all of the questions are as easy as this one, this course is going to be easy! The prof looked out over the class and paused for several seconds before he asked again, “What do you see?” Thinking he must not have heard us properly the first time, we repeated even more loudly: “A black dot!” Again he paused . . . and then asked the same question a third time. Now he had my attention. And when still, on the third try, none of us provided the correct answer, he explained — and gave me a lesson I will never forget. “You were all so focused on the little black dot in the center of the screen that none of you noticed the dominant image on the screen: the large white space covering the screen top to bottom, left to right.” I couldn’t believe I had missed it. Suddenly it was obvious. There was far more white space than black dot. Whatever I chose to focus on had my attention. There is always much more white space than there is space covered by little black dots — we simply need to recognize and focus on it. In class, that idea seemed like an easy notion — easier than it has proven to be in life. Because the harsh reality is that the black dots of our lives — the trials, challenges, disappointments, obstacles, and hurdles we face as we run — will naturally draw and consume our attention. Our enemy would love to get us to focus on those black dots and convince us they define and shape our lives and determine our destiny. But in the divine relay, we are to fix our eyes on Jesus. He is the “white space” of God’s power at work in the universe, and the trials we face are but a tiny speck, a black dot, in comparison. As we learn to focus on the vastness of God’s eternal, amazing work on this planet, those black dots will cease to blemish our lives.

I am often filled with wonder when I see some men demanding the time of others and those from whom they ask it most indulgent. Both of them fix their eyes on the object of the request for time, neither of them on the time itself; just as if what is asked were nothing, what is given, nothing. Men trifle with the most precious thing in the world; but they are blind to it because it is an incorporeal thing, because it does not come beneath the sight of the eyes, and for this reason it is counted a very cheap thing—nay, of almost no value at all. Men set very great store by pensions and doles, and for these they hire out their labour or service or effort. But no one sets a value on time; all use it lavishly as if it cost nothing. But see how these same people clasp the knees of physicians if they fall ill and the danger of death draws nearer, see how ready they are, if threatened with capital punishment, to spend all their possessions in order to live! So great is the inconsistency of their feelings. But if each one could have the number of his future years set before him as is possible in the case of the years that have passed, how alarmed those would be who saw only a few remaining, how sparing of them would they be! And yet it is easy to dispense an amount that is assured, no matter how small it may be; but that must be guarded more carefully which will fail you know not when.

He grabbed her by the shoulders and stared into her soul with his madly hypnotic eyes, the same color as his chemical birthplace. “Would you die for me?” he asked. Quinzel nodded with certainty. “Yes.” “No. That’s too easy.” He leaned in closer, his eyes drawing her in. “Would you live for me?” He then smiled The Smile, and it scared the hell out of her. Quinzel trembled. There was a power about him she could not deny, and she wanted that power to ravage her. He was a lion about to swallow a mouse, and she could hardly wait another instant to be devoured. But he wouldn’t let her go. Not now. Not yet. “Will you embrace me and only me?” he demanded. She nodded vigorously. Of course. There’ll never be anyone else. “Will you bind your spirit to mine, in hate?” If not you, who else? Bind me. Bind me any way you want. “Do you consign your soul to me?” Duh. What do you think I’ve been trying to do? C’mon. Let’s do this already. “Do you laugh at the world in disgust?” Always have. Always will. ’Specially if we can laugh at it together. All she said to him was, “Yes.” Joker backed away. He stared at her, studied her. He was the doctor now, and she the patient, but he still needed to make sure. “Do not say this oath thoughtlessly,” he said, his expression serious. “Desire becomes surrender. Surrender becomes power. Do you want it? Do you really want it?” She looked at him with undying love in her eyes. “I do,” she joyously said. “I do.” “Then goodbye, Dr. Quinzel.” He

In explaining the way that trivial, if diverting, pursuits like Guitar Hero provide an easy alternative to meaningful work, Horning draws on the writing of political theorist Jon Elster. In his 1986 book An Introduction to Karl Marx, Elster used a simple example to illustrate the psychic difference between the hard work of developing talent and the easy work of consuming stuff: Compare playing the piano with eating lamb chops. The first time one practices the piano it is difficult, even painfully so. By contrast, most people enjoy lamb chops the first time they eat them. Over time, however, these patterns are reversed. Playing the piano becomes increasingly more rewarding, whereas the taste for lamb chops becomes satiated and jaded with repeated, frequent consumption. Elster then made a broader point: Activities of self-realization are subject to increasing marginal utility: They become more enjoyable the more one has already engaged in them. Exactly the opposite is true of consumption. To derive sustained pleasure from consumption, diversity is essential. Diversity, on the other hand, is an obstacle to successful self-realization, as it prevents one from getting into the later and more rewarding stages. “Consumerism,” comments Horning, “keeps us well supplied with stuff and seems to enrich our identities by allowing us to become familiar with a wide range of phenomena—a process that the internet has accelerated immeasurably. . . . But this comes at the expense with developing any sense of mastery of anything, eroding over time the sense that mastery is possible, or worth pursuing.” Distraction is the permanent end state of the perfected consumer, not least because distraction is a state that is eminently programmable. To buy a guitar is to open possibilities. To buy Guitar Hero is to close them. A

Rach-Uh, my mom says they'll help me blend in better. She says the color would just draw attention to me." Emma snorts. "Oh, she's definitely right. Blue eyes make you look so much more average. In fact, I almost didn't notice you standing there." "That hurts my feelings, Emma." He grins. She giggles. He says, "I'd consider forgiving you-if you come with me to the beach." She sighs. "I can't go with you, Galen." He runs a hand through his hair. "Honestly, Emma, I don't know how much more rejection I can take," he blurts out. In fact, he doesn't remember ever being rejected, except by Emma. Of course, that could be due to the fact that he's a Royal. Or maybe it's because he doesn't spend a lot of time with his kind anyway, let alone the females. Actually, he doesn't spend a lot of time with anyone except Rachel. And Rachel would give him her beating heart if he asked for it. "I'm sorry. It's not about you this time. Well, actually, it kind of is. My mom...well, she thinks we're dating." Her cheeks-and those lips-deepen to red. "Dating?" What is dating again? He tries to remember what Rachel told him...She said it's easy to remember because it's almost the same as...what is the rhyme for it? And then he remembers. "It's easy to remember, because dating rhymes with mating, and they're almost the same," she'd said. He blinks at Emma. "You're mom thinks we're ma-Uh, dating?" She nods biting her lip. For reasons he can't explain, this pleases him. He leans against the passenger door of her car. "Oh. Well. What does it matter if she thinks that?" "I told her we weren't dating, though. Just this morning. Going to the beach with you makes me look like a liar." He scratches the back of his neck. "I don't understand. If you told her we weren't dating, then why does she think we are?" She relaxes against his driver-side door. "Well, this is all actually your fault, not mine." "I'm obviously not asking the right questions-" "The way you acted toward me when I hit my head, Galen. Some people saw that. And they told my mom. She thinks I've been hiding you from her, keeping you a secret. Because she thinks we've been...we've been..." "Dating?" he offers. He can't understand why she'd have a difficult time discussing dating, if it means what he thinks it does-spending time with one human more than others to see if he or she would be a good mate. The Syrena do the same, only they call it sifting-and sifting doesn't take nearly as long as dating. A Syrena can sift out a mate within a few days. He'd laughed when Rachel said some humans date for years. So indecisive. Then an echo of Toraf's voice whispers to him, calling him a hypocrite. You're twenty years old. Why haven't you sifted for a mate? But that doesn't make him indecisive. He just hasn't had time to sift and keep his responsibility watching the humans. If it weren't for that, he'd already be settled down. How can Toraf think Emma's the reason he hasn't sifted yet? Up until three weeks ago, he didn't even know she existed.

Darwin singled out the eye as posing a particularly challenging problem: 'To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.' Creationists gleefully quote this sentence again and again. Needless to say, they never quote what follows. Darwin's fulsomely free confession turned out to be a rhetorical device. He was drawing his opponents towards him so that his punch, when it came, struck the harder. The punch, of course, was Darwin's effortless explanation of exactly how the eye evolved by gradual degrees. Darwin may not have used the phrase 'irreducible complexity', or 'the smooth gradient up Mount Improbable', but he clearly understood the principle of both. 'What is the use of half an eye?' and 'What is the use of half a wing?' are both instances of the argument from 'irreducible complexity'. A functioning unit is said to be irreducibly complex if the removal of one of its parts causes the whole to cease functioning. This has been assumed to be self-evident for both eyes and wings. But as soon as we give these assumptions a moment's thought, we immediately see the fallacy. A cataract patient with the lens of her eye surgically removed can't see clear images without glasses, but can see enough not to bump into a tree or fall over a cliff. Half a wing is indeed not as good as a whole wing, but it is certainly better than no wing at all. Half a wing could save your life by easing your fall from a tree of a certain height. And 51 per cent of a wing could save you if you fall from a slightly taller tree. Whatever fraction of a wing you have, there is a fall from which it will save your life where a slightly smaller winglet would not. The thought experiment of trees of different height, from which one might fall, is just one way to see, in theory, that there must be a smooth gradient of advantage all the way from 1 per cent of a wing to 100 per cent. The forests are replete with gliding or parachuting animals illustrating, in practice, every step of the way up that particular slope of Mount Improbable. By analogy with the trees of different height, it is easy to imagine situations in which half an eye would save the life of an animal where 49 per cent of an eye would not. Smooth gradients are provided by variations in lighting conditions, variations in the distance at which you catch sight of your prey—or your predators. And, as with wings and flight surfaces, plausible intermediates are not only easy to imagine: they are abundant all around the animal kingdom. A flatworm has an eye that, by any sensible measure, is less than half a human eye. Nautilus (and perhaps its extinct ammonite cousins who dominated Paleozoic and Mesozoic seas) has an eye that is intermediate in quality between flatworm and human. Unlike the flatworm eye, which can detect light and shade but see no image, the Nautilus 'pinhole camera' eye makes a real image; but it is a blurred and dim image compared to ours. It would be spurious precision to put numbers on the improvement, but nobody could sanely deny that these invertebrate eyes, and many others, are all better than no eye at all, and all lie on a continuous and shallow slope up Mount Improbable, with our eyes near a peak—not the highest peak but a high one.

Oskar Schell: My father died at 9-11. After he died I wouldn't go into his room for a year because it was too hard and it made me want to cry. But one day, I put on heavy boots and went in his room anyway. I miss doing taekwondo with him because it always made me laugh. When I went into his closet, where his clothes and stuff were, I reached up to get his old camera. It spun around and dropped about a hundred stairs, and I broke a blue vase! Inside was a key in an envelope with black written on it and I knew that dad left something somewhere for me that the key opened and I had to find. So I take it to Walt, the locksmith. I give it to Stan, the doorman, who tells me keys can open anything. He gave me the phone book for all the five boroughs. I count there are 472 people with the last name black. There are 216 addresses. Some of the blacks live together, obviously. I calculated that if I go to 2 every Saturday plus holidays, minus my hamlet school plays, my minerals, coins, and comic convention, it's going to take me 3 years to go through all of them. But that's what I'm going to do! Go to every single person named black and find out what the key fits and see what dad needed me to find. I made the very best possible plan but using the last four digits of each phone number, I divide the people by zones. I had to tell my mother another lie, because she wouldn't understand how I need to go out and find what the key fits and help me make sense of things that don't even make sense like him being killed in the building by people that didn't even know him at all! And I see some people who don't speak English, who are hiding, one black said that she spoke to God. If she spoke to god how come she didn't tell him not to kill her son or not to let people fly planes into buildings and maybe she spoke to a different god than them! And I met a man who was a woman who a man who was a woman all at the same time and he didn't want to get hurt because he/she was scared that she/he was so different. And I still wonder if she/he ever beat up himself, but what does it matter? Thomas Schell: What would this place be if everyone had the same haircut? Oskar Schell: And I see Mr. Black who hasn't heard a sound in 24 years which I can understand because I miss dad's voice that much. Like when he would say, "are you up yet?" or... Thomas Schell: Let's go do something. Oskar Schell: And I see the twin brothers who paint together and there's a shed that has to be clue, but it's just a shed! Another black drew the same drawing of the same person over and over and over again! Forest black, the doorman, was a school teacher in Russia but now says his brain is dying! Seamus black who has a coin collection, but doesn't have enough money to eat everyday! You see olive black was a gate guard but didn't have the key to it which makes him feel like he's looking at a brick wall. And I feel like I'm looking at a brick wall because I tried the key in 148 different places, but the key didn't fit. And open anything it hasn't that dad needed me to find so I know that without him everything is going to be alright. Thomas Schell: Let's leave it there then. Oskar Schell: And I still feel scared every time I go into a strange place. I'm so scared I have to hold myself around my waist or I think I'll just break all apart! But I never forget what I heard him tell mom about the sixth borough. That if things were easy to find... Thomas Schell: ...they wouldn't be worth finding. Oskar Schell: And I'm so scared every time I leave home. Every time I hear a door open. And I don't know a single thing that I didn't know when I started! It's these times I miss my dad more than ever even if this whole thing is to stop missing him at all! It hurts too much. Sometimes I'm afraid I'll do something very bad.

I can’t help thinking,” she confided when he finished answering her questions about women in India who covered their faces and hair in public, “that it is grossly unfair that I was born a female and so must never know such adventures, or see but a few of those places. Even if I were to journey there, I’d only be allowed to go where everything was as civilized as-as London!” “There does seem to be a case of extreme disparity between the privileges accorded the sexes,” Ian agreed. “Still, we each have our duty to perform,” she informed him with sham solemnity. “And there’s said to be great satisfaction in that.” “How do you view your-er-duty?” he countered, responding to her teasing tone with a lazy white smile. “That’s easy. It is a female’s duty to be a wife who is an asset to her husband in every way. It is a male’s duty to do whatever he wishes, whenever he wishes, so long as he is prepared to defend his country should the occasion demand it in his lifetime-which it very likely won’t. Men,” she informed him, “gain honor by sacrificing themselves on the field of battle while we sacrifice ourselves on the altar of matrimony.” He laughed aloud then, and Elizabeth smiled back at him, enjoying herself hugely. “Which, when one considers it, only proves that our sacrifice is by far the greater and more noble.” “How is that?” he asked, still chuckling. “It’s perfectly obvious-battles last mere days or weeks, months at the very most. While matrimony lasts a lifetime! Which brings to mind something else I’ve often wondered about,” she continued gaily, giving full rein to her innermost thoughts. “And that is?” he prompted, grinning, watching her as if he never wanted to stop. “Why do you suppose, after all that, they call us the weaker sex?” Their laughing gazes held, and then Elizabeth realized how outrageous he must be finding some of her remarks. “I don’t usually go off on such tangents,” she said ruefully. “You must think I’m dreadfully ill-bred.” “I think,” he softly said, “that you are magnificent.” The husky sincerity in his deep voice snatched her breath away. She opened her mouth, thinking frantically for some light reply that could restore the easy camaraderie of a minute before, but instead of speaking she could only draw a long, shaky breath. “And,” he continued quietly, “I think you know it.” This was not, not the sort of foolish, flirtatious repartee she was accustomed to from her London beaux, and it terrified her as much as the sensual look in those golden eyes. Pressing imperceptibly back against the arm of the sofa, she told herself she was only overacting to what was nothing more than empty flattery. “I think,” she managed with a light laugh that stuck in her throat, “that you must find whatever female you’re with ‘magnificent.’” “Why would you say a thing like that?” Elizabeth shrugged. “Last night at supper, for one thing.” When he frowned at her as if she were speaking in a foreign language, she prodded, “You remember Lady Charise Dumont, our hostess, the same lovely brunette on whose every word you were hanging at supper last night?” His frown became a grin. “Jealous?” Elizabeth lifted her elegant little chin and shook her head. “No more than you were of Lord Howard.” She felt a small bit of satisfaction as his amusement vanished. “The fellow who couldn’t seem to talk to you without touching your arm?” he inquired in a silky-soft voice. “That Lord Howard? As a matter of fact, my love, I spent most of my meal trying to decide whether I wanted to shove his nose under his right ear or his left.” Startled, musical laughter erupted from her before she could stop it. “You did nothing of the sort,” she chuckled. “Besides, if you wouldn’t duel with Lord Everly when he called you a cheat, you certainly wouldn’t harm poor Lord Howard merely for touching my arm.” “Wouldn’t I?” he asked softly. “Those are two very different issues.

Do you have vows?” Freeman asked. Zane nodded, but he didn’t move to take out a piece of paper or any notes. He licked his lips instead and took a deep breath. “Ty,” he said, and the sound was almost lost in the night. “Some roads to love aren’t easy, and I’ve never been more thankful for being forced to fight for something. I started this journey with a partner I hated, and a man in the mirror I hated even more. The road took me from the streets of New York to the mountaintops of West Virginia, from the place I born to the place I found a home. It forced me to let go of my past and face my future. And I had to be made blind before I could see.” Zane swallowed hard and looked down, obviously fighting to finish without choking on the words or tearing up. Ty realized his own eyes were burning, and it wasn’t because of the cold wind. Zane squeezed Ty’s fingers with one hand, and he met Ty’s eyes as he reached into his lapel with his other. “I promise to love you until I die,” he said, his voice strong again. He held up a Sharpie he’d had in his suit, and pulled Ty’s hand closer to draw on his ring finger. With several sweeping motions, he created an infinity sign that looped all the way around the finger. When he was satisfied with the ring he’d drawn, he kissed Ty’s knuckles and let him go, handing him the Sharpie. Ty grasped the pen, but he couldn’t take his eyes off Zane. He ran his thumb over Zane’s palm. He had a set of vows he’d jotted down on a note card, folded up in his pocket, but he left them where they were and gazed into Zane’s eyes, their past flashing in front of him, their future opening up in his mind. He took a deep breath. “I promise to never leave you alone in the dark,” he whispered. He pulled Zane’s hand closer and pressed the tip of the Sharpie against Zane’s skin, curving the symbol for forever around it. When he was satisfied, he kissed the tip of Zane’s finger and slid the pen back into his lapel pocket. Freeman coughed and turned a page in his book. “Do you, Zane Zachary Garrett, take this man to be your lawful wedded husband?” Zane’s lips curved into a warm smile. “I do.” Freeman turned toward Ty. “Do you, Beaumont Tyler Grady, take this man to be your lawful wedded husband?” “I do,” Ty said, almost before the question was finished. “Then by the power vested in me by the state of Maryland, I pronounce you legally wed.” Freeman slapped his little book closed. “You may now share the first kiss of the rest of your lives.” Ty had fully expected to have the urge to grab Zane and plant one on him out of sheer impatience and joy, but as he stood staring at his brand-new husband, it was as if they were moving underwater. He touched the tips of his fingers to Zane’s cheek, then stepped closer and used both hands to cup his face with the utmost care. Zane was still smiling when they kissed, and it was slow and gentle, Zane’s hands at Ty’s ribs pulling them flush. “Okay, now,” Livi whispered somewhere to their side, and a moment later they were both pelted with handfuls of heart-shaped confetti. Zane laughed and finally wrapped his arms around Ty, squeezing him tight. The others continued to toss the confetti at them, even handing out bits to people passing by so they’d be sure to get covered from all sides. They laughed into the kiss, not caring. They were still locked in their happy embrace when Deuce turned the box over above them and rained little, bitty hearts down on their heads.

Taking the catcher’s place, he sank to his haunches and gestured to Arthur. “Throw some easy ones to begin with,” he called, and Arthur nodded, seeming to lose his apprehensiveness. “Yes, milord!” Arthur wound up and released a relaxed, straight pitch. Squinting in determination, Lilian gripped the bat hard, stepped into the swing, and turned her hips to lend more impetus to the motion. To her disgust, she missed the ball completely. Turning around, she gave Westcliff a pointed glance. “Well, your advice certainly helped,” she muttered sarcastically. “Elbows,” came his succinct reminder, and he tossed the ball to Arthur. “Try again.” Heaving a sigh, Lillian raised the bat and faced the pitcher once more. Arthur drew his arm back, and lunged forward as he delivered another fast ball. Lillian brought the bat around with a grunt of effort, finding an unexpected ease in adjusting the swing to just the right angle, and she received a jolt of visceral delight as she felt the solid connection between the bat and the leather ball. With a loud crack the ball was catapulted high into the air, over Arthur’s head, beyond the reach of those in the back field. Shrieking in triumph, Lillian dropped the bat and ran headlong toward the first sanctuary post, rounding it and heading toward second. Out of the corner of her eye, she saw Daisy hurtling across the field to scoop up the ball, and in nearly the same motion, throwing it to the nearest boy. Increasing her pace, her feet flying beneath her skirts, Lillian rounded third, while the ball was tossed to Arthur. Before her disbelieving eyes, she saw Westcliff standing at the last post, Castle Rock, with his hands held up in readiness to catch the ball. How could he? After showing her how to hit the ball, he was now going to tag her out? “Get out of my way!” Lillian shouted, running pellmell toward the post, determined to reach it before he caught the ball. “I’m not going to stop!” “Oh, I’ll stop you,” Westcliff assured her with a grin, standing right in front of the post. He called to the pitcher. “Throw it home, Arthur!” She would go through him, if necessary. Letting out a warlike cry, Lillian slammed full-length into him, causing him to stagger backward just as his fingers closed over the ball. Though he could have fought for balance, he chose not to, collapsing backward onto the soft earth with Lillian tumbling on top of him, burying him in a heap of skirts and wayward limbs. A cloud of fine beige dust enveloped them upon their descent. Lillian lifted herself on his chest and glared down at him. At first she thought that he had been winded, but it immediately became apparent that he was choking with laughter. “You cheated!” she accused, which only seemed to make him laugh harder. She struggled for breath, drawing in huge lungfuls of air. “You’re not supposed…to stand in front…of the post…you dirty cheater!” Gasping and snorting, Westcliff handed her the ball with the ginger reverence of someone yielding a priceless artifact to a museum curator. Lillian took the ball and hurled it aside. “I was not out,” she told him, jabbing her finger into his hard chest for emphasis. It felt as if she were poking a hearthstone. “I was safe, do you…hear me?” She heard Arthur’s amused voice as he approached them. “Actually, miss—” “Never argue with a lady, Arthur,” the earl interrupted, having managed to regain his powers of speech, and the boy grinned at him. “Yes, milord.” “Are there ladies here?” Daisy asked cheerfully, coming from the field. “I don’t see any.” Still smiling, the earl looked up at Lillian.