Echo Print Quotes

That illusion of a world so shaped that it echoes every groan, of human beings so tied together by common needs and fears that a twitch at one wrist jerks another, where however strange your experience other people have had it too, where however far you travel in your own mind someone has been there before you - - is all an illusion. We do not know our own souls, let alone the souls of others. Human beings do not go hand in hand the whole stretch of the way. There is a virgin forest in each; a snowfield where even the print of birds' feet is unknown. Here we go alone, and like it better so. Always to have sympathy, always to be accompanied, always to be understood would be intolerable.

We are sorry, child. We did not mean to love you so well. This was a truth I hadn’t understood until now. You see, nothing good can come from being loved by old gods. Their love of mortals turns them neglectful and petty. When they move on, they lay waste in their path—cicada wings and bear paw prints, sacs of spider silk, echoes and anemone, the limbs of lovers now rendered to stars.

Chastity and moral purity were qualities McCandless mulled over long and often. Indeed, one of the books found in the bus with his remains was a collection of stories that included Tol¬stoy’s “The Kreutzer Sonata,” in which the nobleman-turned-ascetic denounces “the demands of the flesh.” Several such passages are starred and highlighted in the dog-eared text, the margins filled with cryptic notes printed in McCandless’s distinc¬tive hand. And in the chapter on “Higher Laws” in Thoreau’s Walden, a copy of which was also discovered in the bus, McCand¬less circled “Chastity is the flowering of man; and what are called Genius, Heroism, Holiness, and the like, are but various fruits which succeed it.” We Americans are titillated by sex, obsessed by it, horrified by it. When an apparently healthy person, especially a healthy young man, elects to forgo the enticements of the flesh, it shocks us, and we leer. Suspicions are aroused. McCandless’s apparent sexual innocence, however, is a corol¬lary of a personality type that our culture purports to admire, at least in the case of its more famous adherents. His ambivalence toward sex echoes that of celebrated others who embraced wilderness with single-minded passion—Thoreau (who was a lifelong virgin) and the naturalist John Muir, most prominently— to say nothing of countless lesser-known pilgrims, seekers, mis¬fits, and adventurers. Like not a few of those seduced by the wild, McCandless seems to have been driven by a variety of lust that supplanted sexual desire. His yearning, in a sense, was too pow¬erful to be quenched by human contact. McCandless may have been tempted by the succor offered by women, but it paled beside the prospect of rough congress with nature, with the cosmos it¬self. And thus was he drawn north, to Alaska.

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.

Ivan did it, then. He took me at my word, adopted my story as his own, gave it an ending. I didn't expect it to end like this this, though: printed words on cream pages.

Don’t cut too deep in your first prints.” “But what if we do dig too deep?” a girl in the front asked. “What happens then?” Giulia reached out to the side, pulling up a print stained with inky shadows, but within its depths, the faint outlines of something else. An echo of what it had been still visible in the second plate. “Cut too deep,” she said, “and your image will keep coming back again and again, no matter how many times you rework it.

When we read, we are not looking for new ideas, but to see our own thoughts given the seal of confirmation on the printed page. The words that strike us are those that awake an echo in a zone we have already made our own the place where we live and the vibration enables us to find fresh starting points within ourselves.

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.

From Vergil's Tenth Eclogue Verses 1-26. Published by Rossetti, "Complete Poetical Works of P. B. S.", 1870, from the Boscombe manuscripts now in the Bodleian. Mr. Locock ("Examination", etc., 1903, pages 47-50), as the result of his collation of the same manuscripts, gives a revised and expanded version which we print below. Melodious Arethusa, o'er my verse Shed thou once more the spirit of thy stream: Who denies verse to Gallus? So, when thou Glidest beneath the green and purple gleam Of Syracusan waters, mayst thou flow Unmingled with the bitter Doric dew! Begin, and, whilst the goats are browsing now The soft leaves, in our way let us pursue The melancholy loves of Gallus. List! We sing not to the dead: the wild woods knew His sufferings, and their echoes... Young Naiads,...in what far woodlands wild Wandered ye when unworthy love possessed Your Gallus? Not where Pindus is up-piled, Nor where Parnassus' sacred mount, nor where Aonian Aganippe expands... The laurels and the myrtle-copses dim. The pine-encircled mountain, Maenalus, The cold crags of Lycaeus, weep for him; And Sylvan, crowned with rustic coronals, Came shaking in his speed the budding wands And heavy lilies which he bore: we knew Pan the Arcadian. ... 'What madness is this, Gallus? Thy heart's care With willing steps pursues another there

Censorship diminished, and copyright was originated. Moreover, the early years of the eighteenth century gave rise to a galaxy of new phenomena that included the printed handbill, printed receipts, printed tickets, printed advertisements, and posters. At the same time there was a surge in the production of political pamphlets, broadsides, books for children, and even street maps. Alexander Pope satirized the rage for print in his poem The Dunciad (1728–43); he mockingly suggested that its democratizing power had brought ‘the Smithfield Muses to the Ear of Kings’. Johnson echoed Pope’s sentiments, complaining that ‘so widely is spread the itch of literary praise, that almost every man is an author, either in act or in purpose’.3

Dear KDP Author, Just ahead of World War II, there was a radical invention that shook the foundations of book publishing. It was the paperback book. This was a time when movie tickets cost 10 or 20 cents, and books cost $2.50. The new paperback cost 25 cents – it was ten times cheaper. Readers loved the paperback and millions of copies were sold in just the first year. With it being so inexpensive and with so many more people able to afford to buy and read books, you would think the literary establishment of the day would have celebrated the invention of the paperback, yes? Nope. Instead, they dug in and circled the wagons. They believed low cost paperbacks would destroy literary culture and harm the industry (not to mention their own bank accounts). Many bookstores refused to stock them, and the early paperback publishers had to use unconventional methods of distribution – places like newsstands and drugstores. The famous author George Orwell came out publicly and said about the new paperback format, if “publishers had any sense, they would combine against them and suppress them.” Yes, George Orwell was suggesting collusion. Well… history doesn’t repeat itself, but it does rhyme. Fast forward to today, and it’s the e-book’s turn to be opposed by the literary establishment. Amazon and Hachette – a big US publisher and part of a $10 billion media conglomerate – are in the middle of a business dispute about e-books. We want lower e-book prices. Hachette does not. Many e-books are being released at $14.99 and even $19.99. That is unjustifiably high for an e-book. With an e-book, there’s no printing, no over-printing, no need to forecast, no returns, no lost sales due to out of stock, no warehousing costs, no transportation costs, and there is no secondary market – e-books cannot be resold as used books. E-books can and should be less expensive. Perhaps channeling Orwell’s decades old suggestion, Hachette has already been caught illegally colluding with its competitors to raise e-book prices. So far those parties have paid $166 million in penalties and restitution. Colluding with its competitors to raise prices wasn’t only illegal, it was also highly disrespectful to Hachette’s readers. The fact is many established incumbents in the industry have taken the position that lower e-book prices will “devalue books” and hurt “Arts and Letters.” They’re wrong. Just as paperbacks did not destroy book culture despite being ten times cheaper, neither will e-books. On the contrary, paperbacks ended up rejuvenating the book industry and making it stronger. The same will happen with e-books. Many inside the echo-chamber of the industry often draw the box too small. They think books only compete against books. But in reality, books compete against mobile games, television, movies, Facebook, blogs, free news sites and more. If we want a healthy reading culture, we have to work hard to be sure books actually are competitive against these other media types, and a big part of that is working hard to make books less expensive. Moreover, e-books are highly price elastic. This means that when the price goes down, customers buy much more. We've quantified the price elasticity of e-books from repeated measurements across many titles. For every copy an e-book would sell at $14.99, it would sell 1.74 copies if priced at $9.99. So, for example, if customers would buy 100,000 copies of a particular e-book at $14.99, then customers would buy 174,000 copies of that same e-book at $9.99. Total revenue at $14.99 would be $1,499,000. Total revenue at $9.99 is $1,738,000. The important thing to note here is that the lower price is good for all parties involved: the customer is paying 33% less and the author is getting a royalty check 16% larger and being read by an audience that’s 74% larger. The pie is simply bigger.

Jackson’s conduct in this respect echoes the Obama administration’s refusal to comply with laws and court rulings that Obama finds uncongenial. From the Defense of Marriage Act to welfare reform to Obamacare to immigration, today’s progressives seem willing to bend the law to their own purposes. This tradition of Democratic lawlessness has its true forefather in Andrew Jackson. The Cherokee continued to protest. The tribe owned a printing press which put out a newspaper, The Cherokee Phoenix. Acting on the advice of Jackson’s former attorney general, John Berrien, Jackson’s people raided the printing house and destroyed the press, shattering it to pieces and silencing the voice of the Cherokee people.

The concept at Halden of staff “being on the same side” as the inmates is not how most people would describe the dynamics within prisons. But it’s exactly what I see as Warden Høidal and I continue our tour of the Halden grounds. We pass the prison’s print shop, where staff and men are working together, unfurling the posters they’ve designed as they emerge from machines, assessing them with admiration and critique. Warden Høidal introduces me to a group of the men. One man asks a question in Norwegian, gesturing at me. Høidal nods, and the man bustles away. I look at the warden quizzically. “They would like to give you a gift,” he explains as the man returns. Smiling, the man hands me an apron and a cookbook, both emblazoned with the name of the prison and a wry image of a magnetic kitchen knife strip from which hang two kitchen knives, a carving fork, and a pair of handcuffs. The name of the cookbook is in Norwegian, but Høidal tells me with a chuckle that it translates as Honest Food from Halden Prison.

Echoing Nöin’s words, he wrote: ‘The spring mist filled the sky and, in spite of myself, the gods filled my heart with a yearning to cross the Shirakawa barrier.’ There were no surly border guards and no crowds of travellers when I finally reached the barrier — no merchants in sedan chairs, no daimyo on horseback with retinues of foot soldiers and servants and porters; no pilgrims, no priests; no ladies in palanquins or travellers in capes and straw hats, like the colourful figures in Hokusai’s woodblock prints. In fact, I nearly walked straight past it along the rough country road.

I have a friend—she is the kind of friend that all of us have—who is a true believer in astrology and psychic phenomenon, a devotee of reiki, a collector of crystals, a woman who occasionally sends me emails with cryptic titles and a single line of text asking, for example, the time of day that I was born or whether I have any mental associations with moths. None that come immediately to mind, I write back. But then of course moths are suddenly everywhere: on watercolor prints in the windows of art shops, in Virginia Woolf’s diaries, on the pages of the illustrated children’s book I read to my nieces. This woman, whom I have known since I was very young, also experiences strange echoes and patterns, but for her they are not the result of confirmation bias or the brain’s inclination toward narrative. She believes that the patterns are part of the very fabric of reality, that they refer to universal archetypes that express themselves in our individual minds. Transcendent truths, she has told me many times, cannot be articulated intellectually because higher thought is limited by the confines of language. These larger messages from the universe speak through our intuitions, and we modern people have become so completely dominated by reason that we have lost this connection to instinct. She claims to receive many of these messages through images and dreams. In a few cases she has predicted major global events simply by heeding some inchoate sensation—an aching knee, the throbbing of an old wound, a general feeling of unease. This woman is a poet, and I tend to grant her theories some measure of poetic license. It seems to me that beneath all the New Agey jargon, she is speaking of the power of the unconscious mind, a realm that is no doubt elusive enough to be considered a mystical force in its own right. I have felt its power most often in my writing, where I’ve learned that intuition can solve problems more efficiently than logical inference. This was especially true when I wrote fiction. I would often put an image in a story purely by instinct, not knowing why it was there, and then the image would turn out to be the perfect metaphor for some conflict that emerged between the characters—again, something that was not planned deliberately—as though my subconscious were making the connections a step or two ahead of my rational mind. But these experiences always took place within the context of language, and I couldn’t understand what it would mean to perceive knowledge outside that context. I’ve said to my friend many times that I believe in the connection between language and reason, that I don’t believe thought is possible without it. But like many faith systems, her beliefs are completely self-contained and defensible by their own logic. Once, when I made this point, she smiled and said, “Of course, you’re an Aquarius.

I open my eyes and gaze softly at the room in front of me. Then I close them again. Once I’m anchored in bliss, it doesn’t matter whether my eyes are open or closed. I can maintain this expansive state of awareness either way. My intention is to take this awareness into my workday after meditation. I don’t want to think or act from anywhere else. After a while, I look down again at my body sitting in the chair. I realize I’ve been drifting, one with the light, basking in bliss, for a long time. My heart fills with joy and my eyes fill with tears, as I’m overwhelmed with gratitude. For my life, exactly the way it is. For every detail of what is. For everything that will happen in the future, no matter what it might be. I give thanks for all of it. I connect with everyone who’s meditating at this same time anywhere in the world. I open my eyes and look at the sunlight outside the room I’m meditating in. I’m aware of both time and space again. The forgotten cup of coffee in my hands is completely cold. Tears of gratitude flow down my cheeks. I look at my cup. The words printed on it read: Find Joy in the Journey. After we moved into the new house that replaced the one destroyed by fire, I went on a hunt for mugs printed with inspirational words; those bequeathed by the fire victims’ shelter with captions like Construction Equipment Dealer’s Association and My Dang Dog Also Drinks from My Cup didn’t echo the energy of the meditative state. I feel grateful for everything. My hands, with which I hold the coffee cup. My feet, with which I can walk. My breath, bringing life to my cells. My connection to the universe. The wonderful people in my life. I close my eyes and I am immediately in the light once again. I open them and the light remains. In a trance, I stand up and get a fresh cup of coffee. My wife has woken up and she comes into the room to get her morning cup of coffee. We embrace wordlessly. I bury my face in her hair and am enraptured by its scent. We gaze deeply into each other’s eyes and say nothing as she sits down to meditate too. When I close my eyes again, I’m back in Bliss Brain.

The pathos of death is this, that when the days on one's life are ended, those days that were so crowded with business and felt so heavy in their passing, what remains of one in memory should usually be so slight a thing. The phantom of an attitude, the echo of a certain mode of thought, a few pages of print, some invention, or some victory we gained in a brief critical hour, are all that can survive the best of us. It is as if the whole of a man's significance had now shrunk into the phantom of an attitude, into a mere musical note or phrase, suggestive of his singularity - happy are those whose singularity gives a note so clear as to be victorious over the inevitable pity of such a diminution and abridgement. (Address at the centenary of Ralph Waldo Emerson).

The Arab countries are beset by prejudices, indeed hatreds of which the average Westerner knows so little that they tend not to believe them even if they are laid out in print before their eyes. The routine expression of hatred for others is so common in the Arab world that it barely draws comment other than from the region’s often Western-educated liberal minority who have limited access to the platform of mass media. Anti-Semitic cartoons which echo the Nazi Der Stürmer propaganda newspaper are common. Week in, week out, shock-jock imams are given space on prime-time TV shows.

He takes a halting step forward. The dust seems to crunch beneath his feet, like a covering of snow: there is a firm footing beneath a soft, resilient layer a few inches thick. His footprints are miraculously sharp, as if he’s placed his ridged overshoes in fine, damp sand. He takes a photograph of one particularly well-defined print; it will persist here for millions of years, he realises, like the fossilised footprint of a dinosaur, to be eroded away only by the slow rain of micrometeorites, that echo of the titanic bombardments of the deep past. He

This book, published in England in 2018, echoes the words written 700 years ago by an Iranian poet and printed today on the back of every 100,000 rial notes. Words that we should not forget. Human beings are members of a whole, in creation of one essence and soul.

Because printing runs __str__ and the interactive prompt echoes results with __repr__, this can provide both target audiences with an appropriate display.

Brothers,” he continues, “are lifelong. And though you take that field tonight, you have also taken that field before, just as you will tomorrow, and the next day, and the next. That field is your home—your battlefield—and those other men are intruders. They don’t respect it. They’re trespassing—unwanted guests..“I can assure you they didn’t,” my father says. Again, the room chants, “Hoorah!” I hold my breath because this next part, more than anything that led up to it, is what I’ve been waiting for. I check the camera, my father still centered in my frame and his face as serious as I’ve ever seen it. Our team has won the first two games of the year, but he knows that two is not ten. A loss, at this point, will be unforgiveable. “What’s that word on your backs?” His question echoes, and the answer is swift. “Honor, sir!” they all shout in unison. They always do. It’s more than memorization, and it’s always made me sit in awe of how it all plays out. “Honor! That’s right. There are no individuals in here. We all have one name. It isn’t the mascot. It isn’t your nickname or some fad that will be forgotten the second the yearbook is printed. It’s a word that means heart, that means drive and ambition, that means giving your all and leaving the best of every goddamned thing you’ve got out there on that field. Turn to your right!” They all do, seated in a circle on the benches, looking at the helmets and heads of their teammates. My dad should have been a preacher, or perhaps a general. He was born to stand before boys and make them believe that for two and a half hours, they are men. “Turn to your left!” All heads shift, the sound swift, but mouths quiet. “Honor. Brotherhood. Tradition.” He pauses, his team still sitting with heads angled and eyes wide on the dark blue sheen of the helmets and sweat-drenched heads next to them. “Again…” he says, and this time they say it with him. “Honor. Brotherhood. Tradition.” “Whose house is this?” my father asks, quiet and waiting for a roar. “Our house!” “Whose house is this?” He’s louder now. “Our house!” “Whose house…” My dad’s face is red and his voice is hoarse by the time he shouts the question painted above the door that the Cornwall Tradition runs through to the field. The final chant back is loud enough that it can be heard through the cinderblock walls. I know, because last week, I filmed the speech from outside. With chests full, egos inflated, voices primed and muscles ready for abuse, this packed room of fifty—the number that always takes the field, even though less than half of them will play—stands, each putting a hand on the back of everyone in front of them.