Elaborate Famous Quotes

there really isn't that much to elaborate on...

(And did I mention how in summer the streets of Smyrna were lined with baskets of rose petals? And how everyone in the city could speak French, Italian, Greek, Turkish, English, and Dutch? And did I tell you about the famous figs, brought in by camel caravan and dumped onto the ground, huge piles of pulpy fruit lying in the dirt, with dirty women steeping them in salt water and children squatting to defecate behind the clusters? Did I mention how the reek of the fig women mixed with pleasanter smells of almond trees, mimosa, laurel, and peach, and how everybody wore masks on Mardi Gras and had elaborate dinners on the decks of frigates? I want to mention these things because they all happened in that city that was no place exactly, that was part of no country because it was all countries, and because now if you go there you'll see modern high-rises, amnesiac boulevards, teeming sweatshops, a NATO headquarters, and a sign that says Izmir...)

And yet they obey and will continue to obey the orders that come to them. As in the famous Charge of the Light Brigade, these soldiers give up their lives, trusting that their commanders are using them well. While we sit safely here in these simulator rooms, playing an elaborate computer game, they are obeying, dying so that all of humankind can live.

Kraus asks the question of Freudian analysis: What would be enough? At what point would talking about one’s problems for x hours a week, be sufficient to bring one to a state of “normalcy”? The genius of Freudianism, Kraus writes, is not the creation of a cure, but of a disease—the universal, if intermittent, human sentiment that “something is not right,” elaborated into a state whose parameters, definitions, and prescriptions are controlled by a self-selecting group of “experts,” who can never be proved wrong. It was said that the genius of the Listerine campaign was attributable to the creation not of mouthwash, but of halitosis. Kraus indicts Freud for the creation of the nondisease of dissatisfaction. (See also the famous “malaise” of Jimmy Carter, which, like Oscar Wilde’s Pea Soup Fogs, didn’t exist ’til someone began describing it.) To consider a general dissatisfaction with one’s life, or with life in general as a political rather than a personal, moral problem, is to exercise or invite manipulation. The fortune teller, the “life coach,” the Spiritual Advisor, these earn their living from applying nonspecific, nonspecifiable “remedies” to nonspecifiable discomforts.The sufferers of such, in medicine, are called “the worried well,” and provide the bulk of income and consume the bulk of time of most physicians. It was the genius of the Obama campaign to exploit them politically. The antecedent of his campaign has been called Roosevelt’s New Deal, but it could, more accurately, be identified as The Music Man.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

People had always been told that the house at Skuytercliff was an Italian villa. Those who had never been to Italy believed it; so did some who had. The house had been built by Mr. van der Luyden in his youth, on his return from the "grand tour," and in anticipation of his approaching marriage with Miss Louisa Dagonet. It was a large square wooden structure, with tongued and grooved walls painted pale green and white, a Corinthian portico, and fluted pilasters between the windows. From the high ground on which it stood a series of terraces bordered by balustrades and urns descended in the steel–engraving style to a small irregular lake with an asphalt edge overhung by rare weeping conifers. To the right and left, the famous weedless lawns studded with "specimen" trees (each of a different variety) rolled away to long ranges of grass crested with elaborate cast–iron ornaments; and below, in a hollow, lay the four–roomed stone house which the first Patroon had built on the land granted him in 1612. Against the uniform sheet of snow and the greyish winter sky the Italian villa loomed up rather grimly; even in summer it kept its distance, and the boldest coleus bed had never ventured nearer than thirty feet from its awful front.

inbox. It was from Ogden Morrow. The subject line read “We Can Dance If We Want To.” There was no text in the body of the e-mail. Just a file attachment—an invitation to one of the most exclusive gatherings in the OASIS: Ogden Morrow’s birthday party. In the real world, Morrow almost never made public appearances, and in the OASIS, he came out of hiding only once a year, to host this event. The invitation featured a photo of Morrow’s world-famous avatar, the Great and Powerful Og. The gray-bearded wizard was hunched over an elaborate DJ mixing board, one headphone pressed to his ear, biting his lower lip in auditory ecstasy as his fingers scratched ancient vinyl on a set of silver turntables. His record crate bore a DON’T PANIC sticker and an anti-Sixer logo—a yellow number six with a red circle-and-slash over it. The text at the bottom read Ogden Morrow’s ’80s Dance Party in celebration of his 73rd birthday! Tonight—10pm OST at the Distracted Globe ADMIT ONE I was flabbergasted. Ogden Morrow had actually taken the time to invite me to his birthday party. It felt like the greatest honor I’d ever received. I called Art3mis, and she confirmed that she’d received the same e-mail. She said she couldn’t pass up an invitation from Og himself

Freud’s incest theory describes certain fantasies that accompany the regression of libido and are especially characteristic of the personal unconscious as found in hysterical patients. Up to a point they are infantile-sexual fantasies which show very clearly just where the hysterical attitude is defective and why it is so incongruous. They reveal the shadow. Obviously the language used by this compensation will be dramatic and exaggerated. The theory derived from it exactly matches the hysterical attitude that causes the patient to be neurotic. One should not, therefore, take this mode of expression quite as seriously as Freud himself took it. It is just as unconvincing as the ostensibly sexual traumata of hysterics. The neurotic sexual theory is further discomfited by the fact that the last act of the drama consists in a return to the mother’s body. This is usually effected not through the natural channels but through the mouth, through being devoured and swallowed (pl. LXII), thereby giving rise to an even more infantile theory which has been elaborated by Otto Rank. All these allegories are mere makeshifts. The real point is that the regression goes back to the deeper layer of the nutritive function, which is anterior to sexuality, and there clothes itself in the experiences of infancy. In other words, the sexual language of regression changes, on retreating still further back, into metaphors derived from the nutritive and digestive functions, and which cannot be taken as anything more than a façon de parler. The so-called Oedipus complex with its famous incest tendency changes at this level into a “Jonah-and-the-Whale” complex, which has any number of variants, for instance the witch who eats children, the wolf, the ogre, the dragon, and so on. Fear of incest turns into fear of being devoured by the mother. The regressing libido apparently desexualizes itself by retreating back step by step to the presexual stage of earliest infancy. Even there it does not make a halt, but in a manner of speaking continues right back to the intra-uterine, pre-natal condition and, leaving the sphere of personal psychology altogether, irrupts into the collective psyche where Jonah saw the “mysteries” (“représentations collectives”) in the whale’s belly. The libido thus reaches a kind of inchoate condition in which, like Theseus and Peirithous on their journey to the underworld, it may easily stick fast. But it can also tear itself loose from the maternal embrace and return to the surface with new possibilities of life.

One day Billy’s kindergarten teacher phoned me at work. In a grave tone of voice she informed me Billy had been involved in a serious incident at school. She refused to elaborate but insisted I come to the school for a disciplinary meeting. My mind raced as I drove to the school. I wondered what type of behavior could possibly land a five-year-old in such hot water. When I arrived at the school, the teacher ushered me into a private office. Billy sat next to me—he looked scared. We both faced the grim faced teacher. She reminded me of the woman in the famous painting, “American Gothic.” She sat rigidly behind her desk, her eyes unblinking. The atmosphere was reminiscent of a criminal court proceeding. “Maybe Billy had accidentally killed someone.” I thought. There was a moment of uncomfortable silence. The teacher’s face was stiff and emotionless. Finally, her lips moved and she intoned, “Billy, tell your father what you did.” Under the disapproving gaze of his teacher, Billy began his confession. “Well, I was eating lunch next to Suzy. We had green Jell-O. It was jiggling around. Suzy bent down to look at her Jell-O real close, and I … pushed her face into it.” I barely choked off a belly laugh and quickly looked away, struggling for control. Somehow I sensed that Billy’s straitlaced teacher would frown upon me laughing uncontrollably about this issue. With Zenlike concentration, I mastered my emotions and turned to face my son. My expression was serious, my tone was stern, my acting was impeccable, “Billy, how do you think that made Suzy feel?” “Bad.” said Billy. “That’s right.” I said. “I don’t want you to ever do such a thing again. Do you understand?” “Yes.” Billy meekly replied. I looked at the teacher. She seemed disappointed I hadn’t tortured my son with hot irons. Reluctantly, the she allowed us to leave. This incident was representative of many child-rearing situations I dealt with over the years.

I don’t think I’ve ever seen a girl ditch Darius like that,” an amused voice came from behind me and I turned to find a guy looking at me from a seat at a table in the corner. He had dark hair that curled in a messy kind of way, looking like it had broken free of his attempts to tame it. His green eyes sparkled with restrained laughter and I couldn’t help but stare at his strong features; he looked almost familiar but I was sure I’d never met him before. “Well, even Dragons can’t just get their own way all of the time,” I said, moving closer to him. Apparently that had been the right thing to say because he smiled widely in response to it. “What’s so great about Dragons anyway, right?” he asked, though a strange tightness came over his posture as he said it. “Who’d want to be a big old lizard with anger management issues?” I joked. “I think I’d rather be a rabbit shifter - at least bunnies are cute.” “You don’t have a very rabbity aura about you,” he replied with a smile which lit up his face. “I’m not sure if that’s a compliment or not.” “It is. Although a rabbit might be exactly the kind of ruler we need; shake it up from all these predators.” “Maybe that’s why I can’t get on board with this fancy food. It’s just not meant for someone of my Order... although I’m really looking for a sandwich rather than a carrot,” I said wistfully. He snorted a laugh. “Yeah I had a pizza before I came to join the festivities. I’m only supposed to stay for an hour or so anyway... show my face, sit in the back, avoid emotional triggers...” He didn’t seem to want to elaborate on that weird statement so I didn’t push him but I did wonder why he’d come if that was all he was going to do. “Well, I didn’t really want to come at all so maybe I can just hide out back here with you?” I finished the rest of my drink and placed my glass on the table as I drifted closer to him. Aside from Hamish, he was the first person I’d met at this party who seemed at least halfway genuine. “Sure. If you don’t mind missing out on all the fun,” he said. “I’m sorry but am I talking to Roxanya or Gwendalina? You’re a little hard to tell apart.” I rolled my eyes at those stupid names. “I believe I originally went by Roxanya but my name is Tory.” “You haven’t taken back your royal name?” he asked in surprise. “I haven’t taken back my royal anything. Though I won’t say no to the money when it comes time to inherit that. You didn’t give me your name either,” I prompted. You don’t know?” he asked in surprise. “Oh sorry, dude, are you famous? Must be a bummer to meet someone who isn’t a fan then,” I teased. He snorted a laugh. “I’m Xavier,” he said. “The Dragon’s younger brother.” “Oh,” I said. Well that was a quick end to what had seemed like a pleasant conversation. “Actually... I should probably go... mingle or something.” I started to back away, searching the crowd for Darcy. I spotted her on the far side of the room, engaged in conversation with Hamish and a few of his friends. The smile on her face was genuine enough so I was at least confident she didn’t need rescuing. (Tory)

As with Lawrence, these other competitors in the field tended to be young, wholly untrained for the missions they were given, and largely unsupervised. And just as with their more famous British counterpart, to capitalize on their extraordinary freedom of action, these men drew upon a very particular set of personality traits—cleverness, bravery, a talent for treachery—to both forge their own destiny and alter the course of history. Among them was a fallen American aristocrat in his twenties who, as the only American field intelligence officer in the Middle East during World War I, would strongly influence his nation’s postwar policy in the region, even as he remained on the payroll of Standard Oil of New York. There was the young German scholar who, donning the camouflage of Arab robes, would seek to foment an Islamic jihad against the Western colonial powers, and who would carry his “war by revolution” ideas into the Nazi era. Along with them was a Jewish scientist who, under the cover of working for the Ottoman government, would establish an elaborate anti-Ottoman spy ring and play a crucial role in creating a Jewish homeland in Palestine. If little remembered today, these men shared something else with their British counterpart. Like Lawrence, they were not the senior generals who charted battlefield campaigns in the Middle East, nor the elder statesmen who drew lines on maps in the war’s aftermath. Instead, their roles were perhaps even more profound: it was they who created the conditions on the ground that brought those campaigns to fruition, who made those postwar policies and boundaries possible. History is always a collaborative effort, and in the case of World War I an effort that involved literally millions of players, but to a surprising degree, the subterranean and complex game these four men played, their hidden loyalties and personal duels, helped create the modern Middle East and, by inevitable extension, the world we live in today.

The famous pilot was treated with elaborate courtesy by his German captors: in an act of bizarre gallantry, they informed the British that Bader’s artificial right leg was no longer fit for purpose and invited the RAF to send a replacement. Sure enough, with Reichsmarschall Hermann Goering’s official approval, the unimaginatively named “Operation Leg” was launched on August 19, when an RAF bomber was given safe conduct over Saint-Omer and dropped a new prosthesis by parachute on the nearest Luftwaffe base in occupied France, along with stump socks, powder, tobacco, and chocolate.

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

Let us assume that the reader shared my opinion, that the market over the next week had a 70% probability of going up and 30% probability of going down. However, let us say that it would go up by 1% on average, while it could go down by an average of 10%. What would the reader do? Is the reader bullish or bearish? Table 6.2 Event                             Probability                             Outcome                             Expectation Market goes up                             70%                             Up 1%                             0.7 Market goes down                             30%                             Down 10%                             -3.00                                                                                                                                             Total                             -2.3 Accordingly, bullish or bearish are terms used by people who do not engage in practicing uncertainty, like the television commentators, or those who have no experience in handling risk. Alas, investors and businesses are not paid in probabilities; they are paid in dollars. Accordingly, it is not how likely an event is to happen that matters, it is how much is made when it happens that should be the consideration. How frequent the profit is irrelevant; it is the magnitude of the outcome that counts. It is a pure accounting fact that, aside from the commentators, very few people take home a check linked to how often they are right or wrong. What they get is a profit or loss. As to the commentators, their success is linked to how often they are right or wrong. This category includes the “chief strategists” of major investment banks the public can see on TV, who are nothing better than entertainers. They are famous, seem reasoned in their speech, plow you with numbers, but, functionally, they are there to entertain—for their predictions to have any validity they would need a statistical testing framework. Their frame is not the result of some elaborate test but rather the result of their presentation skills.

Peterhof (Petrodvorets). Nicknamed the “Russian Versailles,” the elaborate interiors, formal gardens, and beautiful fountains of Peter the Great’s summer palace live up to their moniker. This is St. Petersburg’s most famous imperial residence, located in the suburbs about 40 minutes away.

famous pictorial elaboration of the motif is Eugène Delacroix’s 1827 painting The Death of Sardanapallus,

The most famous ruler of this period was Hammurabi, who lived circa 1810–1750 BCE. He is best known for the Code of Hammurabi—a set of laws inscribed on a black basalt pillar that now stands in the Louvre Museum. Hammurabi’s code specifies the rate of interest on silver at 20% and on barley at 33⅓%. What is most important about the code is not what is says but what it represents. The code is a uniform legal framework for the entire Babylonian empire. It covered everything from criminal law to family law, commercial practice to property rights. It details a range of punishments for transgressions, methods of dispute resolution, and attributions of fault for various offenses. It specifies the roles of judge, jury, witnesses, plaintiffs, and defendants. It recognizes and elaborates the rights of ownership of property, including rights to lease and rights of eminent domain. It specifies the role of the written document in a contractual obligation, the necessity of receipts, and what should be done if they do not exist. It specifies legal tender. It describes the obligations of merchants, brokers, and agents and their fiduciary duties and limits to their liabilities in case of attack or theft. It places limits on the term of debt indenture (three years). In short, it creates a comprehensive, uniform framework for commerce.

Fame is like a sequin-covered suit of armor that provides a holographic cover for actual me; most people, whether their opinion is positive or negative, are content to deal with the avatar, leaving me as tender as crabmeat within. Really, it’s an amplification of what happens if you’re not famous. I don’t imagine that we are often interacting on the pure frequency of essential nature; we usually have a preexisting set of conditions and coordinates that we project on to people we meet or circumstances we encounter. This is not just a psychological notion. Robert Lanza, in his concept-smashing book Biocentrism explains that our perception of all physical external phenomena is in fact an internal reconstruction, elaborating on the results of experiments in quantum physics, that particles behave differently when under observation—itself a universe-shattering piece of information—so that, and forgive my inelegant comprehension of the quantum world, electrons fired out of a tiny little cannon, when unobserved, make a pattern that reveals they have behaved as “a wave,” but when observed, the kinky little bastards behave as “particles.” That’s a bit fucking mad if you ask me. That’s like finding out that when you go out your dog stands up on its hind legs, lights a fag, and starts making phone calls. Or turns into a cloud. Lanza describes how our conception of a candle as a yellow flame burning on a wick is a kind of mentally constructed illusion. He says an unobserved candle would have no intrinsic “brightness” or “yellowness,” that these qualities require an interaction with consciousness. The bastard. A flame, he explains, is a hot gas. Like any light source, it emits photons, which are tiny packets of electromagnetic energy. Which means electrical and magnetic impulses. Lanza points out that we know from our simple, sexy everyday lives that electricity and magnetic energy have no visual properties. There is nothing inherently visual about a flame until the electromagnetic impulses—if measuring, between 400 and 700 nanometers in length from crest to crest—hit the cells in our retinas, at the back of the eye. This makes a complex matrix of neurons fire in our brains, and we subjectively perceive this as “yellow brightness” occurring in the external world. Other creatures would see gray. At most we can conclude, says Lanza, that there is a stream of electromagnetic energy that, if denied correlation with human consciousness, is impossible to conceptualize. So when Elton John said Marilyn Monroe lived her life “like a candle in the wind,” he was probably bloody right, and if he wasn’t we’ll never know. We apply reality from within. The world is our perception of the world. So what other people think of you, famous or not, is an independent construct taking place in their brain, and we shouldn’t worry too much about it.

Fame is like a sequin-covered suit of armor that provides a holographic cover for actual me; most people, whether their opinion is positive or negative, are content to deal with the avatar, leaving me as tender as crabmeat within. Really, it’s an amplification of what happens if you’re not famous. I don’t imagine that we are often interacting on the pure frequency of essential nature; we usually have a preexisting set of conditions and coordinates that we project on to people we meet or circumstances we encounter. This is not just a psychological notion. Robert Lanza, in his concept-smashing book Biocentrism explains that our perception of all physical external phenomena is in fact an internal reconstruction, elaborating on the results of experiments in quantum physics, that particles behave differently when under observation—itself a universe-shattering piece of information—so that, and forgive my inelegant comprehension of the quantum world, electrons fired out of a tiny little cannon, when unobserved, make a pattern that reveals they have behaved as “a wave,” but when observed, the kinky little bastards behave as “particles.” That’s a bit fucking mad if you ask me. That’s like finding out that when you go out your dog stands up on its hind legs, lights a fag, and starts making phone calls. Or turns into a cloud. Lanza describes how our conception of a candle as a yellow flame burning on a wick is a kind of mentally constructed illusion. He says an unobserved candle would have no intrinsic “brightness” or “yellowness,” that these qualities require an interaction with consciousness. The bastard. A flame, he explains, is a hot gas. Like any light source, it emits photons, which are tiny packets of electromagnetic energy. Which means electrical and magnetic impulses. Lanza points out that we know from our simple, sexy everyday lives that electricity and magnetic energy have no visual properties. There is nothing inherently visual about a flame until the electromagnetic impulses—if measuring, between 400 and 700 nanometers in length from crest to crest—hit the cells in our retinas, at the back of the eye. This makes a complex matrix of neurons fire in our brains, and we subjectively perceive this as “yellow brightness” occurring in the external world. Other creatures would see gray. At most we can conclude, says Lanza, that there is a stream of electromagnetic energy that, if denied correlation with human consciousness, is impossible to conceptualize.

Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

A class of people who worked for the temple (which functioned as a proto–city hall) figured out how to keep track of stuff by elaborating on the tokens-pressed-in-clay system. They used a reed stylus to make marks on a little clay tablet and started using abstract symbols for numbers themselves. The first writers weren’t poets; they were accountants. For a long time, that’s all writing was. No love notes. No eulogies. No stories. Just IOU six sheep. Or, as a tablet from a famous mound in a Sumerian city called Uruk, in present-day Iraq, said: “Lu-Nanna, the head of the temple, received one cow and its two young suckling bull calves from the royal delivery from [a guy named] Abasaga.

A class of people who worked for the temple (which functioned as a proto–city hall) figured out how to keep track of stuff by elaborating on the tokens-pressed-in-clay system. They used a reed stylus to make marks on a little clay tablet and started using abstract symbols for numbers themselves. The first writers weren’t poets; they were accountants. For a long time, that’s all writing was. No love notes. No eulogies. No stories. Just IOU six sheep. Or, as a tablet from a famous mound in a Sumerian city called Uruk, in present-day Iraq, said: “Lu-Nanna, the head of the temple, received one cow and its two young suckling bull calves from the royal delivery from [a guy named] Abasaga.” Silver—a metal people had used previously for jewelry and rituals—was desirable and scarce and easy to store and divide, and it became money-ish in Mesopotamia, but for lots of people—maybe most people—money still wasn’t a thing.

London’s most famous burial ground, Highgate Cemetery, is renowned for its many famous permanent residents—such as Karl Marx and George Eliot—and for its elaborate nineteenth-century tombstones. Opened in 1839 to deal with a shortage of burial plots in the city, Highgate Cemetery is an atmospheric place that attracts many visitors for its peaceful greenery, its ornate statues of weeping angels, and its busts of prominent historical figures. In the cemetery, one can see foxes darting amidst the bushes and hear lively birdsong in the branches of shady trees.

For two thousand years, maybe more, the ceremonies had been celebrated every autumn in the small town of Eleusis near Athens, becoming more famous and elaborate with the passing years. By Roman times, the mystery temple at Eleusis was a huge building half the size of a foot- ball field, and people came there from the far corners of the ancient world. All new initiates had to go through preliminary ceremonies at the river Ilissos in the month of Anthesterion, our February, in which they offered sacrifices, cleansed them- selves in the water, and listened to instruction. A year and a half later, in Boedromion (our September), they marched to Eleusis, arriving at dusk. They entered the temple, and the ceremony of initiation was enacted. No one today knows what it was, but ancient writers agreed that those who passed through it had no fear of death afterward.

As the modern scholar Alan Cameron has put it: ‘In 529 the philosophers of Athens were threatened with the destruction of their entire way of life.’ The Christians were behind this – yet you will search almost in vain for the word ‘Christian’ in most of the writings of the philosophers. That is not to say that evidence of them is not there. It is. The miasmatic presence of the religion is keenly felt on countless pages: it is Christians who are driving persecutions, torturing their colleagues, pushing philosophers into exile. Damascius and his fellow scholars loathed the religion and its uncompromising leaders. Even Damascius’s famously mild and gentle teacher, Isidore, ‘found them absolutely repulsive’; he considered them ‘irreparably polluted, and nothing whatever could constrain him to accept their company’. But the actual word Christian is missing. As if the very syllables were too distasteful for them to pronounce, the philosophers resorted to elaborate circumlocutions. At times, the names they gave them were muted. With a masterful understatement, the present system of Christian rule, with its torture, murder and persecution, was referred to as ‘the present situation’ or ‘the prevailing circumstances’. At another time the Christians became – perhaps a reference to those stolen and desecrated statues – ‘the people who move the immovable’. At other times the names were blunter: the Christians were ‘the vultures’ or, more simply still, ‘the tyrant’. Other phrases carried a contemptuous intellectual sneer. Greek literature is awash with hideously rebarbative creatures, and the philosophers turned to these to convey the horror of their situation: the Christians started to be referred to as ‘the Giants’ and the ‘Cyclops’. These particular names seem, at first sight, an odd choice. These are not the most repellent monsters in the Greek canon; Homer alone could have offered the man-eating monster Scylla as a more obvious insult. That would have missed the point. The Giants and the Cyclops of Greek myth aren’t terrible because they are not like men – they are terrible because they are. They belong to the uncanny valley of Greek monsters: they look, at first glance, like civilized humans yet they lack all the attributes of civilization. They are boorish, base, ill-educated, thuggish. They are almost men, but not quite – and all the more hideous for that. It was, for these philosophers, the perfect analogy. When that philosopher had been beaten till the blood ran down his back, the precise insult that he hurled at the judge had been: ‘There, Cyclops. Drink the wine, now that you have devoured the human flesh.

Sir Walter Scott famously wrote, 'Oh what a tangled web we weave when first we practice to deceive.' Take some family history and politics, add cutting-edge military technology, mix in state-of-the-art genetics, top it off with next generation neurophysiology, and you have the ingredients for an elaborate deception. The untangling of the web of deception in Double Crossed presented an opportunity to incorporate elements of history, medicine, technology, and politics, all of which are longstanding interests of mine. The challenge was doing it gradually enough to sustain the reader's interest without giving away so much that it spoiled a surprise. We live in an age when no undertaking seems off limits, whether it be as simple as traditional spy craft, as overt as military intervention, or as sophisticated as cyber-espionage and ransomware. Although we do not currently possess the technology needed to pull off something as audacious and complex as what occurs in Double Crossed, that day is rapidly approaching.