Element Of Surprise Quotes

If you are in difficulties with a book, try the element of surprise: attack it at an hour when it isn't expecting it.

the table of elements does not contain one of the most powerful elements that make up our world, and that is the element of surprise.

The element of surprise wasn't allowed near the Periodic Table.

Prayer adds an element of surprise to your life that is more fun than a surprise party or surprise gift or surprise romance. In fact, prayer turns life into a party, into a gift, into a romance.

A person never reads an outstanding book twice and walks away with the same beliefs. An outstanding book always surprises you and awakens you to new ideas, new ways of looking at the world, no matter how many times the words have been read.

You do not know what you are missing by your microscopic examination of sexual activity to the exclusion of aspects which are fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood.

Nobody expects the Spanish Inquisition! Our chief weapon is surprise... surprise and fear... fear and surprise... Our two weapons are fear and surprise... and ruthless efficiency.... Our three weapons are fear, and surprise, and ruthless efficiency... and an almost fanatical devotion to the Pope... Our four... no... Amongst our weapons... Amongst our weaponry... are such elements as fear, surprise... I'll come in again.

So let me get this straight.”... “He threw the note at Tommy and then told him to fuck off? Or do I have it backwards?” “I’m detecting some sarcasm.” “And then got himself sent the principal’s office because he was ready to defend your honor?” “Quinn.” “Her friend waved a hand. “No, I think you might be on to something. This is clearly an elaborate plot to screw with you. He asks you out, he defends you from that meathead—what next?” Quinn’s eyes flashed wide in mock surprise. “Crap, Bex, do you think he will do something truly horrible like buy you flowers?

This is really good,” Donovan Caine said, attacking his third strawberry pancake. “You sound surprised,” I said. He shrugged. “I just didn’t think an assassin would be able to cook like this.” “Well, I do get lots of practice with knives. You could say I’m multitasking.” The detective froze, his fork halfway to his mouth. “I’m kidding. I enjoy cooking. It relaxes me.

Unbelievably, a goldfish can kill a gorilla. However, it does require a substantial element of surprise.

I also told Nick she's a player, and I'm not interested." Becca smiled a little ruefully. "I believe that." Hunter frowned. "What does that mean?" "It means I've listened to her hit on every guy on the porch.I'm surprised she's not mounting Casper.

This explosive psychological 'sneaking' occurs when a woman suppresses large parts of self into the shadows of the psyche. In the view of analytical psychology, the repression of both negative and positive instincts, urges, and feelings into the unconscious causes them to inhabit a shadow realm. While the ego and superego attempt to continue to censor the shadow impulses, the very pressure that repression causes is rather like a bubble in the sidewall of a tire. Eventually, as the tire revolves and heats up, the pressure behind the bubble intensifies, causing it to explode outward, releasing all the inner content. The shadow acts similarlyY We find that by opening the door to the shadow realm a little, and letting out various elements a few at a time, relating to them, finding use for them, negotiating, we can reduce being surprised by shadow sneak attacks and unexpected explosions.

Each day he made attempts … but produced nothing but quotations, thinly or well disguised, of his own work. Nothing sprang free of its own idiom, its own authority, to offer the element of surprise that would be the guarantee of originality.

A love affair is like a short story--it has a beginning, a middle, and an end. The beginning was easy, the middle might drag, invaded by commonplace, but the end, instead of being decisive and well knit with that element of revelatory surprise as a well-written story should be, it usually dissipated in a succession of messy and humiliating anticlimaxes.

What gets lost in bestowing of classical status on a work, is the book's original freshness, the element of surprise…of newness, of productive stimulus that is the hallmark of such works...the passionate quality of a great masterpiece.

One thing that is exciting about fashion is the surprise element. People don't know what they want. They just know when they see it.

It could be argued that there is an element of entertainment in every pie, as every pie is inherently a surprise by virtue of its crust.

Knowing is not simply a material act, since the object that is known always conceals something beyond the empirical datum. All our knowledge, even the most simple, is always a minor miracle, since it can never be fully explained by the material instruments that we apply to it. In every truth there is something more than we would have expected, in the love that we receive there is always an element that surprises us.

Into all our lives, in many simple, familiar, homely ways, God infuses this element of joy from the surprises of life, which unexpectedly brighten our days and fill our eyes with light.

Dear Collector: We hate you. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You have taught us more than anyone I know how wrong it is not to mix it with emotion, hunger, desire, lust, whims, caprices, personal ties, deeper relationships that change its color, flavor, rhythms, intensities. "You do not know what you are missing by your micro-scopic examination of sexual activity to the exclusion of aspects which are the fuel that ignites it. Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent man in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Without feeling, inventions, moods, no surprises in bed. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine. How much do you lose by this periscope at the tip of your sex, when you could enjoy a harem of distinct and never-repeated wonders? No two hairs alike, but you will not let us waste words on a description of hair; no two odors, but if we expand on this you cry Cut the poetry. No two skins with the same texture, and never the same light, temperature, shadows, never the same gesture; for a lover, when he is aroused by true love, can run the gamut of centuries of love lore. What a range, what changes of age, what variations of maturity and innocence, perversity and art . . . We have sat around for hours and wondered how you look. If you have closed your senses upon silk, light, color, odor, character, temperament, you must be by now completely shriveled up. There are so many minor senses, all running like tributaries into the mainstream of sex, nourishing it. Only the united beat of sex and heart together can create ecstasy.

I would love to live Like a river flows Carried by the surprise Of its own unfolding - Fluent

Chuck Norris destroyed the periodic table,” I replied. “Huh?” “He only recognizes the element of surprise.

If you are ever forced to take a chemistry class, you will probably see, at the front of the classroom, a large chart divided into squares, with different numbers and letters in each of them. This chart is called the table of elements, and scientists like to say that it contains all the substances that make up our world. Like everyone else, scientists are wrong from time to time, and it is easy to see that they are wrong about the table of elements. Because although this table contains a great many elements, from the element oxygen, which is found in the air, to the element of aluminum, which is found in cans of soda, the table of elements does not contain one of the most powerful elements that make up our world, and that is the element of surprise. The element of surprise is not a gas like oxygen, or a solid, like aluminum. The element of surprise is an unfair advantage, and it can be found in situations in which one person has sneaked up on another. The surprised person - or, in this sad case, the surprised person - are too stunned to defend themselves and the sneaky person has the advantage of the element of surprise.

But time and surprise are the two most vital elements in war.

Order and surprise: these are two intertwined elements that make for any great library or collection.

Like everyone else, scientists are wrong from time to time, and it is easy to see that they are wrong about the table of the elements. Because although this table contains a great many elements, from the element oxygen, which is found in the air, to the element aluminum, which is found in cans of soda, the table of the elements does not contain one of the most powerful elements that make up our world, and that is the element of surprise.

Did this mean he was about to tell her something he wouldn’t normally? Her ears perked—figuratively, since her ears were now feather-covered holes in the sides of her head. He laughed softly. “You know, you are almost enjoyable to talk to, when you do not say anything back.” She willed the water in the tub to strike him in the face. There was a loud splash. “Hey!” He sounded surprised, but not unpleasantly so. “Interesting. You are still capable of elemental powers. But stop—or I will feed you to the castle cats.” She struck him again.

Roth,” muttered Zayne. He sounded closer, but I didn’t want to take my eyes off the Alphas to check. “You might want to chill out a bit.” The Crown Prince smirked. “Nah. You want to know why? The Alphas could end me, but they’re not going to.” Across from us, the Alpha who had spoken stiffened but didn’t interrupt. “You see, I am the favorite Crown Prince,” Roth continued, his smirk spreading. “They take me out when I haven’t done anything to warrant it and they’ll have the Boss to contend with. They don’t want that.” Surprise flickered through me. They couldn’t just end Roth because of who he was? I’d always thought they could simply do as they pleased. The Alpha who had been silent up to this point spoke. “There are rules for a reason. It does not mean we have to like them, so I’d suggest you do not push your luck, Prince.” Then Roth did the unthinkable. He raised his hand and extended his middle finger. “Does this count as pushing it, Bob?” Crap on a cracker, he’d flipped off an Alpha! And he’d called the Alpha Bob! Who did that? Seriously?

Evil then consists not in being created but in the rebellious idolatry by which humans worship and honour elements of the natural world rather than the God who made them. The result is that the cosmos is out of joint. Instead of humans being God's wise vice-regents over creation, they ignore the creator and try to worship something less demanding, something that will give them a short-term fix of power or pleasure.

In the twentieth century, astrophysicists in the United States discovered galaxies, the expanding of the universe, the nature of supernovas, quasars, black holes, gamma-ray bursts, the origin of the elements, the cosmic microwave background, and most of the known planets in orbit around solar systems other than our own. Although the Russians reached one or two places before us, we sent space probes to Mercury, Venus, Jupiter, Saturn, Uranus, and Neptune. American probes have also landed on Mars and on the asteroid Eros. And American astronauts have walked on the Moon. Nowadays most Americans take all this for granted, which is practically a working definition of culture: something everyone does or knows about, but no longer actively notices. While shopping at the supermarket, most Americans aren’t surprised to find an entire aisle filled with sugar-loaded, ready-to-eat breakfast cereals. But foreigners notice this kind of thing immediately, just as traveling Americans notice that supermarkets in Italy display vast selections of pasta and that markets in China and Japan offer an astonishing variety of rice. The flip side of not noticing your own culture is one of the great pleasures of foreign travel: realizing what you hadn’t noticed about your own country, and noticing what the people of other countries no longer realize about themselves.

Because from what I've seen of marriages and relationships, there aren't any rules. You deal with what comes, like anything else in life. There's no template. No freaking outline. And that's what makes relationships interesting, right? The element of surprise.

I love to explore new and strange things in detail. This habit reduces element of surprises in my life.

The only thing really valuable to us any more is the element of surprise.

In fight, by 'knowing what to do next', element of surprise can be overcomed.

Bringing a knife to a gun fight was the only way we’d be able to keep the element of surprise.

Saint Bartleby's School for Young Gentlemen Annual Report Student: Artemis Fowl II Year: First Fees: Paid Tutor: Dr Po Language Arts As far as I can tell, Artemis has made absolutely no progress since the beginning of the year. This is because his abilities are beyond the scope of my experience. He memorizes and understands Shakespeare after a single reading. He finds mistakes in every exercise I administer, and has taken to chuckling gently when I attempt to explain some of the more complex texts. Next year I intend to grant his request and give him a library pass during my class. Mathematics Artemis is an infuriating boy. One day he answers all my questions correctly, and the next every answer is wrong. He calls this an example of the chaos theory, and says that he is only trying to prepare me for the real world. He says the notion of infinity is ridiculous. Frankly, I am not trained to deal with a boy like Artemis. Most of my pupils have trouble counting without the aid of their fingers. I am sorry to say, there is nothing I can teach Artemis about mathematics, but someone should teach him some manners. Social Studies Artemis distrusts all history texts, because he says history was written by the victors. He prefers living history, where survivors of certain events can actually be interviewed. Obviously this makes studying the Middle Ages somewhat difficult. Artemis has asked for permission to build a time machine next year during double periods so that the entire class may view Medieval Ireland for ourselves. I have granted his wish and would not be at all surprised if he succeeded in his goal. Science Artemis does not see himself as a student, rather as a foil for the theories of science. He insists that the periodic table is a few elements short and that the theory of relativity is all very well on paper but would not hold up in the real world, because space will disintegrate before lime. I made the mistake of arguing once, and young Artemis reduced me to near tears in seconds. Artemis has asked for permission to conduct failure analysis tests on the school next term. I must grant his request, as I fear there is nothing he can learn from me. Social & Personal Development Artemis is quite perceptive and extremely intellectual. He can answer the questions on any psychological profile perfectly, but this is only because he knows the perfect answer. I fear that Artemis feels that the other boys are too childish. He refuses to socialize, preferring to work on his various projects during free periods. The more he works alone, the more isolated he becomes, and if he does not change his habits soon, he may isolate himself completely from anyone wishing to be his friend, and, ultimately, his family. Must try harder.

She never indulged in reveries or tried to be clever in her conversation; she seemed to have drawn a line in her mind beyond which she never went. It was quite obvious that feelings, every kind of relationship, including love, entered into her life on equal terms with everything else, while in the case of other women love quite manifestly takes part, if not in deeds, then in words, in all the problems of life, and everything else is allowed in only in so far as love leaves room for it. The thing this woman esteemed most was the art of living, of being able to control oneself, of keeping a balance between thought and intention, intention and realization. You could never take her unawares, by surprise, but she was like a watchful enemy whose expectant gaze would always be fixed on you, however hard you tried to lie in wait for him. High society was her element, and therefore tact and caution prompted her every thought, word, and movement.

The surprise element of her betrayal was what burned me the most. The fact that I never saw it coming.

Her touch was soft, gentle, and surprisingly welcoming to my unwelcoming soul.

Validation has two main elements. It 1) acknowledges a specific emotion, and 2) offers justification for feeling that emotion.

something that at first sight appeared to be the luminous bones of some massive, extinct creature, now disinterred, with its ribs gathered into a neat bundle around the thick stump of a massive spinal column which time and the elements had polished to such a cool ceramic gloss that if I were to leave my hand on it I would have been surprised if it felt like anything other than glass

Without a doubt it was Dr. Urbino's most contagious initiative, for opera fever infected the most surprising elements in the city and gave rise to a whole generation of Isoldes and Otellos and Aidas and Siegfrieds. But it never reached the extremes Dr. Urbino had hoped for, which was to see Italianizers and Wagnerians confronting each other with sticks and canes during the intermissions.

The chemist who can extract from his heart’s elements compassion, respect, longing, patience, regret, surprise, and forgiveness and compound them into one can create that atom which is called love.

The detective noticed Owen glaring at him and did a double take as well, as surprised by his appearance as Owen had been by his. The two men stared at each other for several seconds before Donovan squared his shoulders and headed in our direction. “Incoming,” Finn muttered, letting out a low whistle and then a crashing sound under his breath, like a bomb was about to drop down and explode on our heads.

One of the elements of writing that is most delightful to the engaged reader is the element of surprise. And one of the ways to surprise the reader is to set up an expectation that you then veer away from it at the last moment. A stitch in time saves the penny earned. Or something like that.

…food is capable of feeding far more than a rumbling stomach. Food is life; our well-being demands it. Food is art and magic; it evokes emotion and colors memory, and in skilled hands, meals become greater than the sum of their ingredients. Food is self-evident; plucked right from the ground or vine or sea, its power to delight is immediate. Food is discovery; finding an untried spice or cuisine is for me like uncovering a new element. Food is evolution; how we interpret it remains ever fluid. Food is humanitarian: sharing it bridges cultures, making friends of strangers pleasantly surprised to learn how much common ground they ultimately share.

A FEW YEARS AGO, I heard a wonderful story, which I’m very fond of telling. An elementary school teacher was giving a drawing class to a group of six-year-old children. At the back of the classroom sat a little girl who normally didn’t pay much attention in school. In the drawing class she did. For more than twenty minutes, the girl sat with her arms curled around her paper, totally absorbed in what she was doing. The teacher found this fascinating. Eventually, she asked the girl what she was drawing. Without looking up, the girl said, “I’m drawing a picture of God.” Surprised, the teacher said, “But nobody knows what God looks like.” The girl said, “They will in a minute.

To distort the letters of the alphabet in “the style of” Chinese calligraphy (sometimes referred to as chop suey lettering), because the subject happens to deal with the Orient is to create the typographic equivalent of a corny illustration. To mimic a woodcut style of type to “go with” a woodcut; to use bold type to “harmonize with” heavy machinery, etc., is cliché-thinking. The designer is unaware of the exciting possibilities inherent in the contrast of picture and type matter. Thus, instead of combining a woodcut with a “woodcut style” of type (Neuland), a happier choice would be a more classical design (Caslon, Bodoni, or Helvetica) to achieve the element of surprise and to accentuate by contrast the form and character of both text and picture.

Since the beginning he was the Creator's finest creation: the angel Samael, called Lucifer. It means 'the bringer of light'. Of all the angels he was the wisest, the most beautiful, the most powerful. Saving only his Creator, he is, perhaps, the most powerful being there is." "More powerful than you?" "Oh yes. By far." "Well, at least you've got the element of surprise on your side." "That would not be honorable, Matthew. I have already sent a messenger to the Lord of Hell, to let him know that I will be coming. One must do these things properly." "Smart, boss. Real smart.

The world is made up of four elements: Earth, Air, Fire, and Water. This is a fact well known even to Corporal Nobbs. It's also wrong. There's a fifth element, and generally it's called Surprise.

I march forward, pushing and elbowing my way through the crowd. “Pardon me. Excuse me. Coming through.” Finally, I reach the unhappy couple. I nod to Prince. “How’s it going, Dave?” He looks a little confused. “Uh . . . fine, thanks.” “Good.” Then I scoop Kennedy up into my arms—and I run. The element of surprise is on our side, several moments pass before anyone behind us thinks to react. “What are you doing?” Kennedy squeaks. “Saving you.” For a horrible second, I think maybe she didn’t want to be saved. Until her arms tighten around my neck and her body presses closer. “Hurry. They’re coming.” I pick up the pace and smile. “Relax. I’ve got you.

There were some that were of so rare a beauty that my pleasure on catching sight of them was enhanced by surprise. By what privilege, on one morning rather than another, did the window on being uncurtained disclose to my wondering eyes the nymph Glauconome, whose lazy beauty, gently breathing, had the transparence of a vaporous emerald beneath whose surface I could see teeming the ponderable elements that coloured it? She made the sun join in her play, with a smile rendered languorous by an invisible haze which was nought but a space kept vacant about her translucent surface, which, thus curtailed, became more appealing, like those goddesses whom the sculptor carves in relief upon a block of marble, the rest of which he leaves unchiselled. So, in her matchless colour, she invited us out over those rough terrestrial roads, from which, seated beside Mme. de Villeparisis in her barouche, we should see, all day long and without ever reaching it, the coolness of her gentle palpitation.

There's another element in the euro crisis, another weakness of a shared currency, that took many people, myself included, by surprise. It turns out that countries that lack their own currency are highly vulnerable to self-fulfilling panic, in which the efforts of investors to avoid losses from default end up triggering the very default they fear.

By now you will not be surprised to learn that Gaston Bachelard had a few things to say about the element of air. In a book called "Air and Dreams". he points out that we categorize many of our emotions by their relative weight; they make us feel heavier or lighter. Perhaps because uprightness is the human quality, we imagine human emotions arranged on a vertical scale from ground to sky. So sadness is weighed down and earthbound. joy is aerial, and the sensation of freedom defies the bonds of gravity. "Air," Bachelard writes, "is the very substance of our freedom, the substance of superhuman joy." Elation, effervescence, elevation, levity, inspiration: air words all, alveolated with vowels, leavening the dough of everyday life.

Though he never actually joined it, he was close to some civilian elements of the Democratic Front for the Liberation of Palestine, which was the most Communist (and in the rather orthodox sense) of the Palestinian formations. I remember Edward once surprising me by saying, and apropos of nothing: 'Do you know something I have never done in my political career? I have never publicly criticized the Soviet Union. It’s not that I terribly sympathize with them or anything—it's just that the Soviets have never done anything to harm me, or us.' At the time I thought this a rather naïve statement, even perhaps a slightly contemptible one, but by then I had been in parts of the Middle East where it could come as a blessed relief to meet a consecrated Moscow-line atheist-dogmatist, if only for the comparatively rational humanism that he evinced amid so much religious barking and mania. It was only later to occur to me that Edward's pronounced dislike of George Orwell was something to which I ought to have paid more attention.

Although this table contains a great many elements, from the element oxygen, which is found in the air, to the element aluminum, which is found in cans of soda, the table if elements does not contain one of the most powerful elements that make up our world, and that is the element if surprise.

The vulnerability in that smile was the surprising element- the vulnerability of our record-breaking muscleman faced with all the crudeness it takes to stay alive. The smile's refusal to recognize, let alone to sanction in himself, the savage obstinacy that seven decades of surviving requires of a man.

Our current business operating system— which is built around external, carrot-and-stick motivators—doesn’t work and often does harm. We need an upgrade. And the science shows the way. This new approach has three essential elements: (1) Autonomy—the desire to direct our own lives; (2) Mastery—the urge to make progress and get better at something that matters; and (3) Purpose—the yearning to do what we do in the service of something larger than ourselves.

More importantly, I didn’t know then that one day I would genuinely be free. That freedom came out of a thousand small steps of obedience, most of which I took during the waiting or limbo time. The more I learned to lean into Him on a daily basis and simply live out my faith in the everyday elements, the more I was prepared for the bigger steps when they arrived. Not only that, I was given the gift of living my life fully in the present, rather than being fixated and frustrated over some distant time or hope. In the crossroads called limbo, you do arrive at mile markers. You become more mature. More healed. Less surprised by or resistant to or unprepared for the good things God is giving you in the ordinary. Your challenge is to begin to embrace the waiting times as part of the overall journey. Limbo is a key part of the healing process! As you are faithful daily, He is working in you powerfully, and it all counts. Every single moment!

You must know, my loved one, that there are beings in the elements which almost appear like mortals, and which rarely allow themselves to become visible to your race. Wonderful salamanders glitter and sport in the flames; lean and malicious gnomes dwell deep within the earth; spirits, belonging to the air, wander through the forests; and a vast family of water spirits live in the lakes and streams and brooks. In resounding domes of crystal, through which the sky looks in with its sun and stars, these latter spirits find their beautiful abode; lofty trees of coral with blue and crimson fruits gleam in their gardens; they wander over the pure sand of the sea, and among lovely variegated shells, and amid all exquisite treasures of the old world, which the present is no longer worthy to enjoy; all these the floods have covered with their secret veils of silver, and the noble monuments sparkle below, stately and solemn, and bedewed by the loving waters which allure from them many a beautiful moss-flower and entwining cluster of sea grass. Those, however, who dwell there, are very fair and lovely to behold, and for the most part, are more beautiful than human beings. Many a fisherman has been so fortunate as to surprise some tender mermaid, as she rose above the waters and sang. He would then tell afar of her beauty, and such wonderful beings have been given the name of Undines. You, however, are now actually beholding an Undine.

If you are in difficulties with a book,” suggested H. G. Wells, “try the element of surprise: attack it at an hour when it isn’t expecting it.” This was one way Gail Godwin learned to outfox her “watcher” (the inner critic who kept an eye on her as she worked): looking for times to write when she was off guard. Other tactics Godwin found helpful included writing too fast and in unexpected places and times; working when tired; writing in purple ink on the back of charge card statements; and jotting down whatever came to mind while a tea kettle boiled, using its whistle as a deadline. “Deadlines are a great way to outdistance the watcher,” advised Godwin.

Music can be appreciated from several points of view: the listener, the performer, the composer. In mathematics there is nothing analogous to the listener; and even if there were, it would be the composer, rather than the performer, that would interest him. It is the creation of new mathematics, rather than its mundane practice, that is interesting. Mathematics is not about symbols and calculations. These are just tools of the tradequavers and crotchets and five-finger exercises. Mathematics is about ideas. In particular it is about the way that different ideas relate to each other. If certain information is known, what else must necessarily follow? The aim of mathematics is to understand such questions by stripping away the inessentials and penetrating to the core of the problem. It is not just a question of getting the right answer; more a matter of understanding why an answer is possible at all, and why it takes the form that it does. Good mathematics has an air of economy and an element of surprise. But, above all, it has significance.

If you are ever forced to take a chemistry class, you will probably see, at the front of the classroom, a large chart divided into squares, with different numbers and letters in each of them. This chart is called the table of the elements, and scientists like to say that it contains all the substances that make up our world. Like everyone else, scientists are wrong from time to time, and it is easy to see that they are wrong about the table of the elements. Because although this table contains a great many elements, from the element oxygen, which is found in the air, to the element aluminum, which is found in cans of soda, the table of the elements does not contain one of the most powerful elements that make up our world, and that is the element of surprise

Though we typically turn to sugar to balance out bitter flavors in a sauce or soup, it turns out that salt masks bitterness much more effectively than sugar. See for yourself with a little tonic water, Campari, or grapefruit juice, all of which are both bitter and sweet. Taste a spoonful, then add a pinch of salt and taste again. You’ll be surprised by how much bitterness subsides.

Every exam, every tournament, every match, every recital—there’s always some wrinkle, some misplaced calculator or sudden headache, a glaring sun or an unexpected essay question. At bottom, interleaving is a way of building into our daily practice not only a dose of review but also an element of surprise. “The brain is exquisitely tuned to pick up incongruities, all of our work tells us that,” said Michael Inzlicht, a neuroscientist at the University of Toronto. “Seeing something that’s out of order or out of place wakes the brain up, in effect, and prompts the subconscious to process the information more deeply: ‘Why is this here?’ ” Mixed-up practice doesn’t just build overall dexterity and prompt active discrimination. It helps prepare us for life’s curveballs, literal and figurative.

we are tempted to erase the unsettling elements of the other's alterity-the ways in which the other does not coincide with our fantasies-because we imagine that, by so doing, we manage to stabilize our lives. Rather than allowing ourselves to be surprised by the other, rather than allowing the other to touch us in unforeseen and potentially enlivening ways, we resort to idealizations that seem to guarantee the reliability of our life-worlds. In this manner, we deprive ourselves of the kinds of transformations that can only ensue from a courageous encounter with the other's irreducible alterity.

When you ask the question, “Who am I?”—if you have enough time and concentration—you may find some surprising answers. You may see that you are a continuation of your ancestors. Your parents and your ancestors are fully present in every cell of your body; you are their continuation. You don’t have a separate self. If you remove your ancestors and your parents from you, there’s no “you” left. You may see that you’re made of elements, like water for example. If you remove the water from you, there’s no “you” left. You’re made of earth. If you remove the element earth from you, there’s no “you” left. You’re made of air. You need air desperately; without air you cannot survive. So if you remove the element of air from you, there’s no “you” left. And there’s the fire element, the element of heat, the element of light, in you. You know that you are made of light. Without sunlight, nothing can grow on Earth. If you continue to look, you see that you are made of the sun, one of the biggest stars in the galaxy. And you know that the Earth, as well as yourself, is made of the stars. So you are the stars. On a clear night, look up, and you can see that you are the stars above. You’re not just the tiny body you normally may think of as “yourself.

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!

Quadruple crap. Why couldn’t I control myself? Why did he have this effect on me? “Are you compelling me right now?” To my surprise, his smile held an edge of sadness. “That would give you a much needed excuse, but I am afraid I am not.” Curse my body for reacting to his. As long as I kept him out of my heart, I would be okay. “I think it a bit too late for that, my dear.” “You’re using old man speak again.” I made a face. “It’s creepy.” He chuckled. “I’ll try to remember that, but I haven’t been around humans much in the past hundred years. It’s hard to keep up with the changes in common dialect.” “Let’s keep on topic, Jett. You were going to teach me how to control my mind.

All Religions have this in common, that they are an outrage to common sense for they are pieced together out of a variety of elements, some of which seem so unworthy, sordid and at odds with man’s reason, that any strong and vigorous intelligence laughs at them... The human intellect is only capable of tackling mediocre subjects: it disdains petty subjects, and is startled by large ones. There is no reason to be surprised if it finds any religion hard to accept at first, for all are deficient in the mediocre and the commonplace, nor that it should require skill to induce belief. For the strong intellect laughs at religion, while the weak and superstitious mind marvels at it but is easily scandalized by it.

YA stories feature a young adult protagonist or protagonists and usually focus on that character’s journey toward maturity (the tradition of the Bildungsroman.). Learning about love / relationships is an important part of that stage in our lives, so it’s not surprising so many writers are building strong romantic elements into their YA stories. I don’t remember quite such an emphasis on romance in the books my children read as young adults, so I do think the approach has changed. Within my genre of fantasy, there’s been an upsurge of paranormal romance, partly generated by the Twilight books, but also reflecting the popularity of this sub-genre with adult readers. There are far more female fantasy writers (and female fantasy readers) than there were, say, twenty years ago, and perhaps female writers are more confident about including a good love story in a fantasy novel. (2012 Interview by Helen Lowe: The Supernatural Underground: An Interview with Juliet Marillier Discussing "Shadowfell".)

Contemporary attitudes toward urban parks fall into three levels of sophistication. The first, the most naive assumption, is that parks are just plots of land preserved in their original state. If asked to discuss the issue at all, many laymen have maintained this much, that parks are bits of nature created only in the sense that some decision was made not to build on the land. Many are surprised to learn that parks that an artifact conceived and deliberated as carefully as public buildings, with both physical shape and social usage taken into account. The second, a little more informed, is that parks are aesthetic objects and that their history can be understood in terms of an evolution of artistic styles independent of societal considerations. The third is the view that each of the elements of the urban park represents part of planners' strategy for moral and social reform, so that today, as in the past, the citizen visiting a park is subject to an accumulated set of intended moral lessons.

What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. "Consciousness plus style equals good nonfiction" is one way of stating the formula.

I might not like what you do, but you’re not going to lose me, Gin.” “Why not?” I said, forcing the words out through the lump of emotion that clogged my throat. “What’s changed?” Bria looked at me. “Because we came down here, and I saw how Donovan treated you. How he thought he was so much better than you, so much more righteous, and I realize that it’s the same way I’ve been treating you for months now, when you’ve done nothing but save my life over and over again. With no question, no hesitation, and nothing asked in return. Not one damn thing.” Tears streaked down her cheeks, and her blue eyes were agonizingly bright in her face. “The truth is that I’m ashamed of myself for acting like him and most especially for taking you for granted. When we found out that Callie was in trouble, you were the first one to do anything about it. You immediately stepped up and offered to help her. If it wasn’t for you, Callie would be dead now and probably Donovan along with her. You saved her not because I asked you to and not even because she was my friend but because you saw someone who was in trouble and you realized you could help her. Maybe you are an assassin, maybe you are one of the bad guys, but you know what? I don’t give a damn anymore. You’re my sister first, and that’s all that matters to me.” I blinked and was surprised to find hot tears sliding down my own cheeks, one after another in a torrent that I couldn’t control. She . . . she . . . understood. She actually understood who and what I was and that I would probably never change or give up being the Spider. She knew it all, and she was still here with me. All sorts of emotions surged through my heart then, but there was one that drowned out all the others—relief. Pure, sweet relief that she wasn’t going to walk out of my life, that she was going to stick with me through the good and the bad and whatever else the world threw at us. I reached forward and wrapped my arms around Bria, and she did the same to me. We stood like that for several minutes, still and quiet, with silent sobs shaking both of our bodies. Just letting out all the fear and anger and guilt that had crept up on us both and had created this gulf between us. But we’d overcome those emotions, and I’d be damned if we’d ever grow apart like this again.

I can feel that I’m stronger than him and stand with the left side of my body towards him, feet shoulder width apart, knees slightly bent. My left hand’s palm faces my body, fingers slightly curled as I gather my energy. He probably expects that I’m going to slam it into him as he did me. Instead, I cast my majick out like a net and drag him towards me; the maneuver catches him by surprise and I smile as I pull my arm back to punch him in the face. He stumbles and I’m glad because it means I won’t have to lose momentum by jabbing up

There had been a time, once, when he had not lived like this, a .32 under his pillow, a lunatic in the back yard firing off a pistol for God knew what purpose, some other nut or perhaps the same one imposing a brain-print of his own shorted-out upstairs on an incredibly expensive and valued cephscope that everyone in the house, plus all their friends, loved and enjoyed. In former days Bob Arctor had run his affairs differently: there had been a wife much like other wives, two small daughters, a stable household that got swept and cleaned and emptied out daily, the dead newspapers not even opened carried from the front walk to the garbage pail, or even, sometimes, read. But then one day, while lifting out an electric corn popper from under the sink, Arctor had hit his head on the corner of a kitchen cabinet directly above him. The pain, the cut in his scalp, so unexpected and undeserved, had for some reason cleared away the cobwebs. It flashed on him instantly that he didn't hate the kitchen cabinet: he hated his wife, his two daughters, his whole house, the back yard with its power mower, the garage, the radiant heating system, the front yard, the fence, the whole fucking place and everyone in it. He wanted a divorce; he wanted to split. And so he had, very soon. And entered, by degrees, a new and somber life, lacking all of that. Probably he should have regretted his decision. He had not. That life had been one without excitement, with no adventure. It had been too safe. All the elements that made it up were right there before his eyes, and nothing new could ever be expected. It was like, he had once thought, a little plastic boat that would sail on forever, without incident, until it finally sank, which would be a secret relief to all. But in this dark world where he now dwelt, ugly things and surprising things and once in a long while a tiny wondrous thing spilled out at him constantly; he could count on nothing.

Protestantism harbors within it certain elements – just as the Great Reformer himself harbored such elements within his personality. I am thinking here of a sentimentality, a trancelike self-hypnosis that is not European, that is foreign and hostile to our active hemisphere’s law of life. Just look at him, this Luther. Look at the portraits, both as a young man and later. What a skull, what cheekbones, what a strange set to the eyes. My friend, that is Asia. I would be surprised, would be astonished, if Wendish-Slavic-Sarmatian blood was not at work there, and if it was not this massive phenomenon of a man – and who would deny him that – who proved to be a fatal weight placed on one of the two precariously balanced scales of your nation, on the Eastern scale, which caused – and still causes – the Western scale to fly heavenward.

So,” I said. “Exactly how long have the two of you been together? I assume that you’ve been going hot and heavy ever since that night at Fletcher’s house when the bounty hunters interrupted you. Am I right?” Finn and Bria didn’t look at me or each other. “Right,” Bria mumbled. “Although if it makes you uncomfortable—” “Then Gin’s just going to have to deal with it,” Finn cut her off. Bria stared at him in surprise. “What?” Finn said. “I worked too hard and too long to get you into my bed to just cut you loose now, cupcake.” Bria’s eyes narrowed. “Cupcake?” “Cupcake.” Finn grinned at her. “Or would you prefer snuggle bunny?” Bria’s hand drifted down to the gun on her leather belt, as though she wanted to pull it out and shoot Finn with it. Well, it was good to know I wasn’t the only one who occasionally had that reaction to him. ... Then I fixed them both with a hard stare. “Just don’t ask me to take sides when the two of you go at each other. Okay?” They nodded, then looked at each other. Finn waggled his eyebrows in a suggestive manner, and Bria snorted. But she couldn’t stop a grin from curving her lips.

The thing about fires most people don’t realise is the noise. It’s deafening so even if you shout, you can’t be heard three feet away. You can never quite get used to the fury of it, it’s like a mighty roar of anger that just keeps going. I suppose flame is beautiful, the way it leaps into the air like it’s free to do what it wants. Other elements are also free and I guess the sea can be pretty awesome, wind too, and lightning, but fire has a mind and a determination. You don’t see it as a blind raging thing, which I suppose it is, but something that attacks and thinks and changes tactics. It has a malevolence that uses surprise, dirty tricks, cunning. You get to think of it as someone, not something, and it’s someone you have to beat, but right from the start you don’t like your chances because it’s so big and unpredictable and can do so much harm.

If I could just have him until the day was over. Just a few more hours. But he was gone. I clasped my hand tightly over my mouth and felt a trembling that started deep inside move out to make all of me shake. I had a mighty impulse, it truly was mighty, to rise to my feet and howl. To overturn the chair and nightstand, to rip at my clothes, to bring down the very walls around us. But of course I did not do that. I pulled an elemental sense of outrage back inside and smoothed it down. I forced something far too big into something far too small, and this made for a surprising and unreasonable weight, as mercury does. I noticed sounds coming from my throat, little unladylike grunts. I saw that everything I’d ever imagined about what it would feel like when was pale. Was wrong. Was the shadow and not the mountain. And then, “It’s all right,” I said, quickly. “It’s all right.” To whom? I wondered later.

Yes! The rosy fingers of dawn had finally slipped through the fog and gently pulled it apart, separating the tendrils, weakening it. Wendy watched in fascination. She almost never saw the sunrise except in winter and that was through her window, under the gray sprawl of London Town. Nothing like this. As the sea lightened and the sky began to clear, the two elements resolved themselves into colors unlike anything she was used to: brilliant emerald and deep aquamarine, pellucid azure and shining lapis. It was so storybook perfect she wouldn't have been surprised at all if the sun came out with a great smiley face drawn on it.

The more we gained knowledge of these new totalitarian systems of mass-rule, the more we realized not only their similarity of structure, but also the fact that we had to do with a type of dominance that had been known in earlier epochs. We discovered that what the ancients called “tyrannis,” or 'cheirokratia,” what Sulla or the tyrants of the Italian Rennaissance had practised, and what finally alarmed the world in the French Revolution and under Napoleon, had surprisingly many similarities with modern totalitarianism, although this latter had elements with which they cannot be compared, and although it possessed means of domination unknown in past ages.

A good children's book, written by someone aware of the responsibilities, tries to follow the pattern of the mind when it is working properly. Very early on it will say "what if?" and proceed with enjoyment and wonder to run through the possibilities resulting from that. It may go to surprising lengths here, and there will be things half heard and only hinted at, possibly, as people's minds have the built-in tendency to respond with excitement to mystery. The "what if" often (though not invariably) entails fantasy, and it is over the element of fantasy that many writers, not only those who say imagination drives you mad, get the wrong idea. They assume that because a thing is "made up' it is unreal or untrue (disregarding the fact that any kind of story except the most factual biography is always "made up"). They see a child reading a fairy story, or constructing his or her own fantasy, and they at once conclude that the child is retreating into make-believe simply to get comfort in a melancholy situation

It is relatively easy to take up examples of “originality” from the past and analyze them from today’s perspective. Almost always, the things that should have disappeared—for lack of originality—have already done so, leaving us to confidently evaluate what remains. As countless instances show, however, it is far more difficult to properly assess, in real time, new forms of expression in our immediate environment. That is because they often contain elements seen as unpleasant, unnatural, nonsensical, or sometimes even antisocial. Or else just plain stupid. Whatever the case, those around us tend to react with surprise and, at the same time, shock. People instinctively dislike those things they can’t understand,

Delegating, thinking strategically, communicating—you may think this all sounds like Management 101. And you’re right. The most basic elements of management are often what trip up managers early in their careers. And because they are the basics, the bosses of rookie managers often take them for granted. They shouldn’t—an extraordinary number of people fail to develop these skills. I’ve maintained an illusion throughout this article—that only rookie managers suffer because they haven’t mastered these core skills. But the truth is, managers at all levels make these mistakes. An organization that supports its new managers by helping them to develop these skills will have surprising advantages over the competition.

Do you know what the clan says of you, Adaira?” Jack began softly. “They call you our light. Our hope. They claim even the spirits bend a knee when you pass. I’m surprised flowers don’t grow in your footsteps.” That coaxed a slight chuckle from her, but he could still see her melancholy, as if a hundred sorrows weighed her down. “Then I have fooled you all. I fear that I am riddled with flaws, and there is far more shadow than light in me these days.” She met his gaze again. The wind began to blow from the east, cold and dry. Adaira’s hair rose and tangled like a silver net, and Jack could smell the fragrance within its shine. Like lavender and honey. He thought he would like to see those shadows in her. Because he felt his own, brimming in his bones and dancing in solitude for far too long.

I don’t seem to have said enough about the compensating or positive element of exposure to travel. Just as you discover that stupidity and cruelty are the same everywhere, you find that the essential elements of humanism are the same everywhere, too. Punjabis in Amritsar and Lahore are equally welcoming and open-minded, even though partition means the amputation of Punjab as well as of the subcontinent. There are a heartening number of atheists and agnostics in the six counties of Northern Ireland, even though Ulster as well as Ireland has been divided. Most important of all, the instinct for justice and for liberty is just as much “innate” in us as are the promptings of tribalism and sexual xenophobia and superstition. People know when they are being lied to, they know when their rulers are absurd, they know they do not love their chains; every time a Bastille falls one is always pleasantly surprised by how many sane and decent people were there all along. There’s an old argument about whether full bellies or empty bellies lead to contentment or revolt: it’s an argument not worth having. The crucial organ is the mind, not the gut. People assert themselves out of an unquenchable sense of dignity.

Power is certainly important, particularly in dictatorships, in places where constitutions, laws, unwritten rules, traditions and understandings don’t count. But in a healthy democracy, power is a surprisingly limited element. And the unwritten conventions, understandings, forms of respect for how things are done, for how citizens relate to government and to each other, are surprisingly important. Why? Because if democracy is only power, then what we are left with is a system of deep distrust. Why? Because if only power matters – even if it is the result of an election – then the government feels that it has a mandate to do whatever it wants; that the law is there principally to serve power. If democracy is only about winning power and using it, then it has been deformed into a denial of society and of the idea of responsible citizenship.

Intellectual, imaginative, romantic, emotional. This is what gives sex its surprising textures, its subtle transformations, its aphrodisiac elements. Sex loses all its power and magic when it becomes explicit, mechanical, overdone, when it becomes a mechanistic obsession. It becomes a bore. You are shrinking your world of sensations. You are withering it, starving it, draining its blood. If you nourished your sexual life with all the excitements and adventures which love injects into sensuality, you would be the most potent human being in the world. The source of sexual power is curiosity, passion. You are watching its little flame die of asphyxiation. Sex does not thrive on monotony. Sex must be mixed with tears, laughter, words, promises, scenes, jealousy, envy, all of the spices of fear, foreign travel, new faces, novels, stories, dreams, fantasies, music, dancing, opium, wine.

The skinny Doya-sensei, in his cotton clothing, appeared on stage. He had braved the elements, walking as straight as a needle. Exposed to the dry wind, he looked like an old withered gourd. The sound of hands clapping filled the air. The clapping of hands is not necessarily the same as applause. Takayanagi alone sat silently and adjusted his collar. "Man is a link between the past and the future." Doya-sensei began abruptly. The audience was taken by surprise. No one started his lecture this way. "Those who carry over the past into the future are called conservative; those who save the future from the past are called progressive." The audience was more puzzled than before. Among the audience of three hundred were those who came to jeer Doya-sensei. Like sumo wrestlers in a ring, they watched for a chance to take advantage of their opponent. They were poised like a snake ready to strike. In Doya-sensei's vision there was nothing but the Way. "If you say you have no past in yourself, you may as well say you have no parents. If you say you have no future in yourself, you may as well say you have no capacity to beget children. One's standpoint should be clear from this. Either to live for your parents, to live for your children, or to live for yourself: your mission in life can be only one of these three alternatives.

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

I am short, so I like the little guy/underdog stories, but they are not straightforwardly about one size versus another. Think about, say, Jack and the Beanstalk, which is basically a big ugly stupid giant, and a smart little Jack who is fast on his feet. OK, but the unstable element is the beanstalk, which starts as a bean and grows into a huge tree-like thing that Jack climbs to reach the castle. This bridge between two worlds is unpredictable and very surprising. And later, when the giant tries to climb after Jack, the beanstalk has to be chopped down pronto. This suggests to me that the pursuit of happiness, which we may as well call life, is full of surprising temporary elements -- we get somewhere we couldn't go otherwise and we profit from the trip, but we can't stay there, it isn't our world, and we shouldn't let that world come crashing down into the one we can inhabit. The beanstalk has to be chopped down. But the large-scale riches from the 'other world' can be brought into ours, just as Jack makes off with the singing harp and the golden hen. Whatever we 'win' will accommodate itself to our size and form -- just as the miniature princesses and the frog princes all assume the true form necessary for their coming life, and ours. Size does matter.

What if my da is Breccan?” Frae kicked a pebble on the road, keeping her eyes on the ground. “Would you still want to walk me home?” Ella was quiet for a moment, but maybe only because the question had taken her by surprise. Frae snuck a glance at her. For the past several days, Ella had walked her home from school and the boys had not bothered her again. But there were still whispers and pointed glances. A few times during class, no one had wanted to partner up with Frae. “If your da is a Breccan,” Ella began to say, “then yes, I’d still walk you home, and I’d still be your friend, Frae. Do you want to know why?” Frae nodded, but she could feel her face flush, her relief knotted with shame that she even had to ask this question when no other children she knew did. “Because your heart is good and brave and kind,” Ella said. “You are thoughtful and smart. And those are the kind of people who I want to be friends with. Not the ones who think they are above everyone else. Who scowl and judge things they don’t understand and throw mud and have cowardly hearts.” Frae soaked in Ella’s words, which were warm and soft as a plaid, and she suddenly could walk faster, her chin held higher. “And,” Ella added with a mischievous smile, “you make the best berry pies.

There’s just no owning any success you achieve and stacking it in your win column. The force just won’t let it happen. What happens when imposter syndrome has you in its grip? You become terrified you’ll be found out. Despite all her acclaim and success, this is what Maya Angelou feared. “I have written 11 books, but each time I think, ‘Uh-oh, they’re going to find out now. I’ve run a game on everybody, and they’re going to find me out.’”1 You might be surprised to find out how many accomplished people think to themselves they’ll be “found out,” then ostracized and ridiculed. However, it’s irrational. It would only happen if you actually did have no skill, no ability, or no knowledge, but that isn’t the case for most people. This is the ultimate fear, isn’t it? Being found out and kicked out of our tribe? By nature, we’re tribal. Humans survived through the millennia because we were part of a tribe that hunted, gathered, sheltered, and protected one another from the elements, from predators, and from other tribes. You couldn’t be out hunting and watching the fire simultaneously. You needed other people if you had any hope of surviving through the night. If your tribe finds out you’re a fraud, it triggers that primordial “Uh-oh, they’re going to kick me out! I’m going to be caught in the wilderness alone!” When plagued by imposter syndrome, people don’t take themselves, their abilities, or their accomplishments seriously. If you don’t take yourself seriously on any Field of Play, you most likely won’t be getting the results you want.

On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In

Paul Theroux on Blogging, Travel Writing, and Three Cups of Tea Speaking of books that contain an element of travel, Greg Mortenson's bestseller about Central Asia was in the news recently. Were you surprised by the allegations that Three Cups of Tea contained fabrications? No, I wasn't. One of the things The Tao of Travel shows is how unforthcoming most travel writers are, how most travelers are. They don't tell you who they were traveling with, and they're not very reliable about things that happened to them. For example, everyone loved John Steinbeck's book Travels With Charley. Turns out he didn't travel alone, his wife kept meeting him, yet she was never mentioned in the book. Steinbeck didn't go to all the places he mentioned, nor did he meet all the people he said he met. In other words, Travels With Charley is fiction, or at least half-fiction. As for Three Cups of Tea, I think that philanthropists and humanitarians are even less forthcoming about what they do. I guess this guy did build a couple of schools in Afghanistan, but a self-promoting humanitarian is not someone I have a great deal of trust or belief in. I lived for six years in Africa and I've been to Africa numerous times since then. People build schools for their own reasons—not to improve a country. The people I've known who've done great things of that type—you know, building hospitals, running schools—are very humble people. They give their lives to the project. Missionaries get a bad rap, but I've known missionaries in Africa who were very self-sacrificing and humble and who did great things. They ran schools, hospitals, libraries; they helped people. Some wrote dictionaries and translated languages that hadn't been written down. I saw a lot of missionaries in Africa that were doing that, and you would never know their names; they came and did their work, and now they're buried there. Are there travel books out there that feel especially honest to you? Many of the books I quote in The Tao of Travel feel honest. One of them, really the most heartfelt, is Christ Stopped at Eboli by Carlo Levi. Peter Matthiessen's The Snow Leopard is a very honest book. Jan Morris has written numerous books, and you can take what she says to the bank. But there are some that just don't feel right. Bruce Chatwin never rang true to me. Bill Bryson said that he would take a couple of people and make them into one composite character. Well, that's what novelists do. If you're a travel writer you have to stick to the facts.

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

Yet the homogeneity of contemporary humanity is most apparent when it comes to our view of the natural world and of the human body. If you fell sick a thousand years ago, it mattered a great deal where you lived. In Europe, the resident priest would probably tell you that you had made God angry and that in order to regain your health you should donate something to the church, make a pilgrimage to a sacred site, and pray fervently for God’s forgiveness. Alternatively, the village witch might explain that a demon had possessed you and that she could cast it out using song, dance, and the blood of a black cockerel. In the Middle East, doctors brought up on classical traditions might explain that your four bodily humors were out of balance and that you should harmonize them with a proper diet and foul-smelling potions. In India, Ayurvedic experts would offer their own theories concerning the balance between the three bodily elements known as doshas and recommend a treatment of herbs, massages, and yoga postures. Chinese physicians, Siberian shamans, African witch doctors, Amerindian medicine men—every empire, kingdom, and tribe had its own traditions and experts, each espousing different views about the human body and the nature of sickness, and each offering their own cornucopia of rituals, concoctions, and cures. Some of them worked surprisingly well, whereas others were little short of a death sentence. The only thing that united European, Chinese, African, and American medical practices was that everywhere at least a third of all children died before reaching adulthood, and average life expectancy was far below fifty.14 Today, if you happen to be sick, it makes much less difference where you live. In Toronto, Tokyo, Tehran, or Tel Aviv, you will be taken to similar-looking hospitals, where you will meet doctors in white coats who learned the same scientific theories in the same medical colleges. They will follow identical protocols and use identical tests to reach very similar diagnoses. They will then dispense the same medicines produced by the same international drug companies. There are still some minor cultural differences, but Canadian, Japanese, Iranian, and Israeli physicians hold much the same views about the human body and human diseases. After the Islamic State captured Raqqa and Mosul, it did not tear down the local hospitals. Rather, it launched an appeal to Muslim doctors and nurses throughout the world to volunteer their services there.15 Presumably even Islamist doctors and nurses believe that the body is made of cells, that diseases are caused by pathogens, and that antibiotics kill bacteria.

A common problem plagues people who try to design institutions without accounting for hidden motives. First they identify the key goals that the institution “should” achieve. Then they search for a design that best achieves these goals, given all the constraints that the institution must deal with. This task can be challenging enough, but even when the designers apparently succeed, they’re frequently puzzled and frustrated when others show little interest in adopting their solution. Often this is because they mistook professed motives for real motives, and thus solved the wrong problems. Savvy institution designers must therefore identify both the surface goals to which people give lip service and the hidden goals that people are also trying to achieve. Designers can then search for arrangements that actually achieve the deeper goals while also serving the surface goals—or at least giving the appearance of doing so. Unsurprisingly, this is a much harder design problem. But if we can learn to do it well, our solutions will less often meet the fate of puzzling disinterest. We should take a similar approach when reforming a preexisting institution by first asking ourselves, “What are this institution’s hidden functions, and how important are they?” Take education, for example. We may wish for schools that focus more on teaching than on testing. And yet, some amount of testing is vital to the economy, since employers need to know which workers to hire. So if we tried to cut too much from school’s testing function, we could be blindsided by resistance we don’t understand—because those who resist may not tell us the real reasons for their opposition. It’s only by understanding where the resistance is coming from that we have any hope of overcoming it. Not all hidden institutional functions are worth facilitating, however. Some involve quite wasteful signaling expenditures, and we might be better off if these institutions performed only their official, stated functions. Take medicine, for example. To the extent that we use medical spending to show how much we care (and are cared for), there are very few positive externalities. The caring function is mostly competitive and zero-sum, and—perhaps surprisingly—we could therefore improve collective welfare by taxing extraneous medical spending, or at least refusing to subsidize it. Don’t expect any politician to start pushing for healthcare taxes or cutbacks, of course, because for lawmakers, as for laypeople, the caring signals are what makes medicine so attractive. These kinds of hidden incentives, alongside traditional vested interests, are what often make large institutions so hard to reform. Thus there’s an element of hubris in any reform effort, but at least by taking accurate stock of an institution’s purposes, both overt and covert, we can hope to avoid common mistakes. “The curious task of economics,” wrote Friedrich Hayek, “is to demonstrate to men how little they really know about what they imagine they can design.”8

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.