Elevator Stories Quotes

My mind then wandered. I thought of this: I thought of how every day each of us experiences a few little moments that have just a bit more resonance than other moments—we hear a word that sticks in our mind—or maybe we have a small experience that pulls us out of ourselves, if only briefly—we share a hotel elevator with a bride in her veils, say, or a stranger gives us a piece of bread to feed to the mallard ducks in the lagoon; a small child starts a conversation with us in a Dairy Queen—or we have an episode like the one I had with the M&M cars back at the Husky station. And if we were to collect these small moments in a notebook and save them over a period of months we would see certain trends emerge from our collection—certain voices would emerge that have been trying to speak through us. We would realize that we have been having another life altogether; one we didn’t even know was going on inside us. And maybe this other life is more important than the one we think of as being real—this clunky day-to-day world of furniture and noise and metal. So just maybe it is these small silent moments which are the true story-making events of our lives.

For there was a conspiracy of dullness in the world, a universal plan to shut out the resurgences of spirit which might interfere with clockwork. Better to keep your elevation unseen until it is higher than strangers' hands can reach to pull you down to their level.

The words were unexpected, but so incisively true. So much of prayer is like that - an encounter with a truth that has sunk to the bottom of the heart, that wants to be found, wants to be spoken, wants to be elevated into the realm of sacredness.

There is no such sense of solitude as that which we experience upon the silent and vast elevations of great mountains. Lifted high above the level of human sounds and habitations, among the wild expanses and colossal features of Nature, we are thrilled in our loneliness with a strange fear and elation – an ascent above the reach of life's expectations or companionship, and the tremblings of a wild and undefined misgivings.

Quietly, Macey went through her options. Even though the masked men were asking for cell phones, the gunmen were making so much noise that she was sure someone had already called 911. The obvious exits were blocked, and the elevators had no doubt been disabled. The men moved with confidence and order, but they weren’t trying to be quiet. There was nothing covert at all about this operation. Unlike the boy beside her.

As soon as she was close, she whispered, "you've got to get out of here." "No, you've got to get out of here," he told her. "Go downstairs. Go now." "No," she countered. "You go." "Why?" he asked. "You tell me first." But before they could say another word, the last elevator slid slowly open and two men in masks rushed out. From the opposite side of the of the ballroom, shots rang out, rapid fire, piercing the ceiling, plaster falling onto the dance floor like snow. And then Hale and Macey whispered in unison, "Because of that.

I suppose every generation has a conceit of itself which elevates it, in its own opinion, above that which comes after it. ("The Open Door")

Always that same LSD story, you've all seen it. 'Young man on acid, thought he could fly, jumped out of a building. What a tragedy.' What a dick! Fuck him, he’s an idiot. If he thought he could fly, why didn’t he take off on the ground first? Check it out. You don’t see ducks lined up to catch elevators to fly south—they fly from the ground, ya moron, quit ruining it for everybody. He’s a moron, he’s dead—good, we lost a moron, fuckin’ celebrate. Wow, I just felt the world get lighter. We lost a moron! I don’t mean to sound cold, or cruel, or vicious, but I am, so that’s the way it comes out. Professional help is being sought. How about a positive LSD story? Wouldn't that be news-worthy, just the once? To base your decision on information rather than scare tactics and superstition and lies? I think it would be news-worthy. 'Today, a young man on acid realized that all matter is merely energy condensed to a slow vibration. That we are all one consciousness experiencing itself subjectively. There is no such thing as death, life is only a dream and we're the imagination of ourselves' . . . 'Here's Tom with the weather.

And here it is that I miss my Watson. By cunning questions and ejaculations of wonder he could elevate my simple art, which is but systematized common sense, into a prodigy. When I tell my own story I have no such aid.

Romance isn’t gratuitous bodice ripping. It can be, and there’s nothing wrong with that, but in the end, romance isn’t about the fantasy of being wealthy or beautiful or even being tied to the bed.” More laughter, but I have their attention now. “It’s about elevating stories of joy above stories of pain. It is about seeing yourself as the main character in a very interesting—or maybe even quiet—life that is entirely yours to control.

Limitation is nothing more than a mentality that too many good people practice daily until they believe it’s reality. It breaks my heart to see so many potentially powerful human beings stuck in a story about why they can’t be extraordinary, professionally and personally. You need to remember that your excuses are seducers, your fears are liars and your doubts are thieves.

My mom thinks I'm the heroine in every book I write... so I'm a demon possessed, call girl, vampire killing, elfin college student who likes to have sex in elevators. Story of my life...

In my opinion, there are two types of perfect. The first is the type that seems so obvious and intuitive to you and everyone else that in a perfect world it would simply be considered standard; but, in reality, in our flawed world, what should be considered standard is actually so rare that it has to be elevated to the level of “perfect.” This is the type of perfect that makes you and most other people think, “Why isn’t everything like this? Why is it so hard to find …” a black V-neck cotton sweater, or a casual non-chain restaurant with comfortable booths, etc.—“that is just exactly the way everyone knows something like this should be?” “Perfect,” we all say with relief when we finally find something like this that is exactly as it should be. “Perfect. Why was this so hard to find?” The other type of perfect is the type you never could have expected and then could never replicate.

We’re never so outraged as when a cabbie drives past us or the woman in the elevator clutches her purse, not so much because we’re bothered by the fact that such indignities are what less fortunate coloreds have to put up with every single day of their lives—although that’s what we tell ourselves—but because we’re wearing a Brooks Brothers suit and speak impeccable English and yet have somehow been mistaken for an ordinary nigger.

Simple shifts in points of view can open doors to expansions of consciousness as easily as rigid dispositions can close hearts and minds to such elevated awareness. It generally depends on whether you allow fear and violence to rule your actions or whether you give wisdom, courage, and compassion the authority to do so.

Claiming to be offended is a great way to elevate yourself at the expense of others: “Look at me! I'm a much better person than you! And I judge you! I condemn you! Shame! Shame! SHAME!” These social media shamings bear an uncanny resemblance to medieval witch hunts.

Fantasy elevates ordinary and eternal problems of young people into stories via the language of myth. It turns “No one really knows me” into “I’ve got a secret identity.” It turns “I don’t understand why other people act the way they do” into “I’m trapped in a faerie realm.” It turns “my high school must have been built over the mouth of hell” into “my high school must have been built over the mouth of hell.” There are certain things in life that are glorious, and they are glorious for everyone. There are more that are hard, and they are hard for everyone. We like to see these things retold, but with dragons.

I’ve concluded that bittersweetness is not, as we tend to think, just a momentary feeling or event. It’s also a quiet force, a way of being, a storied tradition—as dramatically overlooked as it is brimming with human potential. It’s an authentic and elevating response to the problem of being alive in a deeply flawed yet stubbornly beautiful world. Most of all, bittersweetness shows us how to respond to pain: by acknowledging it, and attempting to turn it into art, the way the musicians do, or healing, or innovation, or anything else that nourishes the soul. If we don’t transform our sorrows and longings, we can end up inflicting them on others via abuse, domination, neglect. But if we realize that all humans know—or will know—loss and suffering, we can turn toward each other.[*2]

Stories connect us at a human level that factual statements and logical arguments can't possibly match.

Channary did not like to take the elevators. She had once told Levana that she felt queenly having to lift her skirts as she went up and down the stairs. It had taken all of Levana’s efforts not to ask if that was the same reason she lifted her skirts all those other times too.

There you are," Hale told his mother when he found her. "Oh, darling, do you know Michael Calloway? His mother is the event chair. We've just been arguing over whether he is going to let me outbid him for this gorgeous antique clock," Mrs. Hale said, but her son didn't care. "Sorry," Hale told the man in the tux with the small bits of sweat gathering at his brow. "I need her," he said, pulling his mother from the table and toward the bank of elevators on the far sie of the room, the ones that appeared to be operational. "Mom, I need you to come with me," "But, darling," the woman protested, "its Swiss!" The elevator dinged and Hale pushed her inside it. "Sorry, Dad will meet you downstairs.

I'm not particularly in favor of doctrine or creed, ordination, the elevation of holy texts, the institution of church, or, for that matter, Christianity. Like most religions, it has irreconcilable shortcomings and an unforgivable history. What I do favor is the attempt to make sense of things by living within a story. The Christian story, for good or ill, is my inheritance.

Leadership has never been an exact science. But it has always found itself particularly challenged when tasked with elevating one segment of a society onto a level more politically, socially, and economically equitable with another.

Your audience is waiting for your stories. They have memory slots tailor-made to light up and remember you.

At the end of that class Demian said to me thoughtfully: "There’s something I don’t like about this story, Sinclair. Why don’t you read it once more and give it the acid test? There’s something about it that doesn’t taste right. I mean the business with the two thieves. The three crosses standing next to each other on the hill are almost impressive, to be sure. But now comes this sentimental little treatise about the good thief. At first he was a thorough scoundrel, had committed all those awful things and God knows what else, and now he dissolves in tears and celebrates such a tearful feast of self-improvement and remorse! What’s the sense of repenting if you’re two steps from the grave? I ask you. Once again, it’s nothing but a priest’s fairy tale, saccharine and dishonest, touched up with sentimentality and given a high edifying background. If you had to pick a friend from between the two thieves or decide which one you’d rather trust, you most certainly wouldn’t choose the sniveling convert. No, the other fellow, he’s a man of character. He doesn’t give a hoot for ‘conversion’, which to a man in his position can’t be anything but a pretty speech. He follows his destiny to it’s appointed end and does not turn coward and forswear the devil, who has aided and abetted him until then. He has character, and people with character tend to receive the short end of the stick in biblical stories. Perhaps he’s even a descendant of Cain. Don’t you agree?" I was dismayed. Until now I had felt completely at home in the story of the Crucifixion. Now I saw for the first time with how little individuality, with how little power of imagination I had listened to it and read it. Still, Demian’s new concept seemed vaguely sinister and threatened to topple beliefs on whose continued existence I felt I simply had to insist. No, one could not make light of everything, especially not of the most Sacred matters. As usual he noticed my resistance even before I had said anything. "I know," he said in a resigned tone of voice, "it’s the same old story: don’t take these stories seriously! But I have to tell you something: this is one of the very places that reveals the poverty of this religion most distinctly. The point is that this God of both Old and New Testaments is certainly an extraordinary figure but not what he purports to represent. He is all that is good, noble, fatherly, beautiful, elevated, sentimental—true! But the world consists of something else besides. And what is left over is ascribed to the devil, this entire slice of world, this entire half is hushed up. In exactly the same way they praise God as the father of all life but simply refuse to say a word about our sexual life on which it’s all based, describing it whenever possible as sinful, the work of the devil. I have no objection to worshiping this God Jehovah, far from it. But I mean we ought to consider everything sacred, the entire world, not merely this artificially separated half! Thus alongside the divine service we should also have a service for the devil. I feel that would be right. Otherwise you must create for yourself a God that contains the devil too and in front of which you needn’t close your eyes when the most natural things in the world take place.

The stamps on the envelope were English. One was the head of a statesman engraved in purple and the others were motorcars engraved in blue. It seemed like every country in the world had stamps of statesmen and motorcars. Where were the stamps of the elevator boys and hapless housewives? Of the six-story walk-ups and soured wine?

An evolutionary perspective predicts that most diets and fitness programs will fail, as they do, because we still don’t know how to counter once-adaptive primal instincts to eat donuts and take the elevator.

Reading may be the last secretive behavior that is neither pathological or prosecutable. It is certainly the last refuge from the real-time epidemic. For the stream of a narrative overflows the banks of the real. Story strips its reader, holding her in a place time can't reach. A book's power lies in its ability to erase us, to expand or contract without limit, to circle inside itself without beginning or end, to defy our imaginary timetables and lay us bare to a more basic ticking. The pages we read are a nowhen, unfolding far outside the public arena. As long as we remain in them, now reveals itself to be the baldest of inventions.

I ripped the pages out of the book. I reversed the order, so the last one was first, and the first was last. When I flipped through them, it looked like the man was floating up through the sky. And if I'd had more pictures, he would've flown through a window, back into the building, and the smoke would've poured into the hole that the plane was about to come out of. Dad would've left his messages backward, until the machine was empty, and the plane would've flown backward away from him, all the way to Boston. He would've taken the elevator to the street and pressed the button for the top floor. He would've walked backward to the subway, and the subway would've gone backward through the tunnel, back to our stop. Dad would've gone backward through the turnstile, then swiped his Metrocard backward, then walked home backward as he read the New York Times from right to left. He would've spit coffee into his mug, unbrushed his teeth, and put hair on his face with a razor. He would've gotten back into bed, the alarm would've rung backward, he would've dreamt backward. Then he would've gotten up again at the end of the night before the worst day. He would've walked backward to my room, whistling 'I Am the Walrus' backward. He would've gotten into bed with me. We would've looked at the stars on my ceiling, which would've pulled back their light from our eyes. I'd have said 'Nothing' backward. He'd have said 'Yeah, buddy?' backward. I'd have said 'Dad?' backward, which would have sounded the same as 'Dad' forward. He would have told me the story of the Sixth Borough, from the voice in the can at the end to the beginning, from 'I love you' to 'Once upon a time.' We would have been safe.

As teachers we must not guide our students to be the people we wish them to be but elevate them to become the people they were meant to be. Remember the encouragement we give our students may be the only encouragement they ever receive so don't use it sparingly.

A thrilling story can be dull if told badly, but even the most mundane event can be elevated into a tale of epic scale by a good storyteller.

It was chemistry, not magic. No elevated C-peptide meant that the insulin wasn’t human.

To disarm while being best armed, out of an elevation of sensibility—that is the means to real peace.…

We have become a civilization that elevates idiots, prostitutes, and clowns. Am I still to defend it? Yes, for its principles. Yes, for what it was. Yes, for what it still may be.

So, there was this beautiful princess. She was locked in a high tower, one whose smart walls had cleaver holes in them that could give her anything: food, a clique of fantastic friends, wonderful clothes. And, best of all, there was this mirror on the wall, so that the princess could look at her beautiful self all day long. The only problem with the tower was that there way no way out. The builders had forgotten to put in an elevator, or even a set of stairs. She was stuck up there. One day, the princess realized that she was bored. The view from the tower--gentle hills, fields of white flowers, and a deep, dark forest--fascinated her. She started spending more time looking out the window than at her own reflection, as is often the case with troublesome girls. And it was pretty clear that no prince was showing up, or at least that he was really late. So the only thing was to jump. The hole in the wall gave her a lovely parasol to catch her when she fell, and a wonderful new dress to wear in the fields and forest, and a brass key to make sure she could get back into the tower if she needed to. But the princess, laughing pridefully, tossed the key into the fireplace, convinced she would never need to return to the tower. Without another glance in the mirror, she strolled out onto the balcony and stepped off into midair. The thing was, it was a long way down, a lot farther than the princess had expected, and the parasol turned out to be total crap. As she fell, the princess realized she should have asked for a bungee jacket or a parachute or something better than a parasol, you know? She struck the ground hard, and lay there in a crumpled heap, smarting and confused, wondering how things had worked out this way. There was no prince around to pick her up, her new dress was ruined, and thanks to her pride, she had no way back into the tower. And the worst thing was, there were no mirrors out there in the wild, so the princess was left wondering whether she in fact was still beautiful . . . or if the fall had changed the story completely.

And yet these Americans, with their helicopters and laser-guided weapons and shock-troop Rangers were going to somehow sort it out in a few weeks? Arrest Aidid and make it all better? They were trying to take down a clan, the most ancient and efficient social organization known to man. Didn’t the Americans realize that for every leader they arrested there were dozens of brothers, cousins, sons, and nephews to take his place? Setbacks just strengthened the clan’s resolve. Even if the Habr Gidr were somehow crippled or destroyed, wouldn’t that just elevate the next most powerful clan? Or did the Americans expect Somalia to suddenly sprout full-fledged Jeffersonian democracy?

Books by Roald Dahl The BFG Boy: Tales of Childhood Charlie and the Chocolate Factory Charlie and the Great Glass Elevator Danny the Champion of the World Dirty Beasts The Enormous Crocodile Esio Trot Fantastic Mr. Fox George’s Marvelous Medicine The Giraffe and the Pelly and Me Going Solo James and the Giant Peach The Magic Finger Matilda The Minpins The Missing Golden Ticket and Other Splendiferous Secrets Roald Dahl’s Revolting Rhymes Skin and Other Stories The Twits The Umbrella Man and Other Stories The Vicar of Nibbleswicke The Witches The Wonderful Story of Henry Sugar and Six More

Romance isn't gratuitous bodice ripping. It can be, and there's nothing wrong with that, but in the end, romance isn't about the fantasy of being wealthy or beautiful or even being tied to the bed." More laughter, but I have their attention now. "It's about elevating stories of joy above stories of pain. It is about seeing yourself as the main character in a very interesting--or maybe even quiet--life that is entirely yours to control. It is, my friends, the fantasy of significance.

16 Over the footbridge.— In our relations with people who are bashful about their feelings, we must be capable of dissimulation; they feel a sudden hatred against anyone who catches them in a tender, enthusiastic, or elevated feeling, as if he had seen their secrets. If you want to make them feel good at such moments, you have to make them laugh or voice some cold but witty sarcasm; then their feeling freezes and they regain power over themselves. But I am giving you the moral before telling the story. There was a time in our lives when we were so close that nothing seemed to obstruct our friendship and brotherhood, and only a small footbridge separated us. Just as you were about to step on it, I asked you: “Do you want to cross the footbridge to me?” —Immediately, you did not want to any more; and when I asked you again, you remained silent. Since then mountains and torrential rivers and whatever separates and alienates have been cast between us, and even if we wanted to get together, we couldn’t. But when you now think of that little footbridge, words fail you and you sob and marvel.

Prison left me with some strange little tics.' She has taken all the door off their hinges in all the apartments she has lived in since. It's not that she has anxiety attacks about small spaces, she says, it's just that she starts to sweat and go cold. 'This apartment is perfect for me,' she says, looking around the open space. 'How about elevators?' I ask, recalling the schlepp up the stairs. 'Exactly,' she replies, 'I don't like them much either.' One day, years later, her husband Charlie was fooling around at home, playing the guitar. Miriam said something provocative and he stood up suddenly, lifting his arm to take off the guitar strap. He was probably just going to say 'That's outrageous', or tickle her or tackle her. But she was gone. She was already down in the courtyard of the building. She does not remember getting down the stairs-it was an automatic flight reaction.

Still others (myself included) have been disturbed by the deeply misogynist implications of the story. Pygmalion’s happy ending is only happy if you accept a number of repulsive ideas: that the only good woman is one who has no self beyond pleasing a man, the fetishization of female sexual purity, the connection of the “snowy” ivory with perfection, the elevation of male fantasy over female reality.

When the church amplifies stories of healing and overcoming without also elevating stories of sustaining grace, she is not adequately forming souls to hold on to hope. If the majority of stories we hear are tales of triumph, we will question the worth of our stories when healing doesn’t come. God, in his wisdom, in his hidden purposes, allows some of our suffering to linger, and the church unintentionally turns hearts away from the heart of God when she does not hold space for the sacred mystery that weakness reveals God’s strength.

By elevating physical violence over the other facets of a battered woman’s experience,” law professor Leigh Goodmark wrote in 2004, “the legal system sets the standard by which the stories of battered women are judged. If there is no [legally designated] assault, she is not a victim, regardless of how debilitating her experience has been, how complete her isolation, or how horrific the emotional abuse she has suffered. And by creating this kind of myopia about the nature of domestic violence, the legal system does battered women a grave injustice.

I thought that to write of my own experiences would require a translation out of the crude patois of actual slow suffering—mean, scattered thoughts and transfusion-slow boredom—into the tidy couplets of brisk, beautiful sentiment, a way of at once elevating and lending momentum to what I felt.

Romance isn't gratuitous bodice ripping. It can be, there's nothing wrong with that, but in the end, romance isn't about the fantasy of being wealthy or beautiful or even being tied to the bed[ . . . ].It's about elevating stories of joy above stories of pain. It is about seeing yourself as the main character in a very interesting--or maybe even quiet--life that is entirely yours to control. It is, my friends, the fantasy of significance.

The inimitable stories of Tong-King never have any real ending, and this one, being in his most elevated style, has even less end than most of them. But the whole narrative is permeated with the odour of joss-sticks and honourable high-mindedness, and the two characters are both of noble birth.

What elevates one and not another to the level of genius is not only talent and ambition and luck, but a gift for turning everything to the purpose. ... Perhaps that is a common element in the story of genius: beyond talent and ambition and luck, in some degree you have to be forcibly booted out of everyday life and everyday goals. In any case, it was like that with Brahms. The fulfillment of love was denied him so that other things might take wing.

... in an even wilder part of the river's jungle of cane and gum and pin oak, there is an Indian mound. Aboriginal, it rises profoundly and darkly enigmatic, the only elevation of any kind in the wild, flat jungle of river bottom. Even to some of us - children though we were, yet we were descended to literate, town-bred people - it possessed inferences of secret and violent blood, of savage and sudden destruction, as though the yells and hatchets we associated with Indians through the hidden and seceret dime novels which we passed among ourselves were but trivial and momentary manifestations of what dark power still dwelled or lurked there, sinister, a little sardonic, like a dark and nameless beast lightly and lazily slumbering with bloody jaws...

No, there wouldn't be," Holden said. "It'd be entirely different." Sally looked at him; he had contradicted her so quietly. "It wouldn't be the same at all. We'd have to go downstairs in elevators with suitcases and stuff. We'd have to call up everyone and tell 'em goodbye and send 'em postcards. And I'd have to work at my father's and ride in Madison Avenue buses and read newspapers. We'd have to go to the Seventy-second Street all the time and see newsreels. Newsreels! There's always a dumb horse race and some dame breaking a bottle over a ship. You don't see what I mean at all." "Maybe I don't. Maybe you don't, either," Sally said. Holden stood up, with his skates swung over one shoulder. "You give me a royal pain," he announced quite dispassionately.

We must be careful to make a distinction between the intellectual and the person of intellectual achievement. The two are very, very different animals. There are people of intellectual achievement who increase the sum of human knowledge, the powers of human insight, and analysis. And then there are the intellectuals. An intellectual is a person knowledgeable in one field who speaks out only in others. Starting in the early twentieth century, for the first time an ordinary storyteller, a novelist, a short story writer, a poet, a playwright, in certain cases a composer, an artist, or even an opera singer could achieve a tremendous eminence by becoming morally indignant about some public issue. It required no intellectual effort whatsoever. Suddenly he was elevated to a plane from which he could look down upon ordinary people. Conversely — this fascinates me — conversely, if you are merely a brilliant scholar, merely someone who has added immeasurably to the sum of human knowledge and the powers of human insight, that does not qualify you for the eminence of being an intellectual.

Quick Review of Core Behavior Patterns Reds are quick and more than happy to take command if needed. They make things happen. However, when they get going, they become control freaks and can be hopeless to deal with. And they repeatedly trample on people’s toes. Yellows can be amusing, creative, and elevate the mood regardless of who they’re with. However, when they are given unlimited space, they will consume all the oxygen in the room, they won’t allow anyone into a conversation, and their stories will reflect reality less and less. The friendly Greens are easy to hang out with because they are so pleasant and genuinely care for others. Unfortunately, they can be too wishy-washy and unclear. Anyone who never takes a stand eventually becomes difficult to handle. You don’t know where they really stand, and indecision kills the energy in other people. The analytical Blues are calm, levelheaded, and think before they speak. Their ability to keep a cool head is undoubtedly an enviable quality for all who aren’t capable of doing that. However, Blues’ critical thinking can easily turn to suspicion and questioning those around them. Everything can become suspect and sinister.

But whatever this strange old comedy was, it wasn’t a proper or elevated or concerned with getting things right. It was a story intended to bring comfort to a dying girl.

Tourist: “How high do you have to get before the deer turn into elk?” Ranger: “High on what?” Tourist: “I mean elevation.” Ranger:  “What?” Tourist:  “At what elevation will a deer become an elk?

Several died the day the bomb was dropped. Some lived six months after the explosion but died anyway. They were all lost. It was so long ago, young man. To you it is a history story. To me it is my life.

Jim Crow: Jim Crow refers to the social system that developed in the United States following the Civil War. The name “Jim Crow” is based on a character developed by “the Father of American minstrelsy,” Thomas Rice, who performed in blackface. Rice appropriated the song about Jim Crow from black folklore and created a stereotypical character of blacks as lazy, ridiculous, worthless subhumans. Rice’s derogatory depictions of black people were popular with his white audiences. The name “Jim Crow” then became synonymous with the system of racial segregation that cast blacks as inferior beings while elevating whites as superior.

I call this the Saddest Story, rather than 'The Ashburnham Tragedy,' just because it is so sad, just because there was no current to draw things along to a swift and inevitable end. There is about it none of the elevation that accompanies tragedy; there is no about it no nemesis, no destiny. Here were two noble people - for I am convinced that both Edward and Lenora had noble natures - here, then, were two noble natures, drifting down life, like fireships afloat on a lagoon and causing miseries, heartaches, agony of the mind and death. And they themselves steadily deteriorated. And why? For what purpose? To point what lesson? It is all darkness.

Equally important was the fact that the interpretation provided the model for how Tianming had hidden his message in the three stories. He employed two basic methods: dual-layer metaphors and two-dimensional metaphors. The dual-layer metaphors in the stories did not directly point to the real meaning, but to something far simpler. The tenor of this first metaphor became the vehicle for a second metaphor, which pointed to the real intelligence. In the current example, the princess’s boat, the He’ershingenmosiken soap, and the Glutton’s Sea formed a metaphor for a paper boat driven by soap. The paper boat, in turn, pointed to curvature propulsion. Previous attempts at decipherment had failed largely due to people’s habitual belief that the stories only involved a single layer of metaphors to hide the real message. The two-dimensional metaphors were a technique used to resolve the ambiguities introduced by literary devices employed in conveying strategic intelligence. After a dual-layer metaphor, a single-layer supporting metaphor was added to confirm the meaning of the dual-layer metaphor. In the current example, the curved snow-wave paper and the ironing required to flatten it served as a metaphor for curved space, confirming the interpretation of the soap-driven boat. If one viewed the stories as a two-dimensional plane, the dual-layer metaphor only provided one coordinate; the supporting single-layer metaphor provided a second coordinate that fixed the interpretation on the plane. Thus, this single-layer metaphor was also called the bearing coordinate. Viewed by itself, the bearing coordinate seemed meaningless, but once combined with the dual-layer metaphor, it resolved the inherent ambiguities in literary language. “A subtle and sophisticated system,” a PIA specialist said admiringly. All the committee members congratulated Cheng Xin and AA. AA, who had always been looked down on, saw her status greatly elevated among the committee members. Cheng

when you think about the history of liberty. It’s the story of how principle has gradually been elevated above the whim of tyrants. When the law was defined as more powerful than the king, that was one great breakthrough.

And the story suggests something more: unchaperoned, and left to our own untutored judgment, we are quick to aim low and worship qualities that are beneath us—in this case, an artificial animal that brings out our own animal instincts in a completely unregulated way. The old Hebrew story makes it clear how the ancients felt about our prospects for civilized behaviour in the absence of rules that seek to elevate our gaze and raise our standards.

Below the surface, the force driving noir stories is the urge to escape: from the past, from the law, from the ordinary, from poverty, from constricting relationships, from the limitations of the self. Noir found its fullest expression in America because the American psyche harbors a passion for independence . . . With this desire for autonomy comes a corresponding fear of loneliness and exile. The more we crave success, the more we dread failure; the more we crave freedom, the more we dread confinement. This is the shadow that spawns all of noir’s shadows: the anxiety imposed by living in a country that elevates opportunity above security; one that instills the compulsion to “make it big," but offers little sympathy to those who fall short. Film noir is about people who break the rules, pursuing their own interests outside the boundaries of decent society, and about how they are destroyed by society - or by themselves. Noir springs from a fundamental conflict between the values of individual freedom and communal safety: a fundamental doubt that the two can coexist. . . . Noir stories are powered by the need to escape, but they are structured around the impossibility of escape: their fierce, thwarted energy turns inward. The ultimate noir landscape, immeasurable as the ocean and confining as a jail cell, is the mind - the darkest city of all.

If I had the money I could buy a torch and read till dawn. In America a torch is called a flashlight. A biscuit is called a cookie, a bun is a roll. Confectionery is pastry and minced meat is ground. Men wear pants instead of trousers and they’ll even say this pant leg is shorter than the other which is silly. When I hear them saying pant leg I feel like breathing faster. The lift is an elevator and if you want a WC or a lavatory you have to say bathroom even if there isn’t a sign of a bath there. And no one dies in America, they pass away or they’re deceased and when they die the body, which is called the remains, is taken to a funeral home where people just stand around and look at it and no one sings or tells a story or takes a drink and then it’s taken away in a casket to be interred. They don’t like saying coffin and they don’t like saying buried. They never say graveyard. Cemetery sounds nicer.

UC Santa Cruz biologist had discovered elevated levels of radiation in fish swimming among some of the 47,500 barrels of nuclear waste that the navy had dumped in a 540-square-mile area around the Farallones between 1946 and 1970.

An elevator pitch for an entertainment product should also consist of four components: 1. Your product name and category 2. The main character’s ambition 3. The conflict he or she encounters 4. The real significance of the story Here’s

Now, in all that he has done, Amos Tutuola is not sui generis. Is he ungrammatical? Yes. But James Joyce is more ungrammatical than Tutuola. Ezekiel Mphahlele has often said and written that African writers are doing violence to English. Violence? Has Joyce not done more violence to the English Language? Mark Twain's Huckleberry Finn is written in seven dialects, he tells us. It is acknowledged a classic. We accept it, forget that it has no "grammar", and go ahead to learn his "grammar" and what he has to tell us. Let Tutuola write "no grammar" and the hyenas and jackals whine and growl. Let Gabriel Okara write a "no grammar" Okolo. They are mum. Why? Education drives out of the mind superstition, daydreaming, building of castles in the air, cultivation of yarns, and replaces them with a rational practical mind, almost devoid of imagination. Some of these minds having failed to write imaginative stories, turn to that aristocratic type of criticism which magnifies trivialities beyond their real size. They fail to touch other virtues in a work because they do not have the imagination to perceive these mysteries. Art is arbitrary. Anybody can begin his own style. Having begun it arbitrarily, if he persists to produce in that particular mode, he can enlarge and elevate it to something permanent, to something other artists will come to learn and copy, to something the critics will catch up with and appreciate.

Martin thought of the iron El trestles winding and stretching across the city, of department store windows and hotel lobbies, of electric elevators and street-car ads, of the city pressing its way north on both sides of the great park, of dynamos and electric lights, of ten-story hotels, of the old iron tower near the depot at West Brighton with its two steam-driven elevators rising and falling in the sky--and in his blood he felt a surge of restlessness, as if he were a steam train spewing fiery coal smoke into the black night sky as he roared along a trembling El track, high above the dark storefronts, the gaslit saloons, the red-lit doorways, the cheap beer dives, the dance halls, the gambling joints, the face in the doorway, the sudden cry in the night.

There is in Israelite-Jewish literature of this period none of the aimlessness of pagan myth and chronicle. The narrative is set down with an overwhelming purpose, to tell the story, both elevating and minatory, of a people’s relationship with God, and because the purpose is so serious, the story must be accurate–that is, the writer must believe in it, in his heart. So it is history, and since it deals with the evolution of institutions, as well as war and conquest, it is peculiarly instructive history to us.

Today I am bothered by the story of King Canute. (...) The story is, of course, that he was so arrogant and despotic a leader that he believed he could control everything - even the tide. We see him on the beach, surrounded by subjects, sceptre in hand, ordering back the heedless waves; a laughing stock, in short. But what if we've got it all wrong? What if, in fact, he was so good and great a king that his people began to elevate him to the status of a god, and began to believe that he was capable of anything? In order to prove to them that he was a mere mortal, he took them down to the beach and ordered back the waves, which of course kept on rolling up the beach. How awful it would be if we had got it so wrong, if we had misunderstood his actions for so long.

The only people who don’t need elevator pitches are elevator salesmen. I once tried to sell an elevator to a man who owned a one-story building. He didn’t buy from me, but he did sell me on the benefits of leaving his lobby without any bullet holes in my body.

Beautiful was it to mark how the poorest began to improve in personal appearance immediately after they came to our Class; how they gradually got shoes and one bit of clothing after another, to enable them to attend our other Meetings, and then to go to Church; and, above all, how eagerly they sought to bring others with them, taking a deep personal interest in all the work of the Mission. Long after they themselves could appear in excellent dress, many of them still continued to attend in their working clothes, and to bring other and poorer girls with them to that Morning Class, and thereby helped to improve and elevate their companions. My delight in that Bible Class was among the purest joys in all my life, and the results were amongst the most certain and precious of all my Ministry.

History is the mighty Tower of Experience, which Time has built amidst the endless fields of bygone ages. It is no easy task to reach the top of this ancient structure and get the benefit of the full view. There is no elevator, but young feet are strong and it can be done.

The village lay in the hollow, and climbed, with very prosaic houses, the other side. Village architecture does not flourish in Scotland. The blue slates and the grey stone are sworn foes to the picturesque; and though I do not, for my own part, dislike the interior of an old-fashioned pewed and galleried church, with its little family settlements on all sides, the square box outside, with its bit of a spire like a handle to lift it by, is not an improvement to the landscape. Still, a cluster of houses on differing elevations - with scraps of garden coming in between, a hedgerow with clothes laid out to dry, the opening of a street with its rural sociability, the women at their doors, the slow waggon lumbering along - gives a centre to the landscape. It was cheerful to look at, and convenient in a hundred ways. ("The Open Door")

All the magazines said it was bad, what had happened. But all the stories were continued at the back of the book, and when you turned to those pages, the words saying it was bad were surrounded by ads, and these ads sold German knives and belts and helmets as well as Magic Trusses and Guaranteed Hair Restorer. These ads sold German flags emblazoned with swastikas and Nazi Lugers and a game called Panzer Attack as well as correspondence lessons and offers to make you rich selling elevator shoes to short men. They said it was bad, but it seemed like a lot of people must not mind.

On Monday morning, I rode the elevator up nine stories while fantasizing about a Marxist uprising where temps took control of the means of production and held Jeff Bezos hostage until he conformed to a socialist belief system where temp workers are valued as more than just cogs in his world-dominating machine.

Doors banged somewhere; the elevated trains roared intermittently; a cat yowled miserably upon a back fence. And he breathed the breath of the house—a dank savor rather than a smell—a cold, musty effluvium as from underground vaults mingled with the reeking exhalations of linoleum and mildewed and rotten woodwork.

He said that for those who hadn't been to California, what it was most like was an enchanted island. The spitting image. Just like in the movies, but better. People live in houses, not apartment buildings, he said, and then he embarked on a comparison of houses (one-story, at most two-story), and four- or five-story buildings where the elevator is broken one day and out of order the next. The only way buildings compared favorably to houses was in terms of proximity. A neighborhood of buildings makes distances shorter, he said. Everything is closer. You can go walking to buy groceries or you can walk to your local tavern (here he winked at Reverend Foster), or the local church you belong to, or a museum. In other words, you don't need to drive. You don't even need a car. And here he recited a list of statistics on fatal car accidents in a county of Detroit and a county of Los Angeles. And that's even considering that cars are made in Detroit, he said, not Los Angeles.

I suspect that self-deception is similar to its cousins, overconfidence and optimism, and as with these other biases, it has both benefits and disadvantages. On the positive side, an unjustifiably elevated belief in ourselves can increase our general well-being by helping us cope with stress; it can increase our persistence while doing difficult or tedious tasks; and it can get us to try new and different experiences. We persist in deceiving ourselves in part to maintain a positive self-image. We gloss over our failures, highlight our successes (even when they’re not entirely our own), and love to blame other people and outside circumstances when our failures are undeniable. Like our friend the crab, we can use self-deception to boost our confidence when we might not otherwise feel bold. Positioning ourselves on the basis of our finer points can help us snag a date, finish a big project, or land a job. (I am not suggesting that you puff up your résumé, of course, but a little extra confidence can often work in our favor.) On the negative side, to the extent that an overly optimistic view of ourselves can form the basis of our actions, we may wrongly assume that things will turn out for the best and as a consequence not actively make the best decisions. Self-deception can also cause us to “enhance” our life stories with, say, a degree from a prestigious university, which can lead us to suffer a great deal when the truth is ultimately revealed. And, of course, there is the general cost of deception. When we and those around us are dishonest, we start suspecting everyone, and without trust our lives become more difficult in almost every way.

I’ve concluded that bittersweetness is not, as we tend to think, just a momentary feeling or event. It’s also a quiet force, a way of being, a storied tradition—as dramatically overlooked as it is brimming with human potential. It’s an authentic and elevating response to the problem of being alive in a deeply flawed yet stubbornly beautiful world.

I asked her once why she liked to hear stories like this, and she explained to me that when she got ordained, she shaved her head and took some vows to be a bosatsu.21 One of her vows was to save all beings, which basically means that she agreed not to become enlightened until all the other beings in this world get enlightened first. It’s kind of like letting everybody else get into the elevator ahead of you. When you calculate all the beings on this earth at any time, and then add in the ones that are getting born every second and the ones that have already died—and not just human beings, either, but all the animals and other life-forms like amoebas and viruses and maybe even plants that have ever lived or ever will live, as well as all the extinct species—well, you can see that enlightenment will take a very long time. And what if the elevator gets full and the doors slam shut and you’re still standing outside? When I asked Granny about this, she rubbed her shiny bald head and said, “Soo desu ne. It is a very big elevator . . .” “But Granny, it’s going to take forever!” “Well, we must try even harder, then.

I conclude this section with a possibly puzzling postscript on the meaning of the word “literal.” What is the literal meaning of a parable? Its literal meaning is its parabolic meaning. What is the literal meaning of a poem? Its literal meaning is its poetic meaning. What is the literal meaning of a symbolic or metaphorical narrative? Its literal meaning is its symbolic or metaphorical meaning. But in modern Western culture over the last few centuries, “literal” has most often been confused with “factual,” and factuality has been elevated over the metaphorical. Hence when people say they take stories in the Bible and the gospels “literally,” they most often mean “factually.” Thus the difference is not ultimately a literal versus a metaphorical reading, but a factual versus a metaphorical reading. And to read a story factually rather than metaphorically often involves a misjudgment about the literary genre of a story. When the metaphorical is understood factually, the result is a story hard to believe. But when a metaphorical narrative is understood metaphorically, it may indeed be powerfully and challengingly true.

Nancy thanked him, then went to her convertible. She drove carefully through the city traffic and finally reached Hilo Street. Mrs. Stewart’s apartment house was Number 76. Nancy scanned the buildings and found that this one was the largest on the street. It was ultramodern in design and about twenty stories high. After parking her car, she smoothed her hair and got out. A red-coated doorman nodded pleasantly to the young detective as she entered the building a minute later. Nancy checked the directory and saw that Mrs. Stewart was in Apartment Three on the fourth floor. She rang the elevator button. Almost instantly, aluminum doors slid open noiselessly, and Nancy stepped inside the carpeted elevator. It was self-operated, and Nancy pushed the fourth-floor control.

In discussing this Romanian bloodletting with Simon Wolf, Grant declared that “respect for human rights” was the “first duty” of any head of state and that blacks and Jews should be elevated to a rank of “equality with the most enlightened.” Grant showed surprising passion on the subject, saying “the story of the sufferings of the Hebrews of Roumania profoundly touches every sensibility of our nature.

Here, television succeeded in completing a fantastic operation of directed consensus building, a real power grab, an OPA [Tender offer] to the entire society, a kidnapping - an unheralded success story on the path towards an integral telemorphosis of society. Television created a global event (or better, a non-event), in which everyone became trapped. “A total social fact” as Marcel Mauss says - if in other societies this situation indicated the converging power of all the elements of the social, in our society it indicates the elevation of an entire society to the parody stage of an integral farce, of an image feedback relentless with its own reality. What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done… television has done.

I learned by heart the lines of your face. I can draw them blindly on a water canvas. Your face in the middle of an inflamed argument. Your face in the middle of a mild one-- when you're at fault. Your face filled with rainbows of laughter. Your face filled with clouds of distress. Your face, fluttering, when I open you the door. Your face, agonizing, every time I stand waiting, for the elevator. Your face, eager, when you kiss me. Your face, surprised, when I lead you to bed. Your face in the middle of pain. Your face on the outskirts of pleasure. Your face, with a baffled look, when you wake up. Your face falling asleep, with total surrender. Your face the first night we met. Your face the last night we parted. I learned by heart the lines of your face. They all led me into hell. They all led me into heaven.

Into a nondescript one-story building on the western side of the compound, passing through a security door marked AUTHORIZED PERSONNEL ONLY. Through a metal detector manned by heavily armed, stone-faced soldiers. Into an elevator that carries us four stories beneath the earth. Reznik doesn’t talk. He doesn’t even look at me. I have a pretty good idea where we’re going, but no idea why. I nervously pick at the front of my new uniform.

The domestic dog is an ancient companion of humans, and it is possible that domestication was taking place as we ourselves were emerging as a separate species. This helps us understand the close and symbiotic relationship between dogs and humans. I think it is reasonable to say that our attitude to animals and to nature is part of what defines us as humans. When we are in harmony with nature and treat other species with respect, we elevate ourselves as human beings. I believe this is a spiritual and ethical matter. Of course, Buddhism, Hinduism, Taoism, and many indigenous and ancient religions endorse this attitude, but I think it applies whatever your personal belief system. Respect for nature and kindness to animals are, I believe, fundamental human values, just as respect for and kindness to other people should be. I hope that the stories which follow help to illustrate that belief as it is actually lived, and hopefully, does so in an entertaining way.

Here in the labyrinth, I struggle to find words to describe what I feel. Up on the mountaintop, I knew the language to describe God: majestic, transcendent, all-powerful, heavenly Father, Lord, and King. In this vocabulary, God remains stubbornly located in a few select places, mostly in external realms above or beyond: heaven, the church, doctrine, or the sacraments. What happens in the labyrinth seems vague, perhaps even theologically elusive. Like countless others, I have been schooled in vertical theology. Western culture, especially Western Christianity, has imprinted a certain theological template upon the spiritual imagination: God exists far off from the world and does humankind a favor when choosing to draw close. Sermons declared that God’s holiness was foreign to us and sin separated us from God. Yes, humanity was made in God’s image, but we had so messed things up in the Garden of Eden that any trace of God in us was obscured, if not destroyed. Whether conservative or liberal, most American churches teach some form of the idea that God exists in holy isolation, untouched by the messiness of creation, and that we, God’s children, are morally and spiritually filthy, bereft of all goodness, utterly unworthy to stand before the Divine Presence. In its crudest form, the role of religion (whether through revivals, priesthood, ritual, story, sacraments, personal conversion, or morality) is to act as a holy elevator between God above and those muddling around down below in the world.

This is what I call sublime (defined as “elevated and exalted”) ignorance. When many Black people hear stories like this, we do not know whether to scream, cry, or laugh. How could you not know that racism is alive and well in America and throughout the world? The truth is that white people are not required to know. As the dominant group, they can go through life with the privilege of never thinking about their race. Many white people still claim not to “see” race. If you do not see it, there is no reason to address it. You can be sublimely ignorant.

He would forever be known as Jesse Owens, not by his given name. He would go on to win four gold medals at the 1936 Olympics in Berlin, becoming the first American in the history of track and field to do so in a single Olympics and disproving the Aryan notions of his Nazi hosts. It made headlines throughout the United States that Adolf Hitler, who had watched the races, had refused to shake hands with Owens, as he had with white medalists. But Owens found that in Nazi Germany, he had been able to stay in the same quarters and eat with his white teammates, something he could not do in his home country. Upon his return, there was a ticker-tape parade in New York. Afterward, he was forced to ride the freight elevator to his own reception at the Waldorf-Astoria. “I wasn’t invited to shake hands with Hitler,” he wrote in his autobiography. “But I wasn’t invited to the White House to shake hands with the President either. I came back to my native country, and I could not ride in the front of the bus. I had to go to the back door. I couldn’t live where I wanted. Now, what’s the difference?” It would take the arrival of millions of more migrants and many more decades of perseverance on their part and on the part of protesters for human rights before they would truly become accepted.

He said we had to find a way to reach Muslims who “didn’t think it was such a great thing to have a McDonald’s down the street and American pop culture on their television.” All people, he said, want to maintain their identity in the modern world. “We should acknowledge that not everything we see is positive—there’s a mindless violence, a crude sexuality, a lack of reverence for life, a glorification of materialism.” That said, he wanted to make several statements of belief in human progress—that countries succeed when they are tolerant of different religious beliefs; that governments that give voice to their people and respect the rule of law are more stable and satisfying; and that countries where women are empowered are more successful. “When I was a kid in Indonesia,” he said, “I remember seeing girls swimming outside all the time. No one covered their hair. That was before the Saudis started building madrassas.” This was a theme he’d come back to again and again. He told a story about how his mother once worked in Pakistan. She was riding on an elevator. Her hair was uncovered and her ankles were showing. Yet even though she was older, “this guy in the elevator with her couldn’t stand to be in that type of space with a woman who was uncovered. By the time the door opened he was sweating.” He paused for effect. “When men are that repressed, they do some crazy shit.

Had things turned out differently, had she not married George, this might be where Ida Mae would be living: on a Chickasaw County farm with chickens and pole beans in walking distance from where she grew up. She would never have lived in Chicago, might never have seen it. She wouldn’t have been able to vote all those years or work in a big city hospital, to ride the elevated train and taste Polish sausage and be surrounded by family and friends most everywhere she went because most everyone she knew moved north like she did. Her children—James, Eleanor, Velma—not to mention the grandchildren, might not have existed or would surely have been different from what they were if they had. It’s almost incomprehensible now.

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

Beyond doubt, I am a splendid fellow. In the autumn, winter and spring, I execute the duties of a student of divinity; in the summer I disguise myself in my skin and become a lifeguard. My slightly narrow and gingerly hirsute but not necessarily unmanly chest becomes brown. My smooth back turns the colour of caramel, which, in conjunction with the whipped cream of my white pith helmet, gives me, some of my teenage satellites assure me, a delightfully edible appearance. My legs, which I myself can study, cocked as they are before me while I repose on my elevated wooden throne, are dyed a lustreless maple walnut that accentuates their articulate strength. Correspondingly, the hairs of my body are bleached blond, so that my legs have the pointed elegance of, within the flower, umber anthers dusted with pollen.

Imagination is the ability to produce new ideas without the need of time to stop and actually think about it. I'll produce elevator buttons - I bought that business from Jarod Kintz, who was only selling it, because he found a new, more profitable job – male prostitution (he’s selling his grandpa’s services, not his own, because his own are virtually non-existent – he’s a monk now, and monks are sworn to celibacy, you know, or should, by now). Buy now - grieve later. Two 5th floor buttons for your floorless cardboard-built tree house, for the price of one, 7-story tall tree, which, for the purpose of this story we’ll call Nathan. Nathan sends you its best regards and wishes you a happy, silent, well-watered-down life, which, coming from a tree isn’t really that much, however, as you know - trees aren’t regular customers in the land of walking and talking, and it took quite a lot of convincing to make him come over and say that. Meow.

assumptions of what etymology is: the logical, fairy-tale story of English. But it would be sloppy scholarship to elevate an unsubstantiated theory to the level of researched etymology simply because that theory is au courant. Further, the way that English grows doesn’t make sense. The history of English is full of messiness and illogic because the English language is a true democracy, built entirely by the people who use and have used it, and people, generally speaking, are messy and illogical. What genius, for instance, looked at the ragged edge of their sweater, laddering and unknitting itself with energy, and thought, “This is so bad that it’s not just raveling; it’s super-raveling. No: über-raveling. No, no, I got it: it’s frickin’ unraveling! Like, unreal amounts of raveling. Yeah, I’m going to call this ‘unraveling’ from now on.” Who thought that “pumpernickel” was a good name for a dark rye bread? Because when you trace the word back to its German origins, you find it means “fart goblin,”* 5 and now you cannot help but blench and giggle whenever you see pumpernickel.

Madrid. It was that time, the story of Don Zana 'The Marionette,' he with the hair of cream-colored string, he with the large and empty laugh like a slice of watermelon, the one of the Tra-kay, tra-kay, tra-kay, tra-kay, tra-kay, tra on the tables, on the coffins. It was when there were geraniums on the balconies, sunflower-seed stands in the Moncloa, herds of yearling sheep in the vacant lots of the Guindalera. They were dragging their heavy wool, eating the grass among the rubbish, bleating to the neighborhood. Sometimes they stole into the patios; they ate up the parsley, a little green sprig of parsley, in the summer, in the watered shade of the patios, in the cool windows of the basements at foot level. Or they stepped on the spread-out sheets, undershirts, or pink chemises clinging to the ground like the gay shadow of a handsome young girl. Then, then was the story of Don Zana 'The Marionette.' Don Zana was a good-looking, smiling man, thin, with wide angular shoulders. His chest was a trapezoid. He wore a white shirt, a jacket of green flannel, a bow tie, light trousers, and shoes of Corinthian red on his little dancing feet. This was Don Zana 'The Marionette,' the one who used to dance on the tables and the coffins. He awoke one morning, hanging in the dusty storeroom of a theater, next to a lady of the eighteenth century, with many white ringlets and a cornucopia of a face. Don Zana broke the flower pots with his hand and he laughed at everything. He had a disagreeable voice, like the breaking of dry reeds; he talked more than anyone, and he got drunk at the little tables in the taverns. He would throw the cards into the air when he lost, and he didn't stoop over to pick them up. Many felt his dry, wooden slap; many listened to his odious songs, and all saw him dance on the tables. He liked to argue, to go visiting in houses. He would dance in the elevators and on the landings, spill ink wells, beat on pianos with his rigid little gloved hands. The fruitseller's daughter fell in love with him and gave him apricots and plums. Don Zana kept the pits to make her believe he loved her. The girl cried when days passed without Don Zana's going by her street. One day he took her out for a walk. The fruitseller's daughter, with her quince-lips, still bloodless, ingenuously kissed that slice-of-watermelon laugh. She returned home crying and, without saying anything to anyone, died of bitterness. Don Zana used to walk through the outskirts of Madrid and catch small dirty fish in the Manzanares. Then he would light a fire of dry leaves and fry them. He slept in a pension where no one else stayed. Every morning he would put on his bright red shoes and have them cleaned. He would breakfast on a large cup of chocolate and he would not return until night or dawn.

If this is true—if solitude is an important key to creativity—then we might all want to develop a taste for it. We’d want to teach our kids to work independently. We’d want to give employees plenty of privacy and autonomy. Yet increasingly we do just the opposite. We like to believe that we live in a grand age of creative individualism. We look back at the midcentury era in which the Berkeley researchers conducted their creativity studies, and feel superior. Unlike the starched-shirted conformists of the 1950s, we hang posters of Einstein on our walls, his tongue stuck out iconoclastically. We consume indie music and films, and generate our own online content. We “think different” (even if we got the idea from Apple Computer’s famous ad campaign). But the way we organize many of our most important institutions—our schools and our workplaces—tells a very different story. It’s the story of a contemporary phenomenon that I call the New Groupthink—a phenomenon that has the potential to stifle productivity at work and to deprive schoolchildren of the skills they’ll need to achieve excellence in an increasingly competitive world. The New Groupthink elevates teamwork above all else. It insists that creativity and intellectual achievement come from a gregarious place. It has many powerful advocates. “Innovation—the heart of the knowledge economy—is fundamentally social,” writes the prominent journalist Malcolm Gladwell. “None of us is as smart as all of us,” declares the organizational consultant Warren Bennis,

If I’m ever tempted to let it get to my head, all I have to do is remember the first time I was recognized in public. I was with Jennie Garth, back in Season 3. She was way more famous than me (Derek Who?) and she was asked to the Eiffel Tower ceremony at the Paris Las Vegas hotel. They shut off half the strip and there were thousands of people outside the hotel lined up to see it. I was onstage supporting her, when I was suddenly hit with a wave of nausea. I knew instantly I had food poisoning from something I’d eaten earlier in the day. I knew if I didn’t get off the stage at that moment, I was going to throw up--and that would be the story on the evening news, not Jennie’s lighting! I jumped off the stage and just wanted to get back to my room where I could vomit in peace. As I was racing through the hotel lobby, a few people stopped me. “Aren’t you Derek Hough from Dancing with the Stars?” I was trying to be polite, but I just kept eyeing garbage cans in case I couldn’t hold it in any longer. “Yeah, thanks,” I said. I signed a few autographs and tried to push my way to the elevators. “Wait! Derek! Can I get you to sign this?” More people started coming at me. I swear, I had to hold my breath so I wouldn’t hurl! When I finally got upstairs, I threw up thirty-two times. I was deathly ill. But somewhere, in that haze of hellish food poisoning, it hit me: This is pretty cool! People know who I am! But I’ve tried my hardest not to let that change me. I’m kind of a free spirit; what you see is what you get. Inside is still that crazy little boy who liked to bounce off his living room walls.

The Covid-19 pandemic has made it clear that by several measures, the health status of Black Americans is on par with that of people living in far poorer nations, and that at every stage of life Black Americans have poorer health outcomes than white Americans and even, in most cases, than other ethnic groups. Racial health disparities show up at the beginning of life and cut lives short at the end. Black babies are more than twice as likely as white babies to die at birth or in the first year of life—a racial gap that adds up to thousands of lost lives every year.13 African American adults of all ages have elevated rates of conditions such as diabetes and hypertension that among white people are found more commonly at older ages. In the first half of 2020, owing to the pandemic, the Black-white gap in life expectancy increased to six years, from four in 2019.14 This inequality when it comes to the health of Black people’s bodies is rooted in false ideas about racial differences, developed and spread during slavery, and long challenged by Black medical practitioners and scholars, that still inform the way medical treatment is administered in America.15 To understand the racial divide in the health of our nation that was stripped bare by Covid-19, we must examine the roots of these myths. — In the 1787 manual A Treatise on Tropical Diseases; and on the Climate of the West-Indies, a British doctor, Benjamin Moseley, claimed that Black people could bear surgical operations much more easily than white people, noting that “what would be the cause of insupportable pain to a white man, a Negro would almost disregard.

The one person who didn’t seem enthusiastic about giving a speech in Berlin was Obama. When Favreau and I talked to him about it, he didn’t offer much beyond suggesting we use Berlin’s story to talk about what we were proposing in our own foreign policy. Chancellor Angela Merkel rejected a request from the campaign for the speech to take place at the Brandenburg Gate, where Reagan had called on Gorbachev to tear down the wall, saying that the venue should be reserved for an actual president. When he learned about this, Obama was embarrassed and annoyed. “I never said I wanted to give a speech in front of the Brandenburg Gate,” he snapped. It spoke to a larger dynamic in the campaign: While Obama was often blamed for the cult of personality growing up around him—arty posters, celebrity anthems, and lavish settings for his events—he was rarely responsible for it, and worried that we were raising expectations too high in a world that has a way of resisting change. “Before he left for Afghanistan, he read a draft of the speech and told us he was satisfied with it—“You could put this speech on the teleprompter and I’d be fine,” he said—but I was hoping for more than that. I was hoping for edits that would elevate the speech and make it more than a summation of our worldview. The shift to a foreign audience hadn’t been hard, as Obama’s message about working across races “and religions, his preference for diplomacy over war, his embrace of the science of climate change, and his recognition that the world needed to confront issues beyond terrorism were going to be well received in Germany. I kept looking for the phrase or two that might elevate that message, summarizing it in a way that could convey the same sense of common mission that Kennedy and Reagan had evoked.

Violet’s not getting out of our sight,” Arion adds. There’s a moment of just staring…like everyone is trying to silently argue. “No one naked in my car,” Mom states when I just stand in my spot, waiting on them to hurry through the push and pull. You really can tell how thick the air is when too many alphas are in the room at one time, but weirdly it never feels this way when it’s just the four of them. Unless punches are thrown. Then it gets a little heavier than normal. Arion pulls on his clothes, and threads whir in the air as I quickly fashion Emit a lopsided toga that lands on his body. Everyone’s gaze swings to him like it’s weird for him and normal for me to be in a toga. Awesome. Damien muffles a sound, Emit arches an eyebrow at me, and Arion remains rigid, staying close to me but never touching me. All of us squeezing into a car together while most of them hate each other…should be fun. The storm finally stops before we board the elevator, and it’s one of those super awkward elevator moments where no one is looking at anyone or saying anything, and everyone is trying to stay in-the-moment serious. We stop on the floor just under us, after the longest thirty-five seconds ever. The doors open, and two men glance around at Emit and I in our matching togas, even though his is the fitted sheet and riding up in some funny places. He looks like a caveman who accidentally bleached and shrank his wardrobe. I palm my face, embarrassed for him. The next couple of floors are super awkward with the addition of the two new, notably uncomfortable men. Worst seventy-nine seconds ever. Math doesn’t add up? Yeah. I’m upset about those extra nine seconds as well. Poor Emit has to duck out of the unusually small elevator, and the bottom of his ass cheek plays peek-a-boo on one side. Damien finally snorts, and even Mom struggles to keep a straight face. That really pisses her off. “You’re seeing him on an off day,” I tell the two guys, who stare at my red boots for a second. I feel the need to defend Emit a little, especially since I now know he overheard all that gibberish Tiara was saying… I can’t remember all I said, and it’s worrying me now that my mind has gone off on this stupid tangent. I trip over the hem of my toga, and Arion snags me before I hit the floor, righting me and showing his hands to my mother with a quick grin. “Can’t just let her fall,” he says unapologetically. “You’re going to have to learn to deal with that,” she bites out. She has a very good point. I don’t trip very often, but things and people usually knock me around a good bit of my life. The two guys look like they want to run, so I hurry to fix this. “Really, it’s a long story, but I swear Emit—the tallest one in the fitted-sheet-toga—generally wears pants…er…I guess you guys call them trousers over here. Anyway, we had some plane problems,” I carry on, and then realize I have to account for the fact we’re both missing clothing. “Then there was a fire that miraculously only burned our clothes, because Emit put all my flames out by smothering me with his body,” I state like that’s exactly what happened. Why do they look so scared? I’m not telling a scary lie. At this point, I’ve just made it worse, and fortunately Damien takes mercy, clamping his hand over my mouth as he starts steering me toward the door before I can make it…whatever comes after worse but before the worst. “Thank you,” sounds more like “Mmdi ooooo,” against his hand, but he gets the gist, as he grins. Mom makes a frustrated sound. “Another minute, and she’d be bragging about his penis size in quest to save his dignity. Did you really want to hear that?” Damien asks her, forcing me to groan against his hand.