Event Styling Quotes

We’re so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit around our minds. There are just too many things we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology … But still, no matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us forever, like a touchstone.

It was also her nature that caused her letters to avoid emotional pitfalls and confine themselves to relating the events of her daily life in the utilitarian style of a ship's log. In reality they were distracted letters, intended to keep the coals alive without putting her hand in the fire, while Florentino Ariza burned himself alive in every line.

We would be attending the conference under false pretenses and dealing, from the start, with a crowd that was convened for the stated purpose of putting people like us in jail. We were the Menace - not in disguise, but stone-obvious drug abusers, with a flagrantly cranked-up act that we intended to push all the way to the limit...not to prove any final, sociological point, and not event as a conscious mockery: It was mainly a matter of life-style, a sense of obligation and even duty. If the Pigs were gathering in Vegas for a top-level Drug Conference, we felt the drug culture should be represented.

Taking ideas seriously does not fit with the rhetorical style of textbooks, which presents events so as to make them seem foreordained along a line of constant progress. Including ideas would make history contingent: things could go either way, and have on occasion. The 'right' people, armed with the 'right' ideas, have not always won. When they didn't, the authors would be in the embarrassing position of having to disapprove of an outcome in the past. Including ideas would introduce uncertainty. This is not textbook style.

[I]n adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult readers who do deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us, because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. [Contemporary writers, however,] take up their stories as with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do.

...good technique includes quick changes, great variety and speed. It may be a system of reversals much like a concept of God and the Devil. In the speed of events, which one is really in charge?...to put the heart of martial arts inyour own heart and have it be a part of you means total comprehension and the use of a free style. When you have that you will know that there are no limits.

It’s important to remember that big data all comes from the same place – the past. A new campaigning style, a single rogue variable or a ‘black swan’ event can throw the most perfectly calibrated model into chaos.

Write in pictures. With your words, let the reader see not letters, but images. Be specific about every detail, but don't describe it--make it happen on the page, if you were writing fiction, or make it happen over again, if you were writing about history or some recent event.

Other studies have found that faced with a stressful life event ... avoidants' defenses are quick to break down and they then appear and behave just like people with an anxious attachment style.

But because me and myself, as you no doubt are well aware, we are going to die, my relation—and yours too—to the event of this text, which otherwise never quite makes it, our relation is that of a structurally posthumous necessity. Suppose, in that case, that I am not alone in my claim to know the idiomatic code (whose notion itself is already contradictory) of this event. What if somewhere, here or there, there are shares in this non-secret’s secret? Even so the scene would not be changed. The accomplices, as you are once again well aware, are also bound to die.

What makes the prospect of death distinctive in the modern age is the background of permanent technological and sociological revolution against which it is set, and which serves to strip us of any possible faith in the permanence of our labours. Our ancestors could believe that their achievements had a chance of bearing up against the flow of events. We know time to be a hurricane. Our buildings, our sense of style, our ideas, all of these will soon enough be anachronisms, and the machines in which we now take inordinate pride will seem no less bathetic than Yorick's skull.

The closer they come to transcending technique and the memorization of lines--the closer to really beginning to act, in short--the more Chinese they begin to seem. Happy now approaches Miss Forsythe to pick her up in the restaurant with a wonderful formality, his back straight, head high, his hand-gestures even more precise and formal, but with a comic undertone that ironically comes closer to conveying the original American idea of the scene than when he was trying to be physically sloppy and "relaxed"--that is, imitating an American. I think that by some unplanned magic we may end up creating something not quite American or Chinese but a pure style springing from the heart of the play itself--the play as a nonnational event, that is, a human circumstance.

He wore a delicate ring with a tiny sleepy diamond embedded in the latticed gold band. He said, "My wife chose this wedding ring for me. It's Victorian, not really my style, but it reminds me of her." And then he said, "My wife crashed the car again." Ah, I thought, as we walked past the golden trees, she does not have a name. She is a wife. I wondered why my male colleague often forgot the names of most of the women he met at social events. He would always refer to them as someone's wife or girlfriend, as if that was all I needed to know. If we don't have names, who are we?

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking - the ability to recognize comparable data and events and project patterns into the future. And style propels the reader into a relationship with the author, or with the subject matter, by fusing substance and aesthetics.

Third, don’t confuse an anecdote or a personal experience with the state of the world. Just because something happened to you, or you read about it in the paper or on the Internet this morning, it doesn’t mean it is a trend. In a world of seven billion people, just about anything will happen to someone somewhere, and it’s the highly unusual events that will be selected for the news or passed along to friends. An event is a significant phenomenon only if it happens some appreciable number of times relative to the opportunities for it to occur, and it is a trend only if that proportion has been shown to change over time.

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of all books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking—the ability to recognize comparable data and events and project patterns into the future. And style propels the reader into a relationship with the author, or with the subject matter, by fusing substance and aesthetics. Traditionally, another way of acquiring knowledge has been through personal conversations. The discussion and exchange of ideas has for millennia provided an emotional and psychological dimension in addition to the factual content of the information exchanged. It supplies intangibles of conviction and personality. Now the culture of texting produces a curious reluctance to engage in face-to-face interaction, especially on a one-to-one basis.

Perhaps no two events ever united so intimately and forceably to combat and expel prejudice, as the Revolution of America, and the Alliance with France. Their effects are felt, and their influence already extends as well to the old world as the new. Our style and manner of thinking have undergone a revolution, more extraordinary than the political revolution of the country. We see with other eyes; we hear with other ears; and think with other thoughts, than those we formerly used.

Style sets you apart from others. It is your eternal trademark. With style, you are the bona fide owner of your art. No one else creates like you, and you create like no one else.

To air one's views gratuitously, however, is to imply that the demand for them is brisk, which may not be the case, and which, in any event, may not be relevant to the discussion.

I distrust summaries, any kind of gliding through time, any too great a claim that one is in control of what one recounts; I think someone who claims to understand but who is obviously calm, someone who claims to write with emotion recollected in tranquility, is a fool and a liar. To understand is to tremble. To recollect is to reenter and be riven. An acrobat after spinning through the air in a mockery of flight stands erect on his perch and mockingly takes his bow as if what he is being applauded for was easy for him and cost him nothing, although meanwhile he is covered with sweat and his smile is edged with a relief chilling to think about; he is indulging in a show-business style; he is pretending to be superhuman. I am bored with that and with here it has brought us. I admire the authority of being on one's knees in front of the event. - Innocence, from My Mistress's Sparrow is Dead

Frequently avoidance of the present leads to idealization of the future... When an event does not live up to your expectations you can get out of the depression by idealizing again. Do not let this vicious circle become your life-style. Interrupt it now with some strategic present-moment fulfillment.

Using words like "casual" and "hang out," and the time constraint, were all part of a strategy to make the visit a low-pressure event. It's a much better way to get someone to commit to time with a stranger than AFC-style dinner dating, which can be a painful, drawn-out affair that involves two people who may have nothing in common stuck together for an entire night of awkward conversation.

It is, as I say, easy enough to describe Holden's style of narration; but more difficult to explain how it holds our attention and gives us pleasure for the length of a whole novel. For, make no mistake, it's the style that makes the book interesting. The story it tells is episodic, inconclusive and largely made up of trivial events. Yet the language is, by normal literary criteria, very impoverished. Salinger, the invisible ventriloquist who speaks to us through Holden, must say everything he has to say about life and death and ultimate values within the limitations of a seventeen-year-old New Yorker's argot, eschewing poetic metaphors, periodic cadences, fine writing of any kind.

Wiseman speculated that what we call luck is actually a pattern of behaviors that coincide with a style of understanding and interacting with the events and people you encounter throughout life. Unlucky people are narrowly focused, he observed. They crave security and tend to be more anxious, and instead of wading into the sea of random chance open to what may come, they remain fixated on controlling the situation, on seeking a specific goal. As a result, they miss out on the thousands of opportunities that may float by. Lucky people tend to constantly change routines and seek out new experiences. Wiseman saw that the people who considered themselves lucky, and who then did actually demonstrate luck was on their side over the course of a decade, tended to place themselves into situations where anything could happen more often and thus exposed themselves to more random chance than did unlucky people. The lucky try more things, and fail more often, but when they fail they shrug it off and try something else. Occasionally, things work out.

Holmes laughed. "Watson insists that I am the dramatist in real life," said he. "Some touch of the artist wells up within me, and calls insistently for a well-staged performance. Surely our profession, Mr. Mac, would be a drab and sordid one if we did not sometimes set the scene so as to glorify our results. The blunt accusation, the brutal tap upon the shoulder - what can one make of such a denouement? But the quick inference, the subtle trap, the clever forecast of coming events, the triumphant vindication of bold theories - are these not the pride and the justification of our life's work? At the present moment you thrill with the glamour of the situation and the anticipation of the hunt. Where would be that thrill if I had been as definite as a timetable?

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of all books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking—the ability to recognize comparable data and events and project patterns into the future.

The chief beauty of this book lies not so much in its literary style, or in the extent and usefulness of the information it conveys, as in its simple truthfulness.  Its pages form the record of events that really happened.  All that has been done is to colour them; and, for this, no extra charge has been made.  George and Harris and Montmorency are not poetic ideals, but things of flesh and blood—especially George, who weighs about twelve stone.  Other works may excel this in dept of thought and knowledge of human nature: other books may rival it in originality and size; but, for hopeless and incurable veracity, nothing yet discovered can surpass it.  This, more than all its other charms, will, it is felt, make the volume precious in the eye of the earnest reader; and will lend additional weight to the lesson that the story teaches.

Approximately 15 to 20 percent of the population has a nervous system wired to be more sensitive. These people are more attuned to the subtleties of their environment and process that information much more deeply compared to others without this trait. While being more observant might be a survival advantage, it can also be overwhelming. Someone who is constantly aware of the subtleties of the environment and of the people around them can quickly experience sensory overload. My clients who consider themselves to be HSPs [highly sensitive persons] often report experiencing a certain type of disorganized attachment because the world itself is too much. Due to their increased sensitivity, even normal everyday events can feel too intense, too chaotic or too stimulating, leaving little respite to feel settled, safe and secure. In relationships, HSPs are often unclear as to whether what they are feeling has its origin in themselves or if their partner's feelings are creating that 'one foot on the gas, one foot on the brake' experience in their nervous system. They want to be close to people, but being close can be a sensory assault that is confusing or that dysregulates them for days.

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next.

The really big news of the eighties is the stampede to regurgitate mildly camouflaged musical styles of previous decades, in ever-shrinking cycles of 'nostalgia. (It isn't necessary to imagine the world ending in fire or ice—there are two other possibilities: one is paperwork, and the other is nostalgia. When you compute the length of time between The Event and The Nostalgia For The Event, the span seems to be about a year less in each cycle. Eventually within the next quarter of a century, the nostalgia cycles will be so close together that people will not be able to take a step without being nostalgic for the one they just took. At that point, everything stops. Death by Nostalgia.)

This crisis and its resolution shaped their explanatory style for bad events, making it temporary, specific, and external.

The acquisition of knowledge from books provides an experience different from the Internet. Reading is relatively time-consuming; to ease the process, style is important. Because it is not possible to read all books on a given subject, much less the totality of all books, or to organize easily everything one has read, learning from books places a premium on conceptual thinking—the ability to recognize comparable data and events and project patterns into the future. And style propels the reader into a relationship with the author, or with the subject matter, by fusing substance and aesthetics.

This is quite different from my style of traveling, wherein I spend most of the day psyching myself up to do one thing—visit a museum, perhaps—and the rest of the day recovering from the only event on my itinerary.

The first unanalysed impression that most readers receive from Jane Eyre is that it has a very violent atmosphere. If this were simply the effect of the plot and the imagined events then sensation novels like Walpole's The Castle of Otranto or Mrs Radcliffe's The Mystery of Udolpho ought to produce it even more powerfully. But they do not. Nor do they even arouse particularly strong reader responses. Novelists like Charlotte Brontë or D. H. Lawrence, on the other hand, are able quite quickly to provoke marked reactions of sympathy or hostility from readers. The reason, apparently, is that the narrator's personality is communicating itself through the style with unusual directness.

Existential isolation, a third given, refers to the unbridgeable gap between self and others, a gap that exists even in the presence of deeply gratifying interpersonal relationships. One is isolated not only from other beings but, to the extent that one constitutes one’s world, from world as well. Such isolation is to be distinguished from two other types of isolation: interpersonal and intrapersonal isolation. One experiences interpersonal isolation, or loneliness, if one lacks the social skills or personality style that permit intimate social interactions. Intrapersonal isolation occurs when parts of the self are split off, as when one splits off emotion from the memory of an event. The most extreme, and dramatic, form of splitting, the multiple personality, is relatively rare (though growing more widely recognized); when it does occur, the therapist may be faced (...) with the bewildering dilemma of which personality to cherish.

Physiological stress, then, is the link between personality traits and disease. Certain traits — otherwise known as coping styles — magnify the risk for illness by increasing the likelihood of chronic stress. Common to them all is a diminished capacity for emotional communication. Emotional experiences are translated into potentially damaging biological events when human beings are prevented from learning how to express their feelings effectively. That learning occurs — or fails to occur — during childhood. The way people grow up shapes their relationship with their own bodies and psyches. The emotional contexts of childhood interact with inborn temperament to give rise to personality traits. Much of what we call personality is not a fixed set of traits, only coping mechanisms a person acquired in childhood. There is an important distinction between an inherent characteristic, rooted in an individual without regard to his environment, and a response to the environment, a pattern of behaviours developed to ensure survival. What we see as indelible traits may be no more than habitual defensive techniques, unconsciously adopted. People often identify with these habituated patterns, believing them to be an indispensable part of the self. They may even harbour self-loathing for certain traits — for example, when a person describes herself as “a control freak.” In reality, there is no innate human inclination to be controlling. What there is in a “controlling” personality is deep anxiety. The infant and child who perceives that his needs are unmet may develop an obsessive coping style, anxious about each detail. When such a person fears that he is unable to control events, he experiences great stress. Unconsciously he believes that only by controlling every aspect of his life and environment will he be able to ensure the satisfaction of his needs. As he grows older, others will resent him and he will come to dislike himself for what was originally a desperate response to emotional deprivation. The drive to control is not an innate trait but a coping style. Emotional repression is also a coping style rather than a personality trait set in stone. Not one of the many adults interviewed for this book could answer in the affirmative when asked the following: When, as a child, you felt sad, upset or angry, was there anyone you could talk to — even when he or she was the one who had triggered your negative emotions? In a quarter century of clinical practice, including a decade of palliative work, I have never heard anyone with cancer or with any chronic illness or condition say yes to that question. Many children are conditioned in this manner not because of any intended harm or abuse, but because the parents themselves are too threatened by the anxiety, anger or sadness they sense in their child — or are simply too busy or too harassed themselves to pay attention. “My mother or father needed me to be happy” is the simple formula that trained many a child — later a stressed and depressed or physically ill adult — into lifelong patterns of repression.

We're so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit about our minds. There are just too many thing we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology ... But still, no matter how much time passes, no matter what takes place in in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us for ever, like a touchstone.

Another segment of society that has constructed a language of its own is business. People in business say that toner cartridges are in short supply, that they have updated the next shipment of these cartridges, and that they will finalize their recommendations at the next meeting of the board. They are speaking a language familiar and dear to them. Its portentous nouns and verbs invest ordinary events with high adventure; executives walk among toner cartridges, caparisoned like knights. We should tolerate them--every person of spirit wants to ride a white horse.

What is it about this book—essentially a military history of the first month of the First World War—which gives it its stamp and has created its enormous reputation? Four qualities stand out: a wealth of vivid detail which keeps the reader immersed in events, almost as an eyewitness; a prose style which is transparently clear, intelligent, controlled and witty; a cool detachment of moral judgment—Mrs. Tuchman is never preachy or reproachful; she draws on skepticism, not cynicism, leaving the reader not so much outraged by human villainy as amused and saddened by human folly. These first three qualities are present in all of Barbara Tuchman’s work, but in The Guns of August there is a fourth which makes the book, once taken up, almost impossible to set aside. Remarkably, she persuades the reader to suspend any foreknowledge of what is about to happen.

If you made a piece of art—a picture—I’d look at your choice of medium, the colors you chose, your personal style, your skill level. I’d see a landscape, or a person, an event, or whatever you wanted to create, but I’d feel something else. People paint people they’re in love with and I feel the lust, the longing, the joy, the sadness. It’s a physical manifestation of someone going, Look! Look at how in love I am. But I don’t believe people can look at a painting and see love. I can see friendship, though. It’s hard to explain.” “Remind me not to paint you anything. I have a feeling you’re a harsh critic.

Grab Bag of Questions for Coach and Coachee Who has given you feedback well? What was helpful about how they did it? Have you ever gotten good advice that you rejected? Why? Have you ever received good advice that you took years later? What motivates you? What disheartens you? What’s your learning style? Visual, auditory, big picture, detail oriented? What helps you hear appreciation? What’s something you wish you were better at? Whose feedback-receiving skills do you admire? What did your childhood and family teach you about feedback and learning? What did your early job experiences teach you? What’s the role of time/stages? What’s the role of mood and outlook? What’s the role of religion or spirituality? What has been the impact of major life events? Getting married? Getting laid off or fired? Having children? Death of a parent? What do you dislike most about coaching? About evaluation? What helps you change?

The reader must not imagine that he is to find in it wisdom, brilliancy, fertility of invention, ingenuity of construction, excellence of form, purity of style, perfection of imagery, truth to nature, clearness of statement, humanly possible situations, humanly possible people, fluent narrative, connected sequence of events

Carol Twombly’s source was Trajan’s Column, an early 2nd-century monument in Rome. While the letters were inscribed into stone with a chisel, recent research suggests that they were first painted with a brush, which explains their graceful serifs. There are many other interpretations of this style, including Goudy, Pietra, Waters Titling, and Penumbra. Good for: Drama, of course. Majesty. Momentous events.

Third, don’t confuse an anecdote or a personal experience with the state of the world. Just because something happened to you, or you read about it in the paper or on the Internet this morning, it doesn’t mean it is a trend. In a world of seven billion people, just about anything will happen to someone somewhere, and it’s the highly unusual events that will be selected for the news or passed along to friends. An

... [In 'Pride and Prejudice'] Mr Collins's repulsiveness in his letter [about Lydia's elopement] does not exist only at the level of the sentence: it permeates all aspects of his rhetoric. Austen's point is that the well-formed sentence belongs to a self-enclosed mind, incapable of sympathetic connections with others and eager to inflict as much pain as is compatible with a thin veneer of politeness. Whereas Blair judged the Addisonian sentence as a completely autonomous unit, Austen judges the sentence as the product of a pre-existing moral agent. What counts is the sentence's ability to reveal that agent, not to enshrine a free-standing morsel of truth. Mr Darcy's letter to Elizabeth, in contrast, features a quite different practice of the sentence, including an odd form of punctation ... The dashes in Mr Darcy's letter transform the typographical sentence by physically making each sentence continuous with the next one. ... The dashes insist that each sentence is not self-sufficient but belongs to a larger macrostructure. Most of Mr Darcy's justification consists not of organised arguments like those of Mr Collins but of narrative. ... The letter's totality exists not in the typographical sentence but in the described event.

This so enraged Warren that he’d sponsored an alternative Olympics in Cooktown, called the Complete Relaxation Games. Events included chair sleeping, wave watching, and synchronized drinking. The Cooktown Games even had an Olympic-style scandal. “We had to disqualify some participants in the armchair-sleeping competition because they’d been on the grog,” Warren said. “In that event, alcohol’s a performance-enhancing drug.

Most human beings believe that life brings closed experiences of absolute, irreversible change; that their greatest sources of conflict are external to themselves; that they are the single and active protagonists of their own existence; that their existence operates through continuous time within a consistent, causally interconnected reality; and that inside this reality events happen for explainable and meaningful reasons.

You will criticize me, reader, for writing in a style six hundred years removed from the events I describe, but you came to me for explanation of those days of transformation which left your world the world it is, and since it was the philosophy of the Eighteenth Century, heavy with optimism and ambition, whose abrupt revival birthed the recent revolution, so it is only in the language of the Enlightenment, rich with opinion and sentiment, that those days can be described. You must forgive me my ‘thee’s and ‘thou’s and ‘he’s and ‘she’s, my lack of modern words and modern objectivity. It will be hard at first, but whether you are my contemporary still awed by the new order, or an historian gazing back at my Twenty-Fifth Century as remotely as I gaze back on the Eighteenth, you will find yourself more fluent in the language of the past than you imagined; we all are.

the common thread amongst the SCRIPTED sheeple is they have no meaning. Instead, hyperreality babysits—this is why we have a society addicted to Game of Thrones and whoever wins some stupid singing contest. With meaning, this shit cannot compete. Social media showboating is no longer entertaining. Sporting events—fleeting entertainment not worthy of tears or a sibling smackdown. Pop culture: who’s dating whom, who got fat, who’s styling a new bikini—a pointless insult and trivialization of your purpose

I never suspected you had a sense of humor,” she mused aloud, studying his face as if he were a fascinating puzzle to be figured out. “See? Hardly ten minutes into the night and I am already learning fabulous things about you.” “Imagine what will happen in an hour,” he said. “That sounded suspiciously liberal to me,” she rejoined slyly, reaching to wind her arms around his neck. “Did I mention that you look like you just stepped off a pirate ship? This outfit is very . . . roguish.” “Roguish?” “‘Roguish’ is a word from the English language,” she lectured. “It means . . . to be like a rogue. In your case, to be in the style of a rogue. Roguish.” “I know what it means, Neliss. I do not believe I have ever heard myself described in such a way before. I shall have to take your word on that.” He reached up to push back some of the heavy fall of her hair. “You always wear dresses like this, and almost never bind your hair. Do not take this as a complaint, but I was wondering why that is.” “I like dresses. I never quite took to the idea of skirts above the ankle. I guess I am an old-fashioned eighteenth-century girl.” “I see. And just when, exactly, should I begin to look for those pigs that will be flying by?” “You know, you sit there and accuse me of having a smart mouth?” “Well, you were wondering what part of you was going to show up in me,” he rejoined. “Oh. Ha ha. Your stellar wit has charmed me straight to my toes,” was her dry reply. “In any event,” he continued, ignoring her sarcasm, “your style suits you quite well. It suits me as well.

What is essential to the unconscious is that out life, precisely because it is not a consciousness of others, in indifferent balance, but a node of significations which are traces of events, consisting of excrescences and gaps, forms a baroque system. Exactly as an adult or elderly body has its dynamic, its privileged positions, its style of gestures, and its syntax, an implex has its wrinkles and its own balancing processes, and the unconscious is our practical schema, where everything is inscribed in shillings and pence.

March 9: With Schenck’s help, Marilyn obtains a contract with Columbia Pictures for $125 a week. The studio puts her up at the Hotel Bel-Air. Ed Cronenwerth shoots her in various exercise positions, toning and stretching her body. She is also shown seated on steps, her right elbow on her raised right thigh and her right hand on her chin next to the sign “Los Angeles City Limits.” He also photographs makeup sessions. Marilyn applies lipstick, looking into a hand-held mirror, and is shot sitting while Helen Hunt styles her hair.

We're so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit around our minds. There are just too many things we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology... But still, no matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us forever, like a touchstone.

Truth also consists of relationships between events. Truth occurs when things communicate with each other on the basis of a similarity or some other form of closeness between them, when they turn towards each other and enter into relationships with each other, even befriend each other: truth [la vérité] will be attained by him [the author] only when he takes two different objects, states the connection between them … and encloses them in the necessary links of a wellwrought style; truth – and life too – can be attained by us only when, by comparing a quality common to two sensations, we succeed in extracting their common essence and in reuniting them to each other, liberated from the contingencies of time, within a metaphor[, thus linking them to each other through the ineffable efficacy of the combination of words].22 Only relationships based on similarity, friendship or affinity make things true. Truth is opposed to the accident of pure contiguity. Truth means commitment, relationship and closeness. Only through intense relationships do things become real in the first place:

Because it was sexism, wasn’t it? Beatrice’s detractors never said it aloud, never authored op-eds that stated Beatrice shouldn’t rule because she’s a woman. They just criticized everything she did. If she wore a new dress, she was extravagant; if she recycled an old one, she had no style. If she was photographed holding a glass of wine, she was a lush; if she didn’t drink at an event, she was pregnant, or boring, or rude to her hosts. If she was caught in a photo unsmiling, then she wasn’t likable; if she smiled too broadly, she was trying too hard.

The responsibility/fault fallacy allows people to pass off the responsibility for solving their problems to others. This ability to alleviate responsibility through blame gives people a temporary high and a feeling of moral righteousness. Unfortunately, one side effect of the Internet and social media is that it’s become easier than ever to push responsibility—for even the tiniest of infractions—onto some other group or person. In fact, this kind of public blame/shame game has become popular; in certain crowds it’s even seen as “cool.” The public sharing of “injustices” garners far more attention and emotional outpouring than most other events on social media, rewarding people who are able to perpetually feel victimized with ever-growing amounts of attention and sympathy. “Victimhood chic” is in style on both the right and the left today, among both the rich and the poor. In fact, this may be the first time in human history that every single demographic group has felt unfairly victimized simultaneously. And they’re all riding the highs of the moral indignation that comes along with it. Right now, anyone who is offended about anything—whether it’s the fact that a book about racism was assigned in a university class, or that Christmas trees were banned at the local mall, or the fact that taxes were raised half a percent on investment funds—feels as though they’re being oppressed in some way and therefore deserve to be outraged and to have a certain amount of attention. The current media environment both encourages and perpetuates these reactions because, after all, it’s good for business. The writer and media commentator Ryan Holiday refers to this as “outrage porn”: rather than report on real stories and real issues, the media find it much easier (and more profitable) to find something mildly offensive, broadcast it to a wide audience, generate outrage, and then broadcast that outrage back across the population in a way that outrages yet another part of the population. This triggers a kind of echo of bullshit pinging back and forth between two imaginary sides, meanwhile distracting everyone from real societal problems. It’s no wonder we’re more politically polarized than ever before. The biggest problem with victimhood chic is that it sucks attention away from actual victims. It’s like the boy who cried wolf. The more people there are who proclaim themselves victims over tiny infractions, the harder it becomes to see who the real victims actually are. People get addicted to feeling offended all the time because it gives them a high; being self-righteous and morally superior feels good. As political cartoonist Tim Kreider put it in a New York Times op-ed: “Outrage is like a lot of other things that feel good but over time devour us from the inside out. And it’s even more insidious than most vices because we don’t even consciously acknowledge that it’s a pleasure.” But

A few months later, in December 1969, the Chicago police conducted a pre-dawn raid on a Panther apartment. Approximately one hundred shots were fired. At first the police claimed that they had responded to the fire of the Panthers, but it was quickly established by the local press that this was false. Fred Hampton, one of the most talented and promising leaders of the Panthers, was killed in his bed. There is evidence that he may have been drugged. Witnesses claim that he was murdered in cold blood. Mark Clark was also killed. This event can fairly be described as a Gestapo-style political assassination.

In the coming decades, it is likely that we will see more Internet-like revolutions, in which technology steals a march on politics. Artificial intelligence and biotechnology might soon overhaul our societies and economies – and our bodies and minds too – but they are hardly a blip on our political radar. Our current democratic structures just cannot collect and process the relevant data fast enough, and most voters don’t understand biology and cybernetics well enough to form any pertinent opinions. Hence traditional democratic politics loses control of events, and fails to provide us with meaningful visions for the future. That doesn’t mean we will go back to twentieth-century-style dictatorships. Authoritarian regimes seem to be equally overwhelmed by the pace of technological development and the speed and volume of the data flow. In the twentieth century, dictators had grand visions for the future. Communists and fascists alike sought to completely destroy the old world and build a new world in its place. Whatever you think about Lenin, Hitler or Mao, you cannot accuse them of lacking vision. Today it seems that leaders have a chance to pursue even grander visions. While communists and Nazis tried to create a new society and a new human with the help of steam engines and typewriters, today’s prophets could rely on biotechnology and super-computers.

Most things are forgotten over time. Even the war itself, the life-and-death struggle people went through, is now like something from the distant past. We're so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit around our minds. There are just too many things we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology... But still, no matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us forever, like a touchstone.

I’m so stressed that a weird Olympic-style commentary starts up in my head. And here we have Zelah Green, the fourteen-year-old champion of rituals, attempting the afternoon toilet-touching event for the first time … I take my first faltering step towards the rim. And she’s approaching the target, booms the voice. Steady approach, good footwork … My right hand, naked and trembling, is now hovering over the inside of the toilet. Will she set a new world record? screams the voice. Will Zelah Green take the gold medal for bravery and/or total stupidity? ‘I’m going in!’ I say. I skim the curved cool surface of the bowl with the fingertips of my right hand and jump back as if I’ve been electrified. And she’s done it! shrieks the commentator. Zelah Green wins the gold medal for toilet touching!

It was in Cleveland that Magic Slim became the most successful pornographic film producer in America. His training center was a key link in a human trafficking supply chain stretching from the former Soviet Republics in Eastern Europe to the United States. Trafficking accounts for an estimated $32 billion in annual trade with sex slavery and pornographic film production accounting for the greatest percentage. The girls arrived at Slim’s building young and naive, they left older and wiser. This was a classic value chain with each link making a contribution.  Slim’s trainers were the best, and it showed in the final product. Each class of girls was judged on the merits. The fast learners went on to advanced training. They learned proper etiquette, social skills and party games. They learned how to dress, apply makeup and discuss world events.  Best in-class were advertised in international style magazines with code words. These codes were known only to select clients and certain intermediaries approved by Slim. This elaborate distribution system was part of Slim’s business model, his clients paid an annual subscription fee for the on-line dictionary. The code words and descriptions were revised monthly.  An interested client would pay an access fee for further information that included a set of professional  photographs, a video and voice recordings of the model addressing the client by name.  Should the client accept, a detailed travel itinerary was submitted calling for first class travel and accommodation.  Slim required a letter of understanding spelling out terms and conditions and a 50% deposit. He didn’t like contracts, his word was his bond, everyone along the chain knew that. Slim's business was booming.

Sometimes he went to the office without having slept, his hair in an uproar of love after leaving the letter in the prearranged hiding place so that Fermina Daza would find it on her way to school. She, on the other hand, under the watchful eye of her father and the vicious spying of the nuns, could barely manage to fill half a page from her notebook when she locked herself in the bathroom or pretended to take notes in class. But this was not only due to her limited time and the danger of being taken by surprise, it was also her nature that caused her letters to avoid emotional pitfalls and confine themselves to relating the events of her daily life in the utilitarian style of a ship's log. In reality, they were distracted letters, intended to keep the coals alive without putting her hand in the fire, while Florentino Ariza burned himself alive in every line.

Laevsky’s not loving Nadyezhda Fyodorovna showed itself chiefly in the fact that everything she said or did seemed to him a lie, or equivalent to a lie, and everything he read against women and love seemed to him to apply perfectly to himself, to Nadyezhda Fyodorovna and her husband. When he returned home, she was sitting at the window, dressed and with her hair done, and with a preoccupied face was drinking coffee and turning over the leaves of a fat magazine; and he thought the drinking of coffee was not such a remarkable event that she need put on a preoccupied expression over it, and that she had been wasting her time doing her hair in a fashionable style, as there was no one here to attract and no need to be attractive. And in the magazine he saw nothing but falsity. He thought she had dressed and done her hair so as to look handsomer, and was reading in order to seem clever.

HE WHO MUST NOT BE NAMED RETURNS ‘In a brief statement on Friday night, Minister for Magic Cornelius Fudge confirmed that He Who Must Not Be Named has returned to this country and is once more active. ‘“It is with great regret that I must confirm that the wizard styling himself Lord – well, you know who I mean – is alive and among us again,” said Fudge, looking tired and flustered as he addressed reporters. “It is with almost equal regret that we report the mass revolt of the Dementors of Azkaban, who have shown themselves averse to continuing in the Ministry’s employ. We believe the Dementors are currently taking direction from Lord – Thingy. ‘“We urge the magical population to remain vigilant. The Ministry is currently publishing guides to elementary home and personal defence which will be delivered free to all wizarding homes within the coming month.” ‘The Minister’s statement was met with dismay and alarm from the wizarding community, which as recently as last Wednesday was receiving Ministry assurances that there was “no truth whatsoever in these persistent rumours that You-Know-Who is operating amongst us once more”. ‘Details of the events that led to the Ministry turnaround are still hazy, though it is believed that He Who Must Not Be Named and a select band of followers (known as Death Eaters) gained entry to the Ministry of Magic itself on Thursday evening. ‘Albus Dumbledore, newly reinstated Headmaster of Hogwarts School of Witchcraft and Wizardry, reinstated member of the International Confederation of Wizards and reinstated Chief Warlock of the Wizengamot, has so far been unavailable for comment. He has insisted over the past year that You-Know-Who is not dead, as was widely hoped and believed, but is recruiting followers once more for a fresh attempt to seize power. Meanwhile, the “Boy Who Lived” –

Well, this is a rare context where boringness is something special: it implies that the individual men who did the scoring are likewise predictable, centered, and, above all, unbiased. And when you consider the supermodels, the porn, the cover girls, the Lara Croft– style fembots, the Bud Light ads, and, most devious of all, the Photoshop jobs that surely these men see every day, the fact that male opinion of female attractiveness is still where it’s supposed to be is, by my lights, a small miracle. It’s practically common sense that men should have unrealistic expectations of women’s looks, and yet here we see it’s just not true. In any event, they’re far more generous than the women, whose votes go like this: The red chart is centered barely a quarter of the way up the scale; only one guy in six is “above average” in an absolute sense. Sex appeal isn’t something commonly quantified like this, so let me put it in a more familiar context: translate this plot to IQ, and you have a world where the women think 58 percent of men are brain damaged.

As associate beauty editor, it was my job to represent the magazine at get-togethers like these: to rub elbows and be pleasant and professional. Seriously, it was the easiest gig in the world! And yet it wasn’t always so easy for me. “I’ll take one of those.” I stopped a dude with a tray of champagne. “Thanks, honey.” “Hi, Cat!” a beauty publicist with a clipboard said. “Thanks so much for coming!” “Good to see you,” I lied. Thunder clapped outside. “The gang’s over there,” she said. The publicist was referring to the usual group of beauty editors—my colleagues. They were from every title you’ve ever heard of: Teen Vogue, Glamour, Elle, Vogue, W, Harper’s Bazaar, InStyle, O, Shape, Self. I attended events alongside them every day, and yet I never felt like I belonged. I’d spent years trying to get into their world: interning, studying mastheads, interviewing all over town. But now that I was one of them, I felt defective—self-conscious and out of place in the dreamy career I’d worked so hard for, and unable to connect with these chic women I’d idolized.

In his movie The Seventh Continent, Michael Haneke depicts a normal middle-class family who, for no apparent reason, one day quit their jobs, destroy everything in their apartment, including all the cash they have just withdrawn from the bank, and commit suicide. The story, according to Haneke, was inspired by a true story of an Austrian middle-class family who committed collective suicide. As Haneke points out in a subsequent interview, the cliché questions that people are tempted to ask when confronted with such a situation are: “did they have some trouble in their marriage?”, or “were they dissatisfied with their jobs?”. Haneke’s point, however, is to discredit such questions; if he wanted to create a Hollywood-style drama, he would have offered clues indicating some such problems that we superficially seek when trying to explain people’s choices. But his point was precisely that the most profound thoughts about whether life is meaningful occur once we have swept aside all the clichés about the pleasure or lack thereof of “love, work, and play” (Thagard), or of “being whooshed up in sports events and being absorbed in the coffee-making craft” (Dreyfus and Kelly). Psychologically, or psychotherapeutically, these are very useful ways of “finding meaning in one’s life”, but philosophically, they are rather ways of how to avoid raising the question, how to insulate oneself from the likelihood that the question of meaning will be raised to oneself. In my view, then, the particular answer to the second question (what is the meaning of life?) is not that important, because whatever answer one offers, even the nihilist or absurdist answer, is many times good enough if the purpose is to get rid of the state of puzzlement. More importantly, however, what matters is that the question itself was raised, and the question is posterior to the more fundamental one of whether there is any meaning at all in life. It is also intuitive that we could judge someone’s life as meaningless if that person has never wondered whether her life, and life in general, is meaningful or not. At the same time, our proposal is, in my opinion, neither elitist, nor parochial in any way; I find it empirically quite plausible that the vast majority of people have actually asked this question or some version of it at least once during their lives, regardless of their social class, wealth, religion, ethnicity, gender, cultural background, or historical period.

Cities have characters, pathologies that can make or destroy or infect you, states of mind that run through daily life as surely as a fault line. Chandler’s “mysterious something” was a mood of disenchantment, an intense spiritual malaise that identified itself with Los Angeles at a particular time, what we call noir. On the one hand noir is a narrow film genre, born in Hollywood in the late 1930s when European visual style, the twisted perspectives and stark chiaroscuros of German Expressionism, met an American literary idiom. This fruitful comingling gave birth to movies like Double Indemnity, directed by Vienna-born Billy Wilder and scripted by Raymond Chandler from a James M. Cain novella. The themes — murderous sex and the cool, intricate amorality of money — rose directly from the psychic mulch of Southern California. But L.A. is a city of big dreams and cruelly inevitable disappointments where noir is more than just a slice of cinema history; it’s a counter-tradition, the dark lens through which the booster myths came to be viewed, a disillusion that shadows even the best of times, an alienation that assails the sense like the harsh glitter of mica in the sidewalk on a pitiless Santa Ana day. Noir — in this sense a perspective on history and often a substitute for it — was born when the Roaring Twenties blew themselves out and hard times rushed in; it crystallized real-life events and the writhing collapse of the national economy before finding its interpreters in writers like Raymond Chandler.

What is it that makes a person the very person that she is, herself alone and not another, an integrity of identity that persists over time, undergoing changes and yet still continuing to be—until she does not continue any longer, at least not unproblematically? I stare at the picture of a small child at a summer’s picnic, clutching her big sister’s hand with one tiny hand while in the other she has a precarious hold on a big slice of watermelon that she appears to be struggling to have intersect with the small o of her mouth. That child is me. But why is she me? I have no memory at all of that summer’s day, no privileged knowledge of whether that child succeeded in getting the watermelon into her mouth. It’s true that a smooth series of contiguous physical events can be traced from her body to mine, so that we would want to say that her body is mine; and perhaps bodily identity is all that our personal identity consists in. But bodily persistence over time, too, presents philosophical dilemmas. The series of contiguous physical events has rendered the child’s body so different from the one I glance down on at this moment; the very atoms that composed her body no longer compose mine. And if our bodies are dissimilar, our points of view are even more so. Mine would be as inaccessible to her—just let her try to figure out [Spinoza’s] Ethics—as hers is now to me. Her thought processes, prelinguistic, would largely elude me. Yet she is me, that tiny determined thing in the frilly white pinafore. She has continued to exist, survived her childhood illnesses, the near-drowning in a rip current on Rockaway Beach at the age of twelve, other dramas. There are presumably adventures that she—that is that I—can’t undergo and still continue to be herself. Would I then be someone else or would I just no longer be? Were I to lose all sense of myself—were schizophrenia or demonic possession, a coma or progressive dementia to remove me from myself—would it be I who would be undergoing those trials, or would I have quit the premises? Would there then be someone else, or would there be no one? Is death one of those adventures from which I can’t emerge as myself? The sister whose hand I am clutching in the picture is dead. I wonder every day whether she still exists. A person whom one has loved seems altogether too significant a thing to simply vanish altogether from the world. A person whom one loves is a world, just as one knows oneself to be a world. How can worlds like these simply cease altogether? But if my sister does exist, then what is she, and what makes that thing that she now is identical with the beautiful girl laughing at her little sister on that forgotten day? In this passage from Betraying Spinoza, the philosopher and novelist Rebecca Newberger Goldstein (to whom I am married) explains the philosophical puzzle of personal identity, one of the problems that engaged the Dutch-Jewish thinker who is the subject of her book.5 Like her fellow humanist Dawkins, Goldstein analyzes the vertiginous enigma of existence and death, but their styles could not be more different—a reminder of the diverse ways that the resources of language can be deployed to illuminate a topic.

Second, most of the officers in this study did not have experience as tactical officers, and the teams they formed had very limited practice time together. It is possible that, with practice and experience, the effects of a threat on the performance of the dumps observed here can be overcome. This is the essence of the habituation findings in the orienting response literature (Sokolov et al., 2002). A SWAT team that regularly practices may be able to overcome the natural tendency to orient on a threat and cover their respective areas, producing exposure times that are consistent with those produced by the slice (many SWAT officers that we have spoken to insist that this is the case); however, we would like to point out that this means conducting training specifically to overcome a natural instinct, and this process is likely to take considerable effort and time. In the case of patrol officers, who are likely to be the first on the scene during an active shooter event, the officers are unlikely to receive the amount of training that is needed to overcome these natural instincts. With these caveats in mind, we think it is clear that the slice is a better style of entry to teach to patrol officers during active shooter training. The structure of the slice does not attempt to overcome the officer’s natural tendencies. It allows these tactically less-experienced officers to deal with the problem in smaller pieces and provides the officers with more time to think through the situation. For these reasons, the specific entries tested in the other studies presented in this book are conducted using a slice style.

Mike sounded dismissive of Western communication styles, but he admitted that he sometimes wished he could be noisy and uninhibited himself. “They’re more comfortable with their own character,” he said of his Caucasian classmates. Asians are “not uncomfortable with who they are, but are uncomfortable with expressing who they are. In a group, there’s always that pressure to be outgoing. When they don’t live up to it, you can see it in their faces.” Mike told me about a freshman icebreaking event he’d participated in, a scavenger hunt in San Francisco that was supposed to encourage students to step out of their comfort zones. Mike was the only Asian assigned to a rowdy group, some of whom streaked naked down a San Francisco street and cross-dressed in a local department store during the hunt. One girl went to a Victoria’s Secret display and stripped down to her underwear. As Mike recounted these details, I thought he was going to tell me that his group had been over the top, inappropriate. But he wasn’t critical of the other students. He was critical of himself. “When people do things like that, there’s a moment where I feel uncomfortable with it. It shows my own limits. Sometimes I feel like they’re better than I am.” Mike was getting similar messages from his professors. A few weeks after the orientation event, his freshman adviser—a professor at Stanford’s medical school—invited a group of students to her house. Mike hoped to make a good impression, but he couldn’t think of anything to say. The other students seemed to have no problem joking around and asking intelligent questions. “Mike, you were so loud today,” the professor teased him when finally he said good-bye. “You just blew me away.” He left her house feeling bad about himself. “People who don’t talk are seen as weak or lacking,” he concluded ruefully.

In all matters of consequence, General P.P. Peckem was, as he always remarked when he was about to criticize the work of some close associate publicly, a realist. He was a handsome, pink-skinned man of fifty-three. His manner was always casual and relaxed, and his uniforms were custom-made. He had silver-gray hair, slightly myopic eyes and thin, overhanging, sensual lips. He was a perceptive, graceful, sophisticated man who was sensitive to everyone's weaknesses but his own and found everyone absurd but himself. General Peckem laid great fastidious stress on small matters of taste and style. He was always augmenting things. Approaching events were never coming, but always upcoming. It was not true that he wrote memorandums praising himself and recommending that his authority be enhanced to include all combat operations; he wrote memoranda. And the prose in the memoranda of other officers was always turgid, stilted, or ambiguous. The errors of others were inevitable deplorable. Regulations were stringent, and his data never was obtained from a reliable source, but always were obtained. General Peckem was frequently constrained. Things were often incumbent upon him, and he frequently acted with the greatest reluctance. It never escaped his memory that neither black nor white was a color, and he never used verbal when he meant oral. He could quote glibly from Plato, Nietzsche, Montaigne, Theodore Roosevelt, the Marquis de Sade and Warren G. Harding. A virgin audience like Colonel Scheisskopf [his new underling] was grist for General Peckem's mill, a stimulating opportunity to throw open his whole dazzling erudite treasure house of puns, wisecracks, slanders, homilies, anecdotes, proverbs, epigrams, apothegms, bon mots and other pungent sayings. He beamed urbanely as he began orienting Colonel Scheisskopf to his new surroundings.

The good news is that positive construal can be taught. “We can make ourselves more or less vulnerable by how we think about things,” Bonanno said. In research at Columbia, the neuroscientist Kevin Ochsner has shown that teaching people to think of stimuli in different ways—to reframe them in positive terms when the initial response is negative, or in a less emotional way when the initial response is emotionally “hot”—changes how they experience and react to the stimulus. You can train people to better regulate their emotions, and the training seems to have lasting effects. Training people to change their explanatory styles from internal to external (“Bad events aren’t my fault”), from global to specific (“This is one narrow thing rather than a massive indication that something is wrong with my life”), and from permanent to impermanent (“I can change the situation, rather than assuming it’s fixed”) made them more psychologically successful and less prone to depression. The same goes for locus of control: not only is a more internal locus tied to perceiving less stress and performing better but changing your locus from external to internal leads to positive changes in both psychological well-being and objective work performance. The cognitive skills that underpin resilience, then, seem like they can indeed be learned over time, creating resilience where there was none. Unfortunately, the opposite may also be true. “We can become less resilient, or less likely to be resilient,” Bonanno says. “We can create or exaggerate stressors very easily in our own minds. That’s the danger of the human condition.” Human beings are capable of worry and rumination: we can take a minor thing, blow it up in our heads, run through it over and over, and drive ourselves crazy until we feel like that minor thing is the biggest thing that ever happened. In a sense, it’s a self-fulfilling prophecy. Frame adversity as a challenge, and you become more flexible and able to deal with it, move on, learn from it, and grow. Focus on it, frame it as a threat, and a potentially traumatic event becomes an enduring problem; you become more inflexible, and more likely to be negatively affected.

-Write out a conversation with your inner voice. Begin the entry with a question directed to yourself, then write your mental response. It may help to label the different voices A and B. Dialogue writing is a very effective way to get to the heart of the matter. The following passage is an example of typical dialogue writing: A: Tomorrow is a big day. You have an interview at a college. How do you feel? B: I am really nervous. This is the first interview and I don’t know what it is going to be like. A: What are you afraid of? B: I’m afraid I’ll stutter and say something stupid. I’m worried the person will ask a question and I won’t know what to say. A: What do you want to discuss? B: I think it is good that I was on the basketball team for four years. That shows commitment and dedication. I also got decent grades and earned a blue ribbon at the science fair. A: What about your hobbies outside of school? B: I really like to read. I could mention that. I could talk also about the vacations my family has taken. They are pretty interesting. I enjoy my part-time retail job. A: It sounds like you do a lot. B: I guess I am good at organizing my life and accomplishing what needs to be done. Hey, that would sound good in an interview! -Try focused “freewriting.” Pick one topic, such as school, friends, or family, and write everything that comes to mind about that topic. Write for at least ten minutes or until you’re certain that you have run out of things to write. -Write your belief system. Start by writing “I believe…” at the top of a clean page. Then write whatever comes to mind. It may help to ask yourself questions when you get stuck such as “What do I believe about friendship?” “What is my personal style?” or “What are my gifts and abilities?” -Write about an event from your perspective, then write about the same event from someone else’s point of view. For example, if you had a hard time answering a question during class, write about how you felt, what you thought, and how you behaved. Next, pretend you are the teacher writing about the same event. What do you think he or she was thinking? How did he or she act? This exercise is a great way to show that there are multiple ways of seeing the same situation.

college boys working to return to school down South; older advocates of racial progress with Utopian schemes for building black business empires; preachers ordained by no authority except their own, without church or congregation, without bread or wine, body or blood; the community "leaders" without followers; old men of sixty or more still caught up in post-Civil-War dreams of freedom within segregation; the pathetic ones who possessed nothing beyond their dreams of being gentlemen, who held small jobs or drew small pensions, and all pretending to be engaged in some vast, though obscure, enterprise, who affected the pseudo-courtly manners of certain southern congressmen and bowed and nodded as they passed like senile old roosters in a barnyard; the younger crowd for whom I now felt a contempt such as only a disillusioned dreamer feels for those still unaware that they dream -- the business students from southern colleges, for whom business was a vague, abstract game with rules as obsolete as Noah's Ark but who yet were drunk on finance. Yes, and that older group with similar aspirations, the "fundamentalists," the "actors" who sought to achieve the status of brokers through imagination alone, a group of janitors and messengers who spent most of their wages on clothing such as was fashionable among Wall Street brokers, with their Brooks Brothers suits and bowler hats, English umbrellas, black calfskin shoes and yellow gloves; with their orthodox and passionate argument as to what was the correct tie to wear with what shirt, what shade of gray was correct for spats and what would the Prince of Wales wear at a certain seasonal event; should field glasses be slung from the right or from the left shoulder; who never read the financial pages though they purchased the Wall Street Journal religiously and carried it beneath the left elbow, pressed firm against the body and grasped in the left hand -- always manicured and gloved, fair weather or foul -- with an easy precision (Oh, they had style) while the other hand whipped a tightly rolled umbrella back and forth at a calculated angle; with their homburgs and Chesterfields, their polo coats and Tyrolean hats worn strictly as fashion demanded. I could feel their eyes, saw them all and saw too the time when they would know that my prospects were ended and saw already the contempt they'd feel for me, a college man who had lost his prospects and pride. I could see it all and I knew that even the officials and the older men would despise me as though, somehow, in losing my place in Bledsoe's world I had betrayed them . . . I saw it as they looked at my overalls.

Then, decades later, in the 1970s, a hard-assed U.S. swim coach named James Counsilman rediscovered it. Counsilman was notorious for his “hurt, pain, and agony”–based training techniques, and hypoventilation fit right in. Competitive swimmers usually take two or three strokes before they flip their heads to the side and inhale. Counsilman trained his team to hold their breath for as many as nine strokes. He believed that, over time, the swimmers would utilize oxygen more efficiently and swim faster. In a sense, it was Buteyko’s Voluntary Elimination of Deep Breathing and Zátopek hypoventilation—underwater. Counsilman used it to train the U.S. Men’s Swimming team for the Montreal Olympics. They won 13 gold medals, 14 silver, and 7 bronze, and they set world records in 11 events. It was the greatest performance by a U.S. Olympic swim team in history. Hypoventilation training fell back into obscurity after several studies in the 1980s and 1990s argued that it had little to no impact on performance and endurance. Whatever these athletes were gaining, the researchers reported, must have been based on a strong placebo effect. In the early 2000s, Dr. Xavier Woorons, a French physiologist at Paris 13 University, found a flaw in these studies. The scientists critical of the technique had measured it all wrong. They’d been looking at athletes holding their breath with full lungs, and all that extra air in the lungs made it difficult for the athletes to enter into a deep state of hypoventilation. Woorons repeated the tests, but this time subjects practiced the half-full technique, which is how Buteyko trained his patients, and likely how Counsilman trained his swimmers. Breathing less offered huge benefits. If athletes kept at it for several weeks, their muscles adapted to tolerate more lactate accumulation, which allowed their bodies to pull more energy during states of heavy anaerobic stress, and, as a result, train harder and longer. Other reports showed hypoventilation training provided a boost in red blood cells, allowing athletes to carry more oxygen and produce more energy with each breath. Breathing way less delivered the benefits of high-altitude training at 6,500 feet, but it could be used at sea level, or anywhere. Over the years, this style of breath restriction has been given many names—hypoventilation, hypoxic training, Buteyko technique, and the pointlessly technical “normobaric hypoxia training.” The outcomes were the same: a profound boost in performance.* Not just for elite athletes, but for everyone. Just a few weeks of the training significantly increased endurance, reduced more “trunk fat,” improved cardiovascular function, and boosted muscle mass compared to normal-breathing exercise. This list goes on. The takeaway is that hypoventilation works. It helps train the body to do more with less. But that doesn’t mean it’s pleasant.

Evolution may have created a greater diversity of specific cognitive potentials across species than affective potentials, even though there are also bound to be many general principles that govern the seemingly distinct cognitive styles of different species. For instance, within the spatial maps of the hippocampus,28 the “well-grounded” navigational thoughts of groundhogs may be organized around similar neural principles as the soaring spatial thoughts of falcons. In any event, the empirically based premise of the present work is that at the basic affective level, neural similarities will abound.

As a twenty-first-century individual, you must choose your style of personal life. You are allowed to—in fact, you [are] almost required to—continually monitor your sense of self to look inward to see how well your inner life fits with your married (or cohabiting) life. If the fit deteriorates, you are almost required to leave. For according to the cultural model of individualism, a relationship that no longer fits your needs is inauthentic and hollow. It limits the personal rewards that you, and perhaps your partner, can achieve. In this event, a breakup is unfortunate, but you will, and must, move on. To

Nietzsche: 'myth itself is a kind or style of thinking. It imparts an idea of the universe, but does it in the sequence of events, actions, sufferings.

Another recent event is the almost-instant bankruptcy, in 1998, of a financial investment company (hedge fund) called Long-Term Capital Management (LTCM), which used the methods and risk expertise of two “Nobel economists,” who were called “geniuses” but were in fact using phony, bell curve–style mathematics while managing to convince themselves that it was great science and thus turning the entire financial establishment into suckers.

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Story Event creates meaningful change in the life situation of a character that is expressed and experienced in terms of a value and ACHIEVED THROUGH CONFLICT.

Keeping the kindness aspect of this RAIN step in mind, we can now move on to what it means to investigate. Investigation is the process of inquiring what your subconscious mind is trying to tell you. In the previous steps, the anecdotal characters had accepted that they were feeling a certain way and allowed it to occur. This is the step that would allow them to understand where these core wounds are coming from. Moreover, it will be indicative of what they both need in this situation. Often, without practicing RAIN, an individual would become emotionally caught up in a situation and make judgments about their external environment. However, such judgments are often inaccurate because, ultimately, everyone has their own attachment style and core wounds, and everyone assigns their own individual meanings to situations. To begin the investigation process, remember that what you are feeling when you’re triggered is everything in the current moment in addition to all of the past emotions that trigger is associated with. For example, consider someone with PTSD. When something in their external present is reminiscent of the original traumatic experiences they’ve endured, the emotions they’ll feel in response to the present event will be significantly stronger due to the past emotions they’ve stored. Therefore, it is essential to ask yourself questions like: “What am I believing?” and “What emotional response wants the most attention?” By asking probing questions, you may surface the unmet needs that the situation is calling to satisfy. Ultimately, your subconscious mind will do nearly everything it its power to meet needs that are seemingly unmet.

It is important to remember that every day our subconscious is taking in new information. Thus, our attachment styles can still be molded in adulthood by significantly emotional events or one type of event that is less emotionally challenging but occurs consistently. Therefore, it is important to both constantly question our thoughts and to look for other old or new core wounds that may arise. We are in a constant state of evolution and improvement and must prepare our mind for just that. Moreover, after neutralizing the subconscious charge on a core belief, it is important to reflect on your mood at that moment. By doing so, you are continuing to practice mindfulness while working toward more positive habits. This deeper approach to CBT will give you the tools to navigate through difficult situations in everyday life, improve your outlook, and help negotiate triggering scenarios. CBT at a surface level has had an astounding impact on the lives of millions of people. It helps to connect the beliefs, thoughts, physical responses, and behavior of individuals. By examining it at a subconscious level, the root of the beliefs can be revealed and healed. Keep in mind that this process will differ between each attachment style since each style inherently has different triggers.

Well, after all, in what language do we talk with ourselves and others? I like the language of conversational speech: it’s unencumbered, it lacks any external, imposed burdens. Everything rambles in discursive, exuberant style: syntax, intonation, accents – and feeling is reconstructed precisely. What I track is the feeling, not the event. The way our feelings have developed, not the events. Perhaps what I do is similar to the work of a historian, but I am a historian of the untraceable. What happens to great events? They migrate into history, while the little ones, the ones that are most important for the little person, disappear without a trace. Today one boy (so frail and sickly that he didn’t look much like a soldier) told me how strange and at the same time exhilarating it feels to kill together. And how terrifying it is to shoot someone. Is that really going to go down in history? I strive desperately (from book to book) to do one and the same thing – reduce history to the human being.

That attachment styles can vary based on type—for example, friendship or a romantic relationship. 2. That how a person behaves in one relationship—for example, with one specific friend—can spread to how they behave in other relationships of that same type—such as with other friends. This concept is important because it truly demonstrates the ability of the subconscious to store and replay beliefs based on repetition and emotion. Now that you understand the fluidity of attachment styles and why they lie along a spectrum, you can begin to discover your dominant attachment style in different areas of your life. Consider how you act and feel in your relationships, whether they are romantic, platonic, or familial. Examine the ratio of activating to deactivating strategies in your thoughts and behaviors. Recall that activating strategies are decisions that are made based on prior information and experiences. Deactivating strategies are actions that drive self-reliance and deny attachment needs altogether, pushing others away. If you have relatively more activating strategies, you may have a greater fear of abandonment and be on the Anxious side of the spectrum. More deactivating strategies may indicate a subconscious belief around complete autonomy, placing you more on the Dismissive-Avoidant side of the attachment scale. Keep in mind that this tool should be used in romantic relationships after the honeymoon phase is over, a phase that occurs during the first two years of the relationship. During the honeymoon phase, your brain has higher levels of dopamine in the caudate nucleus and ventral tegmental regions, according to Scientific American. These areas of the brain are responsible for, respectively, learning and memory and emotional processing. Consequently, your attachment style may be unclear to you in the early phases of your romantic relationship since your emotions, memory, and hormone regulation are atypical. Our experiences can also dramatically alter our attachment style. For example, if Sophie were to partake in certain forms of therapy and practices such as recurrent meditation, she may be able to better understand and re-equilibrate her subconscious beliefs. According to Science Daily, since meditation induces theta brain waves and activates areas of the frontal lobe associated with emotional regulation, Sophie could eventually bring herself into a more Secure attachment space without the help of a Secure partner. However, although it is common to express different attachment styles in different areas of life, the type of attachment you have in relationships ultimately tends to be the attachment style that you associate with the type of relationship. For example, you can be Dismissive-Avoidant in familial relationships because you experienced emotional neglect from parental figures, but you could also be Fearful-Avoidant in romantic relationships due to domestic abuse that has occurred. This illustrates that major events such as betrayal, loss, or abuse can alter our attachment style in different chapters of life, but that ultimately attachment styles are fluid and often dependent on the kind of relationships we are in. We tend to have a primary attachment style, most associated with how we show up in romantic relationships, that plays a large role in our personality structure. This essentially dictates how we give and receive love and what our subconscious expectations are of others.

The paranoid’s interpretation of history is distinctly personal: decisive events are not taken as part of the stream of history, but as the consequences of someone’s will. —Richard Hofstadter, The Paranoid Style in American Politics

Research for this book has made me aware of aspects of Christianity I find disturbing. During the past several years, rereading the gospels, I was struck by how their vision of supernatural struggle both expresses conflict and raises it to cosmic dimensions. This research, then, reveals certain fault lines in Christian tradition that have allowed for the demonizing of others throughout Christian history—fault lines that go back nearly two thousand years to the origins of the Christian movement. While writing this book I often recalled a saying of Søren Kierkegaard: "An unconscious relationship is more powerful than a conscious one." For nearly two thousand years, for example, many Christians have taken for granted that Jews killed Jesus and the Romans were merely their reluctant agents, and that this implicates not only the perpetrators but (as Matthew insists) all their progeny in evil. Throughout the centuries, countless Christians listening to the gospels absorbed, along with the quite contrary sayings of Jesus, the association between the forces of evil and Jesus’ Jewish enemies. Whether illiterate or sophisticated, those who heard the gospel stories, or saw them illustrated in their churches, generally assumed both their historical accuracy and their religious validity. Especially since the nineteenth century, however, increasing numbers of scholars have applied literary and historical analysis to the gospels—the so-called higher criticism. Their critical analysis indicated that the authors of Matthew and Luke used Mark as a source from which to construct their amplified gospels. Many scholars assumed that Mark was the most historically reliable because it was the simplest in style and was written closer to the time of Jesus than the others were. But historical accuracy may not have been the gospel writers’ first consideration. Further analysis demonstrated how passages from the prophetic writings and the psalms of the Hebrew Bible were woven into the gospel narratives. Barnabas Lindars and others suggested that Christian writers often expanded biblical passages into whole episodes that “proved,” to the satisfaction of many believers, that events predicted by the prophets found their fulfillment in Jesus’ coming.

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When you start to learn it, you will find that it is awkward to you. That is because a good technique includes quick changes, great variety and speed. It may be a system of reversals much like a concept of God and the devil. In the speed of events, which one is really in charge? Do they change places with lightning speed? The Chinese believe so. To put the heart of the martial arts in your own heart and have it be a part of you means total comprehension and the use of a free style. When you have that, you will know that there are no limits.

Turning my head away from his bourbon-heavy scent, I twisted his cummerbund around and undid the cheap buckle. His breath grew shorter as he cupped and massaged the generous D cups, his touch rudimentary but acceptable. “Tonight?” he gasped hopefully. I considered the request. It had been weeks since we’d last had sex, the quick event occurring after Matt had, from out of nowhere, put an offer on the Atherton house. Granted, it was a horrible home. Ugly and with a choppy floor plan that was badly out of style, but still. For my cheap husband, it was a huge and unexpected step in the right direction for our social standing and my happiness. “Yes.” I moved closer, as if in enjoyment of his touch. Matt had been a sexual disappointment early on, one that required me to take care of my own needs. Most recently, I had done so with the explosive but short-lived Ned Plymouth dalliance. I’d had high hopes for that pairing, and I frowned as I placed the cummerbund on the counter, thinking of the lost potential with my former boss. Matt grunted, his mouth now sucking at my nipples with loud and frantic wet smacks of his lips. I undid his pants and pulled down on the zipper. “Let’s go to the bed.” I injected some husk into my voice, as if I were eager, and not just to get it over with. On my back, with him above me, I thought of William Winthorpe. There was something dark and delicious about him, a temptation that had existed as soon as he’d introduced himself at my interview. William. There had been a tug in his tone, a tightening of the cord between us. It’s a pleasure to meet you. Gruff and sexual.

All-Around A category of gymnastics that includes all the events. The all-around champion of an event earns the highest total score from all events combined. Amanar A Yurchenko-style vault, meaning the gymnast performs a round-off onto the board, a back handspring onto the vault with a two and a half twisting layout back flip. Cast A push off the bar with hips and lifts the body to straighten the shoulders and finish in handstand. Deduction Points taken off a gymnast's score for errors. Most deductions are pre-determined, such as a 0.5 deduction for a fall from an apparatus or a 0.1 deduction for stepping out of bounds on the floor exercise. Dismount The last skill in a gymnastics routine. For most events the method used to get off of the event apparatus. Elite International Elite, the highest level of gymnastics.

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studies have found that faced with a stressful life event, such as divorce, the birth of a severely disabled child, or military trauma, avoidants’ defenses are quick to break down and they then appear and behave just like people with an anxious attachment style.

Many critics have seen Tolkien's writings as a response to the trauma of the First World War, even going so far as to see The Lord of the Rings as a "war novel", rather than as pure high fantasy. Tolkien himself admitted there were connections with the First World War, but denied vehemently there were any to the second: Sauron is not Hitler; the One Ring is not the atomic bomb. There is a middle ground: The Silmarillion and The Lord of the Rings, along with many other of his writings, was to large degree a therapeutic process in which he faced up to and attempted to purge the trauma inflicted on him and his peers at the Somme.... Who knows, then, what Tolkien might have made of the War of the Last Alliance had he written its tale in full? There are hints of the grandeur and terror it might have achieved: The Somme-like Battle of Dagorlad with the ill-considered charge of the Galadhrim and the swamp of dead bodies left behind in the Dead Marshes; the grueling seven-year siege and the climactic, gruesome duel on the slopes of Mount Doom. What we do have, however, is an intriguing, almost medieval-style chronicle of its main events and manoeuvres - more than enough, then, to feed our imaginations.

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But what if our interruptions are in fact our opportunities, if they are challenges to an inner response by which growth takes place and through which we come to the fullness of being? What if the events of our history are molding us as a sculptor molds his clay, and if it is only in a careful obedience to these molding hands that we can discover our real vocation and become mature people? What if all the unexpected interruptions are in fact the invitations to give up old-fashioned and outmoded styles of living and are opening up new unexplored areas of experience? And finally: What if our history does not prove to be a blind impersonal sequence of events over which we have no control, but rather reveals to us a guiding hand pointing to a personal encounter in which all our hopes and aspirations will reach their fulfillment? Then our life would indeed be a different life because then fate becomes opportunity, wounds a warning and paralysis an invitation to search for deeper sources of vitality. Then we can look for hope in the middle of crying cities, burning hospitals and desperate parents and children. Then we can cast off the temptation of despair and speak about the fertile tree while witnessing the dying of the seed. Then indeed we can break out of the prison of an anonymous series of events and listen to the God of history who speaks to us in the center of our solitude and respond to his ever new call for conversion.

Phllosophizing proper is a purely intellectual enterprise. Its business is to analyse fundamental concepts, such as self, matter, mind, good, truth ; to examine fundamental assumptions, such as that all events have causes ; and to fit the conclusions together into a coherent view of nature and man's place in it. Now this is an austerely intellectual business. To be sure, philosophy must take account of values, and in the appropriate fields it has much to say of beauty and deformity, of good and evil, and of the issues of religious belief. But it is pledged to discuss these issues with scientific detachment and dispassionateness.

We're so caught up in our everyday lives that events of the past, like ancient stars that have burned out, are no longer in orbit about our minds. There are just too many things we have to think about every day, too many new things we have to learn. New styles, new information, new technology, new terminology... But still, no matter how much time passes, no matter what takes place in the interim, there are some things we can never assign to oblivion, memories we can never rub away. They remain with us forever, like a touchstone.

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