Fairies Information Quotes

She knows that whispers can be useful. Sometimes they contain real information. But usually they're fairy tales and lies. This is the worst kind of whisper, the kind that draws you in, gives you hope.

The unrealistic nature of these tales (which narrowminded rationalists object to) is an important device, because it makes obvious that the fairy tales’ concern is not useful information about the external world, but the inner process taking place in an individual.

Studies [on the origin of fairy-stories] are, however, scientific (at least in intent); they are the pursuit of folklorists or anthropologists: that is of people using the stories not as they were meant to be used, but as a quarry from which to dig evidence, or information, about matters in which they are interested. ...with regard to fairy stories, I feel that it is more interesting, and also in its way more difficult, to consider what they are, what they have become for us, and what values the long alchemic processes of time have produced in them. In Dasent's words I would say: 'We must be satisfied with the soup that is set before us, and not desire to see the bones of the ox out of which it has been boiled.' Such stories have now a mythical or total (unanalysable) effect, an effect quite independent of the findings of Comparative Folk-lore, and one which it cannot spoil or explain; they open a door on Other Time, and if we pass through, though only for a moment, we stand outside our own time, outside Time itself, maybe.

Natsu: This is my personal Fairy Tail style send-off party. People who leave Fairy Tail must understand three rules. One: Never release information that gives a disadvantage to Fairy Tail to anyone. Two: What was it again? Mystgun: Never meet a previous costumer for personal gain. Natsu: Right, right. Three: even if our paths differ, you must live life, as long as you are still strong. Never look at your life as something insignificant, never forget... Mystgun: Those friends of yours that you loved... Natsu: Did it reach you? If you have the spirit of the guild with you, there's nothing you can't do! I hope we can meet again, Mystgun.

One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vrykólakas, but only in relation to events remembered in the Old Country. When I once asked why such demons are not seen in America, my informants giggled confusedly and said “They’re scared to pass the ocean, it’s too far,” pointing out that Christ and the apostles never came to America. —Richard Dorson, “A Theory for American Folklore,

Great. So if a dragon and a fairy show up at the castle, what the hell am I supposed to do with that information? Put out a warrant for their arrest?" "No,

Reading ancient myths and fairy tales can be very helpful because these stories came spontaneously from people who had not studied psychology. The stories came straight out of their unconscious and, therefore, show us how the unconscious works unimpeded by conscious intervention. The images are clear and stark. For those of us who are interested in why we do what we do when we want to do the opposite, the stories are gold mines of information.

Reasercher 101, I do not long for the old, unreachable days. When I'm plugged in I can go anywhere, do and learn anything. Today, for instance, I visited a tiny library in Portugal. I learned how the Shakers weave baskets and I discovered my best friend in middle school loves blood-orange sorbet. Okay, I also learned that a certain pop star actually believes she's a fairy, an honest-to-goodness fairy from the fey people, but my point is access. Access to information. I don't even have to look out my window to see what the eather is like. I can have the weather delivered every morning to my phone. What could be better? Sincerely, Wife 22 Wife 22, Getting caught in the rain? All the best, Researcher 101

-Prayer In My Life- Every person has his own ideas of the act of praying for God's guidance, tolerance and mercy to fulfill his duties and responsibilities. My own concept of prayer is not a plea for special favors, nor as a quick palliation for wrongs knowingly committed. A prayer, it seems to me, implies a promise as well as a request; at the highest level, prayer not only is supplication for strength and guidance, but also becomes an affirmation of life and thus a reverent praise of God. Deeds rather than words express my concept of the part religion should play in everyday life. I have watched constantly that in our movie work the highest moral and spiritual standards are upheld, whether it deals with fable or with stories of living action. This religious concern for the form and content of our films goes back 40 years to the rugged financial period in Kansas City when I was struggling to establish a film company and produce animated fairy tales. Thus, whatever success I have had in bringing clean, informative entertainment to people of all ages, I attribute in great part to my Congregational upbringing and lifelong habit of prayer. To me, today at age 61, all prayer by the humble or highly placed has one thing in common: supplication for strength and inspiration to carry on the best impulses which should bind us together for a better world. Without such inspiration we would rapidly deteriorate and finally perish. But in our troubled times, the right of men to think and worship as their conscience dictates is being sorely pressed. We can retain these privileges only by being constantly on guard in fighting off any encroachment on these precepts. To retreat from any of the principles handed down by our forefathers, who shed their blood for the ideals we all embrace, would be a complete victory for those who would destroy liberty and justice for the individual.

Forests to the [early] Northern European peoples were dangerous and generous, domestic and wild, beautiful and terrible. And the forests were the terrain out of which fairy stories, one of our earliest and most vital cultural forms, evolved. The mysterious secrets and silences, gifts and perils of the forest are both the background to and source of these tales.... Forests are places where a person can get lost and also hide -- and losing and hiding, of things and people, are central to European fairy stories in ways that are not true of similar stories in different geographies. Landscape informs the collective imagination as much as or more than it forms the individual psyche and its imagination, but this dimension is not something to which we always pay enough attention.

Fear My dictionary informs me that the word “fear” comes from the Old English word faer, which is related to the word faerie and means to cast enchantments. Faerie, or fairy, has roots in the word fae or fay, meaning of the Fates, or fate, which in turn is linked to faith, derived from the Latin word meaning to trust… He appeared, when I fist sumoned him, tall and stooped, big, hooded, and draped in mists and swathes of gray, from pale to almost black. There was a line between him and me. He walked over the line and stood just behind my left shoulder. He’s there now. He stoops and whispers in my ear, “Watch out!” “Don’t trust what you’re hearing,” “Slow down the car down,” “Trust the omens!” He is Fear. He warns me of probable danger, and I listen to him because he is always correct. Fear is your ally! It is your instinct to survive. Worry is a useless thing, it achieves nothing. Resolution is the key to success.

The unrealistic nature of these tales (which narrowminded rationalists object to) is an important device, because it makes obvious that the fairy tales’ concern is not useful information about the external world, but the inner process taking place in an individual.

When the Wicked Queen calls for Snow White’s heart, because her mir- ror has informed her that she has been outstripped in beauty, the fairy tale warns little girls, even today, that there is danger in beauty. Fairy tales carry the wisdom of the ages; that is why they last and are passed down from generation to generation. So long as the most beautiful woman got the most powerful man and men were women’s only source of power, the role of beauty was too crucial to be discussed. It is only since women have de- veloped alternative sources of economic security and identity that the taboo subject of the power of their beauty has begun to be researched and written about.

Compounding the problem of insufficient information is the problem of bad information. Children believe in things like Santa Claus and the tooth fairy not because they are particularly credulous but for the same reasons the rest of us believe our beliefs. Their information about these phenomena comes from trusted sources (typically, their parents) and is often supported by physical evidence (cookie crumbs by the chimney, quarters under the pillow). It isn’t the kids’ fault that the evidence is fabricated and that their sources mislead them. Nor is it their fault that their primary community, outside of their family, generally consists of other children, who tend to be equally ill-informed.

Some gifted people have all five and some less. Every gifted person tends to lead with one. As I read this list for the first time I was struck by the similarities between Dabrowski’s overexcitabilities and the traits of Sensitive Intuitives. Read the list for yourself and see what you identify with: Psychomotor This manifests as a strong pull toward movement. People with this overexcitability tend to talk rapidly and/or move nervously when they become interested or passionate about something. They have a lot of physical energy and may run their hands through their hair, snap their fingers, pace back and forth, or display other signs of physical agitation when concentrating or thinking something out. They come across as physically intense and can move in an impatient, jerky manner when excited. Other people might find them overwhelming and they’re routinely diagnosed as ADHD. Sensual This overexcitability comes in the form of an extreme sensitivity to sounds, smells, bright lights, textures and temperature. Perfume and scented soaps and lotions are bothersome to people with this overexcitability, and they might also have aversive reactions to strong food smells and cleaning products. For me personally, if I’m watching a movie in which a strobe light effect is used, I’m done. I have to shut my eyes or I’ll come down with a headache after only a few seconds. Loud, jarring or intrusive sounds also short circuit my wiring. Intellectual This is an incessant thirst for knowledge. People with this overexcitability can’t ever learn enough. They zoom in on a few topics of interest and drink up every bit of information on those topics they can find. Their only real goal is learning for learning’s sake. They’re not trying to learn something to make money or get any other external reward. They just happened to have discovered the history of the Ming Dynasty or Einstein’s Theory of Relativity and now it’s all they can think about. People with this overexcitability have intellectual interests that are passionate and wide-ranging and they study many areas simultaneously. Imaginative INFJ and INFP writers, this is you. This is ALL you. Making up stories, creating imaginary friends, believing in Santa Claus way past the ordinary age, becoming attached to fairies, elves, monsters and unicorns, these are the trademarks of the gifted child with imaginative overexcitability. These individuals appear dreamy, scattered, lost in their own worlds, and constantly have their heads in the clouds. They also routinely blend fiction with reality. They are practically the definition of the Sensitive Intuitive writer at work. Emotional Gifted individuals with emotional overexcitability are highly empathetic (and empathic, I might add), compassionate, and can become deeply attached to people, animals, and even inanimate objects, in a short period of time. They also have intense emotional reactions to things and might not be able to stomach horror movies or violence on the evening news. They have most likely been told throughout their life that they’re “too sensitive” or that they’re “overreacting” when in truth, they are expressing exactly how they feel to the most accurate degree.

People... are talking... about me? As a spinster? With-cats?" Wendy's mind was too overcome with this new information to even take offense at it. She was sixteen, for heaven's sake! She had time. She had just moved out of the nursery not that long ago... And to think of a husband? Now? There were so many other things to think about. Balloons and submarines. Airships and pirates. Deepest Africa and farthest Australia. Peter Pan and fairies and mermaids and centaurs...

One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vrykólakas, but only in relation to events remembered in the Old Country. When I once asked why such demons are not seen in America, my informants giggled confusedly and said “They’re scared to pass the ocean, it’s too far,” pointing out that Christ and the apostles never came to America.

Eleanor had heard talk of the rebellion that existed inside the city of Constance before. Most of the information she gathered was considered an old fairy tale by the general public. There were a few stories here and there about people angered by their present living conditions, who had demanded that the center of Constance be held responsible for it. However, information was never passed between the five different sectors. Over the years the tales of the rebellion had become children’s bedtime stories, and people did not take them seriously.

Let the ignorant be informed! If the artist does not throw himself into his work, like Curtius* into the gulf beneath the Forum, like a soldier against a fortress, without hesitation, and if, in that crater, he does not work like a miner under a fall of rock, if, in short, he envisages the difficulties instead of conquering them one by one, following the example of lovers in fairy-tales who, to win their princesses, struggle against recurring enchantments, the work remains unfinished, it expires in the studio, where production remains impossible and the artist looks on at the suicide of his own talent.

INFORMATION IS A TART—INFORMATION is anybody’s. It reveals as much about those who impart it as it teaches those who hear. Because information, ever the slut, swings both ways. False information—if you know it’s false—tells you half as much again as the real thing, because it tells you what the other feller thinks you don’t know, while real information, the copper-bottomed truth, is worth its weight in fairy-dust. When you have a source of real information, you ought to forsake all others and snuggle down with it for good. Even though it’ll never work out, because information, first, last and always, is a tart.

One question that has always intrigued me is what happens to demonic beings when immigrants move from their homelands. Irish-Americans remember the fairies, Norwegian-Americans the nisser, Greek-Americans the vrykólakas, but only in relation to events remembered in the Old Country. When I once asked why such demons are not seen in America, my informants giggled confusedly and said “They’re scared to pass the ocean, it’s too far,” pointing out that Christ and the apostles never came to America. —Richard Dorson, “A Theory for American Folklore,” American Folklore and the Historian (University of Chicago Press, 1971)

This thing: information got abolished sometime in the twentieth century, can't say just when; stands to reason, that's part of the information that got abolsh, abolished. Since then we've been living in a fairy-story. Got me? Everything happens by magic. Us faeries haven't a fucking notion what's going on. So how do we know if it's right or wrong? We don't even know what it is. So what I thought was, you can either break your heart trying to work it all out, or you can go sit on a mountain, because that's where all the truth went, believe it or not, it just upped and ran away from these cities where even the stuff under our feet is all made up, a lie, and it hid up there in the thin thin air where the liars don't dare come after it in case their brains explode.

Oh, it's a good story, as a story,' returned that gentleman; 'as good a thing of its kind as need be. This Mr Dorrit (his name is Dorrit) had incurred a responsibility to us, ages before the fairy came out of the Bank and gave him his fortune, under a bond he had signed for the performance of a contract which was not at all performed. He was a partner in a house in some large way—spirits, or buttons, or wine, or blacking, or oatmeal, or woollen, or pork, or hooks and eyes, or iron, or treacle, or shoes, or something or other that was wanted for troops, or seamen, or somebody—and the house burst, and we being among the creditors, detainees were lodged on the part of the Crown in a scientific manner, and all the rest Of it. When the fairy had appeared and he wanted to pay us off, Egad we had got into such an exemplary state of checking and counter-checking, signing and counter-signing, that it was six months before we knew how to take the money, or how to give a receipt for it. It was a triumph of public business,' said this handsome young Barnacle, laughing heartily, 'You never saw such a lot of forms in your life. "Why," the attorney said to me one day, "if I wanted this office to give me two or three thousand pounds instead of take it, I couldn't have more trouble about it." "You are right, old fellow," I told him, "and in future you'll know that we have something to do here."' The pleasant young Barnacle finished by once more laughing heartily. He was a very easy, pleasant fellow indeed, and his manners were exceedingly winning. Mr Tite Barnacle's view of the business was of a less airy character. He took it ill that Mr Dorrit had troubled the Department by wanting to pay the money, and considered it a grossly informal thing to do after so many years. But Mr Tite Barnacle was a buttoned-up man, and consequently a weighty one. All buttoned-up men are weighty. All buttoned-up men are believed in. Whether or no the reserved and never-exercised power of unbuttoning, fascinates mankind;

Cheng Xin’s eyes moistened. She was thinking of Tianming, of the man who struggled alone in the long night of outer space and an eerie, sinister alien society. To convey his important message to the human race, he must have racked his brain until he had devised such a metaphorical system, and then spent ages in his lonely existence to create over a hundred fairy tales and carefully disguise the intelligence report in three of those stories. Three centuries ago, he had given Cheng Xin a star; now, he brought hope to the human race. Thereafter, steady progress was made in deciphering the message. Other than the discovery of the metaphorical system, the effort was also aided by another guess that was commonly accepted, though unconfirmed: While the first part of the message to be successfully deciphered involved escape from the Solar System, the rest of the message likely had to do with the safety notice. The interpreters soon realized that compared to the first bit of intelligence, the rest of the information hidden in the three stories was far more complex. At

She sent Amelie to inform Maydrop that she donned an evening dress made of a heavy, supple olive green silk that gleamed under candlelight. It fell from the bodice, but rather than belling out, the silk was cut on the bias and hugged every curve of her body. The bodice was gathered under her breasts and trimmed with dark copper lace that glimmered with shiny black beads. and widened into short sleeves. Her hair was pulled straight back from her forehead without even a wisp floating at her ears, and she waved away the ruby necklace Amelie offered. She wanted no distraction from her face. She did, however, slide a sparkling ruby onto her right hand, a present she had given to herself when Ryburn Weavers made its first thousand guineas in profit. How better to remember that milestone than to wear a sizable percentage it on one's finger? Finally, Amelie drew out a small brush and skillfully applied a few strategic dabs of face paint. The last thing Theo wanted was to try to look conventionally feminine, but she'd discovered that a thin line of kohl made her eyes look deep and mysterious.

I have an antipathy to dogs, not because they are faithful, but because they are shameless. Because they carry on their love affairs on the street.” Again that crimson flush overspread her features. “Cats are more cultured about such things—if I may use that much misused word. There are insects that mate only in the darkest nights, in the most forsaken corners, so that no forester has ever succeeded in observing them. I've always held that there will come a time when we will speak of the barbarous practices of this century, or the last ten centuries, as if they were a fairy-tale. Just think how tremendously funny it must strike any sensitive person when two people, having conceived a certain desire to go to bed with one another, set a special date for the event. They inform certain public institutions, the State, the Church. They tell their friends and relations, their own parents, their own brothers and sisters. On the day which is to end in that night, they gather everybody they know about them, let themselves be observed by persons who stuff themselves and drink until they are sick, listen to suggestive songs and suggestive speeches—and yet do not get sick themselves. I've always had a feeling that marriage as it is practiced today would be fit punishment for a hardened criminal. It is such a cruel, such an exquisite torture. Metta, my child, oblige me and if you ever decide to marry, do it when you desire and not on some appointed day. Do it in utter secrecy so that no living soul can suspect the possibility of such a thing....

We can't give you any further information," the fairies replied. "Be satisfied, madam, with the assurance that your daughter will be happy." She thanked them very much and did not forget to give them many presents. Although the fairies were quite rich, they always liked people to give them something. Throughout the world this custom has been passed down from that day to our own, and time has not altered it in the least. ("Green Serpent")

We went out to investigate and found the maid collapsed on the path, gasping that Miss Lavender was dead. I looked inside the cottage. I did not touch anything. I saw Miss Lavender on the floor, dead as a doornail. I sent my niece inside and informed Mrs. Needham that she had a vacancy. I know nothing else about the matter.

Let's take a look at the process of encoding information in a personal memory system. There are essentially three elements. There is the information to be encoded. There is the encoding system. And there is the resulting memory tableau filled with striking images engaged in memorable actions.

There is the information to be encoded. There is the encoding system. And there is the resulting literary memory tableau filled with striking images engaged in memorable actions. The chief difference is that in a personal memory system there is no danger that the memory tableau might be mistaken for the message itself.

It is precisely the colouring, the atmosphere, the unclassifiable individual details of a story, and above all the general purport that informs with life the undissected bones of the plot, that really count.

It is my mess. Getting my voice back is more than I deserve,” Dylan shrugged. “Someday I’ll find someone to break the curse. The bigger threat is that sea witch.” I don’t know whether to be horrified she impulsively decided that giving up her voice forever was a good idea, or admire her for seeing the bigger threats at play and moving to stop them. Angelique stared at Dylan for a moment. “You are…unusual.” “My father says that all the time. I think it is merely that most folk don’t know how to take responsibility for themselves,” Dylan scoffed. Angelique managed another weak smile. “There’s a difference between being responsible and being brash.” “So I have heard. Is there anything I must do for you to seal my voice? Do you need ingredients?” Dylan asked. “No,” Angelique said. “It’s an easy enough spell. It is the results that are potent and dangerous.” She hesitated. “Are you certain you do not wish to tell your family?” “Yes. Please, seal my voice, Lady Enchantress.” Angelique pressed her hands together. What else can I do? This is too big for me to handle alone. If Dylan’s voice is sealed, the sea witch can’t use her, and she might be able to uncover more information. Lacking any other idea, Angelique stood. She started to gather up her magic, molding it into the necessary form. She checked her work twice, grimly ignoring her silvery magic as it brushed around her and tugged at

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The interior structure of modern Africa was built on greed rather than an informed reality. It's the same strategy my eleven year old nephew uses in negotiations: ignore the well-established rules and parameters, and demand a fairy-tale outcome that brings short-term joy, with the long-term consequences relegated to a problem for a future version of yourself to deal with.

Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument; then collected information about child psychology and decided what age-group I'd write for; then drew up a list of basic Christian truths and hammered out 'allegories' to embody them. This is all pure moonshine. I couldn't write in that way at all. Everything began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't even anything Christian about them; that element pushed itself in its own accord.

I must kill him, because he has not informed me of what is going on here.

Today, in school, the teachers handed out an official textbook. It's a new book, apparently, called the 'Golden Rules Handbook'. The inside cover has this: This collection of masterful secret tips and hints was brought to you by Urf, the masterful talented swordsman and combat guru. Two diamond swords strapped across his back? A bit much. Yes, that's the guy who almost killed a zombie once. With a stick. His handbook contains, without a doubt, some of the noobest information imaginable. Still, it's required reading for all students. The elders figured it might have some stuff we missed. Here are a few of the handbook's more groan-inducing pearls of wisdom. (Each 'Golden Rule' comes with a mini fairy tale to teach us students a 'valuable lesson'.) Golden Rule #1: Always build a door for your house. Once upon a time, a noob named Lenny never liked doors. Doors got in Lenny's way. Doors slowed Lenny down. Lenny had to open them and close them. Without a door for his dirt house, Lenny was free to run inside and outside again without any delay. Then one night, Lenny couldn't understand why so many zombies were approaching his house with their arms outstretched.

Learn to ignore these arguments: they are the stock-in-trade of snake oil salesmen. When you don’t have real evidence, it’s easy to find a version of your pet theory in some old book. Chinese sages with long beards, wise old women prescribing natural folk remedies—these are characters from fairy tales, not trustworthy sources of medical information.

The Hebrew for the words “wild animals” and “hyenas” are not readily identifiable,[10] so the ESV translators simply guessed according to their anti-mythical bias and filled in their translations with naturalistic words like “wild animals” and “hyenas.” But of these words, Bible commentator Hans Wildberger says,   “Whereas (jackals) and (ostriches), mentioned in v. 13, are certainly well-known animals, the creatures that are mentioned in v. 14 cannot be identified zoologically, not because we are not provided with enough information, but because they refer to fairy tale and mythical beings. Siyyim are demons, the kind that do their mischief by the ruins of Babylon, according to [Isaiah] 13:21. They are mentioned along with the iyyim (goblins) in this passage.[11]

Pat and I felt confident that she would be an enormous success. Diana certainly had the family breeding and lovely presence to join the royal family. With her fresh, unspoiled beauty and grace, she would look and act every inch the fairy-tale princess. The young Diana was not yet well informed about national issues or world affairs, but she would absorb this knowledge as she gained experience. Her background and poise would ensure that she would always say and do the right thing, even if she was quaking inside. She would certainly charm guests in receiving lines at state ceremonies or dinner partners at formal banquets. And we naturally assumed she would receive training and advice from the royal family and palace staff. All in all, we believed she was destined for a traditional royal life of luxury, duty, and security--just what she had dreamed of the previous fall. In those very early days, the world was already demanding “star” quality of a young and unprepared Diana. Over time, the surprise would be how brilliantly she exceeded those early expectations.

Instead of finishing the sentence she slid a business card across the counter. It listed her contact information for every social media site I'd heard of, and several that were still in beta. Except for Google Plus. Even Internet-addicted fairies have standards.

Over the years, Fane and I had formed a special relationship. It consisted of seeing who could get the other in the most uncomfortable situation. My personal favorite was when he had used me as collateral in a poker game and intentionally lost. I would never inform him that it amused me more than irritated me.

This thing: information got abolished sometime in the twentieth century, can’t say just when; stands to reason, that’s part of the information that got abolsh, abolished. Since then we’ve been living in a fairy-story.

The youth then has a dream in which his true parentage is disclosed to him: he receives a scroll that informs him that King Oberon is his father (see earlier) and that he has inherited from him his magical, fairy powers: “By nature, thou hast cunning shifts Which Ile increase with other gifts. Wish what thou wilt, thou shalt it have; And for to vex both foole and knave, Thou hast the power to change thy shape…” Robin is able to change his appearance and to conjure items out of glamour. These powers are not to be used frivolously, though. Oberon counsels his son as follows: “See none thou harm’st but knaves and queanes, But love thou those that honest be, And helpe them in necessity.

Winnie walked over to Finley keeping her distance. She slowly approached him. He held his hand out to shake hers. “Look, Uncle Finley, I don’t shake hands. Either you hug me or nothing,” she informed him.

both the gossip theory and the there-is-a-lion-near-the-river theory are valid. Yet the truly unique feature of our language is not its ability to transmit information about men and lions. Rather, it’s the ability to transmit information about things that do not exist at all. As far as we know, only Sapiens can talk about entire kinds of entities that they have never seen, touched or smelled. Legends, myths, gods and religions appeared for the first time with the Cognitive Revolution. Many animals and human species could previously say, ‘Careful! A lion!’ Thanks to the Cognitive Revolution, Homo sapiens acquired the ability to say, ‘The lion is the guardian spirit of our tribe.’ This ability to speak about fictions is the most unique feature of Sapiens language. It’s relatively easy to agree that only Homo sapiens can speak about things that don’t really exist, and believe six impossible things before breakfast. You could never convince a monkey to give you a banana by promising him limitless bananas after death in monkey heaven. But why is it important? After all, fiction can be dangerously misleading or distracting. People who go to the forest looking for fairies and unicorns would seem to have less chance of survival than people who go looking for mushrooms and deer. And if you spend hours praying to non-existing guardian spirits, aren’t you wasting precious time, time better spent foraging, fighting and fornicating? However, fiction has enabled us not merely to imagine things, but to do so collectively. We can weave common myths such as the biblical creation story, the Dreamtime myths of Aboriginal Australians, and the nationalist myths of modern states. Such myths give Sapiens the unprecedented ability to cooperate flexibly in large numbers.

from pure fantasy and fairy tales to historical fiction, sci-fi, slapstick comedy, illustrated historical essays, action-adventure, and much more. Novelist, screenwriter, and comics author Neil Gaiman has a similarly expansive range, from journalism and essays on art to a fiction oeuvre encompassing both stories that can be read to (or by) the youngest readers as well as psychologically complex examinations of identity that have enthralled mainstream adult audiences. Jordan Peele is not a comics creator, but the writer and first-time director of the extraordinarily unique surprise hit Get Out struck a similar note when he credited comedy writing for his skill at timing information reveals in a horror film. “In product development,” Taylor and Greve concluded, “specialization can be costly.

Because she didn’t love herself. She feared rejection because she was so unlike anyone she’d ever known. She was so full of fear that she sequestered herself away. This sad woman’s only companions were striking blackbirds that soared in the skies around her home, perching in trees and on ledges, gathering information so she would have news of the outside world. That is how she learned of the princess’s christening. No one understood why the woman was so angry for not being invited to the christening. But you see, my little bird, she knew something the girl’s parents and fairy godmothers did not.

The League took control of the magie population worldwide without that population having much of a say in it. Sometime in the Renaissance, they simply informed the shifters and fairy folk of the world that their organization was in charge and that any disagreement with their policies would be met with silver bullets. Not that the superstitions about silver bullets were true, but a bullet to the head would kill just about anybody.

I have been hardly more than a wandering explorer (or trespasser) in the land, full of wonder but not of information.

Those who do not understand will always view science fact as something special and even magical. They will never question the results or wonder about them. When that data is wrong they will not be able to verify that they have the wrong information. The reason why they will not be able to verify that? Why, because they are stupid and believe in magic, unicorns, and fairy tales. You will not be stupid and will believe in fact and numbers. Those cannot lie to you, simply mislead you.

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

Information got abolished sometime in the twentieth century, can’t say just when; stands to reason, that’s part of the information that got abolish, abolished. Since then we’ve been living in a fairy-story. Got me? Everything happens by magic. Us fairies haven’t a fucking notion what’s going on. So how do we know if it’s right or wrong? We don’t even know what it is.

When reading this unusual novel, then, with its oddly unsettling and sometimes strained combination of Christian and pagan, sacred and profane attributes—its earthiness and surreality, violence and pastoralism, pantheism and anthropomorphism, naturalism and lyricism—it is helpful to remember that Steinbeck invested his essential self in it, which is to say, he wrote it more like an extensive poem, or extended dream sequence, than like a traditionally mimetic or realistic novel. “I have the instincts of a minstrel rather than those of a scrivener,” he informed Grove Day in late 1929. Thus, while To a God Unknown has an urgent, breathless fairy-tale quality, and is, as critic Howard Levant asserts, more “a series of detached... scenes” than “a unified... organic whole,” it is not an incoherent concoction—“a rambling and improbable history,” as Warren French calls It—that flies in the face of all sensible literary convention. During its long gestation through different versions and multiple drafts, Steinbeck worked hard to create a palpable factual dimension that gives this otherwise arcane book a recognizable texture in regard to its geographical setting and landmarks (the moss-covered rock actually existed in the northern California town of Laytonville), its unusual characters (some of whom, such as the seer, Steinbeck claimed were based on living persons), and in its feel for telling details of nature and social life in Monterey County in the early part of this century.