Famous Final Quotes

Oh no! Don't drag us away from Antartica and take us to the playground of the rich and famous! Not that briar patch! -Max

When my husband died, because he was so famous and known for not being a believer, many people would come up to me-it still sometimes happens-and ask me if Carl changed at the end and converted to a belief in an afterlife. They also frequently ask me if I think I will see him again. Carl faced his death with unflagging courage and never sought refuge in illusions. The tragedy was that we knew we would never see each other again. I don't ever expect to be reunited with Carl. But, the great thing is that when we were together, for nearly twenty years, we lived with a vivid appreciation of how brief and precious life is. We never trivialized the meaning of death by pretending it was anything other than a final parting. Every single moment that we were alive and we were together was miraculous-not miraculous in the sense of inexplicable or supernatural. We knew we were beneficiaries of chance. . . . That pure chance could be so generous and so kind. . . . That we could find each other, as Carl wrote so beautifully in Cosmos, you know, in the vastness of space and the immensity of time. . . . That we could be together for twenty years. That is something which sustains me and it’s much more meaningful. . . . The way he treated me and the way I treated him, the way we took care of each other and our family, while he lived. That is so much more important than the idea I will see him someday. I don't think I'll ever see Carl again. But I saw him. We saw each other. We found each other in the cosmos, and that was wonderful.

The first time I bring a girl home, and not only is she the daughter of a famous poker player, but she could easily bankrupt us all in a single hand. For being the family fuckup, I felt like I had finally gained a little respect from my older brothers. And it was all because of Abby.

To educate the masses politically does not mean, cannot mean, making a political speech. What it means is to try, relentlessly and passionately, to teach the masses that everything depends on them; that if we stagnate it is their responsibility, and that if we go forward it is due to them too, that there is no such thing as a demiurge, that there is no famous man who will take the responsibility for everything, but that the demiurge is the people themselves and the magic hands are finally only the hands of the people.

There's a famous line from a poem about the ocean," Mother had finally said to end the discussion. "'Water water every where, but not a drop to drink.

Don't waste your time, do something worthwhile with it." But what can that mean: worthwhile? Finally to start realizing long-cherished wishes. To attack the error that there will always be time for it later....Take the long-dreamed-of trip, learn this language, read those books, buy yourself this jewelry, spend a night in that famous hotel. Don't miss out on yourself. Bigger things are also part of that: to give up the loathed profession, break out of a hated milieu. Do what contributes to making you more genuine, moves you closer to yourself.

A famous explorer once said, that the extraordinary is in what we do, not who we are. I’d finally set out to make my mark; to find adventure. But instead adventure found me. In our darkest moments, when life flashes before us, we find something; Something that keeps us going. Something that pushes us.

I want you to remember something. Zo. It's important, and it'll make more sense when you have yourself together again. I'm gonna leave here and get another chance at life.You're gonna be a big, famous vamp High Priestess. That means you're gonna live like a gazillion years. I'll find you again. Even if it takes a hundred of those years. I promise you, Zoey Redbird, we'll be together again." Heath pulled her into his arms and kissed her trying through touch to show her that his love was never-ending. When he finally forced himself to let her go, he thought he saw understanding in her haunted, shocked gaze. "I'll love you forever, Zo." Then Heath turned and walked away from his true love. The air before him opened, curtainlike, and he stepped from one realm to another and disappeared completely.

Positive. In other news, Marcie's throwing a Halloween party here at the farmhouse." Patch smiled. "Grey - Millar family drama?" "The theme is famous couples from history. Could she be any less original? Worse, she's roped my mom into this. They went shopping for decorations today. For three whole hours. It's like they're suddenly best friends." I picked up another apple slice and made a face at it. "Marcie is ruining everything. I wanted Scott to go with Vee, but Marcie already convinced him to go with her." Patch's smile widened. I aimed my best sulky look at him. "This isn't funny. Marcie is destroying my life. Whose side are you on anyway?" Patch raised his hands in surrender. "I'm staying out of this.

Dearest creature in creation, Study English pronunciation. I will teach you in my verse Sounds like corpse, corps, horse, and worse. I will keep you, Suzy, busy, Make your head with heat grow dizzy. Tear in eye, your dress will tear. So shall I! Oh hear my prayer. Just compare heart, beard, and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it’s written.) Now I surely will not plague you With such words as plaque and ague. But be careful how you speak: Say break and steak, but bleak and streak; Cloven, oven, how and low, Script, receipt, show, poem, and toe. Hear me say, devoid of trickery, Daughter, laughter, and Terpsichore, Typhoid, measles, topsails, aisles, Exiles, similes, and reviles; Scholar, vicar, and cigar, Solar, mica, war and far; One, anemone, Balmoral, Kitchen, lichen, laundry, laurel; Gertrude, German, wind and mind, Scene, Melpomene, mankind. Billet does not rhyme with ballet, Bouquet, wallet, mallet, chalet. Blood and flood are not like food, Nor is mould like should and would. Viscous, viscount, load and broad, Toward, to forward, to reward. And your pronunciation’s OK When you correctly say croquet, Rounded, wounded, grieve and sieve, Friend and fiend, alive and live. Ivy, privy, famous; clamour And enamour rhyme with hammer. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rhyme with anger, Neither does devour with clangour. Souls but foul, haunt but aunt, Font, front, wont, want, grand, and grant, Shoes, goes, does. Now first say finger, And then singer, ginger, linger, Real, zeal, mauve, gauze, gouge and gauge, Marriage, foliage, mirage, and age. Query does not rhyme with very, Nor does fury sound like bury. Dost, lost, post and doth, cloth, loth. Job, nob, bosom, transom, oath. Though the differences seem little, We say actual but victual. Refer does not rhyme with deafer. Foeffer does, and zephyr, heifer. Mint, pint, senate and sedate; Dull, bull, and George ate late. Scenic, Arabic, Pacific, Science, conscience, scientific. Liberty, library, heave and heaven, Rachel, ache, moustache, eleven. We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the differences, moreover, Between mover, cover, clover; Leeches, breeches, wise, precise, Chalice, but police and lice; Camel, constable, unstable, Principle, disciple, label. Petal, panel, and canal, Wait, surprise, plait, promise, pal. Worm and storm, chaise, chaos, chair, Senator, spectator, mayor. Tour, but our and succour, four. Gas, alas, and Arkansas. Sea, idea, Korea, area, Psalm, Maria, but malaria. Youth, south, southern, cleanse and clean. Doctrine, turpentine, marine. Compare alien with Italian, Dandelion and battalion. Sally with ally, yea, ye, Eye, I, ay, aye, whey, and key. Say aver, but ever, fever, Neither, leisure, skein, deceiver. Heron, granary, canary. Crevice and device and aerie. Face, but preface, not efface. Phlegm, phlegmatic, ass, glass, bass. Large, but target, gin, give, verging, Ought, out, joust and scour, scourging. Ear, but earn and wear and tear Do not rhyme with here but ere. Seven is right, but so is even, Hyphen, roughen, nephew Stephen, Monkey, donkey, Turk and jerk, Ask, grasp, wasp, and cork and work. Pronunciation (think of Psyche!) Is a paling stout and spikey? Won’t it make you lose your wits, Writing groats and saying grits? It’s a dark abyss or tunnel: Strewn with stones, stowed, solace, gunwale, Islington and Isle of Wight, Housewife, verdict and indict. Finally, which rhymes with enough, Though, through, plough, or dough, or cough? Hiccough has the sound of cup. My advice is to give up!!!

Long Time. The famous seventeenth-century Ming painter Chou Yung relates a story that altered his behavior forever. Late one winter afternoon he set out to visit a town that lay across the river from his own town. He was bringing some important books and papers with him and had commissioned a young boy to help him carry them. As the ferry neared the other side of the river, Chou Yung asked the boatman if they would have time to get to the town before its gates closed, since it was a mile away and night was approaching. The boatman glanced at the boy, and at the bundle of loosely tied papers and books—“Yes,” he replied, “if you do not walk too fast.” As they started out, however, the sun was setting. Afraid of being locked out of the town at night, prey to local bandits, Chou and the boy walked faster and faster, finally breaking into a run. Suddenly the string around the papers broke and the documents scattered on the ground. It took them many minutes to put the packet together again, and by the time they had reached the city gates, it was too late. When you force the pace out of fear and impatience, you create a nest of problems that require fixing, and you end up taking much longer than if you had taken your time.

there are three kinds of men: those who make it their aim, as they say, to live their lives, eat, drink, make love, grow rich, and famous; then come those who make it their aim not to live their own lives but to concern themselves with the lives of all men – they feel that all men are one and they try to enlighten them, to love them as much as they can and do good to them; finally there are those who aim at living the life of the entire universe – everything, men, animals, trees, stars, we are all one, we are all one substance involved in the same terrible struggle. What struggle?…Turning matter into spirit.

CHORUS: You that live in my ancestral Thebes, behold this Oedipus,- him who knew the famous riddles and was a man most masterful; not a citizen who did not look with envy on his lot- see him now and see the breakers of misfortune swallow him! Look upon that last day always. Count no mortal happy till he has passed the final limit of his life secure from pain.

Will you finally sign my yearbook now?” he asks when we quiet down. “I have to have a Rowan Roth autograph for when you get famous.

Cruel World" Share my body and my mind with you, That's all over now. Did what I had to do, 'Cause it's so far past me now. Share my body and my life with you, That's way over now. There's not more I can do, You're so famous now. Got your bible, got your gun, And you like to party and have fun. And I like my candy and your women, I'm finally happy now that you're gone. Put my little red party dress on, Everybody knows that I'm the best, I'm crazy. Get a little bit of bourbon in ya, Get a little bit suburban and go crazy. Because you're young, you're wild, you're free, You're dancin' circles around me, You're fuckin' crazy. Oh, oh, you're crazy for me. I shared my body and my mind with you, That's all over now. I did what I had to do, I found another anyhow. Share my body and my mind with you, That's all over now. I did what I had to do, I could see you leaving now. I got your bible and your gun, And you love to party and have fun. And I love your women and all of your heroin, And I'm so happy now that you're gone. Put my little red party dress on, Everybody knows that I'm a mess, I'm crazy, yeah-yeah. Get a little bit of bourbon in ya, Go a little bit suburban and go crazy, yeah-yeah. Because you're young, you're wild, you're free, You're dancin' circles around me, You're fuckin' crazy. Oh, oh, you're crazy for me. Got your bible and your gun, You like your women and you like fun. I like my candy and your heroin, And I'm so happy, so happy now you're gone. Put my little red party dress on, Everybody knows that I'm a mess, I'm crazy, yeah-yeah. Get a little bit of bourbon in ya, Get a little bit suburban and go crazy, yeah-yeah. 'Cause you're young, you're wild, you're free, You're dancin' circles around me, You're fuckin' crazy. Oh, oh, you're crazy for me. Oh, oh, you're crazy for me.

She finally understands what it means to fall into someone, that part of loving someone where you're totally consumed by them.

I knew that the languages which one learns there are necessary to understand the works of the ancients; and that the delicacy of fiction enlivens the mind; that famous deeds of history ennoble it and, if read with understanding, aid in maturing one's judgment; that the reading of all the great books is like conversing with the best people of earlier times; it is even studied conversation in which the authors show us only the best of their thoughts; that eloquence has incomparable powers and beauties; that poetry has enchanting delicacy and sweetness; that mathematics has very subtle processes which can serve as much to satisfy the inquiring mind as to aid all the arts and diminish man's labor; that treatises on morals contain very useful teachings and exhortations to virtue; that theology teaches us how to go to heaven; that philosophy teaches us to talk with appearance of truth about things, and to make ourselves admired by the less learned; that law, medicine, and the other sciences bring honors and wealth to those who pursue them; and finally, that it is desirable to have examined all of them, even to the most superstitious and false in order to recognize their real worth and avoid being deceived thereby

The Bumpuses were so low down on the evolutionary totem pole that they weren't even included in Darwin's famous family tree. They had inbred and ingrown and finally emerged from the Kentucky hills like some remnant of Attila the Hung's barbarian horde. Flick said that they had webbed feet and only three toes. It might have been true.

A person’s shadow stood for his legacy, his impact on the world. Some people cast hardly any shadow at all. Some cast long, deep shadows that endured for centuries. I thought about what the ghost Setne had said—how he and I had each grown up in the shadow of a famous father. I realized now that he hadn’t just meant it as a figure of speech. My dad cast a powerful shadow that still affected me and the whole world. If a person cast no shadow at all, he couldn’t be alive. His existence became meaningless. Execrating Apophis by destroying his shadow would cut his connection to the mortal world completely. He’d never be able to rise again. I finally understood why he’d been so anxious to burn Setne’s scrolls, and why he was afraid of this spell.

I'd like to think that we couldn't help but get famous just because we were that good. I'd like to think that folks didn't have to end up destroyed for Opal and Nev to have made a name.

Die Judenfrage,' it used to be called, even by Jews. 'The Jewish Question.' I find I quite like this interrogative formulation, since the question—as Gertrude Stein once famously if terminally put it—may be more absorbing than the answer. Of course one is flirting with calamity in phrasing things this way, as I learned in school when the Irish question was discussed by some masters as the Irish 'problem.' Again, the word 'solution' can be as neutral as the words 'question' or 'problem,' but once one has defined a people or a nation as such, the search for a resolution can become a yearning for the conclusive. Endlösung: the final solution.

Look at the Wikipedia entry for any famous doctor, and you’ll see: ‘He proved himself an accomplished rugby player in youth leagues. He excelled as a distance runner and in his final year at school was vice-captain of the athletics team.’ This particular description is of a certain Dr H. Shipman, so perhaps it’s not a rock-solid system.

I just think of people," she continued, "whether they seem right where they are and fit into the picture. I don't mind if they don't do anything. I don't see why they should; in fact it always astonishes me when anybody does anything." "You don't want to do anything?" "I want to sleep." -Gloria Gilbert "Once upon a time all the men of mind and genius in the world became of one belief--that is to say, of no belief. But it wearied them to think that within a few years after their death many cults and systems and prognostications would be ascribed to them which they had never meditated nor intended. So they said to one another: "'Let's join together and make a great book that will last forever to mock the credulity of man. Let's persuade our more erotic poets to write about the delights of the flesh, and induce some of our robust journalists to contribute stories of famous amours. We'll include all the most preposterous old wives' tales now current. We'll choose the keenest satirist alive to compile a deity from all the deities worshipped by mankind, a deity who will be more magnificent than any of them, and yet so weakly human that he'll become a byword for laughter the world over--and we'll ascribe to him all sorts of jokes and vanities and rages, in which he'll be supposed to indulge for his own diversion, so that the people will read our book and ponder it, and there'll be no more nonsense in the world. "'Finally, let us take care that the book possesses all the virtues of style, so that it may last forever as a witness to our profound scepticism and our universal irony.' "So the men did, and they died. "But the book lived always, so beautifully had it been written, and so astounding the quality of imagination with which these men of mind and genius had endowed it. They had neglected to give it a name, but after they were dead it became known as the Bible." -Maury Noble

Not everyone understands the love that takes place between two soul mates. Once it strikes, you are never the same. Then every song you hear about true love finally makes sense. All the famous love poems resonate in your heart when you read them. You come to recognize those who have also come to recognize the deepest, truest love …and they recognize you too. You cannot experience this level of relationship with someone who has not been into the depths of love and spirit. You cannot fault them. They are on their own path and if you do anything, pity them for not yet knowing what love is all about.

God’s power, it turns out, comes in God’s willingness to abdicate power. God saves the world through submission to the point of solidarity with human weakness. Jesus’ final teaching to his disciples was to wash their feet and then tell them to go and do likewise, to act as servants to the world. Too often, Christians have done just the opposite.

The dark-haired stranger’s head snapped around. “Daphne? Did he say Daphne?” She drew back, unnerved by his direct question and the rather intense look in his eyes. “Yes.” “Your name is Daphne?” Now she was beginning to wonder if he was an idiot. “Yes.” He groaned. “Not Daphne Bridgerton.” Her face slid into a puzzled frown. “The very one.” Simon staggered back a step. He suddenly felt physically ill, as his brain finally processed the fact that she had thick, chestnut hair. The famous Bridgerton hair. Not to mention the Bridgerton nose, and cheekbones, and— Bugger it all, this was Anthony’s sister! Bloody hell. There were rules among friends, commandments, really, and the most important one was Thou Shalt Not Lust After Thy Friend’s Sister. While he stood there, probably staring at her like a complete idiot, she planted her hands on her hips, and demanded, “And who are you?” “Simon Basset,” he muttered. “The duke?” she squeaked. He nodded grimly. “Oh, dear.

A famous explorer once said, that the extraordinary is in what we do, not who we are. I'd finally set out to make my mark; to find adventure. But instead adventure found me. In our darkest moments, when life flashes before us, we find something; Something that keeps us going. Something that pushes us.

The first great break-through—or, rather, breakdown—of society’s nudity/lewdity guilt-by-association was the now-famous Marilyn Monroe calendar. Marilyn’s respectability when she died was based principally upon her economic status, which is, in the final analysis, the only type our society really respects.

Some odd things were found; among other things the skeleton of an ourang-outang which disappeared from the Jardin des Plantes in 1800, a disappearance probably connected with the famous and incontestable appearance of the devil in the Rue des Bernardins in the last year of the eighteenth century. The poor devil finally drowned himself in the sewer.

Blindness to larger contexts is a constitutional defect of human thinking imposed by the painful necessity of being able to concentrate on only one thing at a time. We forget as we virtuously concentrate on that one thing that hundreds of other things are going on at the same time and on every side of us, things that are just as important as the object of our study and that are all interconnected in ways that we cannot even guess. Sad to say, our picture of the world to the degree to which it has that neatness, precision, and finality so coveted by scholarship is a false one. I once studied with a famous professor who declared that he deliberately avoided the study of any literature east of Greece lest the new vision destroy the architectonic perfection of his own celebrated construction of the Greek mind. His picture of that mind was immensely impressive but, I strongly suspect, completely misleading.

I am not so much fun Anymore; Couldn’t carry the role of ingenue In a bucket, you say, laughing. And I want to punch you. I was never innocent, but Thanks to you I know things I wish I did not remember. You don’t like it When I talk to the man myself, Specifying quantities and Give him the money Instead of giving it to you And letting you take care of it. You keep asking me, Where’s the dope? Until I finally say, I hid it. The look you give me is Pure bile. Well, fuck you. This isn’t like Buying somebody a drink. You don’t leave your stash out Where I might find it. Finally I think I’ve made you wait Long enough, So I get out the little paper envelope And hand it to you. You are still in charge of This part, so you relax. Performing your junky ritual with Your favorite razor blade, until I ask you how to calculate my dose So I won’t O.D. when I do this And you’re not around. Then you really flip. You tell me it’s a bad idea For me to do this with other people. ** Was it such a good idea For me to do it with you? Do you wait for me to turn up Once every three months So you can get high? Is this our version of that famous Lesbian fight about Nonmonogamy? Let me tell you what I don’t like. I don’t like it when you Take forever to cut up brown powder And cook it down and Suck it up into the needle And measure it, then take Three times as much for yourself AS you give me. I don’t like it when you Fuck me After you’ve taken the needle Out of my arm. You talk too much And spoil my rush. All I really want to do Is listen to the tides of blood Wash around inside my body Telling me everything is Fine, fine, fine._ And I certainly don’t want to Eat you or fuck you Because it will take forever To make you come, If you can come at all, And by then the smack will have worn off And there isn’t any more. I’m trying to remember What the part is that I do like. I think this shit likes me A lot more than I like it. Now you’re hurt and angry because I don’t want to see you again And the truth is, I would love to see you, As long as I knew you were holding. So you tell me Is this what you want? I bet it was what you wanted All along.

Don’t Let That Horse . . .” from A Coney Island of the Mind. Don’t let that horse eat that violin cried Chagall’s mother But he kept right on painting And became famous And kept on painting The Horse With Violin In Mouth And when he finally finished it he jumped up upon the horse and rode away waving the violin And then with a low bow gave it to the first naked nude he ran across And there were no strings attached

Later, he would famously write that the will to believe is the most important ingredient in creating belief in change. And that one of the most important methods for creating that belief was habits. Habits, he noted, are what allow us to “do a thing with difficulty the first time, but soon do it more and more easily, and finally, with sufficient practice, do it semi-mechanically, or with hardly any consciousness at all.” Once we choose who we want to be, people grow “to the way in which they have been exercised, just as a sheet of paper or a coat, once creased or folded, tends to fall forever afterward into the same identical folds.

When the doctrine of the Resurrection ceased to commend itself to the critical faculties which God had given me, I openly rejected it. I preached my famous sermon. I defied the whole chapter. I took every risk.’ ‘What risk? What was at all likely to come of it except what actually came—popularity, sales for your books, invitations, and finally a bishopric?

Once upon a time an academic scientist went to visit a Zen Master, famous for being very wise. After greeting the scholar, the master offered him tea. As they sat together, the monk began to pour the tea into the scholar's cup. He poured until the tea overflowed onto the saucer, then the table and finally onto the floor. When the scholar could not stand it any more, he blurted out: "Stop, stop, can't you see the cup is full?" To which the Zen Master replied: "Yes, I can, and until your mind is empty, you will not hear what I have to say.

A rosewater smell from the box summoned, instantly, a dictatorial woman with a tight bun, hectoring him with questions. The cut, the buttons, the pockets, the collar. But most of all: the blue. Chosen in haste from a wall of fabrics: not an ordinary blue. Peacock? Lapis? Nothing gets close. Medium but vivid, moderately lustrous, definitely bold. Somewhere between ultramarine and cyanide salts, between Vishnu and Amon, Israel and Greece, the logos of Pepsi and Ford. In a word: bright. He loved whatever self had chosen it and after that wore it constantly. Even Freddy approved: “You look like someone famous!” And he does. Finally, at his advanced age, he has struck the right note. He looks good, and he looks like himself.

[I]t was in the pairs that the prisoners kept alive the semblance of humanity concluded Elmer Luchterhand, a sociologist at Yale who interviewed fifty-two concentration camp survivors shortly after liberation. Pairs stole food and clothing for each other, exchanged small gifts and planned for the future. If one member of a pair fainted from hunger in front of an SS officer, the other would prop him up. Survival . . . could only be a social achievement, not an individual accident, wrote Eugene Weinstock, a Belgian resistance fighter and Hungarian-born Jew who was sent to Buchenwald in 1943. Finally the death of one member of a pair often doomed the other. Women who knew Anne Frank in the Bergen-Belsen camp said that neither hunger nor typhus killed the young girl who would become the most famous diarist of the Nazi era. Rather, they said, she lost the will to live after the death of her sister, Margot.

What I want to fix your attention on is the vast, overall movement towards the discrediting, and finally the elimination, of every kind of human excellence—moral, cultural, social, or intellectual. And is it not pretty to notice how Democracy (in the incantatory sense) is now doing for us the work that was once done by the most ancient Dictatorships, and by the same methods? You remember how one of the Greek Dictators (they called them ‘tyrants’ then) sent an envoy to another Dictator to ask his advice about the principles of government. The second Dictator led the envoy into a field of corn, and there he snicked off with his cane the top of every stalk that rose an inch or so above the general level. The moral was plain. Allow no pre-eminence among your subjects. Let no man live who is wiser, or better, or more famous, or even handsomer than the mass. Cut them all down to a level; all slaves, all ciphers, all nobodies. All equals. Thus Tyrants could practise, in a sense, ‘democracy’. But now ‘democracy’ can do the same work without any other tyranny than her own. No one need now go through the field with a cane. The little stalks will now of themselves bite the tops off the big ones. The big ones are beginning to bite off their own in their desire to Be Like Stalks.

the final speech made by the famous Labour firebrand Tony Benn ahead of his retirement as a Labour MP. Benn renounced his hereditary peerage to sit in the Commons and returned to the reasons for his decision in his parliamentary valedictory, listing five questions for any governing institution: “What power have you got? Where did you get it from? In whose interests do you exercise it? To whom are you accountable? And how can we get rid of you?” Benn concluded: “If you cannot get rid of the people who govern you, you do not live in a democratic system.

I have always had a number of parts lined up in case the muse failed. A lepidopterist exploring famous jungles came first, then there was the chess grand master, then the tennis ace with an unreturnable service, then the goalie saving a historic shot, and finally, finally, the author of a pile of unknown writings- Pale Fire, Lolita, Ada- which my heirs discover and publish.

Fame requires every kind of excess. I mean true fame, a devouring neon, not the somber renown of waning statesmen or chinless kings. I mean long journeys across gray space. I mean danger, the edge of every void, the circumstance of one man imparting an erotic terror to the dreams of the republic. Understand the man who must inhabit these extreme regions, monstrous and vulval, damp with memories of violation. Even if half-mad he is absorbed into the public's total madness; even if fully rational, a bureaucrat in hell, a secret genius of survival, he is sure to be destroyed by the public's contempt for survivors. Fame, this special kind, feeds itself on outrage, on what the counselors of lesser men would consider bad publicity-hysteria in limousines, knife fights in the audience, bizarre litigation, treachery, pandemonium and drugs. Perhaps the only natural law attaching to true fame is that the famous man is compelled, eventually, to commit suicide. (Is it clear I was a hero of rock'n'roll?) Toward the end of the final tour it became apparent that our audience wanted more than music, more even than its own reduplicated noise. It's possible the culture had reached its limit, a point of severe tension. There was less sense of simple visceral abandon at our concerts during these last weeks. Few cases of arson and vandalism. Fewer still of rape. No smoke bombs or threats of worse explosives. Our followers, in their isolation, were not concerned with precedent now. They were free of old saints and martyrs, but fearfully so, left with their own unlabeled flesh. Those without tickets didn't storm the barricades, and during a performance the boys and girls directly below us, scratching at the stage, were less murderous in their love of me, as if realizing finally that my death, to be authentic, must be self-willed- a succesful piece of instruction only if it occured by my own hand, preferrably ina foreign city. I began to think their education would not be complete until they outdid me as a teacher, until one day they merely pantomimed the kind of massive response the group was used to getting. As we performed they would dance, collapse, clutch each other, wave their arms, all the while making absolutely no sound. We would stand in the incandescent pit of a huge stadium filled with wildly rippling bodies, all totally silent. Our recent music, deprived of people's screams, was next to meaningless, and there would have been no choice but to stop playing. A profound joke it would have been. A lesson in something or other. In Houston I left the group, saying nothing, and boarded a plane for New York City, that contaminated shrine, place of my birth. I knew Azarian would assume leadership of the band, his body being prettiest. As to the rest, I left them to their respective uproars- news media, promotion people, agents, accountants, various members of the managerial peerage. The public would come closer to understanding my disappearance than anyone else. It was not quite as total as the act they needed and nobody could be sure whether I was gone for good. For my closest followers, it foreshadowed a period of waiting. Either I'd return with a new language for them to speak or they'd seek a divine silence attendant to my own. I took a taxi past the cemetaries toward Manhattan, tides of ash-light breaking across the spires. new York seemed older than the cities of Europe, a sadistic gift of the sixteenth century, ever on the verge of plague. The cab driver was young, however, a freckled kid with a moderate orange Afro. I told him to take the tunnel. Is there a tunnel?" he said.

A house of simple people which stands empty and silent in the vast Southern country morning sunlight, and everything which on this morning in eternal space it by chance contains, all thus left open and defenseless to a reverent and cold-laboring spy, shines quietly forth such grandeur, such sorrowful holiness of its exactitudes in existence, as no human consciousness shall ever rightly perceive, far less impart to another: that there can be more beauty and more deep wonder in the standings and spacings of mute furnishings on a bare floor between the squaring bourns of walls than in any music ever made: that this square home, as it stands in unshadowed earth between the winding years of heaven, is, not to me but of itself, one among the serene and final, uncapturable beauties of existence; that this beauty is made between hurt but invincible nature and the plainest cruelties and needs of human existence in this uncured time, and is inextricable among these, and as impossible without them as a saint born in paradise.

So now here we were with David's second big bout against whatever it was, and it had pretty well gotten him. He was taking a lot of morphine for the paid and looked terrible, although the spirit was still in his eyes, weak as it was. "Do you have any advice for me on my music going forward?" I asked David. "Just make sure to have as much of you in the recording as you can," he said. "Stay simple. No one gives a shit about anything else." He tole me to keep it simple and focused, have as much of my playing and singing as possible, and not to hide it with other things. Don't embellish it with other people I don't need or hide it in any way. Simple and focused. That is what I took away. He didn't exactly say that, but I got the message. I have failed to do that in some instances. "Be great or be gon," his famous phrase, choes in my head. I have to remember that for sure. Damn. So I left the apartment after a hug. It was devastating. He died a week later. He wanted to go. His body was all fucked up and it was not easy. His tenacious spirit would not let him go.

Everybody has got to live for something, but Jesus is arguing that, if he is not that thing, it will fail you. First, it will enslave you. Whatever that thing is, you will tell yourself that you have to have it or there is no tomorrow. That means that if anything threatens it, you will become inordinately scared; if anyone blocks it, you will become inordinately angry; and if you fail to achieve it, you will never be able to forgive yourself. But second, if you do achieve it, it will fail to deliver the fulfillment you expected. Let me give you an eloquent contemporary expression of what Jesus is saying. Nobody put this better than the American writer David Foster Wallace. He got to the top of his profession. He was an award-winning, bestselling postmodern novelist known around the world for his boundary-pushing storytelling. He once wrote a sentence that was more than a thousand words long. A few years before the end of his life, he gave a now-famous commencement speech at Kenyon College. He said to the graduating class, Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god . . . to worship . . . is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It’s the truth. Worship your own body and beauty and sexual allure, and you will always feel ugly. And when time and age start showing, you will die a million deaths before [your loved ones] finally plant you. . . . Worship power, and you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. Look, the insidious thing about these forms of worship is not that they are evil or sinful; it is that they’re unconscious. They are default settings.4 Wallace was by no means a religious person, but he understood that everyone worships, everyone trusts in something for their salvation, everyone bases their lives on something that requires faith. A couple of years after giving that speech, Wallace killed himself. And this nonreligious man’s parting words to us are pretty terrifying: “Something will eat you alive.” Because even though you might never call it worship, you can be absolutely sure you are worshipping and you are seeking. And Jesus says, “Unless you’re worshipping me, unless I’m the center of your life, unless you’re trying to get your spiritual thirst quenched through me and not through these other things, unless you see that the solution must come inside rather than just pass by outside, then whatever you worship will abandon you in the end.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

This, to be sure, is not the entire truth. For there were individuals in Germany who from the very beginning of the regime and without ever wavering were opposed to Hitler; no one knows how many there were of them—perhaps a hundred thousand, perhaps many more, perhaps many fewer—for their voices were never heard. They could be found everywhere, in all strata of society, among the simple people as well as among the educated, in all parties, perhaps even in the ranks of the N.S.D.A.P. Very few of them were known publicly, as were the aforementioned Reck-Malleczewen or the philosopher Karl Jaspers. Some of them were truly and deeply pious, like an artisan of whom I know, who preferred having his independent existence destroyed and becoming a simple worker in a factory to taking upon himself the “little formality” of entering the Nazi Party. A few still took an oath seriously and preferred, for example, to renounce an academic career rather than swear by Hitler’s name. A more numerous group were the workers, especially in Berlin, and Socialist intellectuals who tried to aid the Jews they knew. There were finally, the two peasant boys whose story is related in Günther Weisenborn’s Der lautlose Aufstand (1953), who were drafted into the S.S. at the end of the war and refused to sign; they were sentenced to death, and on the day of their execution they wrote in their last letter to their families: “We two would rather die than burden our conscience with such terrible things. We know what the S.S. must carry out.” The position of these people, who, practically speaking, did nothing, was altogether different from that of the conspirators. Their ability to tell right from wrong had remained intact, and they never suffered a “crisis of conscience.” There may also have been such persons among the members of the resistance, but they were hardly more numerous in the ranks of the conspirators than among the people at large. They were neither heroes nor saints, and they remained completely silent. Only on one occasion, in a single desperate gesture, did this wholly isolated and mute element manifest itself publicly: this was when the Scholls, two students at Munich University, brother and sister, under the influence of their teacher Kurt Huber distributed the famous leaflets in which Hitler was finally called what he was—a “mass murderer.

Once upon a time all the men of mind and genius in the world became of one belief—that is to say, of no belief. But it wearied them to think that within a few years after their death many cults and systems and prognostications would be ascribed to them which they had never meditated nor intended. So they said to one another: "'Let's join together and make a great book that will last forever to mock the credulity of man. Let's persuade our more erotic poets to write about the delights of the flesh, and induce some of our robust journalists to contribute stories of famous amours. We'll include all the most preposterous old wives' tales now current. We'll choose the keenest satirist alive to compile a deity from all the deities worshipped by mankind, a deity who will be more magnificent than any of them, and yet so weakly human that he'll become a byword for laughter the world over—and we'll ascribe to him all sorts of jokes and vanities and rages, in which he'll be supposed to indulge for his own diversion, so that the people will read our book and ponder it, and there'll be no more nonsense in the world. "'Finally, let us take care that the book possesses all the virtues of style, so that it may last forever as a witness to our profound scepticism and our universal irony.' "So the men did, and they died. "But the book lived always, so beautifully had it been written, and so astounding the quality of imagination with which these men of mind and genius had endowed it. They had neglected to give it a name, but after they were dead it became known as the Bible.

papyruses began to appear on the black market. The Egyptian government tried to prevent the manuscripts from leaving the country. After the 1952 revolution, most of the material was handed over to the Coptic Museum in Cairo and declared part of the national heritage. Only one text eluded them, and this had turned up in an antiquarian shop in Belgium. After vain attempts to sell it in New York and Paris, it was finally acquired by the Carl Jung Institute in 1951. On the death of the famous psychoanalyst, the papyrus, now known as Jung Codex, returned to Cairo, where the

In his early twenties, a man started collecting paintings, many of which later became famous: Picasso, Van Gogh, and others. Over the decades he amassed a wonderful collection. Eventually, the man’s beloved son was drafted into the military and sent to Vietnam, where he died while trying to save his friend. About a month after the war ended, a young man knocked on the devastated father’s door. “Sir,” he said, “I know that you like great art, and I have brought you something not very great.” Inside the package, the father found a portrait of his son. With tears running down his cheeks, the father said, “I want to pay you for this.ℍ “No,” the young man replied, “he saved my life. You don’t owe me anything.ℍ The father cherished the painting and put it in the center of his collection. Whenever people came to visit, he made them look at it. When the man died, his art collection went up for sale. A large crowd of enthusiastic collectors gathered. First up for sale was the amateur portrait. A wave of displeasure rippled through the crowd. “Let’s forget about that painting!” one said. “We want to bid on the valuable ones,” said another. Despite many loud complaints, the auctioneer insisted on starting with the portrait. Finally, the deceased man’s gardener said, “I’ll bid ten dollars.ℍ Hearing no further bids, the auctioneer called out, “Sold for ten dollars!” Everyone breathed a sigh of relief. But then the auctioneer said, “And that concludes the auction.” Furious gasps shook the room. The auctioneer explained, “Let me read the stipulation in the will: “Sell the portrait of my son first, and whoever buys it gets the entire art collection. Whoever takes my son gets everything.ℍ It’s the same way with God Almighty. Whoever takes his Son gets everything.

Once, sitting in my car in the parking lot outside Building 5 during a prolonged downpour after a long lunch off premises, Mark, Larry, and I pondered the famous two-condom combinatorial problem that spread through the Center: Two (heterosexual) couples decide to have group sex with each other in all possible male-female combinations. They have only two condoms, and everyone is scared of catching some venereal disease. How can they manage four couplings with only two condoms? The first man puts on two condoms, one over the other, and then sleeps with the first woman. Only the outer surface of the outer condom and the inner surface of the inner one has had contact with any potentially infectious surface. The man removes the outer condom and sleeps with the second woman. The second man then dons the removed outer condom whose inner surface has until now had no contact with anyone’s skin, and sleeps with the first woman, whose only contact has thus far been with the outside of the same condom. Finally, the second man dons the second condom over the one he is already wearing, and sleeps with the second woman, who again only experiences a condom she has already touched. It was impossible to resist the temptation to generalize to N couples.

Adam was sent to bring Good News to the world. It was his mission, as it was the mission of Jesus. Adam was—very simply, quietly, and uniquely—there! He was a person, who by his very life announced the marvelous mystery of our God: I am precious, beloved, whole, and born of God. Adam bore silent witness to this mystery, which has nothing to do with whether or not he could speak, walk, or express himself, whether or not he made money, had a job, was fashionable, famous, married or single. It had to do with his being. He was and is a beloved child of God. It is the same news that Jesus came to announce, and it is the news that all those who are poor keep proclaiming in and through their very weakness. Life is a gift. Each one of us is unique, known by name, and loved by the One who fashioned us. Unfortunately, there is a very loud, consistent, and powerful message coming to us from our world that leads us to believe that we must prove our belovedness by how we look, by what we have, and by what we can accomplish. We become preoccupied with “making it” in this life, and we are very slow to grasp the liberating truth of our origins and our finality. We need to hear the message announced and see the message embodied, over and over again. Only then do we find the courage to claim it and to live from it.

but the most sumptuous thing in the room at that moment was naturally the sumptuously laid table, though, of course, even that was comparatively speaking: the table-cloth was clean, the silver was brightly polished; three kinds of wonderfully baked bread, two bottles of wine, two bottles of excellent monastery mead, and a large glass jug of monastery kvas, famous throughout the neighbourhood. There was no vodka at all. Rakitin related afterwards that this time it was a five-course dinner: fish soup of sterlets served with fish patties; then boiled fish excellently prepared in a special way; then salmon cutlets, ice cream and stewed fruits and, finally, a fruit jelly.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

What did she say to you?" "Nothing." "Oh, great. I have to try to get you out of this mess after you hit a girl for nothing," he whispered angrily. "Josephine, don't waste my time. You don't seem like a violent type. She had to have said something to rile you. "I just don't like her. She's vain. She puts her hair all over my books when she sits in front of me in class." "So you hit her?" "No ... yes." "A girl puts her hair all over your books, so you break her nose?" "Well, I don't think it's broken, personally." "Doctor Kildare, we are not here to give a medical opinion. I want to know what she said to you." "God," I yelled exasperated. "She said something to upset me, okay?" "What? That you were ugly? That you smell? What?" I looked horrified. "I'm not ugly. I don't smell." He sighed and took off his glasses, sitting down in front of me and pulling my chair towards him. "I was just asking for a reason." "Never mind," I said. "That creep out there wants -you to pay for his daughter's nose-job. Because of that nose-job she will be a famous model one day and you'll be working in a fast-food chain because you couldn't finish your Higher School Certificate due to expulsion. Now tell me what she said." "There's nothing wrong with a fast-food chain," I said, thinking of my McDonald's job. "I'm really getting pissed off now, Josephine. You called me out of work for this and you won't tell me why." "Just go," I said, as he stood up and paced the room. "I'll defend myself in court." He groaned and looked up to the ceiling pulling his hair. "God save me from days like this," he begged. "Go," I yelled. "Okay. Let him win. He's a creep. Creeps always win," he said walking to the door. "But don't think you're going to make it in a court room, young lady. If you can't be honest, don't expect to stand up in a court room and defend honesty." "She called me a wog, amongst other things," I said, finally. "I haven't been called one for so long. It offended me. It made me feel pathetic." "Did you provoke her?" "Yes. I called her a racist pig due to some things she was saying." "Is she one?" "God, yes. The biggest.

Finally, the cognomen, a personal surname, was particular to its holder or his branch of the family. It often had a jokey or down-to-earth ring: so, for example, “Cicero” is Latin for “chickpea” and it was supposed that some ancestor had had a wart of that shape on the end of his nose. When Marcus was about to launch his career as an advocate and politician, friends advised him to change his name to something less ridiculous. “No,” he replied firmly, “I am going to make my cognomen more famous than those of men like Scaurus and Catulus.” These were two leading Romans of the day, and the point of the remark was that “Catulus” was the Latin for “whelp” or “puppy,” and “Scaurus” meant “with large or projecting ankles.

American baseball, by luck, trial, and error, and since the famous playing rules council of 1889, had struck on an almost perfect balance between offense and defense, and it was that balance, in fact, that and the accountability—the beauty of the records system which found a place to keep forever each least action—that had led Henry to baseball as his final great project.

Most of us do not like not being able to see what others see or make sense of something new. We do not like it when things do not come together and fit nicely for us. That is why most popular movies have Hollywood endings. The public prefers a tidy finale. And we especially do not like it when things are contradictory, because then it is much harder to reconcile them (this is particularly true for Westerners). This sense of confusion triggers in a us a feeling of noxious anxiety. It generates tension. So we feel compelled to reduce it, solve it, complete it, reconcile it, make it make sense. And when we do solve these puzzles, there's relief. It feels good. We REALLY like it when things come together. What I am describing is a very basic human psychological process, captured by the second Gestalt principle. It is what we call the 'press for coherence.' It has been called many different things in psychology: consonance, need for closure, congruity, harmony, need for meaning, the consistency principle. At its core it is the drive to reduce the tension, disorientation, and dissonance that come from complexity, incoherence, and contradiction. In the 1930s, Bluma Zeigarnik, a student of Lewin's in Berlin, designed a famous study to test the impact of this idea of tension and coherence. Lewin had noticed that waiters in his local cafe seemed to have better recollections of unpaid orders than of those already settled. A lab study was run to examine this phenomenon, and it showed that people tend to remember uncompleted tasks, like half-finished math or word problems, better than completed tasks. This is because the unfinished task triggers a feeling of tension, which gets associated with the task and keeps it lingering in our minds. The completed problems are, well, complete, so we forget them and move on. They later called this the 'Zeigarnik effect,' and it has influenced the study of many things, from advertising campaigns to coping with the suicide of loved ones to dysphoric rumination of past conflicts.

Perhaps the most important Stoic legacy to the history of moral thought was the concept of universal humanity. In his famous Elements of Ethics, the second-century Stoic philosopher Hierocles imagines every individual as standing at the centre of a series of concentric circles. The first circle is the individual, next comes the immediate family, followed by the extended family, the local community, the country, and finally the entire human race. To be virtuous, Hierocles suggested, is to draw these circles together, constantly to transfer people from the outer circles to the inner circles, to treat strangers as cousins and cousins as brothers and sisters, making all human beings part of our concern. The Stoics called this process of drawing the circles together oikeiosis, a word that is almost untranslatable but means something like the process by which everything is made into your home.

She pulled the shawl closer as a tall, lithe figure cut across the parking lot and joined her at the passenger door. “You’re already famous,” Colby Lane told her, his dark eyes twinkling in his lean, scarred face. “You’ll see yourself on the evening news, if you live long enough to watch it.” He jerked a thumb over his shoulder. “Tate’s on his way right now.” “Unlock this thing and get me out of here!” she squeaked. He chuckled. “Coward.” He unlocked the door and let her climb in. By the time he got behind the wheel and took off, Tate was striding across the parking lot with blood in his eye. Cecily blew him a kiss as Colby gunned the engine down the busy street. “You’re living dangerously tonight,” Colby told her. “He knows where you live,” he added. “He should. He paid for the apartment,” she added in a sharp, hurt tone. She wrapped her arms closer around her. “I don’t want to go home, Colby. Can I stay with you tonight?” She knew, as few other people did, that Colby Lane was still passionately in love with his ex-wife, Maureen. He had nothing to do with other women even two years after his divorce was final. He drank to excess from time to time, but he wasn’t dangerous. Cecily trusted no one more. He’d been a good friend to her, as well as to Tate, over the years. “He won’t like it,” he said. She let out a long breath. “What does it matter now?” she asked wearily. “I’ve burned my bridges.” “I don’t know why that socialite Audrey had to tell you,” he muttered irritably. “It was none of her business.” “Maybe she wants a big diamond engagement ring, and Tate can’t afford it because he’s keeping me,” she said bitterly. He glanced at her rigid profile. “He won’t marry her.” She made a sound deep in her throat. “Why not? She’s got everything…money, power, position and beauty-and a degree from Vassar.” “In psychology,” Colby mused. “She’s been going around with Tate for several months.” “He goes around with a lot of women. He won’t marry any of them.” “Well, he certainly won’t marry me,” she assured him. “I’m white.” “More of a nice, soft tan,” he told her. “You can marry me. I’ll take care of you.” She made a face at him. “You’d call me Maureen in your sleep and I’d lay your head open with the lamp. It would never work.

I later read a survey about Southerners' knowledge of the War; only half of those aged eighteen to twenty-four could name a single battle, and only one in eight knew if they had a Confederate ancestor. This was a long way from the experience of earlier generations, smothered from birth in the thick gravy of Confederate culture and schooled on textbooks that were little more than Old South propaganda. In this sense, ignorance might prove a blessing. Knowing less about the past, kids seemed less attached to it. Maybe the South would finally exorcise its demons by simply forgetting the history that created them. But Alabaman's seemed to have also let go of the more recent and hopeful history embodied in Martin Luther King's famous speech. "I have a dream," he said, of an Alabama where "black boys and black girls will be able to join hands with white boys and white girls as sisters and brothers.

One of my favorite album covers is On the Beach. Of course that was the name of a movie and I stole it for my record, but that doesn't matter. The idea for that cover came like a bolt from the blue. Gary and I traveled around getting all the pieces to put it together. We went to a junkyard in Santa Ana to get the tail fin and fender from a 1959 Cadillac, complete with taillights, and watched them cut it off a Cadillac for us, then we went to a patio supply place to get the umbrella and table. We picke up the bad polyester yellow jacket and white pants at a sleazy men's shop, where we watched a shoplifter getting caught red-handed and busted. Gary and I were stoned on some dynamite weed and stood there dumbfounded watching the bust unfold. This girl was screaming and kicking! Finally we grabbed a local LA paper to use as a prop. It had this amazing headline: Sen. Buckley Calls For Nixon to Resign. Next we took the palm tree I had taken around the world on the Tonight's the Night tour. We then placed all of these pieces carefully in the sand at Santa Monica beach. Then we shot it. Bob Seidemann was the photographer, the same one who took the famous Blind Faith cover shot of the naked young girl holding the airplane. We used the crazy pattern from the umbrella insides for the inside of the sleeve that held the vinyl recording. That was the creative process at work. We lived for that, Gary and I, and we still do.

There were days, weeks, and months when I hated politics. And there were moments when the beauty of this country and its people so overwhelmed me that I couldn’t speak. Then it was over. Even if you see it coming, even as your final weeks are filled with emotional good-byes, the day itself is still a blur. A hand goes on a Bible; an oath gets repeated. One president’s furniture gets carried out while another’s comes in. Closets are emptied and refilled in the span of a few hours. Just like that, there are new heads on new pillows—new temperaments, new dreams. And when it ends, when you walk out the door that last time from the world’s most famous address, you’re left in many ways to find yourself again. So let me start here, with a small thing that happened not long ago. I was at home in the redbrick house that my family recently moved into. Our new house sits about two miles from our old house, on a quiet neighborhood street. We’re still settling in. In the family room, our furniture is arranged the same way it was in the White House. We’ve got mementos around the house that remind us it was all real—photos of our family time at Camp David, handmade pots given to me by Native American students, a book signed by Nelson Mandela. What was strange about this night was that everyone was gone. Barack was traveling. Sasha was out with friends. Malia’s been living and working in New York, finishing out her gap year before college. It was just me, our two dogs, and a silent, empty house like I haven’t known in eight years.

Daniel's wings were concealed, but he must have sensed her eyeing the place where they unfurled from his shoulders. "When everything is in order, we'll fly wherever we have to go to stop Lucifer. Until then it's better to stay low to the ground." "Okay," Luce said. "Race you to the other side?" Her breath frosted the air. "You know I'd beat you." "True." He slipped an arm around her waist, warming her. "Maybe we'd better take the boat, then. Protect my famous pride." She watched him unmoor a small metal rowboat from a boat slip. The soft light on the water made her think back to the day they'd raced across the secret lake at Sword & Cross. His skin had glistened as they had pulled themselves up to the flat rock in the center to catch their breath, then had lain on the sun-warmed stone, letting the day's heat dry their bodies. She'd barely known Daniel then-she hadn't known he was an angel-and already she'd been dangerously in love with him. "We used to swim together in my lifetime in Tahiti, didn't we?" she asked, surprised to remember another time she'd seen Daniel's hair glisten with water. Daniel stared at her and she knew how much it meant to him finally to be able to share some of his memories of their past. He looked so moved that Luce thought he might cry. Instead he kissed her forehead tenderly and said, "You beat me all those times, too, Lulu." They didn't talk much as Daniel rowed. It was enough for Luce to watch the way his muscles strained and flexed each time he dragged back, hearing the oars dip into and out of the cold water, breathing in the brine of the ocean.

As with all Torino stories, there was to be a final, weird, twist to this tale. In 2000 Torino appointed a new president. He was a life-long Torino fan and had worked as a spokesman for FIAT. His name? Attilio Romero. The same Attilio ‘Tilli’ Romero who had run over his idol – Gigi Meroni – in 1967. The club was now run by a man who had killed one of its most famous players, albeit by accident. This bizarre fact did not pass without comment. Some fans, unhappy at the performance of the team, took to shouting ‘murderer’ at Romero.

And in the depths of the city, beyond an old zone of ruined buildings that looked like broken hearts, there lived a happy young fellow by the name of Haroun, the only child of the storyteller Rashid Khalifa, whose cheerfulness was famous throughout that unhappy metropolis, and whose never-ending stream of tall, short and winding tales had earned him not one but two nicknames. To his admirers he was Rashid the Ocean of Notions, as stuffed with cheery stories as the sea was full of glumfish; but to his jealous rivals he was the Shah of Blah. To his wife, Soraya, Rashid was for many years as loving a husband as anyone could wish for, and during these years Haroun grew up in a home in which, instead of misery and frowns, he had his father’s ready laughter and his mother’s sweet voice raised in song. Then something went wrong. (Maybe the sadness of the city finally crept in through their windows.) The day Soraya stopped singing, in the middle of a line, as if someone had thrown a switch, Haroun guessed there was trouble brewing. But he never suspected how much.

Narrative horror, disgust. That's what drives him mad, I'm sure of it, what obsesses him. I've known other people with the same aversion, or awareness, and they weren't even famous, fame is not a deciding factor, there are many individuals who experience their life as if it were the material of some detailed report, and they inhabit that life pending its hypothetical or future plot. They don't give it much thought, it's just a way of experiencing things, companionable, in a way, as if there were always spectators or permanent witnesses, even of their most trivial goings-on and in the dullest of times. Perhaps it's a substitute for the old idea of the omnipresence of God, who saw every second of each of our lives, it was very flattering in a way, very comforting despite the implicit threat and punishment, and three or four generations aren't enough for Man to accept that his gruelling existence goes on without anyone ever observing or watching it, without anyone judging it or disapproving of it. And in truth there is always someone: a listener, a reader, a spectator, a witness, who can also double up as simultaneous narrator and actor: the individuals tell their stories to themselves, to each his own, they are the ones who peer in and look at and notice things on a daily basis, from the outside in a way; or, rather, from a false outside, from a generalised narcissism, sometimes known as "consciousness". That's why so few people can withstand mockery, humiliation, ridicule, the rush of blood to the face, a snub, that least of all ... I've known men like that, men who were nobody yet who had that same immense fear of their own history, of what might be told and what, therefore, they might tell too. Of their blotted, ugly history. But, I insist, the determining factor always comes from outside, from something external: all this has little to do with shame, regret, remorse, self-hatred although these might make a fleeting appearance at some point. These individuals only feel obliged to give a true account of their acts or omissions, good or bad, brave, contemptible, cowardly or generous, if other people (the majority, that is) know about them, and those acts or omissions are thus encorporated into what is known about them, that is, into their official portraits. It isn't really a matter of conscience, but of performance, of mirrors. One can easily cast doubt on what is reflected in mirrors, and believe that it was all illusory, wrap it up in a mist of diffuse or faulty memory and decide finally that it didn't happen and that there is no memory of it, because there is no memory of what did not take place. Then it will no longer torment them: some people have an extraordinary ability to convince themselves that what happened didn't happen and what didn't exist did.

I would walk round that beautiful, unspoilt little island, with its population of under a hundred and where there isn’t a single tarmac road, thinking about how he would truly sound. Perhaps the quietness of the island helped me do so. ‘Everybody thinks he’s French,’ I said to myself as I walked across the great stones that littered the beach at Rushy Bay, or stomped over the tussocky grass of Heathy Hill, with its famous dwarf pansies. ‘The only reason people think Poirot is French is because of his accent,’ I muttered. ‘But he’s Belgian, and I know that French-speaking Belgians don’t sound French, not a bit of it.’" "I also was well aware of Brian Eastman’s advice to me before I left for Bryher: ‘Don’t forget, he may have an accent, but the audience must be able to understand exactly what he’s saying.’ There was my problem in a nutshell." "To help me, I managed to get hold of a set of Belgian Walloon and French radio recordings from the BBC. Poirot came from Liège in Belgium and would have spoken Belgian French, the language of 30 per cent of the country’s population, rather than Walloon, which is very much closer to the ordinary French language. To these I added recordings of English-language stations broadcasting from Belgium, as well as English-language programmes from Paris. My principal concern was to give my Poirot a voice that would ring true, and which would also be the voice of the man I heard in my head when I read his stories. I listened for hours, and then gradually started mixing Walloon Belgian with French, while at the same time slowly relocating the sound of his voice in my body, moving it from my chest to my head, making it sound a little more high-pitched, and yes, a little more fastidious. After several weeks, I finally began to believe that I’d captured it: this was what Poirot would have sounded like if I’d met him in the flesh. This was how he would have spoken to me – with that characteristic little bow as we shook hands, and that little nod of the head to the left as he removed his perfectly brushed grey Homburg hat. The more I heard his voice in my head, and added to my own list of his personal characteristics, the more determined I became never to compromise in my portrayal of Poirot.

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

In 2002, after the huge success of Who Moved my Cheese? a management manual that sold 1.6million copies in China, there was a rush of books inspired by it. Titles included Whose Cheese Should I Move?; Can I Move Your Cheese?; Who Dares to Move my Cheese?; I Don’t Bother to Move Your Cheese; Agitating, Alluring Cheese; No One Can Move My Cheese! The New Allegory of Cheese; Make the Cheese by Yourself!; A Piece of Cheese: Reading World Famous Fairy Tales; Management Advice 52 from the Cheese; and No More Cheese! Finally, there was my personal favorite: Chinese People Eat Cheese? - Who Took My Meat Bun?

we compared a sampling of successful and unsuccessful fairy tales in the famous Brothers Grimm collection. Successful (widely known) fairy tales, such as Cinderella and Little Red Riding Hood, had just two or three counterintuitive violations. Unsuccessful ones (have you heard of the Donkey Lettuce?) had none, or in other cases, quite the opposite—they had far too many violations. Successful counterintuitive representations and stories were also likely to generate emotional responses, like fear, and encouraged additional inferences.25 These kinds of memory biases play an important role in religious belief.26 The extraordinary agents endemic to religions appear to possess a particularly evocative set of abilities not shared by ordinary beings. They can be invisible; they can see things from afar; they can move through physical objects. This minimal counterintuitiveness is memorable, giving these concepts an advantage in cultural transmission. These departures from common sense are systematic but not radical enough to rupture meaning completely. As Sperber has put it, these minimal counterintuitions are relevant mysteries: they are closely connected to background knowledge, but do not admit to a final interpretation.

Girls, I was dead and down in the Underworld, a shade, a shadow of my former self, nowhen. It was a place where language stopped, a black full stop, a black hole Where the words had to come to an end. And end they did there, last words, famous or not. It suited me down to the ground. So imagine me there, unavailable, out of this world, then picture my face in that place of Eternal Repose, in the one place you’d think a girl would be safe from the kind of a man who follows her round writing poems, hovers about while she reads them, calls her His Muse, and once sulked for a night and a day because she remarked on his weakness for abstract nouns. Just picture my face when I heard - Ye Gods - a familiar knock-knock at Death’s door. Him. Big O. Larger than life. With his lyre and a poem to pitch, with me as the prize. Things were different back then. For the men, verse-wise, Big O was the boy. Legendary. The blurb on the back of his books claimed that animals, aardvark to zebra, flocked to his side when he sang, fish leapt in their shoals at the sound of his voice, even the mute, sullen stones at his feet wept wee, silver tears. Bollocks. (I’d done all the typing myself, I should know.) And given my time all over again, rest assured that I’d rather speak for myself than be Dearest, Beloved, Dark Lady, White Goddess etc., etc. In fact girls, I’d rather be dead. But the Gods are like publishers, usually male, and what you doubtless know of my tale is the deal. Orpheus strutted his stuff. The bloodless ghosts were in tears. Sisyphus sat on his rock for the first time in years. Tantalus was permitted a couple of beers. The woman in question could scarcely believe her ears. Like it or not, I must follow him back to our life - Eurydice, Orpheus’ wife - to be trapped in his images, metaphors, similes, octaves and sextets, quatrains and couplets, elegies, limericks, villanelles, histories, myths… He’d been told that he mustn’t look back or turn round, but walk steadily upwards, myself right behind him, out of the Underworld into the upper air that for me was the past. He’d been warned that one look would lose me for ever and ever. So we walked, we walked. Nobody talked. Girls, forget what you’ve read. It happened like this - I did everything in my power to make him look back. What did I have to do, I said, to make him see we were through? I was dead. Deceased. I was Resting in Peace. Passé. Late. Past my sell-by date… I stretched out my hand to touch him once on the back of the neck. Please let me stay. But already the light had saddened from purple to grey. It was an uphill schlep from death to life and with every step I willed him to turn. I was thinking of filching the poem out of his cloak, when inspiration finally struck. I stopped, thrilled. He was a yard in front. My voice shook when I spoke - Orpheus, your poem’s a masterpiece. I’d love to hear it again… He was smiling modestly, when he turned, when he turned and he looked at me. What else? I noticed he hadn’t shaved. I waved once and was gone. The dead are so talented. The living walk by the edge of a vast lake near, the wise, drowned silence of the dead.

Beautiful features, always immaculately dressed, the kind of woman that makes a great impression. Their hair is always nicely curled. They major in French literature at expensive private women’s colleges, and after graduation find jobs as receptionists or secretaries. They work for a few years, visit Paris for shopping once a year with their girlfriends. They finally catch the eye of a promising young man in the company, or else are formally introduced to one, and quit work to get married. They then devote themselves to getting their children into famous private schools. As he sat there, Tsukuru pondered the kind of lives they led.

Here is the voice of my main Character in my Talon book series, I’ll let her introduce herself to you: My name is Matica and I am a special needs child with a growth disability. I am stuck in the body of a two year old, even though I am ten years old when my story begins in the first book of the Talon series, TALON, COME FLY WITH ME. Because of that disability, (I am saying ‘that’ disability, not ‘my’ disability because it’s a thing that happens to me, nothing more and because I am not accepting it as something bad. I can say that now after I learned to cope with it.) I was rejected by the local Indians as they couldn’t understand that that condition is not a sickness and so it can’t be really cured. It’s just a disorder of my body. But I never gave up on life and so I had lots of adventures roaming around the plateau where we live in Peru, South America, with my mother’s blessings. But after I made friends with my condors I named Tamo and Tima, everything changed. It changed for the good. I was finally loved. And I am the hero and I embrace my problem. In better words: I had embraced my problem before I made friends with my condors Tamo and Tima. I held onto it and I felt sorry for myself and cried a lot, wanting to run away or something worse. But did it help me? Did it become better? Did I grow taller? No, nothing of that helped me. I didn’t have those questions when I was still in my sorrow, but all these questions came to me later, after I was loved and was cherished. One day I looked up into the sky and saw the majestic condors flying in the air. Here and now, I made up my mind. I wanted to become friends with them. I believed if I could achieve that, all my sorrow and rejection would be over. And true enough, it was over. I was loved. I even became famous. And so, if you are in a situation, with whatever your problem is, find something you could rely on and stick to it, love that and do with that what you were meant to do. And I never run from conflicts.

Shelby..." Her tongue skimmed over his while he cupped the back of her neck more firmly. "Shelby," he repeated a moment later, "there was something I wanted to talk to you about earlier, and I'm in danger of becoming as ditracted now as I was then." "Promise?" She moved her lips to his throat. "I have a command performance this weekend." "Oh?" She switched to his ear. In self-defense, Aan rolled over and pinned her beneath him. "I got a call from my father this afternoon." "Ah" Humor danced in her eyes. "The laird." "The title would appeal to him." Alan grasped her wrists to prevent her from clouding his mind as she seemed bent on doing. "It seems he's planned one of his famous family weekends. Come with me." One brow lifted. "To the MacGregor fortress in Hyannis Port? Unarmed?" "We'll hoist the white flag." She wanted to go.She wanted to say no. A visit to his family home came perilously close to that final commitment she was so carefully sidestepping. Questions, speculation-there'd be no avoiding them. Alan heard her thoughts as clearly as if it had been spoken.Pushng back frustration, he changed tactics. "I have orders to bring that girl-" he watched her eyes narrow- "-that daughter of the thieving, murdering Campbells,with me." "Oh,is that so?" "Just so," Alan returned mildly. Shelby lifted her chin. "When do we leave?

I start reading every Elizabeth Wurtzel essay with optimism, like maybe finally she put her talent to writing about something than herself, and by the end of paragraph three that optimism has fled. So maybe you know Wurtzel has written an essay for New York Magazine? Probably you know, because for whatever reason, Wurtzel provokes a deep need in people to talk about how much they hate Wurtzel. So the comments are hundreds deep, Twitter is ablaze, and here I am, writing this blog post. And actually, she reminds me of Mary MacLane. She was a 19-year-old girl who wrote a memoir called I Await the Devil’s Coming in 1901 and it was an instant success. I wrote the introduction to the upcoming reissue, and there I talk about what a deeply interesting book it was. Not only “for its time,” but also it’s just kind of visceral and nasty and snarling, yet elegantly written. I kept thinking about MacLane, after the introduction got handed in and things went off to press. But this time, it wasn’t her writing that interested me, it was the way she never wrote anything very interesting ever again. She got stunted, somehow, winning all of that acclaim for being a young, sour thing. And I wondered if it was the fame that stunted her, because she spent the rest of her career spitting out copies of the memoir that made her famous. And it worked, until it didn’t.

What if I’m in Slytherin?” The whisper was for his father alone, and Harry knew that only the moment of departure could have forced Albus to reveal how great and sincere that fear was. Harry crouched down so that Albus’s face was slightly above his own. Alone of Harry’s three children, Albus had inherited Lily’s eyes. “Albus Severus,” Harry said quietly, so that nobody but Ginny could hear, and she was tactful enough to pretend to be waving to Rose, who was now on the train, “you were named for two headmasters of Hogwarts. One of them was a Slytherin and he was probably the bravest man I ever knew.” “But just say--” “--then Slytherin House will have gained an excellent student, won’t it? It doesn’t matter to us, Al. But if it matters to you, you’ll be able to choose Gryffindor over Slytherin. The Sorting Hat takes your choice into account.” “Really?” “It did for me,” said Harry. He had never told any of his children that before, and he saw the wonder in Albus’s face when he said it. But now the doors were slamming all along the scarlet train, and the blurred outlines of parents were swarming forward for final kisses, last-minute reminders. Albus jumped into the carriage and Ginny closed the door behind him. Students were hanging from the windows nearest them. A great number of faces, both on the train and off, seemed to be turned toward Harry. “Why are they all staring?” demanded Albus as he and Rose craned around to look at the other students. “Don’t let it worry you,” said Ron. “It’s me. I’m extremely famous.” Albus, Rose, Hugo, and Lily laughed. The train began to move, and Harry walked alongside it, watching his son’s thin face, already ablaze with excitement.

The leftist is always a statist. He has all sorts of grievances and animosities against personal initiative and private enterprise. The notion of the state doing everything (until, finally, it replaces all private existence) is the Great Leftist Dream. Thus it is a leftist tendency to have city or state schools—or to have a ministry of education controlling all aspects of education. For example, there is the famous story of the French Minister of Education who pulls out his watch and, glancing at its face, says to his visitor, “At this moment in 5,431 public elementary schools they are writing an essay on the joys of winter.” Church schools, parochial schools, private schools, or personal tutors are not at all in keeping with leftist sentiments. The reasons for this attitude are manifold. Here not only is the delight in statism involved, but the idea of uniformity and equality is also decisive; i.e., the notion that social differences in education should be eliminated and all pupils should be given a chance to acquire the same knowledge, the same type of information in the same fashion and to the same degree. This should help them to think in identical or at least in similar ways. It is only natural that this should be especially true of countries where “democratism” as an ism is being pushed. There efforts will be made to ignore the differences in IQs and in personal efforts. Sometimes marks and report cards will be eliminated and promotion from one grade to the next be made automatic. It is obvious that from a scholastic viewpoint this has disastrous results, but to a true ideologist this hardly matters. When informed that the facts did not tally with his ideas, Hegel once severely replied, “Um so schlimmer für die Tatsachen”—all the worse for the facts. Leftism does not like religion for a variety of causes. Its ideologies, its omnipotent, all-permeating state wants undivided allegiance. With religion at least one other allegiance (to God), if not also allegiance to a Church, is interposed. In dealing with organized religion, leftism knows of two widely divergent procedures. One is a form of separation of Church and State which eliminates religion from the marketplace and tries to atrophy it by not permitting it to exist anywhere outside the sacred precincts. The other is the transformation of the Church into a fully state-controlled establishment. Under these circumstances the Church is asphyxiated, not starved to death. The Nazis and the Soviets used the former method; Czechoslovakia still employs the latter.

There is only one historical development that has real significance. Today, when we finally realise that the keys to happiness are in the hands of our biochemical system, we can stop wasting our time on politics and social reforms, putsches and ideologies, and focus instead on the only thing that can make us truly happy: manipulating our biochemistry. If we invest billions in understanding our brain chemistry and developing appropriate treatments, we can make people far happier than ever before, without any need of revolutions. Prozac, for example, does not change regimes, but by raising serotonin levels it lifts people out of their depression. Nothing captures the biological argument better than the famous New Age slogan: ‘Happiness begins within.’ Money, social status, plastic surgery, beautiful houses, powerful positions – none of these will bring you happiness. Lasting happiness comes only from serotonin, dopamine and oxytocin.1 In Aldous Huxley’s dystopian novel Brave New World, published in 1932 at the height of the Great Depression, happiness is the supreme value and psychiatric drugs replace the police and the ballot as the foundation of politics. Every day, each person takes a dose of ‘soma’, a synthetic drug which makes people happy without harming their productivity and efficiency. The World State that governs the entire globe is never threatened by wars, revolutions, strikes or demonstrations, because all people are supremely content with their current conditions, whatever they may be. Huxley’s vision of the future is far more troubling than George Orwell’s Nineteen Eighty-Four. Huxley’s world seems monstrous to most readers, but it is hard to explain why. Everybody is happy all the time – what could be wrong with that?

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

 I walk away, feeling Brody’s gaze on me. There’s no doubt that as soon as we get back in the car, I’m going to get it—good. Instead, Brody stays quiet while I assemble the paperwork. He may not be speaking, but he’s saying a whole lot in the silence. “Just say it,” I mumble and finally look over. “I’m not saying a word.” He raises his hands. “Clearly, you two know each other, and it ain’t from growing up here. You tell me everything, so there is no way you wouldn’t have told me you know him,” Brody pauses and leans back. “I’m not saying a word about who you may or may not have slept with recently. Even though, it’s pretty obvious.” “You know, you not saying a word took you a long time.” “It’s not like you’ve had a five-year drought since your divorce. Or that you slept with a singer/actor. Nope. I have nothing to say about that. Not a thing.” I groan. “Could you not say anything for real this time?” “Sure thing, boss. I’ll just be over here, watching Hell start to thaw.” This is not going to get any better. I’d almost rather hear the questions. This is Brody Webber. My partner, my friend, and the one person who I have enough dirt on to make his life hell if he repeats this. “Okay, fine. Yes, I slept with Eli Walsh. I was crazy and dumb. I also had about six beers, which is two over my threshold, and I was trying to be in the moment for once. Fucking Nicole and her pep talks.” Brody coughs a laugh and then recovers. “Sorry, go on.” “I swear, you better keep this to yourself. If you tell anyone . . .” I give him my best threatening face. “I mean anyone, I’ll make your life a living nightmare.” He shakes his head and laughs again. “I won’t say a word, but you had a one-night stand with one of the most famous men in the boy band atmosphere. You’re too cool for me, Heather. I don’t think we can be friends. I’m sure you and the band will be happy without me.” I huff and grab the papers. “I’m getting a new partner.” I walk back over to the car, praying this will be painless

In addition to bearing him thirteen children, Soya was privileged to copy the 1,225-page War and Peace by hand eight times while Tolstoy was editing it, because Tolstoy needed clean drafts to send along to the publisher. She also helped him work on the less famous but equally essential book Resurrection about the many women he cheated on with her. In the final weeks of his life, the increasingly radical Tolstoy left his wife without telling her, refused to see her when she tracked him down, and then died ij a train station. But at least Soya was comforted by the fact Tolstoy also made sure that they never had any money. At this point he had already freed his serfs, renounced his title, and given away most of his wealth to the poor. Instead of his wife and kids, he left the entirety of his estate and future royalties to the fringe Doukhobor spiritual movement. Tolstoy was selected for the first Nobel Prize in Literature in 1901, but he turned it down because he knew the prize money would complicate things in his life, What could a man with a wife and about a dozen children possibly need money for?

Blood typing had a second, unanticipated benefit: establishing parenthood. In a famous case in Chicago in 1930, two sets of parents, the Bambergers and the Watkinses, had babies in the same hospital at the same time. After returning home, they discovered to their dismay that their babies were wearing labels with the other family’s name on them. The question became whether the mothers had been sent home with the wrong babies or with the right babies mislabeled. Weeks of uncertainty followed, and in the meantime both sets of parents did what parents naturally do: they fell in love with the babies in their care. Finally, an authority from Northwestern University with a name that might have come out of a Marx Brothers movie, Professor Hamilton Fishback, was called in, and he administered blood tests to all four parents, which at the time seemed the very height of technical sophistication. Fishback’s tests showed that both Mr. and Mrs. Watkins had type O blood and therefore could produce only a type O baby, whereas the child in their nursery was type AB. So, thanks to medical science, the babies were swapped back to the right parents, though not without a lot of heartache. —

J. R. R. Tolkien’s famous essay, “On Fairy-Stories,” in Tree and Leaf (New York: HarperCollins, 2001), pp. 1–82. The consolation . . . the joy of the happy ending . . . the sudden joyous ‘turn’ . . . this joy which . . . stories can produce supremely well, is not essentially ‘escapist’ nor ‘fugitive.’ . . . It is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure. Indeed, the possibility of these is necessary to the joy of deliverance. Rather, it denies (in the face of much evidence, if you will) universal final defeat, and thus is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give . . . when the ‘turn’ comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In . . . the ‘turn’ . . . we get a piercing glimpse of joy, and heart’s desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.” Tolkien, “On Fairy-Stories,” pp. 68–69. Later Tolkien argues that the ultimate story—the gospel—is the essence of all other stories with the joy-giving happy ending. “This ‘joy’ . . . merits more consideration. The peculiar quality of the ‘joy’ in a successful Fantasy can . . . be explained as a sudden glimpse of an underlying . . . Reality. . . . The Gospels contain . . . a story of a larger kind which embraces all the essence of fairy-stories. They contain . . . the greatest and most complete conceivable eucatastrophe. But this story has entered history and the primary world. . . . The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story ends in joy. . . . There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. . . . [T]his story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” Tolkien, “On Fairy-Stories,” pp. 71–73.

The next day we booked a three-hundred pound sow for a most unusual photoshoot. She was chauffeured to Hollywood from a farm in Central Valley, and arrived in style at the soundstage bright and early, ready for her close-up. She was a perfect pig, straight from the animal equivalent of Central casting: pink, with gray spots and a sweet disposition. Like Wilbur from Charlotte's Web, but all grown up. I called her "Rhonda." In a pristine studio with white walls and a white floor, I watched as Rhonda was coaxed up a ramp that led to the top of a white pedestal, four feet off the ground. Once she was situated, the ramp was removed, and I took my place beside her. It was a simple setup. Standing next to Rhonda, I would look into the camera and riff about the unsung heroes of Dirty Jobs. I'd conclude with a pointed question: "So, what's on your pedestal?" It was a play on that credit card campaign: "What's in your wallet?" I nailed it on the first take, in front of a roomful of nervous executives. Unfortunately, Rhonda nailed it, too. Just as I asked, "What's on your pedestal?" she crapped all over hers. It was an enormous dump, delivered with impeccable timing. During the second take, Rhonda did it again, right on cue. This time, with a frightful spray of diarrhea that filled the studio with a sulfurous funk, blackening the white walls of the pristine set, and transforming my blue jeans into something browner. I could only marvel at the stench, while the horrified executives backed into a corner - a huddled mass, if you will, yearning to breath free. But Rhonda wasn't done. She crapped on every subsequent take. And when she could crap no more, she began to pee. She peed on my cameraman, She peed on her handler. She peed on me. Finally, when her bladder was empty, we got the take the network could use, along with a commercial that won several awards for "Excellence in Promos." (Yes, they have trophies for such things.) Interestingly, the footage that went viral was not the footage that aired, but the footage Mary encouraged me to release on YouTube after the fact. The outtakes of Rhonda at her incontinent finest. Those were hysterical, and viewed more times than the actual commercial. Go figure. Looking back, putting a pig on a pedestal was maybe the smartest thing I ever did. Not only did it make Rhonda famous, it established me as the nontraditional host of a nontraditional show. One whose primary job was to appear more like a guest, and less like a host. And, whenever possible, not at all like an asshole.

Honest to God, I hadn’t meant to start a bar fight. “So. You’re the famous Jordan Amador.” The demon sitting in front of me looked like someone filled a pig bladder with rotten cottage cheese. He overflowed the bar stool with his gelatinous stomach, just barely contained by a white dress shirt and an oversized leather jacket. Acid-washed jeans clung to his stumpy legs and his boots were at least twice the size of mine. His beady black eyes started at my ankles and dragged upward, past my dark jeans, across my black turtleneck sweater, and over the grey duster around me that was two sizes too big. He finally met my gaze and snorted before continuing. “I was expecting something different. Certainly not a black girl. What’s with the name, girlie?” I shrugged. “My mother was a religious woman.” “Clearly,” the demon said, tucking a fat cigar in one corner of his mouth. He stood up and walked over to the pool table beside him where he and five of his lackeys had gathered. Each of them was over six feet tall and were all muscle where he was all fat. “I could start to examine the literary significance of your name, or I could ask what the hell you’re doing in my bar,” he said after knocking one of the balls into the left corner pocket. “Just here to ask a question, that’s all. I don’t want trouble.” Again, he snorted, but this time smoke shot from his nostrils, which made him look like an albino dragon. “My ass you don’t. This place is for fallen angels only, sweetheart. And we know your reputation.” I held up my hands in supplication. “Honest Abe. Just one question and I’m out of your hair forever.” My gaze lifted to the bald spot at the top of his head surrounded by peroxide blonde locks. “What’s left of it, anyway.” He glared at me. I smiled, batting my eyelashes. He tapped his fingers against the pool cue and then shrugged one shoulder. “Fine. What’s your question?” “Know anybody by the name of Matthias Gruber?” He didn’t even blink. “No.” “Ah. I see. Sorry to have wasted your time.” I turned around, walking back through the bar. I kept a quick, confident stride as I went, ignoring the whispers of the fallen angels in my wake. A couple called out to me, asking if I’d let them have a taste, but I didn’t spare them a glance. Instead, I headed to the ladies’ room. Thankfully, it was empty, so I whipped out my phone and dialed the first number in my Recent Call list. “Hey. He’s here. Yeah, I’m sure it’s him. They’re lousy liars when they’re drunk. Uh-huh. Okay, see you in five.” I hung up and let out a slow breath. Only a couple things left to do. I gathered my shoulder-length black hair into a high ponytail. I looped the loose curls around into a messy bun and made sure they wouldn’t tumble free if I shook my head too hard. I took the leather gloves in the pocket of my duster out and pulled them on. Then, I walked out of the bathroom and back to the front entrance. The coat-check girl gave me a second unfriendly look as I returned with my ticket stub to retrieve my things—three vials of holy water, a black rosary with the beads made of onyx and the cross made of wood, a Smith & Wesson .9mm Glock complete with a full magazine of blessed bullets and a silencer, and a worn out page of the Bible. I held out my hands for the items and she dropped them on the counter with an unapologetic, “Oops.” “Thanks,” I said with a roll of my eyes. I put the Glock back in the hip holster at my side and tucked the rest of the items in the pockets of my duster. The brunette demon crossed her arms under her hilariously oversized fake breasts and sent me a vicious sneer. “The door is that way, Seer. Don’t let it hit you on the way out.” I smiled back. “God bless you.” She let out an ugly hiss between her pearly white teeth. I blew her a kiss and walked out the door. The parking lot was packed outside now that it was half-past midnight. Demons thrived in darkness, so I wasn’t surprised. In fact, I’d been counting on it.

decided to move to London while the house was being emptied. At first I stayed in a hotel – the Inn On The Park, the location for the famous story about me ringing the Rocket office and demanding they do something about the wind outside that was keeping me awake. This is obviously the ideal moment to state once and for all that this story is a complete urban myth, that I was never crazy enough to ask my record company to do something about the weather; that I was simply disturbed by the wind and wanted to change rooms to somewhere quieter. Unfortunately, I can’t tell you that, because the story is completely true. I absolutely was crazy and deluded enough to ring the international manager of Rocket, Robert Key, and ask him to do something about the wind outside my hotel room. I certainly didn’t want to change rooms. It was 11 a.m., I’d been up all night and there were drugs everywhere: the last thing I needed was the hotel staff bustling in to help me move to a different floor. I angrily outlined the situation to Robert. To his lasting credit, he gave my request very short shrift. On the other end of the phone, I heard the muffled sound of Robert, with his hand over the receiver, telling the rest of the office, ‘Oh God, she’s finally lost it.’ Then he spoke to me again. ‘Elton, are you fucking insane? Now get off the phone and go back to bed.

For almost all astronomical objects, gravitation dominates, and they have the same unexpected behavior. Gravitation reverses the usual relation between energy and temperature. In the domain of astronomy, when heat flows from hotter to cooler objects, the hot objects get hotter and the cool objects get cooler. As a result, temperature differences in the astronomical universe tend to increase rather than decrease as time goes on. There is no final state of uniform temperature, and there is no heat death. Gravitation gives us a universe hospitable to life. Information and order can continue to grow for billions of years in the future, as they have evidently grown in the past. The vision of the future as an infinite playground, with an unending sequence of mysteries to be understood by an unending sequence of players exploring an unending supply of information, is a glorious vision for scientists. Scientists find the vision attractive, since it gives them a purpose for their existence and an unending supply of jobs. The vision is less attractive to artists and writers and ordinary people. Ordinary people are more interested in friends and family than in science. Ordinary people may not welcome a future spent swimming in an unending flood of information. A darker view of the information-dominated universe was described in the famous story “The Library of Babel,” written by Jorge Luis Borges in 1941.§ Borges imagined his library, with an infinite array of books and shelves and mirrors, as a metaphor for the universe. Gleick’s book has an epilogue entitled “The Return of Meaning,” expressing the concerns of people who feel alienated from the prevailing scientific culture. The enormous success of information theory came from Shannon’s decision to separate information from meaning. His central dogma, “Meaning is irrelevant,” declared that information could be handled with greater freedom if it was treated as a mathematical abstraction independent of meaning. The consequence of this freedom is the flood of information in which we are drowning. The immense size of modern databases gives us a feeling of meaninglessness. Information in such quantities reminds us of Borges’s library extending infinitely in all directions. It is our task as humans to bring meaning back into this wasteland. As finite creatures who think and feel, we can create islands of meaning in the sea of information. Gleick ends his book with Borges’s image of the human condition: We walk the corridors, searching the shelves and rearranging them, looking for lines of meaning amid leagues of cacophony and incoherence, reading the history of the past and of the future, collecting our thoughts and collecting the thoughts of others, and every so often glimpsing mirrors, in which we may recognize creatures of the information.

In about 1980, he says, at a time when he was still struggling to articulate his own vision of a dynamic, evolving economy, he happened to read a book by the geneticist Richard Lewontin. And he was struck by a passage in which Lewontin said that scientists come in two types. Scientists of the first type see the world as being basically in equilibrium. And if untidy forces sometimes push a system slightly out of equilibrium, then they feel the whole trick is to push it back again. Lewontin called these scientists "Platonists," after the renowned Athenian philosopher who declared that the messy, imperfect objects we see around us are merely the reflections of perfect "archetypes." Scientists of the second type, however, see the world as a process of flow and change, with the same material constantly going around and around in endless combinations. Lewontin called these scientists "Heraclitans," after the Ionian philosopher who passionately and poetically argued that the world is in a constant state of flux. Heraclitus, who lived nearly a century before Plato, is famous for observing that "Upon those who step into the same rivers flow other and yet other waters," a statement that Plato himself paraphrased as "You can never step into the same river twice." "When I read what Lewontin said," says Arthur, "it was a moment of revelation. That's when it finally became clear to me what was going on. I thought to myself, "Yes! We're finally beginning to recover from Newton.

Among the girls at this party were a number of the now-famous wives of Americans and Britons who are not permitted to leave the Soviet Union. Pretty and rather sad girls. They cannot join their husbands in England or America, and so they are employed by their embassies until some final decision is reached. There are many things we cannot understand about the Soviet Union, and this is one of them. There are not more than fifty of these women. They are no good to the Soviet Union. They are suspected. Russians do not associate with them, and yet they are not permitted to leave. And on these fifty women, these fifty unimportant women, the Soviet Union has got itself more bad publicity than on any other single small item. Of course this situation cannot arise again, since by a new decree no Russian may marry a foreigner. But here they sit in Moscow, these sad women, no longer Russians, and they have not become British or American. And we cannot understand the reasoning which keeps them here. Perhaps it is just that the Russians do not intend to be told what to do about anything by anyone else. It might be as simple as that. When Clement Attlee personally requested that they be sent out of Russia, he was told, in effect, to mind his own business. It is just one more of the international stupidities which seem to be on the increase in the world. Sometimes it seems that the leaders of nations are little boys with chips on their shoulders, daring each other to knock them off.

Westerners, not just Lincoln Steffens. It took in the Central Intelligence Agency of the United States. It even took in the Soviet Union’s own leaders, such as Nikita Khrushchev, who famously boasted in a speech to Western diplomats in 1956 that “we will bury you [the West].” As late as 1977, a leading academic textbook by an English economist argued that Soviet-style economies were superior to capitalist ones in terms of economic growth, providing full employment and price stability and even in producing people with altruistic motivation. Poor old Western capitalism did better only at providing political freedom. Indeed, the most widely used university textbook in economics, written by Nobel Prize–winner Paul Samuelson, repeatedly predicted the coming economic dominance of the Soviet Union. In the 1961 edition, Samuelson predicted that Soviet national income would overtake that of the United States possibly by 1984, but probably by 1997. In the 1980 edition there was little change in the analysis, though the two dates were delayed to 2002 and 2012. Though the policies of Stalin and subsequent Soviet leaders could produce rapid economic growth, they could not do so in a sustained way. By the 1970s, economic growth had all but stopped. The most important lesson is that extractive institutions cannot generate sustained technological change for two reasons: the lack of economic incentives and resistance by the elites. In addition, once all the very inefficiently used resources had been reallocated to industry, there were few economic gains to be had by fiat. Then the Soviet system hit a roadblock, with lack of innovation and poor economic incentives preventing any further progress. The only area in which the Soviets did manage to sustain some innovation was through enormous efforts in military and aerospace technology. As a result they managed to put the first dog, Leika, and the first man, Yuri Gagarin, in space. They also left the world the AK-47 as one of their legacies. Gosplan was the supposedly all-powerful planning agency in charge of the central planning of the Soviet economy. One of the benefits of the sequence of five-year plans written and administered by Gosplan was supposed to have been the long time horizon necessary for rational investment and innovation. In reality, what got implemented in Soviet industry had little to do with the five-year plans, which were frequently revised and rewritten or simply ignored. The development of industry took place on the basis of commands by Stalin and the Politburo, who changed their minds frequently and often completely revised their previous decisions. All plans were labeled “draft” or “preliminary.” Only one copy of a plan labeled “final”—that for light industry in 1939—has ever come to light. Stalin himself said in 1937 that “only bureaucrats can think that planning work ends with the creation of the plan. The creation of the plan is just the beginning. The real direction of the plan develops only after the putting together of the plan.” Stalin wanted to maximize his discretion to reward people or groups who were politically loyal, and punish those who were not. As for Gosplan, its main role was to provide Stalin with information so he could better monitor his friends and enemies. It actually tried to avoid making decisions. If you made a decision that turned

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

Never, perhaps, since Paul wrote has there been more need to labor this point than there is today. Modern muddle-headedness and confusion as to the meaning of faith in God are almost beyond description. People say they believe in God, but they have no idea who it is that they believe in, or what difference believing in him may make. Christians who want to help their floundering fellows into what a famous old tract used to call “safety, certainty and enjoyment” are constantly bewildered as to where to begin: the fantastic hodgepodge of fancies about God quite takes their breath away. How on earth have people got into such a muddle? What lies at the root of their confusion? And where is the starting point for setting them straight? To these questions there are several complementary sets of answers. One is that people have gotten into the practice of following private religious hunches rather than learning of God from his own Word, we have to try to help them unlearn the pride and, in some cases, the misconceptions about Scripture which gave rise to this attitude and to base their convictions henceforth not on what they feel but on what the Bible says. A second answer is that modern people think of all religions as equal and equivalent-they draw their ideas about God from pagan as well as Christian sources; we have to try to show people the uniqueness and finality of the Lord Jesus Christ, God’s last word to man. A third answer is that people have ceased to recognize the reality of their own sinfulness, which imparts a degree of perversity and enmity against God to all that they think and do; it is our task to try to introduce people to this fact about themselves and so make them self-distrustful and open to correction by the word of Christ. A fourth answer, no less basic than the three already given, is that people today are in the habit of disassociating the thought of God’s goodness from that of his severity; we must seek to wean them from this habit, since nothing but misbelief is possible as long as it persists.

what makes life worth living when we are old and frail and unable to care for ourselves? In 1943, the psychologist Abraham Maslow published his hugely influential paper “A Theory of Human Motivation,” which famously described people as having a hierarchy of needs. It is often depicted as a pyramid. At the bottom are our basic needs—the essentials of physiological survival (such as food, water, and air) and of safety (such as law, order, and stability). Up one level are the need for love and for belonging. Above that is our desire for growth—the opportunity to attain personal goals, to master knowledge and skills, and to be recognized and rewarded for our achievements. Finally, at the top is the desire for what Maslow termed “self-actualization”—self-fulfillment through pursuit of moral ideals and creativity for their own sake. Maslow argued that safety and survival remain our primary and foundational goals in life, not least when our options and capacities become limited. If true, the fact that public policy and concern about old age homes focus on health and safety is just a recognition and manifestation of those goals. They are assumed to be everyone’s first priorities. Reality is more complex, though. People readily demonstrate a willingness to sacrifice their safety and survival for the sake of something beyond themselves, such as family, country, or justice. And this is regardless of age. What’s more, our driving motivations in life, instead of remaining constant, change hugely over time and in ways that don’t quite fit Maslow’s classic hierarchy. In young adulthood, people seek a life of growth and self-fulfillment, just as Maslow suggested. Growing up involves opening outward. We search out new experiences, wider social connections, and ways of putting our stamp on the world. When people reach the latter half of adulthood, however, their priorities change markedly. Most reduce the amount of time and effort they spend pursuing achievement and social networks. They narrow in. Given the choice, young people prefer meeting new people to spending time with, say, a sibling; old people prefer the opposite. Studies find that as people grow older they interact with fewer people and concentrate more on spending time with family and established friends. They focus on being rather than doing and on the present more than the future.

Augustine relates in his Confessions how it was decisive for his own path when he learned that the famous philosopher Marius Victorinus had become a Christian. Victorinus had long refused to join the Church because he took the view that he already possessed in his philosophy all the essentials of Christianity, with whose intellectual premises he was in complete agreement.10 Since from his philosophical thinking, he said, he could already regard the central Christian ideas as his own, he no longer needed to institutionalize his convictions by belonging to a Church. Like many educated people both then and now, he saw the Church as Platonism for the people, something of which he as a full-blown Platonist had no need. The decisive factor seemed to him to be the idea alone; only those who could not grasp it themselves, as the philosopher could, in its original form needed to be brought into contact with it through the medium of ecclesiastical organization. That Marius Victorinus nevertheless one day joined the Church and turned from Platonist into Christian was an expression of his perception of the fundamental error implicit in this view. The great Platonist had come to understand that a Church is something more and something other than an external institutionalization and organization of ideas. He had understood that Christianity is not a system of knowledge but a way. The believers’ “We” is not a secondary addition for small minds; in a certain sense it is the matter itself—the community with one’s fellowmen is a reality that lies on a different plane from that of the mere “idea”. If Platonism provides an idea of the truth, Christian belief offers truth as a way, and only by becoming a way has it become man’s truth. Truth as mere perception, as mere idea, remains bereft of force; it only becomes man’s truth as a way that makes a claim upon him, that he can and must tread. Thus belief embraces, as essential parts of itself, the profession of faith, the word, and the unity it effects; it embraces entry into the community’s worship of God and, so, finally the fellowship we call Church. Christian belief is not an idea but life; it is, not mind existing for itself, but incarnation, mind in the body of history and its “We”. It is, not the mysticism of the self-identification of the mind with God, but obedience and service: going beyond oneself, freeing the self precisely through being taken into service by something not made or thought out by oneself, the liberation of being taken into service for the whole.

Listen,” I said. “There was once this legendary French acrobat named Charles Blondin, okay? He was famous in the nineteenth century for doing these impossible daredevil tightrope-walking stunts. He strung a rope across Niagara Falls, a thousand feet long. And this crowd gathered and he walked on the tightrope over the falls, hundreds of feet above the gorge, and the crowd went crazy when he got to the other side, clapping and cheering.” Gabe gave me a skeptical glance. “Yeah?” “And then he said to the crowd, ‘Do you believe I can do it again?’ and the crowd cheered, ‘Yes!’ And he did it. And the crowd cheered even louder, and he said, ‘Do you believe I can do it wearing a blindfold?’ And some people in the crowd got scared and shouted, ‘No, don’t do it,’ and others said, ‘Yes! You can do it!’” “And he fell,” Gabe said. I shook my head. “He did it, and the crowd cheered even louder, and he said, ‘Do you believe I can do it on stilts this time?’ And the crowd shouted out, “Yes! You can do it!’ And he did it, and the crowd roared and got even wilder. So then he said, ‘Do you believe I can do it pushing a wheelbarrow along the rope?’ And the crowd roared and cheered and said, ‘Yes!’ And Blondin said, ‘You really think I can? You believe it?’ And they shouted, ‘Yes! Yes, you can!’ ” Despite himself, despite his teenage cynicism, he was actually listening. For a moment he almost seemed to be a child again, listening to a bedtime story. “Is this true?” “Yes.” “He actually did it?” “Yep. He did it. He walked across the tightrope hundreds of feet above the gorge pushing a wheelbarrow, and when he made it to the other side the audience had grown huge and frenzied and totally worked up and they cheered. Really went crazy. So Blondin said, ‘Do you believe I can do it again but this time pushing a man in this wheelbarrow?’ And the crowd roared and said, ‘Yes!’ He said, ‘You really believe I can do it?’ And they all went, ‘Yes, definitely! You can do it! We believe in you! Yes! Absolutely!’ By that time the crowd was completely behind him. They thought he could do anything. So Blondin said, ‘Then who will volunteer to sit in the wheelbarrow?’ And the crowd suddenly went quiet. Totally silent. And he said, ‘What’s the matter? You don’t believe in me anymore?’ And they were silent for a long time before someone from the crowd finally said, ‘Yes, we believe in you. But not that much.’ ” “Huh. Did anyone ever volunteer to get in the wheelbarrow?” I shrugged. “How’d the guy die?” “In bed. Forty years later. From diabetes.

They came in to look. I watched them. Most people go through museums like they do Macy's: eyes sweeping the display, stopping only if something really grabs their attention. These two looked at everything. They both clearly liked the bicycle picture. Yup, Dutch, I decided. He was a few steps ahead when he got to my favorite painting there. Diana and the Moon. It was-surprise surprise-of Diana, framed by a big open window, the moon dominating the sky outside. She was perched on the windowsill, dressed in a gauzy wrap that could have been nightclothes or a nod to her goddess namesake. She looked beautiful, of course, and happy, but if you looked for more than a second, you could see that her smile had a teasing curve to it and one of her hands was actually wrapped around the outside frame. I thought she looked like she might swing her legs over the sill and jump, turning into a moth or owl or breath of wind even before she was completely out of the room. I thought she looked, too, like she was daring the viewer to come along. Or at least to try. The Dutch guy didn't say anything. He just reached out a hand. His girlfriend stepped in, folding herself into the circle of his outsretched arm. They stood like that, in front of the painting, for a full minute. Then he sneezed. She reached into her pocket and pulled out a tissue.He took in and, without letting go of her, did a surprisingly graceful one-handed blow. Then he crumpled the tissue and looked around for a trash can. There wasn't one in sight. She held out her free hand; he passed over the tissue, and she stuck it right back into her pocket. I wanted to be grossed out. Instead, I had the surprising thought that I really really wanted someone who would do that: put my used Kleenex in his pocket. It seemed like a declaration of something pretty big. Finally,they finished their examination of Diana and moved on.There wasn't much else, just the arrogant Willings and the overblown sunrise. They came over to examine the bronzes. She saw my book. "Excuse me. You know this artist?" Intimately just didn't seem as true anymore. "Pretty well," I answered. "He is famous here?" "Not very." "I like him." she said thoughtfully. "He has...oh, the word...personism?" "Personality?" I offered. "Yes!" she said, delighted. "Personality." She reached behind her without looking. Her boyfriend immediately twined his fingers with hers. They left, unfolding the map again as they went, she chattering cheerfully. I think she was telling him he had personality. They might as well have had exhibit information plaques on their backs: "COUPLE." CONTEMPORARY DUTCH. COURTESY OF THE ESTATE OF LOVE, FOR THE VIEWING PLEASURE (OR NOT) OF ANYONE AND EVERYONE.

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

The Tale of Human Evolution The subject most often brought up by advocates of the theory of evolution is the subject of the origin of man. The Darwinist claim holds that modern man evolved from ape-like creatures. During this alleged evolutionary process, which is supposed to have started 4-5 million years ago, some "transitional forms" between modern man and his ancestors are supposed to have existed. According to this completely imaginary scenario, four basic "categories" are listed: 1. Australopithecus 2. Homo habilis 3. Homo erectus 4. Homo sapiens Evolutionists call man's so-called first ape-like ancestors Australopithecus, which means "South African ape." These living beings are actually nothing but an old ape species that has become extinct. Extensive research done on various Australopithecus specimens by two world famous anatomists from England and the USA, namely, Lord Solly Zuckerman and Prof. Charles Oxnard, shows that these apes belonged to an ordinary ape species that became extinct and bore no resemblance to humans. Evolutionists classify the next stage of human evolution as "homo," that is "man." According to their claim, the living beings in the Homo series are more developed than Australopithecus. Evolutionists devise a fanciful evolution scheme by arranging different fossils of these creatures in a particular order. This scheme is imaginary because it has never been proved that there is an evolutionary relation between these different classes. Ernst Mayr, one of the twentieth century's most important evolutionists, contends in his book One Long Argument that "particularly historical [puzzles] such as the origin of life or of Homo sapiens, are extremely difficult and may even resist a final, satisfying explanation." By outlining the link chain as Australopithecus > Homo habilis > Homo erectus > Homo sapiens, evolutionists imply that each of these species is one another's ancestor. However, recent findings of paleoanthropologists have revealed that Australopithecus, Homo habilis, and Homo erectus lived at different parts of the world at the same time. Moreover, a certain segment of humans classified as Homo erectus have lived up until very modern times. Homo sapiens neandarthalensis and Homo sapiens sapiens (modern man) co-existed in the same region. This situation apparently indicates the invalidity of the claim that they are ancestors of one another. Stephen Jay Gould explained this deadlock of the theory of evolution although he was himself one of the leading advocates of evolution in the twentieth century: What has become of our ladder if there are three coexisting lineages of hominids (A. africanus, the robust australopithecines, and H. habilis), none clearly derived from another? Moreover, none of the three display any evolutionary trends during their tenure on earth. Put briefly, the scenario of human evolution, which is "upheld" with the help of various drawings of some "half ape, half human" creatures appearing in the media and course books, that is, frankly, by means of propaganda, is nothing but a tale with no scientific foundation. Lord Solly Zuckerman, one of the most famous and respected scientists in the U.K., who carried out research on this subject for years and studied Australopithecus fossils for 15 years, finally concluded, despite being an evolutionist himself, that there is, in fact, no such family tree branching out from ape-like creatures to man.

Growth was so rapid that it took in generations of Westerners, not just Lincoln Steffens. It took in the Central Intelligence Agency of the United States. It even took in the Soviet Union’s own leaders, such as Nikita Khrushchev, who famously boasted in a speech to Western diplomats in 1956 that “we will bury you [the West].” As late as 1977, a leading academic textbook by an English economist argued that Soviet-style economies were superior to capitalist ones in terms of economic growth, providing full employment and price stability and even in producing people with altruistic motivation. Poor old Western capitalism did better only at providing political freedom. Indeed, the most widely used university textbook in economics, written by Nobel Prize–winner Paul Samuelson, repeatedly predicted the coming economic dominance of the Soviet Union. In the 1961 edition, Samuelson predicted that Soviet national income would overtake that of the United States possibly by 1984, but probably by 1997. In the 1980 edition there was little change in the analysis, though the two dates were delayed to 2002 and 2012. Though the policies of Stalin and subsequent Soviet leaders could produce rapid economic growth, they could not do so in a sustained way. By the 1970s, economic growth had all but stopped. The most important lesson is that extractive institutions cannot generate sustained technological change for two reasons: the lack of economic incentives and resistance by the elites. In addition, once all the very inefficiently used resources had been reallocated to industry, there were few economic gains to be had by fiat. Then the Soviet system hit a roadblock, with lack of innovation and poor economic incentives preventing any further progress. The only area in which the Soviets did manage to sustain some innovation was through enormous efforts in military and aerospace technology. As a result they managed to put the first dog, Leika, and the first man, Yuri Gagarin, in space. They also left the world the AK-47 as one of their legacies. Gosplan was the supposedly all-powerful planning agency in charge of the central planning of the Soviet economy. One of the benefits of the sequence of five-year plans written and administered by Gosplan was supposed to have been the long time horizon necessary for rational investment and innovation. In reality, what got implemented in Soviet industry had little to do with the five-year plans, which were frequently revised and rewritten or simply ignored. The development of industry took place on the basis of commands by Stalin and the Politburo, who changed their minds frequently and often completely revised their previous decisions. All plans were labeled “draft” or “preliminary.” Only one copy of a plan labeled “final”—that for light industry in 1939—has ever come to light. Stalin himself said in 1937 that “only bureaucrats can think that planning work ends with the creation of the plan. The creation of the plan is just the beginning. The real direction of the plan develops only after the putting together of the plan.” Stalin wanted to maximize his discretion to reward people or groups who were politically loyal, and punish those who were not. As for Gosplan, its main role was to provide Stalin with information so he could better monitor his friends and enemies. It actually tried to avoid making decisions. If you made a decision that turned out badly, you might get shot. Better to avoid all responsibility. An example of what could happen