Famous Why Quotes

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.

Name one hero who was happy." I considered. Heracles went mad and killed his family; Theseus lost his bride and father; Jason's children and new wife were murdered by his old; Bellerophon killed the Chimera but was crippled by the fall from Pegasus' back. "You can't." He was sitting up now, leaning forward. "I can't." "I know. They never let you be famous AND happy." He lifted an eyebrow. "I'll tell you a secret." "Tell me." I loved it when he was like this. "I'm going to be the first." He took my palm and held it to his. "Swear it." "Why me?" "Because you're the reason. Swear it." "I swear it," I said, lost in the high color of his cheeks, the flame in his eyes. "I swear it," he echoed. We sat like that a moment, hands touching. He grinned. "I feel like I could eat the world raw.

You say you love rain, but you use an umbrella to walk under it. You say you love sun, but you seek shelter when it is shining. You say you love wind, but when it comes you close your windows. So that's why I'm scared when you say you love me.

Name one hero who was happy." "You can't." He was sitting up now, leaning forward. "I can't." "I know. They never let you be famous AND happy." He lifted an eyebrow. "I'll tell you a secret." "Tell me." I loved it when he was like this. "I'm going to be the first." He took my palm and held it to his. "Swear it." "Why me?" "Because you're the reason. Swear it." "I swear it

Here's why I will be a good person. Because I listen. I cannot talk, so I listen very well. I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like being a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.

There was a soft chuckle beside me, and my heart stopped. "So this is Oberon's famous half-blood," Ash mused as I whirled around. His eyes, cold and inhuman, glimmered with amusement. Up close, he was even more beautiful, with high cheekbones and dark tousled hair falling into his eyes. My traitor hands itched, longing to run my fingers through those bangs. Horrified, I clenched them in my lap, trying to concentrate on what Ash was saying. "And to think," the prince continued, smiling, "I lost you that day in the forest and didn't even know what I was chasing." I shrank back, eyeing Oberon and Queen Mab. They were deep in conversation and did not notice me. I didn't want to interrupt them simply because a prince of the Unseelie Court was talking to me. Besides, I was a faery princess now. Even if I didn't quite believe it, Ash certainly did. I took a deep breath, raised my chin, and looked him straight in the eye. "I warn you," I said, pleased that my voice didn't tremble, "that if you try anything, my father will remove your head and stick it to a plaque on his wall." He shrugged one lean shoulder. "There are worse things." At my horrified look, he offered a faint, self-derogatory smile. "Don't worry, princess, I won't break the rules of Elysium. I have no intention of facing Mab's wrath should I embarrass her. That's not why I'm here." "Then what do you want?" He bowed. "A dance." "What!" I stared at him in disbelief. "You tried to kill me!" "Technically, I was trying to kill Puck. You just happened to be there. But yes, if I'd had the shot, I would have taken it." "Then why the hell would you think I'd dance with you?" "That was then." He regarded me blandly. "This is now. And it's tradition in Elysium that a son and daughter of opposite territories dance with each other, to demonstrate the goodwill between the courts." "Well, it's a stupid tradition." I crossed my arms and glared. "And you can forget it. I am not going anywhere with you." He raised an eyebrow. "Would you insult my monarch, Queen Mab, by refusing? She would take it very personally, and blame Oberon for the offense. And Mab can hold a grudge for a very, very long time." Oh, damn. I was stuck.

I had a question. 'Why does the name Pearl Harbor sound so familiar?' The lieutenant colonel's eyes narrowed. 'Pearl Harbor is the most famous U.S. military base in the world,' he said crisply. 'It's the only place on U.S. soil that has been attacked in a wars, since the Revolutionary War.' None of this was ringing a bell, but you already know I'm totally uneducated. Gazzy leaned over to whisper, 'It was a movie with Ben Affleck.' Ah. Now I remembered.

Names. What’s in a name, really? I mean, besides a bunch of letters or sounds strung together to make a word. Does a rose by any other name really smell as sweet? Would the most famous love story in the world be as poignant if it was called Romeo and Gertrude? Why is what we call ourselves so important?

To leave the marriage behind is to step out of the spotlight. It means fading into normalcy, returning to ordinary life, perhaps an impossible admission for women who have built their egos on being one member of a powerful team. To divorce might be to admit defeat for women who have come to see themselves as extraordinary and who circulate with other famous and history-making figures.

Do you have a favorite constalation, Percy?' I was still kind of wondering about the little green snakes he'd shoved into his jogging shorts, but i said. 'Uh, I like Hercules.' 'Why?' 'Well... because he had rotten luck. Even worse than mine. It makes me feel better." The jogger chuckled. 'Not because he was strong and famouse and all that?' 'No.

Why should I have to ask you? You’re a grown man! You should just know!” And there it is, kiddies. The Famous Female Mind Fuck. That’s short for: If you can’t read their minds? You’re fucked

People like me are aware of their so-called genius at ten, eight, nine. . . . I always wondered, ``Why has nobody discovered me?'' In school, didn't they see that I'm cleverer than anybody in this school? That the teachers are stupid, too? That all they had was information that I didn't need? I got fuckin' lost in being at high school. I used to say to me auntie ``You throw my fuckin' poetry out, and you'll regret it when I'm famous, '' and she threw the bastard stuff out. I never forgave her for not treating me like a fuckin' genius or whatever I was, when I was a child. It was obvious to me. Why didn't they put me in art school? Why didn't they train me? Why would they keep forcing me to be a fuckin' cowboy like the rest of them? I was different I was always different. Why didn't anybody notice me? A couple of teachers would notice me, encourage me to be something or other, to draw or to paint - express myself. But most of the time they were trying to beat me into being a fuckin' dentist or a teacher

It's strange," I say to Day later, as we both curl up on the floor. Outside, the hurricane rages on. In a few hours we'll need to head out. "It's strange being here with you. I hardly know you. But...sometimes it feels like we're the same person born into two different worlds." He stays quiet for a moment, one hand absently playing with my hair. "I wonder what we would've been like if I'd been born into a life more like yours,and you had been born into mine. Would we be just like we are now? Would I be one of the Republic's top soldiers? And would you be a famous criminal?" I lift my head off his shoulder and look at him. "I never did ask you about your street name.Why 'Day'?" "Each day means a new twenty-four hours. Each day means everything's possible again.You live in the moment, you die in the moment,you take it all one day at a time." He looks toward the railway car's open door, where streaks of dark water blanket the world. "You try to walk in the light.

The American story has never been about things coming easy. It has been about rising to the moment when the moment is hard. About rejecting panicked division for purposeful unity. About seeing a mountaintop from the deepest valley. That is why we remember that some of the most famous words ever spoken by an American came from a president who took office in a time of turmoil: "The only thing we have to fear is fear itself.

(While accepting the Jean Hersholt Humanitarian Award) I've been thinking about why you have to get famous to get an award for helping other people...If your name is John Doe, and you work night and day doing things for your helpless neighbors, what you get for your effort is tired. So, Mr. and Mrs. Doe, and all of you who give of yourselves, to those who carry too big a burden to make it on their own, I want you to reach out and take your share of this...Because if I have earned it, so too have you.

Today, women in general are more likely to do housework than men—cooking and cleaning. But why is that? Is it because women are born with a cooking gene or because over years they have been socialized to see cooking as their role? I was going to say that perhaps women are born with a cooking gene until I remembered that the majority of famous cooks in the world—who are given the fancy title of “chef”—are men.

But I don’t understand. Why do you want me to think that this is great architecture? He pointed to the picture of the Parthenon. That, said the Dean, is the Parthenon. - So it is. - I haven’t the time to waste on silly questions. - All right, then. - Roark got up, he took a long ruler from the desk, he walked to the picture. - Shall I tell you what’s rotten about it? - It’s the Parthenon! - said the Dean. - Yes, God damn it, the Parthenon! The ruler struck the glass over the picture. - Look,- said Roark. - The famous flutings on the famous columns – what are they there for? To hide the joints in wood – when columns were made of wood, only these aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams, the way they had to be laid when people began to build wooden shacks. Your Greeks took marble and they made copies of their wooden structures out of it, because others had done it that way. Then your masters of the Renaissance came along and made copies in plaster of copies in marble of copies in wood. Now here we are, making copies in steel and concrete of copies in plaster of copies in marble of copies in wood. Why?

Ripred sighed. 'I suppose so. You and I seem to end up doing everything. Shall we say four members for each delegation?' 'Why not?' Luxa said. 'Four can be as stupid as ten. No need to crowd the room.' Ripred laughed. 'You know, I think you an I are going to get on famously.

When we fear what other people think about us, we are frequently more focused on 'being interesting' and less focused on 'taking an interest.' That's why many people talk a great deal when they are anxious and why many people never feel heard. If both people and conversation are trying to be interesting, there is no one left to genuinely listen.

In the famous commencement speech Steve Jobs gave at Stanford in 2005 he said, “Remembering that I’ll be dead soon is the most important tool I’ve ever encountered to help me make the big choices in life.

Driving home, I thought of Janice, wondering why I wasn’t upset or hurt by (William) Styron’s wine-soaked moves. Did I give his flirtations a pass because of the alcohol? Was it because he was a famous and a highly praised writer whom I'd wanted to meet? Or did I need to protect him since he was somebody, and I was nobody? I only knew that I didn’t feel abused, like I knew Janice had been…. Styron was famous. But so was Coach, at least in Soso.

When you are famous it is hard to work on small problems. This is what did Shannon in. After information theory, what do you do for an encore? The great scientists often make this error. They fail to continue to plant the little acorns from which the mighty oak trees grow. They try to get the big thing right off. And that isn't the way things go. So that is another reason why you find that when you get early recognition it seems to sterilize you.

The night before her wedding, Daisy taught me that after the world ended, you still had to get up in the morning, and the things that you ruined would still be there, needing to be fixed. When I looked at famous Jay Gatsby, soul gone and some terrible engine he called love driving him now, I could see that for him, the world was always ending. For him, it was all a wreck and a ruin, and he had no idea why the rest of us weren't screaming.

Kurt Cobain OD'd on heroin before committing suicide, but he also OD'd on fame. Cobain was like Basquiat: They both wanted to be famous, and were brilliant enough to make it happen. But then what? Drug addicts kill themselves trying to get that feeling they got from their first high, looking for an experience they'll never get again. In his suicide note, Cobain asked himself, "Why don't you just enjoy it?" and then answered, "I don't know!" It's amazing how much of a mindfuck success can be.

I suppose the fundamental distinction between Shakespeare and myself is one of treatment. We get our effects differently. Take the familiar farcical situation of someone who suddenly discovers that something unpleasant is standing behind them. Here is how Shakespeare handles it in "The Winter's Tale," Act 3, Scene 3: ANTIGONUS: Farewell! A lullaby too rough. I never saw the heavens so dim by day. A savage clamour! Well may I get aboard! This is the chase: I am gone for ever. And then comes literature's most famous stage direction, "Exit pursued by a bear." All well and good, but here's the way I would handle it: BERTIE: Touch of indigestion, Jeeves? JEEVES: No, Sir. BERTIE: Then why is your tummy rumbling? JEEVES: Pardon me, Sir, the noise to which you allude does not emanate from my interior but from that of that animal that has just joined us. BERTIE: Animal? What animal? JEEVES: A bear, Sir. If you will turn your head, you will observe that a bear is standing in your immediate rear inspecting you in a somewhat menacing manner. BERTIE (as narrator): I pivoted the loaf. The honest fellow was perfectly correct. It was a bear. And not a small bear, either. One of the large economy size. Its eye was bleak and it gnashed a tooth or two, and I could see at a g. that it was going to be difficult for me to find a formula. "Advise me, Jeeves," I yipped. "What do I do for the best?" JEEVES: I fancy it might be judicious if you were to make an exit, Sir. BERTIE (narrator): No sooner s. than d. I streaked for the horizon, closely followed across country by the dumb chum. And that, boys and girls, is how your grandfather clipped six seconds off Roger Bannister's mile. Who can say which method is superior?" (As reproduced in Plum, Shakespeare and the Cat Chap )

Otrera led her warriors on tons of successful campaigns across Asia Minor and into Greece. They founded two famous cities on the western coast of Turkey – Smyrna and Ephesus. Why they picked those names, I don’t know. I would’ve gone with Buttkickville and Smackdown City, but that’s just me.

When I looked at famous Jay Gatsby, soul gone and some terrible engine he called love driving him now, I could see that for him, the world was always ending. For him, it was all a wreck and a ruin, and he had no idea why the rest of us weren’t screaming.

There’s a famous Russian proverb about this type of behavior. One day, a poor villager happens upon a magic talking fish that is ready to grant him a single wish. Overjoyed, the villager weighs his options: “Maybe a castle? Or even better—a thousand bars of gold? Why not a ship to sail the world?” As the villager is about to make his decision, the fish interrupts him to say that there is one important caveat: whatever the villager gets, his neighbor will receive two of the same. Without skipping a beat, the villager says, “In that case, please poke one of my eyes out.

If you’ve ever wondered why some writers who, in your humble opinion, don’t write as well as you do yet are rich and famous while you struggle onward, this is the reason. They are great directors.

One theorist, Iris Marion Young, relying on a famous “birdcage” metaphor, explains it this way: If one thinks about racism by examining only one wire of the cage, or one form of disadvantage, it is difficult to understand how and why the bird is trapped. Only a large number of wires arranged in a specific way, and connected to one another, serve to enclose the bird and to ensure that it cannot escape.11

Pick up a pinecone and count the spiral rows of scales. You may find eight spirals winding up to the left and 13 spirals winding up to the right, or 13 left and 21 right spirals, or other pairs of numbers. The striking fact is that these pairs of numbers are adjacent numbers in the famous Fibonacci series: 1, 1, 2, 3, 5, 8, 13, 21... Here, each term is the sum of the previous two terms. The phenomenon is well known and called phyllotaxis. Many are the efforts of biologists to understand why pinecones, sunflowers, and many other plants exhibit this remarkable pattern. Organisms do the strangest things, but all these odd things need not reflect selection or historical accident. Some of the best efforts to understand phyllotaxis appeal to a form of self-organization. Paul Green, at Stanford, has argued persuasively that the Fibonacci series is just what one would expects as the simplest self-repeating pattern that can be generated by the particular growth processes in the growing tips of the tissues that form sunflowers, pinecones, and so forth. Like a snowflake and its sixfold symmetry, the pinecone and its phyllotaxis may be part of order for free

Keanu Reeves?" she asks in amazement. I nod. "What did he wish for?" "Isn't it obvious?" I say, waving a hand at the screen. "Fame." "That's why he's famous? Because of a wish?" "Have you seen his movies? Surely you didn't think he made it on his acting skills?" I grant wishes; I don't work miracles. Viola looks back at the screen, eyes screwed up in awe. "I guess that makes sense," she says faintly as my former master delivers a line poorly. "Wow.

I nudged myself closer to the ledge and closed my eyes and thought 'Oh what a life this is, why do we have to be born in the first place, and only so we can have our poor gentle flesh laid out to such impossible horrors as huge mountains and rock and empty space,' and with horror I remembered the famous Zen saying, 'When you get to the top of a mountain, keep climbing.' The saying made my hair stand on end; it had been such cute poetry sitting on Alvah's straw mats.

Many scholars forget, it seems to me, that our enjoyment of the great works of literature depends more upon the depth of our sympathy than upon our understanding. The trouble is that very few of their laborious explanations stick in the memory. The mind drops them as a branch drops its overripe fruit. ... Again and again I ask impatiently, "Why concern myself with these explanations and hypotheses?" They fly hither and thither in my thought like blind birds beating the air with ineffectual wings. I do not mean to object to a thorough knowledge of the famous works we read. I object only to the interminable comments and bewildering criticisms that teach but one thing: there are as many opinions as there are men.

In the time you will live, there will be heroes around. Simple men, honest men who work two jobs, go to school, raise a family, and serve our God. An older couple who have the courage to seek out the truth while enduring the scorn and ridicule of their children and friends. A young man, a special spirit, who will take on a body that is deformed- and yet you will never see hime unhappy or without a smile on his face. A young mother who will care for a daughter while she suffers a painful death, and yet never doubt or loose faith that her Father loves them both. In your worl famous people will be hard to find. But you will be surrounded by heroes, you will meet them everyday. They will be the simple people who struggle but never give up, those who strive to be happy despite the cares of the physical world, those who dream of the day when they will find the truth, those who search for understanding as to why they were born, why there is pain, or what it all means, and yet continure to endure, knowing in their soul, somewhere deep inside, that there has to be an answer. These are the heroes that our Father needs down on earth. And you will be a hero. We already know that.

Soon they were all sitting on the rocky ledge, which was still warm, watching the sun go down into the lake. It was the most beautiful evening, with the lake as blue as a cornflower and the sky flecked with rosy clouds. They held their hard-boiled eggs in one hand and a piece of bread and butter in the other, munching happily. There was a dish of salt for everyone to dip their eggs into. ‘I don’t know why, but the meals we have on picnics always taste so much nicer than the ones we have indoors,’ said George.

Their [girls] sexual energy, their evaluation of adolescent boys and other girls goes thwarted, deflected back upon the girls, unspoken, and their searching hungry gazed returned to their own bodies. The questions, Whom do I desire? Why? What will I do about it? are turned around: Would I desire myself? Why?...Why not? What can I do about it? The books and films they see survey from the young boy's point of view his first touch of a girl's thighs, his first glimpse of her breasts. The girls sit listening, absorbing, their familiar breasts estranged as if they were not part of their bodies, their thighs crossed self-consciously, learning how to leave their bodies and watch them from the outside. Since their bodies are seen from the point of view of strangeness and desire, it is no wonder that what should be familiar, felt to be whole, become estranged and divided into parts. What little girls learn is not the desire for the other, but the desire to be desired. Girls learn to watch their sex along with the boys; that takes up the space that should be devoted to finding out about what they are wanting, and reading and writing about it, seeking it and getting it. Sex is held hostage by beauty and its ransom terms are engraved in girls' minds early and deeply with instruments more beautiful that those which advertisers or pornographers know how to use: literature, poetry, painting, and film. This outside-in perspective on their own sexuality leads to the confusion that is at the heart of the myth. Women come to confuse sexual looking with being looked at sexually ("Clairol...it's the look you want"); many confuse sexually feeling with being sexually felt ("Gillete razors...the way a woman wants to feel"); many confuse desiring with being desirable. "My first sexual memory," a woman tells me, "was when I first shaved my legs, and when I ran my hand down the smooth skin I felt how it would feel to someone else's hand." Women say that when they lost weight they "feel sexier" but the nerve endings in the clitoris and nipples don't multiply with weight loss. Women tell me they're jealous of the men who get so much pleasure out of the female body that they imagine being inside the male body that is inside their own so that they can vicariously experience desire. Could it be then that women's famous slowness of arousal to men's, complex fantasy life, the lack of pleasure many experience in intercourse, is related to this cultural negation of sexual imagery that affirms the female point of view, the culture prohibition against seeing men's bodies as instruments of pleasure? Could it be related to the taboo against representing intercourse as an opportunity for a straight woman actively to pursue, grasp, savor, and consume the male body for her satisfaction, as much as she is pursued, grasped, savored, and consumed for his?

For example, it is said that someone at a party once asked the famous philosopher Ly Tin Weedle “Why are you here?” and the reply took three years.

It's an easy guess, why some get famous over night and not during the day.

THE PUZZLE IS WHY SO MANY PEOPLE LIVE so badly. Not so wickedly, but so inanely. Not so cruelly, but so stupidly. There is little to admire and less to imitate in the people who are prominent in our culture. We have celebrities but not saints. Famous entertainers amuse a nation of bored insomniacs. Infamous criminals act out the aggressions of timid conformists. Petulant and spoiled athletes play games vicariously for lazy and apathetic spectators. People, aimless and bored, amuse themselves with trivia and trash. Neither the adventure of goodness nor the pursuit of righteousness gets headlines.

Taylor Swift on why girls look up to her: "It’s the message. I try to have a normal life and look at things in a normal way, under very abnormal circumstances. That’s always going to be my main goal, that’s always what I’m going to strive for, to be a normal human being. It’s interesting because you’re put in really abnormal situations. You have an abnormal-size microscope covering your life and everything you do. You look at the idea of being 22, that’s when you’re supposed to be out there living and being selfish and making mistakes and messing up. If I mess up once, it’s a headline everywhere.

One more thing about Cassandra: in the most famous version of the myth, the disbelief with which her prophecies were met was the result of a curse placed on her by Apollo when she refused to have sex with the god. The idea that loss of credibility is tied to asserting rights over your own body was there all along. But with the real-life Cassandras among us, we can lift the curse by making up our own minds about who to believe and why.

The shirt was a screen print of a famous Surrealist artwork by René Magritte in which he drew a pipe and then beneath it wrote in cursive Ceci n’est pas une pipe. (“This is not a pipe.”) “I just don’t get that shirt,” Mom said. “Peter Van Houten will get it, trust me. There are like seven thousand Magritte references in An Imperial Affliction.” “But it is a pipe.” “No, it’s not,” I said. “It’s a drawing of a pipe. Get it? All representations of a thing are inherently abstract. It’s very clever.” “How did you get so grown up that you understand things that confuse your ancient mother?” Mom asked. “It seems like just yes-terday that I was telling seven-year-old Hazel why the sky was blue. You thought I was a genius back then.” “Why is the sky blue?” I asked. “Cuz,” she answered. I laughed.

He was always being told that writers never become famous or rich, but of course that was not why he wrote, he wrote simply because he felt he had interesting stories to tell that people might like to hear.

Let us, rather, gather facts, all the facts, regardless of aesthetic appeal or theoretical social worth, and spread those facts before us not as the soothsayer spreads the innards of a turkey but as a newspaper spreads its columns. Let us be journalists, then. And like all good journalists, we shall present our facts in an order that will satisfy the famous five W's: wow, whoopee, wahoo, why-not and whew.

Yes,’ he cried, ‘you have killed my love! You used to stir my imagination. Now you don’t even stir my curiosity. You simply produce no effect. I loved you because you were marvelous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow and stupid. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You can’t know what you were to me, once. Why, once… Oh, I can’t bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love if you say it mars your art! Without your art you are nothing. I would have made you famous, splendid, magnificent. The world would have worshiped you, and you would have borne my name. What are you now? A third-rate actress with a pretty face.

The second death. To think that you died and no one would remember you. I wondered if this was why we tried so hard to make our mark in America. To be known. Think of how important celebrity has become. We sing to get famous; expose our worst secrets to get famous; lose weight, eat bugs, even commit murder to get famous. Our young people post their deepest thoughts on public web sites. They run cameras from their bedrooms. It’s as if we are screaming Notice Me! Remember Me! Yet the notoriety barely lasts. Names quickly blur and in time are forgotten.

Vere spoke again, “You want us to hide this six-foot-three, positively gorgeous, famous rock star—one who has sports-drink blue eyes BY THE WAY—and who is absolutely PERFECT looking, at Palmer Divide High? In this town? In my junior class?” “Yes,” Mrs. Roth answered. “Why is it such a difficult concept for you to grasp?” “Because guys who look like that.” She pointed a finger at him. “Do not come from this town. In addition to the face, he’s too tall, and he’s got the posture of some Russian—ballerina! And did you not notice his voice?” “What’s wrong with my voice?” Hunter frowned. “It’s all LOW and, SUPER-MANLY-AMAZING,” she modulated her voice down, trying to sound like him. Charlie cracked up, and Hunter had to bury his own laugh.

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.

One of the most important steps in therapy is helping people take responsibility for their current predicaments, because once they realize that they can (and must) construct their own lives, they’re free to generate change. Often, though, people carry around the belief that the majority of their problems are circumstantial or situational—which is to say, external. And if the problems are caused by everyone and everything else, by stuff out there, why should they bother to change themselves? Even if they decide to do things differently, won’t the rest of the world still be the same? It’s a reasonable argument. But that’s not how life generally works. Remember Sartre’s famous line “Hell is other people”? It’s true—the world is filled with difficult people (or, as John would have it, “idiots”). I’ll bet you could name five truly difficult people off the top of your head right now—some you assiduously avoid, others you would assiduously avoid if they didn’t share your last name. But sometimes—more often than we tend to realize—those difficult people are us. That’s right—sometimes hell is us. Sometimes we are the cause of our difficulties. And if we can step out of our own way, something astonishing happens.

My love, you are closer to me than myself... You shine through my eyes, Your light is brighter than the Moon... Step into the garden so all the flowers... Even the tall poplar can kneel before your beauty... Let your voice silence the lily famous for its hundred tongues, When you want to be kind... You are softer than the soul... But when you withdraw... You can be so cold and harsh. Dear one, you can be wild and rebellious... But when you meet him face to face... His charm will make you docile like the earth, Throw away your shield and bare your chest... There is no stronger protection than him. That's why when the Lover withdraws from the world... He covers all the cracks in the wall... So the outside light cannot come though, He knows that only the inner light illuminates his world!

It's funny, I wonder why we like being praised. There's no money in it. Fame? How famous could we get? . . . Aren't humans absurd? I suppose we like praise for its own sake. The way children like ice cream. It's an inferiority complex, that's what it is. Praise assuages our insecurities. And ridiculously so.

For economists, Argentina is a perplexing country. To illustrate how difficult it was to understand Argentina, the Nobel Prize–winning economist Simon Kuznets once famously remarked that there were four sorts of countries: developed, underdeveloped, Japan, and Argentina.

Cold flu looks nothing in front of cancer...complications in our personal life is like a flu and killing people on name of God or borders or countries is cancer...you can help this planet...there are ways...willingness is an action We are one...the only difference is ...few are awake, few are ready to wake up and few are just ignorant and time is coming when there will be no choice for those who is ignorant because of suffering and pain .... Bigger EGO is always drawn to Bigger Ego so many times Bigger ego ignores the important message being delivered by not a famous person. Love heals...Love not from mind...deep from heart....Mind brings games and play around with relationships...Something sacred deep from heart....L ♥ V E...Unconditional...No business of give and take....unconditional giving.... Don't be afraid and run away from loneliness and start seeking securities....Try to enjoy every part of it and then you will see ...Loneliness turned into something which we never want to loose....investigate your feeling when you feel lonely We always want something in return...we have made LOVE a business...I did it too in the past that's why I know it...this is the reason that we should change...you change, I change....everyone should think again on the way of living life and thinking and specially who thinks they know what life is. 2 births in the same life....physical and spiritual....you break the bondage (psychologically) with physical attributes of life ( detached state of mind) and try to find real "maksad" (purpose) of your existence as Being not Doing If you want to enjoy your relationship with your special one then please keep these tools handy:1) Patience2) Trust3) Freedom4) Honesty5) Respect we are all stars... twinkling with love and when there is love then there is no conflict 4 letters L ♥ V E ..imagine these letters on your hand and try to feel the deep meaning and power of these letters...feel the love you have for this life...start from there and spread love to everyone you see or meet...LOVE

I'm a role model now. ... I want to be a better person because I don't want to disappoint those girls. I stop and think about my actions more. I tip great, I try not to swear too much, and I remember to thank people and be grateful. And all that stuff I do to "appear' better has actually made me a better person. I wish I had always acted like I was a little bit famous.

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

Dr. Malcolm Long: Walter, is what happened to Kitty Genovese really proof that the whole of mankind is rotten? I think you've been conditioned with a negative worldview. There are good people, too, like... Rorschach: Like you? Dr. Malcolm Long: Me? Oh, well, I wouldn't say that. I... Rorschach: No. You just think it. Think you're 'good people'. Why are you spending so much time with me, Doctor? Dr. Malcolm Long: Uh...well, because I care about you, and because I want to make you well... Rorschach: Other people, down in cells. Behavior more extreme than mine. You don't spend any time with them...but then, they're not famous. Won't get your name in the journals. You don't want to make me well. Just want to know what makes me sick. You'll find out. Have patience, Doctor. You'll find out.

When I meet a pretty girl and beg her: "Be so good as to come with me," and she walks past without a word, this is what she means to say: "You are no Duke with a famous name, no broad American with Red Indian figure, level, brooding eyes and a skin tempered by the air of the prairies and the rivers that flow through them, you have never journeyed to the seven seas and voyaged on them wherever they may be, I don't know where. So why, pray, should a pretty girl like myself go with you?" "You forget that no automobile swings you through the street in long thrusts; I see no gentlemen escorting you in a close half-circle, pressing on your skirts from behind and murmuring blessings on your head; your breasts are well laced into your bodice, but your thighs and hips make up for that restraint; you are wearing a taffeta dress with a pleated skirt such as delighted all of us last autumn, and yet you smile-inviting mortal danger-from time to time." "Yes, we're both in the right, and to keep us from being irrevocably aware of it, hadn't we better just go our separate ways home?

What are the funniest famous last words you've ever heard?" Lost, Ryan just stared at her. Why did her brain constantly spit out nonsensical questions? "Fine be boring." She turned to Jaime, who was sprawled on the neighboring blanked, and repeated the question. "Lightning never hits the same spot twice," said Jaime. Everyone laughted. "You know any"" she asked her mate. "Pull the pin out and count to what?" said Dante. Dominic plopped himself on the ground next to Zac. "I got one: Hold my beer while I do this." Taryn raised her hand. "Hey, what does this button do?" "This doesn't taste right," said Marcus. Bracken, a Mercury Pack enforcer spoke. "It's just a flesh wound." Ally offered, "No dummy, that's a dolphin fin." "What's that red dot on your forehead?" said McKenna. Amused in spite of himself - it was after all, a completely pointless conversation - Ryan kissed her temple.

That’s what I was thinking about before you came. I was thinking about your mattering business. I feel like, like, how you matter is defined by the things that matter to you. You matter as much as the things that matter to you do. And I got so backwards, trying to make myself matter to him. All this time, there were real things to care about: real, good people who care about me, and this place. It’s so easy to get stuck. You just get caught in being something, being special or cool or whatever, to the point where you don’t even know why you need it; you just think you do.” “You don’t even know why you need to be world-famous; you just think you do.

Now that I know he’s Ezra’s new maybe-special friend, I pay a little more attention to him than I would have before. He kind of reminds me of a golden retriever, with his floppy blond hair and blue eyes. The first time I saw him in acrylics class, I kind of immediately hated the guy. He’s the sort of person the world adores, just based on the way he looks, a little like the way people obsess over men like Chris Hemsworth and Chris Evans and Chris Pine and all the other famous Chrises, plus Ryan Gosling, claiming that they’re liberal and that they aren’t racist and that they’re feminists, but not really thinking about why they’re so obsessed with white men, and why they don’t love any people of color the same way.

Maeghan is local, Berengar is Liege." "Shotgun on Liege," I said quickly. The reapers all stared at me like I'd grown a third eye. "What?" I asked, not the least bit embarrassed. "Their waffles are world famous. I'm going to Liege if only for their awesome waffles." "I like waffles," Cadan said. I beamed at him. "All right. You'll be on Team Waffles with Will and me." Will just shrugged. He accepted me for who I was and he didn't seem to mind being on Team Waffles. Marcus gave Ava a pathetic look. "Why can't our team have a cool name?

1. The Will to Truth, which is to tempt us to many a hazardous enterprise, the famous Truthfulness of which all philosophers have hitherto spoken with respect, what questions has this Will to Truth not laid before us! What strange, perplexing, questionable questions! It is already a long story; yet it seems as if it were hardly commenced. Is it any wonder if we at last grow distrustful, lose patience, and turn impatiently away? That this Sphinx teaches us at last to ask questions ourselves? WHO is it really that puts questions to us here? WHAT really is this "Will to Truth" in us? In fact we made a long halt at the question as to the origin of this Will—until at last we came to an absolute standstill before a yet more fundamental question. We inquired about the VALUE of this Will. Granted that we want the truth: WHY NOT RATHER untruth? And uncertainty? Even ignorance? The problem of the value of truth presented itself before us—or was it we who presented ourselves before the problem? Which of us is the Oedipus here? Which the Sphinx? It would seem to be a rendezvous of questions and notes of interrogation. And could it be believed that it at last seems to us as if the problem had never been propounded before, as if we were the first to discern it, get a sight of it, and RISK RAISING it? For there is risk in raising it, perhaps there is no greater risk.

Do you know why the world is moving? Or why things are the way they are? It’s because the vast majority of people don’t ask themselves one simple question. ‘And then what?’ I want to crack this exam. ‘And then what?’ I want to elope with her. ‘And then what?’ I want that luxury car. ‘And then what?’ I want to be famous. ‘And then what?’ Do you understand what I want to expound? We all progress, taking one step at a time. We all progress with one goal under consideration. But no matter how many steps we take, there still remains a deep yearning for something that we can’t explain. A nihilist knows that it is a vicious circle. A nihilist knows that it is all ‘pointless.’ (Yes, true nihilism is spirituality inverted). But thank God, nihilists don’t rule this world. And thank God, nor do the spiritualists. Else the whole world would be asking, ‘And then what?

Something that once had importance might be forgotten by most people but because millions of people once knew it, a force is present that can be harnessed. There might be so much significance attached to a song, for example, or a fact, that it can’t die but only lies dormant, like a vampire in his coffin, waiting to be called forth from the grave once again. There is more magic in the fact that the first mass worldwide photo of the Church of Satan was taken by Joe Rosenthal – the same man who took the most famous news photo in history – the flag-raising at Iwo Jima. There’s real occult significance to that – much more than in memorizing grimoires and witches’ alphabets. People ask me about what music to use in rituals – what is the best occult music. I’ve instructed people to go to the most uncrowded section of the music store and it’s a guarantee what you’ll find there will be occult music. That’s the power of long-lost trivia. I get irritated by people who turn up their noses and whine ‘Why would anyone want to know that?’ Because once upon a time, everyone in America knew it. Suppose there’s a repository of neglected energy, that’s been generated and forgotten. Maybe it’s like a pressure cooker all this time, just waiting for someone to trigger its release. ‘Here I am,’ it beckons, ‘I have all this energy stored up just waiting for you – all you have to do is unlock the door. Because of man’s stupidity, he’s neglected me to this state of somnambulism – dreaming the ancient dreams – even though I was once so important to him.’ Think about that. A song that was once on millions of lips now is only on your lips. Now what does that contain? Those vibrations of that particular tune, what do they evoke, call up? What do they unlock? The old gods lie dormant, waiting.

So what's your doll's name?" Boo asked me. "Barbie," I said. "All their names are Barbie." "I see," she said. "Well, I'd think that would get boring, everyone having the same name." I thought about this, then said, "Okay, then her name is Sabrina." "Well, that's a very nice name," Boo said. I remember she was baking bread, kneading the dough between her thick fingers. "What does she do?" "Do?" I said. "Yes." She flipped the dough over and started in on it from the other side. "What does she do?" "She goes out with Ken," I said. "And what else?" "She goes to parties," I said slowly. "And shopping." "Oh," Boo said, nodding. "She can't work?" "She doesn't have to work," I said. "Why not?" "Because she's Barbie." "I hate to tell you, Caitlin, but somebody has to make payments on that town house and the Corvette," Boo said cheerfully. "Unless Barbie has a lot of family money." I considered this while I put on Ken's pants. Boo started pushing the dough into a pan, smoothing it with her hand over the top. "You know what I think, Caitlin?" Her voice was soft and nice, the way she always spoke to me. "What?" "I think your Barbie can go shopping, and go out with Ken, and also have a productive and satisfying career of her own." She opened the oven and slid in the bread pan, adjusting its position on the rack. "But what can she do?" My mother didn't work and spent her time cleaning the house and going to PTA. I couldn't imagine Barbie, whose most casual outfit had sequins and go-go boots, doing s.uch things. Boo came over and plopped right down beside me. I always remember her being on my level; she'd sit on the edge of the sandbox, or lie across her bed with me and Cass as we listened to the radio. "Well," she said thoughtfully, picking up Ken and examining his perfect physique. "What do you want to do when you grow up?" I remember this moment so well; I can still see Boo sitting there on the floor, cross- legged, holding my Ken and watching my face as she tried to make me see that between my mother's PTA and Boo's strange ways there was a middle ground that began here with my Barbie, Sab-rina, and led right to me. "Well," I said abruptly, "I want to be in advertising." I have no idea where this came from. "Advertising," Boo repeated, nodding. "Okay. Advertising it is. So Sabrina has to go to work every day, coming up with ideas for commercials and things like that." "She works in an office," I went on. "Sometimes she has to work late." "Sure she does," Boo said. "It's hard to get ahead. Even if you're Barbie." "Because she wants to get promoted," I added. "So she can pay off the town house. And the Corvette." "Very responsible of her," Boo said. "Can she be divorced?" I asked. "And famous for her commercials and ideas?" "She can be anything," Boo told me, and this is what I remember most, her freckled face so solemn, as if she knew she was the first to tell me. "And so can you.

You burn to have your photograph in a tennis magazine.” “I’m afraid so.” “Why again exactly, now?” “I guess to be felt about as I feel about those players with their pictures in magazines.” “Why?” “Why? I guess to give my life some sort of meaning, Lyle.” “And how would this do this again?” “Lyle, I don’t know. I do not know. It just does. Would. Why else would I burn like this, clip secret pictures, not take risks, not sleep or pee?” “You feel these men with their photographs in magazines care deeply about having their photographs in magazines. Derive immense meaning.” “I do. They must. I would. Else why would I burn like this to feel as they feel?” “The meaning they feel, you mean. From the fame.” “Lyle, don’t they?” “LaMont, perhaps they did at first. The first photograph, the first magazine, the gratified surge, the seeing themselves as others see them, the hagiography of image, perhaps. Perhaps the first time: enjoyment. After that, do you trust me, trust me: they do not feel what you burn for. After the first surge, they care only that their photographs seem awkward or unflattering, or untrue, or that their privacy, this thing you burn to escape, what they call their privacy is being violated. Something changes. After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.” “Is this supposed to be good news? This is awful news.” “LaMont, are you willing to listen to a Remark about what is true?” “Okey-dokey.” “The truth will set you free. But not until it is finished with you.” “Maybe I ought to be getting back.” “LaMont, the world is very old. You have been snared by something untrue. You are deluded. But this is good news. You have been snared by the delusion that envy has a reciprocal. You assume that there is a flip-side to your painful envy of Michael Chang: namely Michael Chang’s enjoyable feeling of being-envied-by-LaMont-Chu. No such animal.” “Animal?” “You burn with hunger for food that does not exist.” “This is good news?” “It is the truth. To be envied, admired, is not a feeling. Nor is fame a feeling. There are feelings associated with fame, but few of them are any more enjoyable than the feelings associated with envy of fame.” “The burning doesn’t go away?” “What fire dies when you feed it? It is not fame itself they wish to deny you here. Trust them. There is much fear in fame. Terrible and heavy fear to be pulled and held, carried. Perhaps they want only to keep it off you until you weigh enough to pull toward yourself.” “Would I sound ungrateful if I said this doesn’t make me feel very much better at all?” “LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage.” “So I’m stuck in the cage from either side. Fame or tortured envy of fame. There’s no way out.” “You might consider how escape from a cage must surely require, foremost, awareness of the fact of the cage.

In general, though, women aren’t really allowed to be kick-ass. It’s like the famous distinction between art and craft: Art, and wildness, and pushing against the edges, is a male thing. Craft, and control, and polish, is for women. Culturally we don’t allow women to be as free as they would like, because that is frightening. We either shun those women or deem them crazy. Female singers who push too much, and too hard, don’t tend to last very long. They’re jags, bolts, comets: Janis Joplin, Billie Holiday. But being that woman who pushes the boundaries means you also bring in less desirable aspects of yourself. At the end of the day, women are expected to hold up the world, not annihilate it. That’s why Kathleen Hanna of Bikini Kill is so great. The term girl power was coined by the Riot Grrl movement that Kathleen spearheaded in the 1990s. Girl power: a phrase that would later be co-opted by the Spice Girls, a group put together by men, each Spice Girl branded with a different personality, polished and stylized to be made marketable as a faux female type. Coco was one of the few girls on the playground who had never heard of them, and that’s its own form of girl power, saying no to female marketing!

A separate, international team analyzed more than a half million research articles, and classified a paper as “novel” if it cited two other journals that had never before appeared together. Just one in ten papers made a new combination, and only one in twenty made multiple new combinations. The group tracked the impact of research papers over time. They saw that papers with new knowledge combinations were more likely to be published in less prestigious journals, and also much more likely to be ignored upon publication. They got off to a slow start in the world, but after three years, the papers with new knowledge combos surpassed the conventional papers, and began accumulating more citations from other scientists. Fifteen years after publication, studies that made multiple new knowledge combinations were way more likely to be in the top 1 percent of most-cited papers. To recap: work that builds bridges between disparate pieces of knowledge is less likely to be funded, less likely to appear in famous journals, more likely to be ignored upon publication, and then more likely in the long run to be a smash hit in the library of human knowledge. •

Why does the universe go to all the bother of existing? Is the unified theory so compelling that it brings about its own existence? Or does it need a creator, and, if so, does he have any other effect on the universe? And who created him? Up to now, most scientists have been too occupied with the development of new theories that describe what the universe is to ask the question why. On the other hand, the people whose business it is to ask why, the philosophers, have not been able to keep up with the advance of scientific theories. In the eighteenth century, philosophers considered the whole of human knowledge, including science, to be their field and discussed questions such as: Did the universe have a beginning? However, in the nineteenth and twentieth centuries, science became too technical and mathematical for the philosophers, or anyone else except a few specialists. Philosophers reduced the scope of their inquiries so much that Wittgenstein, the most famous philosopher of this century, said, 'The sole remaining task for philosophy is the analysis of language.' What a comedown from the great tradition of philosophy from Aristotle to Kant! However, if we do discover a complete theory, it should in time be understandable in broad principle by everyone, not just a few scientists. Then we shall all, philosophers, scientists, and just ordinary people, be able to take part in the discussion of the question of why it is that we and the universe exist. If we find the answer to that, it would be the ultimate triumph of human reason--for then we would know the mind of God.

As a matter of fact, that's the reason why I've learned to speak this language, and to write it too: so I can speak in the place of a dead man, so I can finish his sentences for him. The murderer got famous, and his story's too well written for me to get any ideas about imitating him. He wrote in his own language. Therefore I'm going to do what was done in this country after Independence: I'm going to take the stones from the old houses the colonists left behind, remove them one by one, and build my own house, my own language. The murderer's words and expressions are my unclaimed goods. Besides, the country's littered with words that don't belong to anyone anymore.

Well, as Hannah Arendt famously said, there can be a banal aspect to evil. In other words, it doesn't present always. I mean, often what you're meeting is a very mediocre person. But nonetheless, you can get a sort of frisson of wickedness from them. And the best combination of those, I think, I describe him in the book, is/was General Jorge Rafael Videla of Argentina, who I met in the late 1970s when the death squad war was at its height, and his fellow citizens were disappearing off the street all the time. And he was, in some ways, extremely banal. I describe him as looking like a human toothbrush. He was a sort of starch, lean officer with a silly mustache, and a very stupid look to him, but a very fanatical glint as well. And, if I'd tell you why he's now under house arrest in Argentina, you might get a sense of the horror I felt as I was asking him questions about all this. He's in prison in Argentina for selling the children of the rape victims among the private prisoners, who he kept in a personal jail. And I don't know if I've ever met anyone who's done anything as sort of condensedly horrible as that.

Most people, when directly confronted by evidence that they are wrong, do not change their point of view or course of action but justify it even more tenaciously. Even irrefutable evidence is rarely enough to pierce the mental armor of self-justification. When we began working on this book, the poster boy for "tenacious clinging to a discredited belief" was George W. Bush. Bush was wrong in his claim that Saddam Hussein had weapons of mass destruction, he was wrong in claiming that Saddam was linked with Al Qaeda, he was wrong in predicting that Iraqis would be dancing joyfully in the streets to receive the American soldiers, he was wrong in predicting that the conflict would be over quickly, he was wrong in his gross underestimate of the financial cost of the war, and he was most famously wrong in his photo-op speech six weeks after the invasion began, when he announced (under a banner reading MISSION ACCOMPLISHED) that "major combat operations in Iraq have ended.

Even if you are not a religious person by nature or training—even if you are an out-and-out skeptic—prayer can help you much more than you believe, for it is a practical thing. What do I mean, practical? I mean that prayer fulfills these three very basic psychological needs which all people share, whether they believe in God or not: 1. Prayer helps us to put into words exactly what is troubling us. We saw in Chapter 4 that it is almost impossible to deal with a problem while it remains vague and nebulous. Praying, in a way, is very much like writing our problems down on paper. If we ask help for a problem—even from God—we must put it into words. 2. Prayer gives us a sense of sharing our burdens, of not being alone. Few of us are so strong that we can bear our heaviest burdens, our most agonizing troubles, all by ourselves. Sometimes our worries are of so ultimate a nature that we cannot discuss them even with our closest relatives or friends. Then prayer is the answer. Any psychiatrist will tell us that when we are pent-up and tense, and in an agony of spirit, it is therapeutically good to tell someone our troubles. When we can’t tell anyone else—we can always tell God. 3. Prayer puts into force an active principle of doing. It’s a first step toward action. I doubt if anyone can pray for some fulfillment, day after day, without benefiting from it—in other words, without taking some steps to bring it to pass. The world-famous scientist, Dr. Alexis Carrel, said: “Prayer is the most powerful form of energy one can generate.” So why not make use of it? Call it God or Allah or Spirit—why quarrel with definitions as long as the mysterious powers of nature take us in hand?

...the most important aspects of someone’s life are the very things not listed in an index.' There were never entries for “memory,” or 'regrets,' or even 'love,' in the lowercase. It was always 'Education (post-secondary)' or 'Awards (see also: Best Debut R&B Country CD by a Female Artist, Solo).' Indexes never seemed to get to the heart of the matter. There was never a heading for hope or fear. Or dreams, recalled. Smiles, remem­ bered. Anger. Beauty. Or even images that lingered, glimpses of something that had made an impression. A doorway. A window. A reflection on glass. The smell of rain. Never any of that. Just a tally of proper nouns and famous names. And why only one life? Why not the web of other lives that define us? What of their indexes, their moments?

Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story , you, upon hearing the words 'soccer' and 'neighbor' in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that no, you grew up in Brazil on the streets of Tres Coracoes with Pele and I might say, I thought you were from Tennessee, and you might say, not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.

Sparta has no philosophers. That’s because the job of a philosopher is to understand things better, which is a form of change, so they don’t want it. Another difference: they don’t honour living poets, only dead ones. Why? Because dead poets don’t write anything new, but live ones do. A third difference: their education system is insanely harsh; ours is famously lax. Why? Because they don’t want their kids to dare to question anything, so that they won’t ever think of changing anything. How

When I Read the Book" When I read the book, the biography famous, And is this then (said I) what the author calls a man's life? And so will some one when I am dead and gone write my life? (As if any man really knew aught of my life, Why even I myself I often think know little or nothing of my real life, Only a few hints, a few diffused faint clews and indirections I seek for my own use to trace out here.)

Dante’s notions of sin are shaped largely by the writings of St. Thomas Aquinas. In his famous Summa Theologiae, Aquinas argues that any evil action or sin is a form of self-destruction. He assumes that human beings have a nature that is supposed to be rational and good. Aquinas conceives of this nature, that of the rational animal, as being created by God specifically to pursue goodness, more specifically, the virtues. When a human being departs from this natural purpose, she injures herself, for she does what she was not intended to do. She wars against herself and her nature. Why does Aquinas hold this peculiar view of sin? One reason is because he accepts Boethius’ assertion that goodness and being are convertible. In other words, anything that exists has some goodness in it because God made it. And no matter how marred or broken or sinful that being is, it still maintains some goodness so long as it exists. According to this view, no one, not even Lucifer encased in ice at the bottom of Dante’s Inferno, is wholly evil. Evil can only feed off of goodness like a parasite; if all the goodness of a creature were eliminated, the creature in question would no longer exist.

What say you, Empress of Praes? Here you lie upon the blood-soaked ruins of your dominion, surrounded by the corpses of the legions that once swarmed over the world. Hundreds of thousands dead for the sake of your wretched ambition, your mad design to bring to heel the kingdoms of man. In all the history of Creation no one woman has been so wicked as you, and I will have my answer. Why, o Empress of Ruins?” She shrugged. “Why not?” – Last lines of the “The Fall of Empress Triumphant, First and Only of Her Name

And what of intelligence without ignorance? Finding truth while not dismissing the possibility of being wrong?" "A mythological treasure, Brightness, much like the Dawnshards or the Honorblades. Certainly worth seeking, but only with great caution." "Caution?" Jasnah said, frowning. "It would make you famous, but actually finding it would destroy us all. Proof that one can be intelligent and accept the intelligence of those who disagree with you? Why, I should think that it would undermine the scholarly world in its entirety.

But what I would like to know," says Albert, "is whether there would not have been a war if the Kaiser had said No." "I'm sure there would," I interject, "he was against it from the first." "Well, if not him alone, then perhaps if twenty or thirty people in the world had said No." "That's probable," I agree, "but they damned well said Yes." "It's queer, when one thinks about it," goes on Kropp, "we are here to protect our fatherland. And the French are over there to protect their fatherland. Now who's in the right?" "Perhaps both," say I without believing it. "Yes, well now," pursues Albert, and I see that he means to drive me into a corner, "but our professors and parsons and newspapers say that we are the only ones that are right, and let's hope so;--but the French professors and parsons and newspapers say that the right is on their side, now what about that?" "That I don't know," I say, "but whichever way it is there's war all the same and every month more countries coming in." Tjaden reappears. He is still quite excited and again joins the conversation, wondering just how a war gets started. "Mostly by one country badly offending another," answers Albert with a slight air of superiority. Then Tjaden pretends to be obtuse. "A country? I don't follow. A mountain in Germany cannot offend a mountain in France. Or a river, or a wood, or a field of wheat." "Are you really as stupid as that, or are you just pulling my leg?" growls Kropp, "I don't mean that at all. One people offends the other--" "Then I haven't any business here at all," replies Tjaden, "I don't feel myself offended." "Well, let me tell you," says Albert sourly, "it doesn't apply to tramps like you." "Then I can be going home right away," retorts Tjaden, and we all laugh, "Ach, man! he means the people as a whole, the State--" exclaims Mller. "State, State"--Tjaden snaps his fingers contemptuously, "Gendarmes, police, taxes, that's your State;--if that's what you are talking about, no, thank you." "That's right," says Kat, "you've said something for once, Tjaden. State and home-country, there's a big difference." "But they go together," insists Kropp, "without the State there wouldn't be any home-country." "True, but just you consider, almost all of us are simple folk. And in France, too, the majority of men are labourers, workmen, or poor clerks. Now just why would a French blacksmith or a French shoemaker want to attack us? No, it is merely the rulers. I had never seen a Frenchman before I came here, and it will be just the same with the majority of Frenchmen as regards us. They weren't asked about it any more than we were." "Then what exactly is the war for?" asks Tjaden. Kat shrugs his shoulders. "There must be some people to whom the war is useful." "Well, I'm not one of them," grins Tjaden. "Not you, nor anybody else here." "Who are they then?" persists Tjaden. "It isn't any use to the Kaiser either. He has everything he can want already." "I'm not so sure about that," contradicts Kat, "he has not had a war up till now. And every full-grown emperor requires at least one war, otherwise he would not become famous. You look in your school books." "And generals too," adds Detering, "they become famous through war." "Even more famous than emperors," adds Kat. "There are other people back behind there who profit by the war, that's certain," growls Detering. "I think it is more of a kind of fever," says Albert. "No one in particular wants it, and then all at once there it is. We didn't want the war, the others say the same thing--and yet half the world is in it all the same.

In 1908, in a wild and remote area of the North Caucasus, Leo Tolstoy, the greatest writer of the age, was the guest of a tribal chief “living far away from civilized life in the mountains.” Gathering his family and neighbors, the chief asked Tolstoy to tell stories about the famous men of history. Tolstoy told how he entertained the eager crowd for hours with tales of Alexander, Caesar, Frederick the Great, and Napoleon. When he was winding to a close, the chief stood and said, “But you have not told us a syllable about the greatest general and greatest ruler of the world. We want to know something about him. He was a hero. He spoke with a voice of thunder; he laughed like the sunrise and his deeds were strong as the rock….His name was Lincoln and the country in which he lived is called America, which is so far away that if a youth should journey to reach it he would be an old man when he arrived. Tell us of that man.” “I looked at them,” Tolstoy recalled, “and saw their faces all aglow, while their eyes were burning. I saw that those rude barbarians were really interested in a man whose name and deeds had already become a legend.” He told them everything he knew about Lincoln’s “home life and youth…his habits, his influence upon the people and his physical strength.” When he finished, they were so grateful for the story that they presented him with “a wonderful Arabian horse.” The next morning, as Tolstoy prepared to leave, they asked if he could possibly acquire for them a picture of Lincoln. Thinking that he might find one at a friend’s house in the neighboring town, Tolstoy asked one of the riders to accompany him. “I was successful in getting a large photograph from my friend,” recalled Tolstoy. As he handed it to the rider, he noted that the man’s hand trembled as he took it. “He gazed for several minutes silently, like one in a reverent prayer, his eyes filled with tears.” Tolstoy went on to observe, “This little incident proves how largely the name of Lincoln is worshipped throughout the world and how legendary his personality has become. Now, why was Lincoln so great that he overshadows all other national heroes? He really was not a great general like Napoleon or Washington; he was not such a skilful statesman as Gladstone or Frederick the Great; but his supremacy expresses itself altogether in his peculiar moral power and in the greatness of his character. “Washington was a typical American. Napoleon was a typical Frenchman, but Lincoln was a humanitarian as broad as the world. He was bigger than his country—bigger than all the Presidents together. “We are still too near to his greatness,” Tolstoy concluded, “but after a few centuries more our posterity will find him considerably bigger than we do. His genius is still too strong and too powerful for the common understanding, just as the sun is too hot when its light beams directly on us.

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom . . . He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well-known decorators who themselves exert an influence on the buying groups . . . Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

We cleave our way through the mountains until the interstate dips into a wide basin brimming with blue sky, broken by dusty roads and rocky saddles strung out along the southern horizon. This is our first real glimpse of the famous big-sky country to come, and I couldn't care less. For all its grandeur, the landscape does not move me. And why should it? The sky may be big, it may be blue and limitless and full of promise, but it's also really far away. Really, it's just an illusion. I've been wasting my time. We've all been wasting our time. What good is all this grandeur if it's impermanent, what good all of this promise if it's only fleeting? Who wants to live in a world where suffering is the only thing that lasts, a place where every single thing that ever meant the world to you can be stripped away in an instant? And it will be stripped away, so don't fool yourself. If you're lucky, your life will erode slowly with the ruinous effects of time or recede like the glaciers that carved this land, and you will be left alone to sift through the detritus. If you are unlucky, your world will be snatched out from beneath you like a rug, and you'll be left with nowhere to stand and nothing to stand on. Either way, you're screwed. So why bother? Why grunt and sweat and weep your way through the myriad obstacles, why love, dream, care, when you're only inviting disaster? I'm done answering the call of whippoorwills, the call of smiling faces and fireplaces and cozy rooms. You won't find me building any more nests among the rose blooms. Too many thorns.

Kaylee, For over a hundred years, magicians have been pulling objects out of hats. Rabbits, flowers... It's become such a famous trick that rabbits are known to represent magic in general. I'm a magician. I've been pulling things from hats since I learned the trick at ten years old. It's all about sleight of hand. Misdirection. Distraction. What people don't really know is it isn't the magician that makes the trick magical. It's the object. What is a zig-zag box without the blades? What is a cage without a dove? The object is the spark--the real reason why the illusion is worth seeing, worth doing, worth discovering. Sometimes magicians lose their rabbits. They get lost in the act, or the magician makes a mistake and has to coax the rabbit back out. Because without the rabbit, the trick is useless. Without the rabbit, the hat becomes insignificant. Kaylee Elizabeth Sperling, you are the rabbit to my hat, and I love you. Please forgive me for losing the spark in your trick. I will do whatever I can to make it up to you, starting with this deck of cards. 52 reasons why I love you. And I could fill another deck. Perhaps two more or three. Whatever it takes to coax my rabbit back out. -Nate

Constantly falling back into an old trap, before I am even fully aware of it, I find myself wondering why someone hurt me, rejected me, or didn't pay attention to me. Without realizing it, I find myself brooding about someone else's success, my own loneliness, and the way the world abuses me. Despite my conscious intentions, I often catch myself daydreaming about becoming rich, powerful, and very famous. All of these mental games reveal to me the fragility of my faith that I am the Beloved One on whom God's favor rests. I am so afraid of being disliked, blamed, put aside, passed over, ignored, persecuted, and killed that I am constantly developing strategies to defend myself and thereby assure myself of the love I think I need and deserve. And in so doing I move far away from my father's home and choose to dwell in a "distant country," (pp. 41 & 42).

by the assault. Shading his eyes against the dazzle from the window, he peered down into the shadows. “Oh, hallo there, wee dog,” he said politely, and took a step forward, knuckles stretched out. Bouton raised the growl a few decibels, and he took a step back. “Oh, like that, is it?” Jamie said. He eyed the dog narrowly. “Think it over, laddie,” he advised, squinting down his long, straight nose. “I’m a damn sight bigger than you. I wouldna undertake any rash ventures, if I were you.” Bouton shifted his ground slightly, still making a noise like a distant Fokker. “Faster, too,” said Jamie, making a feint to one side. Bouton’s teeth snapped together a few inches from Jamie’s calf, and he stepped back hastily. Leaning back against the wall, he folded his arms and nodded down at the dog. “Well, you’ve a point there, I’ll admit. When it comes to teeth, ye’ve the edge on me, and no mistake.” Bouton cocked an ear suspiciously at this gracious speech, but went back to the low-pitched growl. Jamie hooked one foot over the other, like one prepared to pass the time of day indefinitely. The multicolored light from the window washed his face with blue, making him look like one of the chilly marble statues in the cathedral next door. “Surely you’ve better things to do than harry innocent visitors?” he asked, conversationally. “I’ve heard of you—you’re the famous fellow that sniffs out sickness, no? Weel, then, why are they wastin’ ye on silly things like door-guarding, when ye might be makin’ yourself useful smelling gouty toes and pustulant arseholes?

He said nothing. Juliana peeped at him again. “You’re very anxious to get her in your power again, Vidal. But I don’t quite know why you should be, for you meant to marry her only because you had ruined her, and so were obliged to, didn’t you?” She thought that he was not going to answer, but suddenly he raised his eyes from the contemplation of the dregs of his wine. “Because I am obliged to?” he said. “I mean to marry Mary Challoner because I’m devilish sure I can’t live without her.” Juliana clapped her hands with a crow of delight. “Oh, it is famous!” she exclaimed. “I never dreamed you had fallen in love with my staid Mary! I thought you were chasing her through France just because you so hate to be crossed! But when you flew into a rage with me for saying she was too dull to be afraid of you, of course, I guessed at once! My dearest Dominic, I was never more glad of anything in my life, and it is of all things the most romantic possible! Do, do let us overtake them at once! Only conceive of their astonishment when they see us!

When Rin Tin Tin first became famous, most dogs in the world would not sit down when asked. Dogs performed duties: they herded sheep, they barked at strangers, they did what dogs do naturally, and people learned to interpret and make use of how they behaved. The idea of a dog's being obedient for the sake of good manners was unheard of. When dogs lived outside, as they usually did on farms and ranches, the etiquette required of them was minimal. But by the 1930s, Americans were leaving farms and moving into urban and suburban areas, bringing dogs along as pets and sharing living quarters with them. At the time, the principles of behavior were still mostly a mystery -- Ivan Pavlov's explication of conditional reflexes, on which much training is based, wasn't even published in an English translation until 1927. If dogs needed to be taught how to behave, people had to be trained to train their dogs. The idea that an ordinary person -- not a dog professional -- could train his own pet was a new idea, which is partly why Rin Tin Tin's performances in movies and onstage were looked upon as extraordinary.

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.

The Battle of Good and Evil Polytheism gave birth not merely to monotheist religions, but also to dualistic ones. Dualistic religions espouse the existence of two opposing powers: good and evil. Unlike monotheism, dualism believes that evil is an independent power, neither created by the good God, nor subordinate to it. Dualism explains that the entire universe is a battleground between these two forces, and that everything that happens in the world is part of the struggle. Dualism is a very attractive world view because it has a short and simple answer to the famous Problem of Evil, one of the fundamental concerns of human thought. ‘Why is there evil in the world? Why is there suffering? Why do bad things happen to good people?’ Monotheists have to practise intellectual gymnastics to explain how an all-knowing, all-powerful and perfectly good God allows so much suffering in the world. One well-known explanation is that this is God’s way of allowing for human free will. Were there no evil, humans could not choose between good and evil, and hence there would be no free will. This, however, is a non-intuitive answer that immediately raises a host of new questions. Freedom of will allows humans to choose evil. Many indeed choose evil and, according to the standard monotheist account, this choice must bring divine punishment in its wake. If God knew in advance that a particular person would use her free will to choose evil, and that as a result she would be punished for this by eternal tortures in hell, why did God create her? Theologians have written countless books to answer such questions. Some find the answers convincing. Some don’t. What’s undeniable is that monotheists have a hard time dealing with the Problem of Evil. For dualists, it’s easy to explain evil. Bad things happen even to good people because the world is not governed single-handedly by a good God. There is an independent evil power loose in the world. The evil power does bad things. Dualism has its own drawbacks. While solving the Problem of Evil, it is unnerved by the Problem of Order. If the world was created by a single God, it’s clear why it is such an orderly place, where everything obeys the same laws. But if Good and Evil battle for control of the world, who enforces the laws governing this cosmic war? Two rival states can fight one another because both obey the same laws of physics. A missile launched from Pakistan can hit targets in India because gravity works the same way in both countries. When Good and Evil fight, what common laws do they obey, and who decreed these laws? So, monotheism explains order, but is mystified by evil. Dualism explains evil, but is puzzled by order. There is one logical way of solving the riddle: to argue that there is a single omnipotent God who created the entire universe – and He’s evil. But nobody in history has had the stomach for such a belief. Dualistic

Clicking on "send" has its limitations as a system of subtle communication. Which is why, of course, people use so many dashes and italics and capitals ("I AM joking!") to compensate. That's why they came up with the emoticon, too—the emoticon being the greatest (or most desperate, depending how you look at it) advance in punctuation since the question mark in the reign of Charlemagne. You will know all about emoticons. Emoticons are the proper name for smileys. And a smiley is, famously, this: :—) Forget the idea of selecting the right words in the right order and channelling the reader's attention by means of artful pointing. Just add the right emoticon to your email and everyone will know what self-expressive effect you thought you kind-of had in mind. Anyone interested in punctuation has a dual reason to feel aggrieved about smileys, because not only are they a paltry substitute for expressing oneself properly; they are also designed by people who evidently thought the punctuation marks on the standard keyboard cried out for an ornamental function. What's this dot-on-top-of-a-dot thing for? What earthly good is it? Well, if you look at it sideways, it could be a pair of eyes. What's this curvy thing for? It's a mouth, look! Hey, I think we're on to something. :—( Now it's sad! ;—) It looks like it's winking! :—r It looks like it's sticking its tongue out! The permutations may be endless: :~/ mixed up! <:—) dunce! :—[ pouting! :—O surprise! Well, that's enough. I've just spotted a third reason to loathe emoticons, which is that when they pass from fashion (and I do hope they already have), future generations will associate punctuation marks with an outmoded and rather primitive graphic pastime and despise them all the more. "Why do they still have all these keys with things like dots and spots and eyes and mouths and things?" they will grumble. "Nobody does smileys any more.

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.

SOCIAL/GENERAL ICEBREAKERS 1. What do you think of the movie/restaurant/party? 2. Tell me about the best vacation you’ve ever taken. 3. What’s your favorite thing to do on a rainy day? 4. If you could replay any moment in your life, what would it be? 5. What one thing would you really like to own? Why? 6. Tell me about one of your favorite relatives. 7. What was it like in the town where you grew up? 8. What would you like to come back as in your next life? 9. Tell me about your kids. 10. What do you think is the perfect age? Why? 11. What is a typical day like for you? 12. Of all the places you’ve lived, tell me about the one you like the best. 13. What’s your favorite holiday? What do you enjoy about it? 14. What are some of your family traditions that you particularly enjoy? 15. Tell me about the first car you ever bought. 16. How has the Internet affected your life? 17. Who were your idols as a kid? Have they changed? 18. Describe a memorable teacher you had. 19. Tell me about a movie/book you’ve seen or read more than once. 20. What’s your favorite restaurant? Why? 21. Tell me why you were named ______. What is the origin of your last name? 22. Tell me about a place you’ve visited that you hope never to return to. get over your mom’s good intentions. 23. What’s the best surprise you’ve ever received? 24. What’s the neatest surprise you’ve ever planned and pulled off for someone else? 25. Skiing here is always challenging. What are some of your favorite places to ski? 26. Who would star as you in a movie about your life? Why that person? 27. Who is the most famous person you’ve met? 28. Tell me about some of your New Year’s resolutions. 29. What’s the most antiestablishment thing you’ve ever done? 30. Describe a costume that you wore to a party. 31. Tell me about a political position you’d like to hold. 32. What song reminds you of an incident in your life? 33. What’s the most memorable meal you’ve eaten? 34. What’s the most unforgettable coincidence you’ve experienced or heard about? 35. How are you able to tell if that melon is ripe? 36. What motion picture star would you like to interview? Why? 37. Tell me about your family. 38. What aroma brings forth a special memory? 39. Describe the scariest person you ever met. 40. What’s your favorite thing to do alone? 41. Tell me about a childhood friend who used to get you in trouble. 42. Tell me about a time when you had too much to eat or drink. 43. Describe your first away-from-home living quarters or experience. 44. Tell me about a time that you lost a job. 45. Share a memory of one of your grandparents. 46. Describe an embarrassing moment you’ve had. 47. Tell me something most people would never guess about you. 48. What would you do if you won a million dollars? 49. Describe your ideal weather and why. 50. How did you learn to ski/hang drywall/play piano?

There are two moments in the course of education where a lot of kids fall off the math train. The first comes in the elementary grades, when fractions are introduced. Until that moment, a number is a natural number, one of the figures 0, 1, 2, 3 . . . It is the answer to a question of the form “how many.”* To go from this notion, so primitive that many animals are said to understand it, to the radically broader idea that a number can mean “what portion of,” is a drastic philosophical shift. (“God made the natural numbers,” the nineteenth-century algebraist Leopold Kronecker famously said, “and all the rest is the work of man.”) The second dangerous twist in the track is algebra. Why is it so hard? Because, until algebra shows up, you’re doing numerical computations in a straightforwardly algorithmic way. You dump some numbers into the addition box, or the multiplication box, or even, in traditionally minded schools, the long-division box, you turn the crank, and you report what comes out the other side. Algebra is different. It’s computation backward. When you’re asked to solve

Neurologically speaking, though, there are reasons we develop a confused sense of priorities when we’re in front of our computer screens. For one thing, email comes at unpredictable intervals, which, as B. F. Skinner famously showed with rats seeking pellets, is the most seductive and habit-forming reward pattern to the mammalian brain. (Think about it: would slot machines be half as thrilling if you knew when, and how often, you were going to get three cherries?) Jessie would later say as much to me when I asked her why she was “obsessed”—her word—with her email: “It’s like fishing. You just never know what you’re going to get.” More to the point, our nervous systems can become dysregulated when we sit in front of a screen. This, at least, is the theory of Linda Stone, formerly a researcher and senior executive at Microsoft Corporation. She notes that we often hold our breath or breathe shallowly when we’re working at our computers. She calls this phenomenon “email apnea” or “screen apnea.” “The result,” writes Stone in an email, “is a stress response. We become more agitated and impulsive than we’d ordinarily be.

A woman named Cynthia once told me a story about the time her father had made plans to take her on a night out in San Francisco. Twelve-year-old Cynthia and her father had been planning the “date” for months. They had a whole itinerary planned down to the minute: she would attend the last hour of his presentation, and then meet him at the back of the room at about four-thirty and leave quickly before everyone tried to talk to him. They would catch a tram to Chinatown, eat Chinese food (their favourite), shop for a souvenir, see the sights for a while and then “catch a flick” as her dad liked to say. Then they would grab a taxi back to the hotel, jump in the pool for a quick swim (her dad was famous for sneaking in when the pool was closed), order a hot fudge sundae from room service, and watch the late, late show. They discussed the details over and over again before they left. The anticipation was part of the whole experience. This was all going according to plan until, as her father was leaving the convention centre, he ran into an old college friend and business associate. It had been years since they had seen each other, and Cynthia watched as they embraced enthusiastically. His friend said, in effect: “I am so glad you are doing some work with our company now. When Lois and I heard about it we thought it would be perfect. We want to invite you, and of course Cynthia, to get a spectacular seafood dinner down at the Wharf!” Cynthia’s father responded: “Bob, it’s so great to see you. Dinner at the wharf sounds great!” Cynthia was crestfallen. Her daydreams of tram rides and ice cream sundaes evaporated in an instant. Plus, she hated seafood and she could just imagine how bored she would be listening to the adults talk all night. But then her father continued: “But not tonight. Cynthia and I have a special date planned, don’t we?” He winked at Cynthia and grabbed her hand and they ran out of the door and continued with what was an unforgettable night in San Francisco. As it happens, Cynthia’s father was the management thinker Stephen R. Covey (author of The Seven Habits of Highly Effective People) who had passed away only weeks before Cynthia told me this story. So it was with deep emotion she recalled that evening in San Francisco. His simple decision “Bonded him to me forever because I knew what mattered most to him was me!” she said.5 One simple answer is we are unclear about what is essential. When this happens we become defenceless. On the other hand, when we have strong internal clarity it is almost as if we have a force field protecting us from the non-essentials coming at us from all directions. With Rosa it was her deep moral clarity that gave her unusual courage of conviction. With Stephen it was the clarity of his vision for the evening with his loving daughter. In virtually every instance, clarity about what is essential fuels us with the strength to say no to the non-essentials. Stephen R. Covey, one of the most respected and widely read business thinkers of his generation, was an Essentialist. Not only did he routinely teach Essentialist principles – like “The main thing is to keep the main thing the main thing” – to important leaders and heads of state around the world, he lived them.6 And in this moment of living them with his daughter he made a memory that literally outlasted his lifetime. Seen with some perspective, his decision seems obvious. But many in his shoes would have accepted the friend’s invitation for fear of seeming rude or ungrateful, or passing up a rare opportunity to dine with an old friend. So why is it so hard in the moment to dare to choose what is essential over what is non-essential?

To have a goddess like you in his arms and not appreciate it…” He kissed her, unable to resist the lush, succulent mouth so close to his. He put everything he felt into it, so he could wipe out any hurt the Neds of the world had given her. When he broke away, realizing he was treading dangerous ground, she said hoarsely, “You weren’t always so…appreciative. When I said that men enjoyed my company, you said you found that hard to believe.” “What?” he retorted with a scowl. “I never said any such thing.” “Yes, you did, the day that I asked you to investigate my suitors. I remember it clearly.” “There’s no way in hell I ever…” The conversation came back to him suddenly, and he shook his head. “You’re remembering only part, sweeting. You said that men enjoyed your company and considered you easy to talk to. It was the last part I found hard to believe.” “Oh.” She eyed him askance. “Why? You never seem to have trouble talking to me. Or rather, lecturing me.” “It’s either lecture you or stop up your mouth with kisses,” he said dryly. “Talking to you isn’t easy, because every time I’m near you I burn to carry you off to some secluded spot and do any number of wicked things with you.” She blinked, then gazed at him with such softness that at made his chest hurt. “Then why don’t you?” “Because you’re a marquess’s daughter and my employer’s sister.” “What does that signify? You’re an assistant magistrate and a famous Bow Street Runner-“ “And the bastard of nobody knows whom.” “Which merely makes you a fitting companion for a hellion with a reputation for recklessness.” The word companion resonated in his brain. What did she mean by it? Then she pressed a kiss to his jaw, eroding his resistance and his reason, and he knew precisely what she meant. He tried to set her off of him before he lost his mind entirely, but she looped her arms about his neck and wouldn’t let go. “Show me.” “Show you what?” “All the wicked things you want to do with me.” Desire bolted in a fever through his vein. “My God, Celia-“ “I won’t believe a word you’ve said if you don’t.” Her gaze grew troubled. “I don’t think you know what you want. Yesterday you gave me such lovely kisses and caresses and then at the ball you acted like you’d never met me.” “You were with your suitors,” he said hoarsely. “You could have danced with me. You didn’t even ask me for one dance.” Having her on his lap was rousing him to a painful hardness. “Because I knew if I did, I would want…I would need…” She kissed a path down his throat, turning his blood to fire. “Show me,” she whispered, “Show me now what you want. What you need.” “I refuse to ruin you,” he said, half as a caution to himself. “You already have.

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.