Feature Inspiring Quotes

I’ve become skeptical of the unwritten rule that just because a boy and girl appear in the same feature, a romance must ensue. Rather, I want to portray a slightly different relationship, one where the two mutually inspire each other to live - if I’m able to, then perhaps I’ll be closer to portraying a true expression of love.

I'd heard of Evergreen Care Center before. Cass and I had always made fun of the stupid ads they ran on TV, featuring some dragged-out woman with a limp perm and big, painted-on circles under her eyes, downing vodka and sobbing uncontrollably. "We can't heal you at Evergreen", the very somber voiceover said. "But we can help you to heal yourself." It had become our own running joke, applicable to almost anything. "Hey Cass, "I'd say, "hand me that toothpaste." "Caitlin," she'd say, her voice dark and serious. "I can't hand you the toothpaste. But I CAN help you hand the toothpaste to yourself.

The gift of the Holy Ghost...quickens all the intellectual faculties, increases, enlarges, expands, and purifies all the natural passions and affections, and adapts them, by the gift of wisdom, to their lawful use. It inspires, develops, cultivates, and matures all the fine-toned sympathies, joys, tastes, kindred feelings, and affections of our nature. It inspires virtue, kindness, goodness, tenderness, gentleness, and charity. It develops beauty of person, form, and features. It tends to health, vigor, animation, and social feeling. It invigorates all the faculties of the physical and intellectual man. It strengthens and gives tone to the nerves. In short, it is, as it were, marrow to the bone, joy to the heart, light to the eyes, music to the ears, and life to the whole being.

I couldn't tell fact from fiction, Or if the dream was true My only sure prediction In this world was you. I'd touch your features inchly. Beard love and dared the cost, The sented spiel reeled me unreal And I found my senses lost.

The wondrous moment of our meeting... Still I remember you appear Before me like a vision fleeting, A beauty's angel pure and clear. In hopeless ennui surrounding The worldly bustle, to my ear For long your tender voice kept sounding, For long in dreams came features dear. Time passed. Unruly storms confounded Old dreams, and I from year to year Forgot how tender you had sounded, Your heavenly features once so dear. My backwoods days dragged slow and quiet -- Dull fence around, dark vault above -- Devoid of God and uninspired, Devoid of tears, of fire, of love. Sleep from my soul began retreating, And here you once again appear Before me like a vision fleeting, A beauty's angel pure and clear. In ecstasy my heart is beating, Old joys for it anew revive; Inspired and God-filled, it is greeting The fire, and tears, and love alive.

The primary feature of women is not a 'beauty', it's a 'mystery'.

The features of character are carved out of adversity.

Yellowstone, a place so special and awe-inspiring that after exploring it in 1871, the Hayden Expedition conceived of the original concept of the world’s first national park—a set-aside of 2. 2 million acres containing more than ten thousand thermal features, canyons, waterfalls, and wildlife—so no man or corporation could ever own it.

Unfortunately, we don't have all that many good examples to follow. The people that our cultures label as "successful" are the ones who have become wealthy or famous or celebrities, but the truly successful people--those who have become happy and who are living happy, loving, giving lives--aren't often featured in our newspapers or newscasts. We see the politicians and the criminals and the athletes and the entertainment "stars," but we don't see the people who can truly inspire us to be happy by being just who we are.

Fathers of the fatherless sons and daughters, your spitefulness isn’t hurting the Chief Guardians. Your bitter ways are hurting your flesh and blood – your sons and daughters. Your deceptions are the dimensions of you. Your sons and daughters are a blueprint of you in so many ways, such as their height, features at every angle, physical appearance, size, and at times, the version of their character and attitude.

Yesterday it was sun outside. The sky was blue and people were lying under blooming cherry trees in the park. It was Friday, so records were released, that people have been working on for years. Friends around me find success and level up, do fancy photo shoots and get featured on big, white, movie screens. There were parties and lovers, hand in hand, laughing perfectly loud, but I walked numbly through the park, round and round, 40 times for 4 hours just wanting to make it through the day. There's a weight that inhabits my chest some times. Like a lock in my throat, making it hard to breathe. A little less air got through and the sky was so blue I couldn’t look at it because it made me sad, swelling tears in my eyes and they dripped quietly on the floor as I got on with my day. I tried to keep my focus, ticked off the to-do list, did my chores. Packed orders, wrote emails, paid bills and rewrote stories, but the panic kept growing, exploding in my chest. Tears falling on the desk tick tick tick me not making a sound and some days I just don't know what to do. Where to go or who to see and I try to be gentle, soft and kind, but anxiety eats you up and I just want to be fine. This is not beautiful. This is not useful. You can not do anything with it and it tries to control you, throw you off your balance and lovely ways but you can not let it. I cleaned up. Took myself for a walk. Tried to keep my eyes on the sky. Stayed away from the alcohol, stayed away from the destructive tools we learn to use. the smoking and the starving, the running, the madness, thinking it will help but it only feeds the fire and I don't want to hurt myself anymore. I made it through and today I woke up, lighter and proud because I'm still here. There are flowers growing outside my window. The coffee is warm, the air is pure. In a few hours I'll be on a train on my way to sing for people who invited me to come, to sing, for them. My own songs, that I created. Me—little me. From nowhere at all. And I have people around that I like and can laugh with, and it's spring again. It will always be spring again. And there will always be a new day.

There’s barely a product or service on the market today that customers can’t buy from someone else for about the same price, about the same quality, about the same level of service and about the same features. If you truly have a first-mover’s advantage, it’s probably lost in a matter of months. If you offer something truly novel, someone else will soon come up with something similar and maybe even better. But if you ask most businesses why their customers are their customers, most will tell you it’s because of superior quality, features, price or service. In other words, most companies have no clue why their customers are their customers. This is a fascinating realization.

Gaiety is the most outstanding feature of the Soviet Union.

In the waltz of the leaves in the air In the features of the playful clouds In the nostalgia carried by the wind In Paris alone, I save your love (fragment from Your presence “partout”, chapter Hope)

Awareness, when managed and directed, becomes attention. By turning into attention, awareness becomes localized, and attains a focal point. Because of this feature, attention has the power to direct energy.

The voice came from a female, the delicacy and elegance of whose figure inspired the Youths with the most lively curiosity to view the face to which it belonged. This satisfaction was denied them. Her features were hidden by a thick veil; But struggling through the crowd had deranged it sufficiently to discover a neck which for

A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")

It wasn’t northern agitators who pushed Negroes to question their country, as so many southern whites wanted to believe. It was their own pride, their patriotism, their deep and abiding belief in the possibility of democracy that inspired the Negro people. And why not? Who knew American democracy more intimately than the Negro people? They knew democracy’s every virtue, vice, and shortcoming, its voice and contour, by its profound and persistent absence in their lives. The failure to secure the blessings of democracy was the feature that most defined their existence in America. Every Sunday they made their way to their sanctuaries and fervently prayed to the Lord to send them a sign that democracy would come to them.

In Hollywood, a young cartoonist named Walt Disney was inspired to create an animated short feature called “Plane Crazy” featuring a mouse who was also a pilot. The mouse was initially called Mortimer but soon assumed a more lasting place in the nation’s hearts as Mickey.

BDS is a modern, grassroots nonviolent movement inspired by a 2005 call from a long and diverse list of Palestinian civil society organizations. Despite being ignored by world leaders and global media, BDS has been an integral feature of the Palestinian national movement.

Finally, it's all about solving problems, not implementing features. Conventional product roadmaps are all about output. Strong teams know it's not only about implementing a solution. They must ensure that solution solves the underlying problem. It's about business results.

After death, you go on a very long way, that is going up. As you go, little by little, your features change. Your nose and ears retract in the flesh of your face like the little legs of a shellfish. Your fingers retract in your palm, your hands rebsorb in your shoulders. The same, your feet retract to your hips and you don’t walk anymore, you just float along a red brick wall, on which you leave your shadow like a streched disk. You are so round, that you become translucent and begin to see on all sides at once. While we are alive, we see through a postal box, but after death, we see around, with all our skin. Floating and looking at the the brick wall closer and closer, we get to a round place. There, in the middle, there is a cell, for we are in a mother’s womb. We enter the cell, and as the stages of our birth take place, we can see through the eyes of all beings, of the flea, of the rabbit, of the cat, the dog, the monkey, the man.. and with a little bit of luck, we can see through the eyes of the wonderful beings that follow the human being. A dead man is now looking at you through my eyes.

Fathers of the fatherless sons and daughters, your spitefulness isn’t hurting the Chief Guardians. Your bitter ways are hurting your flesh and blood – your sons and daughters. Your deceptions are the dimensions of you. Your sons and daughters are a blueprint of you in so many ways, such as their height, features at every angle, physical appearance, size, and at times, the version of their character and attitude. Fathers of the fatherless sons and daughters, you failed to realize your children are a blueprint of you. However, you are all so selfish you do not see your blueprint, the blueprint that you’ve created. You are put here to help and show them the way. You are the one who’s supposed to lay out the design plan for your sons and daughters.

We suffer for the simple reason that suffering is biologically useful. It is nature’s preferred agent for inspiring change. We have evolved to always live with a certain degree of dissatisfaction and insecurity, because it’s the mildly dissatisfied and insecure creature that’s going to do the most work to innovate and survive. We are wired to become dissatisfied with whatever we have and satisfied by only what we do not have. This constant dissatisfaction has kept our species fighting and striving, building and conquering. So no—our own pain and misery aren’t a bug of human evolution; they’re a feature.

Products with a clear sense of WHY give people a way to tell the outside world who they are and what they believe. Remember, people don’t buy WHAT you do, they buy WHY you do it. If a company does not have a clear sense of WHY then it is impossible for the outside world to perceive anything more than WHAT the company does. And when that happens, manipulations that rely on pushing price, features, service or quality become the primary currency of differentiation.

The image titled “The Homeless, Psalm 85:10,” featured on the cover of ELEMENTAL, can evoke multiple levels of response. They may include the spiritual in the form of a studied meditation upon the multidimensional qualities of the painting itself; or an extended contemplation of the scripture in the title, which in the King James Bible reads as follows: “Mercy and truth are met together; righteousness and peace have kissed each other.” The painting can also inspire a physical response in the form of tears as it calls to mind its more earth-bound aspects; namely, the very serious plight of those who truly are homeless in this world, whether born into such a condition, or forced into it by poverty or war.

In today’s saturated marketplace, you’ll go nowhere selling a “bunch of features.” We are in the business of disrupting the market with brands that matter.

Beauty is not defined by your physical features. It is defined by the heart inside your chest and the love that flows through it.

I read recently that Americans are buying used cars for an average of $12,000, and I thought, Why don't they take the bus to work and make a feature film instead?

Or perhaps you did see the signs, but you did not care because you always hated your brightest daughter,’ she said and saw a flash of fear cross Mrs Bennet’s features.

Self-organization is not a startling new feature of the world. It is the way the world has created itself for billions of years.

Loyalty is not built on features and benefits. Features and benefits do not inspire. Loyalty and long-lasting relationships are based on something deeper.

Thank you,” said Lee’s voice. “And now we turn to regular contributor Royal, for an update on how the new Wizarding order is affecting the Muggle world.” “Thanks, River,” said an unmistakable voice, deep, measured, reassuring. “Kingsley!” burst out Ron. “We know!” said Hermione, hushing him. “Muggles remain ignorant of the source of their suffering as they continue to sustain heavy casualties,” said Kingsley. “However, we continue to hear truly inspirational stories of wizards and witches risking their own safety to protect Muggle friends and neighbors, often without the Muggles’ knowledge. I’d like to appeal to all our listeners to emulate their example, perhaps by casting a protective charm over any Muggle dwellings in your street. Many lives could be saved if such simple measures are taken.” “And what would you say, Royal, to those listeners who reply that in these dangerous times, it should be ‘Wizards first’?” asked Lee. “I’d say that it’s one short step from ‘Wizards first’ to ‘Purebloods first,’ and then to ‘Death Eaters,’” replied Kingsley. “We’re all human, aren’t we? Every human life is worth the same, and worth saving.” “Excellently put, Royal, and you’ve got my vote for Minister of Magic if ever we get out of this mess,” said Lee. “And now, over to Romulus for our popular feature ‘Pals of Potter.’” “Thanks, River,” said another very familiar voice; Ron started to speak, but Hermione forestalled him in a whisper. “We know it’s Lupin!

While writing the first draft is an exercise in shutting down all of the things we think we know so that the story features come tumbling out, the revision is the end of the joy ride. We pull on the gloves and sort of poke around inside the body. Is that a tumor? Will that limb need amputation? I nearly second-guessed myself into heart failure while learning to self-edit.

Colored like a sunset tide is a gaze sharply slicing through the reflective glass. A furrowed brow is set much too seriously, as if trying to unfold the pieces of the face that stared back at it. One eyebrow is raised skeptically, always calculating and analyzing its surroundings. I tilt my head trying to see the deeper meaning in my features, trying to imagine the connection between my looks and my character as I stare in the mirror for the required five minutes. From the dark brown hair fastened tightly in a bun, a curl as bright as woven gold comes loose. A flash of unruly hair prominent through the typical browns is like my temper; always there, but not always visible. I begin to grow frustrated with the girl in the mirror, and she cocks her hip as if mocking me. In a moment, her lips curve in a half smile, not quite detectable in sight but rather in feeling, like the sensation of something good just around the corner. A chin was set high in a stubborn fashion, symbolizing either persistence or complete adamancy. Shoulders are held stiff like ancient mountains, proud but slightly arrogant. The image watches with the misty eyes of a daydreamer, glazed over with a sort of trance as if in the middle of a reverie, or a vision. Every once and a while, her true fears surface in those eyes, terror that her life would amount to nothing, that her work would have no impact. Words written are meant to be read, and sometimes I worry that my thoughts and ideas will be lost with time. My dream is to be an author, to be immortalized in print and live forever in the minds of avid readers. I want to access the power in being able to shape the minds of the young and open, and alter the minds of the old and resolute. Imagine the power in living forever, and passing on your ideas through generations. With each new reader, a new layer of meaning is uncovered in writing, meaning that even the author may not have seen. In the mirror, I see a girl that wants to change the world, and change the way people think and reason. Reflection and image mean nothing, for the girl in the mirror is more than a one dimensional picture. She is someone who has followed my footsteps with every lesson learned, and every mistake made. She has been there to help me find a foothold in the world, and to catch me when I fall. As the lights blink out, obscuring her face, I realize that although that image is one that will puzzle me in years to come, she and I aren’t so different after all.

Sun is bright sky is clear, ocean calling you to swimm enjoy don't forget winter will come where you'll respect water and being friends of blankets, life is like that enjoy the moment remember the feature.

Spend more time to learn the skill of contouring your mind. Spend more time to highlight the features of your mind. The world is filled with beautiful faces what we lack are beautiful minds ©SaccheenLaing2015

Words are never frail. They have all the powers to change the personality and features of a man. The way he relates and depicts the things are based on the words he discovers. At one point where words portray happiness for someone, it also counts for the tears to some. The day we comprehend the strength of words, we would choose them more closely and patiently. Where we would prefer silence more over words. If words are our strength, they are our weakness too.

This is a work of fiction, which, contrary to what any reader paying attention to recent events might assume, I began writing more than twenty years before its publication. It has been a most unusual journey. Before I tell—briefly—the story behind this novel and the remarkable people who inspired it, let me add that while this novel does feature some real people, places, and pivotal events, they are handled in a fictional manner. My intent is not only to tell a story worth reading but equally—or, to be honest, more importantly—to honor the memory of those in nineteenth- and twenty-first-century Charleston who have set an example of courage, conviction, and a spirit of love far stronger than

Philo of Larisa, head of the Academy in Athens....inspired Cicero with a passion for philosophy, and in particular for the theories of Skepticism, which asserted that knowledge of the nature of things is in the nature of things unattainable. Such ideas were well judged to appeal to a student of rhetoric who had learned to argue all sides of a case. In his early twenties Cicero wrote the first two volumes of a work on 'inventin'--that is to say, the technique of finding ideas and arguments for a speech; in it he noted that the most important thing was 'that we do not recklessly and presumptuously assume something to be true.' This resolute uncertainty was to be a permanent feature of his thought.

Few scientists acquainted with the chemistry of biological systems at the molecular level can avoid being inspired. Evolution has produced chemical compounds exquisitely organized to accomplish the most complicated and delicate of tasks. Many organic chemists viewing crystal structures of enzyme systems or nucleic acids and knowing the marvels of specificity of the immune systems must dream of designing and synthesizing simpler organic compounds that imitate working features of these naturally occurring compounds.

There are many approaches to prototyping, but they share a single, paradoxical feature: They slow us down to speed us up. By taking the time to prototype our ideas, we avoid costly mistakes such as becoming too complex too early and sticking with a weak idea for too long. I

Perhaps Gregor Mendel was inspired by Lucretius: “It may also happen at times that children take a after their grandparents, or recall the features of great-grandparents. This is because the parents’ bodies often preserve a quantity of latent seeds, grouped in many combinations, which derive from an ancestral stock handed down from generation to generation. From these Venus evokes a random assortment of characters, reproducing ancestral traits of expression, voice or hair; for these characters are determined by specific seeds no less than our faces and bodily members.

So, for every internal voice that says 'can't', 'shouldn't', 'not good enough', remind yourself that one of the core features of creativity is exploration, a willingness to try and an acceptance that sometimes it won't necessarily go the way you planned, and that you won't always succeed.

Certainly many if not most of Sufi love poems can be read as if they were addressed to a woman. In fact, without doubt a certain number of them were inspired by a woman‘s beautiful features, but this did not prevent the poet from viewing her loveliness as the mirror of God‘s Beauty. (p. 287)

the course of time, all of Apple’s competitors lost their WHY. Now all those companies define themselves by WHAT they do: we make computers. They turned from companies with a cause into companies that sold products. And when that happens, price, quality, service and features become the primary currency to motivate a purchase decision. At that point a company and its products have ostensibly become commodities. As any company forced to compete on price, quality, service or features alone can attest, it is very hard to differentiate for any period of time or build loyalty on those factors alone.

Yet many creative spirits have found inspiration in the idea that the Creator might be, among other things, an artist whose esthetic motivations we can appreciate and share-or even, in daring speculation, that the Creator is primarily a creative artist. Such spirits have engaged our Question, in varied and evolving forms, across many centuries. Thus inspired, they have produced deep philosophy, great science, compelling literature, and striking imagery. Some have produced works that combine several, or all, of those features. These works are a vein of gold running back through our civilization.

« Stan wants to see them work the facial features, especially the smiles. He has a professional interest, from his job at Dimple. The Empathy Model he’d worked on could smile, but it was the same smile every time. Though what else did you need for checking out groceries? Put two eyes on anything and basically it looks like a face. »

the only touchstone of merit seeming to me to be the way someone could be useful in connection with the one thing that seemed important—my love. Then, perhaps out of duplicity, or in a genuine surge of affection inspired by gratitude, by self-interest, and by all the physical features of Mme de Guermantes that nature had replicated in her nephew, I went on to add:

Much will have been gained for aesthetics once we have succeeded in apprehending directly — rather than merely ascertaining — that art owes its continuous evolution to the Apollinian-Dionysian duality, even as the propagation of the species depends on the duality of the sexes, their constant conflicts and periodic acts of reconciliation. I have borrowed my adjectives from the Greeks, who developed their mystical doctrines of art through plausible embodiments, not through purely conceptual means. It is by those two art sponsoring deities, Apollo and Dionysus, that we are made to recognize the tremendous split, as regards both origins and objectives, between the plastic, Apollinian arts and the nonvisual art of music inspired by Dionysus. The two creative tendencies developed alongside one another, usually in fierce opposition, each by its taunts forcing the other to more energetic production, both perpetuating in a discordant concord that agon which the term art but feebly denominates: until at last, by the thaumaturgy of an Hellenic act of will, the pair accepted the yoke of marriage and, in this condition, begot Attic tragedy, which exhibits the salient features of both parents.

Inside the terminal at Keahole, they sat waiting to board, watching husky Hawaiians load luggage onto baggage ramps. Arriving tourists smiled at their dark, muscled bodies, handsome full-featured faces, the ease with which they lifted things of bulk and weight. Departing tourists took snapshots of them. 'That's how they see us', Pono whispered. 'Porters, servants. Hula Dancers, clowns. They never see us as we are, complex, ambiguous, inspired humans.' 'Not all haole see us that way...'Jess argued. Vanya stared at her. 'Yes, all Haole and every foreigner who comes here puts us in one of two categories: The malignant stereotype of vicious, drunken, do-nothing kanaka and their loose-hipped, whoring wahine. Or, the benign stereotype of the childlike, tourist-loving, bare-foot, aloha-spirit natives.

A magic moment I remember: I raised my eyes and you were there, A fleeting vision, the quintessence Of all that's beautiful and rare I pray to mute despair and anguish, To vain the pursuits world esteems, Long did I hear your soothing accents, Long did your features haunt my dreams. Time passed. A rebel storm-blast scattered The reveries that once were mine And I forgot your soothing accents, Your features gracefully divine. In dark days of enforced retirement I gazed upon grey skies above With no ideals to inspire me No one to cry for, live for, love. Then came a moment of reinessance, I looked up - you again are there A fleeting vision, the quintessence Of all that's beautiful and rare – Alexander Sergeyevich Pushkin, “A Magic Moment I Remember,” The Poetry of Alexander Sergeyevich (Portable Poetgry, January 27th 2014) Originally published 1821

When Elizabeth finally descended the stairs on her way to the dining room she was two hours late. Deliberately. “Good heavens, you’re tardy, my dear!” Sir Francis said, shoving back his chair and rushing to the doorway where Elizabeth had been standing, trying to gather her courage to do what needed to be done. “Come and meet my guests,” he said, drawing her forward after a swift, disappointed look at her drab attire and severe coiffure. “We did as you suggested in your note and went ahead with supper. What kept you abovestairs so long?” “I was at prayer,” Elizabeth said, managing to look him straight in the eye. Sir Francis recovered from his surprise in time to introduce her to the three other people at the table-two men who resembled him in age and features and two women of perhaps five and thirty who were both attired in the most shockingly revealing gowns Elizabeth had ever seen. Elizabeth accepted a helping of cold meat to silence her protesting stomach while both women studied her with unhidden scorn. “That is a most unusual ensemble you’re wearing, I must say,” remarked the woman named Eloise. “Is it the custom where you come from to dress so…simply?” Elizabeth took a dainty bite of meat. “Not really. I disapprove of too much personal adornment.” She turned to Sir Francis with an innocent stare. “Gowns are expensive. I consider them a great waste of money.” Sir Francis was suddenly inclined to agree, particularly since he intended to keep her naked as much as possible. “Quite right!” he beamed, eyeing the other ladies with pointed disapproval. “No sense in spending all that money on gowns. No point in spending money at all.” “My sentiments exactly,” Elizabeth said, nodding. “I prefer to give every shilling I can find to charity instead.” “Give it away?” he said in a muted roar, half rising out of his chair. Then he forced himself to sit back down and reconsider the wisdom of wedding her. She was lovely-her face more mature then he remembered it, but not even the black veil and scraped-back hair could detract from the beauty of her emerald-green eyes with their long, sooty lashes. Her eyes had dark circles beneath them-shadows he didn’t recall seeing there earlier in the day. He put the shadows down to her far-too-serious nature. Her dowry was creditable, and her body beneath that shapeless black gown…he wished he could see her shape. Perhaps it, too, had changed, and not for the better, in the past few years. “I had hoped, my dear,” Sir Francis said, covering her hand with his and squeezing it affectionately, “that you might wear something else down to supper, as I suggested you should.” Elizabeth gave him an innocent stare. “This is all I brought.” “All you brought?” he uttered. “B-But I definitely saw my footmen carrying several trunks upstairs.” “They belong to my aunt-only one of them is mine,” she fabricated hastily, already anticipating his next question and thinking madly for some satisfactory answer. “Really?” He continued to eye her gown with great dissatisfaction, and then he asked exactly the question she’d expected: “What, may I ask, does your one truck contain if not gowns?” Inspiration struck, and Elizabeth smiled radiantly. “Something of great value. Priceless value,” she confided. All faces at the table watched her with alert fascination-particularly the greedy Sir Francis. “Well, don’t keep us in suspense, love. What’s in it?” “The mortal remains of Saint Jacob.

That wondrous instant of our meeting — my mind’s eye sees you standing there, a vision transient and fleeting, true beauty’s spirit, pure and rare. In toils of hopeless grief confounded, amid life’s noise and stress it seems for long that tender voice resounded and those sweet features came in dreams. Years passed; the storms that life engenders dispersed my former hopes of grace and I forgot those accents tender, the heavenly beauty of your face. And in my dark incarceration my days passed like the clouds above, bereft alike of inspiration, of tears, of life itself, of love. My soul awoke to new existence, again you stood before me there, a vision lasting but an instant, true beauty’s spirit, pure and rare. My heart relives the old sensation and once more steal down from above, God’s benediction, inspiration, and tears, and life itself and love.

Though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always and ever present within the sanctuary of the heart and even immanent within, or just behind, the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to his own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at his side.

Beauty is merely defined by the very core of one's soul, which then and only then outlines one's outside features, reflecting beyond the body. With every line representing who you are. The wrinkles around the eyes from laughing so hard, the callus on ones hands from giving, the scars on one body from "living", the curve of ones mouth from the words their speaking, the lines on one's for curiosity their building. Truth is we all hold our own definition of beauty, it's that simple.

THE ANTHEM OF HOPE Tiny footprints in mud, metal scraps among thistles Child who ambles barefooted through humanity’s war An Elderflower in mud, landmines hidden in bristles Blood clings to your feet, your wee hands stiff and sore You who walk among trenches, midst our filth and our gore Box of crayons in hand, your tears tumble like crystals Gentle, scared little boy, at the heel of Hope Valley, The grassy heel of Hope Valley. And the bombs fall-fall-fall Down the slopes of Hope Valley Bayonets cut-cut-cut Through the ranks of Hope Valley Napalm clouds burn-burn-burn All who fight in Hope Valley, All who fall in Hope Valley. Bullets fly past your shoulder, fireflies light the sky Child who digs through the trenches for his long sleeping father You plant a kiss on his forehead, and you whisper goodbye Vain corpses, brave soldiers, offered as cannon fodder Nothing is left but a wall; near its pallor you gather Crayon ready, you draw: the memory of a lie Kind, sad little boy, sketching your dream of Hope Valley Your little dream of Hope Valley. Missiles fly-fly-fly Over the fields of Hope Valley Carabines shoot-shoot-shoot The brave souls of Hope Valley And the tanks shell-shell-shell Those who toiled for Hope Valley, Those who died for Hope Valley. In the light of gunfire, the little child draws the valley Every trench is a creek; every bloodstain a flower No battlefield, but a garden with large fields ripe with barley Ideations of peace in his dark, final hour And so the child drew his future, on the wall of that tower Memories of times past; your tiny village lush alley Great, brave little boy, the future hope of Hope Valley The only hope of Hope Valley. And the grass grows-grows-grows On the knolls of Hope Valley Daffodils bloom-bloom-bloom Across the hills of Hope Valley The midday sun shines-shines-shines On the folk of Hope Valley On the dead of Hope Valley From his Aerodyne fleet The soldier faces the carnage Uttering words to the fallen He commends their great courage Across a wrecked, tower wall A child’s hand limns the valley And this drawing speaks volumes Words of hope, not of bally He wipes his tears and marvels The miracle of Hope Valley The only miracle of Hope Valley And the grass grows-grows-grows Midst all the dead of Hope Valley Daffodils bloom-bloom-bloom For all the dead of Hope Valley The evening sun sets-sets-sets On the miracle of Hope Valley The only miracle of Hope Valley (lyrics to "the Anthem of Hope", a fictional song featured in Louise Blackwick's Neon Science-Fiction novel "5 Stars".

Yet the hunger to treat patients still drove Farber. And sitting in his basement laboratory in the summer of 1947, Farber had a single inspired idea: he chose, among all cancers, to focus his attention on one of its oddest and most hopeless variants—childhood leukemia. To understand cancer as a whole, he reasoned, you needed to start at the bottom of its complexity, in its basement. And despite its many idiosyncrasies, leukemia possessed a singularly attractive feature: it could be measured. Science begins with counting. To understand a phenomenon, a scientist must first describe it; to describe it objectively, he must first measure it. If cancer medicine was to be transformed into a rigorous science, then cancer would need to be counted somehow—measured in some reliable, reproducible way. In this, leukemia was different from nearly every other type of cancer. In a world before CT scans and MRIs, quantifying the change in size of an internal solid tumor in the lung or the breast was virtually impossible without surgery: you could not measure what you could not see. But leukemia, floating freely in the blood, could be measured as easily as blood cells—by drawing a sample of blood or bone marrow and looking at it under a microscope. If leukemia could be counted, Farber reasoned, then any intervention—a chemical sent circulating through the blood, say—could be evaluated for its potency in living patients. He could watch cells grow or die in the blood and use that to measure the success or failure of a drug. He could perform an “experiment” on cancer.

As graduate programs are supposed to do, this one stressed excellence: the values that defined it, the quality of work that embodied it. They were inspiring to me. But they came in a package—from my vantage point as a solo black, the package of an all-white program. Thus some of the incidental features of being white academics—the preference for dressing down, the love of seemingly all things European, a preference for dry wines, little knowledge of black life or popular culture—got implicitly associated with excellence. Excellence seemed to have an identity, which I didn’t entirely have and worried that I couldn’t get.

There’s barely a product or service on the market today that customers can’t buy from someone else for about the same price, about the same quality, about the same level of service and about the same features. If you truly have a first-mover’s advantage, it’s probably lost in a matter of months. If you offer something truly novel, someone else will soon come up with something similar and maybe even better. But if you ask most businesses why their customers are their customers, most will tell you it’s because of superior quality, features, price or service. In other words, most companies have no clue why their customers are their customers.

The more Clayton eyed the terrain of this country, the more he could believe in its prophecy. The clear streams sparkled in sunlight even in the shade of century-old cottonwoods, as if the water were privy to some source of internal light that blinked at will on its surface. The lonely rock outcrops scattered throughout the plain, broke up the grassy expanses like islands dotting the sea of prairie. To the west, the juniper-tufted cliffs rose abruptly, standing like the ramparts of a gigantic fortress that appeared to reach the sky. Each of these features was like an individual ingredient taken from an ancient recipe that existed before any man had set foot on this land.

The gift of the Holy Ghost … quickens all the intellectual faculties, increases, enlarges, expands and purifies all the natural passions and affections, and adapts them, by the gift of wisdom, to their lawful use. It inspires, develops, cultivates, and matures all the fine-toned sympathies, joys, tastes, kindred feelings, and affections of our nature. It inspires virtue, kindness, goodness, tenderness, gentleness, and charity. It develops beauty of person, form, and features. It tends to health, vigor, animation, and social feeling. It invigorates all the faculties of the physical and intellectual man. It strengthens and gives tone to the nerves. In short, it is, as it were, marrow to the bone, joy to the heart, light to the eyes, music to the ears, and life to the whole being.

G. Stanley Hall, a creature of his times, believed strongly that adolescence was determined – a fixed feature of human development that could be explained and accounted for in scientific fashion. To make his case, he relied on Haeckel's faulty recapitulation idea, Lombroso's faulty phrenology-inspired theories of crime, a plethora of anecdotes and one-sided interpretations of data. Given the issues, theories, standards and data-handling methods of his day, he did a superb job. But when you take away the shoddy theories, put the anecdotes in their place, and look for alternate explanations of the data, the bronze statue tumbles hard. I have no doubt that many of the street teens of Hall's time were suffering or insufferable, but it's a serious mistake to develop a timeless, universal theory of human nature around the peculiarities of the people of one's own time and place.

With Circe, I wanted to take a woman’s life and set it at the center of an epic story. Ancient epic almost exclusively features male protagonists, and the few women who appear are there mostly as cameo helpmeets, breeding stock, or obstacles to be overcome; their stories matter only in how they touch the hero’s. I wanted to flip the script, to make Odysseus the cameo and Circe the epic hero. I also deliberately included things that have been shut out of epic because they are considered traditionally female, like parenting, crafts, and childbirth. As anyone who’s ever lived through or witnessed childbirth can tell you, it is one of life’s more epic experiences. "Meanwhile, with The Song of Achilles, I wanted to do the opposite: take a story that was famously epic and tell it from a personal and intimate perspective. I was inspired by Homer in subject matter, but in tone I wanted to come more out of the tradition of the ancient lyric poets, including Sappho and Catullus.

Muggles remain ignorant of the source of their suffering as they continue to sustain heavy casualties,” said Kingsley. “However, we continue to hear truly inspirational stories of wizards and witches risking their own safety to protect Muggle friends and neighbors, often without the Muggles’ knowledge. I’d like to appeal to all our listeners to emulate their example, perhaps by casting a protective charm over any Muggle dwellings in your street. Many lives could be saved if such simple measures are taken.” “And what would you say, Royal, to those listeners who reply that in these dangerous times, it should be ‘Wizards first’?” asked Lee. “I’d say that it’s one short step from ‘Wizards first’ to ‘Purebloods first,’ and then to ‘Death Eaters,’” replied Kingsley. “We’re all human, aren’t we? Every human life is worth the same, and worth saving.” “Excellently put, Royal, and you’ve got my vote for Minister of Magic if ever we get out of this mess,” said Lee. “And now, over to Romulus for our popular feature ‘Pals of Potter.

MARK TWAIN Some months after invading Iraq, President George W. Bush said he had taken the war to liberate the Philippines as his model. Both wars were inspired from heaven. Bush disclosed that God had ordered him to act as he did. And a century beforehand, President William McKinley also heard the voice from the Great Beyond: “God told me that we could not leave the Filipinos to themselves. They were unfit for self-government. There was nothing left for us to do but to take them all, and to educate them, and uplift and civilize and Christianize them.” Thus the Philippines were liberated from the Filipino threat, and along the way the United States also saved Cuba, Puerto Rico, Honduras, Colombia, Panama, Dominican Republic, Hawaii, Guam, Samoa . . . At the time, writer Ambrose Bierce revealed: “War is God’s way of teaching us geography.” And his colleague Mark Twain, leader of the Anti-Imperialist League, designed a new flag for the nation, featuring little skulls in place of stars. General Frederick Funston suggested Twain ought to be hanged for treason. Tom Sawyer and Huck Finn defended their father.

The growth of international bureaucracies with power to determine many aspects of people’s lives is a dominant feature of our age. Even the European Union is increasingly powerless, as it merely transmits to its member states rules set at higher levels. Food standards, for example, are decided by a United Nations body called the Codex Alimentarius. The rules of the banking industry are set by a committee based in Basel in Switzerland. Financial regulation is set by the Financial Stability Board in Paris. I bet you have not heard of the World Forum for the Harmonisation of Vehicle Regulations, a subsidiary of the UN. Even the weather is to be controlled by Leviathan in the future. In an interview in 2012, Christiana Figueres, head of the United Nations Framework Convention on Climate Change, said she and her colleagues were inspiring government, private sector and civil society to make the biggest transformation that they have ever undertaken: ‘The Industrial Revolution was also a transformation, but it wasn’t a guided transformation from a centralized policy perspective. This is a centralized transformation.’ Yet

Here’s another example that some overworked mothers might find inspiring. We saw in Chapter 2 that being the one who produces the sperm doesn’t dictate, by universal principle, that parenting is out of the portfolio. However, in the case of the rat (as with most mammals), the balance of trade-offs make it more adaptive for males to leave parenting to the mothers. This might tempt us to take it for granted that males, by virtue of their sex, therefore lack the capacity to care for pups. We might well assume that, through sexual selection, they lost or never acquired the biological capacity to parent: that it isn’t “in” their genes, hormones, or neural circuits. That it isn’t in their male nature. But bear in mind that one reliable feature of a male rat’s developmental system is a female rat that does the child care. So what happens when a scientist, under controlled laboratory conditions, simulates a first-wave feminist rodent movement by placing males in cages with pups but no females? Before too long you will see the male “mothering” the infant, in much the same way that females do. Feminism: 1. Sexual selection: nil.

Its chief covering seemed to me to be composed of large wings folded over its breast and reaching to its knees; the rest of its attire was composed of an under tunic and leggings of some thin fibrous material. It wore on its head a kind of tiara that shone with jewels, and carried in its right hand a slender staff of bright metal like polished steel. But the face! it was that which inspired my awe and my terror. It was the face of man, but yet of a type of man distinct from our known extant races. The nearest approach to it in outline and expression is the face of the sculptured sphinx—so regular in its calm, intellectual, mysterious beauty. Its colour was peculiar, more like that of the red man than any other variety of our species, and yet different from it—a richer and a softer hue, with large black eyes, deep and brilliant, and brows arched as a semicircle. The face was beardless; but a nameless something in the aspect, tranquil though the expression, and beauteous though the features, roused that instinct of danger which the sight of a tiger or serpent arouses. I felt that this manlike image was endowed with forces inimical to man.

When I started in real estate, despite high ambition, I was constrained by the same 24 hours as everyone else. My early success came from a grueling schedule, long hours, and the high price of near burn-out. In self-defense, I devised a system that featured direct marketing in place of traditional prospecting plus a highly effective team, with all the non-rainmaker tasks delegated to them. This took me to the top of the profession, twice #1 in RE/MAX worldwide in commissions earned, and 15 years as one of the top agents—working less hours than most. While an active agent, I consistently sold over 500 homes a year, even while starting and developing a second business, training and coaching more millionaire agents than any other coach. Without the inspiration of Dan Kennedy’s direct marketing methods and his extraordinary, extreme time-management philosophy, these achievements simply would not have been possible. LEVERAGING yourself, by media in place of manual labor, and with other people is very intimidating to most real estate agents and to most small businesspeople. It frankly is not easy to get right, but it is the quantum leap that uniquely and simultaneously lifts income and supports a great lifestyle. —CRAIG PROCTOR, CRAIGPROCTOR.COM

The opposite of fear is faith' is an adage I heard often when I quit drinking. The thinking is that fear is paralyzing or even regressive, causing you to retreat in defense, while faith inspires forward progress. So why, I always wondered, does fear feature so prominently in our discussions and practice of faith? We talk about fear of God as a good thing - and being God-fearing as a desirable state. I know I'm not the first to say this, and smarter people have given it more thorough examination and more eloquent expression, but that just makes no sense to me. It's counterintuitive and, I think, confuses fear with respect. As a way of motivating people, cultivating fear is easier than investing the time and effort necessary to engender respect. Respect requires greater knowledge, and in my experience, the more you know, the less you fear. In the year or so between my Parkinson's diagnosis and my quitting drinking, I had considered getting sober but feared life without the perceived buffer of alcohol. What I came to realize after a few months of disciplined sobriety was that my fear had nothing to do with alcohol or a lack thereof. It had to do with a lack of self-understanding. As I gained more intimate knowledge of myself, why I did the things I did, what my resentments were, and how I could address them, my fear began to subside.

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

Straightening reluctantly, she strolled about the room with forced nonchalance, her hands clasped behind her back, looking blindly at the cobwebs in the corner of the ceiling, trying to think what to say. And then inspiration struck. The solution was demeaning but practical, and properly presented, it could appear she was graciously doing him a favor. She paused a moment to arrange her features into what she hoped was the right expression of enthusiasm and compassion, then she wheeled around abruptly. “Mr. Thornton!” Her voice seemed to explode in the room at the same time his startled amber gaze riveted on her face, then drifted down her bodice, roving boldly over her ripened curves. Unnerved but determined, Elizabeth forged shakily ahead: “It appears as if no one has occupied this house in quite some time.” “I commend you on that astute observation, lady Cameron,” Ian mocked lazily, watching the tension and emotion play across her expressive face. For the life of him he could not understand what she was doing here or why she seemed to be trying to ingratiate herself this morning. Last night the explanation he’d given Jake had made sense; now, looking at her, he couldn’t quite believe any of it. Then he remembered that Elizabeth Cameron had always robbed him of the ability to think rationally. “Houses do have a way of succumbing to dirt when no one looks after them,” she stated with a bright look. “Another creditable observation. You’ve certainly a quick mind.” “Must you make this so very difficult!” Elizabeth exclaimed. “I apologize,” he said with mocking gravity. “Do go on. You were saying?” “Well, I was thinking, since we’re quite stranded here-Lucinda and I, I mean-with absolutely nothing but time on our hands, that this house could certainly use a woman’s touch.” “Capital idea!” burst out Jake, returning from his mission to locate the butter and casting a highly hopeful look at Lucinda. He was rewarded with a glare from her that could have pulverized rock. “It could use an army of servants carrying shovels and wearing masks on their faces,” the duenna countered ruthlessly. “You needn’t help, Lucinda,” Elizabeth explained, aghast. “I never meant to imply you should. But I could! I-“ She whirled around as Ian Thornton surged to his feet and took her elbow in a none-too-gentle grasp. “Lady Cameron,” he said. “I think you and I have something to discuss that may be better spoken in private. Shall we?” He gestured to the open door and then practically dragged her along in his wake. Outdoors in the sunlight he marched her forward several paces, then dropped her arm. “Let’s hear it,” he said. “Hear what?” Elizabeth said nervously. “An explanation-the truth, if you’re capable of it. Last night you drew a gun on me, and this morning you’re awash with excitement over the prospect over the prospect of cleaning my house. I want to know why.” “Well,” Elizabeth burst out in defense of her actions with the gun, “you were extremely disagreeable!” “I am still disagreeable,” he pointed out shortly, ignoring Elizabeth’s raised brows. “I haven’t changed. I am not the one who’s suddenly oozing goodwill this morning.” Elizabeth turned her head to the lane, trying desperately to think of an explanation that wouldn’t reveal to him her humiliating circumstances. “The silence is deafening, Lady Cameron, and somewhat surprising. As I recall, the last time we met you could scarcely contain all the edifying information you were trying to impart to me.” Elizabeth knew he was referring to her monologue on the history of hyacinths in the greenhouse. “I just don’t know where to begin,” she admitted. “Let’s stick to the salient points. What are you doing here?

Anarchists and antiauthoritarians clearly differentiate between charity and solidarity--especially thanks to working with indigenous solidarity movements and other international solidarity movements--based on the principles of affinity and mutual aid. Affinity is just what it sounds like: that you can work most easily with people who share your goals, and that your work will be strongest when your relationships are based on trust, friendship, and love. Mutual aid is the idea that we all have a stake in one another's liberation, and that when we can act from that interdependence, we can share with one another as equals. Charity, however, is something that is given not only because it feels like there is an excess to share but also because it is based in a framework that implies that others inherently need the help--that they are unable to take care of themselves and that they would suffer without it. Charity is patronizing and selfish. It establishes some people as those who assist and others as those who need assistance, stabilizing oppressive paradigms by solidifying people's positions in them. Autonomy and self-determination are essential to making this distinction as well. Recognizing the autonomy and self-determination of individuals and groups acknowledges their capability. It's an understanding of that group as having something of worth to be gained through interactions with them, whether that thing is a material good or something less tangible, like perspective, joy, or inspiration. The solidarity model dispels the idea of one inside and one outside, foregrounding how individuals belong to multiple groups and how groups overlap with one another, while simultaneously demanding respect for the identity of self-sufficientcy of each of those groups. Original Zine: Ain't no PC Gonna Fix it, Baby. 2013. Featured in: A Critique of Ally Politics. Taking Sides.

[Magyar] had an intense dislike for terms like 'illiberal,' which focused on traits the regimes did not possess--like free media or fair elections. This he likened to trying to describe an elephant by saying that the elephant cannot fly or cannot swim--it says nothing about what the elephant actually is. Nor did he like the term 'hybrid regime,' which to him seemed like an imitation of a definition, since it failed to define what the regime was ostensibly a hybrid of. Magyar developed his own concept: the 'post-communist mafia state.' Both halves of the designation were significant: 'post-communist' because "the conditions preceding the democratic big bang have a decisive role in the formation of the system. Namely that it came about on the foundations of a communist dictatorship, as a product of the debris left by its decay." (quoting Balint Magyar) The ruling elites of post-communist states most often hail from the old nomenklatura, be it Party or secret service. But to Magyar this was not the countries' most important common feature: what mattered most was that some of these old groups evolved into structures centered around a single man who led them in wielding power. Consolidating power and resources was relatively simple because these countries had just recently had Party monopoly on power and a state monopoly on property. ... A mafia state, in Magyar's definition, was different from other states ruled by one person surrounded by a small elite. In a mafia state, the small powerful group was structured just like a family. The center of the family is the patriarch, who does not govern: "he disposes--of positions, wealth, statuses, persons." The system works like a caricature of the Communist distribution economy. The patriarch and his family have only two goals: accumulating wealth and concentrating power. The family-like structure is strictly hierarchical, and membership in it can be obtained only through birth or adoption. In Putin's case, his inner circle consisted of men with whom he grew up in the streets and judo clubs of Leningrad, the next circle included men with whom he had worked with in the KGB/FSB, and the next circle was made up of men who had worked in the St. Petersburg administration with him. Very rarely, he 'adopted' someone into the family as he did with Kholmanskikh, the head of the assembly shop, who was elevated from obscurity to a sort of third-cousin-hood. One cannot leave the family voluntarily: one can only be kicked out, disowned and disinherited. Violence and ideology, the pillars of the totalitarian state, became, in the hands of the mafia state, mere instruments. The post-communist mafia state, in Magyar's words, is an "ideology-applying regime" (while a totalitarian regime is 'ideology-driven'). A crackdown required both force and ideology. While the instruments of force---the riot police, the interior troops, and even the street-washing machines---were within arm's reach, ready to be used, ideology was less apparently available. Up until spring 2012, Putin's ideological repertoire had consisted of the word 'stability,' a lament for the loss of the Soviet empire, a steady but barely articulated restoration of the Soviet aesthetic and the myth of the Great Patriotic War, and general statements about the United States and NATO, which had cheated Russia and threatened it now. All these components had been employed during the 'preventative counter-revolution,' when the country, and especially its youth, was called upon to battle the American-inspired orange menace, which threatened stability. Putin employed the same set of images when he first responded to the protests in December. But Dugin was now arguing that this was not enough. At the end of December, Dugin published an article in which he predicted the fall of Putin if he continued to ignore the importance of ideas and history.

Ironically,” she commented, “this will be the first time I’ve ever done anything to please my father.” With a sympathetic murmur, Matthew gathered Daisy close against him. He knew her father as well as anyone, having become well acquainted with the man’s tempers, his self-absorption, his impossible standards. And yet he understood what it had required for Bowman to build a great fortune from scratch, the sacrifices he’d had to make. Bowman had discarded everything that would have gotten in the way of achieving his goals. Including closeness with his wife and children. For the first time it occurred to Matthew that Bowman and his family would benefit from someone acting as a mediator, to ease their communications with each other. If such a thing were in his power, he would find a way to do it. “You,” he whispered in Daisy’s hair, “are the best thing he’s ever done. Someday he’ll realize that.” He felt her smile against his skin. “I doubt it. But it’s nice of you to say so. You don’t have to be concerned on that account, you know. I reconciled myself to the way he was a long time ago.” Once again Matthew was taken unaware by the extent of the feelings she inspired in him, his own limitless desire to fill her with happiness. “Whatever you need,” he whispered, “Whatever you want, I’ll get it for you. Just tell me.” Daisy stretched comfortably, a pleasant shiver running through her limbs. She touched his lips with her fingers, tracing the smoothness. “I want to know what your five-dollar wish was for.” “Is that all?” He smiled beneath her exploring fingertips. “I wished you would find someone who wanted you as much as I did. But I knew it wouldn’t come true.” The candlelight slid over Daisy’s delicate features as she raised her head to look at him. “Why not?” “Because I knew no one could ever want you as much as I do.” Daisy levered herself farther over him until her hair tumbled in a dark curtain around them both. “What was your wish?” Matthew asked, combing his fingers through the fall of shimmering hair. “That I could find the right man to marry.” Her tender smile stopped his heart. “And then you appeared.

I do not believe that we have finished evolving. And by that, I do not mean that we will continue to make ever more sophisticated machines and intelligent computers, even as we unlock our genetic code and use our biotechnologies to reshape the human form as we once bred new strains of cattle and sheep. We have placed much too great a faith in our technology. Although we will always reach out to new technologies, as our hands naturally do toward pebbles and shells by the seashore, the idea that the technologies of our civilized life have put an end to our biological evolution—that “Man” is a finished product—is almost certainly wrong. It seems to be just the opposite. In the 10,000 years since our ancestors settled down to farm the land, in the few thousand years in which they built great civilizations, the pressures of this new way of life have caused human evolution to actually accelerate. The rate at which genes are being positively selected to engender in us new features and forms has increased as much as a hundredfold. Two genes linked to brain size are rapidly evolving. Perhaps others will change the way our brain interconnects with itself, thus changing the way we think, act, and feel. What other natural forces work transformations deep inside us? Humanity keeps discovering whole new worlds. Without, in only five centuries, we have gone from thinking that the earth formed the center of the universe to gazing through our telescopes and identifying countless new galaxies in an unimaginably vast cosmos of which we are only the tiniest speck. Within, the first scientists to peer through microscopes felt shocked to behold bacteria swarming through our blood and other tissues. They later saw viruses infecting those bacteria in entire ecologies of life living inside life. We do not know all there is to know about life. We have not yet marveled deeply enough at life’s essential miracle. How, we should ask ourselves, do the seemingly soulless elements of carbon, hydrogen, oxygen, zinc, iron, and all the others organize themselves into a fully conscious human being? How does matter manage to move itself? Could it be that an indwelling consciousness makes up the stuff of all things? Could this consciousness somehow animate the whole grand ecology of evolution, from the forming of the first stars to the creation of human beings who look out at the universe’s glittering constellations in wonder? Could consciousness somehow embrace itself, folding back on itself, in a new and natural technology of the soul? If it could, this would give new meaning to Nietzsche’s insight that: “The highest art is self–creation.” Could we, really, shape our own evolution with the full force of our consciousness, even as we might exert our will to reach out and mold a lump of clay into a graceful sculpture? What is consciousness, really? What does it mean to be human?

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

In any creative endeavor, there is a long list of features and effects that you want to include to nudge it toward greatness—a very long list. At some point, though, you realize it is impossible to do everything on the list. So you set a deadline, which then forces a priority-based reordering of the list, followed by the difficult discussion of what, on this list, is absolutely necessary—or if the project is even feasible at all. You don’t want to have this discussion too soon, because at the outset, you don’t know what you are doing. If you wait too long, however, you run out of time or resources.

To be honest, I was uneasy about Steve. He had a forceful personality, whereas I do not, and I felt threatened by him. For all of my talk about the importance of surrounding myself with people smarter than myself, his intensity was at such a different level, I didn’t know how to interpret it. It put me in the mind of an ad campaign that the Maxell cassette tape company released around this time, featuring what would become an iconic image: a guy sitting low in a leather-and-chrome Le Corbusier chair, his long hair being literally blown back by the sound from the stereophonic speaker in front of him. That’s what it was like to be with Steve. He was the speaker. Everyone else was the guy.

Although surely no more than forty, Kamen walked like a much older man and wheezed even when he sat, peering at the world through enormous horn-rimmed spectacles and over an enormous pear of a belly. He was a very tall, very black black man, with features carved so large they seemed unreal. His great staring eyeballs, ship’s figurehead of a nose, and totemic lips were awe-inspiring. Xander Kamen looked like a minor god in a suit from Men’s Warehouse.

To our surprise, they readily agreed. Suddenly, we were making two ambitious feature films at once—doubling our theatrical output overnight. This was a little scary, but it also felt like an affirmation of our core values. As we staffed up, I felt proud that we had insisted on quality. Decisions like that, I believed, would ensure future success.

Reading is Intriguing...it can take you on a great Adventure!

So despite Humphreys’s rhetoric about scholarly misinterpretation and the “inspirational” potential of his interpretation, I think it is in fact hard to improve upon the century-old sobriety of S. R. Driver: “It is evident that the Biblical manna, while on the one hand (like the Plagues) it has definite points of contact with a natural phaenomenon or product of the country, differs from the natural manna [meaning the juice exuded from a particular species of tamarisk] in the many praeternatural or miraculous features attributed to it.

mathematical problems solved; feature problems solved...

Inspirational fiction is the proper name for religious or Christian fiction. These stories feature God-fearing characters—predominantly Christian—who live according to the values of their faith or who, after making a series of unfortunate mistakes, experience a profound conversion to that lifestyle.

The most powerful features of an organizational culture are trust and respect.

Tis the season for holiday parties and who better than Camille Styles to offer some smart ideas for keeping it festive.  Styles has a very popular lifestyle blog and the author of a new book, Camille Styles Entertaining: Inspired Gatherings and Effortless Style (one of our Best of 2014 in Crafts, Home & Design ).    The book has party ideas for every season so we asked her to share one for the holidays.  As it happens, she wrote about hosting a Holiday Cookie Swap Party just as we finished 12 days of cookie recipes . Cookies and cocktails--I'm so there. This cookie swap party is one of my favorite gatherings in my new book,Camille Styles Entertaining: Inspired Gatherings and Effortless Style . The book features fresh, inspirational party ideas for every season. Brimming with creative hors d'oeuvres and cocktail recipes, floral design tips, and inspiring table designs—it’s a guide to the simple details and creative shortcuts that make everyday moments feel special.

Tis the season for holiday parties and who better than Camille Styles to offer some smart ideas for keeping it festive.  Styles has a very popular lifestyle blog and the author of a new book, Camille Styles Entertaining: Inspired Gatherings and Effortless Style (one of our Best of 2014 in Crafts, Home & Design ).    The book has party ideas for every season so we asked her to share one for the holidays.  As it happens, she wrote about hosting a Holiday Cookie Swap Party just as we finished 12 days of cookie recipes . Cookies and cocktails--I'm so there. This cookie swap party is one of my favorite gatherings in my new book,Camille Styles Entertaining: Inspired Gatherings and Effortless Style . The book features fresh, inspirational party ideas for every season. Brimming

Alexander was laid in state in the city he had founded. A previous imperial visit had not been a complete success; Augustus, passing his hands over the inspirational features of the conqueror’s corpse, broke off his nose. Whether it was repaired or the emperor removed it as a relic is unrecorded.

LEADERSHIP | Intuit’s CEO on Building a Design-Driven Company Brad Smith | 222 words Although 46 similar products were on the market when Intuit launched Quicken, in 1983, it immediately became the market leader in personal finance software and has held that position for three decades. That’s because Quicken was so well designed that using it is intuitive. But by the time Smith became CEO, in 2008, the company had become overly focused on adding incremental features that delivered ease of use but not delight. What was missing was an emotional connection with customers. He and his team set out to integrate design thinking into every part of Intuit. They changed the layout of the office, reduced the number of cubes, and added more collaboration spaces and places for impromptu work. They increased the number of designers by nearly 600% and now hold quarterly design conferences. They bring in people who have created exceptionally designed products, such as the Nest thermostat and the Kayak travel website, to share insights with Intuit employees. The company acquired one start-up, called Mint, and collaborates with another, called ZenPayroll, to improve customer experience. Although most people don’t think of financial software as a category driven by emotion or design, Smith writes, Intuit’s D4D (“design for delight”) program has paid off. For example, its SnapTax app, inspired by consumers’ migration to smartphones, led one user to write, “I want this app to have my babies.

But there is a silver lining here. By inspiring people to learn the fundamental features of nature described by the Second Law of Thermodynamics, creationists can actually inspire a richer appreciation of the mechanism of evolution.

Until God’s Word becomes a Picture that you can see, it cannot become a reality in which you can feature.

Clothing and features fade with time. I am happy with who I am today, and I am happy with who I will be tomorrow.

In graduate school, I’d quietly set a goal of making the first computer-animated feature film, and I’d worked tirelessly for twenty years to accomplish it.

However, even though I find much of this anti-essentialist-inspired analysis compelling, I nonetheless hope to illuminate two problems that arise when this form of criticism is uncritically wielded in the context of Indigenous peoples’ struggles for recognition and self-determination. First, using recent feminist and deliberative democratic critiques of Indigenous recognition politics as a backdrop, I demonstrate how normative appropriations of social constructivism can undercut the liberatory aspirations of anti-essentialist criticism by failing to adequately address the complexity of interlocking social relations that serve to exasperate the types of exclusionary cultural practices that critics of essentialism find so disconcerting. Second, and perhaps more problematically, I show that when constructivist views of culture are posited as a universal feature of social life and then used as a means to evaluate the legitimacy of Indigenous claims for cultural recognition against the uncontested authority of the colonial state, it can serve to sanction the very forms of domination and inequality that anti-essentialist criticism ought to mitigate.

The British public first fell in love with Jamie Oliver’s authentic, down-to-earth personality in the late ‘90s when he was featured in a documentary on the River Café. Jamie became a household name because of his energetic and infectious way of inspiring people to believe that anyone can cook and eat well. In his TV shows and cookery books and on his website, he made the concept of cooking good food practical and accessible to anyone. When Jamie Oliver opened a new restaurant in Perth, it naturally caused a bit of a buzz. High-profile personalities and big brands create an air of expectation. Brands like Jamie Oliver are talked about not just because of their fame and instant recognition, but because they have meaning attached to them. And people associate Jamie with simplicity, inclusiveness, energy, and creativity. If you’re one of the first people to have the experience of eating at the new Jamie’s Italian, then you’ve instantly got a story that you can share with your friends. The stories we tell to others (and to ourselves) are the reason that people were prepared to queue halfway down the street when Jamie’s Italian opened the doors to its Perth restaurant in March of 2013. As with pre-iPhone launch lines at the Apple store, the reaction of customers frames the scarcity of the experience. When you know there’s a three-month wait for a dinner booking (there is, although 50% of the restaurant is reserved for walk-ins), it feels like a win to be one of the few to have a booking. The reaction of other people makes the story better in the eyes of prospective diners. The hype and the scarcity just heighten the anticipation of the experience. People don’t go just for the food; they go for the story they can tell. Jamie told the UK press that 30,000 napkins are stolen from branches of his restaurant every month. Customers were also stealing expensive toilet flush handles until Jamie had them welded on. The loss of the linen and toilet fittings might impact Jamie’s profits, but it also helps to create the myth of the brand. QUESTIONS FOR YOU How would you like customers to react to your brand?

Life is a solvent. Be someone who dispels or weakens attitudes and situations. Have assets in excess to protect your liabilities. Solving it by shutting away differences in intelligence means you fail at the ultimate test. How we recognize words, how one uses words to communicate, and the ability to receive and contemplate outcomes. This is a feature (as far as we know) unique to our sort of intelligence.

Soon, I found myself criss-crossing the country with Steve, in what we called our “dog and pony show,” trying to drum up interest in our initial public offering. As we traveled from one investment house to another, Steve (in a costume he rarely wore: suit and tie) pushed to secure early commitments, while I added a professorial presence by donning, at Steve’s insistence, a tweed jacket with elbow patches. I was supposed to embody the image of what a “technical genius” looks like—though, frankly, I don’t know anyone in computer science who dresses that way. Steve, as pitch man, was on fire. Pixar was a movie studio the likes of which no one had ever seen, he said, built on a foundation of cutting-edge technology and original storytelling. We would go public one week after Toy Story opened, when no one would question that Pixar was for real. Steve turned out to be right. As our first movie broke records at the box office and as all our dreams seemed to be coming true, our initial public offering raised nearly $140 million for the company—the biggest IPO of 1995. And a few months later, as if on cue, Eisner called, saying that he wanted to renegotiate the deal and keep us as a partner. He accepted Steve’s offer of a 50/50 split. I was amazed; Steve had called this exactly right. His clarity and execution were stunning. For me, this moment was the culmination of such a lengthy series of pursuits, it was almost impossible to take in. I had spent twenty years inventing new technological tools, helping to found a company, and working hard to make all the facets of this company communicate and work well together. All of this had been in the service of a single goal: making a computer-animated feature film. And now, we’d not only done it; thanks to Steve, we were on steadier financial ground than we’d ever been before. For the first time since our founding, our jobs were safe. I