Form Four Quotes

One word, two lips, three four five fingers form a fist. One corner, two parents, three four five reasons to hide. One child, two eyes, three four seventeen years of fear. A broken broomstick, a pair of wile faces, angry whispers, locks on my door.

I'm not sure bravery is something you acquire more of with age, like wisdom --but maybe here, in Dauntless, bravery is the highest form of wisdom, the acknowledgement that life can and should be lived without fear.

Openness is a habit you form over time, and not a switch you flip whenever you want to.

In the beginning Marvel created the Bullpen and the Style. And the Bullpen was without form, and void; and darkness was upon the face of the Artists. And the Spirit of Marvel said, Let there be The Fantasic Four. And there was The Fantasic Four. And Marvel saw The Fantasic Four. And it was good.

I tried to imagine Tate on ice skates. This vision didn’t form in my brain likely because Tate’s badassness reached across four states and halted such activity.

We may give our human loves the unconditional allegiance which we owe only to God. They they become gods: then they become demons. Then they will destroy us, and also destroy themselves. For natural loves that are allowed to become gods do not remain loves. They are still called so, but can become in fact complicated forms of hatred.

Dreams of innocence are just that; they usually depend on a denial of reality that can be its own form of hubris.

You think man can destroy the planet? What intoxicating vanity. Let me tell you about our planet. Earth is four-and-a-half-billion-years-old. There's been life on it for nearly that long, 3.8 billion years. Bacteria first; later the first multicellular life, then the first complex creatures in the sea, on the land. Then finally the great sweeping ages of animals, the amphibians, the dinosaurs, at last the mammals, each one enduring millions on millions of years, great dynasties of creatures rising, flourishing, dying away -- all this against a background of continuous and violent upheaval. Mountain ranges thrust up, eroded away, cometary impacts, volcano eruptions, oceans rising and falling, whole continents moving, an endless, constant, violent change, colliding, buckling to make mountains over millions of years. Earth has survived everything in its time. It will certainly survive us. If all the nuclear weapons in the world went off at once and all the plants, all the animals died and the earth was sizzling hot for a hundred thousand years, life would survive, somewhere: under the soil, frozen in Arctic ice. Sooner or later, when the planet was no longer inhospitable, life would spread again. The evolutionary process would begin again. It might take a few billion years for life to regain its present variety. Of course, it would be very different from what it is now, but the earth would survive our folly, only we would not. If the ozone layer gets thinner, ultraviolet radiation sears the earth, so what? Ultraviolet radiation is good for life. It's powerful energy. It promotes mutation, change. Many forms of life will thrive with more UV radiation. Many others will die out. Do you think this is the first time that's happened? Think about oxygen. Necessary for life now, but oxygen is actually a metabolic poison, a corrosive glass, like fluorine. When oxygen was first produced as a waste product by certain plant cells some three billion years ago, it created a crisis for all other life on earth. Those plants were polluting the environment, exhaling a lethal gas. Earth eventually had an atmosphere incompatible with life. Nevertheless, life on earth took care of itself. In the thinking of the human being a hundred years is a long time. A hundred years ago we didn't have cars, airplanes, computers or vaccines. It was a whole different world, but to the earth, a hundred years is nothing. A million years is nothing. This planet lives and breathes on a much vaster scale. We can't imagine its slow and powerful rhythms, and we haven't got the humility to try. We've been residents here for the blink of an eye. If we're gone tomorrow, the earth will not miss us.

A good marketing plan can’t be formed in just four hours. Plans are formed on extensive research.

That's what I really want - to shed all the people who want to form and shape me, one by one, and learn instead to form and shape myself.

Gossiping has become the main form of communication in human society. It has become the way we feel close to each other, because it makes us feel better to see someone else feel as badly as we do.

Of course it's juggling,” the man in motley was saying [...] “You know what your problem is, Sir Grenall? You've been seduced by the lure of spectacle. Sure, I could juggle three or four balls and use two hands, and that would be very impressive, but then what would I do after that? Five balls? Three hands? You see how it goes? Now me, I'm an artist, trying to recapture the original purity of the art form. This” - the man nodded at the ball he tossing up and down - “this is the essence of juggling.

A good journal entry- like a good song, or sketch, or photograph- ought to break up the habitual and life away the film that forms over the eye, the finger, the tongue, the heart. A good journal entry ought to be a love letter to the world.

Virtue is under certain circumstances merely an honorable form of stupidity: who could be ill-disposed toward it on that account? And this kind of virtue has not been outlived even today. A kind of sturdy peasant simplicity, which, however, is possible in all classes and can be encountered only with respect and a smile, believes even today that everything is in good hands, namely in the "hands of God"; and when it maintains this proportion with the same modest certainty as it would that two and two make four, we others certainly refrain from contradicting. Why disturb THIS pure foolishness? Why darken it with our worries about man, people, goal, future? And even if we wanted to do it, we could not. They project their own honorable stupidity and goodness into the heart of things (the old God, deus myops, still lives among them!); we others — we read something else into the heart of things: our own enigmatic nature, our contradictions, our deeper, more painful, more mistrustful wisdom.

It is often said that the first sound we hear in the womb is our mother’s heartbeat. Actually, the first sound to vibrate our newly developed hearing apparatus is the pulse of our mother’s blood through her veins and arteries. We vibrate to that primordial rhythm even before we have ears to hear. Before we were conceived, we existed in part as an egg in our mother’s ovary. All the eggs a woman will ever carry form in her ovaries while she is a four-month-old fetus in the womb of her mother. This means our cellular life as an egg begins in the womb of our grandmother. Each of us spent five months in our grandmother’s womb and she in turn formed within the womb of her grandmother. We vibrate to the rhythms of our mother’s blood before she herself is born. . . .

Because here's something else that's weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship--be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles--is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It's the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. On one level, we all know this stuff already. It's been codified as myths, proverbs, clichés, epigrams, parables; the skeleton of every great story. The whole trick is keeping the truth up front in daily consciousness. Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they're evil or sinful, it's that they're unconscious. They are default settings. They're the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that's what you're doing.

maybe here, in dauntless, bravery is the highest form of wisdom. the acknowledgement that life can and should be lived without fear

He’s like the most aggressive form of my already most hated male combo: the hot asshole.

We’re fighting a form of institutional racism that dates back four hundred years, is embodied in our constitution, and is still alive and well here in the Detroit area.

However sugarcoated and ambiguous, every form of authoritarianism must start with a belief in some group's greater right to power, whether that right is justified by sex, race, class, religion or all four. However far it may expand, the progression inevitably rests on unequal power and airtight roles within the family.

Love, love is enduring. Love is blind. Love is messy and so perfect, we search our entire lives for it, even when we think we aren’t. I guess I wasn’t either, but I found it anyway in the form of four criminals. Their hearts as dark as their souls.

But perhaps the most alarming ingredient in a Chicken McNugget is tertiary butylhydroquinone, or TBHQ, an antioxidant derived from petroleum that is either sprayed directly on the nugget or the inside of the box it comes in to "help preserve freshness." According to A Consumer's Dictionary of Food Additives, TBHQ is a form of butane (i.e. lighter fluid) the FDA allows processors to use sparingly in our food: It can comprise no more than 0.02 percent of the oil in a nugget. Which is probably just as well, considering that ingesting a single gram of TBHQ can cause "nausea, vomiting, ringing in the ears, delirium, a sense of suffocation, and collapse." Ingesting five grams of TBHQ can kill.

Of the four billion life forms which have existed on this planet, three billion, nine hundred and sixty million are now extinct. We don't know why. Some by wanton extinction, some through natural catastrophe, some destroyed by meteorites and asteroids. In the light of these mass extinctions it really does seem unreasonable to suppose that Homo sapiens should be exempt. Our species will have been one of the shortest-lived of all, a mere blink, you may say, in the eye of time.

I was a young black man, light-skinned enough so that four out of five people who met me, of whatever race, assumed I was white.... I was a homosexual who now knew he could function heterosexually. And I was a young writer whose early attempts had already gotten him a handful of prizes.... So, I thought, you are neither black nor white. You are neither male nor female. And you are that most ambiguous of citizens, the writer. There was something at once very satisfying and very sad, placing myself at this pivotal suspension. It seemed, in the park at dawn, a kind of revelation--a kind of center, formed of a play of ambiguities, from which I might move in any direction.

It's said that science will dehumanize people and turn them into numbers. That's false, tragically false. Look for yourself. This is the concentration camp and crematorium at Auschwitz. This is where people were turned into numbers. Into this pond were flushed the ashes of some four million people. And that was not done by gas. It was done by arrogance, it was done by dogma, it was done by ignorance. When people believe that they have absolute knowledge, with no test in reality, this is how they behave. This is what men do when they aspire to the knowledge of gods. Science is a very human form of knowledge. We are always at the brink of the known; we always feel forward for what is to be hoped. Every judgment in science stands on the edge of error and is personal. Science is a tribute to what we can know although we are fallible. In the end, the words were said by Oliver Cromwell: "I beseech you in the bowels of Christ: Think it possible you may be mistaken." I owe it as a scientist to my friend Leo Szilard, I owe it as a human being to the many members of my family who died here, to stand here as a survivor and a witness. We have to cure ourselves of the itch for absolute knowledge and power. We have to close the distance between the push-button order and the human act. We have to touch people.

A thousand years or more ago, When I was newly sewn, There lived four wizards of renown, Whose name are still well-known: Bold Gryffindor from wild moor, Fair Ravlenclaw from glen, Sweet Hufflepuff from valley broad, Shrewd Slytherin from fen. They share a wish, a hope, a dream, They hatched a daring plan, To educate young sorcerers, Thus Hogwarts school began. Now each of these four founders Formed their own house, for each Did value different virtues, In the ones they had to teach. By Gryffindor, the bravest were Prized far beyond the rest; For Ravenclaw, the cleverest Would always be the best; For Hufflepuff, hardworkers were Most worthy of admission; And power-hungry Slytherin Loved those of great ambition. While still alive they did divide Their favourates from the throng, Yet how to pick the worthy ones When they were dead and gone? 'Twas Gryffindor who found the way, He whipped me off his head The founders put some brains in me So I could choose instead! Now slip me snug around your ears, I've never yet been wrong, I'll have alook inside your mind And tell where you belong!

I tried hard to forget, but there remained inside me a vague knot of air. And as time went by, the knot began to take on a clear and simple form, a form that I am able to put into words, like this: Death exists, not as the opposite but as a part of life. It's a cliché translated into words, but at the time I felt it not as words but as that knot of air inside me. Death exists - in a paperweight, in four red and white balls on a pool table - and we go on living and breathing it into our lungs like fine dust.

I’ll get you another red dress.” She wiped the backs of her hands over her cheeks at the snarl. “You will?” He glared down at her. “Yes. But you must not cry. I won’t get you any dresses if you cry.” “I don’t normally cry.” “You will never do it.” “Well, I’m afraid I may sometimes,” she said apologetically. “Women need to cry.” Lines formed between his brows. “How many times in a year?”“Maybe five or six,” she said, thinking about it. “But really, it’s usually a very small cry and not in front of anyone At that, his scowl grew even darker. “I will permit you to cry four times a year. And you will do it when I am here.

Every word spoken in the past accumulated forms and colors in the self. What flows through the veins besides blood is the distillation of every act committed, the sediment of all the visions, wishes, dreams and experiences. All the past emotions converge to tint the skin and flavor the lips, to regulate the pulse and produce crystals in the eyes.

Twenty-three,” he said. “Mm?” She opened her dazed eyes. Thorne pulled back, looking guilty and worried, which made some of her euphoria fade away. “You once asked me how many times I’d told a girl I loved her. I’ve been trying to remember them all, and I’m pretty sure the answer is twenty-three.” She blinked, a slow, fluttering stare. Her lips pursed in a question that took a while to form. “Including the Lunar girl who kissed you?” His brow furrowed. “Are we counting her?” “You said it, didn’t you?” His gaze darted to the side. “Twenty-four.” Cress gaped. Twenty-four girls. She didn’t even know twenty-four people.

You must know, my own love, that in each element there exists a race of beings, whose form scarcely differs from yours, but who very seldom appear to mortal sight … you now see before you, my love, an undine.

All the eggs a woman will every carry form in her ovaries while she is a four-month-old foetus in the womb of her mother. This means our cellular life as en egg begins in the womb of our grandmother. Each of us spent five months in our grandmother's womb, and she in turn formed within the womb of her grandmother. We vibrate to the rhythms of our mother's blood before she herself is born, and this pulse is the thread of blood that runs all the way back through the grandmothers to the first mother.

The ninety-nine cent price of a fast-food hamburger simply doesn't take account of that meal's true cost--to soil, oil, public health, the public purse, etc., costs which are never charged directly to the consumer but, indirectly and invisibly, to the taxpayer (in the form of subsidies), the health care system (in the form of food-borne illnesses and obesity), and the environment (in the form of pollution), not to mention the welfare of the workers in the feedlot and the slaughterhouse and the welfare of the animals themselves.

Four thousand years ago, an Egyptian wrote out his despair onto papyrus in the form of a narrative and four short-versed poems. This document, now in the Berlin Museum, is thought by British psychiatrist Chris Thomas to be the first suicide note [...] "Death is before me today As a man longs to see his house When he has spent years in captivity.

Say the planet is born at midnight and it runs for one day. First there is nothing. Two hours are lost to lava and meteors. Life doesn’t show up until three or four a.m. Even then, it’s just the barest self-copying bits and pieces. From dawn to late morning—a million million years of branching—nothing more exists than lean and simple cells. Then there is everything. Something wild happens, not long after noon. One kind of simple cell enslaves a couple of others. Nuclei get membranes. Cells evolve organelles. What was once a solo campsite grows into a town. The day is two-thirds done when animals and plants part ways. And still life is only single cells. Dusk falls before compound life takes hold. Every large living thing is a latecomer, showing up after dark. Nine p.m. brings jellyfish and worms. Later that hour comes the breakout—backbones, cartilage, an explosion of body forms. From one instant to the next, countless new stems and twigs in the spreading crown burst open and run. Plants make it up on land just before ten. Then insects, who instantly take to the air. Moments later, tetrapods crawl up from the tidal muck, carrying around on their skin and in their guts whole worlds of earlier creatures. By eleven, dinosaurs have shot their bolt, leaving the mammals and birds in charge for an hour. Somewhere in that last sixty minutes, high up in the phylogenetic canopy, life grows aware. Creatures start to speculate. Animals start teaching their children about the past and the future. Animals learn to hold rituals. Anatomically modern man shows up four seconds before midnight. The first cave paintings appear three seconds later. And in a thousandth of a click of the second hand, life solves the mystery of DNA and starts to map the tree of life itself. By midnight, most of the globe is converted to row crops for the care and feeding of one species. And that’s when the tree of life becomes something else again. That’s when the giant trunk starts to teeter.

When you look at the clouds they are not symmetrical. They do not form fours and they do not come along in cubes, but you know at once that they are not a mess. [...] They are wiggly but in a way, orderly, although it is difficult for us to describe that kind of order. Now, take a look at yourselves. You are all wiggly. [...] We are just like clouds, rocks and stars. Look at the way the stars are arranged. Do you criticize the way the stars are arranged?

Since each story presents its own technical problems, obviously one can't generalize about them on a two-times-two-equals-four basis. Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has defined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final. As an orange is something nature has made just right.

in the universal womb that is boundless space all forms of matter and energy occur as flux of the four elements, but all are empty forms, absent in reality: all phenomena, arising in pure mind, are like that. just as dream is a part of sleep, unreal in its arising, so all and everything is pure mind, never separated from it, and without substance or attribute. experience is neither mind nor anything but mind; it is a vivid display of emptiness, like magical illusion, in the very moment inconceivable and unutterable. all experience arising in the mind, at its inception, know it as emptiness!

And don’t get me started on your manwhoring,” Tucker grumbles. “You’ve always been a player, but dude, you’ve hooked up with five chicks this week.” “So?” “So it’s Thursday. Five girls in four days. Do the fucking math, John.” Oh shit. He first-named me. Tucker only calls me John when I’ve really pissed him off. Except now he’s pissed me off, so I first-name him right back. “What’s wrong with that, John?” Yup, we’re both John. I guess we should take a blood oath and form a club or something.

World War II. And just a little more than two decades before then marked the start of World War I, battles fought among men whose average age was twenty-four but reached as low as just twelve years. Fast-forward to today and students are demanding safe spaces on college campuses because they view it as a form of torture to be exposed to opposing viewpoints.

Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. Time present and time past Are both perhaps present in time future And time future contained in time past. (I) What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. (I) Go, go, go, said the bird: human kind Cannot bear very much reality. What might have been and what has been Point to one end, which is always present. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. (I) At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is... At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where And I cannot say, how long, for that is to place it in time. (II) All is always now. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. (II) Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. (V) Or say that the end precedes the beginning, And the end and the beginning were always there Before the beginning and after the end. And all is always now. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Will not stay still. (V) Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. (V)

It seems, as one becomes older, / That the past has another pattern, and ceases to be a mere sequence,” wrote T. S. Eliot. Four Quartets, which meditates on time, age, and memory, goes on to say, “We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning.

...failure with clay was more complete and more spectacular than with other forms of art. You are subject to the elements... Any one of the old four - earth, air, fire, water - can betray you and melt, or burst, or shatter - months of work into dust and ashes and spitting steam. You need to be a precise scientist, and you need to know how to play with what chance will do to your lovingly constructed surfaces in the heat of the kiln.

It seemed to work at first. I tried hard to forget, but there remained inside me a vague knot-of-air kind of thing. And as time went by, the knot began to take on a clear and simple form, a form that I am able to put into words, like this: Death exists, not as the opposite but as a part of life. Translate into words, it's a cliche, but at the time I felt it not as words but as that knot of air inside me. Death exists - in a paperweight, in four red and white balls on a billiard table - and we go on living and breathing it into our lungs like fine dust. Until that time, I had understood death as something entirely separate from and independent of life. The hand of death is bound to take us, I had felt, but until the day it reaches out for us, it leaves us alone. This had seemed to me the simple, logical truth. Life is here, death is over there. I am here, not over there. The night Kizuki died, however, I lost the ability to see death (and life) in such simple terms. Death was not the opposite of life. It was already here, within my being, it had always been here, and no struggle would permit me to forget that... I lived through the following spring...with that kind knot of air in my chest, but I struggled all the while against becoming serious. Becoming serious was not the same thing as approaching truth, I sensed, however vaguely. But death was a fact, a serious fact, no matter how you looked at it. stuck inside this suffocating contradiction, I went on endlessly spinning in circles...In the midst of life, everything revolved around death.

I was in error when I saw him as fixed and stable and thought I would have him forever. He was never fixed, nor stable, but always just a passing, temporary energy-burst. I had reason to know this. Had he not looked this way at birth, that way at four, another way at seven, been made entirely anew at nine? He had never stayed the same, even instant to instant. He came out of nothingness, took form, was loved, was always bound to return to nothingness. Only I did not think it would be so soon. Or that he would precede us. Two passing temporarinesses developed feelings for one another. Two puffs of smoke became mutually fond. I mistook him for a solidity and now must pay.

Building resilience depends on the opportunities children have and the relationships they form with parents, caregivers, teachers, and friends. We can start by helping children develop four core beliefs: (1) they have some control over their lives; (2) they can learn from failure; (3) they matter as human beings; and (4) they have real strengths to rely on and share. These

Adventures come to the adventurous, and mysterious things fall in the way of those who, with wonder and imagination, are on the watch for them; but the majority of people go past the doors that are half ajar, thinking them closed, and fail to notice the faint stirrings of the great curtain that hangs ever in the form of appearances between them and the world of causes behind.

Sophia looked down her long nose at the girl. “Who are you?” “I’m Abigail, ma’am,” she said, curtsying. “This is my brother, Jamie. I apologize for him.” Sophia arched an eyebrow. “I’ll wager you do that quite a lot.” Abigail sighed, sounding world-weary. “Yes, I do.” “Good girl.” Sophia almost smiled. “Younger brothers can be a chore sometimes, but one must persevere.” “Yes, ma’am,” Abigail said solemnly. “Come on, Jamie,” Alistair said. “Let’s go into dinner before they form a Society for Bossy Older Sisters.

Do you have any idea how mad you sound?’ ‘Indeed I do. I have in moments of doubt considered the question of my sanity.’ (...) ‘And?’ ‘Then I consider what a piece of work is man. How defective in reason, how mean his facilities, how ugly in form and movement, in action how like a devil, in apprehension how like a cow. The beauty of the world? The paragon of animals? To me the quintessence of dust.

Humanity has four and a half billion passionate advocates - but how many speak....for the gray wolf?....it is a man's duty to speak for the voiceless. A woman's obligation to aid the defenseless. Human needs do not take precedence over other forms of life; we must share this lovely, delicate, vapor-clouded little planet with all

Now, in a shift of light, the shadows of birds are more pronounced on the gallery’s white wall. The shadow of each bird is speaking to me. Each shadow doubles the velocity, ferocity of forms. The shadow, my shadow now merges with theirs. Descension. Ascension. The velocity of wings creates the whisper to awaken…. I want to feel both the beauty and the pain of the age we are living in. I want to survive my life without becoming numb. I want to speak and comprehend words of wounding without having these words become the landscape where I dwell. I want to possess a light touch that can elevate darkness to the realm of stars.

A little is good, and more is better.” The best, however, based on everything I’ve read and seen, would be to do some form of aerobic activity six days a week, for forty-five minutes to an hour. Four of those days should be on the longer side, at moderate intensity, and two on the shorter side, at high intensity.

Abyssinias "I met a traveler from an antique land Who said: A huge four-footed limestone form Sits in the desert, sinking in the sand. Its whiskered face, though marred by wind and storm, Still flaunts the dainty ears, the collar band And feline traits the sculptor well portrayed: The bearing of a born aristocrat, The stubborn will no mortal can dissuade. And on its base, in long-dead alphabets, These words are set: "Reward for missing cat! His name is Abyssinias, pet of pets; I, Ozymandias, will a fortune pay For his return. he heard me speak of vets -- O foolish King! And so he ran away.

As heirs to a legacy more than two centuries old, it is understandable why present-day Americans would take their own democracy for granted. A president freely chosen from a wide-open field of two men every four years; a Congress with a 99% incumbency rate; a Supreme Court comprised of nine politically appointed judges whose only oversight is the icy scythe of Death -- all these reveal a system fully capable of maintaining itself. But our perfect democracy, which neither needs nor particularly wants voters, is a rarity. It is important to remember there still exist other forms of government in the world today, and that dozens of foreign countries still long for a democracy such as ours to be imposed on them.

It really is true: doing what you please (i.e., what pleases you), with energy, will lead you to everything—to your particular obsessions and the ways in which you’ll indulge them, to your particular challenges and the forms in which they’ll convert into beauty, to your particular obstructions and your highly individualized obstruction breakers. We can’t know what our writing problems will be until we write our way into them, and then we can only write our way out.

All these beefy Caucasians with guns. Get enough of them together,looking for the America they always believed they'd grow up in, and they glom together like overcooked rice, form integral, starchy little units. With their power tools, portable generators, weapons, four-wheel-drive vehicles, and personal computers, they are like beavers hyped up on crystal meth, manic engineers without a blueprint, chewing through the wilderness, building things and abandoning them, altering the flow of mighty rivers and then moving on because the place ain't what it used to be. The byproduct of the lifestyle is polluted rivers, greenhouse effect, spouse abuse, televangelists, and serial killers. But as long as you have that four-wheel-drive vehicle and can keep driving north, you can sustain it, keep moving just quickly enough to stay one step ahead of your own waste stream. In twenty years, ten million white people will converge on the north pole and park their bagos there. The low-grade waste heat of their thermodynamically intense lifestyle will turn the crystalline icescape pliable and treacherous. It will melt a hole through the polar icecap, and all that metal will sink to the bottom, sucking the biomass down with it.

How do we find words for describing levels of betrayal and emotional, physical, sexual and spiritual torture that fragment and destroy a child or cast and case traumatic shadows over the whole of adult life? We might, as a society, slowly find it possible to accept that one in four citizens are likely to have experience some form of emotional, psychical, sexual or spiritual abuse (McQueen, Itzin, Kennedy, Sinason, & Maxted, 2008), in itself a figure unimaginable and hidden twenty years ago. However, accepting the way a hurt and hurting parent or stranger re-enacts their disturbance with a vulnerable child or children remains far easier to digest than to consider the intellectually planned, scientific, methodical, procedures of organized child-abusing perpetrators-in other words, torture.

It is really incredible how meaningless and insignificant when seen from without, and how dull and senseless when felt from within, is the course of life of the great majority of men. It is weary longing and worrying, a dreamlike staggering through the four ages of life to death, accompanied by a series of trivial thoughts. They are like clockwork that is wound up and goes without knowing why. Every time a man is begotten and born the clock of human life is wound up anew, to repeat once more its same old tune that has already been played innumerable times, movement by movement and measure by measure, with insignificant variations. Every individual, every human apparition and its course of life, is only one more short dream of the endless spirit of nature, of the persistent will-to-live, is only one more fleeting form, playfully sketched by it on its infinite page, space and time; it is allowed to exist for a short while that is infinitesimal compared with these, and is then effaced, to make new room. Yet, and here is to be found the serious side of life, each of these fleeting forms, these empty fancies, must be paid for by the whole will-to-live in all its intensity with many deep sorrows, and finally with a bitter death, long feared and finally made manifest. It is for this reason that the sight of a corpse suddenly makes us serious.

The novel’s not dead, it’s not even seriously injured, but I do think we’re working in the margins, working in the shadows of the novel’s greatness and influence. There’s plenty of impressive talent around, and there’s strong evidence that younger writers are moving into history, finding broader themes. But when we talk about the novel we have to consider the culture in which it operates. Everything in the culture argues against the novel, particularly the novel that tries to be equal to the complexities and excesses of the culture. This is why books such as JR and Harlot’s Ghost and Gravity’s Rainbow and The Public Burning are important—to name just four. They offer many pleasures without making concessions to the middle-range reader, and they absorb and incorporate the culture instead of catering to it. And there’s the work of Robert Stone and Joan Didion, who are both writers of conscience and painstaking workers of the sentence and paragraph. I don’t want to list names because lists are a form of cultural hysteria, but I have to mention Blood Meridian for its beauty and its honor. These books and writers show us that the novel is still spacious enough and brave enough to encompass enormous areas of experience. We have a rich literature. But sometimes it’s a literature too ready to be neutralized, to be incorporated into the ambient noise. This is why we need the writer in opposition, the novelist who writes against power, who writes against the corporation or the state or the whole apparatus of assimilation. We’re all one beat away from becoming elevator music.

Often, when I have been feeling lonely, when a book as been thrust aside in boredom [...] I have lain back and stared at the shadows on the ceiling, wondering what life is all about [...] and then, suddenly, there is the echo of the swinging door, and across the carpet, walking with the utmost delicacy and precision, stalks Four or Five or Oscar. He sits down on the floor beside me, regarding my long legs, my old jumper, and my floppy arms, with a purely practical interest. Which part of this large male body will form the most appropriate lap? Usually he settles for the chest. Whereupon he springs up and there is a feeling of cold fur [...] and the tip of an icy nose, thrust against my wrist and a positive tattoo of purrs. And I no longer wonder what life is all about.

This book is dedicated to the Ancient Ones, to the Lord of Abominations, Humwawa, whose face is a mass of entrails, whose breath is the stench of dung and the perfume of death, Dark Angel of all that is excreted and sours, Lord of Decay, Lord of the Future, who rides on a whispering south wind, to Pazuzu, Lord of Fevers and Plagues, Dark Angel of the Four Winds with rotting genitals from which he howls through sharpened teeth over stricken cities, to Kutulu, the Sleeping Serpent who cannot be summoned, to the Akhkharu, who such the blood of men since they desire to become men, to the Lalussu, who haunt the places of men, to Gelal and Lilit, who invade the beds of men and whose children are born in secret places, to Addu, raiser of storms who can fill the night sky with brightness, to Malah, Lord of Courage and Bravery, to Zahgurim, whose number is twenty-three and who kills in an unnatural fashion, to Zahrim, a warrior among warriors, to Itzamna, Spirit of Early Mists and Showers, to Ix Chel, the Spider-Web-that-Catches-the-Dew-of-Morning, to Zuhuy Kak, Virgin Fire, to Ah Dziz, the Master of Cold, to Kak U Pacat, who works in fire, to Ix Tab, Goddess of Ropes and Snares, patroness of those who hang themselves, to Schmuun, the Silent One, twin brother of Ix Tab, to Xolotl the Unformed, Lord of Rebirth, to Aguchi, Master of Ejaculations, to Osiris and Amen in phallic form, to Hex Chun Chan, the Dangerous One, to Ah Pook, the Destroyer, to the Great Old One and the Star Beast, to Pan, God of Panic, to the nameless gods of dispersal and emptiness, to Hassan i Sabbah, Master of Assassins. To all the scribes and artists and practitioners of magic through whom these spirits have been manifested…. NOTHING IS TRUE. EVERYTHING IS PERMITTED.

The debt between a child and her mother could never be repaid, like running a foot race against someone fifteen miles ahead of you. What hope did you have of catching up? It didn't matter how many Mother's Day cards you drew, how many cliches and vows of devotions you put inside them. You could tell her she was your favorite parent, wink like you were co-conspirators, fill her in on every trivial detail of your life. None of it was enough. It had taken me years to figure this out: you would never love your mother as much as she loved you. She had formed memories of you since you were a poppy seed in her belly. You didn't begin making your own memories until three, four, five years old? She'd had a running start. She had known you before you even existed. How could we compete with that? We couldn't. We accepted that our mothers held their love over us, let them parade it around like a flashy trinket, because their love was superior to ours.

Plants are not like us. They are different in critical and fundamental ways. As I catalog the differences between plants and animals, the horizon stretches out before me faster than I can travel and forces me to acknowledge that perhaps I was destined to study plants for decades only in order to more fully appreciate that they are beings we can never truly understand. Only when we begin to grasp this deep otherness can we be sure we are no longer projecting ourselves onto plants. Finally we can begin to recognize what is actually happening. Our world is falling apart quietly. Human civilization has reduced the plant, a four-million-year-old life form, into three things: food, medicine, and wood...

From the molten basements of the world, two hundred miles down, it comes. One crystal in a seam of others. Pure carbon, each atom linked to four equidistant neighbors, perfectly knit, octahedral, unsurpassed in hardness. Already it is old: unfathomably so. Incalculable eons tumble past. The earth shifts, shrugs, stretches. One year, one day, one hour, a great upflow of magma gathers a seam of crystals and drives it toward the surface, mile after burning mile; it cools inside a huge, smoking xenolith of kimberlite, and there it waits. Century after century. Rain, wind, cubic miles of ice. Bedrock becomes boulders, boulders become stones; the ice retreats, a lake forms, and galaxies of freshwater clams flap their million shells at the sun and close and die and the lake seeps away. Stands of prehistoric trees rise and fall and rise again in succession. Until another year, another day, another hour, when a storm claws one particular stone out of a canyon and sends it into a clattering flow of alluvium, where eventually it finds, one evening, the attention of a prince who knows what he is looking for.

you know what the best kind of organic certification would be? make an unannounced visit to a farm and take a good long look at the farmer's bookshelf. Because what you're feeding your emotions and thoughts is what this is really all about. the way I produce a chicken is an extension of my worldview. You can learn more about that by seeing what is sitting on my bookshelf than having me fill out a whole bunch of forms." Joel Salatin

Ruta Skadi was four hundred and sixteen years old, with all the pride and knowledge of an adult witch queen. She was wiser by far than any short-lived human, but she had not the slightest idea of how like a child she seemed beside these ancient beings. Nor did she know how far their awareness spread out beyond her like filamentary tentacles to the remotest corners of universes she had never dreamed of; nor that she saw them as human-formed only because her eyes expected to. If she were to perceive their true form, they would seem more like architecture than organism, like huge structures composed of intelligence and feeling. But they expected nothing else: she was very young.

On the platform in the opposite corner of the bar, the jazz ensemble was playing a perky little tune. Admittedly, when the Count had first encountered jazz, he hadn’t much of an affinity for it. He had been raised to appreciate music of sentiment and nuance, music that rewarded patience and attention with crescendos and diminuendos, allegros and adagios artfully arranged over four whole movements – not a fistful of notes crammed higgledy-piggledy into thirty measures. And yet… And yet, the art form had grown on him. Like the American correspondents, jazz seemed a naturally gregarious force – one that was a little unruly and prone to say the first thing that popped into its head, but generally of good humor and friendly intent. In addition, it seemed decidedly unconcerned with where it had been or where it was going – exhibiting somehow simultaneously the confidence of the master and the inexperience of the apprentice. Was there any wonder that such an art had failed to originate in Europe?

It is often said that the first sound we hear in the womb is our mother's heartbeat. Actually, the first sound to vibrate our newly developed hearing apparatus is the pulse of our mother's blood through her veins and arteries. We vibrate to that primordial rhythm even before we have ears to hear. Before we were conceived, we existed in part as an egg in our mother's ovary. All the eggs a woman will ever carry form in her ovaries while she is a four-month-old fetus in the womb of her mother. This means our cellular life as an egg begins in the womb of our grandmother. Each of us spent five months in our grandmother's womb and she in turn formed within the womb of her grandmother. We vibrate to the rhythms of our mother's blood before she herself is born. And this pulse is the thread of blood that runs all the way back through the grandmothers to the first mother. We all share the blood of the first mother. We are truly children of one blood.

I am not sure exactly what healing is or looks like, what form it comes in, what it should feel like. I do know that when I was four I could not lift a gallon of milk, could not believe how heavy it was, that white sloshing boulder. I'd pull up a wooden chair to stand over the counter, pouring milk with two shaking arms, wetting the cereal, spilling. Looking back I don't remember the day I lifted it with ease. All I know is now I do it without thinking, can do it one-handed, on the phone, in a rush. I believe the same rules apply, that one day I'll be able to tell this story without it shaking my foundation, Each time will not require an entire production, a spilling, a sweating forehead, a mess to clean up, sopping paper towels. It will just be part of my life, every day lighter to lift.

As observers of totalitarianism such as Victor Klemperer noticed, truth dies in four modes, all of which we have just witnessed. The first mode is the open hostility to verifiable reality, which takes the form of presenting inventions and lies as if they were facts. The president does this at a high rate and at a fast pace. One attempt during the 2016 campaign to track his utterances found that 78 percent of his factual claims were false. This proportion is so high that it makes the correct assertions seem like unintended oversights on the path toward total fiction. Demeaning the world as it is begins the creation of a fictional counterworld. The second mode is shamanistic incantation. As Klemperer noted, the fascist style depends upon “endless repetition,” designed to make the fictional plausible and the criminal desirable. The systematic use of nicknames such as “Lyin’ Ted” and “Crooked Hillary” displaced certain character traits that might more appropriately have been affixed to the president himself. Yet through blunt repetition over Twitter, our president managed the transformation of individuals into stereotypes that people then spoke aloud. At rallies, the repeated chants of “Build that wall” and “Lock her up” did not describe anything that the president had specific plans to do, but their very grandiosity established a connection between him and his audience. The next mode is magical thinking, or the open embrace of contradiction. The president’s campaign involved the promises of cutting taxes for everyone, eliminating the national debt, and increasing spending on both social policy and national defense. These promises mutually contradict. It is as if a farmer said he were taking an egg from the henhouse, boiling it whole and serving it to his wife, and also poaching it and serving it to his children, and then returning it to the hen unbroken, and then watching as the chick hatches. Accepting untruth of this radical kind requires a blatant abandonment of reason. Klemperer’s descriptions of losing friends in Germany in 1933 over the issue of magical thinking ring eerily true today. One of his former students implored him to “abandon yourself to your feelings, and you must always focus on the Führer’s greatness, rather than on the discomfort you are feeling at present.” Twelve years later, after all the atrocities, and at the end of a war that Germany had clearly lost, an amputated soldier told Klemperer that Hitler “has never lied yet. I believe in Hitler.” The final mode is misplaced faith. It involves the sort of self-deifying claims the president made when he said that “I alone can solve it” or “I am your voice.” When faith descends from heaven to earth in this way, no room remains for the small truths of our individual discernment and experience. What terrified Klemperer was the way that this transition seemed permanent. Once truth had become oracular rather than factual, evidence was irrelevant. At the end of the war a worker told Klemperer that “understanding is useless, you have to have faith. I believe in the Führer.

Relationships never provide you with everything. They provide you with some things. You take all the things you want from a person - sexual chemistry, let's say, or good conversation, or financial support, or intellectual compatibility, or niceness, or loyalty - and you get to pick three of those things. Three - that's it. Maybe four, if you're very lucky. The rest you have to look for elsewhere. It's only in the movies that you find someone who gives you all of those things. But this isn't the movies. In the real world, you have to identify which three qualities you want to spend the rest of your life with, and then you look for those qualities in another person. That's real life. Don't you see it's a trap? If you keep trying to find everything, you'll wind up with nothing.' ...At the time, he hadn't believed these words, because at the time, everything really did seem possible: he was twenty-three, and everyone was young and attractive and smart and glamorous. Everyone thought they would be friends for decades, forever. But for most people, of course, that hadn't happened. As you got older, you realized that the qualities you valued in the people you slept with or dated weren't necessarily the ones you wanted to live with, or be with, or plod through your days with. If you were smart, and if you were lucky, you learned this and accepted this. You figured out what was most important to you and you looked for it, and you learned to be realistic. They all chose differently: Roman had chosen beauty, sweetness, pliability; Malcolm, he thought, had chosen reliability, and competence...and aesthetic compatibility. And he? He had chosen friendship. Conversation. Kindness, Intelligence. When he was in his thirties, he had looked at certain people's relationships and asked the question that had (and continued to) fuel countless dinner-party conversations: What's going on there? Now, though, as an almost-forty-eight-year-old, he saw people's relationships as reflections of their keenest yet most inarticulable desires, their hopes and insecurities taking shape physically, in the form of another person. Now he looked at couples - in restaurants, on the street, at parties - and wondered: Why are you together? What did you identify as essential to you? What's missing in you that you want someone else to provide? He now viewed a successful relationship as one in which both people had recognized the best of what the other person had of offer and had chosen to value it as well.

One of the reasons I wanted to write this column, I think, is because I assumed that the cultural highlight of my month would arrive in book form, and that’s true, for probably eleven months of the year. Books are, let’s face it, better than everything else…. Even if you love movies and music as much as you do books, it’s still, in any given four week period, way, way more likely you’ll find a great book that you haven’t read than a great movie you haven’t seen, or a great album you haven’t heard: the assiduous consumer will eventually exhaust movies and music… the feeling everyone has with literature: that we can’t get through the good novels published in the last six months, let alone those published since publishing began.

The repetitive phases of cooking leave plenty of mental space for reflection, and as I chopped and minced and sliced I thought about the rhythms of cooking, one of which involves destroying the order of the things we bring from nature into our kitchens, only to then create from them a new order. We butcher, grind, chop, grate, mince, and liquefy raw ingredients, breaking down formerly living things so that we might recombine them in new, more cultivated forms. When you think about it, this is the same rhythm, once removed, that governs all eating in nature, which invariably entails the destruction of certain living things, by chewing and then digestion, in order to sustain other living things. In The Hungry Soul Leon Kass calls this the great paradox of eating: 'that to preserve their life and form living things necessarily destroy life and form.' If there is any shame in that destruction, only we humans seem to feel it, and then only on occasion. But cooking doesn't only distance us from our destructiveness, turning the pile of blood and guts into a savory salami, it also symbolically redeems it, making good our karmic debts: Look what good, what beauty, can come of this! Putting a great dish on the table is our way of celebrating the wonders of form we humans can create from this matter--this quantity of sacrificed life--just before the body takes its first destructive bite.

The definition of Man recited itself in my head... And God created man in His own image. And God decreed that man should have one body, one head, two arms and two legs: that each arm should be joined in two places and end in one hand: that each hand should have four fingers and one thumb: that each finger should bear a flat finger-nail...Then God created woman, also, in the same image, but with these differences, according to her nature: her voice would be of higher pitch than man's: she should grow no beard: she should have two breasts... And any creature that shall seem to be human, but is not formed thus is not human. It is neither man, nor woman. It is a blasphemy against the true image of God, and hateful in the sight of God.

When the alchemist speaks of Mercurius, on the face of it he means quicksilver (mercury), but inwardly he means the world-creating spirit concealed or imprisoned in matter. The dragon is probably the oldest pictoral symbol in alchemy of which we have documentary evidence. It appears as the Ouroboros, the tail-eater, in the Codex Marcianus, which dates from the tenth or eleventh century, together with the legend ‘the One, the All’. Time and again the alchemists reiterate that the opus proceeds from the one and leads back to the one, that it is a sort of circle like a dragon biting its own tail. For this reason the opus was often called circulare (circular) or else rota (the wheel). Mercurius stands at the beginning and end of the work: he is the prima materia, the caput corvi, the nigredo; as dragon he devours himself and as dragon he dies, to rise again in the lapis. He is the play of colours in the cauda pavonis and the division into the four elements. He is the hermaphrodite that was in the beginning, that splits into the classical brother-sister duality and is reunited in the coniunctio, to appear once again at the end in the radiant form of the lumen novum, the stone. He is metallic yet liquid, matter yet spirit, cold yet fiery, poison and yet healing draught - a symbol uniting all the opposites.

The people I know who are rebelling meaningfully, you know, don't buy a lot of stuff and don't get their view of the world from television and are willing to spend four, five hours researching an election rather than commercials. The thing about it is that in America, we think of rebellion as this very sexy thing and that it involves action and force and looks good. My guess is that any form of rebellion that will change things meaningfully here will be very quiet and very individual and probably not all that interesting to look at from the outside...Violence is interesting. Horrible corruption and scandals and rattling sabers and talking about war and demonizing a billion people of a different faith in the world—those are all interesting. Sitting in a chair and really thinking about what this all means and why the fact that what I drive might have something to do with how people in other parts of the world think about me isn't interesting to anybody else.

They began to invent humourless, glum jokes of their own and disastrous rumours about the destruction awaiting them at Bologna. Yossarian sidled up drunkenly to Colonel Korn at the officers' club one night to kid with him about the new Lepage gun that the Germans had moved in. 'What Lepage gun?' Colonle Korn inquired with curiousity. 'The new three-hundred-and-forty-four-millimeter Lepage glue gun,' Yossarian answered. 'It glues a whole formation of planes together in mid-air.' Colonel Korn jerked his elbow free from Yossarian's clutching fingers in startled affront. 'Let go of me, you idiot!' he cried out furiously, glaring with vindictive approval as Nately leaped upon Yossarian's back and pulled him away. 'Who is that lunatic anyway?' Colonel Cathcart chortled merrily. 'That's the man you made me give a medal to after Ferrara. You had me promote him to captain, too, remember? It serves you right.' Nately was lighter than Yossarian and had great difficulty maneuvering Yossarian's luching bulk across the room to an unoccupied table. 'Are you crazy?' Nately kept hissing with trepidation. 'That was Colonel Korn. Are you crazy?' Yossarian wanted another drink and promised to leave quietly if Nately bought him one. Then he made Nately bring him two more. When Nately finally coaxed him to the door, Captain Black came stomping in from outside, banging his sloshing shoes down hard on the wood floor and spilling water from his eaves like a high roof. 'Boy, are you bastards in for it!' he announced exuberantly, splashing away from the puddle forming at his feet. 'I just got a call from Colonel Korn. Do you know what they've got waiting for you at Bologna? Ha! Ha! They've got the new Lepage glue gun. It glues a whole formation of planes together in mid-air.' 'My God, it's true!' Yossarian shrieked, and collapsed against Nately in terror.

[...]he also had a device which looked rather like a largish electronic calculator. This had about a hundred tiny flat press buttons and a screen about four inches square on which any one of a million "pages" could be summoned at a moment's notice. It looked insanely complicated, and this was one of the reasons why the snug plastic cover it fitted into had the words Don't Panic printed on it in large friendly letters. The other reason was that this device was in fact that most remarkable of all books ever to come out of the great publishing corporations of Ursa Minor - The Hitch Hiker's Guide to the Galaxy. The reason why it was published in the form of a micro sub meson electronic component is that if it were printed in normal book form, an interstellar hitch hiker would require several inconveniently large buildings to carry it around in.

We’re going to discuss only four or five different problems the Earth has, though there are multiple different scenarios going on. If any one of these scenarios were to break down, all life on the planet would eventually die. And at the moment, they’re all about to break down — it’s just a matter of which one breaks down first. And whenever one system goes, then all the rest of them will go eventually, and that’s it, there won’t be any more human life. It will be over with, and we’ll end up just like Mars or the dinosaurs. A few years ago, around the turn of this century, there were thirty million species of life forms on Earth — thirty million different species of life. In 1993 there were about fifteen million. It took billions of years to create these life forms, and in less than a blink of an eye, a mere hundred years, half of the life on this dear Earth is dead. Around thirty species a minute are now becoming extinct somewhere. If you were to watch this planet from space, it would appear to be dying very, very rapidly. Yet we’re going on as though nothing’s happening and everything’s great. We’re sticking money in the bank and driving our cars and just wiggling right on. Yet from an honest point of view, we have a real life-and-death problem going on here on Earth, and few people seem to be really serious about it.

After three of four years of schooling, the nucleus basalis, which forms sharp memories in the brain, falls into disuse and decays. This is the part of the brain that makes learning so effortless for small children, and it is always activated in undomesticated humans. But neuroplasticity research has shown that damage to the nucleus basalis can be reversed by reintroducing activities involving highly focused attention, which results in massive increases in production of acetylcholine and dopamine. Using new skills under conditions of intense focus rewires billions of neural connections and reactivates the nucleus basalis. Loss of function in this part of the brain is not a natural stage of development--we are supposed to retain and even increase it throughout our lives. Until very recently in human history, we did.

And so, Navani painted a prayer onto the stones themselves, sending her attendants for more ink. She paced off the size of the glyph as she continued its border, making it enormous, spreading her ink onto the tan rocks. Soldiers gathered around, Sadeas stepping from his canopy, watching her paint, her back to the sun as she crawled on the ground and furiously dipped her brushpen into the ink jars. What was a prayer, if not creation? Making something where nothing existed. Creating a wish out of despair, a plea out of anguish. Bowing one's back before the Almighty, and forming humility from the empty pride of a human life. Something from nothing. True creation. Her tears mixed with the the ink. She went through four jars. She crawled, holding her safehand to the ground, brushing the stones and smearing ink on her cheeks when she wiped the tears. When she finally finished, she knelt back before a glyph twenty paces long, emblazoned as if in blood. The wet ink reflected sunlight, and she fired it with a candle; the ink was made to burn whether wet or dry. The flames burned across the length of the prayer, killing it and sending its soul to the Almighty.

We have one collective hope: the Earth And yet, uncounted people remain hopeless, famine and calamity abound Sufferers hurl themselves into the arms of war; people kill and get killed in the name of someone else’s concept of God Do we admit that our thoughts & behaviors spring from a belief that the world revolves around us? Each fabricated conflict, self-murdering bomb, vanished airplane, every fictionalized dictator, biased or partisan, and wayward son, are part of the curtains of society’s racial, ethnic, religious, national, and cultural conflicts, and you find the human ego turning the knobs and pulling the levers When I track the orbits of asteroids, comets, and planets, each one a pirouetting dancer in a cosmic ballet, choreographed by the forces of gravity, I see beyond the plight of humans I see a universe ever-expanding, with its galaxies embedded within the ever-stretching four-dimensional fabric of space and time However big our world is, our hearts, our minds, our outsize atlases, the universe is even bigger There are more stars in the universe than grains of sand on the world’s beaches, more stars in the universe than seconds of time that have passed since Earth formed, more stars than words & sounds ever uttered by all humans who have ever lived The day we cease the exploration of the cosmos is the day we threaten the continuing of our species In that bleak world, arms-bearing, resource-hungry people & nations would be prone to act on their low-contracted prejudices, and would have seen the last gasp of human enlightenment Until the rise of a visionary new culture that once again embraces the cosmic perspective; a perspective in which we are one, fitting neither above nor below, but within

In an attempt to deeper explore the infinite game of Life, we explore: • Earth that is fixed, rigid, static and quiet, and symbolizes your world of senses; • Water that is the primordial Chaos, is fluidity and flexibility, and symbolizes your subconscious mind; Intuition is a deeper perception. Without clear evidence or proof, intuition perceives the subtle inner relationships and underlying processes creatively, and imaginatively. • Fire that is boundless and invisible, and is a parching heat that consumes all, or within its highest manifestation, becomes the expression of Divine Love. It is a symbol of your emotions, and • Air that has no shape and is incapable of any fixed form. It symbolizes your world of thoughts. It is a rational, systematic process, it is our intellectual comprehension of things. All elements are bound by: • Soul that stands at the center of the four elements as an Essence, an Observer, Consciousness coming forth to experience the magic of Life.

I see that this body—made of the four elements—is not really me, and I am not limited by this body. I am the whole of the river of life, of blood ancestors and spiritual ancestors, that has been continuously flowing for thousands of years and flows on for thousands of years into the future. I am one with my ancestors and my descendants. I am life manifesting in countless different forms. I am one with all people and all species, whether they are peaceful and joyful or suffering and afraid. At this very moment I am present everywhere in this world. I have been present in the past and will be there in the future. The disintegration of this body does not touch me, just as when the petals of the plum blossom fall it does not mean the end of the plum tree. I see that I am like a wave on the surface of the ocean. I see myself in all the other waves, and I see all the other waves in me. The manifestation or the disappearance of the wave does not lessen the presence of the ocean. My Dharma body and spiritual life are not subject to birth or death. I am able to see my presence before this body manifested and after this body disintegrates. I am able to see my presence outside this body, even in the present moment. Eighty or ninety years is not my life span. My life span, like that of a leaf or of a buddha, is immeasurable. I am able to go beyond the idea that I am a body separate from all other manifestations of life, in time and in space.

Our world is falling apart quietly. Human civilization has reduced the plant, a four-million-year-old life form, into three things: food, medicine, and wood. In our relentless and ever-intensifying obsession with obtaining a higher volume, potency, and variety of these three things, we have devastated plant ecology to an extent that millions of years of natural disaster could not. Roads have grow like a manic fungus and the endless miles of ditches that bracket these roads serve as hasty graves for perhaps millions of plant species extinguished in the name of progress. Planet Earth is nearly a Dr. Seuss book made real: every year since 1990 we have created more than eight billion new stumps. If we continue to fell healthy trees at this rate, less then six hundred years from now, every tree on the planet will have been reduced to a stump. My job is about making sure there will be some evidence that someone cared about the great tragedy that unfolded during our age.

Every age has its own collective neurosis, and every age needs its own psychotherapy to cope with it. The existential vacuum which is the mass neurosis of the present time can be described as a private and personal form of nihilism; for nihilism can be defined as the contention that being has no meaning. As for psychotherapy, however, it will never be able to cope with this state of affairs on a mass scale if it does not keep itself free from the impact and influence of the contemporary trends of a nihilistic philosophy; otherwise it represents a symptom of the mass neurosis rather than its possible cure. Psychotherapy would not only reflect a nihilistic philosophy but also, even though unwillingly and unwittingly, transmit to the patient what is actually a caricature rather than a true picture of man. First of all, there is a danger inherent in the teaching of man's "nothingbutness," the theory that man is nothing but the result of biological, psychological and sociological conditions, or the product of heredity and environment. such a view of man makes a neurotic believe what he is prone to believe anyway, namely, that he is the pawn and victim of outer influences or inner circumstances. This neurotic fatalism is fostered and strengthened by a psychotherapy which denies that man is free. To be sure, a human being is a finite thing and his freedom is restricted. It is not freedom from conditions, but it is freedom to take a stand toward the conditions. As I once put it: "As a professor in two fields, neurology and psychiatry, I am fully aware of the extent to which man is subject to biological, psychological and sociological conditions. But in addition to being a professor in two fields I am a survivor of four camps-concentration camps, that is-and as such I also bear witness to the unexpected extent to which man is capable of defying and braving even the worst conditions conceivable.

In his book The Captive Mind, written in 1951-2 and published in the West in 1953, the Polish poet and essayist Czeslaw Milosz paid Orwell one of the greatest compliments that one writer has ever bestowed upon another. Milosz had seen the Stalinisation of Eastern Europe from the inside, as a cultural official. He wrote, of his fellow-sufferers: A few have become acquainted with Orwell’s 1984; because it is both difficult to obtain and dangerous to possess, it is known only to certain members of the Inner Party. Orwell fascinates them through his insight into details they know well, and through his use of Swiftian satire. Such a form of writing is forbidden by the New Faith because allegory, by nature manifold in meaning, would trespass beyond the prescriptions of socialist realism and the demands of the censor. Even those who know Orwell only by hearsay are amazed that a writer who never lived in Russia should have so keen a perception into its life. Only one or two years after Orwell’s death, in other words, his book about a secret book circulated only within the Inner Party was itself a secret book circulated only within the Inner Party.

In my lifelong study of the scores of species of ants to be found in the tropical forests of Dal Hon, I am led to the conviction that all forms of life are engaged in a struggle to survive, and that within each species there exists a range of natural but variable proclivities, of physical condition and of behaviour, which in turn weighs for or against in the battle to survive and procreate. Further, it is my suspicion that in the act of procreation, such traits are passed on. By extension, one can see that ill traits reduce the likelihood of both survival and procreation. On the basis of these notions, I wish to propose to my fellow scholars at this noble gathering a law of survival that pertains to all forms of life. But before I do so, I must add one more caveat, drawn from the undeniable behavioural characteristics of, in my instance of speciality, ants. To whit, success of one form of life more often than not initiates devastating population collapse among competitors, and indeed, sometimes outright extinction. And that such annihilation of rivals may in fact be a defining feature of success. Thus, my colleagues, I wish to propose a mode of operation among all forms of life, which I humbly call-in my four-volume treatise-‘The Betrayal of the Fittest’. Obsessional Scrolls Sixth Day Proceedings Address Of Skavat Gill Unta, Malazan Empire, 1097 Burn's Sleep

As I pass through my incarnations in every age and race, I make my proper prostrations to the Gods of the Market Place. Peering through reverent fingers I watch them flourish and fall, And the Gods of the Copybook Headings, I notice, outlast them all. We were living in trees when they met us. They showed us each in turn That Water would certainly wet us, as Fire would certainly burn: But we found them lacking in Uplift, Vision and Breadth of Mind, So we left them to teach the Gorillas while we followed the March of Mankind. We moved as the Spirit listed. They never altered their pace, Being neither cloud nor wind-borne like the Gods of the Market Place, But they always caught up with our progress, and presently word would come That a tribe had been wiped off its icefield, or the lights had gone out in Rome. With the Hopes that our World is built on they were utterly out of touch, They denied that the Moon was Stilton; they denied she was even Dutch; They denied that Wishes were Horses; they denied that a Pig had Wings; So we worshipped the Gods of the Market Who promised these beautiful things. When the Cambrian measures were forming, They promised perpetual peace. They swore, if we gave them our weapons, that the wars of the tribes would cease. But when we disarmed They sold us and delivered us bound to our foe, And the Gods of the Copybook Headings said: "Stick to the Devil you know." On the first Feminian Sandstones we were promised the Fuller Life (Which started by loving our neighbour and ended by loving his wife) Till our women had no more children and the men lost reason and faith, And the Gods of the Copybook Headings said: "The Wages of Sin is Death." In the Carboniferous Epoch we were promised abundance for all, By robbing selected Peter to pay for collective Paul; But, though we had plenty of money, there was nothing our money could buy, And the Gods of the Copybook Headings said: "If you don't work you die." Then the Gods of the Market tumbled, and their smooth-tongued wizards withdrew And the hearts of the meanest were humbled and began to believe it was true That All is not Gold that Glitters, and Two and Two make Four And the Gods of the Copybook Headings limped up to explain it once more. As it will be in the future, it was at the birth of Man There are only four things certain since Social Progress began. That the Dog returns to his Vomit and the Sow returns to her Mire, And the burnt Fool's bandaged finger goes wabbling back to the Fire; And that after this is accomplished, and the brave new world begins When all men are paid for existing and no man must pay for his sins, As surely as Water will wet us, as surely as Fire will burn, The Gods of the Copybook Headings with terror and slaughter return!

Because here’s something else that’s weird but true: in the day-to-day trenches of adult life, there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship. And the compelling reason for maybe choosing some sort of god or spiritual-type thing to worship–be it JC or Allah, be it YHWH or the Wiccan Mother Goddess, or the Four Noble Truths, or some inviolable set of ethical principles–is that pretty much anything else you worship will eat you alive. If you worship money and things, if they are where you tap real meaning in life, then you will never have enough, never feel you have enough. It’s the truth. Worship your body and beauty and sexual allure and you will always feel ugly. And when time and age start showing, you will die a million deaths before they finally grieve you. On one level, we all know this stuff already. It’s been codified as myths, proverbs, clichés, epigrams, parables; the skeleton of every great story. The whole trick is keeping the truth up front in daily consciousness. Worship power, you will end up feeling weak and afraid, and you will need ever more power over others to numb you to your own fear. Worship your intellect, being seen as smart, you will end up feeling stupid, a fraud, always on the verge of being found out. But the insidious thing about these forms of worship is not that they’re evil or sinful, it’s that they’re unconscious. They are default settings. They’re the kind of worship you just gradually slip into, day after day, getting more and more selective about what you see and how you measure value without ever being fully aware that that’s what you’re doing.

To be in touch with wilderness is to have stepped past the proud cattle of the field and wandered far from the twinkles of the Inn's fire. To have sensed something sublime in the life/death/life movement of the seasons, to know that contained in you is the knowledge to pull the sword from the stone and to live well in fierce woods in deep winter. Wilderness is a form of sophistication, because it carries within it true knowledge of our place in the world. It doesn't exclude civilization but prowls through it, knowing when to attend to the needs of the committee and when to drink from a moonlit lake. It will wear a suit and tie when it has to, but refuses to trim its talons or whiskers. Its sensing nature is not afraid of emotion: the old stories are full of grief forests and triumphant returns, banquets and bridges of thorns. Myth tells us that the full gamut of feeling is to be experienced. Wilderness is the capacity to go into joy, sorrow, and anger fully and stay there for as long as needed, regardless of what anyone else thinks. Sometimes, as Lorca says, it means 'get down on all fours for twenty centuries and eat the grasses of the cemetaries.' Wilderness carries sobriety as well as exuberance, and has allowed loss to mark its face.

...The spiritual Oriental teachers say a person has three forms of mind,'' Beatrice was explaining to him once, while they were on break between one lesson and another at university, ''which are the dense mind, the subtle level and the ultra-subtle mind. Primary Consciousness, or the dense mind, is that existential, Sartrean mind which is related to our senses and so it is guided directly by human primitive instincts; in Sanskrit, this is referred to as ālaya-vijñāna which is directly tied to the brain. The subtle mind comes into effect when we begin to be aware of our true nature or that which in Sanskrit is called Ātman or self-existent essence that eventually leads us to the spiritual dimension. Ultimately there is the Consciousness-Only or the Vijñapti-Mātra, an ultra-subtle mind which goes beyond what the other two levels of mind can fabricate, precisely because this particular mind is not a by-product of the human brain but a part of the Cosmic Consciousness of the Absolute, known in Sanskrit as Tathāgatagarbha, and it is at this profound level of Consciousness that we are able to achieve access to the Divine Wisdom and become one with it in an Enlightened State.'' ''This spiritual subject really fascinates me,'' the Professor would declare, amazed at the extraordinary knowledge that Beatrice possessed.'' ''In other words, a human being recognises itself from its eternal essence and not from its existence,'' Beatrice replied, smiling, as she gently touched the tip of his nose with the tip of her finger, as if she was making a symbolic gesture like when children are corrected by their teachers. ''See, here,'' she had said once, pulling at the sleeve of his t-shirt to make him look at her book. ''For example, in the Preface to the 1960 Notes on Dhamma, the Buddhist philosopher from the University of Cambridge, Ñāṇavīra Thera, maintains those that have understood Buddhist teachings have gone way beyond Existential Thought. And on this same theme, the German scholar of Buddhist texts, Edward Conze, said that the possible similarity that exists between Buddhist and Existential Thought lies only on the preliminary level. He said that in terms of the Four Noble Truths, or in Sanskrit Catvāri Āryasatyāni, the Existentialists have only the first, which teaches everything is ill. Of the second - which assigns the origin of ill to craving - they have a very imperfect grasp. As for the third and fourth, which consist of letting go of craving, and the Noble Eightfold Path that leads to liberation from the cycle of rebirth in the form of Nirvāṇa - these are unheard of. Knowing no way out, the Existentialists are manufacturers of their own woes...

My position was terrible. I knew that I could find nothing in the way of rational knowledge except a denial of life; and in faith I could find nothing except a denial of reason, and this was even more impossible than a denial of life. According to rational knowledge, it followed that life is evil, and people know it. They do not have to live, yet they have lived and they do live, just as I myself had lived, even though I had known for a long time that life is meaningless and evil. Try as he might, Tolstoy could identify only four means of escaping from such thoughts. One was retreating into childlike ignorance of the problem. Another was pursuing mindless pleasure. The third was “continuing to drag out a life that is evil and meaningless, knowing beforehand that nothing can come of it.” He identified that particular form of escape with weakness: “The people in this category know that death is better than life, but they do not have the strength to act rationally and quickly put an end to the delusion by killing themselves….” Only the fourth and final mode of escape involved “strength and energy. It consists of destroying life, once one has realized that life is evil and meaningless.” Tolstoy relentlessly followed his thoughts: Only unusually strong and logically consistent people act in this manner. Having realized all the stupidity of the joke that is being played on us and seeing that the blessings of the dead are greater than those of the living and that it is better not to exist, they act and put an end to this stupid joke; and they use any means of doing it: a rope around the neck, water, a knife in the heart, a train.

Look in it,' he said, smiling slightly, as you do when you have given someone a present which you know will please him and he is unwrapping it before your eyes. I opened it. In the folder I found four 8×10 glossy photos, obviously professionally done; they looked like the kind of stills that the publicity departments of movie studios put out. The photos showed a Greek vase, on it a painting of a male figure who we recognized as Hermes. Twined around the vase the double helix confronted us, done in red glaze against a black background. The DNA molecule. There could be no mistake. 'Twenty-three or -four hundred years ago,' Fat said. 'Not the picture but the krater, the pottery.' 'A pot,' I said. 'I saw it in a museum in Athens. It's authentic. Thats not a matter of my own opinion; I'm not qualified to judge such matters; it's authenticity has been established by the museum authorities. I talked with one of them. He hadn't realized what the design shows; he was very interested when I discussed it with him. This form of vase, the krater, was the shape later used as the baptismal font. That was one of the Greek words that came into my head in March 1974, the word “krater”. I heard it connected with another Greek word: “poros”. The words “poros krater” essentially mean “limestone font”. ' There could be no doubt; the design, predating Christianity, was Crick and Watson's double helix model at which they had arrived after so many wrong guesses, so much trial-and-error work. Here it was, faithfully reproduced. 'Well?' I said. 'The so-called intertwined snakes of the caduceus. Originally the caduceus, which is still the symbol of medicine was the staff of- not Hermes-but-' Fat paused, his eyes bright. 'Of Asklepios. It has a very specific meaning, besides that of wisdom, which the snakes allude to; it shows that the bearer is a sacred person and not to be molested...which is why Hermes the messenger of the gods, carried it.' None of us said anything for a time. Kevin started to utter something sarcastic, something in his dry, witty way, but he did not; he only sat without speaking. Examining the 8×10 glossies, Ginger said, 'How lovely!' 'The greatest physician in all human history,' Fat said to her. 'Asklepios, the founder of Greek medicine. The Roman Emperor Julian-known to us as Julian the Apostate because he renounced Christianity-conside​red Asklepios as God or a god; Julian worshipped him. If that worship had continued, the entire history of the Western world would have basically changed

Introductory paragraph incorporating the thesis: After a challenging childhood marked by adversity, Adam Parrish has become a successful freshman at Harvard University. In the past, he had spent his time doubting himself, fearing he would become like his father, obsessing that others could see his trailer-park roots, and idealizing wealth, but now he has built a new future where no one has to know where he's come from. Before becoming a self-actualized young man at Harvard, Adam had been deeply fascinated by the concept of the ley lines and also supernaturally entangled with one of the uncanny forests located along one, but he has now focused on the real world, using only the ghost of magic to fleece other students with parlor trick tarot card readings. He hasn't felt like himself for months, but he is going to be just fine. Followed by three paragraphs with information that supports the thesis. First: Adam understands that suffering is often transient, even when it feels permanent. This too shall pass, etc. Although college seems like a lifetime, it is only four years. Four years is only a lifetime if one is a guinea pig. Second paragraph, building on the first point: Magic has not always been good for Adam. During high school, he frequently immersed himself in it as a form of avoidance. Deep down, he fears that he is prone to it as his father is prone to abuse, and that it will eventually make him unsuitable for society. By depriving himself of magic, he forces himself to become someone valuable to the unmagic world, i.e. the Crying Club. Third paragraph, with the most persuasive point: Harvard is a place Ronan Lynch cannot be, because he cannot survive there, either physically or socially. Without such hard barriers, Adam will surely continue to return to Ronan Lynch again and again, and thus fall back in with bad habits. He will never achieve the life of financial security and recognition he planned. Thesis restated, bringing together all the information to prove it: Although life is unbearable now, and Adam Parrish seems to have lost everything important to him in the present by pursuing the things important to him in the past, he will be fine. Concluding paragraph describing what the reader just learned and why it is important for them to have learned it: He will be fine. He will be fine. He will be fine. He will be fine.

Cixi’s lack of formal education was more than made up for by her intuitive intelligence, which she liked to use from her earliest years. In 1843, when she was seven, the empire had just finished its first war with the West, the Opium War, which had been started by Britain in reaction to Beijing clamping down on the illegal opium trade conducted by British merchants. China was defeated and had to pay a hefty indemnity. Desperate for funds, Emperor Daoguang (father of Cixi’s future husband) held back the traditional presents for his sons’ brides – gold necklaces with corals and pearls – and vetoed elaborate banquets for their weddings. New Year and birthday celebrations were scaled down, even cancelled, and minor royal concubines had to subsidise their reduced allowances by selling their embroidery on the market through eunuchs. The emperor himself even went on surprise raids of his concubines’ wardrobes, to check whether they were hiding extravagant clothes against his orders. As part of a determined drive to stamp out theft by officials, an investigation was conducted of the state coffer, which revealed that more “than nine million taels of silver had gone missing. Furious, the emperor ordered all the senior keepers and inspectors of the silver reserve for the previous forty-four years to pay fines to make up the loss – whether or not they were guilty. Cixi’s great-grandfather had served as one of the keepers and his share of the fine amounted to 43,200 taels – a colossal sum, next to which his official salary had been a pittance. As he had died a long time ago, his son, Cixi’s grandfather, was obliged to pay half the sum, even though he worked in the Ministry of Punishments and had nothing to do with the state coffer. After three years of futile struggle to raise money, he only managed to hand over 1,800 taels, and an edict signed by the emperor confined him to prison, only to be released if and when his son, Cixi’s father, delivered the balance. The life of the family was turned upside down. Cixi, then eleven years old, had to take in sewing jobs to earn extra money – which she would remember all her life and would later talk about to her ladies-in-waiting in the court. “As she was the eldest of two daughters and three sons, her father discussed the matter with her, and she rose to the occasion. Her ideas were carefully considered and practical: what possessions to sell, what valuables to pawn, whom to turn to for loans and how to approach them. Finally, the family raised 60 per cent of the sum, enough to get her grandfather out of prison. The young Cixi’s contribution to solving the crisis became a family legend, and her father paid her the ultimate compliment: ‘This daughter of mine is really more like a son!’ Treated like a son, Cixi was able to talk to her father about things that were normally closed areas for women. Inevitably their conversations touched on official business and state affairs, which helped form Cixi’s lifelong interest. Being consulted and having her views acted on, she acquired self-confidence and never accepted the com“common assumption that women’s brains were inferior to men’s. The crisis also helped shape her future method of rule. Having tasted the bitterness of arbitrary punishment, she would make an effort to be fair to her officials.

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.

The Sun King had dinner each night alone. He chose from forty dishes, served on gold and silver plate. It took a staggering 498 people to prepare each meal. He was rich because he consumed the work of other people, mainly in the form of their services. He was rich because other people did things for him. At that time, the average French family would have prepared and consumed its own meals as well as paid tax to support his servants in the palace. So it is not hard to conclude that Louis XIV was rich because others were poor. But what about today? Consider that you are an average person, say a woman of 35, living in, for the sake of argument, Paris and earning the median wage, with a working husband and two children. You are far from poor, but in relative terms, you are immeasurably poorer than Louis was. Where he was the richest of the rich in the world’s richest city, you have no servants, no palace, no carriage, no kingdom. As you toil home from work on the crowded Metro, stopping at the shop on the way to buy a ready meal for four, you might be thinking that Louis XIV’s dining arrangements were way beyond your reach. And yet consider this. The cornucopia that greets you as you enter the supermarket dwarfs anything that Louis XIV ever experienced (and it is probably less likely to contain salmonella). You can buy a fresh, frozen, tinned, smoked or pre-prepared meal made with beef, chicken, pork, lamb, fish, prawns, scallops, eggs, potatoes, beans, carrots, cabbage, aubergine, kumquats, celeriac, okra, seven kinds of lettuce, cooked in olive, walnut, sunflower or peanut oil and flavoured with cilantro, turmeric, basil or rosemary … You may have no chefs, but you can decide on a whim to choose between scores of nearby bistros, or Italian, Chinese, Japanese or Indian restaurants, in each of which a team of skilled chefs is waiting to serve your family at less than an hour’s notice. Think of this: never before this generation has the average person been able to afford to have somebody else prepare his meals. You employ no tailor, but you can browse the internet and instantly order from an almost infinite range of excellent, affordable clothes of cotton, silk, linen, wool and nylon made up for you in factories all over Asia. You have no carriage, but you can buy a ticket which will summon the services of a skilled pilot of a budget airline to fly you to one of hundreds of destinations that Louis never dreamed of seeing. You have no woodcutters to bring you logs for the fire, but the operators of gas rigs in Russia are clamouring to bring you clean central heating. You have no wick-trimming footman, but your light switch gives you the instant and brilliant produce of hardworking people at a grid of distant nuclear power stations. You have no runner to send messages, but even now a repairman is climbing a mobile-phone mast somewhere in the world to make sure it is working properly just in case you need to call that cell. You have no private apothecary, but your local pharmacy supplies you with the handiwork of many thousands of chemists, engineers and logistics experts. You have no government ministers, but diligent reporters are even now standing ready to tell you about a film star’s divorce if you will only switch to their channel or log on to their blogs. My point is that you have far, far more than 498 servants at your immediate beck and call. Of course, unlike the Sun King’s servants, these people work for many other people too, but from your perspective what is the difference? That is the magic that exchange and specialisation have wrought for the human species.

Her pretty name of Adina seemed to me to have somehow a mystic fitness to her personality. Behind a cold shyness, there seemed to lurk a tremulous promise to be franker when she knew you better. Adina is a strange child; she is fanciful without being capricious. She was stout and fresh-coloured, she laughed and talked rather loud, and generally, in galleries and temples, caused a good many stiff British necks to turn round. She had a mania for excursions, and at Frascati and Tivoli she inflicted her good-humoured ponderosity on diminutive donkeys with a relish which seemed to prove that a passion for scenery, like all our passions, is capable of making the best of us pitiless. Adina may not have the shoulders of the Venus of Milo...but I hope it will take more than a bauble like this to make her stoop. Adina espied the first violet of the year glimmering at the root of a cypress. She made haste to rise and gather it, and then wandered further, in the hope of giving it a few companions. Scrope sat and watched her as she moved slowly away, trailing her long shadow on the grass and drooping her head from side to side in her charming quest. It was not, I know, that he felt no impulse to join her; but that he was in love, for the moment, with looking at her from where he sat. Her search carried her some distance and at last she passed out of sight behind a bend in the villa wall. I don't pretend to be sure that I was particularly struck, from this time forward, with something strange in our quiet Adina. She had always seemed to me vaguely, innocently strange; it was part of her charm that in the daily noiseless movement of her life a mystic undertone seemed to murmur "You don't half know me! Perhaps we three prosaic mortals were not quite worthy to know her: yet I believe that if a practised man of the world had whispered to me, one day, over his wine, after Miss Waddington had rustled away from the table, that there was a young lady who, sooner or later, would treat her friends to a first class surprise, I should have laid my finger on his sleeve and told him with a smile that he phrased my own thought. .."That beautiful girl," I said, "seems to me agitated and preoccupied." "That beautiful girl is a puzzle. I don't know what's the matter with her; it's all very painful; she's a very strange creature. I never dreamed there was an obstacle to our happiness--to our union. She has never protested and promised; it's not her way, nor her nature; she is always humble, passive, gentle; but always extremely grateful for every sign of tenderness. Till within three or four days ago, she seemed to me more so than ever; her habitual gentleness took the form of a sort of shrinking, almost suffering, deprecation of my attentions, my petits soins, my lovers nonsense. It was as if they oppressed and mortified her--and she would have liked me to bear more lightly. I did not see directly that it was not the excess of my devotion, but my devotion itself--the very fact of my love and her engagement that pained her. When I did it was a blow in the face. I don't know what under heaven I've done! Women are fathomless creatures. And yet Adina is not capricious, in the common sense... .So these are peines d'amour?" he went on, after brooding a moment. "I didn't know how fiercely I was in love!" Scrope stood staring at her as she thrust out the crumpled note: that she meant that Adina--that Adina had left us in the night--was too large a horror for his unprepared sense...."Good-bye to everything! Think me crazy if you will. I could never explain. Only forget me and believe that I am happy, happy, happy! Adina Beati."... Love is said to be par excellence the egotistical passion; if so Adina was far gone. "I can't promise to forget you," I said; "you and my friend here deserve to be remembered!

Irrelevant’ Chris Fogle turns a page. Howard Cardwell turns a page. Ken Wax turns a page. Matt Redgate turns a page. ‘Groovy’ Bruce Channing attaches a form to a file. Ann Williams turns a page. Anand Singh turns two pages at once by mistake and turns one back which makes a slightly different sound. David Cusk turns a page. Sandra Pounder turns a page. Robert Atkins turns two separate pages of two separate files at the same time. Ken Wax turns a page. Lane Dean Jr. turns a page. Olive Borden turns a page. Chris Acquistipace turns a page. David Cusk turns a page. Rosellen Brown turns a page. Matt Redgate turns a page. R. Jarvis Brown turns a page. Ann Williams sniffs slightly and turns a page. Meredith Rand does something to a cuticle. ‘Irrelevant’ Chris Fogle turns a page. Ken Wax turns a page. Howard Cardwell turns a page. Kenneth ‘Type of Thing’ Hindle detaches a Memo 402-C(1) from a file. ‘Second-Knuckle’ Bob McKenzie looks up briefly while turning a page. David Cusk turns a page. A yawn proceeds across one Chalk’s row by unconscious influence. Ryne Hobratschk turns a page. Latrice Theakston turns a page. Rotes Group Room 2 hushed and brightly lit, half a football field in length. Howard Cardwell shifts slightly in his chair and turns a page. Lane Dean Jr. traces his jaw’s outline with his ring finger. Ed Shackleford turns a page. Elpidia Carter turns a page. Ken Wax attaches a Memo 20 to a file. Anand Singh turns a page. Jay Landauer and Ann Williams turn a page almost precisely in sync although they are in different rows and cannot see each other. Boris Kratz bobs with a slight Hassidic motion as he crosschecks a page with a column of figures. Ken Wax turns a page. Harriet Candelaria turns a page. Matt Redgate turns a page. Ambient room temperature 80° F. Sandra Pounder makes a minute adjustment to a file so that the page she is looking at is at a slightly different angle to her. ‘Irrelevant’ Chris Fogle turns a page. David Cusk turns a page. Each Tingle’s two-tiered hemisphere of boxes. ‘Groovy’ Bruce Channing turns a page. Ken Wax turns a page. Six wigglers per Chalk, four Chalks per Team, six Teams per group. Latrice Theakston turns a page. Olive Borden turns a page. Plus administration and support. Bob McKenzie turns a page. Anand Singh turns a page and then almost instantly turns another page. Ken Wax turns a page. Chris ‘The Maestro’ Acquistipace turns a page. David Cusk turns a page. Harriet Candelaria turns a page. Boris Kratz turns a page. Robert Atkins turns two separate pages. Anand Singh turns a page. R. Jarvis Brown uncrosses his legs and turns a page. Latrice Theakston turns a page. The slow squeak of the cart boy’s cart at the back of the room. Ken Wax places a file on top of the stack in the Cart-Out box to his upper right. Jay Landauer turns a page. Ryne Hobratschk turns a page and then folds over the page of a computer printout that’s lined up next to the original file he just turned a page of. Ken Wax turns a page. Bob Mc-Kenzie turns a page. Ellis Ross turns a page. Joe ‘The Bastard’ Biron-Maint turns a page. Ed Shackleford opens a drawer and takes a moment to select just the right paperclip. Olive Borden turns a page. Sandra Pounder turns a page. Matt Redgate turns a page and then almost instantly turns another page. Latrice Theakston turns a page. Paul Howe turns a page and then sniffs circumspectly at the green rubber sock on his pinkie’s tip. Olive Borden turns a page. Rosellen Brown turns a page. Ken Wax turns a page. Devils are actually angels. Elpidia Carter and Harriet Candelaria reach up to their Cart-In boxes at exactly the same time. R. Jarvis Brown turns a page. Ryne Hobratschk turns a page. ‘Type of Thing’ Ken Hindle looks up a routing code. Some with their chin in their hand. Robert Atkins turns a page even as he’s crosschecking something on that page. Ann Williams turns a page. Ed Shackleford searches a file for a supporting document. Joe Biron-Maint turns a page. Ken Wax turns a page.