Framed Book Quotes

For Equilibrium, a Blessing: Like the joy of the sea coming home to shore, May the relief of laughter rinse through your soul. As the wind loves to call things to dance, May your gravity by lightened by grace. Like the dignity of moonlight restoring the earth, May your thoughts incline with reverence and respect. As water takes whatever shape it is in, So free may you be about who you become. As silence smiles on the other side of what's said, May your sense of irony bring perspective. As time remains free of all that it frames, May your mind stay clear of all it names. May your prayer of listening deepen enough to hear in the depths the laughter of god.

He ate and drank the precious words, His spirit grew robust; He knew no more that he was poor, Nor that his frame was dust. He danced along the dingy days, And this bequest of wings Was but a book. What liberty A loosened spirit brings!

Outside his office my father had a framed copy of a letter written by Abraham Lincoln to his son’s teacher, translated into Pashto. It is a very beautiful letter, full of good advice. “Teach him, if you can, the wonder of books…But also give him quiet time to ponder the eternal mystery of birds in the sky, bees in the sun, and the flowers on a green hillside,” it says. “Teach him it is far more honorable to fail than to cheat.

We have a lot of books in our house. They are our primary decorative motif-books in piles and on the coffee table, framed book covers, books sorted into stacks on every available surface, and of course books on shelves along most walls. Besides the visible books, there are books waiting in the wings, the basement books, the garage books, the storage locker books...They function as furniture, they prop up sagging fixtures and disguised by quilts function as tables...I can't imagine a home without an overflow of books. The point of books is to have way too many but to always feel you never have enough, or the right one at the right moment, but then sometimes to find you'd longed to fall asleep reading the Aspern Papers, and there it is.

Thoughts frame your portrait, action paints it.

Barrons Books and Baubles had been ransacked! Tables were overturned, books torn from shelves and strewn everywhere, baubles broken. Even my little TV behind the counter had been destroyed. "Barrons?" I called warily. It was night and the lights were on. My illusory Alina had told me more than an hour had passed. Was it the same night, nearly dawn? Or was it the night following our theft attempt? Had Barrons come back from Wales yet? Or was he still there, searching for me? When I‘d been so rudely ripped from reality, who or what had come through those basement doors? I heard footsteps, boots on hardwood, and turned expectantly toward the connecting doors. Barrons was framed in the doorway. His eyes were black ice. He stared at me a moment, raking me from head to toe. "Nice tan, Ms. Lane. So, where the fuck have you been for the past month?

Music, to me, is the most beautiful form, and I love film because film is very related to music. It moves by you in its own rhythm. It's not like reading a book or looking at a painting. It gives you its own time frame, like music, so they are very connected for me. But music to me is the biggest inspiration. When I get depressed, or anything, I go "think of all the music I haven't even heard yet!" So, it's the one thing. Imagine the world without music. Man, just hand me a gun, will you?

Someone was coming through the velvet. He was pulling it wide, he was stepping onto Kestrel’s balcony—close, closer still as she turned and the curtain swayed, then stopped. He pinned the velvet against frame. He held the sweep of it high, at the level of his gray eyes, which were silver in the shadows. He was here. He had come. Arin.

Show some respect. They were your grandparents. -Batman Just names and dusty frames on the wall to me. -Damien I take exception to that. There is not a speck of dust collecting on those portraits. -Alfred

You know those books and movies where the girl wears a guy’s pants and they hang on her tiny frame? Yeah, I’m not sure what sort of pixies populate fiction, but not so much for me.

I love book books, real books, books with spines and heart, dust jackets, books that smell of books. Take the frame from a painting and you have a painting, not art. Take the pages from a book and print them on a screen and you have the ghost of a book. Not a book.

Every action has a reaction,everything we do or say has an effect.

....there is an ending [to Infinite Jest] as far as I'm concerned. Certain kind of parallel lines are supposed to start converging in such a way that an "end" can be projected by the reader somewhere beyond the right frame. If no such convergence or projection occured to you, then the book's failed for you.

She was halfway through the book, her eyes heavy with sleep, when the bedroom door opened.  Brishen stood at the threshold, dressed down to undertunic and trousers, his feet bare and his hair damp.  He leaned against the door frame and crossed his arms.  “Woman of day, you waited for me.” Ildiko closed her book and offered him a drowsy smile.  Relief and happiness coursed through her.  “Prince of night, you’ve come back to me—your head intact.” “I promised I’d try.”  

Always rely on just a happy frame of mind. Let it become one of the fundamental rules of your life. Even if you come across a negative, find something positive in it. You will always be able to find something. And the day you become skillful at finding the positive in the negative, you will dance with joy.

Hauntings are memes, especially pernicious thought contagions, social contagions that need no viral or bacterial host and are transmitted in a thousand different ways. A book, a poem, a song, a bedtime story, a grandmother's suicide, the choreography of a dance, a few frames of film, a diagnosis of schizophrenia, a deadly tumble from a horse, a faded photograph, or a story you tell your daughter.

I have rose-colored glasses. The frames have thorns.

Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story’s silent twin. There are so many things that we can’t say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent. Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself.

the bouquet Between me and the world you are a bay, a sail the faithful ends of a rope you are a fountain, a wind, a shrill childhood cry. Between me and the world you are a picture frame, a window a field covered in wildflowers you are a breath, a bed, a night that keeps the stars company. Between me and the world, you are a calendar, a compass a ray of light that slips through the gloom you are a biographical sketch, a book mark a preface that comes at the end. between me and the world you are a gauze curtain, a mist a lamp shining in my dreams you are a bamboo flute, a song without words a closed eyelid carved in stone. Between me and the world you are a chasm, a pool an abyss plunging down you are a balustrade, a wall a shield’s eternal pattern.

I had a cousin once who lived in your dictionary, inside the binding, and there was a tiny hole which he used for a door, and it led out between trichotomy and trick. Now what do you think of that? It was only a few minutes walk to trigger, then over the page to trinity, trinket and trional, and there my cousin used to fall asleep.

I am progressing along the path of life in my ordinary contentedly fallen and godless condition, absorbed in a merry meeting with my friends for the morrow or a bit of work that tickles my vanity today, a holiday or a new book, when suddenly a stab of abdominal pain that threatens serious disease, or a headline in the newspapers that threatens us all with destruction, sends this whole pack of cards tumbling down. At first I am overwhelmed, and all my little happinesses look like broken toys. Then, slowly and reluctantly, bit by bit, I try to bring myself into the frame of mind that I should be in at all times. I remind myself that all these toys were never intended to possess my heart, that my true good is in another world, and my only real treasure is Christ. And perhaps, by God's grace, I succeed, and for a day or two become a creature consciously dependent on God and drawing its strength from the right sources.

How good it was that people, like houses, had frames and that those frames could be so beautiful.

She walked down the basement steps. She saw an imaginary framed photo seep into the wall - a quiet-smiled secret. No more than a few meters, it was a long walk to the drop sheets and the assortment of paint cans that shielded Max Vandenburg. She removed the sheets closest to the wall until there was a small corridor to look through. The first part of him she saw was his shoulder, and through the slender gap, she slowly, painfully, inched her hand in until it rested there. His clothing was cool. He did not wake. She could feel his breathing and his shoulder moving up and down ever so slightly. For a while, she watched him. Then she sat and leaned back. Sleepy air seemed to have followed her. The scrawled words of practice stood magnificently on the wall by the stairs, jagged and childlike and sweet. They looked on as both the hidden Jew and the girl slept, hand to shoulder. They breathed. German and Jewish lungs.

A story is a map of the world. A gloriously colored and wonderful map, the sort one often sees framed and hanging on the wall in a study full of plush chairs and stained-glass lamps: painstakingly lettered, researched down to the last pebble and participle, drawn with dash and flair, with cloud-goddesses in the corners and giant squid squirming up out of the sea...[T]here are more maps in the world than anyone can count. Every person draws a map that shows themselves at the center.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to "give a meaning" to the world, one has to feel oneself involved in what one frames through the viewfinder. This attitude requires concentration, a discipline of the mind, sensitivity, and a sense of geometry.

As I believe I have said, everyone in prison is an innocent man. Oh, they read the scripture the way those holy rollers on TV read the Book of Revelations. They were the victims of judges with hearts of stone and balls to match, or incompetent lawyers, or police frame-ups, or bad luck. They read the scripture, but you can see a different scripture in their faces. Most cons are a low sort, no good to themselves or anyone else, and their worst luck was that their mothers carried them to term.

Realization: We render time by stitching together moments--flipping pages in the book of consciousness presents a continuous stream. Our senses too slow to realize the separation of moments, like a strand of pearls through eternity. Time is terrifying, time is unspeakable. Clock-time lies down between moments ... but distance warps with velocity, time bends with velocity. Frames of reference. Are not absolute. Are selfish. A private reality. Clocks have a life of their own. Framed by references.

A patriarchal blessing is a revelation to the recipient, even a white line down the middle of the road, to protect, inspire, and motivate activity and righteousness. A patriarchal blessing literally contains chapters from your book of eternal possibilities. I say eternal, for just as life is eternal, so is a patriarchal blessing. What may not come to fulfillment in this life may occur in the next. We do not govern God's timetable. 'For my thoughts are not your thoughts, neither are your ways my ways, saith the Lord.' . . . Your patriarchal blessing is yours and yours alone. It may be brief or lengthy, simple or profound. Length and language do not a patriarchal blessing make. It is the Spirit that conveys the true meaning. Your blessing is not to be folded neatly and tucked away. It is not to be framed or published. Rather, it is to be read. It is to be loved. It is to be followed. Your patriarchal blessing will see you through the darkest night. It will guide you through life's dangers. . . . Your patriarchal blessing is to you a personal Liahona to chart your course and guide your way.

What I do recall is colored by what’s in the Book. Instead of memories, I have excerpts. It’s like looking at a photograph of a photograph. The framing is off. The colors are dulled. The image is slightly dark.

Not even on the most distorted and contracted theory of good which ever was framed by religious or philosophical fanaticism, can the government of Nature be made to resemble the work of a being at once good and omnipotent.

[I] threw open the door to find Rob sit­ting on the low stool in front of my book­case, sur­round­ed by card­board box­es. He was seal­ing the last one up with tape and string. There were eight box­es - eight box­es of my books bound up and ready for the base­ment! "He looked up and said, 'Hel­lo, dar­ling. Don't mind the mess, the care­tak­er said he'd help me car­ry these down to the base­ment.' He nod­ded to­wards my book­shelves and said, 'Don't they look won­der­ful?' "Well, there were no words! I was too ap­palled to speak. Sid­ney, ev­ery sin­gle shelf - where my books had stood - was filled with ath­let­ic tro­phies: sil­ver cups, gold cups, blue rosettes, red rib­bons. There were awards for ev­ery game that could pos­si­bly be played with a wood­en ob­ject: crick­et bats, squash rac­quets, ten­nis rac­quets, oars, golf clubs, ping-​pong bats, bows and ar­rows, snook­er cues, lacrosse sticks, hock­ey sticks and po­lo mal­lets. There were stat­ues for ev­ery­thing a man could jump over, ei­ther by him­self or on a horse. Next came the framed cer­tificates - for shoot­ing the most birds on such and such a date, for First Place in run­ning races, for Last Man Stand­ing in some filthy tug of war against Scot­land. "All I could do was scream, 'How dare you! What have you DONE?! Put my books back!' "Well, that's how it start­ed. Even­tu­al­ly, I said some­thing to the ef­fect that I could nev­er mar­ry a man whose idea of bliss was to strike out at lit­tle balls and lit­tle birds. Rob coun­tered with re­marks about damned blue­stock­ings and shrews. And it all de­gen­er­at­ed from there - the on­ly thought we prob­ably had in com­mon was, What the hell have we talked about for the last four months? What, in­deed? He huffed and puffed and snort­ed and left. And I un­packed my books.

It is contended by many that ours is a Christian government, founded upon the Bible, and that all who look upon the book as false or foolish are destroying the foundation of our country. The truth is, our government is not founded upon the rights of gods, but upon the rights of men. Our Constitution was framed, not to declare and uphold the deity of Christ, but the sacredness of humanity. Ours is the first government made by the people and for the people. It is the only nation with which the gods have had nothing to do. And yet there are some judges dishonest and cowardly enough to solemnly decide that this is a Christian country, and that our free institutions are based upon the infamous laws of Jehovah.

The queen-size bed has a wooden frame and a dark-orange duvet cover and pillows. The bedside tables on both sides are identically stocked: three books, a lamp and a glasses case. I wonder if this allows my parents to swap sides during the night. I turn on one of the lamps, lighting the room like a sexy library.

And if you are heart smart, and if you’re the kind of person that is operating from the main frame of the motherboard, which is the heart, then that’s the kind of person that gets more energy.

I still had the craving that I had given in to all summer long when I had lived on books, to have the reach to grasp both ends of the frame and turn the big image-taking glass to any scene of the world.

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.

The house was large and deeply lived-in, all the shelves and surfaces stacked with books and boxes, framed pictures, old greeting cards set up like tent cities...Every single surface told a story. A long one. With digressions.

Politicians in our times feed their clichés to television, where even those who wish to disagree repeat them. Television purports to challenge political language by conveying images, but the succession from one frame to another can hinder a sense of resolution. Everything happens fast, but nothing actually happens. Each story on televised news is ”breaking” until it is displaced by the next one. So we are hit by wave upon wave but never see the ocean. The effort to define the shape and significance of events requires words and concepts that elude us when we are entranced by visual stimuli. Watching televised news is sometimes little more than looking at someone who is also looking at a picture. We take this collective trance to be normal. We have slowly fallen into it. More than half a century ago, the classic novels of totalitarianism warned of the domination of screens, the suppression of books, the narrowing of vocabularies, and the associated difficulties of thought. In Ray Bradbury’s Fahrenheit 451, published in 1953, firemen find and burn books while most citizens watch interactive television. In George Orwell’s 1984, published in 1949, books are banned and television is two-way, allowing the government to observe citizens at all times. In 1984, the language of visual media is highly constrained, to starve the public of the concepts needed to think about the present, remember the past, and consider the future. One of the regime’s projects is to limit the language further by eliminating ever more words with each edition of the official dictionary. Staring at screens is perhaps unavoidable, but the two-dimensional world makes little sense unless we can draw upon a mental armory that we have developed somewhere else. When we repeat the same words and phrases that appear in the daily media, we accept the absence of a larger framework. To have such a framework requires more concepts, and having more concepts requires reading. So get the screens out of your room and surround yourself with books. The characters in Orwell’s and Bradbury’s books could not do this—but we still can.

On Thursday, I woke to find a perfect September morning, summer with the first gentle hint of autumn, exactly the wrong day to be away from the country. I would have gone for an enormous walk -- except that, while in the bath, I saw exactly how to finish the book I was writing, after being stuck for weeks; though as things turned out, I doubt if I should have walked or written, because during breakfast I suddenly knew how to paint the view framed by my open window. I had been threatening to paint for months, sometimes seeing myself as a primitive, sometimes as an abstractionist. Today the primitive mood was in the ascendent.

His hair was shorter than I remembered, tawny in this half-light, the tousled edges casually framing the clean, commanding lines of his face. His mouth, normally so stern was relaxed now and as I stared a slight sweet smile touched his lips, its curve softening the straight strong lines of his nose and brow. Finally, inevitably, I met his eyes and felt a connection that seared straight through me, down through my soles and away. Those eyes, darker than mine, the darkest blue, dark and as impenetrable as glaciers. Tonight he was real, so very real that my heart thumped, my blood sang, my legs shook.

When we hygger, we frame the moment, give it our full attention, savour and hold it, in an awareness that the moment will pass. We feel how one moment becomes layered on to the next; past and present mingled together - everything falling into place, into one accord.

I am a single drop of blood trying to mix in with billions of red paint splatters in this Pollack painting called life. I think the cops are trying to frame me.

Happiness and achieving our dreams is a matter of believing it is possible and having a positive frame of mind.

Ooh, that sounds great. Better than that book you wrote about those vampires chatting up a bunch of schoolgirls.

The photograph showed a young couple smiling at the camera. The man didn't look much older than seventeen or eighteen, with light-coloured hair and delicate, aristocratic features. The woman may have been a bit younger, one or two years at the most. She had pale skin and a finely chiselled face framed by short black hair. She looked drunk with happiness. The man had his arm round her waist, and she seemed to be whispering something to him in a teasing way. The image conveyed a warmth that drew a smile from me, as if I had recognized two old friends in those strangers.

Yet at least he had believed in the cars, maybe to excess: how could he not, seeing people poorer than him come in, Negro, Mexican, cracker, a parade seven days a week, bring with them the most godawful of trade-ins: motorized, metal extensions of themselves, of their families and what their whole lives must be like, out there so naked for anybody, a stranger like himself, to look at, frame cockeyed, rusty underneath, fender repainted in a shade just off enough to depress the value, if not Mucho himself, inside smelling hopeless of children, of supermarket booze, or two, sometimes three generations of cigarette smokers, or only of dust--and when the cars were swept out you had to look at the actual residue of these lives, and there was no way of telling what things had been truly refused (when so little he supposed came by that out of fear most of it had to be taken and kept) and what had simply (perhaps tragically) been lost: clipped coupons promising savings of 5 or 10¢, trading stamps, pink flyers advertising specials at the market, butts, tooth-shy combs, help-wanted ads, Yellow Pages torn from the phone book, rags of old underwear or dresses that already were period costumes, for wiping your own breath off the inside of a windshield with so you could see whatever it was, a movie, a woman or car you coveted, a cop who might pull you over just for drill, all the bits and pieces coated uniformly, like a salad of despair, in a grey dressing of ash, condensed exhaust, dust, body wastes--it nauseated him to look, but he had to look.

The bookstore itself was cozy but not crowded, with posters of classic novels framed and hung on the walls. And it was filled with that wonderful book smell that anyone who's ever even been near a book will recognize. It's more than the smell of paper; it's the smell of the high seas and adventure and far off worlds. It's the smell of a billion billion worlds, each a portal to somewhere new.

Surreal realized Daemon’s madness was confined to emotions, to people, to that single tragedy he couldn’t face. It was as if Titian had never died, as if Surreal hadn’t spent three years whoring in back alleys before Daemon found her again and arranged for a proper education in a Red Moon house. He thought she was still a child, and he continued to fret about Titian’s absence. But when she mentioned a book she was reading, he made a dry observation about her eclectic taste and proceeded to tell her about other books that might be of interest. It was the same with music, with art. They posed no threat to him, had no time frame, weren’t part of the nightmare of Jaenelle bleeding on that Dark Altar.

In the Way of the Martial Arts, do not let your frame of mind be any different from your everyday mind. In both everyday and military events, your mind should not change in the least, but should be broad and straightforward, neither drawn too tight nor allowed to slacken even a little....Do not let your mind stand still even when you are in repose, but do not let it speed up even when you are involved in quick actions. The mind should not be distracted by the body, nor the body distracted by the mind.

The notion of Local Inertial Frame is crucial to understanding Nature and, in particular, General Relativity. Notwithstanding, very few popular science books (not even textbooks) emphasize enough its fundamental character.

Ig knew her, of course. It was the same woman who had served him and Merrin drinks on their last night together. Her face was framed by two wings of lank black hair that curled under her long, pointed chin, so she looked like the female version of the wizard who was always giving Harry Potter such a hard time in the movies. Professor Snail or something. Ig had been waiting to read the books with the children he and Merrin planned to have together.

Ash was never bored of her favourite books—in fact, rereading them over and over gave her a safe, relaxed feeling. Even though there might be angst throughout the story, she knew for certain it would all be all right in the end.

The window slid upward. Fire woke in both of Magnus's palms, and magic blazed in the dark, sapphire-blue. A figure pulled its torso through the window and then froze. Framed in the opening was a Shadowhunter in full demon-hunting gear, bow looped over one shoulder. He looked surprised. "Uh, hi," said Alec Lightwood. "I'm home. Please don't shoot me with magical rays." Magnus waved with both hands, blue lights paling, then winking out, leaving faint traces of smoke curling around his fingers. "You usually use the door." "Sometimes I like the change of pace." Alec pulled himself the rest of the way in and closed the window behind him. Magnus gave him a look. "Okay. Truth. A demon ate my keys." "We go through so many keys.

Holy shit. I forgot to ask you what you do. You are seriously a librarian? You aren’t fucking with me?” She made a face. “Yes, I’m really a librarian, MLS degree and all.” “Hot damn.” He pictured her behind a desk, dressed all prim and proper; her hair bound up in a little bun, black-framed glasses perched on her nose. “Remind me later to have you dress up and ask me about my overdue books.

I mean, mentally you brace yourself for the ending of a novel. As you're reading, you're aware of the fact that there's only a page or two left in the book, and you get ready to close it. but with a film there's no way of telling, especially nowadays, when films are much more loosely structured, much more ambivalent, than they used to be. There's no way of telling which frame is going to be the last. The film is going along, just as life goes along, people are behaving, doing things, drinking, talking, and we're watching them, and at any point the director chooses, without warning, without anything being resolved, or explained, or wound up, it can just...end.

Now I have more freedom than I have ever had at any time in my life, and I do only the things I always have. They were empty before, but Selina has given a meaning to them, I do them for her. I am waiting, for her - but, waiting, I think, is too poor a word for it. I am engaged with the substance of the minutes as they pass. I feel the surface of my flesh stir - it is like the surface of the sea that knows the moon is drawing near it. If I take up a book, I might as well never have seen a line of print before - books are filled, now, with messages aimed only at me. An hour ago, I found this: The blood is listening in my frame, And thronging shadows, fast and thick, Fall on my overflowing eyes... It is as if every poet who ever wrote a line to his own love wrote secretly for me, and for Selina. My blood - even as I write this - my blood, my muscle and every fibre of me, is listening, for her. When I sleep, it is to dream of her. When shadows move across my eye, I know them now for shadows of her. My room is still, but never silent - I hear her heart, beating across the night in time to my own. My room is dark, but darkness is different for me now. I know all its depths and textures - darkness like velvet, darkness like felt, darkness bristling as coir or prison wool.

People getting older become more fond of objects. I think this is true. Particular things. A leather-bound book, a piece of furniture, a photograph, a painting, the frame that holds the painting. These things make the past seem permanent. A baseball signed by a famous player, long dead. A simple coffee mug. Things we trust. They tell an important story. A person’s life, all those who entered and left, there’s a depth, a richness.

The room was made even smaller by the fact that two walls were stacked to the bottom of the window frame with mismatched books. "You know," Loki said, toeing a volume that had tumbled from the pile. "You'd have more room if you kept fewer books." Theo hung his cane on the edge of the grate beside the small fireplace and began to stoke the ashes. "I'd rather have books than space." "Well, when the floor caves in, don't say I didn't warn you.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

Well, I may not have a framed Latin diploma, but I know crazy talk when I hear it. Alcohol has been an important part of the human diet for thousands of years. The Bible is filled with references to people drinking alcohol, such as this quotation from the Book of Effusions, Chapter Eight, Verse Six, Row 7:

This is a book, and a book is a world, and words are the seeds in which meanings are curled. Pages of oceans and margins of land are civilizations you hold in the palm or your hand. But look at your world and your life seems to shrink, to cities of paper and seas made of ink. Do you know who you are, or have you been misled? Are you the reader, or are you the read? This is a word, and a word is a spell - a promise to keep or a secret to tell. Controlling the word means the power to frame how the ages of history remember you name. Are you hero or villain? A savior or spy? Some titles are lovely. Some titles are lies. You can claim who you are, now that you've found your voice. But those who are chosen will not have a choice. This is a story as vast as the sea, but on its waters, you'll never be free. No matter your course, your future is set, and destiny laughs as she tightens the net. Words to Kelannans are breath on a glass, but if it is written, it will come to pass. Is your sight growing clearer, the closer you look? The Book is a world, for the world is a book.

Books are to be call’d for, and supplied, on the assumption that the process of reading is nor a half-sleep, but, in highest sense, an exercise, a gymnast’s struggle; that the reader is to do something for himself, must be on the alert, must himself or herself construct indeed the poem, argument, history, metaphysical essay — the text furnishing the hints, the clue, the start or frame-work. Not the book needs so much to be the complete thing, but the reader of the book does. That were to make a nation of supple and athletic minds well-train’d, intuitive, used to depend on themselves, not on a few coteries of writers.

I used to think that the term inner child was a ridiculous metaphor invented to remind responsibility-burdened adults to lighten up occasionally and just have fun. But it turns out that the inner child is very real. It is our past. And the only way to escape the past is to embrace it. So before going to bed that night, I put the photo in a frame and place it next to my bed. And I vow that from this day forward, that child will be protected. He will be loved. He will be accepted. He will be trusted. And all this will be given unconditionally. He will not be taught to hate and fear. He will not be criticized for failing to live up to unrealistic expectations. He will not be used as a Kleenex or aspirin for someone else’s feelings of loneliness, fear, depression, or anxiety.

I doubt very much that the lengths of wood we nail together into a frame could be considered up to code, but we do the best we can. I suspect they will take it all apart and start over as soon as we are gone, but it looks good on camera since Jesus was a carpenter. Daddy would say that segments like this lend an air of humility to the show, but he says it while wearing a three-hundred-dollar tie, so I'm not entirely sure he knows what the word humility really means.

One of the things I love about bound books is their sheer physicality. Electronic books live out of sight and out of mind. But printed books have body, presence. Sure, sometimes they’ll elude you by hiding in improbable places: in a box full of old picture frames, say, or in the laundry basket, wrapped in a sweatshirt. But at other times they’ll confront you, and you’ll literally stumble over some tomes you hadn’t thought about in weeks or years. I often seek electronic books, but they never come after me. The may make me feel, but I can’t’ feel them. They are all soul with no flesh, no texture and no weight. They can get in your head but can’t whack you upside it.

Authors do not need to offer us the answers to such weighty questions such as how to live and prepare us to accept death. The aim of a writer’s is to frame worldly questions that allow all readers too independently and jointly explore life-altering questions in a way that satisfies the fabric of thought corresponding to our respective times.

Polarization (and Trumpism) is in itself a kind of political crisis. But all of this would be fine in the long run, if the stakes weren’t so high and the time frames so narrow. As a world-system, we really don’t have the time for Trumpism and the like. Global warming and the rapid changes pertaining to the internet age won’t wait. We are entering a time of unprecedented transformation and we are in dire need of politics that are progressive—in the sense that they anticipate and productively respond to the upcoming multidimensional crisis—revolution.

Lovely and unremarkable, the clutter of mugs and books, the almost-empty Fig Newtons box, thick dishes in a big tin tray, the knife still standing in the butter, change like the color of river water in the delicate shift to day. Thin fog veils the hedges, where a neighbor dog makes rounds. 'Go to bed. It doesn't matter about the washing-up. Take this book along.' Whatever it was we said that night is gone, framed like a photograph nobody took. Stretched out on a camp cot with the book, I think that we will talk all night again, there, or another where, but I am wrong.

had never heard a president explicitly frame a decision as a direct order. With the American military, it is completely unnecessary. As secretary of defense, I had never issued an “order” to get something done; nor had I heard any commander do so. Former chairman of the Joint Chiefs of Staff Colin Powell, in his book It Worked for Me, writes, “In my thirty-five years of service, I don’t ever recall telling anyone, ‘That’s an order.’ And now that I think about it, I don’t think I ever heard anyone else say it.” Obama’s “order,” at Biden’s urging, demonstrated, in my view, the complete unfamiliarity of both men with the American military culture. That order

The worst kinds of questions are the ones that don’t involve a surrender of power, that evaluate: Where did you go to college? What neighborhood do you live in? What do you do? They imply, “I’m about to judge you.” Closed questions are also bad questions. Instead of surrendering power, the questioner is imposing a limit on how the question can be answered. For example, if you mention your mother and I ask, “Were you close?,” then I’ve limited your description of your relationship with your mother to the close/distant frame. It’s better to ask, “How is your mother?” That gives the answerer the freedom to go as deep or as shallow as he wants. A third sure way to shut down conversations is to ask vague questions, like “How’s it going?” or “What’s up?” These questions are impossible to answer. They’re another way of saying, “I’m greeting you, but I don’t actually want you to answer.” Humble questions are open-ended. They’re encouraging the other person to take control and take the conversation where they want it to go. These are questions that begin with phrases like “How did you…,” “What’s it like…,” “Tell me about…,” and “In what ways…” In her book You’re Not Listening, Kate Murphy describes a focus group moderator who was trying to understand why people go to the grocery store late at night. Instead of directly asking, “Why do you go to grocery

FOR THE TIME OF NECESSARY DECISION The mind of time is hard to read. We can never predict what it will bring, Nor even from all that is already gone Can we say what form it finally takes; For time gathers its moments secretly. Often we only know it’s time to change When a force has built inside the heart That leaves us uneasy as we are. Perhaps the work we do has lost its soul Or the love where we once belonged Calls nothing alive in us anymore. We drift through this gray, increasing nowhere Until we stand before a threshold we know We have to cross to come alive once more. May we have the courage to take the step Into the unknown that beckons us; Trust that a richer life awaits us there, That we will lose nothing But what has already died; Feel the deeper knowing in us sure Of all that is about to be born beyond The pale frames where we stayed confined, Not realizing how such vacant endurance Was bleaching our soul’s desire.

Sparks come from the very source of light and are made of the purest brightness—so say the oldest legends. When a human Being is to be born, a spark begins to fall. First it flies through the darkness of outer space, then through galaxies, and finally, before it falls here, to Earth, the poor thing bumps into the orbits of planets. Each of them contaminates the spark with some Properties, while it darkens and fades. First Pluto draws the frame for this cosmic experiment and reveals its basic principles—life is a fleeting incident, followed by death, which will one day let the spark escape from the trap; there’s no other way out. Life is like an extremely demanding testing ground. From now on everything you do will count, every thought and every deed, but not for you to be punished or rewarded afterward, but because it is they that build your world. This is how the machine works. As it continues to fall, the spark crosses Neptune’s belt and is lost in its foggy vapors. As consolation Neptune gives it all sorts of illusions, a sleepy memory of its exodus, dreams about flying, fantasy, narcotics and books. Uranus equips it with the capacity for rebellion; from now on that will be proof of the memory of where the spark is from. As the spark passes the rings of Saturn, it becomes clear that waiting for it at the bottom is a prison. A labor camp, a hospital, rules and forms, a sickly body, fatal illness, the death of a loved one. But Jupiter gives it consolation, dignity and optimism, a splendid gift: things-will-work-out. Mars adds strength and aggression, which are sure to be of use. As it flies past the Sun, it is blinded, and all that it has left of its former, far-reaching consciousness is a small, stunted Self, separated from the rest, and so it will remain. I imagine it like this: a small torso, a crippled being with its wings torn off, a Fly tormented by cruel children; who knows how it will survive in the Gloom. Praise the Goddesses, now Venus stands in the way of its Fall. From her the spark gains the gift of love, the purest sympathy, the only thing that can save it and other sparks; thanks to the gifts of Venus they will be able to unite and support each other. Just before the Fall it catches on a small, strange planet that resembles a hypnotized Rabbit, and doesn’t turn on its own axis, but moves rapidly, staring at the Sun. This is Mercury, who gives it language, the capacity to communicate. As it passes the Moon, it gains something as intangible as the soul. Only then does it fall to Earth, and is immediately clothed in a body. Human, animal or vegetable. That’s the way it is. —

PRICELESS!— Ruem, the Mesmerizer, admires the Devil’s Book. A three-foot-tall and one-and-a-half-foot-wide book with leather bounding—preserved well through time. The ornate frame protects its thickness of nine inch. The yellowed pages are filled with Latin in dark ink and decorative drawings of … well, everything you can think of: astronomy, botany, physiology. A book of practical knowledge, yes. But it also holds the unknown, the mysteries of the abstract—the unreal realms of the universe.

Truth is beheld by the intellect which is appeased by the most satisfying relations of the intelligible; beauty is beheld by the imagination which is appeased by the most satisfying relations of the sensible. The first step in the direction of truth is to understand the frame and scope of the intellect itself, to comprehend the act itself of intellection. Aristotle's entire system of philosophy rests upon his book of psychology and that, I think, rests on his statement that the same attribute cannot at the same time and in the same connexion belong to and not belong to the same subject. The first step in the direction of beauty is to understand the frame and scope of the imagination, to comprehend the act itself of esthetic apprehension.

It is worth noting that a wrong folkoric definition of an Inertial Frame in the Popular Science literature (even in text books) reads that 'it is a frame in uniform motion'. We know very well by now that the idea of motion requires a frame of reference, so that such a definition of an Inertial Frame has no meaning whatsoever, confusing the reader because it tacitly reaffirms the idea of absolute motion -- when the goal of every didactic exposition of Relativity Theory should be precisely the opposite.

Feeding (more on this in chapter 8) Breast pump Breast pads Breast cream (Lansinoh) Breast milk containers Twin nursing pillow Boppy Formula Baby bottles (8-oz. wide neck; 16–20 bottles if you’re doing formula exclusively) Dishwasher baskets Bottle brush High chairs Booster seat Food processor or immersion blender Bottle warmer Bottle drying rack Bowls and spoons Baby food storage containers Keepsakes Baby books Thank-you notes/stationery Newspaper from birthday CD player/dock for music Twin photo albums/frames

TO MY SISTER IT is the first mild day of March: Each minute sweeter than before The redbreast sings from the tall larch That stands beside our door. There is a blessing in the air, Which seems a sense of joy to yield To the bare trees, and mountains bare, And grass in the green field. My sister! ('tis a wish of mine) Now that our morning meal is done, 10 Make haste, your morning task resign; Come forth and feel the sun. Edward will come with you;--and, pray, Put on with speed your woodland dress; And bring no book: for this one day We'll give to idleness. No joyless forms shall regulate Our living calendar: We from to-day, my Friend, will date The opening of the year. 20 Love, now a universal birth, From heart to heart is stealing, From earth to man, from man to earth: --It is the hour of feeling. One moment now may give us more Than years of toiling reason: Our minds shall drink at every pore The spirit of the season. Some silent laws our hearts will make, Which they shall long obey: 30 We for the year to come may take Our temper from to-day. And from the blessed power that rolls About, below, above, We'll frame the measure of our souls: They shall be tuned to love. Then come, my Sister! come, I pray, With speed put on your woodland dress; And bring no book: for this one day We'll give to idleness.

And he had a couple of Bibles in need of customized repair, and those were an easy fifty dollars apiece – just brace the page against a piece of plywood in a frame and scorch out the verses the customers found intolerable, with a wood-burning stylus; a plain old razor wouldn’t have the authority that hot iron did. And then of course drench the defaced book in holy water to validate the edited text. Matthew 19:5-6 and Mark 10:7-12 were bits he was often asked to burn out, since they condemned re-marriage after divorce, but he also got a lot of requests to lose Matthew 25:41 through 46, with Jesus’s promise of Hell to stingy people. And he offered a special deal to eradicate all thirty or so mentions of adultery. Some of these customized Bibles ended up after a few years with hardly any weight besides the binding.

Of all the passers-through, the species that means most to me, even more than geese and cranes, is the upland plover, the drab plump grassland bird that used to remind my gentle hunting uncle of the way things once had been, as it still reminds me. It flies from the far Northern prairies to the pampas of Argentina and then back again in spring, a miracle of navigation and a tremendous journey for six or eight ounces of flesh and feathers and entrails and hollow bones, fueled with bug meat. I see them sometimes in our pastures, standing still or dashing after prey in the grass, but mainly I know their presence through the mournful yet eager quavering whistles they cast down from the night sky in passing, and it makes me think of what the whistling must have been like when the American plains were virgin and their plover came through in millions. To grow up among tradition-minded people leads one often into backward yearnings and regrets, unprofitable feelings of which I was granted my share in youth-not having been born in time to get killed fighting Yankees, for one, or not having ridden up the cattle trails. But the only such regret that has strongly endured is not to have known the land when when it was whole and sprawling and rich and fresh, and the plover that whet one's edge every spring and every fall. In recent decades it has become customary- and right, I guess, and easy enough with hindsight- to damn the ancestral frame of mind that ravaged the world so fully and so soon. What I myself seem to damn mainly, though, is just not having seen it. Without any virtuous hindsight, I would likely have helped in the ravaging as did even most of those who loved it best. But God, to have viewed it entire, the soul and guts of what we had and gone forever now, except in books and such poignant remnants as small swift birds that journey to and from the distant Argentine and call at night in the sky.

A Word Before All Is Grace was written in a certain frame of mind—that of a ragamuffin. Therefore, This book is by the one who thought he’d be farther along by now, but he’s not. It is by the inmate who promised the parole board he’d be good, but he wasn’t. It is by the dim-eyed who showed the path to others but kept losing his way. It is by the wet-brained who believed if a little wine is good for the stomach, then a lot is great. It is by the liar, tramp, and thief; otherwise known as the priest, speaker, and author. It is by the disciple whose cheese slid off his cracker so many times he said “to hell with cheese ’n’ crackers.” It is by the young at heart but old of bone who is led these days in a way he’d rather not go. But, This book is also for the gentle ones who’ve lived among wolves. It is for those who’ve broken free of collar to romp in fields of love and marriage and divorce. It is for those who mourn, who’ve been mourning most of their lives, yet they hang on to shall be comforted. It is for those who’ve dreamed of entertaining angels but found instead a few friends of great price. It is for the younger and elder prodigals who’ve come to their senses again, and again, and again, and again. It is for those who strain at pious piffle because they’ve been swallowed by Mercy itself. This book is for myself and those who have been around the block enough times that we dare to whisper the ragamuffin’s rumor— all is grace.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

Surprised huh, thought you had me back in prison didn’t you? To answer your question what keeps me alive is my drive, my drive to kill you! I have nothing, but hate for you and your family. It will be my pleasure taking you out. I don’t care about power, plutonium or even being rich. None of that matters to me. I only care about taking you out. Even if I die I want to be the one who is called the killer of Angel Medina! There’s no where for you to go. Now we will truly see who is better! Come on put up you hands and prepare for your final battle of your life! - Orlando from Framed: The Second Book of the Thousand Years War

I read daily, not so much for the benefit of my writing, but because I am addicted to it. There is nothing in the world for me that compares to being lost in a really good novel. That said, reading is an absolute must if you want to write. It is a trite enough thing to say, but very true nonetheless. I cannot understand aspiring writers who email me for advice and freely admit that they read very little. I have learned something from every writer I have ever read. Sometimes I have done so consciously, picking up something about how to frame a scene, or seeing a new possibility with regards to structure, or interesting ways to write dialogue. Other times, I think, my collective reading experience affects my sensibilities and informs me in ways that I am not quite aware of, but in real ways that impact how I approach writing. The short of it is, as an aspiring writer, there is nothing as damaging to your credibility as saying that you don’t like to read

The sawdust flew. A slightly sweet fragrance floated in the immediate area. It was a sweet but subtle aroma, neither the scent of pine nor willow, but one from the past that had been forgotten, only to reappear now after all these years, fresher than ever. The workmen occasionally scooped up a handful of sawdust, which they put into their mouths and swallowed. Before that they had chewed on pieces of green bark that they had stripped from the cut wood. It had the same fragrance and it freshened their mouths, so at first that was what they had used. Now even though they were no longer chewing the bark with which they felt such a bond, the stack of corded wood was a very appealing sight. From time to time they gave the logs a friendly slap or kick. Each time they sawed off a section, which rolled to the ground from the sawhorse, they would say: 'Off with you - go over there and lie down where you belong.' What they were thinking was that big pieces of lumber like this should be used to make tables or chairs or to repair a house or make window frames; wood like this was hard to find. But now they were cutting it into kindling to be burned in stoves, a sad ending for good wood like this. They could see a comparison with their own lives, and this was a saddening thought. ("North China")

Because this week I’ve started in on a hundred reproductions of Rembrandt van Rijn, a hundred portraits of the old artist with the mushroom face, the face of a man pushed to the brink of eternity by art and drink, the door handle starting to turn, the final door pushed open from without by an unknown hand, and I’m beginning to have his puff-paste face, that peeling, piss-soaked wall of a face, I’m beginning to smile his half-moronic smile, to look at the world from the other side of human causes and events, and all my bales these days are framed with that portrait of Rembrandt van Rijn as an old man while I keep filling my drum with wastepaper and open books.

Let the center be your home: To be centered is considered desirable; when they feel distracted or scattered, people often say, “I lost my center.” But if there is no person inside your head, if the ego’s sense of I, me, mine is illusory, where’s the center? Paradoxically, the center is everywhere. It is the open space that has no boundaries. Instead of thinking of your center as a defined spot—the way people point to their hearts as the seat of the soul—be at the center of experience. Experience isn’t a place; it’s a focus of attention. You can live there, at the still point around which everything revolves. To be off center is to lose focus, to look away from experience or block it out. To be centered is like saying “I want to find my home in creation.” You relax into the rhythm of your own life, which sets the stage for meeting yourself at a deeper level. You can’t summon the silent witness, but you can place yourself close to it by refusing to get lost in your own creation. When I find myself being overshadowed by anything, I can fall back on a few simple steps: • I say to myself, “This situation may be shaking me, but I am more than any situation.” • I take a deep breath and focus my attention on whatever my body is feeling. • I step back and see myself as another person would see me (preferably the person whom I am resisting or reacting to). • I realize that my emotions are not reliable guides to what is permanent and real. They are momentary reactions, and most likely they are born of habit. • If I am about to burst out with uncontrollable reactions, I walk away. As you can see, I don’t try to feel better, to be more positive, to come from love, or to change the state I’m in. We are all framed by personalities and driven by egos. Ego personalities are trained by habit and by the past; they run along like self-propelled engines. If you can observe the mechanism at work without getting wrapped up in it, you will find that you possess a second perspective, one that is always calm, alert, detached, tuned in but not overshadowed. That second place is your center. It isn’t a place at all but a close encounter with the silent witness.

Parent and Teacher Actions: 1. Ask children what their role models would do. Children feel free to take initiative when they look at problems through the eyes of originals. Ask children what they would like to improve in their family or school. Then have them identify a real person or fictional character they admire for being unusually creative and inventive. What would that person do in this situation? 2. Link good behaviors to moral character. Many parents and teachers praise helpful actions, but children are more generous when they’re commended for being helpful people—it becomes part of their identity. If you see a child do something good, try saying, “You’re a good person because you ___.” Children are also more ethical when they’re asked to be moral people—they want to earn the identity. If you want a child to share a toy, instead of asking, “Will you share?” ask, “Will you be a sharer?” 3. Explain how bad behaviors have consequences for others. When children misbehave, help them see how their actions hurt other people. “How do you think this made her feel?” As they consider the negative impact on others, children begin to feel empathy and guilt, which strengthens their motivation to right the wrong—and to avoid the action in the future. 4. Emphasize values over rules. Rules set limits that teach children to adopt a fixed view of the world. Values encourage children to internalize principles for themselves. When you talk about standards, like the parents of the Holocaust rescuers, describe why certain ideals matter to you and ask children why they’re important. 5. Create novel niches for children to pursue. Just as laterborns sought out more original niches when conventional ones were closed to them, there are ways to help children carve out niches. One of my favorite techniques is the Jigsaw Classroom: bring students together for a group project, and assign each of them a unique part. For example, when writing a book report on Eleanor Roosevelt’s life, one student worked on her childhood, another on her teenage years, and a third on her role in the women’s movement. Research shows that this reduces prejudice—children learn to value each other’s distinctive strengths. It can also give them the space to consider original ideas instead of falling victim to groupthink. To further enhance the opportunity for novel thinking, ask children to consider a different frame of reference. How would Roosevelt’s childhood have been different if she grew up in China? What battles would she have chosen to fight there?

Fuck what you think you need. Most of your thoughts, including many of those “needs,” are only a result of garbage that culture has dumped into your mind. Why not cut a hole in the bottom of your mental trashcan so the garbage falls out? It is also counterproductive to take personally what anyone else thinks, feels, says, or does. Your job is not to be at the mercy of human aberrations, nor is your job to interpret others so they fit into a comfortable frame of reference for yourself. Your job is to love them. Be who you are—who you really are underneath the societal coatings of bullshit. You’ll find a much better person there than pointless thoughts and manufactured needs born of poisoned information will allow you to be!” Fearless Puppy

Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?

Have you noticed,' she asked, straightening the counting frames to her liking before closing the cupboard doors and turning toward him, 'that at church when the clergyman is giving his sermon everyone's eyes glaze over and many people even nod off to sleep? But if he suddenly decides to illustrate a point with a little story, everyone perks up and listens. WE were made to tell and listen to stories, Joel, It is how knowledge was passed from person to person and generation to generation before there was the written word, and even afterward, when most people had no access to manuscripts or books and could not read them even if they did. Why do we now feel that storytelling should be confined to fiction and fantasy? Can we enjoy only what has no basis in fact?

To narrow natural rights to such neat slogans as "liberty, equality, fraternity" or "life, liberty, property," . . . was to ignore the complexity of public affairs and to leave out of consideration most moral relationships. . . . Burke appealed back beyond Locke to an idea of community far warmer and richer than Locke's or Hobbes's aggregation of individuals. The true compact of society, Burke told his countrymen, is eternal: it joins the dead, the living, and the unborn. We all participate in this spiritual and social partnership, because it is ordained of God. In defense of social harmony, Burke appealed to what Locke had ignored: the love of neighbor and the sense of duty. By the time of the French Revolution, Locke's argument in the Second Treatise already had become insufficient to sustain a social order. . . . The Constitution is not a theoretical document at all, and the influence of Locke upon it is negligible, although Locke's phrases, at least, crept into the Declaration of Independence, despite Jefferson's awkwardness about confessing the source of "life, liberty, and the pursuit of happiness." If we turn to the books read and quoted by American leaders near the end of the eighteenth century, we discover that Locke was but one philosopher and political advocate among the many writers whose influence they acknowledged. . . . Even Jefferson, though he had read Locke, cites in his Commonplace Book such juridical authorities as Coke and Kames much more frequently. As Gilbert Chinard puts it, "The Jeffersonian philosophy was born under the sign of Hengist and Horsa, not of the Goddess Reason"--that is, Jefferson was more strongly influenced by his understanding of British history, the Anglo-Saxon age particularly, than by the eighteenth-century rationalism of which Locke was a principal forerunner. . . . Adams treats Locke merely as one of several commendable English friends to liberty. . . . At bottom, the thinking Americans of the last quarter of the eighteenth century found their principles of order in no single political philosopher, but rather in their religion. When schooled Americans of that era approved a writer, commonly it was because his books confirmed their American experience and justified convictions they held already. So far as Locke served their needs, they employed Locke. But other men of ideas served them more immediately. At the Constitutional Convention, no man was quoted more frequently than Montesquieu. Montesquieu rejects Hobbes's compact formed out of fear; but also, if less explicitly, he rejects Locke's version of the social contract. . . . It is Montesquieu's conviction that . . . laws grow slowly out of people's experiences with one another, out of social customs and habits. "When a people have pure and regular manners, their laws become simple and natural," Montesquieu says. It was from Montesquieu, rather than from Locke, that the Framers obtained a theory of checks and balances and of the division of powers. . . . What Madison and other Americans found convincing in Hume was his freedom from mystification, vulgar error, and fanatic conviction: Hume's powerful practical intellect, which settled for politics as the art of the possible. . . . [I]n the Federalist, there occurs no mention of the name of John Locke. In Madison's Notes of Debates in the Federal Convention there is to be found but one reference to Locke, and that incidental. Do not these omissions seem significant to zealots for a "Lockean interpretation" of the Constitution? . . . John Locke did not make the Glorious Revolution of 1688 or foreordain the Constitution of the United States. . . . And the Constitution of the United States would have been framed by the same sort of men with the same sort of result, and defended by Hamilton, Madison, and Jay, had Locke in 1689 lost the manuscripts of his Two Treatises of Civil Government while crossing the narrow seas with the Princess Mary.

People who get into this bored, distracted, shallow frame of mind cease to give God the glory He deserves. The book of Malachi contains the sad, poignant story of a time in Israel’s history when the Lord’s own priests—the very ones charged with protecting and promoting His glory—had so fallen out of love with God that they ceased to honor Him at all. Bored and cynical, they offered sick and diseased animals on His altar—the dregs of their livestock that had no worth or value to anyone. And after offering such things, they would say, “This is contemptible,” or “What a burden this is.” You can picture them yawning or looking at their watches as they took their turns in God’s holy temple. If it had been today, they would have been texting their friends or playing games on their iPhones.

I was in college when I first saw You've Got Mail, and I loved Kathleen Kelly instantly. I was mostly past my wistful gade-school days of wishing myself into every novel I read, but I was alarmingly struck by how she echoed my old fear of settling for my real life, musing in one scene, "So much of what I see reminds me of something I read in a book, when shouldn't it be the other way around?" Her impetus was this: once she'd read a story about a butterfly in a subway train, and then...she saw one! The film shows Kathleen rattling along on the train, an open book in her lap, when a butterfly suddenly flits into her field of vision. You can see her visceral delight. That thing she'd only read about had come true. Yet she wondered if her experience was cheapened because she'd read it before she lived it, and my twenty-year-old self wondered right along with her. But I'm not the girl--or the reader--I was then, and I now know the times when reading cheapens anything are few and far between. I've seen how our on -the-page experiences set the stage for our actual lives. Our books frame the scenes for us so we can better understand and experience what's happening when it happens to us--

Illumination Always there is something more to know what lingers at the edge of thought awaiting illumination as in this second-hand book full of annotations daring the margins in pencil a light stroke as if the writer of these small replies meant not to leave them forever meant to erase evidence of this private interaction Here a passage underlined there a single star on the page as in a night sky cloud-swept and hazy where only the brightest appears a tiny spark I follow its coded message try to read in it the direction of the solitary mind that thought to pencil in a jagged arrow It is a bolt of lightning where it strikes I read the line over and over as if I might discern the little fires set the flames of an idea licking the page how knowledge burns Beyond the exclamation point its thin agreement angle of surprise there are questions the word why So much is left untold Between the printed words and the self-conscious scrawl between what is said and not white space framing the story the way the past unwritten eludes us So much is implication the afterimage of measured syntax always there ghosting the margins that words their black-lined authority do not cross Even as they rise up to meet us the white page hovers beneath silent incendiary waiting

opportunity. The bizarre codes on the pages she’d sorted for Randy suddenly made sense. They must have been the files that kept track of where the bank had stashed millions of dollars. Jim wanted the money out, and so did the Covellis. The Mob was somehow involved with the bank’s dealings, and Carmichael worked for them. Being a bartender was just a facade. Beatrice hadn’t known him at all. But Tony and Max had known him, she realized. Tony was a police detective; he was the one who told her about the Covellis in the first place. He must have known. Every word Carmichael might have overheard at the bar replayed in her mind—her conversations with Tony about snooping around the bank, the missing safe deposits, the missing master key. Maybe Tony had wanted Carmichael to hear. The old man pointed the gun at Teddy in her head. Maybe the Covellis would bring down the bank if law enforcement failed. No one, not even Tony, suspected that she and Max had the power to do anything but run. Max was right. They all underestimated women like them. Beatrice stepped out from behind the curtain with the keys in her hand and crept toward the vault. CHAPTER 72 Friday, August 28, 1998 A black-and-white photograph of two women looked up from Box 547 in the yellow glow of the detective’s flashlight. They were smiling. The glass in the silver picture frame was cracked. Iris picked it up and handed it to Detective McDonnell. Underneath it she found a brown leather book and a candle. That was it. “What the hell is this?” Iris

When it comes to people we admire, it is in our nature to be selective with information, to load with personal associations, to elevate and make heroic. That is especially true after their deaths, especially if those deaths have been in any way untimely and/or shocking. It is hard to hold onto the real people, the true story. When we think of the Clash, we tend to forget or overlook the embarrassing moments, the mistakes, the musical filler, the petty squabbles, the squalid escapades, the unfulfilled promises. Instead, we take only selected highlights from the archive-the best songs, the most flatteringly-posed photographs, the most passionate live footage, the most stirring video clips, the sexiest slogans, the snappiest soundbites, the warmest personal memories-and from them we construct a near-perfect rock 'n' roll band, a Hollywood version of the real thing. The Clash have provided us with not just a soundtrack, but also a stock of images from which to create a movie we can run in our own heads. The exact content of the movie might differ from person to person and country to country, but certain key elements will remain much the same; and it is those elements that will make up the Essential Clash of folk memory. This book might have set out to take the movie apart scene by scene to analyse how it was put together; but this book also believes the movie is a masterpiece, and has no intention of spoiling the ending. It's time to freeze the frame. At the very moment they step out of history and into legend: the Last Gang In Town.

As I walked, I became aware of the strong odor of peonies and jasmine. I inhaled deeply to draw in the lovely bouquet. The scent was from the fresh flowers of a lush garden. The path opened into a courtyard, a tangle of peonies and jasmine framing the entrance, blooming in spectacular fashion. Silky petals brushed against my skin. The tension building in my neck and shoulders melted away as I entered a fairyland. The rustle of the night breeze joined the familiar voice of Teresa Teng echoing from invisible speakers. Beneath my feet, a path of moss-covered stones led to a circular platform surrounded by a large, shallow pond. The night garden was bursting with a palette of muted greens, starlit ivories, and sparkling golds: the verdant lichen and waxy lily pads in the pond, the snowy white peonies and jasmine flowers, and the metallic tones of the fireflies suspended in the air, the square-holed coins lining the floor of the pond, and the special golden three-legged creatures resting on the floating fronds. I knew these creatures from my childhood. The feng shui symbol of prosperity, Jin Chan was transformed into a golden toad for stealing the peaches of immortality. Jin Chan's three legs represented heave, earth, and humanity. Statues of him graced every Chinese home I had ever been in, for fortune was a visitor always in demand. Ma-ma had placed one near the stairs leading to the front door. The pond before me held eight fabled toads, each biting on a coin. If not for the subtle rise and fall of their vocal sacs, I would have thought them statues.

PSALM 139 O LORD, you have  p searched me and known me! 2    You  q know when I sit down and when I rise up;         you  r discern my thoughts from afar. 3    You search out my path and my lying down         and are acquainted with all my ways. 4    Even before a word is on my tongue,         behold, O LORD,  s you know it altogether. 5    You  t hem me in, behind and before,         and  u lay your hand upon me. 6     v Such knowledge is  w too wonderful for me;         it is high; I cannot attain it.     7  x Where shall I go from your Spirit?         Or where  y shall I flee from your presence? 8     z If I ascend to heaven, you are there!          a If I make my bed in Sheol, you are there! 9    If I take the wings of the morning         and dwell in the uttermost parts of the sea, 10    even there your hand shall  b lead me,         and your right hand shall hold me. 11    If I say,  c “Surely the darkness shall cover me,         and the light about me be night,” 12     d even the darkness is not dark to you;         the night is bright as the day,         for darkness is as light with you.     13 For you  e formed my inward parts;         you  f knitted me together in my mother’s womb. 14    I praise you, for I am fearfully and wonderfully made. [1]      g Wonderful are your works;         my soul knows it very well. 15     h My frame was not hidden from you,     when I was being made in secret,         intricately woven in  i the depths of the earth. 16    Your eyes saw my unformed substance;     in your  j book were written, every one of them,         the days that were formed for me,         when as yet there was none of them.

When Benjamin Bloom studied his 120 world-class concert pianists, sculptors, swimmers, tennis players, mathematicians, and research neurologists, he found something fascinating. For most of them, their first teachers were incredibly warm and accepting. Not that they set low standards. Not at all, but they created an atmosphere of trust, not judgment. It was, “I’m going to teach you,” not “I’m going to judge your talent.” As you look at what Collins and Esquith demanded of their students—all their students—it’s almost shocking. When Collins expanded her school to include young children, she required that every four-year-old who started in September be reading by Christmas. And they all were. The three- and four-year-olds used a vocabulary book titled Vocabulary for the High School Student. The seven-year-olds were reading The Wall Street Journal. For older children, a discussion of Plato’s Republic led to discussions of de Tocqueville’s Democracy in America, Orwell’s Animal Farm, Machiavelli, and the Chicago city council. Her reading list for the late-grade-school children included The Complete Plays of Anton Chekhov, Physics Through Experiment, and The Canterbury Tales. Oh, and always Shakespeare. Even the boys who picked their teeth with switchblades, she says, loved Shakespeare and always begged for more. Yet Collins maintained an extremely nurturing atmosphere. A very strict and disciplined one, but a loving one. Realizing that her students were coming from teachers who made a career of telling them what was wrong with them, she quickly made known her complete commitment to them as her students and as people. Esquith bemoans the lowering of standards. Recently, he tells us, his school celebrated reading scores that were twenty points below the national average. Why? Because they were a point or two higher than the year before. “Maybe it’s important to look for the good and be optimistic,” he says, “but delusion is not the answer. Those who celebrate failure will not be around to help today’s students celebrate their jobs flipping burgers.… Someone has to tell children if they are behind, and lay out a plan of attack to help them catch up.” All of his fifth graders master a reading list that includes Of Mice and Men, Native Son, Bury My Heart at Wounded Knee, The Joy Luck Club, The Diary of Anne Frank, To Kill a Mockingbird, and A Separate Peace. Every one of his sixth graders passes an algebra final that would reduce most eighth and ninth graders to tears. But again, all is achieved in an atmosphere of affection and deep personal commitment to every student. “Challenge and nurture” describes DeLay’s approach, too. One of her former students expresses it this way: “That is part of Miss DeLay’s genius—to put people in the frame of mind where they can do their best.… Very few teachers can actually get you to your ultimate potential. Miss DeLay has that gift. She challenges you at the same time that you feel you are being nurtured.

The parasol wasn’t a very good cane. Its tip dug into the hard, grassless earth, and the folded frame creaked as Kestrel limped across the grounds. But it brought her where she needed to go. She found Arin walking through the bare orange grove, horse tack draped over his shoulder. It jangled when he stopped and stared at her. He stood, shoulders stiff. As Kestrel came close she saw that his jaw was clenched, and that there was no trace of what her guards had done to him. No bruises. Nor would there be, not for something that had happened nearly a month ago. “Did I shame you?” Kestrel said. Something strange crossed his face. “Shame me,” Arin repeated. He looked up into the empty branches as if he expected to see fruit there, as if it weren’t almost winter. “The book. The inscription I read. The duel. The way I tricked you. The order I gave to have you imprisoned. Did I shame you?” He crossed his arms over his chest. He shook his head, his gaze never wavering from the trees. “No. The god of debts knows what I owe.” “Then what is it?” Kestrel was trying so hard not to ask about the rumors or the woman in the market that she said something worse. “Why won’t you look at me?” “I shouldn’t even be speaking with you,” he muttered. It dawned on her why it had never made sense that Rax had been the one to release Arin. “My father,” she said. “Arin, you don’t have to worry about him. He’ll be leaving the morning of the Firstwinter ball. The entire regiment has been ordered east to fight the barbarians.” “What?” He glanced at her, eyes sharp. “Things can be as they were.” “I don’t think so.” “But…you are my friend.” His expression changed, though not in a way Kestrel could read. “Just tell me what’s wrong, Arin. Tell me the truth.” When he spoke, his voice was raw. “You own me. How can you believe I’ll tell you the truth? Why would I?” The parasol trembled in Kestrel’s grip. She opened her mouth to speak, yet realized that if she did, she wouldn’t be able to control what she said. “I will tell you something you can trust is true.” Arin’s eyes held hers. “We are not friends.” Kestrel swallowed. “You’re right,” she whispered. “We’re not.