Generic Love Quotes

But then you hear that he can't hear you, you see that he can't see you. You are not here--and you haven't even died yet. You see yourself through his eyes, as The Generic Woman, the skirted symbol on the ladies' room door.

A man walks into a bar and says: Take my wife–please. So you do. You take her out into the rain and you fall in love with her and she leaves you and you’re desolate. You’re on your back in your undershirt, a broken man on an ugly bedspread, staring at the water stains on the ceiling. And you can hear the man in the apartment above you taking off his shoes. You hear the first boot hit the floor and you’re looking up, you’re waiting because you thought it would follow, you thought there would be some logic, perhaps, something to pull it all together but here we are in the weeds again, here we are in the bowels of the thing: your world doesn’t make sense. And then the second boot falls. And then a third, a fourth, a fifth. A man walks into a bar and says: Take my wife–please. But you take him instead. You take him home, and you make him a cheese sandwich, and you try to get his shoes off, but he kicks you and he keeps kicking you. You swallow a bottle of sleeping pills but they don’t work. Boots continue to fall to the floor in the apartment above you. You go to work the next day pretending nothing happened. Your co-workers ask if everything’s okay and you tell them you’re just tired. And you’re trying to smile. And they’re trying to smile. A man walks into a bar, you this time, and says: Make it a double. A man walks into a bar, you this time, and says: Walk a mile in my shoes. A man walks into a convenience store, still you, saying: I only wanted something simple, something generic… But the clerk tells you to buy something or get out. A man takes his sadness down to the river and throws it in the river but then he’s still left with the river. A man takes his sadness and throws it away but then he’s still left with his hands.

Sometimes a house wants to be your mother. Sometimes a house wants to hide the evidence. Some houses would smother you with good tastefulness, a claustrophobic need to impress. Some houses would like you to calm down already. Some houses want you to get the hell out. Some houses get silly with nostalgia. Some houses are destined for the aftermaths of true love. Some houses couldn’t care less: you might as well be living in generic anywhere. But no one ever is.

The art is in evolving to such a receptive consciousness, which is aligned to enjoyment and fruition in both ways – expecting and planning the randomizations for ‘specific’ joys as well as designing joys in ‘generic’ randomizations. True love lands you in a consciousness, which relishes the joys of this rainbowish dualism best.

Ten salespeople, all young, all dressed in generic cotton casual, looked up from their conversations, spotted the money in her hand, and simultaneously stopped breathing-their brains shutting down bodily functions and rerouting the needed energy to calculate the projected commissions contained in Jody's cash. One by one they resumed breathing and marched toward her, a look of dazed hunger in their eyes: a pack of zombies from the perky, youthful version of The Night of the Living Dead. "I wear a size four and I've got a date in fifteen minutes," Jody said. "Dress me." They descended on her like an evil khaki wave.

But then you hear that he can't hear you, you see that he can't see you. You are not here - and you haven't died yet. You see yourself through his eyes, as The Generic Woman, the skirted symbol on the ladies' room door. When he says, "I love you, honey," you realize that he never call you by your name. You will say good-bye for all the right reasons. You're tired of living in wait for his apocalypse. You have your own fight on your hands, and though it's no bigger or noble than his, it will require all your energy. It's you who has to hold on to earth. You have to tighten your grip - which means letting go of him.

Myself, after having not a child but this particular one, I couldn’t see how anyone could claim to love children in the generic any more that anyone could credibly claim to love people in a sufficiently sweeping sense as to embrace Pol Pot, Don Rickles, and an upstairs neighbor who does 2,000 jumping jacks at three in the morning.

My desolation was that no one knew me and I did not know myself. My family's life was my life. I knew nothing else. I was clothed, fed, given a bed to sleep in, encouraged to marry early and rich, and loved in a generic way -- I was "the big one," which meant the older and my sister was the 'little one" --but no one spoke to me, no one explained anything.

What’s your biggest fear?” ‘It was a generic question with plenty of generic answers – clowns, losing more people I loved, being alone. All things that had kept me up late at night, especially after I watched It. but the answer that came out of my mouth had nothing to do with the killer clowns or dying by myself on some stranded road. “A life without purpose.

I had a mother, and not just insert generic mother here, but my mother, who I loved in a way that not everyone gets to love their mum. I mean, I know on some level, everyone loves their mother because of the whole she is your mother thing, but I didn’t love my mum just because she was my mother. I loved my mum because she was cool and interesting and warm and listened to me…

First loves take us like that. But because they rarely have any consequence (few marry the sixth-grade sweetheart), people slight them. They exist in the thin cliche of bad country tunes, thus becoming generic, sandblasted of peculiarities. Our own features in youth have not yet been sharply carved. So in some way, we don’t exist. Thus we mock ourselves for loving so easily and in the process choke the breath from our first darlings.Which denies their truth, I think, for my inner life took full shape around such love. I learned to imagine around his face. Before such enchantment takes us, there are only the faces of parents, other kin. Those are doled out to us; they are us in some portion. These first beloveds are other. And we invent ourselves by choosing them.

They were in and out of Walmart in under ten minutes, toting a bag of generic clothes. Max then drove his fiancée back to his hotel as planned, but their love making didn’t wait until after dinner. Since the purple dress was so eye-catching, he wanted her to change before going down to dinner. But the moment she slipped the dress off her slender shoulders, the dinner plan was postponed.

A lot of people don’t know who they really are inside. and some do but they suppress it because they are too scared to be themselves. It’s better to be a good person who is respected, rather then a lost generic one who follows the crowd. Be yourself anyway, even if no one knows you but YOU, continue to love yourself, have patience my friend. Someday others will turn around and see what a neat person they missed out on getting to know. And believe me, having the strength to be yourself is truly courageous.

Sometimes I wonder how much of our suffering we allow or impose on ourselves simply in search of our worthiness to accept our own respect and appreciation. I’d written before some years ago that we often cause suffering in another so that we can then love them, as in, “You have suffered for me, so I can love you now.” The eventual shock of realizing the sacrifice made for you destroys the walls of self-righteousness and protection. The suffering sacrifice of another creates the willingness and capacity to do the same. Finally, love and respect (respect is part of the body of love) come from the recognition of something else already given up for them. Within the individual, you or me, a similar process takes place toward oneself. It is as if we know some- where that we are not worthy of our own love or respect until we have earned the right to it, and that is mainly through some kind of suffering. That suffering may be generic, as in a life lived in which tragedy after tragedy accumulate, or it may be specific, as in the constant sacrifice of other easier things for a being or vision. Or, perhaps more correctly, it is either consciously chosen or not.

I'm a Kashmiri , I live in a rogue place. I'm surrounded by conformist , boot licking , people pleasing "herd"! People Safely cocooned in their stereotypical conformist lives, maintaining status quo , they make generic responses  expecting generic answers! 
For someone with an alien mentality like 'mine' , I am an out cast !  But it's 'them' who are the eerie one , like the deadly malignant tumour feeding on its own people ,  A parasite, growing inside the  system! Superficial faces , powdered with lies and deceit ;  people , like controlled robots, In love with their own ignorance !!

Why is this mediocre? We love to point out how broken our systems are. We enjoy getting angry at hotels or government agencies or airlines that are so obviously doing a poor job. Idiots! But we almost never look at merely mediocre products and wonder why they aren’t great. Mediocre services or products do what they’re supposed to, but have set the bar so low that it’s hardly worth the energy to cross the street to buy them. A resolute generic sameness pervades this mediocrity. Why isn’t every restaurant meal a fabulous buy for the money? Why isn’t every tax dollar spent with the intensity and focus it could be spent with? It seems as though we are willing to accept mediocre as long as the product, the service, or the organization isn’t totally broken.

there is nothing generic about a human life. When I was little, to get to my bus stop, I had to cross a field that had so much snow my parents fitted me with ski pants and knee-high thermal boots that were toasty to forty degrees below zero. I am excellent in the stern of a canoe, but I never got the hang of riding a bike with no hands. I have seen the northern lights because my parents always woke up the whole house when the night sky was painted with color. I love the smell of clover and chamomile because my sister and I used to pick both on the way home from swimming lessons. I spent weeks of my childhood riding around on my bike saving drowning worms after a heavy rain. My hair is my favorite feature even though it’s too heavy for most ponytails, and I still can’t parallel park. There is no life in general. Each day has been a collection of trivial details—little intimacies and jokes and screw-ups and realizations.

To admirers and students of Anthony Trollope, the interest of this play, now printed for the first time and from the original manuscript, is out of all proportion to its artistic qualities. So far as is known, Trollope wrote only two plays during the prolific five and thirty years of his life of authorship. The genre was uncomfortable to him. It limited his elbow-room and forbade him the subtle accumulation of detail that was his genius. He liked a large canvas and a crowded one. Unrivalled as a manipulator of interdependent groups and individuals, he loved to sustain the interest and vitality of half a dozen societies, weaving them into one absorbing narrative. The more one reads his novels, the more one marvels at the skill with which he takes the reader from one set of characters to another; at the knowledge of human nature that enabled him to present so many personalities from so many walks of life; at the technique that could keep each individual distinct, and at the same time each group of individuals generically alike.

We knew Benevolence was a tender virtue and mother-like. If upright Rectitude and stern Justice were peculiarly masculine, Mercy had the gentleness and the persuasiveness of a feminine nature. We were warned against indulging in indiscriminate charity, without seasoning it with justice and rectitude. Masamuné expressed it well in his oft-quoted aphorism, “Rectitude carried to excess hardens into stiffness; Benevolence indulged beyond measure sinks into weakness.” Fortunately Mercy was not so rare as it was beautiful, for it is universally true that “the bravest are the tenderest, the loving are the daring.” Bushi no nasaké—the tenderness of a warrior—had a sound which appealed at once to whatever was noble in us; not that the mercy of a samurai was generically different from the mercy of any other being, but because it implied mercy where mercy was not a blind impulse, but where it recognized due regard to justice, and where mercy did not remain merely a certain state of mind, but where it was backed with power to save or kill.

The imperialist found it useful to incorporate the credible and seemingly unimpeachable wisdom of science to create a racial classification to be used in the appropriation and organization of lesser cultures. The works of Carolus Linnaeus, Georges Buffon, and Georges Cuvier, organized races in terms of a civilized us and a paradigmatic other. The other was uncivilized, barbaric, and wholly lower than the advanced races of Europe. This paradigm of imaginatively constructing a world predicated upon race was grounded in science, and expressed as philosophical axioms by John Locke and David Hume, offered compelling justification that Europe always ought to rule non-Europeans. This doctrine of cultural superiority had a direct bearing on Zionist practice and vision in Palestine. A civilized man, it was believed, could cultivate the land because it meant something to him; on it, accordingly, he produced useful arts and crafts, he created, he accomplished, he built. For uncivilized people, land was either farmed badly or it was left to rot. This was imperialism as theory and colonialism was the practice of changing the uselessly unoccupied territories of the world into useful new versions of Europe. It was this epistemic framework that shaped and informed Zionist attitudes towards the Arab Palestinian natives. This is the intellectual background that Zionism emerged from. Zionism saw Palestine through the same prism as the European did, as an empty territory paradoxically filled with ignoble or, better yet, dispensable natives. It allied itself, as Chaim Weizmann said, with the imperial powers in carrying out its plans for establishing a Jewish state in Palestine. The so-called natives did not take well to the idea of Jewish colonizers in Palestine. As the Zionist historians, Yehoshua Porath and Neville Mandel, have empirically shown, the ideas of Jewish colonizers in Palestine, this was well before World War I, were always met with resistance, not because the natives thought Jews were evil, but because most natives do not take kindly to having their territory settled by foreigners. Zionism not only accepted the unflattering and generic concepts of European culture, it also banked on the fact that Palestine was actually populated not by an advanced civilization, but by a backward people, over which it ought to be dominated. Zionism, therefore, developed with a unique consciousness of itself, but with little or nothing left over for the unfortunate natives. In fact, I would go so far as to say that if Palestine had been occupied by one of the well-established industrialized nations that ruled the world, then the problem of displacing German, French, or English inhabitants and introducing a new, nationally coherent element into the middle of their homeland would have been in the forefront of the consciousness of even the most ignorant and destitute Zionists. In short, all the constitutive energies of Zionism were premised on the excluded presence, that is, the functional absence of native people in Palestine; institutions were built deliberately shutting out the natives, laws were drafted when Israel came into being that made sure the natives would remain in their non-place, Jews in theirs, and so on. It is no wonder that today the one issue that electrifies Israel as a society is the problem of the Palestinians, whose negation is the consistent thread running through Zionism. And it is this perhaps unfortunate aspect of Zionism that ties it ineluctably to imperialism- at least so far as the Palestinian is concerned. In conclusion, I cannot affirm that Zionism is colonialism, but I can tell you the process by which Zionism flourished; the dialectic under which it became a reality was heavily influenced by the imperialist mindset of Europe. Thank you. -Fictional debate between Edward Said and Abba Eban.

I remember her saying, ‘I found my prince,’” Kelly’s bridesmaid and fellow actress Rita Gam told PEOPLE. “I thought she meant the generic term. Then I found out he really was a prince.

There are only three generic human stories, considered in all their multifaceted dimensions: the love story, good versus evil, and the quest.

There is no reason to expect a generic AI to be motivated by love or hate or pride or other such common human sentiments: these complex adaptations would require deliberate expensive effort to recreate in AIs.

Well, Ramón, I must tell you the irony of this entire situation." A smug smile graced Linda's face. "When your father first tried my tacos, do you know what he liked about them?" "He just told me he tried fish tacos during spring break, and that he met a beautiful señorita on the beach. He never said that they were your tacos." She shook her head. "Well, ask him again. And if he still lies, bring him to me---let him lie to my face. Yes, they were my tacos. I had a stand on the beach, and he ordered two tacos and a beer." He'd told Ramón this part of the story many times; he'd just never said that she had been the one to make the tacos. Then again, he had also left out the part about how he had stolen her recipe, if that was true. "He loved the fresh fish." Linda laughed. "No, that was not it at all. Yes, he did love the fish, and he had never had a fish taco. But he loved the fresh salsa. He loved the spicy batter. He loved the handmade tortillas. It's funny to me, because you have absolutely none of those elements left today in your tacos." Linda's words struck Ramón deep in his chest. She was right. Ramón had heard the story so many times. And Papá had always talked about how fresh and delicious all the ingredients were, including the handmade tortillas. Ramón looked at her. "I know. He told me the same thing." Linda placed her hand on Ramón's arm. "Ironic, isn't it? He used to tell me a story about a girlfriend he had in college who had made him an awful taco with canned tomatoes, American cheese, and iceberg lettuce. That her taco was so awful, that he could never marry her. And now, that is exactly the type of taco that you serve in your restaurant." Wow. She was absolutely right. The full reason that Papá had started Taco King was to bring authentic Mexican food to the college kids at San Diego. Somewhere along the line---due to business advisers who'd suggested cutting costs and replacing fresh tomatoes with canned, crumbled queso fresco with American cheese, and handmade tortillas with mass-produced hard shells---Papá had abandoned his vision.

Harvard economist Theodore Levitt was the first authority to write about what he called the total product.2 A total product has four dimensions that marketers, executives, and support people need to understand if they want customers to appreciate the value of what they are selling:   1.Generic What your product is — software, a suitcase, etc. 2.Expected The essential features and benefits the product must provide, e.g., a refrigerator has to cool food. 3.Value-Added Features and benefits that exceed customer expectations. 4.Potential Future enhancements to value based on what customers want. Levitt’s thinking was daring but limited because it focused on features and benefits but not the overall customer experience. Then in 1999, Geoffrey A. Moore took Levitt’s ideas to the next logical level with his book, Crossing the Chasm. According to Moore, the way to create a “whole” product is to think through both your customer’s problems and solutions. It’s not enough to address the core product — you have to think about everything needed to get your customer from consideration to an imperative to buy. This can be everything from the installation of the product to training to procedural standards to integrations, whether they are provided by your company or achieved using partners.3 “The product is the complete experience and the relationship you and the customer share.” Moore moved beyond features and benefits — bigger iPhones with higher camera resolution — to something else: Being the solution to customers’ problems. Doing that requires more than visionary engineers and brilliant designers. It means getting to know your customers, learning what they care about, and learning to care about them. That’s why Moore is the grandfather of the CPE.

And that's exactly the trouble with having celebrities take the "SNAP challenge": Gwyneth would hardly feature a spaghetti-and-hot dogs meal on GOOP.com, unless the spaghetti was artisinal, hand made only by women over the age of 70, in an Italian town that doesn't have the Internet yet and relies on goats to deliver important messages to the next village, wrapped lovingly in antique parchment and flown in on a private jet, while packed in ice hammered out of the Alps and carefully reformed into crystal clear "ice globes," served only with hot dogs fashioned from macrobiotic tofu, made of hand-selected soybeans in rural Japan, aged to perfection in the bosom of a 16th century Samurai warrior's armor, and then hand cut with a 24-karat gold wire. The very thought of setting foot in a discount grocery store where she has to pack her own generic, store-brand dried fruit and expired milk in a cardboard box after counting out her pennies probably breaks her out in such nasty hives, she has to have an allergy-banishing skin cream custom mixed for her in Paris by trained monkeys in bellhop uniforms.

Draw a line in the sand As you get going, keep in mind why you’re doing what you’re doing. Great businesses have a point of view, not just a product or service. You have to believe in something. You need to have a backbone. You need to know what you’re willing to fight for. And then you need to show the world. A strong stand is how you attract superfans. They point to you and defend you. And they spread the word further, wider, and more passionately than any advertising could. Strong opinions aren’t free. You’ll turn some people off. They’ll accuse you of being arrogant and aloof. That’s life. For everyone who loves you, there will be others who hate you. If no one’s upset by what you’re saying, you’re probably not pushing hard enough. (And you’re probably boring, too.) Lots of people hate us because our products do less than the competition’s. They’re insulted when we refuse to include their pet feature. But we’re just as proud of what our products don’t do as we are of what they do. We design them to be simple because we believe most software is too complex: too many features, too many buttons, too much confusion. So we build software that’s the opposite of that. If what we make isn’t right for everyone, that’s OK. We’re willing to lose some customers if it means that others love our products intensely. That’s our line in the sand. When you don’t know what you believe, everything becomes an argument. Everything is debatable. But when you stand for something, decisions are obvious. For example, Whole Foods stands for selling the highest quality natural and organic products available. They don’t waste time deciding over and over again what’s appropriate. No one asks, “Should we sell this product that has artificial flavors?” There’s no debate. The answer is clear. That’s why you can’t buy a Coke or a Snickers there. This belief means the food is more expensive at Whole Foods. Some haters even call it Whole Paycheck and make fun of those who shop there. But so what? Whole Foods is doing pretty damn well. Another example is Vinnie’s Sub Shop, just down the street from our office in Chicago. They put this homemade basil oil on subs that’s just perfect. You better show up on time, though. Ask when they close and the woman behind the counter will respond, “We close when the bread runs out.” Really? “Yeah. We get our bread from the bakery down the street early in the morning, when it’s the freshest. Once we run out (usually around two or three p.m.), we close up shop. We could get more bread later in the day, but it’s not as good as the fresh-baked bread in the morning. There’s no point in selling a few more sandwiches if the bread isn’t good. A few bucks isn’t going to make up for selling food we can’t be proud of.” Wouldn’t you rather eat at a place like that instead of some generic sandwich chain?

This is the most cliché thing I’ve ever done,” I said. “A long, sunset walk on the beach? You might as well slap us on the cover of a honeymoon brochure and call us that generic couple. I love it.” “I had a feeling you would. But I haven’t shown you the best part yet.” “This isn’t the part where you whip out your dick and try to seduce me on the beach, is it?” I teased. “Darling, if I wanted to seduce you on the beach, you’d already be screaming around my cock.

Mediating your own victimhood is just part of being a woman. Using it or denying it, hating it or loving it, and all of these at once. Being a victim is boring for everyone involved. It is boring for me to present myself through experiences which are instrumentalised constantly as narrative devices in soap operas and tabloids. Is this why I am so ashamed of talking about certain events, or of finding them interesting? This is part of the horror of being hurt generically. Your experiences are so common that they become impossible to speak about in an interesting way.

My meal from Honey and Hickory came with a side of dysentery straight out of Oregon Trail.’” Finn now spat out the quote against the echo of Simone’s accusation, reciting from memory a review he’d found on a late-night, liquor-fueled deep dive into all things Honey and Hickory. “That’s a direct quote from a one-star review I found for Simone’s historic family restaurant online.” Simone strode forward and claimed center stage. “Written by a disgruntled cook who was fired for never showing up to work. It hardly classifies as empirical evidence.” “Look, Ms. Blake,” he said, leaning heavy on the honorific like she had, gratified when her eyes narrowed. “Beyond Honey and Hickory’s subpar reviews, your generic flavors can’t match the nuance of Finn’s Secret Sauce. You’re a mom-and-pop barbecue joint with no soul, stuck in the past.” Directing his next words to the investors, he said, “Whereas I’m all heart, focused on the future of barbecue. Sustainable, organic, outside-the-box flavor blends.” Simone clicked her tongue. “Organic? Wow, super cutting edge. If this was 1999.” Hands on her hips, she angled away from him, toward the crowd. “Honey and Hickory was farm to table long before it was fashionable, and we cook with locally sourced meat and home-grown produce.” “Like you had anything to do with that? Your grandfather probably set up those contacts while you were in diapers.” He turned his focus on the audience; two could play at that game. “Don’t let Ms. Blake fool you. She’s been at the helm of the restaurant for less than a year, yet she’s trying to convince you she played a role in Honey and Hickory’s decades of success.

So, I did some illustrations." Turning the laptop around again, I explain each drawing as I click through them. I've drawn a couple of the most recent dishes and also ones from the most popular episodes of Lily's, Katherine's, and Nia's series---baba ghanoush and samosas from World on a Plate, Easy Peasy Split Pea Soup and Julia Child's Play Boeuf Bourguignon from Fuss-Free Foodie, and a baked Alaska and cannoli cheesecake from Piece of Cake. I've also done some minimalist illustrations of each of the Friends, highlighting their respective settings and personal style with mostly solid colors and basic shapes. Since Rajesh's show takes him to a lot of different restaurants around the country, I've drawn him with wavy black hair and brown skin, standing under a generic restaurant sign and wearing a graphic T-shirt and the green backpack he always carries on his travels. Seb and Aiden are side by side in the FoF studio, in their white and red aprons, respectively, and looking like the little culinary angel and devil on your shoulder. And I've depicted Katherine standing in one of the prep kitchens with her hands on her hips and her wild auburn hair piled in a bun atop her head. She's surrounded by plates of miscellaneous food and the yellow notepad she jots her recipes down on, using the most basic steps and terms, and then displays on camera at the end of each episode.

Love is a manifestation of the intermediate nature of humans, neither divine nor utterly estranged from the divine, but desirous of the qualities possessed by the Gods which we are close enough to them, at certain times, to perceive. Philosophy is of a similar intermediate nature (204a8-b2), bearing the same relationship to the generic divine attribute of wisdom as love bears to the generic divine attribute of beauty.

She had been lovely, he thought. Petite, with dark curly hair worn in a playful bob and laughing green eyes which smiled up at the camera. He wondered if it was the fact that her features were even; the kind of generic, symmetrical beauty, which made hers the kind of face that people found familiar.

LOVE STORY FOR A GENERIC ASIAN MAN???

I was going to bring you breakfast in bed.” “I don’t like crumbs in my bed,” she said. “Or people who don’t pay rent here.” “You want rent?” He smiled as he finished the toast. “How much?” She went to the kitchen, grabbed his big arm, and tried to pull him out. He leaned back and wouldn’t budge. “Get out of here,” she said. “You’re banging into everything with your crutches.” “I’m not going,” he said. “Go sit on the couch. I’ll make you some eggs.” “Nope,” he said. “I might be a jerk, and I might make mistakes, but I don’t make the same one twice.” She was still pulling on his arm when he let go of the counter. He fell against her, wrapping his arms around her. “Oops,” he said. “Clumsy me.” “What are you doing?” Her voice was muffled from having his shoulder against her mouth. She felt the rumble of his voice in his chest as he spoke. “You’re not pulling me or pushing me out of your life again. I shouldn’t have left you that night.” “I want you to go.” “If you really want me to go, I will, but I don’t think you do. Look at yourself. You’re hugging me.” “If I let you go, you’ll fall down and break everything in my kitchen. Again.” She squeezed her eyes shut and tensed her body, rejecting his hug while still being in it. “When did I break everything in your kitchen?” She didn’t answer. “You mean I broke your heart when I left,” he said. “You did.” “What about you? You didn’t come to my grand opening. You sent me those boring funeral flowers and a generic card. You might as well have stuck an ice pick in my chest.” “That was different.” “You broke my heart,” he said. “I barely made it through the night. I’ve been barely making it through a lot of nights.” Tina relaxed into the hug. There was a lump in her throat. She managed to choke out, “I don’t understand what happened with us.” He reached up and stroked her upper back. “We had our first fight,” he said. “That’s what happened. And I didn’t know how to apologize. My bookkeeper quit helping me with my text messages, and I couldn’t go see my favorite florist for advice.” She pulled away and poked him in the stomach with two fingers. “Don’t make jokes, Luca. Don’t make me laugh.” “I shouldn’t have left you here that night,” he said, gazing down into her eyes. “But I was stubborn, and I thought I was right and you were wrong. Or maybe I was scared.” “Why would you be scared?” “My wrist hurts.” He kept looking into her eyes. “I know I only broke my foot last night, but when I fell, I reached out to break my fall. I’ve been thinking about this all morning, and the same thing must have happened with us.” “Are you saying I hurt your wrist?” “I think I realized I was falling, and I freaked out. I tried to stop my fall, but I only made it worse.” He leaned down and gently kissed her. “I tried to stop my fall, but then I broke both of us.” She pulled away, slipped out of his arms, and took three steps back, until she was against the back of the sofa, with nowhere to go. Luca said, “Don’t you dare run. I’ve got crutches, and I’m not afraid to use them.” “Where would I go?” He grinned. “I knew there was a reason I loved this house.

British sailors liked a drink. And then they liked another one. The Admiralty knew what to do with a drunken sailor, but was struggling to work out what to do with 60,000 of them. In 1740, it responded by diluting the daily rum ration with water, a mysterious liquid that the sailors viewed with great suspicion. The resulting mixture was known as grog. ... New South Wales was run by sailors, so the colony’s love affair with rum was inevitable. The colonists loved rum so much that they used the term to describe all liquor. Australians nurse an etymological hangover from the colony’s rum-obsessed early days, with “grog” still used as a generic Australian term for any alcoholic drink.

This is the way we’re meant to live. It’s our biological imperative. Through evolution, we’ve retained our emotional impulses to explore, experiment, and learn.21 Part of our brain urges us to learn new things and find new ways to use our unique skills, instead of performing monotonous generic tasks. And when we follow these urges of the seeking system, we get a dopamine release that not only feels good, it motivates us to explore more.

identify your employee adjectives, (2) recruit through proper advertising, (3) identify winning personalities, and (4) select your winners. Step One: Identify Your Employee Adjectives When you think of your favorite employees in the past, what comes to mind? A procedural element such as an organized workstation, neat paperwork, or promptness? No. What makes an employee memorable is her attitude and smile, the way she takes the time to make sure a customer is happy, the extra mile she goes to ensure orders are fulfilled and problems are solved. Her intrinsic qualities—her energy, sense of humor, eagerness, and contributions to the team—are the qualities you remember. Rather than relying on job descriptions that simply quantify various positions’ duties and correlating them with matching experience as a tool for identifying and hiring great employees, I use a more holistic approach. The first step in the process is selecting eight adjectives that best define the personality ideal for each job or role in your business. This is a critical step: it gives you new visions and goals for your own management objectives, new ways to measure employee success, and new ways to assess the performance of your own business. Create a “Job Candidate Profile” for every job position in your business. Each Job Candidate Profile should contain eight single- and multiple-word phrases of defining adjectives that clearly describe the perfect employee for each job position. Consider employee-to-customer personality traits, colleague-to-colleague traits, and employee-to-manager traits when making up the list. For example, an accounting manager might be described with adjectives such as “accurate,” “patient,” “detailed,” and “consistent.” A cocktail server for a nightclub or casual restaurant would likely be described with adjectives like “energetic,” “fun,” “music-loving,” “sports-loving,” “good-humored,” “sociable conversationalist,” “adventurous,” and so on. Obviously, the adjectives for front-of-house staff and back-of-house staff (normally unseen by guests) will be quite different. Below is one generic example of a Job Candidate Profile. Your lists should be tailored for your particular bar concept, audience, location, and style of business (high-end, casual, neighborhood, tourist, and so on). BARTENDER Energetic Extroverted/Conversational Very Likable (first impression) Hospitable, demonstrates a Great Service Attitude Sports Loving Cooperative, Team Player Quality Orientated Attentive, Good Listening Skills SAMPLE ADJECTIVES Amazing Ambitious Appealing Ardent Astounding Avid Awesome Buoyant Committed Courageous Creative Dazzling Dedicated Delightful Distinctive Diverse Dynamic Eager Energetic Engaging Entertaining Enthusiastic Entrepreneurial Exceptional Exciting Fervent Flexible Friendly Genuine High-Energy Imaginative Impressive Independent Ingenious Keen Lively Magnificent Motivating Outstanding Passionate Positive Proactive Remarkable Resourceful Responsive Spirited Supportive Upbeat Vibrant Warm Zealous Step Two: Recruit through Proper Advertising The next step is to develop print or online advertising copy that will attract the personalities you’ve just defined.

That’s when I realized I’d fallen in love with you. You, professor. It was never just that you were a woman. It was that you were you, even exasperating you with your self-denial and your humor that masked your true feelings, even confusing you in your generic faculty house. I wanted you, your laughter, your brilliance, your deep-brown eyes, the you of the day on Highway 9.