Good Composition Quotes

If a man comes to the door of poetry untouched by the madness of the Muses, believing that technique alone will make him a good poet, he and his sane compositions never reach perfection, but are utterly eclipsed by the performances of the inspired madman.

When one does a thing, it appears good, otherwise one would not write it. Only later comes reflection, and one discards or accepts the thing. Time is the best censor, and patience a most excellent teacher.

A knave; a rascal; an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy, worsted-stocking knave; a lily-livered, action-taking knave, a whoreson, glass-gazing, super-serviceable finical rogue; one-trunk-inheriting slave; one that wouldst be a bawd, in way of good service, and art nothing but the composition of a knave, beggar, coward, pandar, and the son and heir of a mongrel bitch: one whom I will beat into clamorous whining, if thou deniest the least syllable of thy addition.

Anyone moderately familiar with the rigours of composition will not need to be told the story in detail; how he wrote and it seemed good; read and it seemed vile; corrected and tore up; cut out; put in; was in ecstasy; in despair; had his good nights and bad mornings; snatched at ideas and lost them; saw his book plain before him and it vanished; acted people's parts as he ate; mouthed them as he walked; now cried; now laughed; vacillated between this style and that; now preferred the heroic and pompous; next the plain and simple; now the vales of Tempe; then the fields of Kent or Cornwall; and could not decide whether he was the divinest genius or the greatest fool in the world.

Good composition is like a suspension bridge; each line adds strength and takes none away... Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.

The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consonant and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.

Look at walls splashed with a number of stains, or stones of various mixed colours. If you have to invent some scene, you can see there resemblances to a number of landscapes, adorned with mountains, rivers, rocks, trees, great plains, valleys and hills, in various ways. Also you can see various battles, and lively postures of strange figures, expressions on faces, costumes and an infinite number of things, which you can reduce to good integrated form. This happens on such walls and varicoloured stones, (which act) like the sound of bells, in whose peeling you can find every name and word that you can imagine. Do not despise my opinion, when I remind you that it should not hard for you to stop sometimes and look into the stains of walls, or the ashes of a fire, or clouds, or mud or like places, in which, if you consider them well, you may find really marvelous ideas. The mind of the painter is stimulated to new discoveries, the composition of battles of animals and men, various compositions of landscapes and monstrous things, such as devils and similar things, which may bring you honor, because by indistinct things the mind is stimulated to new inventions.

When I read these words I saw at once a connection to my own work. Anything good that I have written has, at some point during its composition, left me feeling uneasy and afraid. It has seemed, for a moment at least, to put me at risk.

A well-read man will yawn with boredom when one speaks to him of a new "good book," as he imagines a sort of composite of all the good books he has read, whereas a good book is something special, unforeseeable, made up not of the sum of all previous masterpieces but of something which the most thorough assimilation of every one of them would not enable him to discover, since it exists not in their sum but beyond it.

That´s something else that gives me a royal pain. I mean if you´re good at writing compositions and somebody starts talking about commas. Stradlater was always doing that. He wanted you to think that the only reason he was lousy at writing compositions was because he stuck all the commas in the wrong place.

....how good Mrs. West could have written such books and collected so many hard works, with all her family cares, is still more a matter of astonishment! Composition seems to me impossible with a head full of joints of mutton and doses of rhubarb.

A bad composition carries its own punishment—contempt and ridicule; a good one excites envy and entails upon its author a thousand mortifications; he finds himself assailed by partial and ill-humored criticism; one man finds fault with the plan, another with the style, a third with the precept which strives to inculcate; and they who cannot succeed in finding fault with the book, employ themselves in stigmatizing its author: they maliciously rake out from obscurity every little circumstance which may throw ridicule upon his private character or conduct and aim at wounding the man since they cannot hurt the writer.

Language is not law; it is in fact a lot like music. Speech is jazz – first you learn the basic rules, and then you become good enough to improvise all the time. Writing is somewhat more like classical composition, where established forms and conditions will hold greater sway.

It's amazing that schools still offer courses in musical composition. What a useless thing to spend money on -- to take a course in college to learn how to be a modern composer! No matter how good the course is, when you get out, what the fuck will you do for a living? (The easiest thing to do is become a composition teacher yourself, spreading 'the disease' to the next generation.) One of the things that determines the curriculum in music schools is: which of the current fashions in modern music gets the most grant money from the mysterious benefactors in Foundation-Land. For a while there, unless you were doing serial music (in which the pitches have numbers, the dynamics have numbers, the vertical densities have numbers, etc) -- if it didn't have a pedigree like that, it wasn't a good piece of music. Critics and academicians stood by, waiting to tell you what a piece of shit your opus was if your numbers didn't add up. (Forget what it sounded like, or whether it moved anybody, or what it was about. The most important thing was the numbers.

She had students read their compositions aloud so that everyone could hear how good writing had three Cs: clarity, coherence, and cadence.

The chief foundations of all states, new as well as old or composite, are good laws and good arms; and as there cannot be good laws where the state is not well armed,

Why dost thou use me thus? I know thee not. Kent: Fellow, I know thee. Oswald: What dost thou know me for? Kent: A knave, a rascal, an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy; worsted-stocking knave; a lily-livered, action-taking whoreson, glass-gazing, superserviceable, finical rogue; one-trunk-inheriting slave; one that wouldst be a bawd, in way of good service, and art nothing but the composition of a knave, beggar, coward, pander, and the son and heir of a mongrel bitch; one whom I will beat into clamorous whining, if thou denyest the least syllable of thy addition.

It is a mistake to read too many good books when quite young. A man once told me that he had read all the books that mattered. Cross-questioned, he appeared to have read a great many, but they seemed to have made only a slight impression. How many had he understood? How many had entered into his mental composition? How many had been hammered on the anvils of his mind and afterwards ranged in an armoury of bright weapons ready to hand? It is a great pity to read a book too soon in life. The first impression is the one that counts….Young people should be careful in their reading, as old people in eating their food. They should not eat too much. They should chew it well.

Nature is not infallible. Nature makes mistakes. That's what evolution is all about: growth by trail and error. Nature can be stupid and cruel. Oh, my, how cruel! That's okay. There's nothing wrong with Nature being dumb and ugly because it is simultaneously--paradoxically--brilliant and superb. But to worship the natural at the exclusion of the unnatural is to practice Organic Fascism--which is what many of my pilgrims practice. And in the best tradition of fascism, they are totally intolerant of those who don't share their beliefs; thus, they foster the very kinds of antagonism and tension that lead to strife, which they, pacifists one and all, claim to abhor. To insist that a woman who paints berry juice on her lips is somehow superior to the woman who wears Revlon lipstick is sophistry; it's smug sophistical skunkshit. Lipstick is a chemical composition, so is berry juice, and they both are effective for decorating the face. If lipstick has advantages over berry juice then let us praise that part of technology that produced lipstick. The organic world is wonderful, bot the inorganic isn't bad, either. The world of plastic and artifice offers its share of magical surprises. A thing is good because it's good, not because it's natural. A thing is bad because it's bad, not because it's artificial. It's not a damn iota better to be bitten by a rattlesnake than shot by a gun.

Good composition is like a suspension bridge, each line adds strength and takes none away. Thus a work of art is finished from the beginning, as Whistler has said. If there are only ten lines, then they are the ten lines which comprehend the most. Composition is the freedom of a thing to be its greatest best by being in its right place in the organization. It is a just sense of the relation of things.

If the composition's imperfect, why would so many pianists try to master it?' 'Good question. I have no great explanation for it, but one thing I can say. Works have a certain imperfection to them have an appeal for that very reason. There's something in it that draws you in, more than more fully realized novels. ou discover something about that work that tugs at your heart- or maybe we should say the work discovers you. ~page 111 #canbetakenasacommentaryonthisnoveloverall

Now, tell me, my dear, I said, what are you crying about? About the years that are gone, Mr. Betteredge," says Rosanna quietly. My past life still comes back to me sometimes. Come, come, my girl, I said, your past life is all sponged out. Why can't you forget it? "She took me by one of the lappets of my coat. I am a slovenly old man, and a good deal of my meat and drink gets splashed about on my clothes. Sometimes one of the women, and sometimes another, cleans me of my grease. The day before, Roseanna had taken out a spot for me on the lappet of my coat, with a new composition, warranted to remove anything. The grease was gone, but there was a little dull place left on the nap of the cloth where the grease had been. The girl pointed to that place, and shook here head. The stain is taken off, she said. But the place shows, Mr. Betteredge--the place shows!

The point is that you have here a direct, unmistakable assault on sanity and decency; and even - since some of Dali’s pictures would tend to poison the imagination like a pornographic postcard - on life itself. What Dali has done and what he has imagined is debatable, but in his outlook, his character, the bedrock decency of a human being does not exist. He is as anti-social as a flea. Clearly, such people are undesirable, and a society in which they can flourish has something wrong with it. Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” - in fact, to any “sensible” art-hating English person - it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be æsthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot. But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the æsthetic sense. Since “Mannequin rotting in a taxicab” is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschewismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals. It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art,” and everything is O.K.

How, in so short a time, she had passed from intoxication to disgust we will only seek to explain by supposing that this mysterious composition which we call society, is nothing absolutely good or bad in itself, but has a spirit in it, volatile but potent, which either makes you drunk when you think it, as Orlando thought it, delightful, or gives you a headache when you think it, as Orlando thought it, repulsive. That the faculty of speech has much to do with it either way, we take leave to doubt. Often a dumb hour is the most ravishing of all; brilliant wit can be tedious beyond description. But to the poets we leave it, and so on with our story.

But with regard to incomposites, what is being or not being, and truth or falsity? A thing of this sort is not composite, so as to 'be' when it is compounded, and not to 'be' if it is separated, like 'that the wood is white' or 'that the diagonal is incommensurable'; nor will truth and falsity be still present in the same way as in the previous cases. In fact, as truth is not the same in these cases, so also being is not the same; but (a) truth or falsity is as follows--contact and assertion are truth (assertion not being the same as affirmation), and ignorance is non-contact. For it is not possible to be in error regarding the question what a thing is, save in an accidental sense; and the same holds good regarding non-composite substances (for it is not possible to be in error about them). And they all exist actually, not potentially; for otherwise they would have come to be and ceased to be; but, as it is, being itself does not come to be (nor cease to be); for if it had done so it would have had to come out of something. About the things, then, which are essences and actualities, it is not possible to be in error, but only to know them or not to know them. But we do inquire what they are, viz. whether they are of such and such a nature or not.

While in principle groups for survivors are a good idea, in practice it soon becomes apparent that to organize a successful group is no simple matter. Groups that start out with hope and promise can dissolve acrimoniously, causing pain and disappointment to all involved. The destructive potential of groups is equal to their therapeutic promise. The role of the group leader carries with it a risk of the irresponsible exercise of authority. Conflicts that erupt among group members can all too easily re-create the dynamics of the traumatic event, with group members assuming the roles of perpetrator, accomplice, bystander, victim, and rescuer. Such conflicts can be hurtful to individual participants and can lead to the group’s demise. In order to be successful, a group must have a clear and focused understanding of its therapeutic task and a structure that protects all participants adequately against the dangers of traumatic reenactment. Though groups may vary widely in composition and structure, these basic conditions must be fulfilled without exception. Commonality with other people carries with it all the meanings of the word common. It means belonging to a society, having a public role, being part of that which is universal. It means having a feeling of familiarity, of being known, of communion. It means taking part in the customary, the commonplace, the ordinary, and the everyday. It also carries with it a feeling of smallness, or insignificance, a sense that one’s own troubles are ‘as a drop of rain in the sea.’ The survivor who has achieved commonality with others can rest from her labors. Her recovery is accomplished; all that remains before her is her life.

But it's all a matter of taste, you say. It's true that among the perfumes reckoned good or great, there are some that will move you more than others, and some that will leave you entirely cold or even sickened, because either they won't say what you're longing to hear or they say what you never want to hear again. All the same, when considering perfume as an art, it's possible to appreciate when something is done exceptionally well. If you've tried several perfumes, you know things can go wrong. Many compositions smell great in the first few minutes, then fade rapidly to a murmur or an unpleasant twang you can never quite wash off. Some seem to attack with what feels like an icepick in the eye. Others smell nice for an hour in the middle but boring at start and finish. Some veer uncomfortably sweet, and some fall to pieces, with various parts hanging there in the air but not really cooperating in any useful way. Some never get around to being much of anything at all. The way you can love a person for one quality despite myriad faults, you can sometimes love a perfume for one particular moment or effect, even if the rest is trash. Yet in the thousands of perfumes that exist, some express their ideas seamlessly and eloquently from top to bottom and give a beautiful view from any angle. A rare subset of them always seem to have something new and interesting to say, even if you encounter them daily. Those are the greats. By these criteria, one can certainly admire a perfume without necessarily loving it. Love, of course, is personal (but best when deserved).

Your essays spoke of beauty, of love, of light and darkness, of joy and sorrow, and of the goodness of life. They were wonderful compositions. I have seldom read any that have touched me more. To thank you and your teacher Mrs. Ellis, I am sending you what I think is one of the most beautiful and miraculous things in the world—an egg. I have a goose named Felicity and she lays about forty eggs every spring. It takes her almost three months to accomplish this. Each egg is a perfect thing. I am mailing you one of Felicity's eggs. The insides have been removed—blown out—so the egg should last forever. I hope you will enjoy seeing this great egg and loving it. Thank you for sending me your essays about being somebody. I was pleased that so many of you felt the beauty and goodness of the world. If we feel that when we are young, then there is great hope for us when we grow older.

When I turned and looked at Emily she looked like a composite of all the women who would have nothing to do with me.

Perhaps the immobility of the things that surround us is forced upon them by our conviction that they are themselves, and not anything else, and by the immobility of our conceptions of them. For it always happened that when I awoke like this, and my mind struggled in an unsuccessful attempt to discover where I was, everything would be moving round me through the darkness: things, places, years. My body, still too heavy with sleep to move, would make an effort to construe the form which its tiredness took as an orientation of its various members, so as to induce from that where the wall lay and the furniture stood, to piece together and to give a name to the house in which it must be living. Its memory, the composite memory of its ribs, knees, and shoulder-blades offered it a whole series of rooms in which it had at one time or another slept; while the unseen walls kept changing, adapting themselves to the shape of each successive room that it remembered, whirling madly through the darkness. And even before my brain, lingering in consideration of when things had happened and of what they had looked like, had collected sufficient impressions to enable it to identify the room, it, my body, would recall from each room in succession what the bed was like, where the doors were, how daylight came in at the windows, whether there was a passage outside, what I had had in my mind when I went to sleep, and had found there when I awoke. The stiffened side underneath my body would, for instance, in trying to fix its position, imagine itself to be lying, face to the wall, in a big bed with a canopy; and at once I would say to myself, "Why, I must have gone to sleep after all, and Mamma never came to say good night!" for I was in the country with my grandfather, who died years ago; and my body, the side upon which I was lying, loyally preserving from the past an impression which my mind should never have forgotten, brought back before my eyes the glimmering flame of the night-light in its bowl of Bohemian glass, shaped like an urn and hung by chains from the ceiling, and the chimney-piece of Siena marble in my bedroom at Combray, in my great-aunt's house, in those far distant days which, at the moment of waking, seemed present without being clearly denned, but would become plainer in a little while when I was properly awake.

Something he knew he had missed: the flower of life. But he thought of it now as a thing so unattainable and improbable that to have repined would have been like despairing because one had not drawn the first prize in a lottery. There were a hundred million tickets in his lottery, and there was only one prize; the chances had been too decidedly against him. When he thought of Ellen Olenska it was abstractly, serenely, as one might think of some imaginary beloved in a book or a picture: she had become the composite vision of all that he had missed. That vision, faint and tenuous as it was, had kept him from thinking of other women. He had been what was called a faithful husband; and when May had suddenly died—carried off by the infectious pneumonia through which she had nursed their youngest child—he had honestly mourned her. Their long years together had shown him that it did not so much matter if marriage was a dull duty, as long as it kept the dignity of a duty: lapsing from that, it became a mere battle of ugly appetites. Looking about him, he honoured his own past, and mourned for it. After all, there was good in the old ways.

The moisture is predatory in this part of the world, and no element, be it stone or wood or tin or steel, lasts very long without losing some part of its composition to the nag of precipitation.

I'd had a few bad days of writing, and I was tempted to go back a chapter to fix it, but I could not. I just needed to move forward, get to the end. Painters, I told myself, though I know nothing about painting, don't start at one side of the canvas and work meticulously across to the other side. They create an underpainting, a base of shape, of light and dark. They find the composition slowly, layer after layer. This was only my first layer, I told myself as we turned the corner, the dog pulling toward something ahead, his nails loud on the sidewalk. It's not supposed to be good or complete. It's okay that it feels like a liquid not a solid, a vast spreading goo I can't manage, I told myself. It's okay that I'm not sure what's next, that it might be something unexpected.

On his last voyage he had seemed on the brink of success and had stood in the prow reciting a grand poem of his own composition to a dim blue promontory in which he recognized one of the capes of Greenland. But it is idle to deny that the general feeling was dampened somehow, when they discovered it was the Cape of Good Hope. In short, the admiral was one of those who keep the world young.

At the same time, the daughters, in adulthood, must also make the effort to really know their mothers—which many daughters do not—in order to understand what forces shaped those mothers. These daughters need to discover what torment may have unwittingly informed their mothers’ parental choices, and to see their mothers as composites of strengths and weaknesses, rather than as all good or all bad.

The trick of being a good guest is never to ask any questions about the composition of the household. Hosts, even the grandest, are nervous creatures and interpret curiosity as evidence of dissatisfaction.

Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolick of another; and many mischiefs and many benefits are done and hindered without design.

Dear Julie: If I didn't feel that there is some good in your story, I wouldn't take the time to write a criticism of it. But there is some good in it, some points that make me feel that if you expend the effort(Look who's talking about expending the effort, I couldn't help thinking) you may well achieve your very worthy ambition. First of all, you have an ear for cadence. Your sentences flow rather smoothly, and the continuity of your paragraphs is quite good. Secondly, your imagery is sharp and clear-cut. I could smell that dank, rat-infested attic and I was more than a little in love with your pretty heroine by the time she emerged from her third paragraph. Furthermore, you occasionally achieve poetic effects which are pleasing. But, my darling niece, your villains have nothing but venom in their souls, and your sympathetic characters are ready to step right off into Paradise without one spot to tarnish their purity. People aren't like that, Julie. Take a look around you. Again, all your colors, your moods, your nusances, are essentially feminine, and it just doesn't ring true to be told that a man is responsible for them. No, Julie, it will be a long time before you speak and think and feel like an anguished old German musician of eighty! And, after all, what do you know about the problems of musical composition, or the life of an impoverised German laborer such as the landlord in his nineteenth-century environment? And how much do you know about sadism and brutality? I must talk to you about any number of points. When you get home from school tomorrow, I shall have some recommendations to make; also some assignments. I am quite excited. It well may be that I have the making of a future writer in my hands. Uncle Haskell

Anyone moderately familiar with the rigours of composition will not need to be told the story in detail; how he wrote and it seemed good; read and it seemed vile; corrected and tore up; cut out; put in; was in ecstasy; in despair; had his good nights and bad mornings; snatched at ideas and lost them; saw his book plain before him and it vanished; acted his people’s parts as he ate; mouthed them as he walked; now cried; now laughed; vacillated between this style and that; now preferred the heroic and pompous; next the plain and simple; now the vales of Tempe; then the fields of Kent or Cornwall; and could not decide whether he was the divinest genius or the greatest fool in the world.

The main foundations of every state, new states as well as ancient or composite ones, are good laws and good arms; and because you cannot have good laws without good arms, and where there are good arms, good laws inevitably follow.

Through the wise ordering of Creation man has been given the power to shape conditions for himself with the Power of the Creator. Happy is he who uses it only for good! But woe unto him who succumbs to the temptation to use it for evil!

I read it: "A man earned daily for 5 days and 3 times as much as he paid for his board, after which he was obliged to be idle 4 days," it said. "Upon counting his money after paying for his board he found that he had 2 ten-doller bills and 4 dollers. How much did he pay for the board, and what were his wages?" "All right. Think now," Weaver said. "How would you begin to solve it? What's your X?" I thought. Very hard. For quite some time. About the man and his meager wages and shabby boardinghouse and lonely life. "Where did he work?" I finally asked. "What? It doesn't matter, Matt. Just assign an X to-" "A mill, I bet," I said, picturing the man's threadbare clothing, his worn shoes. "A woolen mill. Why do you think he was obliged to be idle?" "I don't know why. Look, just-" "I bet he got sick," I said, clutching Weaver's arm. "Or maybe business wasn't good, and his boss had no work for him. I wonder if he had a family in the country. It would be a terrible thing, wouldn't it, if he had children to feed and no work? Maybe his wife was poorly, too. And I bet he had..." "Damn it, Mattie, this is algebra, not composition!" Weaver said, glaring at me. "Sorry," I said, feeling like a hopeless case.

I did not pay much attention, and since it seemed to prolong itself I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

EMBRACE YOUR TRANSFORMATIONS Transformations are a part of life. We are constantly being changed by things changing around us. Nobody can control that. Nobody can control the environment, the economy, luck, or the moods of others. Compositions change. Positions change. Dispositions change. Experiences change. Opportunities and attitudes change. YOU will change. Never say never unless you can predict the future. Do not only remember people when you are down. Be good to others and always give to others when you can. Every man will fall at some point in their life. But do remember, you are a reflection of the universe and every man experiences the seasons within. Meaning, you will fall many times, but also spring back up. You will have sunny days, but also many bad days where you feel like dying. You never know when you will need help, and help will only remember you if you were good to them when you were UP. Not a singe wave is constant. You are no different. You are like music, a moving composition of vibrations and waves. You will experience happiness, sadness, pain and loss many times. Just learn to enjoy the music and never take setbacks too seriously. They are only temporary. And whenever you do fall , just remember that spring is just around the corner.

And the feeling which filled him at that moment was clear and simple love for his brother Bill … love and a touch of regret that Bill couldn’t be here to see this and be a part of it. Of course he would try to describe it to Bill when he got home, but he knew he wouldn’t be able to make Bill see it, the way Bill would have been able to make him see it if their positions had been reversed. Bill was good at reading and writing, but even at his age George was wise enough to know that wasn’t the only reason why Bill got all A’s on his report cards, or why his teachers liked his compositions so well. Telling was only part of it. Bill was good at seeing.

JESUS & THE WEATHER I don't think Jesus Who is Our Lord would have liked the weather in Limerick because it's always raining and the Shannon keeps the whole city damp. My father says the Shannon is a killer river because it killed my two brothers. When you look at pictures of Jesus He's always wandering around ancient Israel in a sheet. It never rains there and you never hear of anyone coughing or getting consumption or anything like that and no one has a job there because all they do is stand around and eat manna and shake their fists and go to crucifixions. Anytime Jesus got hungry all He had to do was go up the road to a fig tree or an orange tree and have His fill. If He wanted a pint He could wave His hand over a big glass and there was the pint. Or He could visit Mary Magdalene and her sister, Martha, and they'd give Him His dinner no questions asked and He'd get his feet washed and dried with Mary Magdalene's hair while Martha washed the dishes, which I don't think is fair. Why should she have to wash the dishes while her sister sits out there chatting away with Our Lord? It's a good thing Jesus decided to be born Jewish in that warm place because if he was born in Limerick he'd catch the consumption and be dead in a month and there wouldn't be any Catholic Church and there wouldn't be any Communion or Confirmation and we wouldn't have to learn the catechism and write compositions about Him. The End.

[1] The first premise is that you should know that in the world as a whole and in its parts, both upper and earthly, there is nothing which forms an exception to the facts that God is the cause of its being and origination and that God has knowledge of it, controls it, and wills its existence; it is all subject to His control, determination, knowledge, and will. This is a general and superficial account, although in these assertions we intend to describe it truly, not as the theologians understand it; and it is possible to produce proofs and demonstrations of that. Thus, if it were not that this world is composed of elements which give rise to good and evil things in it and produce both righteousness and wickedness in its inhabitants , there would have been no completion of an order for the world. For if the world had contained nothing but pure righteousness, it would not have been this world, but another one, and it would necessarily have had a composition different from the present composition; and likewise if it had contained nothing but sheer wickedness, it would not have been this world but another one. But whatever is composed in the present fashion and order contains both righteousness and wickedness. [2] The second premise is that according to the ancients Rewards is the occurrence of pleasure in the soul corresponding to the extent of its perfection, while Punishment is the occurrence of pain in the soul corresponding to the extent of its deficiency. So the soul's abiding in deficiency is it's 'alienation from God the exalted', and this is the 'curse' 'the penalty', [God's] 'wrath' and 'anger', and pain comes to it from that deficiency; while its perfection is what is meant by [God's] 'satisfaction', with it, its 'closeness' and 'nearness' and 'attachment'. This, then, and nothing else is the meaning of 'Reward' and 'Punishment' according to them. [3] The third premise is that the resurrection is just the return of human souls to their own world: this is why God the Exalted has said, 'O tranquil soul, return to your Lord, satisfied and satisfactory.' These are summary statements that need to be supported by their proper demonstrations.

So they spread the paintings on the lawn, and the boy explained each of them. "This is the school, and this is the playground, and these are my friends." He stared at the paintings for a long time and then shook his head in discouragement. "In my mind, they were a whole lot better." Isn't that the truth? Every morning, I go to my desk and reread yesterday's pages, only to be discouraged that the prose isn't as good as it seemed during the excitement of composition. In my mind, it was a whole lot better. Don't give in to doubt. Never be discouraged if your first draft isn't what you thought it would be. Given skill and a story that compels you, muster your determination and make what's on the page closer to what you have in your mind.

The difference between a good and a great work of art was down to an almost indistinguishable series of largely unidentifiable factors: the élan of a brushstroke; the juxtaposition of colours; the collisions in a composition and an accidental stroke or two. Like a rolling stone gathering moss, a painting gathered history, comment and appreciation, all adding to its value.

Every man will fall at some point in their life. But do remember, you are a reflection of the universe and every man experiences the seasons within. Meaning, you will fall many times, but also spring back up. You will have sunny days, but also many bad days where you feel like dying. You never know when you will need help, and help will only remember you if you were good to them when you were UP. Not a singe wave is constant. You are no different. You are like music, a moving composition of vibrations and waves. You will experience happiness, sadness, pain and loss many times. Just learn to enjoy the music and never take setbacks too seriously. They are only temporary. And whenever you do fall, just remember that spring is just around the corner.

Whether one calls oneself conservative or revolutionary, whether one composes in a conventional or progressive manner, whether one tries to imitate old styles or is destined to express new ideas -- whether one is a good composer or not -- one must be convinced of the infallibility of one's own fantasy and one must believe in one's own inspiration. ("Composition with Twelve Tones")

Nature is honest, there is no meanness in her composition, she has no time for fools, there is no place in her code for weaklings and degenerates. Out of her strength we gather our own strength. And it is good to be strong, to be able to endure, not as a brute beast, but as a thinking man imbued with the spirit of a great ideal. This is what Mount Everest means to those who have tried to climb it.

It was in a swampy village on the lagoon river behind the Turner Peninsula that Pollock's first encounter with the Porroh man occurred. The women of that country are famous for their good looks - they are Gallinas with a dash of European blood that dates from the days of Vasco da Gama and the English slave-traders, and the Porroh man, too, was possibly inspired by a faint Caucasian taint in his composition. (It's a curious thing to think that some of us may have distant cousins eating men on Sherboro Island or raiding with the Sofas.) At any rate, the Porroh man stabbed the woman to the heart as though he had been a mere low-class Italian, and very narrowly missed Pollock. But Pollock, using his revolver to parry the lightning stab which was aimed at his deltoid muscle, sent the iron dagger flying, and, firing, hit the man in the hand. He fired again and missed, knocking a sudden window out of the wall of the hut. The Porroh man stooped in the doorway, glancing under his arm at Pollock. Pollock caught a glimpse of his inverted face in the sunlight, and then the Englishman was alone, sick and trembling with the excitement of the affair, in the twilight of the place. It had all happened in less time than it takes to read about it. ("Pollock And The Porroh Man")

I still get plenty anxious. The weird thing, and the unpleasant surprise for me, of proceeding well into the middle, perhaps even post-prime of my career is that writing books has not got any easier. And that doesn't seem fair. I mean, I've been doing it so surely I should be getting better at it, at least a little bit blasé... And it seems to be working absolutely the opposite. This book [Big Brother] I had no confidence in the entirety of its composition, and I only decided I liked it when I finished the very final draft. This means I'm in a state of semi-misery for a long time. And I can't blithely seem either that's some little game I'm playing with myself because, you know, you can easily come along and you don't like what's you're writing for good reason. Right? So, yeah, it's very anxious making, I don't think it's so much the becoming a little more successful, I think it's becoming slightly more aware of how much has already been written, and just becoming less self-impressed as the years go by. More impressed with some people who are better than I am, but... It doesn't wow me that I can write a sentence any more. It has to be a really good sentence. And... I think that's what potentially leads to paralysis in late career, is a kind of killing humility. Politics & Prose Bookstore in Washington, DC, on June 11, 2013

Creative writer has artistic sensibility. He observes the world like any common men. But his vision observes the world quite differently. He can perceive from life-experience what common man cannot see at all. This experience and observation get imaginative colours with the help of artistic sensibility. He creates a world of imaginative reality. His world is more beautiful and artistic than the real world. He is naturally gifted to create the work which has power to move or transport the reader. He gets his raw material from the life. He is critic of life. Criticism is a task of those who write on the creative writings. The word criticism has been derived from the Greek word Kritikos, which means ‘able to discern and judge’ and whoever does the act of judging is called Critic. Criticism is the art of judging the merits and demerits of creative composition. In the words of Thomas De Quincey criticism may be termed as the literature of knowledge and creative writing as the literature of power. Literature of power deals with life, where as literature of knowledge share information on creative composition. Alexander Pope has rightly said: “Both from Heaven derive their light These born to judge, as well as those to write.” He gives equal value to both the critic and the creative writer. To him both are gifted writers, one to write creatively and the other to judge the creativity. But Dryden does not agree with the views of Pope. To him “the corruption of a poet is the generation of a critic.” He believed that those who cannot be good creative writer they become critics and corrupt creativity of the artists. Lessing believed that, “Not every critic is born a genius, but every genius is born a critic of art. He has within himself the evidence of all rules.” He gives respectful place to critics and criticism. He is of the belief that the critics are born genius to judge the work of art. No critic can ever form accurate judgement unless he possesses the artist’s vision. Criticism and creativity are inextricably mingled with each other. Thus the artist is the critic of life and Critic, that of art. The artist must have the imagination and vision to critically imitate the life/nature; the Critic from beginning to end, relive the same experience.

He soon perceived, however, that the battles which Sir Miles and the rest had waged against armed knights to win a kingdom, were not half so arduous as this which he now undertook to win immortality against the English language. Anyone moderately familiar with the rigours of composition will not need to be told the story in detail; how he wrote and it seemed good; read and it seemed vile; corrected and tore up; cut out; put in; was in ecstasy; in despair; had his good nights and bad mornings; snatched at ideas and lost them; saw his book plain before him and it vanished; acted his people's parts as he ate; mouthed them as he walked; now cried; now laughed; vacillated between this style and that; now preferred the heroic and pompous; next the plain and simple; now the vales of Tempe; then the fields of Kent or Cornwall; and could not decide whether he was the divinest genius or the greatest fool in the world.

They left. Among the many dumb rules of paragraphing foisted on students in composition courses is the one that says that a paragraph may not consist of a single sentence. Wilkerson ends a richly descriptive introductory chapter with a paragraph composed of exactly two syllables. The abrupt ending and the expanse of blankness at the bottom of the page mirror the finality of the decision to move and the uncertainty of the life that lay ahead. Good writing finishes strong.

His ignorance was as remarkable as his knowledge. Of contemporary literature, philosophy and politics he appeared to know next to nothing. Upon my quoting Thomas Carlyle, he inquired in the naivest way who he might be and what he had done. My surprise reached a climax, however, when I found incidentally that he was ignorant of the Copernican Theory and of the composition of the Solar System. That any civilized human being in this nineteenth century should not be aware that the earth travelled round the sun appeared to be to me such an extraordinary fact that I could hardly realize it. “You appear to be astonished,” he said, smiling at my expression of surprise. “Now that I do know it I shall do my best to forget it.” “To forget it!” “You see,” he explained, “I consider that a man’s brain originally is like a little empty attic, and you have to stock it with such furniture as you choose. A fool takes in all the lumber of every sort that he comes across, so that the knowledge which might be useful to him gets crowded out, or at best is jumbled up with a lot of other things so that he has a difficulty in laying his hands upon it. Now the skilful workman is very careful indeed as to what he takes into his brain-attic. He will have nothing but the tools which may help him in doing his work, but of these he has a large assortment, and all in the most perfect order. It is a mistake to think that that little room has elastic walls and can distend to any extent. Depend upon it there comes a time when for every addition of knowledge you forget something that you knew before. It is of the highest importance, therefore, not to have useless facts elbowing out the useful ones.” “But the Solar System!” I protested. “What the deuce is it to me?” he interrupted impatiently; “you say that we go round the sun. If we went round the moon it would not make a pennyworth of difference to me or to my work.” I was on the point of asking him what that work might be, but something in his manner showed me that the question would be an unwelcome one. I pondered over our short conversation, however, and endeavoured to draw my deductions from it. He said that he would acquire no knowledge which did not bear upon his object. Therefore all the knowledge which he possessed was such as would be useful to him. I enumerated in my own mind all the various points upon which he had shown me that he was exceptionally well-informed. I even took a pencil and jotted them down. I could not help smiling at the document when I had completed it. It ran in this way— SHERLOCK HOLMES—his limits. 1. Knowledge of Literature.—Nil. 2. Philosophy.—Nil. 3. Astronomy.—Nil. 4. Politics.—Feeble. 5. Botany.—Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. 6. Geology.—Practical, but limited. Tells at a glance different soils from each other. After walks has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. 7. Chemistry.—Profound. 8. Anatomy.—Accurate, but unsystematic. 9. Sensational Literature.—Immense. He appears to know every detail of every horror perpetrated in the century. 10. Plays the violin well. 11. Is an expert singlestick player, boxer, and swordsman. 12. Has a good practical knowledge of British law.

The fact is that while individual blacks’ incomes were actually rising more quickly than those of individual whites, blacks were splintering into new households at a much more rapid rate. According to one study, if black family composition had held steady during the decade, median black household income would have risen 5 percent. If white household composition had held steady, the white median household income would have risen by 3 percent (instead of its actual rise of 0.8 percent). People of both races were actually making more money, but they were spreading it out over more households. In fact, the actual incomes of black husband-and-wife families rose four times as quickly as those of white families. In families in which both the husband and wife worked, the family income of blacks increased five times as quickly as that of whites.60 Black family income fell during the 1970s, not because of “racist” employers but because of disintegrating families.

It is not just the different plants and animals that define the environment. There are all sorts of physical factors as well. Take the atmosphere, for instance. The oxygen levels became usable to us about 400 million years ago, but since then there has been a great variation in the oxygen levels. In the late Jurassic it is possible that the oxygen levels were about 35%, as opposed to 20% at the present day. Indeed this figure has been put forward to explain the survival of the very big dinosaurs, high oxygen concentrations in the breathing air being able to keep the great volumes of tissue oxygenated. On the other hand the proportion of carbon dioxide was also high. This may account for the prolific plant life at the time, carbon dioxide being essential for the good growth of plants. The difference between the composition of the Jurassic atmosphere and that of your own time may make it difficult for you to breathe when you first arrive, but your body will probably adapt to it before long.

There is an instrument that can hardly be heard; it is played in Africa for oneself alone, inside the hut, or outside without bothering or attracting anyone. Rudimentary, archaic, apparently put together haphazardly, freely, by the village blacksmith, the sanzas (that is its name): no two the same, no good even for a slightly elaborated melody, it is independent of any scale. Anarchical. A music of murmurs, the opposite of music for competitions, compositions. Instrument to relieve us dreamily from all the noisemakers of this world.

The creation of new symbioses by mergers on a crowded planet is called symbiogenesis. And we might call all aspects of its study “symbiogenetics”—the science of normative symbioses, the word commanding respect because of its apparent coinage from genetics; in fact, I derived it directly from symbiogenesis, though the connotation is a good one. Although this type of evolution sounds bizarre—a monstrous breach of Platonic etiquette in favor of polymorphous perversity—it is now confirmed by genetic evidence, taught in textbooks. It is a fact, or what the French philosopher of science Bruno Latour and the Belgian physicist-turned-philosopher Isabelle Stengers, not putting too fine a point on it, would call a factish. Nonetheless, although symbiogenesis—the evolution of new species by symbiosis—is now recognized, it is still treated as marginal, applicable to our remote ancestors but not relevant to present-day core evolutionary processes. This is debatable. We are crisscrossed and cohabited by stranger beings, intimate visitors who affect our behavior, appreciate our warmth, and are in no rush to leave. Like all visible life-forms, we are composites.

Regular expressions are widely used for string matching. Although regular-expression systems are derived from a perfectly good mathematical formalism, the particular choices made by implementers to expand the formalism into useful software systems are often disastrous: the quotation conventions adopted are highly irregular; the egregious misuse of parentheses, both for grouping and for backward reference, is a miracle to behold. In addition, attempts to increase the expressive power and address shortcomings of earlier designs have led to a proliferation of incompatible derivative languages.

The quickest impression on the scientific world may be made not by publishing the whole truth and nothing but the truth, but rather by serving an interesting and plausible story composed of parts of the truth with a little straight invention admixed to it. Such a composition is judiciously guarded by interspersed ambiguities, will be extremely difficult to controvert, and in a field in which experiments are laborious or intrinsically difficult to reproduce may stand for years unchallenged. A considerable reputation can be built and a very comfortable university post be gained before this kind of swindle transpires — if it ever does. If each scientist set to work every morning with the intention of doing the best bit of safe charlatanry, which would just help him into a good post, there would soon exist no effective standards by which such deception could be detected. A community of scientists in which each would act only with an eye to please scientific opinion would find no scientific opinion to please. Only if scientists remain loyal to scientific ideals rather than try to achieve success with their fellow scientists can they form a community, which will uphold these ideals.

So it is that a well-read man will at once begin to yawn with boredom when one speaks to him of a new “good book,” because he imagines a sort of composite of all the good books that he has read, whereas a good book is something special, something unforeseeable, and is made up not of the sum of all previous masterpieces but of something which the most thorough assimilation of every one of them would not enable him to discover, since it exists not in their sum but beyond it. Once he has become acquainted with this new work, the well-read man, however jaded his palate, feels his interest awaken in the reality which it depicts.

That's something else that gives me a royal pain. I mean if you're good at writing compositions and somebody starts talking about commas. Stradlater was always doing that. He wanted you to think that the only reason he was lousy at writing compositions was because he stuck all the commas in the wrong place. He was a little bit like Ackley, that way. I once sat next to Ackley at this basketball game. We had a terrific guy on the team, Howie Coyle, that could sink them from the middle of the floor, without even touching the backboard or anything. Ackley kept saying, the whole goddam game, that Coyle had a perfect build for basketball. God, how I hate that stuff.

I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

I welcome the liberation of music from the prison of melody, rigid structure, and harmony. Why not? But I also listen to music that does adhere to those guidelines. Listening to the Music of the Spheres might be glorious, but I crave a concise song now and then, a narrative or a snapshot more than a whole universe. I can enjoy a movie or read a book in which nothing much happens, but I'm deeply conservative as well—if a song establishes itself within a pop genre, then I listen with certain expectations. I can become bored more easily by a pop song that doesn't play by its own rules than by a contemporary composition that is repetitive and static. I like a good story and I also like staring at the sea—do I have to choose between the two?

English grammar and composition is difficult even for the English, but worse and worse for a Welsh boy. He speaks, reads, writes, and he thinks in Welsh, at home, in the street, and in Chapel, and when he reads English he will understand it in Welsh, and when he speaks English, he will pronounce the words with pain and using crutches. So stupid are the English, who build schools for the Welsh, and insist, on pain of punishment, that English is to be spoken, and yet, for all their insistence, never give one lesson in the pronouncing and enunciation of the spoken word. And Good God in Heaven, if you cannot read English aloud and in the English of the King, half the beauty is taken from you. O, and what pity, to hear a noble tongue chewed, and besmirched, and belittled....

Our brains, for instance, are 70 percent fat, mostly in the form of a substance known as myelin that insulates nerve cells and, for that matter, all nerve endings in the body. Fat is the primary component of all cell membranes. Changing the proportion of saturated to unsaturated fats in the diet, as proponents of Keys’s hypothesis recommended, might well change the composition of the fats in the cell membranes. This could alter the permeability of cell membranes, which determines how easily they transport, among other things, blood sugar, proteins, hormones, bacteria, viruses, and tumor-causing agents into and out of the cell. The relative saturation of these membrane fats could affect the aging of cells and the likelihood that blood cells will clot in vessels and cause heart attacks.

The Earth is bathed in a flood of sunlight. A fierce inundation of photons—on average, 342 joules per second per square meter. 4185 joules (one calorie) will raise the temperature of one kilogram of water by one degree Celsius. If all this energy were captured by the Earth’s atmosphere, its temperature would rise by ten degrees Celsius in one day. Luckily much of it radiates back to space. How much depends on albedo and the chemical composition of the atmosphere, both of which vary over time. A good portion of Earth’s albedo, or reflectivity, is created by its polar ice caps. If polar ice and snow were to shrink significantly, more solar energy would stay on Earth. Sunlight would penetrate oceans previously covered by ice, and warm the water. This would add heat and melt more ice, in a positive feedback loop.

I am, reluctantly, a self-confessed carbon chauvinist. Carbon is abundant in the Cosmos. It makes marvelously complex molecules, good for life. I am also a water chauvinist. Water makes an ideal solvent system for organic chemistry to work in and stays liquid over a wide range of temperatures. But sometimes I wonder. Could my fondness for materials have something to do with the fact that I am made chiefly of them? Are we carbon- and water-based because those materials were abundant on the Earth at the time of the origin of life? Could life elsewhere—on Mars, say—be built of different stuff? I am a collection of water, calcium and organic molecules called Carl Sagan. You are a collection of almost identical molecules with a different collective label. But is that all? Is there nothing in here but molecules? Some people find this idea somehow demeaning to human dignity. For myself, I find it elevating that our universe permits the evolution of molecular machines as intricate and subtle as we. But the essence of life is not so much the atoms and simple molecules that make us up as the way in which they are put together. Every now and then we read that the chemicals which constitute the human body cost ninety-seven cents or ten dollars or some such figure; it is a little depressing to find our bodies valued so little. However, these estimates are for human beings reduced to our simplest possible components. We are made mostly of water, which costs almost nothing; the carbon is costed in the form of coal; the calcium in our bones as chalk; the nitrogen in our proteins as air (cheap also); the iron in our blood as rusty nails. If we did not know better, we might be tempted to take all the atoms that make us up, mix them together in a big container and stir. We can do this as much as we want. But in the end all we have is a tedious mixture of atoms. How could we have expected anything else? Harold Morowitz has calculated what it would cost to put together the correct molecular constituents that make up a human being by buying the molecules from chemical supply houses. The answer turns out to be about ten million dollars, which should make us all feel a little better. But even then we could not mix those chemicals together and have a human being emerge from the jar. That is far beyond our capability and will probably be so for a very long period of time. Fortunately, there are other less expensive but still highly reliable methods of making human beings. I think the lifeforms on many worlds will consist, by and large, of the same atoms we have here, perhaps even many of the same basic molecules, such as proteins and nucleic acids—but put together in unfamiliar ways. Perhaps organisms that float in dense planetary atmospheres will be very much like us in their atomic composition, except they might not have bones and therefore not need much calcium. Perhaps elsewhere some solvent other than water is used. Hydrofluoric acid might serve rather well, although there is not a great deal of fluorine in the Cosmos; hydrofluoric acid would do a great deal of damage to the kind of molecules that make us up, but other organic molecules, paraffin waxes, for example, are perfectly stable in its presence. Liquid ammonia would make an even better solvent system, because ammonia is very abundant in the Cosmos. But it is liquid only on worlds much colder than the Earth or Mars. Ammonia is ordinarily a gas on Earth, as water is on Venus. Or perhaps there are living things that do not have a solvent system at all—solid-state life, where there are electrical signals propagating rather than molecules floating about. But these ideas do not

A sermon, well delivered, is more uncommon even than prayers well read. A sermon, good in itself, is no rare thing. It is more difficult to speak well than to compose well; that is, the rules and trick of composition are oftener an object of study. A thoroughly good sermon, thoroughly well delivered, is a capital gratification. I can never hear such a one without the greatest admiration and respect, and, more than half a mind to take orders and preach myself. There is something in the eloquence of the pulpit, when it is really eloquence, which is entitled to the highest praise and honour. The preacher who can touch and affect such an heterogeneous mass of hearers on subjects limited, and long worn thread-bare in all common hands; who can say anything new or striking, any thing that rouses the attention, without offending the taste, or wearing out the feelings of his hearers, is a man whom one could not (in his public capacity) honour enough.

Whenever I read about murders in the news I am struck by the dogged, almost touching assurance with which interstate stranglers, needle-happy pediatricians, the depraved and guilty of all descriptions fail to recognize the evil in themselves; feel compelled, even, to assert a kind of spurious decency. “Basically I am a very good person.” This from the latest serial killer—destined for the chair, they say—who, with incarnadine axe, recently dispatched half a dozen registered nurses in Texas. I have followed his case with interest in the papers. But while I have never considered myself a very good person, neither can I bring myself to believe that I am a spectacularly bad one. Perhaps it’s simply impossible to think of oneself in such a way, our Texan friend being a case in point. What we did was terrible, but still I don’t think any of us were bad, exactly; chalk it up to weakness on my part, hubris on Henry’s, too much Greek prose composition— whatever you like.

I dial her mum's number, then sit down cross-legged, facing the wall. When she comes on the line, she sounds uncertain, hesitant. 'Hey! Guess where I am?' I ask, my voice loud with false cheer. 'Rami told me. The Wellesly Hospital in Worthing. What's it like?' 'For a loony-bin it's actually quite decent,' I reply. 'I don't have Sky or an en-suite, and the menu isn't exactly à la carte, but you know...' I tail off. There is a silence. 'Do you have your own room?' Jenna asks, 'Oh yeah, yeah. I have a lovely view of the sea between the bars of my window.' She doesn't laugh. 'Have you started' -there is a pause as she searches for the right word -'threatment?' 'Yeah, yeah. We had group therapy today. Tomorrow we'll probably have art therapy - maybe I'll draw you a hourse and a garden. I know, perhaps they'll teach us to make baskets! Isn't that why they call us basket cases?' 'Flynn, stop,' Jennah softly implores. 'And we'll probably have music therapy the day after. Maybe I'll get to play the tambourine. Or the triangle. I've always wanted to play the triangle!' 'Flynn-' 'No, I'm serious! I'll ask for some manuscript paper and see if I can write a composition for tambourine and triangle. Then I can post if off to you to hand in for my next composition assignment.' 'Flynn, listen-' 'Hold on, hold on! I'm making a note to myself now: Find fellow insane musician and start composing the Flynn Laukonen Sonata for Tambourine and Triangle.' 'Flynn-' 'And then, when they let me out, if they ever let me out, perhaps you could pull a few strigns and organize for me and my tambourine buddy to give a recital. I'm not sure where though -how about the subway at Marble Arch tube? Nice and central, good acoustics-' 'What are the other people like?' Jennah cuts in, an edge to her voice. I notice she doesn't use the word patients. Clever Jennah. For a moment there you almost made me forget I was locked up in a mental institution. 'Round the bend, just like me,' I reply. 'I'm in excellent company. We'll be swapping suicide tips in no time at all!' I give a harsh laugh.

He had to backtrack immediately to account for the most famous and most acclaimed poet in America, Phillis Wheatley, who was, very unfortunately for Jefferson’s argument, unquestionably black. She had been brought to Boston as an enslaved African at the age of about six, learned English and Latin as a child, and began writing poetry as a teenager. Her published works earned accolades on both sides of the Atlantic. Among her admirers were Voltaire, who praised Wheatley’s “very good English verse,” George Washington, Benjamin Franklin, and even the naval hero John Paul Jones, who addressed her as “the celebrated Phillis the African favorite of the Nine [Muses] and Apollo” when he sent her some of his own verses. Dr. Rush cited her as a proof of black ability, listing her accomplishments when he wrote in 1775, “We have many well attested anecdotes of as sublime and disinterested virtue among them as ever adorned a Roman or a Christian character.”14 Franklin went to see Wheatley when she was in London, a literary celebrity on book tour. The acclaim irked Jefferson: “The compositions published under her name are below the dignity of criticism.”15

happening. He went into a restaurant and sat down. A radio was blaring out the latest composition in dissarythm, the new quarter-tone dance music in which chorded woodwinds provided background patterns for the mad melodies pounded on tuned tomtoms. Between each number and the next a frenetic announcer extolled the virtues of a product. Munching a sandwich, Roger listened appreciatively to the dissarhythm and managed not to hear the commercials. Most intelligent people of the nineties had developed a type of radio deafness which enabled them not to hear a human voice coming from a loudspeaker, although they could hear and enjoy the then-infrequent intervals of music between announcements. In an age when advertising competition was so keen that there was scarcely a bare wall or an unbillboarded lot within miles of a population center, discriminating people could retain normal outlooks on life only by carefully-cultivated partial blindness and partial deafness which enabled them to ignore the bulk of that concerted assault upon their senses. For that reason a good part of the newscast which followed the dissarhythm program went, as it were, into one

I missed my workout this morning, so I vault up the stairs to my flat. Breakfast has taken longer than intended, and I'm expecting Oliver at any minute. Part of me also hopes that Alessia will still be there. As I approach my front door, I hear music coming from the flat. Music? What's going on? I slide my key into the lock and cautiously open the door. It's Bach, one of his preludes in G Major. Perhaps Alessia is playing music through my computer. But how can she? She doesn't know the password. Does she? Maybe she's playing her phone through the sound system, though from the look of her tatty anorak she doesn't strike me as someone who has a smartphone. I've never seen her with one. The music rings through my flat, lighting up its darkest corners. Who knew that my daily likes classical? This is a tiny piece of the Alessia Demachi puzzle. Quickly I close the door, but as I stand in the hallway, it becomes apparent that the music is not coming from the sound system. It's from my piano. Bach. Fluid and light, played with a deftness and understanding I've only heard from concert-standard performers. Alessia? I've never managed to make my piano sing like this. Taking off my shoes, I creep down the hallway and peer around the door into the drawing room. She is seated at the piano in her housecoat and scarf, swaying a little, completely lost in the music, her eyes closed in concentration as her hands move with graceful dexterity across the keys. The music flows through her, echoing off the walls and ceiling in a flawless performance worthy of any concert pianist. I watch her in awe as she plays, her head bowed. She is brilliant. In every way. And I'm completely spellbound. She finishes the prelude, and I step back into the hall, flattening myself against the wall in case she looks up, not daring to breath. However, without missing a beat she goes straight into the fugue. I lean against the wall and close my eyes, marveling at her artistry and the feeling that she puts into each phrase. I'm carried away by the music, and as I listen, I realize that she wasn't reading the music. She's playing from memory. Good God. She's a fucking virtuoso. And I remember her intense focus when she examined my score while she was dusting the piano. Clearly she was reading the music. Shit. She plays at this standard and she was reading my composition? The fugue ends, and seamlessly she launches into another piece. Again Bach, Prelude in C-sharp Major, I think.

ON THE FIRST day of class, Jerry Uelsmann, a professor at the University of Florida, divided his film photography students into two groups. Everyone on the left side of the classroom, he explained, would be in the “quantity” group. They would be graded solely on the amount of work they produced. On the final day of class, he would tally the number of photos submitted by each student. One hundred photos would rate an A, ninety photos a B, eighty photos a C, and so on. Meanwhile, everyone on the right side of the room would be in the “quality” group. They would be graded only on the excellence of their work. They would only need to produce one photo during the semester, but to get an A, it had to be a nearly perfect image. At the end of the term, he was surprised to find that all the best photos were produced by the quantity group. During the semester, these students were busy taking photos, experimenting with composition and lighting, testing out various methods in the darkroom, and learning from their mistakes. In the process of creating hundreds of photos, they honed their skills. Meanwhile, the quality group sat around speculating about perfection. In the end, they had little to show for their efforts other than unverified theories and one mediocre photo.

Therefore, it is not off the point if, along with the forgotten feminine principles, there are no longer good carpets at the kings court and they need one, for they have again to find the pattern in of life. In this way the story tells us that the subtlety of the inventions of the unconscious and the secret design woven into a human life are infinitely more intelligent than human consciousness and more subtle and superior than man could invent. One is again and again overwhelmed by the genius of that unknown mysterious something in our psyche which is the inventor of our dreams, It picks elements from day impressions, from something the dreamer has read the evening before in the paper, or from a childhood memory, and makes a nice kind of potpourri out of it, and only when you have interpreted its meaning do you see the subtlety and the genius of each dream composition. Every night we have that carpet weaver at work within us, who makes those fantastically subtle patterns, so subtle that, unfortunately often after an hour's attempt to interpret them, we are unable to find out the meaning. We are just too clumsy and stupid to follow up the genius of that unknown spirit of the unconscious which invents dreams. But we can understand that this carpet is more subtly woven than any human could ever achieve.

I forget who it was that recommended men for their soul’s good to do each day two things they disliked: it was a wise man, and it is a precept that I have followed scrupulously; for every day I have got up and I have gone to bed. But there is in my nature a strain of asceticism, and I have subjected my flesh each week to a more severe mortification. I have never failed to read the Literary Supplement of The Times. It is a salutary discipline to consider the vast number of books that are written, the fair hopes with which their authors see them published, and the fate which awaits them. What chance is there that any book will make its way among that multitude? And the successful books are but the successes of a season. Heaven knows what pains the author has been at, what bitter experiences he has endured and what heartache suffered, to give some chance reader a few hours’ relaxation or to while away the tedium of a journey. And if I may judge from the reviews, many of these books are well and carefully written; much thought has gone to their composition; to some even has been given the anxious labour of a lifetime. The moral I draw is that the writer should seek his reward in the pleasure of his work and in release from the burden of his thought; and, indifferent to aught else, care nothing for praise or censure, failure or success.

I arm myself once more with the precepts of my philosophy: The duration of a man’s life is merely a small point in time; the substance of it ever flowing away, the sense obscure; and the whole composition of the body tending to decay. His soul is a restless vortex, good fortune is uncertain and fame is unreliable; in a word, as a rushing stream so are all things belonging to the body; as a dream, or as vapor, are all those that belong to the soul. Life is warfare and a sojourn in a foreign land. Our reputation after life is nothing but oblivion. What is it then that will guide man? One thing alone: philosophy, the love of wisdom. And philosophy consists in this: for a man to preserve that inner genius or divine spark within him from violence and injuries, and above all from harmful pains or pleasures; never to do anything either without purpose, or falsely, or hypocritically, regardless of the actions or inaction of others; to contentedly embrace all things that happen to him, as coming from the same source from whom he came himself, and above all things, with humility and calm cheerfulness, to anticipate death as being nothing else but the dissolution of those elements of which every living being is composed. And if the elements themselves suffer nothing by this, their perpetual conversion of one into another, that dissolution, and alteration, which is so common to them all, why should it be feared by any man? Is this not according to Nature? But nothing that is according to Nature can be evil.

Byron’s diabolism, if indeed it deserves the name, was of a mixed type. He shared, to some extent, Shelley’s Promethean attitude, and the Romantic passion for Liberty; and this passion, which inspired his more political outbursts, combined with the image of himself as a man of action to bring about the Greek adventure. And his Promethean attitude merges into a Satanic (Miltonic) attitude. The romantic conception of Milton’s Satan is semi-Promethean, and also contemplates Pride as a virtue. It would be difficult to say whether Byron was a proud man, or a man who liked to pose as a proud man – the possibility of the two attitudes being combined in the same person does not make them any less dissimilar in the abstract. Byron was certainly a vain man, in quite simple ways: I can’t complain, whose ancestors are there, Erneis, Radulphus – eight-and-forty manors (If that my memory doth not greatly err) Were their reward for following Billy’s banners. His sense of damnation was also mitigated by a touch of unreality: to a man so occupied with himself and with the figure he was cutting nothing outside could be altogether real. It is therefore impossible to make out of his diabolism anything coherent or rational. He was able to have it both ways, it seems; and to think of himself both as an individual isolated and superior to other men because of his own crimes, and as a naturally good and generous nature distorted by the crimes committed against it by others. It is this inconsistent creature that turns up as the Giaour, the Corsair, Lara, Manfred and Cain; only as Don Juan does he get nearer to the truth about himself. But in this strange composition of attitudes and beliefs the element that seems to me most real and deep is that of a perversion of the Calvinist faith of his mother’s ancestors.

If one could prove from established and reliable histories that the events in Judith really happened, it would be a noble and fine book, and should properly be in the Bible. Yet it hardly squares with the historical accounts of the Holy Scriptures, especially Jeremiah and Ezra. For these show how Jerusalem and the whole country were destroyed, and were thereafter laboriously rebuilt during the time of the monarchy of the Persians who occupied the land. Against this the first chapter of Judith claims that King Nebuchadnezzar of Babylon was the first one to set about conquering this territory; it creates the impression that these events took place before the captivity of the Jews, and before the rise of the Persian monarchy. Philo, on the contrary, says that they happened after the release and return of the Jews from Babylon under King Ahasuerus, at which time the Jews had rebuilt neither the temple nor Jerusalem, and had no government. Thus as to both time and name, error and doubt are still present, so that I cannot reconcile [the accounts] at all. Such an interpretation strikes my fancy, and I think that the poet deliberately and painstakingly inserted the errors of time and name in order to remind the reader that the book should be taken and understood as that kind of a sacred, religious, composition. It may even be that in those days they dramatized literature like this, Just as among us the Passion and other sacred stories are performed. In a common presentation or play they conceivably wanted to teach their people and youth to trust God, to be righteous, and to hope in God for all help and comfort, in every need, against all enemies, etc. Therefore this is a fine, good, holy, useful book, well worth reading by us Christians. For the words spoken by the persons in it should be understood as though they were uttered in the Holy Spirit by a spiritual, holy poet or prophet who, in presenting such persons in his play, preaches to us through them. Next after Judith, therefore, like a song following a play, belongs the Wisdom of Philo, a work which denounces tyrants and praises the help which God bestows on his people. The song [that follows] may well be called an illustration of this book [of Judith].

If one could prove from established and reliable histories that the events in Judith really happened, it would be a noble and fine book, and should properly be in the Bible. Yet it hardly squares with the historical accounts of the Holy Scriptures, especially Jeremiah and Ezra. For these show how Jerusalem and the whole country were destroyed, and were thereafter laboriously rebuilt during the time of the monarchy of the Persians who occupied the land. Against this the first chapter of Judith claims that King Nebuchadnezzar of Babylon was the first one to set about conquering this territory; it creates the impression that these events took place before the captivity of the Jews, and before the rise of the Persian monarchy. Philo, on the contrary, says that they happened after the release and return of the Jews from Babylon under King Ahasuerus, at which time the Jews had rebuilt neither the temple nor Jerusalem, and had no government. Thus as to both time and name, error and doubt are still present, so that I cannot reconcile [the accounts] at all. Such an interpretation strikes my fancy, and I think that the poet deliberately and painstakingly inserted the errors of time and name in order to remind the reader that the book should be taken and understood as that kind of a sacred, religious, composition. It may even be that in those days they dramatized literature like this, Just as among us the Passion and other sacred stories are performed. In a common presentation or play they conceivably wanted to teach their people and youth to trust God, to be righteous, and to hope in God for all help and comfort, in every need, against all enemies, etc. Therefore this is a fine, good, holy, useful book, well worth reading by us Christians. For the words spoken by the persons in it should be understood as though they were uttered in the Holy Spirit by a spiritual, holy poet or prophet who, in presenting such persons in his play, preaches to us through them. Next after Judith, therefore, like a song following a play, belongs the Wisdom of Philo, a work which denounces tyrants and praises the help which God bestows on his people. The song [that follows] may well be called an illustration of this book [of Judith].

Non-Tenure Writing Jobs The MLA session on the adjunct crisis indicates where higher education has come to in the Brave New World of the 21st century. Research by the MLA itself, by Gloria McMillan, by Eileen Schell and other colleagues, already confirm the deep replacement of tenure-track faculty with contingent adjuncts and others. This crisis is deepest in composition and in community colleges. Doug Hesse’s program at Denver Univ. is no solution; it will extend the subordination of composition through sub-faculty lines while rationalizing it as “good for students"(before research has even proved it so). But, sub-faculty writing lecturers will never be treated as “real” professors by their institutions and will never be accepted as colleagues by their tenure-track peers. Such sub-faculty plans will weaken the faculty as a whole in the academy by further dividing it into competing sub-groups. Neither will a sub-faculty plan benefit the 14 million undergraduates on campus, most who attend under-funded public colleges with no billion-dollar endowments or corporate angels to turn to. Community colleges, in particular, where about 6 million students are enrolled, can have up to 65% of classes taught by adjuncts. The sub-faculty plan is thus really a management tool available in the short-term to those colleges with deep pockets and deep readiness to entrench a lesser sub-faculty in their writing programs. Doug Hesse acknowledges such an outcome as a possibility. He is quoted in the IHE report saying he was disturbed by the degree of interest other WPAs took in DU’s new sub-faculty writing program, fearing that DU was installing a “Vichy"-type model(collaborating with the authorities desire to de-tenure faculty generally and to subordinate writing instructors particularly). But, Hesse is quoted as making peace with this because he feels that sub-faculty lines for writing teachers are at least good for writing students. Even if we knew for sure this was true, why must writing teachers be the only professionals in higher education called upon to make such sacrifices? A large private grant to finance Denver University’s program($10 million for Hesse’s project)is good fortune for one campus, but it offers no model for how we can solve the national disgrace of exploited adjuncts.

...the centrality of competitiveness as the key to growth is a recurrent EU motif. Two decades of EC directives on increasing competition in every area, from telecommunications to power generation to collateralizing wholesale funding markets for banks, all bear the same ordoliberal imprint. Similarly, the consistent focus on the periphery states’ loss of competitiveness and the need for deep wage and cost reductions therein, while the role of surplus countries in generating the crisis is utterly ignored, speaks to a deeply ordoliberal understanding of economic management. Savers, after all, cannot be sinners. Similarly, the most recent German innovation of a constitutional debt brake (Schuldenbremse) for all EU countries regardless of their business cycles or structural positions, coupled with a new rules-based fiscal treaty as the solution to the crisis, is simply an ever-tighter ordo by another name. If states have broken the rules, the only possible policy is a diet of strict austerity to bring them back into conformity with the rules, plus automatic sanctions for those who cannot stay within the rules. There are no fallacies of composition, only good and bad policies. And since states, from an ordoliberal viewpoint, cannot be relied upon to provide the necessary austerity because they are prone to capture, we must have rules and an independent monetary authority to ensure that states conform to the ordo imperative; hence, the ECB. Then, and only then, will growth return. In the case of Greece and Italy in 2011, if that meant deposing a few democratically elected governments, then so be it. The most remarkable thing about this ordoliberalization of Europe is how it replicates the same error often attributed to the Anglo-American economies: the insistence that all developing states follow their liberal instruction sheets to get rich, the so-called Washington Consensus approach to development that we shall discuss shortly. The basic objection made by late-developing states, such as the countries of East Asia, to the Washington Consensus/Anglo-American idea “liberalize and then growth follows” was twofold. First, this understanding mistakes the outcomes of growth, stable public finances, low inflation, cost competitiveness, and so on, for the causes of growth. Second, the liberal path to growth only makes sense if you are an early developer, since you have no competitors—pace the United Kingdom in the eighteenth century and the United States in the nineteenth century. Yet in the contemporary world, development is almost always state led.

Christopher Cerf has been composing songs for Sesame Street for twenty-five years. His large Manhattan townhouse is full of Sesame Street memorabilia – photographs of Christopher with his arm around Big Bird, etc. ‘Well, it’s certainly not what I expected when I wrote them,’ Christopher said. ‘I have to admit, my first reaction was, “Oh my gosh, is my music really that terrible?” ’ I laughed. ‘I once wrote a song for Bert and Ernie called “Put Down The Ducky”,’ he said, ‘which might be useful for interrogating members of the Ba’ath Party.’ ‘That’s very good,’ I said. ‘This interview,’ Christopher said, ‘has been brought to you by the letters W, M and D.’ ‘That’s very good,’ I said. We both laughed. I paused. ‘And do you think that the Iraqi prisoners, as well as giving away vital information, are learning new letters and numbers?’ I said. ‘Well, wouldn’t that be an incredible double win?’ said Christopher. Christopher took me upstairs to his studio to play me one of his Sesame Street compositions, called ‘Ya! Ya! Das Is a Mountain!’ ‘The way we do Sesame Street,’ he explained, ‘is that we have educational researchers who test whether these songs are working, whether the kids are learning. And one year they asked me to write a song to explain what a mountain is, and I wrote a silly yodelling song about what a mountain was.’ Christopher sang me a little of the song: Oompah-pah! Oompah-pah! Ya! Ya! Das is a mountain! Part of zee ground zat sticks way up high! ‘Anyway,’ he said, ‘forty per cent of the kids had known what a mountain was before they heard the song, and after they heard the song, only about twenty-six per cent knew what a mountain was. That’s all they needed. You don’t know what a mountain is now, right? It’s gone! So I figure if I have the power to suck information out of people’s brains by writing these songs, maybe that’s something that could be useful to the CIA for brainwashing techniques.’ Just then, Christopher’s phone rang. It was a lawyer from his music publishers, BMI. I listened into Christopher’s side of the conversation: ‘Oh really?’ he said. ‘I see . . . Well, theoretically they have to log that and I should be getting a few cents for every prisoner, right? Okay. Bye, bye . . .’ ‘What was that about?’ I asked Christopher. ‘Whether I’m due some money for the performance royalties,’ he explained. ‘Why not? It’s an American thing to do. If I have the knack of writing songs that can drive people crazy sooner and more effectively than others, why shouldn’t I profit from that?’ This is why, later that day, Christopher asked Danny Epstein – who has been the music supervisor of Sesame Street since the very first programme was broadcast in July 1969 – to come to his house. It would be Danny’s responsibility to collect the royalties from the military if they proved negligent in filing a music-cue sheet.

When I drive I like to listen to Schubert's piano sonatas with the volume turned up. Do you know why?' 'I have no idea.' 'Because playing Schubert's piano sonatas well is one of the hardest things in the world. Especially this, the Sonata in D Major. It's a tough piece to master. Some pianists can play one or maybe two of the movements perfectly, but if you listen to all four movements as a unified whole, no one has ever nailed it. A lot of famous pianists have tried to rise to the challenge, but it's like there's always something missing. There's never one where you can say, Yes! He's got it! Do you know why?' 'No,' I reply. 'Because the sonata itself is imperfect. Robert Schumann understood Schubert's sonatas well, and he labeled this one "Heavenly Tedious."' "If the composition's imperfect, why would so many pianists try to master it?' 'Good question,' Oshima says, and pauses as music fills in the silence. 'I have no great explanation for it, but one thing I can say. Works that have a certain imperfection to them have an appeal for that very reason―or at least they appeal to certain types of people. Just like you're attracted to Soseki's The Miner. There's something in it that draws you in, more than more fully realized novels like Kokoro or Sanshiro. You discover something about that work that tugs at your heart―or maybe we should say the work discovers you. Schubert's Sonata in D Major is sort of the same thing.' 'To get back to the question,' I say, 'why do you listen to Schubert's sonatas? Especially when you're driving?' 'If you play Schubert's sonatas, especially this one straight through, it's not art. Like Schumann pointed out, it's too long and too pastoral, and technically too simplistic. Play it through the way it is and it's flat and tasteless, some dusty antique. Which is why every pianist who attempts it adds something of his own, something extra. Like this―hear how he articulates it there? Adding rubato. Adjusting the pace, modulation, whatever. Otherwise they can't hold it all together. They have to be careful, though, or else all those extra devices destroy the dignity of the piece. Then it's not Schubert's music anymore. Every single pianist who's played this sonata struggles with the same paradox.' He listens to the music, humming the melody, then continues. 'That's why I like to listen to Schubert while I'm driving. Like I said, it's because all the performances are imperfect. A dense, artistic kind of imperfection stimulates your consciousness, keeps you alert. If I listen to some utterly perfect performance of an utterly perfect piece while I'm driving, I might want to close my eyes and die right then and there. But listening to the D major, I can feel the limits of what humans are capable of―that a certain type of perfection can only be realized through a limitless accumulation of the imperfect. And personally, I find that encouraging.

When we are sold perfume, we are accustomed to also being sold the idea of a life we will never have. Coty's Chypre enabled Guerlain to create Mitsouko; Coty's Emeraude of 1921 was the bedrock on which Shalimar was built and Coty's L'Origan become the godmother of L'heure bleue, also by Guerlain. Some people dedicate themselves to making life beautiful. With instinctual good taste, magpie tendencies and a flair for color, they weave painfully exquisite tableaux, defining the look of an era. Paul Poiret was one such person. After his success, he went bust in 1929 and had to sell his leftover clothing stock as rags. Swept out of the picture by a new generation of designers, his style too ornate and Aladdinesque, Poiret ended his days as a street painter and died in poverty. It was Poiret who saw that symbolic nomenclature could turn us into frenzied followers, transforming our desire to own a perfume into desperation. The beauty industry has always been brilliant at turning insecurities into commercial opportunities. Readers could buy the cologne to relax during times of anxiety or revive themselves from strain. Particularly in the 1930s, releases came thick and fast, intended to give the impression of bounty, the provision of beauty to all women in the nation. Giving perfumes as a gift even came under the Soviet definition of kulturnost or "cultured behavior", including to aunts and teachers on International Women's Day. Mitsouko is a heartening scent to war when alone or rather, when not wanting to feel lonely. Using fragrance as part of a considered daily ritual, the territorial marking of our possessions and because it offers us a retrospective sense of naughtiness. You can never tell who is going to be a Nr. 5 wearer. No. 5 has the precision of well-cut clothes and that special appeal which comes from a clean, bare room free of the knick-knacks that would otherwise give away its age. Its versatility may well be connected to its abstraction. Gardenia perfumes are not usually the more esoteric or intellectual on the shelves but exist for those times when we demand simply to smell gorgeous. You can depend on the perfume industry to make light of the world's woes. No matter how bad things get, few obstacles can block the shimmer and glitz of a new fragrance. Perfume became so fashionable as a means of reinvention and recovery that the neurology department at Columbia University experimented with the administration of jasmine and tuberose perfumes, in conjunction with symphony music, to treat anxiety, hysteria and nightmares. Scent enthusiasts cared less for the nuances of a composition and more for the impact a scent would have in society. In Ancient Rome, the Stoics were concerned about the use of fragrance by women as a mask for seducing men or as a vehicle of deception. The Roman satirist Juvenal talked of women buying scent with adultery in mind and such fears were still around in the 1940s and they are here with us today. Similarly, in crime fiction, fragrance is often the thing that gives the perpetrator away. Specifically in film noir, scent gets associated with misdemeanors. With Opium, the drugs tag was simply the bait. What YSL was really marketing, with some genius, was perfume as me time: a daily opportunity to get languid and to care sod-all about anything or anyone else.

One increasingly common way to combat alleged campus racism is to make all students take courses designed to sensitize them to the plight of minorities. In 1991, the University of California at Berkeley started making students study the contributions of minorities to American society.144 English Composition is the only other campuswide requirement.145 The University of Wisconsin campuses at Madison and Milwaukee, New York State University at Cortland, the University of Connecticut, Penn State University, the University of Michigan, and Williams College have also instituted race-relations requirements in the past several years.146 Courses like these often put the burdens of guilt and responsibility squarely on whites. As one satisfied student at Southern Methodist University put it, the purpose of a race-relations course he was taking was to show that “whites must be sensitive to the African-American community rather than the other way around.

That God is simple means, to use the words of the of the Westminster Confession of Faith, that He is ‘without … parts.’ He is not a composite or compound being, but a simple one.5 He is not made up of parts. You are not simple. You were, as the psalmist says, ‘knitted … together in your mother’s womb.’ You have a maker who formed your ‘inward parts,’ joined them together, and gave you life (Ps. 139:13). Your existence depends on the one who made you and on the parts He formed and joined together. Everything God created is made of parts—parts that are held together by His sustaining power. Nothing in creation is simple. But God is not like you or anything else. He has no maker. His attributes are not knitted together to form His being. He is not ‘made up’ of His attributes, nor are His attributes added on to His being or essence to make Him what He is. No, He is identical to His attributes. He is simple.

Her imagination arranged the oatcakes, rissoles and dumplings into a still life, and even with complimentary lighting, it was a rather cheerless composition. She found herself wanting to add a single satsuma to the canvas to give it a splash of color and a contrast of texture, a pomegranate, an aubergine, or even a humble tomato. But that wasn't English cooking, was it? She looked at the pile of letters. "We are not a country that cooks in primary colors," she said aloud, experimentally, testing the words as her mouth formed them. How pleasurable it would be to write about a ratatouille made from sweet end-of-summer tomatoes, apricot-colored chanterelles fried in butter with flecks of bright green parsley, or red mullet grilled over vine prunings and served with spoonfuls of golden aioli

[People] in general are good calculators.... the soldier on campaign who estimates distance in a single glance... the poet who counts syllables and verifies the cadence of his verses... the musician who applies in his compositions the laws of perfect harmony... the painter who draws with the unvarying proportions of perspective in his mind... the humble rug maker who arranges one by one the threads of his labor... All of these, O King, are fine and accomplished calculators.

By then I’d played with a couple of college bands, doing clumsy covers ofrock staples. There were other bands that would produce note-perfect imitationsof songs by Led Zeppelin or Pink Floyd and drive audiences wild. If a bandcould play something exactly as it was on tape, the consensus was that they mustbe good. But after a period of proving themselves this way, most bands became alittle more ambitious, and a day would come when they’d go up on stage duringa college festival and introduce a song with the dreaded words, ‘This is anoriginal composition.’ Almost always, these originals were listless pastiches ofthe covers the band played, the lyrics apparently not about anything at all. Thesewere skilled musicians, but their chosen form seemed to preclude any realengagement with their own lives or the lives of their audience. This was mostevident in the Death Metal bands, where you might have a good Hindu boygrowling menacingly about his affinity for Satan. This was a cargo-cult, amimicking of someone else’s rebellion.

What she wanted was technique. She wanted to paint like a Renaissance old master. She wanted to know what color Titian tinted his canvas before he started working on it. She wanted to know what colors Caravaggio mixed to make his lights. She wanted to know exactly which pigments Rubens utilized to achieve those juicy fleshy tones, what brown Rembrandt used in his shadows, what combination of oils and resins went into Vermeer's painting medium. She wanted someone to show her how to make Raphael's line and Michelangelo's muscle masses. She wanted to know what made a good composition, and what made a bad one. She wanted to know.

In the composition of the human frame, there is a good deal of inflammable matter; however dormant it may be for a while,...when the torch is put to it, that which is -within you- may burst into a blaze.' --GEORGE WASHINGTON, Letter to Eleanor ('Nelly') Parke Custis, March 21, 1796.

You can try to cover up depression in various ways. You can listen to Bach's compositions for the organ in Our Saviour's Church. You can arrange a line of good cheer in powder form on a pocket mirror with a razor blade and ingest it with a straw. You can call for help. For instance, by telephone, so that you know who's listening. That's the European method. Hoping to work your way out of problems through action. I take the Greenlandic way. It consists of submerging yourself in the dark mood. Putting your defeat under a microscope and dwelling on the sight.

Good goals are a composition of four specific kinds of numbers: A target states where you want to reach. A baseline identifies where you are today. A trend describes the current velocity. A time frame sets bounds for the change.

The following extracts are from letters addressed to a niece who was at that time amusing herself by attempting a novel, probably never finished, certainly never published, and of which I know nothing but what these extracts tell.  They show the good-natured sympathy and encouragement which the aunt, then herself occupied in writing ‘Emma,’ could give to the less matured powers of the niece.  They bring out incidentally some of her opinions concerning compositions of that kind:—

J.D. Fergusson is both a painter and a sculptor. He was born of Highland parents, is a true Celt, and worked in Paris both before and after the War. Since 1909, he has exhibited at the Salon d'Automne, and the influence of France must be upon him. Yet whatever impressions he has garnered in France, no Frenchman could have painted Fergusson's pictures. There is nothing imitative in his work; rather it is the expression of an unusually strong personailty. His compositions have attracted the French critics by their pleasing, unforced originality, kept always in bounds by an austere sense of good taste. Strength combined with grace characterises his pictures, and also his most attractive statuettes.

This is true in my own case, at any rate — plus also the “uncomfortable” part. I teach college English part-time. Mostly Lit, not Composition. But I am so pathologically obsessed with usage that every semester the same thing happens: once I’ve had to read my students’ first set of papers, we immediately abandon the regular Lit syllabus and have a three-week Emergency Remedial Usage and Grammar Unit, during which my demeanor is basically that of somebody teaching HIV prevention to intravenous-drug users. When it emerges (as it does, every term) that 95 percent of these intelligent upscale college students have never been taught, e.g., what a clause is or why a misplaced only can make a sentence confusing or why you don’t just automatically stick in a comma after a long noun phrase, I all but pound my head on the blackboard; I get angry and self-righteous; I tell them they should sue their hometown school boards, and mean it. The kids end up scared, both of me and for me. Every August I vow silently to chill about usage this year, and then by Labor Day there’s foam on my chin. I can’t seem to help it. The truth is that I’m not even an especially good or dedicated teacher; I don’t have this kind of fervor in class about anything else, and I know it’s not a very productive fervor, nor a healthy one — it’s got elements of fanaticism and rage to it, plus a snobbishness that I know I’d be mortified to display about anything else.

In other words, you have a palette with only black, white, and grays. You will thinly paint the grisaille with these, or mixtures of these. Use your value scale to determine the value of each color in the composition and match it with the gray of the same value on your palette. Paint it in. Paint the entire composition in grays, matching values of colors with grays. Be meticulous in your matching. Be accurate. Take your time to get this right. Getting this right ensures that the next step will be a success. If you get the values right, just about everything else can go wrong and it will still be a good painting. You will know when you have finished the grisaille when it resembles a black and white photo.

Buddho A mantra, associated with the Mahayana or Vajrayana Buddhism and a significant part of the history of Theravada. Repeating the name of Buddha or other Pali phrases is known to help the individual cultivate loving kindness. ‘Buddho’ comes to mean His title, not His rank. You call upon the holy teacher to offer you peace, harmony between yourself and the universe, harmony between the sensual and the spiritual world, by repeating the mantra. Until you continue, sit comfortably on the ground and take a few deep breaths. Then breathe in, say a long' bud-,' breathe out, hold'-dho.' At the conclusion of your practice, the mantra will give you clarity and brightness. • Lumen de Lumine Lumen De Lumine is luminous song. It helps you to feel open towards the world. The person will be engulfed in light. When darkness overpowers your life, Lumen De Lumine removes your aura and fills you with glow and light. You'll be more relaxed and uplifted. This is the ideal balance of power and harmony. The mantra will give you the faith that you're free from negative energies. Just like the light, you'll feel strong, untouchable, and invincible. Anyone can touch Lumen De Lumine. You don't have to close yourself with this chant in mind. Think of your loved one bringing positive energy and feelings to them. • Sat, Chit, Ananda Often known as Satchitananda, a Sanskrit composite word composed of the three verbs' sat,'' cit' and' ananda.' Sat means ' life, being present, being alive, living, being real, being good, being right, being normal, intelligent, being truthful.' Chit means' see, feel, perceive, understand, accept, think about something, shape a thought, be conscious, remember, consider' Ananda means ‘joy, love, satisfaction, enjoyment, happiness, pure elation’.

I have a mouth full of sand, unable to formulate a coherent thought beyond his touch. Hours ago, he spat in my face about how much he hates me. He also swore that he wouldn’t fuck me even if I begged him to. What good is that promise now while he plays with the edges of my shirt, as if my body is a composition where his fingers engrave each note of intention within?

Consider a study of college women who took a difficult math test along with two other students. In one condition, all three of the students were women. In another condition, two were women and one was a man. In a third condition, one was a woman and two were men. This seemingly arbitrary gender composition of the group had a dramatic effect on the women’s math performance: they got 70 percent of the answers right when in an all-female group, 64 percent when one of the other group members was male, and 58 percent when two of the other group members were male. The gender composition of the group had no effect on women’s performance on a verbal test, suggesting that the presence of men in the math groups triggered the stereotype that women are not as good at math.

Dietary Changes to Improve the 2:16 Ratio There are great foods that can help improve the conversion of estrogen into good metabolites and away from the bad ones. These foods include insoluble dietary fibers, such as lignin found in green beans, peas, carrots, seeds, and Brazil nuts. The reason that dietary fiber, especially lignin, is so beneficial is that it can bind harmful estrogens in the digestive tract, so they can be excreted in the feces instead of being reabsorbed. Dietary fiber also improves the composition of intestinal bacteria so that harmful estrogen metabolites can be excreted from the body. It also decreases the conversion of testosterone into estrogens, maintaining a healthy testosterone level. Sugar and simple carbohydrates cause unfriendly flora to grow in the gastrointestinal tract and disrupt estrogen metabolism. These foods also raise blood sugar and insulin levels, resulting in adverse influences in sex hormone balance. Too many simple carbohydrates have been associated with postmenopausal breast cancer risk among overweight women and women with a large waist

One of the band’s all-time-favorite movies was What Ever Happened to Baby Jane?, starring Bette Davis. In the movie, Bette wears disgusting caked makeup smeared on her face and underneath her eyes, with deep, dark, black eyeliner. She looks horrific and creepy because she put on traditional makeup thickly and badly. Another movie we watched over and over was Barbarella. One character, the Great Tyrant, was played by the gorgeous European actress Anita Pallenberg. She dressed in black leather with a black eye patch and had switchblades coming out of her. Alice Cooper’s look evolved from a composite of those female movie characters, with a little bit of Emma Peel from The Avengers added for good measure. Not

When power is discovered, man always turns to it," Bateson wrote darkly. "The science of heredity will soon provide power on stupendous scale; and in some country, at some time not, perhaps, far distant, that power will be applied to control the composition of a nation. Whether the institution of such control will ultimately be good or bad for that nation, or humanity at large, is a separate question." He had preempted the century of the gene.

When starting out in this field it’s extremely important to remember that, even though you may be an incredibly talented digital artist, part of working in production is the ability to work as a part of a team. No matter how good your reel of previous work is, supervisors and management want to feel comfortable that you are capable of being responsible, efficient and, quite honestly, reasonably pleasant to deal with. Production can be difficult and stressful—nobody wants to deal with personality issues on top of all that.

visual clues to good composition all around you. Clues that will help you see with your photographerʼs eye if you take the time to slow down and take notice of them. The elements of design are there, but sometimes you donʼt notice them until you go looking for them. Thatʼs the key. You have to go looking for them. Reading

Unfortunately for the composers of the time, wealthy Renaissance merchants were more likely to commission a painting than a composition. The painting could be owned, repeatedly shown off, and later resold, unlike the music. The financial incentive to commission a composition, which can be enjoyed by any audience member, was weaker. Paintings were closer to private goods, and musical performances were closer to public goods.

Hollywood was called Tinseltown for a reason and I was caught up in its glitter. My friend Ken seemed to know everyone and once took me to the NBC Studios in Burbank, where he introduced me to Steve Allen. “Steverino,” as he was known by friends, must have thought that I wanted to get into show business and promised that if I applied myself, I would go places. I hadn’t really given show business much thought, but it sounded good to me. However, I’m glad that I didn’t count on his promise of becoming a star, because that was the end of it. I never saw Steve Allen again, other than on television, and I guess that’s just the way it was in Hollywood. Later Steve Allen starred in NBC’s The Tonight Show, which in more recent times has been hosted by Jack Paar, Johnny Carson, Jay Leno and now by Jimmy Fallon. Steve Allen had a rider in his contract that whenever he was introduced as a guest, the introduction would include: “And now our next guest is world-renowned recording artist, actor, producer, playwright, best-selling author, composer of thousands of songs, Emmy winning comic genius and entertainer – Steve Allen.” He was a funny guy and he would crack me up, but more than that, he would frequently crack himself up. Steve was loved or hated by people. It was said that he was enormously talented, and if you didn’t believe that, just ask him. Jack Paar, who followed Steve on The Tonight Show, once said, “Steve Allen has claimed to have written over 1,000 songs; name one???” The truth is that he did write a huge number of songs, including the 1963 Grammy award-winning composition, The Gravy Waltz. He wrote about 50 books, one of which is Steve Allen’s Private Joke File, published in 2000, just prior to his death in that same year. He also has two stars on the “Hollywood Walk of Fame,” one for radio and one for TV. Say what you want…. He cracked up at least two people with his humor, himself and me!

The Horned Master governs the generative powers of the kingdom of the beasts, the raw forces of life, death and renewal which sustains the natural world.” Nigel A Jackson. The Call of the Horned Piper: 38 The Art and Craft of the Witches is found at the crossroad, where this world and the other side meets and all possibility become reality. This simple fact is often forgotten as one rushes to the Sabbath or occupies oneself with formalities of ritual. The cross marks the four quarters, the four elements, the path of Sun, Moon and Stars. The cross was fused or confused with the Greek staurus, meaning ‘rod’, ‘rood’ or ‘pole’. Various forms of phallic worship are simply, veneration for the cosmic point of possibility and becoming. It is at the crossroads we will gain all or lose all and it is natural that it is at the crossroads we gain perspective. The crossroad is a place of choice, the spirit-denizens of the crossroads are said to be tricky and unreliable and it is of course where we find the Devil. One of the most famous legends of recent times concerns the blues-man Robert Johnson (1911– 1938). He claimed that, one night, just before midnight he had gone to the crossroads. He took out his guitar and played, whereupon a big black guy appeared, tuned his guitar, played a song backwards and handed it back.2 This incident altered Johnson’s playing and his finest and most everlasting compositions were the fruit of the few years of life left to him. This legend tells us how he needed to bury himself at the crossroads, offering himself to the powers dwelling there. Business done with the Devil is said to give him the upper hand. The ill omens and malefica associated with such deals is present in Johnson’s story. He got fame and women, but he died less than three years later before he reached thirty. His body was found poisoned at a crossroads, the murderer’s identity a mystery. Around the Mississippi no less than three tombs carry the name of Robert Leroy Johnson. The image of the Devil remains one of threat, blessing, beauty and opportunity. Where we find the Devil we find danger, unpredictability and chaos. If he offers a deal we know we are in for a complicated bargain. The Devil says that change is good, that we need movement in order to progress. His world is about cunning and ordeal entwined like the serpents of past and future on the pole of ascent. It is to the crossroads we go to make decisions. It is at the crossroads we set the course for the journey. It is at the crossroads we confront ourselves and realize our

Today's enemies can be your friends tomorrow. And today's friends can be tomorrow's enemies. What you reject today, you could accept tomorrow. And what you accept today, you could reject tomorrow. Never say never unless you can predict the future. Unforeseeable circumstances can make a rich man, poor - And a poor man, rich. And unpredictable experiences can also make a good man, bad - And a bad man, good. Like the weather or bonds between lovers, Transformations cannot always be predicted. All energy transmutes one day or another, In one way or another, Either in its form or composition, Or in its position or disposition. Today will always offer new experiences, And tomorrow will always offer new opportunities. But if you heed to yesterday's lessons, You can shape your present and future To be filled with positive relationships And beautiful blessings. TODAY AND TOMORROW by Suzy Kassem THE SPRING FOR WISDOM Copyright 1993

While [Frank H.] Young added, 'In a good modern layout the principles of all good layout still prevail . . . cohesion, legibility, movement, emphasis, simplicity, and continuity.

A good army composition is: 10 Giants, 60 Archers, 6-10 Wall Breakers & around 80-ish Goblins.

Today's enemies can be your friends tomorrow. And today's friends can be tomorrow's enemies. What you reject today, you could accept tomorrow. And what you accept today, you could reject tomorrow. Never say never unless you can predict the future. Unforeseeable circumstances can make a rich man, poor - And a poor man, rich. And unpredictable experiences can also make a good man, bad - And a bad man, good. Like the weather or bonds between lovers, Transformations cannot always be predicted. All energy transmutes one day or another, In one way or another, Either in its form or composition, Or in its position or disposition. Today will always offer new experiences, And tomorrow will always offer new opportunities. But if you heed to yesterday's lessons, You can shape your present and future To be filled with positive relationships And beautiful blessings. TODAY AND TOMORROW by Suzy Kassem

I was somewhat surprised, therefore, to find that my college teachers—famous academics and composers—inhabited an entirely different musical universe. They knew nothing about, and cared little for, the music I had grown up with. Instead, their world revolved around the dissonant, cerebral music of Arnold Schoenberg and his followers. As I quickly learned, in this environment not everything was possible: tonality was considered passé and “unserious”; electric guitars and saxophones were not to be mixed with violins and pianos; and success was judged by criteria I could not immediately fathom. Music, it seemed, was not so much to be composed as constructed—assembled painstakingly, note by note, according to complicated artificial systems. Questions like “does this chord sound good?” or “does this compositional system produce likeable music?” were frowned upon as naive or

Imagine if diabetologists had perceived the ravenous hunger that accompanies uncontrolled diabetes as a behavioral disorder, to be treated by years of psychotherapy or behavioral modification rather than injections of insulin. These researchers simply never confronted the possibility that the nutrient composition of the diet might have a fundamental effect on eating behavior and energy expenditure, and thus on the long-term regulation of weight.

This brings us back to the questions we asked earlier: If people eat less on carbohydrate-restricted diets, why aren’t they hungry. And if they don’t eat less, why do they lose weight? If the restriction of carbohydrates works to ameliorate this defect in fat metabolism, as Pennington speculated, then weight will be lost, hunger will be absent, and calorie consumption may decrease, while energy expenditure will increase. This is no more than the consequences of the law of energy conservation applied to a biological system that works to conserve body composition and maintain a healthy flow of fuel to the cells and tissues.

The emergent properties of my computer have existence not because they inhere in the component parts that compose them. They do so because those component materials are related to one another by careful design to work together as a single system in order to produce those properties. The visual, informational, and computational abilities of my computer are new realities, yet not present in the sum total of the inputs of which my computer is constituted. It is only through their systemic relationships that those amazing abilities have being. The novel reality takes existence not through the parts but through their relationships and interactions. Reality is thus significantly constituted through relationality, not merely composition.

In his story Sarrasine, Balzac, speaking of a castrato disguised as a woman, writes this sentence: “It was Woman, with her sudden fears, her irrational whims, her instinctive fears, her unprovoked bravado, her daring and her delicious delicacy of feeling” Who is speaking in this way? Is it the story’s hero, concerned to ignore the castrato con - cealed beneath the woman? Is it the man Balzac, endowed by his personal experience with a philosophy of Woman? Is it the author Balzac, professing certain “literary” ideas of femininity? Is it universal wisdom? or romantic psychology? It will always be impossible to know, for the good reason that all writing is itself this special voice, consisting of several indiscernible voices, and that literature is precisely the invention of this voice, to which we cannot assign a specific origin: literature is that neuter, that composite, that oblique into which every subject escapes, the trap where all identity is lost, beginning with the very identity of the body that writes.

Uses of Custom Blinds Customized blinds may also be used to control the temperature in any room. For example, if the room in a home is chilly during the day time, the owner of the house and their family members can simply open up the blinds so that they'll let the sunlight in. The daylight helps to heat up the room without changing the temperature on the wall. Additionally, when it will get too sizzling, the household can shut the blinds so that they can cool the room down as nicely. Whatever the scenario, these blinds can be utilized for a wide variety of various purposes. Out there, there are various kinds of window shades. Choosing the right window blind is usually a bit hectic if it’s your first time. Listed below are some various varieties of window shades that you can choose from. Venetian blinds are the commonest and in style at this time. They're constructed from horizontal slates connected to one another. They function on a change or pull string. Some are product of wooden, plastic or composites. They are appropriate for each houses and places of work. Vertical blinds are among the most unique varieties of window blinds you can get. They are good insulators and can be used to Custom Blinds utterly block daylight penetration. The vertical shades are also robust enough to stop any harm from strong winds. They are low cost but stylish. Some are constructed with the power to adjust themselves in response to the time of day. Customs blinds can be used for each casual and office settings. This innovative thought means that you can use pictures as blind. With regards to makes use of of custom blinds, there are different options. Using your individual imagination, customized blinds might be adorned with completely different colors, designs and patterns. If your window is of an additional ordinary size, there are basic window blinds which can be customized to slot in. These are the roller blinds. Attributable to know-how, they've been advanced to be extra reliable and durable than earlier than. They're now less likely to breakdown. You possibly can select from all kinds of colours and patterns. Before coming to a conclusion on the perfect kinds of window blinds, it is very important do some extensive research. The images can be printed on a high quality curler and you should utilize vertical blinds, that are fade resistant, easier to clean and final for a number of years. In case your home windows varies in sizes, contemplate the images that will look one of the best. For a big window, a large panorama image can be effective. If the window is kind of slim, you need to consider photos corresponding to flowers or bushes.

heartful.   PR: You really did it. Music is an amazing art, to me. I love to recount to myself the number of human beings it takes, each skilled in a different area, to make possible a symphony concert. The composers, and those who copied and preserved the compositions, the instrument makers, skilled at their crafts—tubas, trumpets, timpani, woodwinds, strings—the music teachers who taught the performers, the performers who studied their instruments and practiced and rehearsed, all the builders who erected the concert hall—carpenters, electricians, etc.—the architect who designed it, the conductor who studied, who learned the language of music, the languages of all the instruments, the members of the audience who bought tickets, got dressed, came to the concert hall to be transported, to be informed, by sound, came for an experience that had nothing to do with physical survival. Most amazing. Always makes me certain absolutely without doubt that something is going on with the human species, something good. Two heroes to me are my middle school music teacher and my son’s middle school music teacher. What courage! All those twelve- and thirteen-year-old children, each with a noise-making instrument in his hands and these two enormously courageous teachers are attempting to teach them how to make music together. At my son’s first sixthgrade band concert, the music teacher turned to the audience of glowing, proud parents and said, “I’m not certain what’s going to happen here, but I’m just hoping that we’ll all begin at the same time.” It brought tears to my eyes, literally. And they did it! One step forward, in my opinion, in understanding what it means to be human.

Machiavelli wrote, “The main foundations of every state, new states as well as ancient or composite ones, are good laws and good arms. You cannot have good laws without good arms, and where there are good arms, good laws inevitably follow.” This is a better definition of realism than the realists have given us.

On account of its name many are liable to think the loose sentence an undesirable form in good composition, but this should not be taken for granted. In many cases it is preferable to the periodic form.

detect a market top, keep a close eye on the daily S&P 500, NYSE Composite, Dow 30, and Nasdaq Composite as they work their way higher. On one of the days in the uptrend, volume for the market as a whole will increase from the day before, but the index itself will show stalling action (a significantly smaller price increase for the day compared with the prior day’s much larger price increase). I call this “heavy volume without further price progress up.” The average doesn’t have to close down for the day, but in most instances it will, making the distribution (selling) much easier to see, as professional investors liquidate stock. The spread from the average’s daily high to its daily low may in some cases be a little wider than on previous days.

This composite placement is not saying that the relationship is good or bad, nor that it is in pain. It is merely stating a fact: the full potential of the relationship can never be reached because something was irrevocably damaged long before the two individuals were born.

When something or someone advances to a mental state of order to obtain a composition, it may be at its furthest good; Nonetheless, he'll reach absurdity, but further advances.

The third type of possession and madness is possession by the Muses. When this seizes upon a gentle and virgin soul it rouses it to inspired expression in lyric and other sorts of poetry, and glorifies countless deeds of the heroes of old for the instruction of posterity. But if a man comes to the door of poetry untouched by the madness of the Muses, believing that technique alone will make him a good poet, he and his sane compositions never reach perfection, but are utterly eclipsed by the performances of the inspired madman.  

When I walk the reader through my definition of “good composition” and the elements of composition in The Art of Photography, I do not discuss any rules for good composition. I avoid them because there are none. Every composition is unique, and following some concocted formula will not guarantee a good photograph. There are no formulas; there are no rules of composition. I strongly urge all photographers, beginner or experienced, to avoid any instruction or instructor that claims there are—it’s bogus.

Reading unfolds like a game called ‘I,’ in public gardens in good weather, in a series of worn-down hotel rooms, in museums in winter, where ‘I’ is the composite figure who is going to write but hasn’t yet.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

But he was so very sad about the boy who didn’t see. Now that Dad was gone I was starting to see how mortality was bound up in things like that cold, arc-lit sky. How the world is full of signs and wonders that come, and go, and if you are lucky you might see them. Once, twice. Perhaps never again. The albums on my mother’s shelves are full of family photographs. But also other things. A starling with a crooked beak. A day of hoarfrost and smoke. A cherry tree thick with blossom. Thunderclouds, lightning strikes, comets and eclipses: celestial events terrifying in their blind distances but reassuring you, too, that the world is for ever, though you are only a blink in its course. Henri Cartier-Bresson called the taking of a good photograph a decisive moment. ‘Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera,’ he said. ‘The Moment! Once you miss it, it is gone for ever.

Fred-may-have-considered-silence-his-most-important legacy. When acclaimed musician Yo-Yo Ma visited the Neighborhood and played Fred's composition 'Tree, Tree, Tree' on his cello, Fred took some time afterward to reflect. Let's take some quiet time to remember, he invited his television neighbor, to sit and think about what we've heard. And so he did. It wasn't dead air to him; it was thanking the God who inspires and informs all that is nourishing and good.

Fred may have considered silence his most important legacy. When acclaimed musician Yo-Yo Ma visited the Neighborhood and played Fred's composition 'Tree, Tree, Tree' on his cello, Fred took some time afterward to reflect. Let's take some quiet time to remember, he invited his television neighbor, to sit and think about what we've heard. And so he did. It wasn't dead air to him; it was thanking the God who inspires and informs all that is nourishing and good.

Painters, I told myself, though I know nothing about painting, don’t start at one side of the canvas and work meticulously across to the other side. They create an underpainting, a base of shape, of light and dark. They find the composition slowly, layer after layer. This was only my first layer, I told myself as we turned the corner, the dog pulling toward something ahead, his nails loud on the sidewalk. It’s not supposed to be good or complete. It’s okay that it feels like a liquid not a solid, a vast and spreading goo I can’t manage, I told myself. It’s okay that I’m not sure what’s next, that it might be something unexpected.

People who don't feel good about themselves are always ready to make others feel bad about themselves.

Give most children crayons and paper and they’ll happily draw for the fun of it; the intrinsic reward of doing something creative keeps them happy and interested. But as soon as you pay children for their art, their drawings get sloppy and less detailed. They also don’t seem to enjoy the process of drawing anywhere near as much when they are offered a treat in return for each piece produced. In studies, children who know they will be rewarded for their drawings spend only about half as much time playing with crayons as those children who aren’t offered a reward.5 In fact, the exact same behavior had already been observed in the 1960s with chimpanzees in the wild. Desmond Morris, a man with “surrealist painter” and “children’s author” alongside “world-renowned zoologist” on his CV, observed that wild chimpanzees stopped drawing for its own sake as soon as they learned that drawings earned treats. Those drawings that they could be persuaded to produce were made with less time, care, and attention. “Any old scribble would do and then it would immediately hold out its hand for a reward. The careful attention the animal had paid previously to design, rhythm, balance and composition was gone and the worst kind of commercial art was born.

The brutality of language conceals the banality of thought and, with certain major exceptions, is indistinguishable from a kind of conformism. Cities, once the initial euphoria of discovery had worn off, were beginning to provoke in her a kind of unease. in New York, there was nothing, deep down, that appealed to her in the mixture of puritanism and megalomania that typified this people without a civilization. What helps you live, in times of helplessness or horror? The necessity of earning or kneading, the bread that you eat, sleeping, loving, putting on clean clothes, rereading an old book, the smell of ripe cranberries and the memory of the Parthenon. All that was good during times of delight is exquisite in times of distress. The atomic bomb does not bring us anything new, for nothing is more ancient than death. It is atrocious that these cosmic forces, barely mastered, should immediately be used for murder, but the first man who took it into his head to roll a boulder for the purpose of crushing his enemy used gravity to kill someone. She was very courteous, but inflexible regarding her decisions. When she had finished with her classes, she wanted above all to devote herself to her personal work and her reading. She did not mix with her colleagues and held herself aloof from university life. No one really got to know her. Yourcenar was a singular an exotic personage. She dressed in an eccentric but very attractive way, always cloaked in capes, in shawls, wrapped up in her dresses. You saw very little of her skin or her body. She made you think of a monk. She liked browns, purple, black, she had a great sense of what colors went well together. There was something mysterious about her that made her exciting. She read very quickly and intensely, as do those who have refused to submit to the passivity and laziness of the image, for whom the only real means of communication is the written word. During the last catastrophe, WWII, the US enjoyed certain immunities: we were neither cold nor hungry; these are great gifts. On the other hand, certain pleasures of Mediterranean life, so familiar we are hardly aware of them - leisure time, strolling about, friendly conversation - do not exist. Hadrian. This Roman emperor of the second century, was a great individualist, who, for that very reason, was a great legist and a great reformer; a great sensualist and also a citizen, a lover obsessed by his memories, variously bound to several beings, but at the same time and up until the end, one of the most controlled minds that have been. Just when the gods had ceased to be, and the Christ had not yet come, there was a unique moment in history, between Cicero and Marcus Aurelius, when man stood alone. We know Yourcenar's strengths: a perfect style that is supple and mobile, in the service of an immense learnedness and a disabused, decorative philosophy. We also know her weakness: the absence of dramatic pitch, of a fictional progression, the absence of effects. Writers of books to which the work ( Memoirs of Hadrian ) or the author can be likened: Walter Pater, Ernest Renan. Composition: harmonious. Style: perfect. Literary value: certain. Degree of interest of the work: moderate. Public: a cultivated elite. Cannot be placed in everyone's hands. Commercial value: weak. People who, like her, have a prodigious capacity for intellectual work are always exasperated by those who can't keep us with them. Despite her acquired nationality, she would never be totally autonomous in the US because she feared being part of a community in which she risked losing her mastery of what was so essential to her work; the French language. Their modus vivendi could only be shaped around travel, accepted by Frick, required by Yourcenar.

Note that in the above construction we made a number of choices; here we must beware. Choosing a good categorification – like designing a good algebraic structure such as that of preorders or quantales – is part of the art of mathematics. There is no prescribed way to categorify, and the success of a chosen categorification is rather empirical: its richer structure should allow us more insights into the subject we want to model.

Take lard, for example, which has long been considered the archetypal example of a killer fat. It was lard that bakeries and fast-food restaurants used in large quantities before they were pressured to replace it with the artificial trans fats that nutritionists have now decided might be a cause of heart disease after all. You can find the fat composition of lard easily enough, as you can for most foods, by going to a U.S. Department of Agriculture website called the National Nutrient Database for Standard Reference. You’ll find that nearly half the fat in lard (47 percent) is monounsaturated, which is almost universally considered a “good” fat. Monounsaturated fat raises HDL cholesterol and lowers LDL cholesterol (both good things, according to our doctors). Ninety percent of that monounsaturated fat is the same oleic acid that’s in the olive oil so highly touted by champions of the Mediterranean diet. Slightly more than 40 percent of the fat in lard is indeed saturated, but a third of that is the same stearic acid that’s in chocolate and is now also considered a “good fat,” because it will raise our HDL levels but have no effect on LDL (a good thing and a neutral thing). The remaining fat (about 12 percent of the total) is polyunsaturated, which actually lowers LDL cholesterol but has no effect on HDL (also a good thing and a neutral thing).

Yet biologists feel that animals are no strangers to aesthetic expression. The New Guinean bowerbird's nest decorations are as good an example as any. The thatched nests can be so large and well-constructed that they once were mistaken for the huts of timid people, who never showed up. The nests often have a doorway with carefully arranged colorful objects, such as berries, flowers, or iridescent beetle wings. The male who built the bower keeps flying in new ornaments, shifting everything around with a critical eye, fussing over the arrangement, moving back to look at the whole from a distant anglelike a human painter with his painting-and then continuing the rearrangement. He is very sensitive to the fading of his flowers, replacing them with fresh ones as soon as necessary. Young males build crude "practice" bowers, tearing them down, then starting over again, until the construction holds up as it should. They also frequently visit the completed bowers of adult males in the neighborhood and see how the ornaments are laid out. There are ample learning opportunities here, and it has been noted that bower decorations differ in color and arrangement from region to region, which suggests culturally transmitted styles. Is this art? One could counter that it isn't: howerbird males are genetically programmed to engage in this activity just to attract females. Yet, while it is true that females select mates on nest quality and their equivalent of a stamp collection, the argument is not nearly as good as it sounds. To contrast these birds with our species requires that one demonstrates that human art does not rest on an inborn aesthetic sense and is produced purely for its own sake, not to impress anyone else. Both are unlikely. In fact, Geoffrey Miller argues in a recent book that impressing others, especially members of the opposite sex, may be the whole point of human art! What if our artistic impulse is ancient, antedating modern humanity, and perhaps even our species? What if it rests on a delight in self-created visual effects and a penchant for certain color combinations, shapes, and visual equilibriums that we share with other animals? Would admission in any of these areas diminish the significance of and pleasure derived from human art? Isn't it possible that our basic distinctions in art, our musical scales, and our preference for symmetrical compositions, go deeper than culture, and relate to basic features of our perceptual systems?

Murnau now inserts scenes with little direct connection to the story, except symbolically. One involves a scientist who gives a lecture on the Venus flytrap, the “vampire of the vegetable kingdom.” Then Knock, in a jail cell, watches in close-up as a spider devours its prey. Why cannot man likewise be a vampire? Knock senses his Master has arrived, escapes, and scurries about the town with a coffin on his back. As fear of the plague spreads, “the town was looking for a scapegoat,” the titles say, and Knock creeps about on rooftops and is stoned, while the street is filled with dark processions of the coffins of the newly dead. Ellen Hutter learns that the only way to stop a vampire is for a good woman to distract him so that he stays out past the first cock’s crow. Her sacrifice not only saves the city but also reminds us of the buried sexuality in the Dracula story. Bram Stoker wrote with ironclad nineteenth-century Victorian values, inspiring no end of analysis from readers who wonder if the buried message of Dracula might be that unlicensed sex is dangerous to society. The Victorians feared venereal disease the way we fear AIDS, and vampirism may be a metaphor: The predator vampire lives without a mate, stalking his victims or seducing them with promises of bliss—like a rapist or a pickup artist. The cure for vampirism is obviously not a stake through the heart, but nuclear families and bourgeois values. Is Murnau’s Nosferatu scary in the modern sense? Not for me. I admire it more for its artistry and ideas, its atmosphere and images, than for its ability to manipulate my emotions like a skillful modern horror film. It knows none of the later tricks of the trade, like sudden threats that pop in from the side of the screen. But Nosferatu remains effective: It doesn’t scare us, but it haunts us. It shows not that vampires can jump out of shadows, but that evil can grow there, nourished on death. In a sense, Murnau’s film is about all of the things we worry about at three in the morning—cancer, war, disease, madness. It suggests these dark fears in the very style of its visuals. Much of the film is shot in shadow. The corners of the screen are used more than is ordinary; characters lurk or cower there, and it’s a rule of composition that tension is created when the subject of a shot is removed from the center of the frame. Murnau’s special effects add to the disquieting atmosphere: the fast motion of Orlok’s servant,

If you want to get a glimpse of how your whole body/heart/brain Mind system sounds when it works collectively, listen to a symphony. Compositions by Beethoven might be a good start, because his deafness forced him to tune in to his heart’s code rather than rely on his brain’s sense of hearing.

He also became better acquainted with Czerny, who invited him to his house to play some music for two pianofortes. “He is a good fellow, but nothing more,” Chopin remarked of the renowned pedagogue. And he added the revealing comment, “There is more feeling in Czerny himself than in all his compositions.

Faith speaks to the soul and asks us to purify our soul. When faith gives guidelines about body, it is to make sure that the body hosting the soul should become pure by cleanliness and by being non- injurious to others. Even if we have evolved through a physical process to get our current physical form, it does not matter in the faith based worldview since the faith based worldview attributes every creature’s origin and creation to the Ultimate Creator. But, we humans in our current form and nature have been given a strong ability to differentiate right from wrong actions. This ability is not within our chemical composition. We might be having same colonies of bacteria and cells like other animals. This is the chemical description of our body, i.e. the host which embodies the human soul and spirit. The ability to differentiate right from wrong is in our conscience. We like to act in ways that are essentially good and virtuous and dislike acts which are wrong and unjust. Yet, this world is not fair. Belief in afterlife accountability actualizes the cause and effect in moral matters. It will give deterministic results to every act of goodness and every act of evil. That makes life meaningful and purposeful. That enables us to look beyond our survival instincts in organizing life on the basis of moral values of justice, fairness, honesty, sacrifice and cooperation.

comparing a “fixed” versus “growth” mindset. A fixed mindset assumes that whatever we are—a certain composite of personality, intelligence, abilities—is a given. Every new challenge becomes a moment where you simply prove yourself again and again as being that particular person (dumb, smart, winning, losing, etc.). A growth mindset, conversely, imagines that we are not static creatures. We can change, and we do. We flex and grow, fall back, or bounce forward. But we are not simply the aggregate of whatever we have been.

Huy smiled every time he remembered to smile, to send a message that he wasn't unhappy. He had learned how to stop people from asking him what was wrong. He wasn't unhappy, he was happy to come and he was happy to watch and he was happy to listen and laugh. He figured his friends must have thought he did not have any opinions on the things they were discussing, but he did, and he wrote them down when he got home. Just because you're not good at speaking, doesn't mean you're not good at listening and thinking, he wrote on the inside front cover of his black and white speckled composition notebook.

Denys Overholser reported back to me on May 5, 1975, on his attempts to design the stealthiest shape for the competition. He was wearing a confident smile as he sat down on the couch in my office with a preliminary designer named Dick Scherrer, who had helped him sketch out the ultimate stealth shape that would result in the lowest radar observability from every angle. What emerged was a diamond beveled in four directions, creating in essence four triangles. Viewed from above the design closely resembled an Indian arrowhead. Denys was a hearty outdoorsman, a cross-country ski addict and avid mountain biker, a terrific fellow generally, but inexplicably fascinated by radomes and radar. That was his specialty, designing radomes—the jet’s nose cone made out of noninterfering composites, housing its radar tracking system. It was an obscure, arcane specialty, and Denys was the best there was. He loved solving radar problems the way that some people love crossword puzzles. “Boss,” he said, handing me the diamond-shaped sketch, “Meet the Hopeless Diamond.” “How good are your radar-cross-section numbers on this one?” I asked. “Pretty good.” Denys grinned impishly. “Ask me, ‘How good?’ ” I asked him and he told me. “This shape is one thousand times less visible than the least visible shape previously produced at the Skunk Works.” “Whoa!” I exclaimed. “Are you telling me that this shape is a thousand times less visible than the D-21 drone?” “You’ve got it!” Denys exclaimed. “If we made this shape into a full-size tactical fighter, what would be its equivalent radar signature… as big as what—a Piper Cub, a T-38 trainer… what?” Denys shook his head vigorously. “Ben, understand, we are talking about a major, major, big-time revolution here. We are talking infinitesimal.” “Well,” I persisted, “what does that mean? On a radar screen it would appear as a… what? As big as a condor, an eagle, an owl, a what?” “Ben,” he replied with a loud guffaw, “try as big as an eagle’s eyeball.

Know that the life in you, a pig, a dog and an ant has the same bio-chemical and quantum composition. This is the highest metaphysical knowledge. Less than this is just a this-that religious nut's position. It is non-knowledge,

From studying the other primates that have color vision, we can estimate that our kind of color vision arose about 55 million years ago. At this time we find fossil evidence of changes in the composition of ancient forests. Before this time, the forests were rich in figs and palms, which are tasty but all of the same general color. Later forests had more of a diversity of plants, likely with different colors. It seems a good bet that the switch to color vision correlates with a switch from a monochromatic forest to one with a richer palette of colors in food.

When power is discovered, man always turns to it,” Bateson wrote darkly. “The science of heredity will soon provide power on a stupendous scale; and in some country, at some time not, perhaps, far distant, that power will be applied to control the composition of a nation. Whether the institution of such control will ultimately be good or bad for that nation, or for humanity at large, is a separate question.” He had preempted the century of the gene.

Our brains, for instance, are 70 percent fat, mostly in the form of a substance known as myelin that insulates nerve cells and, for that matter, all nerve endings in the body. Fat is the primary component of all cell membranes. Changing the proportion of saturated to unsaturated fats in the diet, as proponents of Keys’s hypothesis recommended, might well change the composition of the fats in the cell membranes. This could alter the permeability of cell membranes, which determines how easily they transport, among other things, blood sugar, proteins, hormones, bacteria, viruses, and tumor-causing agents into and out of the cell.” Gary Taubes, Good Calories, Bad Calories (New York: Anchor, 2008), p. 30–31.

Most white Americans believe elections should be a choice of policies rather than expressions of racial identity. If Americans vote for a candidate because of his racial agenda, representative government is crippled. Democratic systems operate well only when politicians recognize that even if their opponents’ approaches may be different, all parties are trying to work for the good of the country as a whole. When politics fracture along racial lines, it becomes easy to assume that elected officials work for narrow, ethnic interests, and political contests become very bitter. The ultimate logic of politics in a racially fractured electorate is a system of quotas in which seats in elective bodies are set aside in proportion to the racial composition of the population. This is the formula hopelessly divided countries such as Lebanon and immediate post-white-rule Zimbabwe and South Africa hit upon. It could be the solution for other divided countries such as Iraq, Sudan, Fiji, Malaysia, or Sri Lanka, where politics is a perpetual squabble over ethnic interests. There is already implied support for proportional racial representation in the federal approach to voter districts. The US Department of Justice has long required that congressional districts be gerrymandered to create black and Hispanic majorities that are expected to vote along racial lines and send one of their own to Congress. The department also routinely sues cities that choose their governing bodies in at-large elections. If, for example, a city is 30 percent black but has no blacks on the city council because all candidates must appeal to the entire city, voting must be switched to a ward system, with wards drawn so that blacks—by voting for people like themselves have approximately 30 percent of the council seats. In 2006, the Justice Department used precisely this argument to threaten Euclid, Ohio, with litigation if it did not replace its at-large elections with a system of eight separate wards. In 2010, Hispanics made the same argument when they sued the city of Compton: They claimed that an at-large voting system shut them out and kept the city council all black.

Good ideas are not conjured out of thin air; they are built out of a collection of existing parts, the composition of which expands (and, occasionally, contracts) over time. Some of those parts are conceptual: ways of solving problems, or new definitions of what constitutes a problem in the first place. Some of them are, literally, mechanical parts.

Gluten, a major component of wheat, barley, and rye, is a composite of two different proteins, gliadin and glutelin. Gluten is what gives bread its stretchiness and elasticity, qualities most folks enjoy. But gluten also makes some people seriously ill. It is estimated that about 1 percent of the population is gluten intolerant, though most are unaware of it. If gluten-intolerant individuals eat gluten grains, they develop what’s known as celiac disease. Celiac disease is an autoimmune condition in which the gliadin protein in gluten grains generates an antibody-mediated immune-system attack against the intestines, leading to chronic diarrhea, fatigue, stunting of growth, vitamin and mineral deficiencies, anemia, nerve damage, and osteoporosis. Furthermore, those with celiac disease have higher rates of cancer, schizophrenia, and a whole host of autoimmune illnesses (Jackson et al. 2012; Rubio-Tapia and Murray 2010), suggesting that the body’s response to gluten affects more than just the intestines. And, on the flip side, almost every chronic autoimmune disease we know of is associated with a significantly increased risk of celiac disease (Cosnes et al. 2008; Rousset 2004; Rodrigo et al. 2011; Song and Choi 2004).

I decided I might be able to substitute a tobacco cigarette with one made from spearmint. I made up my mind that if I was going to keep smoking, I had to find something less expensive to smoke. I did not mention this in my composition book, but have decided to mention it now. It is a good example of a bad substitute. There is no safe cigarette.

When composition is good, you don’t really notice it, but you definitely notice when compositional elements are ignored. An artwork will seem unsuccessful or ‘wrong’ to you, even if you don’t know why.

It was not the artists' or the politicians' fault, this desolate state of affairs. To a large extent, it was the Soviet Union's fault. In all societies, public rhetoric involves some measure of lying, and history—political history and art history—is made when someone effectively confronts the lie. But in really scary societies all public conversation is an exercise in using words to mean their opposites—in describing the brave as traitorous, the weak as frightening, and the good as bad—and confronting these lies is the most scary and lonely thing a person can do. These are the societies of Aldous Huxley's "Brave New World," or Yevgeny Zamyatin's "We," which preceded it. In Zamyatin's utopia, the guillotine was known as the Machine of the Benefactor, people were known as Numbers, and the power of words was well understood: "Whoever feels capable must consider it his duty to write treatises, poems, manifestos, odes, and other compositions on the greatness and beauty of the United State," Zamyatin had based his dystopia on the Soviet state he witnessed being constructed. Half a century after this death, real words that corresponded to actual facts and feelings broke through in a sudden, catastrophic flood and brought down the Soviet Union. But that heady period of Russian history was winding down by the time Petya and Nadya were learning to talk. Voina faced a challenge that perhaps exceeded challenges faced by any other artist in history: they wanted to confront a language of lies that had once been effectively confronted but had since been reconstructed and reinforced, discrediting the language of confrontation itself. There were no words left.

Where the real trouble comes in is where to make a start and where to leave off. Everything depends upon a good beginning. When planning our general composition we must feel our way with long lines, seeing first only the big and fundamental things and arriving at the necessary detail last, never forgetting the darkest accents in the subject, which should be among the first objects to note. Our touch should be free and suggestive, and this can come only from knowledge and the correct pressure of the pencil, held as I have explained. Every subject is good if we render our impressions of it clearly and strongly. The slightest sketch can be strong if it suggests the artist’s emotions to others, and the strongest drawing weak if it leaves them cold.

These researchers simply never confronted the possibility that the nutrient composition of the diet might have a fundamental effect on eating behavior and energy expenditure, and thus on the long-term regulation of weight.

Traditional music is the foundation of what the folk music revival was about—songs of unknown authorship handed down through the generations. I keep returning to these old, classic songs, often bringing them back to find new meaning and fresh interpretations. “Danny Boy,” “The Lark in the Morning,” “Barbara Allen,” “So Early, Early in the Spring,” and “The Gypsy Rover” have lasted for years and will endure for years more. They touch your heart, and for anyone trying to write new and original songs, they stand as an unspoken challenge: make something as good and as timeless as this and you will have won the heart of your listener. You also will have added something to the story of humankind. Traditional songs didn’t just spring from the earth, of course. Somebody somewhere came up with a melody through which to tell a story, and that story-song got passed along. These songs survive in the memory of a culture because they tell stories of universal emotion and experience—of love, heartbreak, mourning, abandonment, victory, and defeat—and because they are so very adaptable to so many times, to so many people. One person would add a verse; another would change a melody a bit. This is what we call the “folk process,” borrowing to fit the time, the person, the incident.

All i can say to women is to guard your personal space with discrimination, anno every and anybody to get access to your life so they can have a story to tell about you. For what they do inno hun, is tek the likkle weh dem know bout you and spread it like that is you. A few composite of events , experiences and perceptions makes someone create this tabloid about you not knowing anything about you. I don't let people get close to me anymore. Some people who managed to do so, should already know that i will never allow them to get so close to me that they get a platform to fabricate stories about me. What's worse, in this time and age, people are quick to believe the worse of others. I don't make it bother me, am like oil, that shit don't stick it just rolls the fuck off. Not only that, they can't lower me for oil never sinks, don't even try mixing it, it will float right back on top.

When we think or act this way, we do so at either one extreme or the other. For example, either we love someone completely or we hate them. There is no middle ground. We see the people around us as either good or bad, and not the composite they really are. We judge ourselves equally as harshly. The more we use all-or-none thinking, the more it opens us up to behaving in an all-or-none fashion. Both of these actions tend to get us into trouble and to cause us to suffer unnecessarily.

They had all seen her differently, thought Bel, but really and truly that was not as queer as it seemed, for of course human beings are composite mixtures of good and bad qualities and show entirely different aspects of their personalities to different people.

A successful decision maker in a corporation is one who accepts judgments on the terms of the corporation. Profit is the god, good ethical outcomes are not. Ethically correct outcomes are not inherent in the corporate structure; they are not the ultimate measure of corporate success; they are not the reason for corporate existence; and they are not measured or reported to the board of directors. Concern for ethical outcomes is the realm of religions, philosophy, and governments only when citizens have effective control over the composition of government.

This means that most of the lunar surface material has a consistency that is finer than granulated sugar. The full mix would actually be a combination of granulated, superfine, and powdered sugar⁠—but the chemical composition of the lunar regolith means that it would not taste as good!

I was so sure we’d be together ten years from then, [...], with the same bond as ever. We said lofty things like friends forever, that we’d be there at each other’s weddings, even though we were a thousand miles apart.

Childhood innocence was a hell of a drug.

Of course, any time there was a problem, it was my fault, and any time something went well, it was someone else’s doing.

Japanese water is soft and its low mineral composition is better for making soup. Miso soup sets me up for the day as surely as a bowl of porridge, though I have been known to take both. In Kanagawa or Kyoto, Okinawa or Sapporo, that soup may be made with dashi-- a delicate broth of smoked dried fish and seaweed-- and miso, a light (shiro) or red (aka) paste of fermented soybeans. Shiro miso has the color of thick heather honey or fudge, is lightly salty and makes for easy drinking. Aka miso is red-brown, more savory and umami-rich than the white, and makes, to my mind at least, a more soulful, almost melancholy broth. Sometimes there are shreds of seaweed or a few tiny clams waiting at the bottom of your bowl, like treasure. Soup-- clear, aromatic and lightly salty-- is a gentle way to begin the day. I am lulled, sip by slow sip, back into the rhythm of life. I start my day in good heart.

The problem of Evil actually troubles only a few sensitive souls, a few skeptics, repelled by the way in which the believer comes to terms with it or spirits it away. Hence it is to these that theodicies are primarily addressed, attempts to humanize God, frantic acrobatics that collapse and compromise themselves on this ground, constantly belied as they are by experience. Try as they will to be persuasive, they fail; they are declared suspect, incriminated, and asked for accountings, in the name of one piece of evidence — Evil — evidence that a de Maistre will attempt to deny. “Everything is Evil,” he instructs us; yet Evil, he hastens to add, comes down to a “purely negative” force that has nothing “in common with existence,” comes down to a “schism in being,” to an accident. Others will assert on the contrary that quite as constitutive of being as Good, and quite as real. Evil is nature, an essential ingredient of existence and anything but an accessory phenomenon, and that the problems Evil raises become insoluble as soon as we refuse to introduce it into the composition of the divine substance. Just as sickness is not an absence of health but a reality as positive and as lasting as health, in the same way Evil is worth as much as Good, even exceeds it in indestructibility and plenitude. Good and Evil principles coexist and mingle in God, as they coexist and mingle in the world. The notion of God’s culpability is not a gratuitous one, but necessary and perfectly compatible with the notion of His omnipotence: only such an idea confers some intelligibility on the historical process, on all it contains that is monstrous, mad, and absurd. To attribute goodness and purity to the creator of becoming is to abandon all comprehension of the majority of events, especially the most important one: the Creation. God could not avoid the influence of Evil, mainspring of actions, an agent indispensable to Whoever, exasperated by self-containment, aspires to emerge, to spread Himself and corrupt Himself in time. If Evil, the secret of our dynamism, were to withdraw from our lives, we should vegetate in that monotonous perfection of the Good which, according to Genesis, vexed Being itself. The combat between the two principles. Good and Evil, is waged on every level of existence, including eternity. We are plunged into the adventure of the Creation, one of the most dreadful of exploits, without “moral purposes” and perhaps without meaning; and though the idea and the initiative for it are God’s, we cannot reproach him for it, so great in our eyes is His prestige as the first guilty party. By making us His accomplices, He associated us with that vast movement of solidarity in Evil which sustains and affirms the universal confusion.

At the end of the term, he was surprised to find that all the best photos were produced by the quantity group. During the semester, these students were busy taking photos, experimenting with composition and lighting, testing out various methods in the darkroom, and learning from their mistakes. In the process of creating hundreds of photos, they honed their skills. Meanwhile, the quality group sat around speculating about perfection. In the end, they had little to show for their efforts other than unverified theories and one mediocre photo.*

Only WAY we can be MORAL and GOOD is by grasping, SCIENTIFICALLY and SPIRITUALLY that in quantum composition and substratum, in SPIRIT and in TRUTH, we're but the MIRRORED IMAGE of THAT WHICH IS. Thus ANY WRONG DONE TO ANOTHER IS BUT WRONGING OUR OWN SELF.

Neither camp appears ever to have considered whether maybe the way prescriptive SWE was traditionally taught had something to do with its inutility. By “way” here I’m referring not so much to actual method as to spirit or attitude. Most traditional teachers of English grammar have, of course, been dogmatic SNOOTs, and like most dogmatists they’ve been extremely stupid about the rhetoric they used and the audience they were addressing. I refer specifically to these teachers’58 assumption that SWE is the sole appropriate English dialect and that the only reasons anyone could fail to see this are ignorance or amentia or grave deficiencies in character. As rhetoric, this sort of attitude works only in sermons to the choir, and as pedagogy it’s disastrous, and in terms of teaching writing it’s especially bad because it commits precisely the error that most Freshman Composition classes spend all semester trying to keep kids from making — the error of presuming the very audience-agreement that it is really their rhetorical job to earn. The reality is that an average US student is going to take the trouble to master the difficult conventions of SWE only if he sees SWE’s relevant Group or Discourse Community as one he’d like to be part of. And in the absence of any sort of argument for why the correct-SWE Group is a good or desirable one (an argument that, recall, the traditional teacher hasn’t given, because he’s such a dogmatic SNOOT he sees no need to), the student is going to be reduced to evaluating the desirability of the SWE Group based on the one obvious member of that Group he’s encountered, namely the SNOOTy teacher himself. And what right-thinking average kid would want to be part of a Group represented by so smug, narrow, self-righteous, condescending, utterly uncool a personage as the traditional Prescriptivist teacher?

At the end of the term, he was surprised to find that all the best photos were produced by the quantity group. During the semester, these students were busy taking photos, experimenting with composition and lighting, testing out various methods in the darkroom, and learning from their mistakes. In the process of creating hundreds of photos, they honed their skills. Meanwhile, the quality group sat around speculating about perfection. In the end, they had little to show for their efforts other than unverified theories and one mediocre photo.

composition in dissarythm, the new quarter-tone dance music in which chorded woodwinds provided background patterns for the mad melodies pounded on tuned tomtoms. Between each number and the next a frenetic announcer extolled the virtues of a product. Munching a sandwich, Roger listened appreciatively to the dissarhythm and managed not to hear the commercials. Most intelligent people of the nineties had developed a type of radio deafness which enabled them not to hear a human voice coming from a loudspeaker, although they could hear and enjoy the then-infrequent intervals of music between announcements. In an age when advertising competition was so keen that there was scarcely a bare wall or an unbillboarded lot within miles of a population center, discriminating people could retain normal outlooks on life only by carefully-cultivated partial blindness and partial deafness which enabled them to ignore the bulk of that concerted assault upon their senses. For that reason a good part of the newscast which followed the dissarhythm program went, as it were, into one of Roger’s ears and out the other before it occurred to him that he was not listening to a panegyric on patent breakfast foods. He thought he recognized the voice, and after a sentence or two he was sure that it was that of Milton Hale, the eminent physicist whose new theory on the principle of indeterminacy had recently occasioned so much scientific controversy. Apparently, Dr.

The Nilambur Promise: Why a Teak Wood Sofa Set is the Ultimate Sustainable Investment In a world increasingly concerned with fast furniture and disposable goods, the choices we make for our homes carry more weight than ever. We're not just looking for comfort and style; we're seeking longevity, value, and a reduced ecological footprint. Enter the teak wood sofa set, and specifically, the legacy of Nilambur Teak. More than just a piece of furniture, a Nilambur teak wood sofa is an investment that keeps a powerful promise: the promise of ultimate sustainability. Nilambur: The Heartland of Teak Quality The story of your sofa begins in Nilambur, a region in Kerala, India, often called the "Teak Heartland." What makes this teak variety so superior? A Storied Legacy: Nilambur holds the distinction of having the world's first organized teak plantation, established by the British in 1842. This history underpins a tradition of carefully managed forestry. The GI Tag: Nilambur Teak is one of the few forest products to be granted a Geographical Indication (GI) tag, legally recognizing its unique quality, which is attributed to the region's rich alluvial soil, tropical climate, and heavy rainfall. Unrivaled Density and Oils: This environment fosters trees that produce dense, high-quality wood, rich in natural oils and silica. This unique composition is the secret to teak's legendary resilience. Choosing a sofa made from responsibly sourced Nilambur teak isn't just buying luxury; it's buying into a heritage of quality and sustainable forestry. The Four Pillars of Teak Sustainability A teak wood sofa set stands out from all other materials—even other hardwoods—due to four fundamental characteristics that make it a truly sustainable choice: 1. Unmatched Longevity (The Generational Investment) Forget the 5 to 10-year lifespan of most furniture. High-quality teak wood furniture is known to last for 30 to 50 years, often becoming a family heirloom passed down through generations. Comparison: Compared to common outdoor woods like cedar (3-5 years) or acacia (10-15 years), teak is in a league of its own. Its decades-long lifespan drastically reduces the need for frequent replacements, saving resources, energy, and minimizing landfill waste. This single factor makes teak inherently eco-friendly. 2. Natural Resistance (No Chemicals Needed) Teak's natural oils and tight grain structure act as a built-in protective barrier. This means your furniture has a natural defense against: Water and Decay: The oils repel moisture, preventing the wood from warping, rotting, or cracking, even when exposed to humidity and spills. Pests and Termites: Teak contains natural substances that are toxic or unappealing to wood-boring insects, effectively eliminating the need for chemical-based treatments or preservatives common with other woods. This low-maintenance, chemical-free existence reduces environmental impact both during production and throughout the product's life. 3. Low Maintenance, Zero Stress The true cost of furniture includes the effort and expense of maintenance. With teak, the effort is minimal: Simple Care: A quick wipe-down with mild soap and water is often all that is required. A Gracious Aging Process: Teak requires no special finish to maintain its durability. If left untreated, it naturally weathers to a sophisticated, silvery-grey patina over a few years. This desired change is purely aesthetic and does not affect the wood's structural integrity. 4. Responsible Sourcing (FSC and Plantation Teak) While illegal logging has historically been an issue, the modern teak industry, particularly for high-end furniture, is increasingly focused on certified plantation teak.

The Nilambur Promise: Why a Teak Wood Sofa Set is the Ultimate Sustainable Investment In a world increasingly concerned with fast furniture and disposable goods, the choices we make for our homes carry more weight than ever. We're not just looking for comfort and style; we're seeking longevity, value, and a reduced ecological footprint. Enter the teak wood sofa set, and specifically, the legacy of Nilambur Teak. More than just a piece of furniture, a Nilambur teak wood sofa is an investment that keeps a powerful promise: the promise of ultimate sustainability. Visit us – shop.nilamburfurniture Nilambur: The Heartland of Teak Quality The story of your sofa begins in Nilambur, a region in Kerala, India, often called the “Teak Heartland.” What makes this teak variety so superior? A Storied Legacy: Nilambur holds the distinction of having the world's first organized teak plantation, established by the British in 1842. This history underpins a tradition of carefully managed forestry. The GI Tag: Nilambur Teak is one of the few forest products to be granted a Geographical Indication (GI) tag, legally recognizing its unique quality, which is attributed to the region's rich alluvial soil, tropical climate, and heavy rainfall. Unrivaled Density and Oils: This environment fosters trees that produce dense, high-quality wood, rich in natural oils and silica. This unique composition is the secret to teak's legendary resilience. Choosing a sofa made from responsibly sourced Nilambur teak isn't just buying luxury; it's buying into a heritage of quality and sustainable forestry. The Four Pillars of Teak Sustainability A teak wood sofa set stands out from all other materials—even other hardwoods—due to four fundamental characteristics that make it a truly sustainable choice: Unmatched Longevity (The Generational Investment) Forget the 5 to 10-year lifespan of most furniture. High-quality teak wood furniture is known to last for 30 to 50 years, often becoming a family heirloom passed down through generations. Comparison: Compared to common outdoor woods like cedar (3-5 years) or acacia (10-15 years), teak is in a league of its own. Its decades-long lifespan drastically reduces the need for frequent replacements, saving resources, energy, and minimizing landfill waste. This single factor makes teak inherently eco-friendly. Natural Resistance (No Chemicals Needed) Teak's natural oils and tight grain structure act as a built-in protective barrier. This means your furniture has a natural defense against: Water and Decay: The oils repel moisture, preventing the wood from warping, rotting, or cracking, even when exposed to humidity and spills. Pests and Termites: Teak contains natural substances that are toxic or unappealing to wood-boring insects, effectively eliminating the need for chemical-based treatments or preservatives common with other woods. This low-maintenance, chemical-free existence reduces environmental impact both during production and throughout the product's life.

Thank you, Mr. Simon, but what about God? It is reported that at one time you considered yourself to be God. Do you not think that to be rather blasphemous?" No. I do think it is possible to be God for brief moments. I am certainly not God now. "But surely, in your country, most people believe there is only one God?" I think God is the composite creation of large numbers of people being good for a moment - the way football fans keep a steady glow going in a stadium because there is always someone lighting a match. If people stopped being good altogether God would vanish.

Think of something that you love to do for itself, whether it succeeds or not, whether you are praised for it or not, whether you are loved and rewarded for it or not, whether people know about it and are grateful to you for it or not. How many activities can you count in your life that you engage in simply because they delight you and grip your soul? Find them out, cultivate them, for they are your passport to freedom and to love. Here too you have probably been brainwashed into the following consumeristic way of thinking: To enjoy a poem or a landscape or a piece of music seems a waste of time; you must produce a poem or a composition or a work of art. Even to produce it is of little value in itself; your work must be known. What good is it if no one ever knows it? And even if it is known, that means nothing if it is not applauded and praised by people. Your work achieves maximum value if it becomes popular and sells! So you are back again into the arms and control of people. The value of an action, according to them, is not in its being loved and done and enjoyed for itself, but in its success. The royal road to mysticism and to Reality does not pass through the world of people. It passes through the world of actions that are engaged in for themselves without an eye to success or to gain—or profit actions. Contrary to popular beliefs, the cure for lovelessness and loneliness is not company but contact with Reality. The moment you touch this Reality you will know what freedom and love are. Freedom from people—and so the ability to love them. You must not think for love to arise in your heart, you must first meet people. That would not be love but attraction or compassion. Rather it is love that first springs in the heart through your contact with the Real. Not love for any particular person or thing but the reality of love—an attitude, a disposition of love. This love then radiates outward to the world of things and persons. If you desire this love to exist in your life you must break loose from your inward dependence on people by becoming aware of it and by engaging in activities that you love to do for themselves.

knave, a rascal, an eater of broken meats; a 14 base, proud, shallow, beggarly, three-suited, hun- 15 dred-pound, filthy worsted-stocking knave; a lily- 16 livered, action-taking, whoreson, glass-gazing, su- 17 perserviceable, finical rogue; one-trunk-inheriting 18 slave; one that wouldst be a bawd in way of good 19 service, and art nothing but the composition of a 20 knave, beggar, coward, pander, and the son and heir 21 of a mongrel bitch; one whom I will beat into 22 ⟨clamorous⟩ whining if thou deny’st the least syllable 23 of thy addition.

He had in mind no scheme for a composition, but he was planning a literary career, after the manner of Gibbon, for which he proposed to lay a firm foundation. This was one of the solid Boston customs. As John Quincy Adams had laid a foundation for the statesman's life, based on blocks of good political granite, so Prescott put his blocks together, first clearing the ground with a thorough study of the English tongue. Let the suitable subject find him ready, even the suitable field of concentration. He had made up his mind that the age of thirty-five was soon enough to put pen to paper. English grammar first, as if he had never gone to school or college. For style, Sidney, Bacon, Browne and Milton. One hour a day for the Latin classics, Tacitus and Livy for elevation: he knew them by heart already, but this was a different matter. A year devoted to French, from Froissart to Chateaubriand. A year for Italian, another year for Spanish. There he paused, there he felt at home, too much at home to carry on with German. His eyes were not equal to the Gothic script.

As they entered the cave’s opening, the two young girls gasped in unison: the water inside was a radiant sapphire color. Once she had the gozzo situated toward the back, Mari leaned over in the boat and plunged her hand beneath the blue depths, feeling for the cave wall. She touched something spongy and soft, bringing it to the surface. It was a clump of sea algae. She held it out for Lia, pointing to a cluster of tiny spheres, resembling yellow bubbles, hidden among the algae. Fish eggs. “How many?” Pippa asked, leaning forward. Mari squinted in the low light, counting. “Hundreds,” she said, feeling pleased. “Because of the incantesimo dell’elemento?” Lia asked, fumbling over the words. “The one where we use the dried-up fish snout?” “Close,” Mari replied, “but not quite. For this, there is no need to change the composition of the water. Only the temperature of it, which is the incantesimo raffreddare.” Such cold-water spells resulted in good conditions for breeding. It also attracted tiny organisms, which meant food for larger fish. “Do you remember which tool that spell requires?” Lia frowned for a moment. “The mermaid’s purse.” “Right.” Mari nodded. “The shark egg-sack.