Good Manuscript Quotes

I still love books. Nothing a computer can do can compare to a book. You can't really put a book on the Internet. Three companies have offered to put books by me on the Net, and I said, 'If you can make something that has a nice jacket, nice paper with that nice smell, then we'll talk.' All the computer can give you is a manuscript. People don't want to read manuscripts. They want to read books. Books smell good. They look good. You can press it to your bosom. You can carry it in your pocket.

My congratulations to you, sir. Your manuscript is both good and original; but the part that is good is not original, and the part that is original is not good.

None of us can know what tomorrow will hold, because each day has its good and its bad moments.

Christian does a great job helping an aspiring writer get inspired to write and finish their book. It’s easy to read and understand, and provides encouragement and specific guidance, without being too harsh or detailed on fiction writing only. If you are struggling with how to put your thoughts onto paper, give this a read and establish a rhythm for your writing. Christian’s success at completing over 21 published manuscripts while leading a busy life are testament in if there is a will, there is a way. And it provides some good humor throughout.” Rachel Braynin, Sr Program Manager at Lulu Publishing

A good many young writers make the mistake of enclosing a stamped, self-addressed envelope, big enough for the manuscript to come back in. This is too much of a temptation to the editor.

I hid my love when young till I Couldn't bear the buzzing of a fly; I hid my life to my despite Till I could not bear to look at light: I dare not gaze upon her face But left her memory in each place; Where'er I saw a wild flower lie I kissed and bade my love good-bye.

After all we speak of people 'taking refuge' in vagueness -the more precise you are, in general the more likely you are to be wrong, whereas you stand a good chance of not being wrong if you make it vague enough.

Your manuscript is both good and original; but the part that is good is not original, and the part that is original is not good.

The point is, I can’t tell you how to succeed. But I can tell you how not to: Give in to the shame of being rejected and put your manuscript—or painting, song, voice, dance moves, [insert passion here]—in the coffin that is your bedside drawer and close it for good. I guarantee you that it won’t take you anywhere. Or you could do what this writer did: Give in to your obsession instead.

It was one thing to stay in one place If you were happy and fulfilled- that was simply living the good life. But what if you weren't fulfilled?

The cord that tethers ability to success is both loose and elastic. It is easy to see fine qualities in successful books or to see unpublished manuscripts, inexpensive vodkas, or people struggling in any field as somehow lacking. It is easy to believe that ideas that worked were good ideas, that plans that succeeded were well designed, and that ideas and plans that did not were ill conceived. And it is easy to make heroes out of the most successful and to glance with disdain at the least. But ability does not guarantee achievement, nor is achievement proportional to ability. And so it is important to always keep in mind the other term in the equation—the role of chance…What I’ve learned, above all, is to keep marching forward because the best news is that since chance does play a role, one important factor in success is under our control: the number of at bats, the number of chances taken, the number of opportunities seized.

As good as' always spells mediocrity. But when a writer's work is in competition with all those thousands of other manuscripts that pour over an editor's desk, he cannot afford to be 'as good as'; he (or she) must be 'better than.

Never give up. The same manuscript may appeal to one agent and not to another. It's a matter of taste, and it's all about the writing. What if I had give up at 15? Or 40? Or even 60? The point is, I can't tell you how to succeed. But I can tell you how not to: Give in to the shame of being rejected and put your manuscript—or painting, song, voice, dance moves—in the coffin that is your bedside drawer and close it for good. I guarantee you that it won't take you anywhere.

Noone of us can know what tomorrow will hold, because each day has its good and its bad moments.

Far and away the greatest menace to the writer—any writer, beginning or otherwise—is the reader. The reader is, after all, a kind of silent partner in this whole business of writing, and a work of fiction is surely incomplete if it is never read. The reader is, in fact, the writer's only unrelenting, genuine enemy. He has everything on his side; all he has to do, after all, is shut his eyes, and any work of fiction becomes meaningless. Moreover, a reader has an advantage over a beginning writer in not being a beginning reader; before he takes up a story to read it, he can be presumed to have read everything from Shakespeare to Jack Kerouac. No matter whether he reads a story in manuscript as a great personal favor, or opens a magazine, or—kindest of all—goes into a bookstore and pays good money for a book, he is still an enemy to be defeated with any kind of dirty fighting that comes to the writer's mind.

Many good people read the manuscript and offered valuable suggestions, corrections, encouragement, and information.

He is a brilliant man, said Miss Doggett. She helped him a good deal in his work, I think. Mrs. Bonner says that she even learned to type so that she could type his manuscripts for him. 'Oh, then he had to marry her,' said Miss Morrow sharply. 'That kind of devotion is worse than blackmail - a man has no escape from that.

But can’t I sleep here while you’re working?’ ‘You know I won’t be able to. I can’t even write with a cat in the room.’ ‘You’ve never tried with me in the room. I may have a good effect.’ Even though I was angry I couldn’t bring myself to say no. I had no right to be because what I was implying was that the miserable manuscript I was writing was more important than her. At that moment it was, but I couldn’t say that. ‘OK,’ I said.

I have brought peace to this land, and security," he began. "And what of your soul, when you use the cleverness of argument to cloak such acts? Do you think that the peace of a thousand cancels out the unjust death of one single person? It may be desirable, it may win you praise from those who have happily survived you and prospered from your deeds, but you have committed ignoble acts, and have been too proud to own them. I have waited patiently here, hoping that you would come to me, for if you understood, then some of your acts would be mitigated. But instead you send me this manuscript, proud, magisterial, and demonstrating only that you have understood nothing at all." "I returned to public life on your advice, madam," he said stiffly. "Yes; I advised it. I said if learning must die it should do so with a friend by its bedside. Not an assassin.

Ms. Lane.”Barrons’ voice is deep, touched with that strange Old World accent and mildly pissed off. Jericho Barrons is often mildly pissed off. I think he crawled from the swamp that way, chafed either by some condition in it, out of it, or maybe just the general mass incompetence he encountered in both places. He’s the most controlled, capable man I’ve ever known. After all we’ve been through together, he still calls me Ms. Lane, with one exception: When I’m in his bed. Or on the floor, or some other place where I’ve temporarily lost my mind and become convinced I can’t breathe without him inside me this very instant. Then the things he calls me are varied and nobody’s business but mine. I reply: “Barrons,” without inflection. I’ve learned a few things in our time together. Distance is frequently the only intimacy he’ll tolerate. Suits me. I’ve got my own demons. Besides I don’t believe good relationships come from living inside each other’s pockets. I believe divorce comes from that. I admire the animal grace with which he enters the room and moves toward me. He prefers dark colors, the better to slide in and out of the night, or a room, unnoticed except for whatever he’s left behind that you may or may not discover for some time, like, say a tattoo on the back of one’s skull. “What are you doing?” “Reading,” I say nonchalantly, rubbing the tattoo on the back of my skull. I angle the volume so he can’t see the cover. If he sees what I’m reading, he’ll know I’m looking for something. If he realizes how bad it’s gotten, and what I’m thinking about doing, he’ll try to stop me. He circles behind me, looks over my shoulder at the thick vellum of the ancient manuscript. “In the first tongue?” “Is that what it is?” I feign innocence. He knows precisely which cells in my body are innocent and which are thoroughly corrupted. He’s responsible for most of the corrupted ones. One corner of his mouth ticks up and I see the glint of beast behind his eyes, a feral crimson backlight, bloodstaining the whites. It turns me on. Barrons makes me feel violently, electrically sexual and alive. I’d march into hell beside him. But I will not let him march into hell beside me. And there’s no doubt that’s where I’m going. I thought I was strong, a heroine. I thought I was the victor. The enemy got inside my head and tried to seduce me with lies. It’s easy to walk away from lies. Power is another thing. Temptation isn’t a sin that you triumph over once, completely and then you’re free. Temptation slips into bed with you each night and helps you say your prayers. It wakes you in the morning with a friendly cup of coffee, and knows exactly how you take it. He skirts the Chesterfield sofa and stands over me. “Looking for something, Ms. Lane?” I’m eye level with his belt but that’s not where my gaze gets stuck and suddenly my mouth is so dry I can hardly swallow and I know I’m going to want to. I’m Pri-ya for this man. I hate it. I love it. I can’t escape it. I reach for his belt buckle. The manuscript slides from my lap, forgotten. Along with everything else but this moment, this man. “I just found it,” I tell him.

One day, one of my teachers at the Abbey asked me what I did on my [5]free afternoons when I was alone. I told her I went behind my bed in an empty space which was there, and that it was easy to close myself in with my bed curtain and that “I thought.” “But what do you think about?” she asked. “I think about God, about life, about ETERNITY ... I think!” The good religious laughed heartily at me, and later on she loved reminding me of the [10]time when I thought, asking me if I was still thinking. I understand now that I was making mental prayer without knowing it and that God was already instructing me in secret.

It isn’t the absolute truth about life and death, but the thing that helps us to live and confront the challenges of day-to-day life. It isn’t what we learn from books, which serves only to fuel futile arguments about what happened or will happen; it is the knowledge that lives in the hearts of men and women of good will

Believe not because some old manuscripts are produced, believe not because it is your national belief, because you have been made to believe it from your childhood; but reason it all out, and after you have analysed it, then, if you find that it will do good to one and all, believe it, live up to it, and help others to live up to it.

None of us can know what tomorrow will hold, because each day has its good and its bad moments. So, when you ask your questions, forget about the troops outside and the fear inside. Our task is not to leave a record of what happened on this date for those who will inherit the Earth; history will take care of that. Therefore, we will speak about our daily lives, about the difficulties we have had to face. That is all the future will be interested in, because I do not believe very much will change in the next thousand years.

To life lived fully: to laughter, to have loved and lost, to be remembered for the good fight.

Ursula demanded a high caliber of work from her authors—her most notorious note left scribbled in the margins of manuscripts was N.G.E.F.Y., which stood for “Not Good Enough for You.

Atticus adjusted his glasses as he peered down at the blanket. “Hey, is that the book Nellie told us about?” Jake’s eyes flicked to Olivia’s book. “You’ve got it outside in the sun? Are you out of your minds?” Amy crossed her arms. “We’re being careful.” “It’s not about careful, this is a five-hundred-year-old manuscript! You should be wearing gloves—Atticus brought some—and keeping it out of the sunlight.” “It didn’t take you long to start barking orders!” Any exclaimed, her face flushing. “But then you always know best, don’t you?” “Somebody has to be mature in this situation,” Jake said, his gaze flashing at Ian, who was now intently trying to brush cookie crumbs off his pants. “True. In that case, we’d rather consult your little brother,” Ian said with a smirk. “Medieval manuscripts are his field, am I right?” “Technically, it’s early Renaissance,” Jake said. “Thanks for the correction, my good man. Amy is right—you do know best.” Ian slipped his arm around Amy. “She’s so perceptive. One of the many things I adore about her.” “It’s getting chilly. Why don’t we go inside?” Amy suggested brightly as she tried to step out of the circle of Ian’s arm. Ian took the opportunity to rub her shoulder. “You do feel rather cold,” he said. “Let’s sit by the fire. Jake, since you’re so interested in proper handling, why don’t you take the book?” Jake snatched up the book and furiously stomped off toward the house. “You forgot to wear gloves!” Ian called after him. Amy pushed him away. “Really, Ian.” “What a touchy guy,” Ian said. “Frankly, I don’t know what you see in him.” He winced as the kitchen door slammed, then glanced at Amy’s red face. “Hmmm. It might be a good time for me to take a walk.

In the third section, A Discussion, people discuss what The Story meant to them and how they are going to use it in their work and in their lives. Some readers of this book’s early manuscript preferred to stop at the end of The Story, without reading further, and interpret its meaning for themselves. Others enjoyed reading A Discussion that follows because it stimulated their thinking about how they might apply what they’d learned to their own situation. Everyone knows that not all change is good or even necessary. But in a world that is constantly changing, it is to our advantage to learn how to adapt and enjoy something better. In any case, I hope each time you re-read Who Moved My Cheese? you will find something new and useful in the brief story, as I do, and that it will help you deal with change and bring you success, whatever you decide success is for you. I hope you enjoy what you discover, and I wish you well.

A library is a good place to soften solitude; a place where you feel part of a conversation that has gone on for hundreds and hundreds of years even when you're all alone. The library is a whispering post. You don't need to take a book off a shelf to know there is a voice inside that is waiting to speak to you, and behind that was someone who truly believed that if he or she spoke, someone would listen. It was that affirmation that always amazed me. Even the oddest, most particular book was written with that kind of crazy courage — the writer's belief that someone would find his or her book important to read. I was struck by how precious and foolish and brave that belief is, and how necessary, and how full of hope it is to collect these books and manuscripts and preserve them. It declares that all these stories matter, and so does every effort to create something that connects us to one another, and to our past and to what is still to come.

Stevenson had originally conceived the novel as a straightforward horror yarn, involving a thief that invents a potion that changes his physical appearance for the purpose of disguise. In a later essay, ‘A Chapter on Dreams’, Stevenson recalled how this version of the story was suggested by a dream. Disliking the initial result, which also failed to meet the approval of his wife, Fanny, Stevenson destroyed the manuscript. It is possible that it was also Stevenson’s wife who suggested that, by having the transformation happen more haphazardly, a more sophisticated story about man’s equal capacity for good and evil might be told. In any event, Stevenson grasped this idea enthusiastically, completing a new draft in three days.

Now here is Gardiner, patting a manuscript as if it were the cheek of a plump baby: ‘The king will be pleased to read this. I have called it, Of True Obedience.’ ‘You had better let me see it before it goes to the printer.’ ‘The king himself will expound it to you. It shows why oaths to the papacy are of none effect, yet our oath to the king, as head of the church, is good. It emphasises most strongly that a king’s authority is divine, and descends to him directly from God.’ ‘And not from a pope.

I feel as if it were not for me to record, even though this manuscript is intended for no eyes but mine, how hard I worked at that tremendous short-hand, and all improvement appertaining to it, in my sense of responsibility to Dora and her aunts. I will only add, to what I have already written of my perseverance at this time of my life, and of a patient and continuous energy which then began to be matured within me, and which I know to be the strong part of my character, if it have any strength at all, that there, on looking back, I find the source of my success. I have been very fortunate in worldly matters; many men have worked much harder, and not succeeded half so well; but I never could have done what I have done, without the habits of punctuality, order, and diligence, without the determination to concentrate myself on one object at a time, no matter how quickly its successor should come upon its heels, which I then formed. Heaven knows I write this, in no spirit of self-laudation. The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hard-working qualities, and hope to gain its end. There is no such thing as such fulfilment on this earth. Some happy talent, and some fortunate opportunity, may form the two sides of the ladder on which some men mount, but the rounds of that ladder must be made of stuff to stand wear and tear; and there is no substitute for thorough-going, ardent, and sincere earnestness. Never to put one hand to anything, on which I could throw my whole self; and never to affect depreciation of my work, whatever it was; I find, now, to have been my golden rules.

What Printing-presses yield we think good store, But what is writ by hand we reverence more: A Book that with this printing-blood is dyed On shelves for dust and moth is set aside, But if’t be penned it wins a sacred grace And with the ancient Fathers takes its place.

Nature is infinitely rich and diverse in her ways. She can be seen to break her most unchanging laws. She has made self-interest the motive of all human action, but in the great host of men she produces ones who are strangely constituted, in whom selfishness is scarcely perceptible because they do not place their affections in themselves. Some are passionate about the sciences, others about the public good. They are as attached to the discoveries of others as if they themselves had made them, or to the institutions of public welfare and the state as if they derived benefit from them. This habit of not thinking of themselves influences the whole course of their lives. They don't know how to use other men for their profit. Fortune offers them opportunities which they do not think of taking up. In nearly all men the self is almost never inactive. You will detect their self-interest in nearly all the advice they give you, in the services they do for you, in the contacts they make, in the friendships they form. They are deeply attached to the things which affect their interests however remotely, and are indifferent to all others. When they encounter a man who is indifferent to personal interest they cannot understand him. They suspect him of hidden motives, of affectation, or of insanity. They cast him from their bosom, revile him.

I hate that word,” she says between fits of laughter. “Moist?” “I always change it on the manuscripts I edit … If should only be used when describing the consistency of baked goods. It should never be used to describe any part of a woman’s anatomy.” “You mean…” Inadvertently, my eyes drift to her crotch and then I shake the thought away. “Wait? What?” “Yes, I’ve seen it used to describe the women who are…” She looks up, apparently trying to think of the best word to use here, but I see where this is going. “Turned on.” “They must not be that turned on if they are just moist,” I point out… “A man should be able to get a woman wet. Drenched. Not moist.” I want to add that I’d give my right nut to see how wet I could make her. But I keep my thoughts to myself, because we’re supposed to be keeping things friendly. But fuck friendship.

As I think of them going up and down before those schoolroom windows—the Doctor reading with his complacent smile, an occasional flourish of the manuscript, or grave motion of his head; and Mr. Dick listening, enchained by interest, with his poor wits calmly wandering God knows where, upon the wings of hard words—I think of it as one of the pleasantest things, in a quiet way, that I have ever seen. I feel as if they might go walking to and fro for ever, and the world might somehow be the better for it—as if a thousand things it makes a noise about, were not one half so good for it, or me.

I only pinch books nobody is using. And I do good works, too. I rescued quite a lot of manuscripts from the library of Alexandria before it burned down. And I had a lovely chat with the librarian. She wasn’t even worried when I walked out of a black spot in the wall. People in ancient times were much more open to magic.

Each story, good and bad, short or long--from that trip to the mall when you saw Santa, to a long, bad illness--they are all a line or a paragraph in our own life manuscript. Two thirds of the way through, even, and it all won't necessarily make sense, but at the end there'll be a beautiful whole, where every sentence of every chapter fits.

Over the years I have become very good at getting out of things I don’t want to do. And if ever there was something I didn’t want to do, this was surely it: to deal with the mother of a dead novelist and, worst of all, to have to read a manuscript that she said was great, and that, as it turned out, was a badly smeared, scarcely readable carbon.

Mr. Dick, listening with a face shining with pride and pleasure, in his heart of hearts, believed the Dictionary to be the most delightful book in the world. As I think of them going up and down before those school-room windows - the Doctor reading with his complacent smile, an occasional flourish of the manuscript, or grave motion of this head; and Mr. Dick listening, enchained by interest, with his poor wits calmly wandering who knows where, upon the wings of hard words - I think of it as one of the pleasantest things, in a quiet way, that I have ever seen. I feel as if they might go walking to and fro for ever, and the world might somehow be the better for it. As if a thousand things it makes a noise about, were not one-half so good for it, or me.

Buddha is the only prophet who said, "I do not care to know your various theories about God. What is the use of discussing all the subtle doctrines about the soul? Do good and be good. And this will take you to freedom and to whatever truth there is." He was, in the conduct of his life, absolutely without personal motives; and what man worked more than he? Show me in history one character who has soared so high above all. The whole human race has produced but one such character, such high philosophy, such wide sympathy. This great philosopher, preaching the highest philosophy, yet had the deepest sympathy for the lowest of animals, and never put forth any claims for himself. He is the ideal Karma-Yogi, acting entirely without motive, and the history of humanity shows him to have been the greatest man ever born; beyond compare the greatest combination of heart and brain that ever existed, the greatest soul-power that has even been manifested. He is the first great reformer the world has seen. He was the first who dared to say, "Believe not because some old manuscripts are produced, believe not because it is your national belief, because you have been made to believe it from your childhood; but reason it all out, and after you have analysed it, then, if you find that it will do good to one and all, believe it, live up to it, and help others to live up to it." He works best who works without any motive, neither for money, nor for fame, nor for anything else; and when a man can do that, he will be a Buddha, and out of him will come the power to work in such a manner as will transform the world. This man represents the very highest ideal of Karma-Yoga.

This novel humbled me in a number of ways. I was reading manuscripts for a magazine called Accent, and had in front of my prose-bleary eyes a piece called “A Horse in a London Flat.” And I was in a doze. More dreariness. More pretension. When will it all end? How shall I phrase my polite rejection? Something, I don’t remember what it was now, but something ten pages along woke me up, as if I had nearly fallen asleep and toppled from my chair. Perhaps it was the startle of an image or the rasp of a line. I went back to the beginning, and soon realized that I had let my eyes slide over paragraphs of astonishing prose without responding to them or recognizing their quality. That was my first humiliation. I then carried the manuscript to my fellow editors, as if I were bringing the original “good news,” only to learn that they were perfectly familiar with the work of John Hawkes and admired it extravagantly. Hadn’t I read The Cannibal, or The Goose on the Grave? Where had I been! What a dummy! (Though my humiliation would have been worse if I had written that rejection.) A number of years had to erode my embarrassment before I could confess that I had not spotted him at once (as I initially pretended). What a dummy indeed. The Lime Twig is a beautiful and brutal book, and when it comes to the engravement of the sentence, no one now writing can match him.

their footfalls? Finally some combination thereof, or these many things as permutations of each other—as alternative vocabularies? However it was, by January I was winnowed, and soon dispensed with pills and analysis (the pills I was weaned from gradually), and took up my unfinished novel again, Our Lady of the Forest, about a girl who sees the Virgin Mary, a man who wants a miracle, a priest who suffers spiritual anxiety, and a woman in thrall to cynicism. It seems to me now that the sum of those figures mirrors the shape of my psyche before depression, and that the territory of the novel forms a map of my psyche in the throes of gathering disarray. The work as code for the inner life, and as fodder for my own biographical speculations. Depression, in this conceit, might be grand mal writer’s block. Rather than permitting its disintegration at the hands of assorted unburied truths risen into light as narrative, the ego incites a tempest in the brain, leaving the novelist to wander in a whiteout with his half-finished manuscript awry in his arms, where the wind might blow it away. I don’t find this facile. It seems true—or true for me—that writing fiction is partly psychoanalysis, a self-induced and largely unconscious version. This may be why stories threaten readers with the prospect of everything from the merest dart wound to a serious breach in the superstructure. To put it another way, a good story addresses the psyche directly, while the gatekeeper ego, aware of this trespass—of a message sent so daringly past its gate, a compelling dream insinuating inward—can only quaver through a story’s reading and hope its ploys remains unilluminated. Against a story of penetrating virtuosity—The Metamorphosis, or Lear on the heath—this gatekeeper can only futilely despair, and comes away both revealed and provoked, and even, at times, shattered. In lesser fiction—fiction as entertainment, narcissism, product, moral tract, or fad—there is also some element of the unconscious finding utterance, chiefly because it has the opportunity, but in these cases its clarity and force are diluted by an ill-conceived motive, and so it must yield control of the story to the transparently self-serving ego, to that ostensible self with its own small agenda in art as well as in life. * * * Like

Certainty is an unrealistic and unattainable ideal. We need to have pastors who are schooled in apologetics and engaged intellectually with our culture so as to shepherd their flock amidst the wolves. People who simply ride the roller coaster of emotional experience are cheating themselves out of a deeper and richer Christian faith by neglecting the intellectual side of that faith. They know little of the riches of deep understanding of Christian truth, of the confidence inspired by the discovery that one’s faith is logical and fits the facts of experience, and of the stability brought to one’s life by the conviction that one’s faith is objectively true. God could not possibly have intended that reason should be the faculty to lead us to faith, for faith cannot hang indefinitely in suspense while reason cautiously weighs and reweighs arguments. The Scriptures teach, on the contrary, that the way to God is by means of the heart, not by means of the intellect. When a person refuses to come to Christ, it is never just because of lack of evidence or because of intellectual difficulties: at root, he refuses to come because he willingly ignores and rejects the drawing of God’s Spirit on his heart. unbelief is at root a spiritual, not an intellectual, problem. Sometimes an unbeliever will throw up an intellectual smoke screen so that he can avoid personal, existential involvement with the gospel. In such a case, further argumentation may be futile and counterproductive, and we need to be sensitive to moments when apologetics is and is not appropriate. A person who knows that Christianity is true on the basis of the witness of the Spirit may also have a sound apologetic which reinforces or confirms for him the Spirit’s witness, but it does not serve as the basis of his belief. As long as reason is a minister of the Christian faith, Christians should employ it. It should not surprise us if most people find our apologetic unconvincing. But that does not mean that our apologetic is ineffective; it may only mean that many people are closed-minded. Without a divine lawgiver, there can be no objective right and wrong, only our culturally and personally relative, subjective judgments. This means that it is impossible to condemn war, oppression, or crime as evil. Nor can one praise brotherhood, equality, and love as good. For in a universe without God, good and evil do not exist—there is only the bare valueless fact of existence, and there is no one to say that you are right and I am wrong. No atheist or agnostic really lives consistently with his worldview. In some way he affirms meaning, value, or purpose without an adequate basis. It is our job to discover those areas and lovingly show him where those beliefs are groundless. We are witnesses to a mighty struggle for the mind and soul of America in our day, and Christians cannot be indifferent to it. If moral values are gradually discovered, not invented, then our gradual and fallible apprehension of the moral realm no more undermines the objective reality of that realm than our gradual, fallible apprehension of the physical world undermines the objectivity of that realm. God has given evidence sufficiently clear for those with an open heart, but sufficiently vague so as not to compel those whose hearts are closed. Because of the need for instruction and personal devotion, these writings must have been copied many times, which increases the chances of preserving the original text. In fact, no other ancient work is available in so many copies and languages, and yet all these various versions agree in content. The text has also remained unmarred by heretical additions. The abundance of manuscripts over a wide geographical distribution demonstrates that the text has been transmitted with only trifling discrepancies.

A visitor from Timbuctu about 450 years ago wrote as follows: 'In Timbuctu there are numerous judges, doctors and clerics all receiving good salaries from the king. He pays great respect to men of learning. There is a great demand for books in manuscript, imported from Barbary. More profit is made from the book trade than from any other line of business.' In a city which was renowned for its trade in gold, there was more profit to be made from books than from any other line of business! In other words, learning was valued more highly than gold!

At that time there were a good number of noble houses in Segovia which were no better off than we were; drawn together by this common interest, they had introduced a method of saving money. They rarely visited each other; ladies showed themselves at their windows, and gentlemen remained in the street below. There was a great deal of playing of the guitar, and even more amorous sighing, neither of which cost a penny. Manufacturers of vicuna cloth lived in luxury; we could not emulate them, so we took our revenge by despising and ridiculing them.

One of Marx’s greatest insights, delivered in an early book known as the Manuscripts of 1844, is that work can be one of the sources of our greatest joys. It is because Marx had such high hopes for work that he was so angry at the miserable work that most of humanity is forced to endure. In order to be fulfilled at work, Marx wrote that workers need ‘to see themselves in the objects they have created’. At its best, labour offers us a chance to externalise what’s good inside us (let’s say, our creativity, our rigour, our logic), and to give it a stable, enduring form in some sort of object or service independent of us.

The Bengali poet Ganga Ram in his Maharashta Purana gave a fuller picture of the terror they inspired. ‘The people on earth were filled with sin,’ he wrote, ‘and there was no worship of Rama and Krishna. Day and night people took their pleasure with the wives of others.’ Finally, he wrote, Shiva ordered Nandi to enter the body of the Maratha king Shahu. ‘Let him send his agents, that sinners and evil doers be punished.’29 Soon after: The Bargis [Marathas] began to plunder the villages and all the people fled in terror. Brahmin pandits fled, taking with them loads of manuscripts; goldsmiths fled with the scales and weights; and fishermen with their nets and lines – all fled. The people fled in all directions; who could count their numbers? All who lived in villages fled when they heard the name of the Bargis. Ladies of good family, who had never before set a foot on a road fled from the Bargis with baskets on their heads. And land owning Rajputs, who had gained their wealth with the sword, threw down their swords and fled. And sadhus and monks fled, riding on litters, their bearers carrying their baggage on their shoulders; and many farmers fled, their seed for next year’s crops on the backs of their bullocks, and ploughs on their shoulders. And pregnant women, all but unable to walk, began their labour on the road and were delivered there. There were some people who stood in the road and asked of all who passed where the Bargis were. Everyone replied – I have not seen them with my own eyes. But seeing everyone flees, I flee also. Then suddenly the Bargis swept down with a great shout and surrounded the people in their fields. They snatched away gold and silver, rejecting everything else. Of some people they cut off the hand, of some the nose and ears; some they killed outright. They dragged away the most beautiful women, who tried to flee, and tied ropes to their fingers and necks. When one had finished with a woman, another took her, while the raped women screamed for help. The Bargis after committing all foul, sinful and bestial acts, let these women go.

Martha Gellhorn joined Hemingway in Madrid one month later. After six weeks in Spain, Ernest left, picked up the manuscript of his novel in Paris, and went to Bimini to revise it. There he was reunited with his children and Pauline. A few weeks later he came to New York again to deliver a speech before the Second American Writers’ Congress at Carnegie Hall. Martha sat by his side during the speeches that preceded his. Her influence perhaps explained a new political tone that his speech displayed. “Really good writers are always rewarded under almost any existing system of government that they can tolerate,” he said before the writers’ congress. “There is only one form of government that cannot produce good writers, and that system is fascism. For fascism is a lie told by bullies. A writer who will not lie cannot live and work under fascism.” While

This unfinished play follows Myrrhina, an Alexandrian noblewoman, who travels to the mountains to tempt Honorius, a Christian hermit, away from goodness with her beauty and wealth. After they talk, he decides to return to sin in Alexandria, while she discovers religion and chooses to remain in the desert. Wilde had begun work on the play in 1894, between writing Salomé and The Importance of Being Earnest, but he was unable to complete it before his trial and imprisonment. He considered revisiting the play in 1897 after his release from prison, but he then lacked motivation for literary work, although during his imprisonment, it was much on his mind and he had described it in a letter to a friend as one among his “beautiful coloured, musical things”. Before his imprisonment, the fragments had been entrusted to Mrs. Leverson, who in 1897 went to Paris on purpose to restore the manuscript to the author. However, Wilde accidently left the papers in a taxi cab and now only a portion of a first draft survives.

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.

In America the magazines in which one can frequently publish stories or poems about Negroes are very few, and most of these do not pay, since they are of a social service or proletarian nature. The big American bourgeois publications are very careful about what they publish by or about colored people. Exotic or humorous tales they will occasionally use. Stories that show Negroes as savages, fools, or clowns, they will often print. And once in a blue moon there may be a really sound and serious literary picture of black life in a big magazine--but it doesn't happen often enough to feed an author. They can't live on blue moons. Most colored writers find their work turned down with a note that the files are already full of "Negro material," or that the subject is not suitable, or, as happened to me recently when I submitted a story about a more or less common situation in American interracial life--the manuscript was returned with regrets since the story was "excellently written, but it would shock our good middle-class audience to death." And thus our American publications shy away from the Negro problem and the work of Negro writers.

Who is America named after? Not the Italian merchant and cartographer Amerigo Vespucci, but Richard Ameryk, a Welshman and wealthy Bristol merchant. Ameryk was the chief investor in the second transatlantic voyage of John Cabot—the English name of the Italian navigator Giovanni Caboto, whose voyages in 1497 and 1498 laid the groundwork for the later British claim to Canada. He moved to London from Genoa in 1484 and was authorized by King Henry VII to search for unknown lands to the west. On his little ship Matthew, Cabot reached Labrador in May 1497 and became the first recorded European to set foot on American soil, predating Vespucci by two years. Cabot mapped the North American coastline from Nova Scotia to Newfoundland. As the chief patron of the voyage, Richard Ameryk would have expected discoveries to be named after him. There is a record in the Bristol calendar for that year: “…on Saint John the Baptist’s day [June 24], the land of America was found by the merchants of Bristowe, in a ship of Bristowe called the Mathew,” which clearly suggests this is what happened. Although the original manuscript of this calendar has not survived, there are a number of references to it in other contemporary documents. This is the first use of the term America to refer to the new continent. The earliest surviving map to use the name is Martin Waldseemüller’s great map of the world of 1507, but it only applied to South America. In his notes Waldseemüller makes the assumption that the name is derived from a Latin version of Amerigo Vespucci’s first name, because Vespucci had discovered and mapped the South American coast from 1500 to 1502. This suggests he didn’t know for sure and was trying to account for a name he had seen on other maps, possibly Cabot’s. The only place where the name “America” was known and used was Bristol—not somewhere the France-based Waldseemüller was likely to visit. Significantly, he replaced “America” with “Terra Incognita” in his world map of 1513. Vespucci never reached North America. All the early maps and trade were British. Nor did he ever use the name of America for his discovery. There’s a good reason for this. New countries or continents were never named after a person’s first name, but always after the second (as in Tasmania, Van Diemen’s Land, or the Cook Islands). America would have become Vespucci Land (or Vespuccia) if the Italian explorer had consciously given his name to it.

It was an amazing experience,” I said. “By remembering the love I felt I was able to open up. I sat up there all day simmering in it. I didn’t reach the state I experienced on the ridge but I got close.” Sanchez looked more serious. “The role of love has been misunderstood for a long time. Love is not something we should do to be good or to make the world a better place out of some abstract moral responsibility, or because we should give up our hedonism. Connecting with energy feels like excitement, then euphoria, and then love. Finding enough energy to maintain that state of love certainly helps the world, but it most directly helps us. It is the most hedonistic thing we can do.” I agreed, then noticed he had moved his chair back several more feet and was looking at me intensely, his eyes unfocused. “So what does my field look like,” I asked. “It is much larger,” he said. “I think you feel very good.” “I do.” “Good. That is what we do here.” “Tell me about that,” I said. “We train priests to go farther into the mountains and work with the Indians. It is a lonely job and the priests must have great strength. All of the men here have been screened thoroughly and all have one thing in common: each has had one experience he calls mystical. “I have been studying this kind of experience for many years,” he continued, “even before the Manuscript was found, and I believe that when one has already encountered a mystical experience, getting back into this state and raising one’s personal energy level comes much easier. Others can also connect but it takes longer. A strong memory of the experience, as I think you learned, facilitates its re-creation. After that, one slowly builds back.” “What does a person’s energy field look like when this is happening?” “It grows outward and changes color slightly.” “What color?” “Normally from a dull white toward green and blue. But the most important thing is that it expands. For instance, during your mystical encounter on the ridge top, your energy flashed outward into the whole universe. Essentially you connected and drew energy from the entire cosmos and in turn your energy swelled to encompass everything, everywhere. Can you remember how that felt?” “Yeah,” I said. “I felt as though the entire universe was my body and I was just the head, or perhaps more accurately, the eyes.” “Yes,” he said, “and at that moment, your energy field and that of the universe were the same. The universe was your body.

After my return from Carolina in 1746, I made some observations on keeping slaves, which some time before his decease I showed to him; he perused the manuscript, proposed a few alterations, and appeared well satisfied that I found a concern on that account. In his last sickness, as I was watching with him one night, he being so far spent that there was no expectation of his recovery, though he had the perfect use of his understanding, he asked me concerning the manuscript, and whether I expected soon to proceed to take the advice of friends in publishing it? After some further conversation thereon, he said, "I have all along been deeply affected with the oppression of the poor negroes; and now, at last, my concern for them is as great as ever." By his direction I had written his will in a time of health, and that night he desired me to read it to him, which I did; and he said it was agreeable to his mind. He then made mention of his end, which he believed was near; and signified that though he was sensible of many imperfections in the course of his life, yet his experience of the power of truth, and of the love and goodness of God from time to time, even till now, was such that he had no doubt that on leaving this life he should enter into one more happy.

Carolina removed an old and creased single sheet of paper, yellowed with age, that was now carefully protected in clear, acid-free paper. She handed it to Dara. "This was folded up in a parik-til, in the box with my birth certificate." "A parik-til?" asked Jennifer. "It is a small pouch that is filled with things to bring good luck or blessings." She held up the cloth bag and opened it for the girls to see. "Gypsies use them, but so do Native Americans as well as people from Central and South America and other parts of the world. When I got it, I had no idea what it was or what it meant. I knew the folded piece of paper was old and somehow had to be important to me since my birth parents had included it with the other things they wanted me to have." Carolina stood up and walked over to the window. How well she remembered the overwhelming emotions she felt when she first saw those pages of the Voynich Manuscript in the book she was reading, and then realizing that the ancient script was the same as what was on the piece of paper that had been preserved in the parik-til--her parik-til. "Anyway, as soon as I saw the photographs of some of the manuscript pages in the book I was reading, I made the connection immediately. It was the same script as what was on this sheet of paper that I had been given." All three FIGS crowded closely together to look at Carolina's treasure.

Describe the defeated ones,” said a merchant, when he saw that the Copt had finished speaking. And he answered: The defeated are those who never fail. Defeat means that we lose a particular battle or war. Failure does not allow us to go on fighting. Defeat comes when we fail to get something we very much want. Failure does not allow us to dream. Its motto is: “Expect nothing and you won’t be disappointed.” Defeat ends when we launch into another battle. Failure has no end; it is a lifetime choice. Defeat is for those who, despite their fears, live with enthusiasm and faith. Defeat is for the valiant. Only they will know the honor of losing and the joy of winning. I am not here to tell you that defeat is part of life; we all know that. Only the defeated know Love. Because it is in the realm of Love that we fight our first battles—and generally lose. I am here to tell you that there are people who have never been defeated. They are the ones who never fought. They managed to avoid scars, humiliations, and feelings of helplessness, as well as those moments when even warriors doubt the existence of God. Such people can say with pride: “I never lost a battle.” On the other hand, they will never be able to say: “I won a battle.” Not that they care. They live in a universe in which they believe they are invulnerable; they close their eyes to injustices and to suffering; they feel safe because they do not have to deal with the daily challenges faced by those who risk stepping out beyond their own boundaries. They have never heard the words “good-bye” or “I’ve come back. Embrace me with the fervor of someone who, having lost me, has found me again.” Those who were never defeated seem happy and superior, masters of a truth they never had to lift a finger to achieve. They are always on the side of the strong. They’re like hyenas, who eat only the leavings of lions. They teach their children: “Don’t get involved in conflicts; you’ll only lose. Keep your doubts to yourself and you’ll never have any problems. If someone attacks you, don’t get offended or demean yourself by hitting back. There are more important things in life.” In the silence of the night, they fight their imaginary battles: their unrealized dreams, the injustices to which they turned a blind eye, the moments of cowardice they managed to conceal from other people—but not from themselves—and the love that crossed their path with a sparkle in its eyes, the love God had intended for them, but which they lacked the courage to embrace. And they promise themselves: “Tomorrow will be different.” But tomorrow comes and the paralyzing question surfaces in their mind: “What if it doesn’t work out?” And so they do nothing. Woe to those who were never beaten! They will never be winners in this life.

memoir A Ride in the Neon Sun. Here’s what she says about traveling: Some people travel with firm ideas for a journey, following in the footsteps of an intrepid ancestor whose exotic exploits were happened upon in a dusty, cobweb-laced attic containing immovable trunks full of sepia-curled daguerreotypes and age-discoloured letters redolent of bygone days. Others travel for anthropological, botanical, archaeological, geological, and other logical reasons. Some are smitten by a specific country brewed from childhood dreams. For others, travel is a challenge, a release, an escape, a shaking off of the shackles, and even if they don’t know where they will end up they usually know where they will begin. The very hardest part of writing this book was that I was unable to stop working on it. I kept reading even after the initial manuscript was turned in, discovering new titles and authors whose works I just couldn’t bear to leave out. I even envisioned myself watching the book being printed and shouting periodically, “Stop the presses!” so that I could add yet another section or title. But of course the day actually came when I knew I had to stop or there would never be an end to the project.And here is the result, in your hands right now. So, before your next trip—either virtual or actual—grab a pen and begin making notes about the titles that sound good to you. And enjoy the journeys. I’d love to hear from you. My email address is nancy@nancypearl .com.

Ember at last pulled away from Nesta. But she gently put a hand to the female’s cheek and whispered, “You’ll find your way,” before walking to the portal. Bryce could have sworn there were tears in Nesta’s eyes as her mother stepped back into Midgard. But those tears were gone when Nesta met Bryce’s stare. And Cassian, like any good mate, sensed when he wasn’t wanted, and walked over to the fireplace to pretend to read some sort of old-looking manuscript. Bryce knew that, also like any good mate, if she made one wrong move, he’d rip her to shreds. Which was precisely why Hunt had come back into the room, and was watching Nesta carefully. “Alphaholes,” Nesta echoed, eyes gleaming with amusement. Bryce chuckled and drew the Starsword. Again, Cassian tensed, but Bryce just offered it to Nesta. The female took it, blinking. “You said you had an eight-pointed star tattooed on you,” Bryce explained. “And you found the chamber with the eight-pointed star in the Prison, too.” Nesta lifted her head. “So?” “So I want you to take the Starsword.” Bryce held the blade between them. “Gwydion—whatever you call it here. The age of the Starborn is over on Midgard. It ends with me.” “I don’t understand.” But Bryce began backing toward the portal, taking Hunt’s hand, and smiled again at the female, at her mate, at their world, as the Northern Rift began to close. “I think that the eight-pointed star was tattooed on you for a reason. Take that sword and go figure out why.

Many people perceive the merit of a manuscript which is read to them, but will not declare themselves in its favour until they see what success it has in the world when printed, or what intelligent men will say about it. They do not like to risk their opinion, and they want to be carried away by the crowd, and dragged along by the multitude. Then they say that they were amongst the first who approved of that work, and the general public shares their opinion. 32 Such men lose the best opportunities of convincing us that they are intelligent, clever, and first-rate critics, and can really discover what is good and what is better. A fine work falls into their hands; it is an author’s first book, before he has got any great name; there is nothing to prepossess any one in his favour, and by applauding his writings one does not court or flatter the great. Zelotes, you are not required to cry out: “This is a masterpiece; human intelligence never went farther; the human speech cannot soar higher; henceforward we will judge of no one’s taste but by what he thinks of this book.” Such exaggerated and offensive expressions are only employed by postulants for pensions or benefices, and are even injurious to what is really commendable and what one wishes to praise. Why not merely say—“That’s a good book?” It is true you say it when the whole of France has approved of it, and foreigners as well as your own countrymen, when it is printed all over Europe, and has been translated into several languages, but then it is too late.

We cannot provide a definition of those products from which the age takes it name, the feuilletons. They seem to have formed an uncommonly popular section of the daily newspapers, were produced by the millions, and were a major source of mental pabulum for the reader in want of culture. They reported on, or rather "chatted" about, a thousand-and-one items of knowledge. The cleverer writers poked fun at their own work. Many such pieces are so incomprehensible that they can only be viewed as self-persiflage on the part of the authors. In some periods interviews with well-known personalities on current problems were particularly popular. Noted chemists or piano virtuosos would be queried about politics, for example, or popular actors, dancers, gymnasts, aviators, or even poets would be drawn out on the benefits and drawbacks of being a bachelor, or on the presumptive causes of financial crises, and so on. All that mattered in these pieces was to link a well-known name with a subject of current topical interest. It is very hard indeed for us to put ourselves in the place of those people so that we can truly understand them. But the great majority, who seem to have been strikingly fond of reading, must have accepted all these grotesque things with credulous earnestness. If a famous painting changed owners, if a precious manuscript was sold at auction, if an old palace burned down, the readers of many thousands of feature articles at once learned the facts. What is more, on that same day or by the next day at the latest they received an additional dose of anecdotal, historical, psychological, erotic, and other stuff on the catchword of the moment. A torrent of zealous scribbling poured out over every ephemeral incident, and in quality, assortment, and phraseology all this material bore the mark of mass goods rapidly and irresponsibly turned out. Incidentally, there appear to have been certain games which were regular concomitants of the feature article. The readers themselves took the active role in these games, which put to use some of their glut of information fodder. Thousands upon thousands spent their leisure hours sitting over squares and crosses made of letters of the alphabet, filling in the gaps according to certain rules. But let us be wary of seeing only the absurd or insane aspect of this, and let us abstain from ridiculing it. For these people with their childish puzzle games and their cultural feature articles were by no means innocuous children or playful Phaeacians. Rather, they dwelt anxiously among political, economic, and moral ferments and earthquakes, waged a number of frightful wars and civil wars, and their little cultural games were not just charming, meaningless childishness. These games sprang from their deep need to close their eyes and flee from unsolved problems and anxious forebodings of doom into an imaginary world as innocuous as possible. They assiduously learned to drive automobiles, to play difficult card games and lose themselves in crossword puzzles--for they faced death, fear, pain, and hunger almost without defenses, could no longer accept the consolations of the churches, and could obtain no useful advice from Reason. These people who read so many articles and listened to so many lectures did not take the time and trouble to strengthen themselves against fear, to combat the dread of death within themselves; they moved spasmodically on through life and had no belief in a tomorrow.

It's a stupendous day for Dr. Seuss fans, with the announcement of a new, previously unpublished picture book, What Pet Should I Get? , to be released on July 28th.  When Dr. Seuss (aka Ted Geisel) passed away in 1991 he left behind pages of text and sketches for book ideas and projects he had worked on over the years but hadn't completed before his death. Where were these hidden gems, you might ask?  Locked away in a safe? Buried in the backyard? Hidden behind a secret wall in his hat closet?  No.  Like many utterly ordinary people, Seuss had a box in his office filled with a paper trail of ideas and bursts of creativity--only in this case, it was a veryspecial box of creative bits and pieces... Who knew, when his wife, Audrey Geisel, packed away that box shortly after Seuss' death, that when she opened it up over two decades later, she would discover the complete manuscript and illustrations for What Pet Should I Get? . I'm envisioning a ray of bright green and blue and red sunshine beaming down on that moment...  In point of fact, the brilliant colors of Seuss' stories came later in the evolution of his books, so color is being added to the black and white sketches of What Pet Should I Get? by Seuss' former art director, Cathy Goldsmith, who worked with him on the last book he published before his death, Oh, The Places You'll Go!   I can't even imagine the goosebumps Goldsmith must have felt to see and hold never-before-seen Seuss artwork... So while we have to wait until the sun is beating down and summer vacation is nearing an end before we can get our hands on a brand new Dr. Seuss story, can also look forward to hearing about what else was found in that treasure trove of Seussy goodness--two more stories are promised as a result of the findings.

When we finished we sat quietly and watched the endless view. I was slowly realizing that this was one of the Seer’s qualities that I appreciated the most. To be present without words, without expectations and without any judgement. These were the times when I felt that he could communicate his thoughts and visions through his presence alone. Looking out became looking in. It was an undramatic kind of transmission, which would move you almost imperceptibly and silently. At these moments I felt my body relax completely. Each fibre, each muscle and every single cell found its correct place. An empathetic vigilance grew from this relaxed condition, a vigilance, which saw people and things as they were on their own merit. This was not about acceptance any more, since there was nothing to accept. Everything was as it was. It was a long-forgotten language. He showed me how almost all communication between people, the spoken and the written word, is nothing but our desperate attempts to cling to illusory personalities and identities tainted by prejudices, fear and vanity. A language which did not allow any room for listening, which focused on itself, which was excluding and only lived due to its attack and defence system was, according to him, a poor and inhumane one. Although the users of this language were usually very good at repartee and were able to write infinitely, they were really only good at maintaining and communicating limitations without end. It was this maintenance of limitations which was one of the main reasons that the great paradigm change, which all were waiting for, did not happen. He did not judge. He simply looked at and worked for the release of limitations wherever he met them. Not until the dissolution of all mental noise would it be possible to practise the transmission of stillness as a transforming kind of communication between people. It was not possible to enter this condition with a limited attention. The road to the transpersonal and the related level might seem difficult, because it demanded an obligation which included the complete human being. It was not enough to be just a little bit pregnant. You either were or you were not. And the paradoxical difference between the one and the other was the simple fact that the sleeping person decided to open his eyes, to wake up and become conscious of his wakeful condition. The fact that such a seemingly simple decision could appear so difficult lay in the fact that it entailed the release of more or less everything that you have ever learned and gained, and which you erroneously have interpreted as a true realization. He presented all these considerations to me on the mountain. In one single thought, without words, without judgement.

The Last Iberian Jews Fig. 3. Decree of Expulsion of the Jews, Granada, March 31, 1492. Manuscript on paper; uncertified copy. Courtesy of Simancas (Valladolid), Archivo General de Simancas (PR 28-6). 24 Spain and Expulsion After Conversion: The Jews, 1391–1492 From the perspective of the Jews, the Catholic Monarchs were like the little girl with a little curl from Longfellow’s nursery rhyme: when they were good they were very, very good, and when they were bad, they were horrid.

Irish scribes had a way of gossiping and complaining in the margins: ‘I am very cold’ or ‘That’s a hard page and a weary work to read it’ or ‘Oh that a glass of good old wine were at my side.’ Their notes may have been for people working alongside them, because sometimes a team of four or more would work together on a single manuscript;19 but some were entirely personal, as when a scribe writes out the scene of Judas Iscariot betraying Christ with a kiss and adds in the margin: ‘Wretch!

At some point, Phil actually snuck into Kesey’s house and read part of the manuscript Kesey had been working on, One Flew Over the Cuckoos Nest, before it was published. He came back and said, “Kesey’s a really good writer.

Yes, what was your course of study at the university? Your father says you are very bright for a human. What did you study? Medicine? Theology?” “Um… library science.” Lan laughed. “You did experiments with books?” “No.” Beatrice had to smile. “Information Technology. I studied… well, how to be a good librarian. The best ways to preserve books and manuscripts and how to get that information to the people who need it. It’s called ‘library science,’ but—” “Oh!” Lan smiled, his or her round face creasing into a delighted smile. “You are a scribe.

So I saw that there is nothing better for men than that they should be happy in their work, for that is what they are here for, and no one can bring them back to life to enjoy what will be in the future, so let them enjoy it now. —Ecclesiastes 3:22 (TLB) Recently, I learned that a book on friendship that I’d written with my best friend, Melanie, was rejected by a publisher who had been very positive about it for over two years. I was devastated. All those months and years of writing, rewriting, and then reworking it again…only to have it rejected in the end. I was ready to give up my career altogether, retire, and concentrate on biking, swimming, kayaking, and traveling. Then I read something my pen pal Oscar had written about his own retirement twenty-five years earlier. He wrote that in retirement we must have direction and purpose, accept change, remain curious and confident, communicate, and be committed. The longer I looked at his list, the more it spoke to me. Why, those are the very attributes I need to be a good writer, I thought. So I decided to buckle down and rework other unsold manuscripts I’d written over the years. Using Oscar’s plan of direction, purpose, confidence, and commitment helped me to stop telling people that I didn’t have any marketing genes and to keep busy rewriting and looking for different publishers. I may never sell all of my work, but I’m living a life filled with purpose. And I’m a whole lot happier in my semiretirement than if I was just playing every day, all day. Father, give me purpose in life whether it’s volunteer work, pursuing dreams, reworking an old career, or finding a new way to use the talents You’ve given me. —Patricia Lorenz Digging Deeper: Prv 16:9; Rom 12:3–8

The Pretense That MFA Candidates Are Already Full-Blown Artists. MFA candidates are not full-blown artists in control of their craft. Many of them are unaware of their craft, on any level. Many of them are merely talented or have had the good or bad luck to write one piece interesting enough to impress a member of the admissions committee. Why is this pretense a flaw? Because it enables lazy teaching by promoting the idea that manuscripts submitted are fully considered representations of the best a particular writer has to offer, instead of what they most often are: desperate first drafts whipped off the night or morning before their workshop due date. Amazingly (and sadly), despite the fact that this is the nature of many workshop submissions, many participants still invest a lot of emotion in how well their stories are received by the workshop. And if the manuscripts are treated as if they're anything more than exercises in the training process, the responses can be damaging.

The catch, of course, is that there’s usually a defect in discarded goods, no matter how good they look. In the case of upholstered furniture, everyone knows you have to turn it over and check for squirrels. Evaluating a new manuscript is like that. On the surface, in the form of a paper printout, it can appear to be beautiful and trouble-free—but look carefully at the electronic files, and any manner of wildlife could be lurking. My favorite example is a manuscript that consisted of over 300 separate MS Word files: the writer had started a new one every time he reached the bottom of a page.

The more time you can put between you and your manuscript, the more fresh your eyes become and the more mistakes you’ll catch. Let a chapter rest for a day, you’ll see ways to improve it. Let your completed book rest a month or more and you’ll see stuff that’s long or that you want to skip. Read it out loud to get rid of awkward phrases and listen to your critique partners if they are good.

I have sworn upon the altar of God, eternal hostility against every form of tyranny." --Thomas Jefferson   "If the representatives of the people betray their constituents, there is then no recourse left but in the exertion of that original right of self-defense which is paramount to all positive forms of government." --Alexander Hamilton, Federalist No. 28, 1787   "An unarmed man can only flee from evil, and evil is not overcome by fleeing from it."- Col. Jeff Cooper (1920-2006)   “When bad men combine, the good must associate: else they will fall one by one, an  unpitied sacrifice in a contemptible struggle.” -- Edmund Burke     Interlude   “Da, I’ve got a question for you.  It’s a question I’ve thought about since I joined this session.”  This came from Michelle.   “OK.  What’s your question, Mick?”   “We’ve always read the Bible and tried to be good Christians.  I realize you had to do it for us to survive but doesn’t the Bible say, ‘Do not kill’?”  Michelle asked.   The old man looked at his granddaughter and then looked around at the rest of his grandchildren before answering. “Actually, if you go back to the early manuscripts of the Bible, it says, ‘Thou shalt not commit murder.’  What Reggie, Carter, the other residents here, your parents, some of you and I have done, we

Elizabeth might revere Waldo Emerson as an oracle of truth, but Waldo held Elizabeth in high esteem too. Her 1830 translation of de Gérando’s Self-Education inspired him, and her manuscript translation of the French mystic Guillaume Oegger’s True Messiah had provided “good things” as well. At this formative time in his life, Waldo Emerson found in Elizabeth Peabody both a woman who knew the ins and outs of the publishing world—she would advise him on dealings with their mutual publisher, James Munroe—and a raconteur with the “authority of a learned professor or high literary celebrity in her talk.” For the most part, as Elizabeth had intuited, Waldo was able to disregard the less compelling aspects of her personality that, to a man whose feminine ideal was still the nineteen-year-old invalid bride he had lost to tuberculosis, were inclined to “offend,” and accept her as a fellow being of “infinite capacity.” In

Knowing your DUI attorney can eliminate the effect of the return of drunken Driving under the influence of alcohol is a serious offense. It has led to the destruction of countless innocent lives. Including in the United States against the wounded caused countless innocent people, their lives rotation indefinitely. It was carried out connected to the conclusion of households for damage. It has led to a community, the introduction of the unknown nature of the operation of the state, remain concerned with drunken diet. He is optimistic in September, then, that the federal government does not become a frivolous crime. With the repeal of the Step mode, the application of the laws of intoxication and the dishes are made to drunk drivers seem hard regularly. If it difficult to the crime of driving under the influence of alcohol or at least system is the next step in a reliable DUI lawyer, regardless of the guilt or innocence of their weight, protect yourself in the hope of such significant reductions in price, the not confirmed extremely high prices. Sam can throw a lot of money as well, you can get a driver's license, or without, it can be hard to take the prison up to one year. You can avoid because of their own and do not need to get drunk relaxed in the price. As a replacement for all these costs themselves, which is largely a good idea, the help of a DUI lawyer to win? These specialists understand the law and the conditions just mentioned above, compounds containing a labor judge and customer orientation DWI. DUI lawyers can be reduced to a constructive trust or even eliminate visibility into force. Opportunities robbery was accused of drunk again, and notes that you are responsible for the crimes. Even debt includes only the legal capacity and criminal DUI can trained your own navigation of these people to bring models. Sam, I think maybe just dedicated for his crimes while to select your mind and time, but not very simple scenario. A lawyer may reduce the value of the summary court to protect the effects, or even fines, suspensions and aspects of the prison, including research, replaced types of defenses and forage alcohol recovery. DUI lawyers said that before and look small, to see how drunken opportunities and shortcomings that can still influence the courtroom one behind the selling price. You can such a situation it is not possible lack of faith on the inside to create to take the manuscript. DUI lawyers can use our experience and work up shopping application laboratory errors that dominates lead for the detection of respiratory next acceptable display the current situation in the whatever. Unlike pilot’s proposals less effect on the mind, the entire route was to the training room, there are many cases a lot of experience of skilled DUI lawyer can help. All of these experts, the service experience of working in the right direction in order to continue to help customers move only in the courtroom and not too loose, not to keep the customers another law a hand. There are can be drunken very scary encounter billed offer. With the end of the transfer during this procedure of his or very familiar with the other side, while experts, the treatment should be fine. If you come into conflict with the mentioned at this point nation, they do poverty and a little assistance in criminal matters.

He was the first who dared to say, “Believe not because some old manuscripts are produced, believe not because it is your national belief, because you have been made to believe it from your childhood; but reason it all out, and after you have analysed it, then, if you find that it will do good to one and all, believe it, live up to it, and help others to live up to it.

For hundreds of years, the transmission of knowledge had depended on carnivorous appetites and good animal husbandry. Large volumes with hundreds of pages required the skins of many animals. One goat was often needed for each page of parchment in a large liturgical book such as an antiphonary, while a Bible might take the skins of more than two hundred animals—an entire herd of goats or flock of sheep.

Many people do not understand the art of winning and this has been the case for many centuries. There was once a Shaolin monk who was constantly being challenged to fight. He always won, even against the angriest and strongest fighters, because they could not understand that technique is always superior to personal will and expectations. Some of the men noticed his skill and asked to be trained with him, and once their technique was good enough, they would try to defeat him. But the monk would defeat them instead because they could not understand that experience is always superior to technique. As the monk grew older, he did not desire to fight anymore, and so many men would insult him. But the monk was still winning,  because they could not understand that they were wasting an opportunity to learn and the monk did not desire to waste the little time he had left on earth. Before he died, the monk wrote a few manuscripts with his wisdom, but few were capable of understanding his words because their spirit was not ready. They were still thinking about winning. And so they lost everything, they lost the opportunity to develop a new technique, gain experience, study and understand how to win.

There are two major problems with pseudo-profundity. The first is that it masks the real meaning of just about everything. Despite the fact that it is pretentious and annoying, bullshit artists use it because people often accept pseudo-profundity as a substitute for thinking hard and clearly about “the expert’s” message, goals, and directions. The Sokal Hoax Article is a case in point. A professor of mathematics at University College London and a professor of physics at New York University, Alan Sokal found himself increasingly dissatisfied with postmodern cultural scholarship. He decided to test the field’s intellectual rigor by submitting for publication “Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity” to Social Text, a top postmodern cultural studies journal whose editors included luminaries such as Fredric Jameson and Andrew Ross. Unbeknownst to the editors, Sokal’s manuscript was a hoax. It appeared to be a synthesis of relevant literature, but was instead full of pretentious-sounding, pseudoscientific nonsense. If Sokal’s study had any hypothesis at all, it was that he could get an article, liberally salted with utter nonsense, accepted for publication in a leading cultural studies journal. All Sokal really needed to do was flatter the editors’ ideological preconceptions and ensure that the paper sounded good. The paper was accepted. The editors of Social Text were unable to discern real theory from Sokal’s pseudo-profound bullshit because it made as much sense as other pseudo-profound papers they were publishing in their journal.

What a good editor brings to a piece of writing is an objective eye that the writer has long since lost, and there is no end of ways in which an editor can improve a manuscript: pruning, shaping, clarifying, tidying a hundred inconsistencies of tense and pronoun and location and tone, noticing all the sentences that could be read in two different ways, dividing awkward long sentences into short ones, putting the writer back on the main road if he has strayed down a side path, building bridges where the writer has lost the reader by not paying attention to his transitions, questioning matters of judgment and taste. An editor’s hand must also be invisible. Whatever he adds in his own words shouldn’t sound like his own words; they should sound like the writer’s words.

Life with out a dream is Hell. Go for what you want - and you're winner. Dont listen to the nosayers they never get it write. There are so many bullsh*t quotes out there and motivational speeches, grind and work twenty three hours a day. wake up at five and run. Well i'm not a morning person person. Yet I will tell you strieght - if you want to stand aside of the crown and achieve. Then working hard and sacrifcie will be part of it. One in ten thousand finish a manuscript, one in twenty thousand get it edited and offer it up for scutiny. I have written seven so far and the words do come quicker and you learn the tricks of the trade, but the only way you will be come a confident wordsmith is by "writing and writing and writing. Good luck Steve

Many people do not understand the art of winning and this has been the case for many centuries. There was once a Shaolin monk who was constantly being challenged to fight. He always won, even against the angriest and strongest fighters, because they could not understand that technique is always superior to personal will and expectations. Some of the men noticed his skill and asked to be trained with him, and once their technique was good enough, they would try to defeat him. But the monk would defeat them instead because they could not understand that experience is always superior to technique. As the monk grew older, he did not desire to fight anymore, and so many men would insult him. But the monk was still winning, because they could not understand that they were wasting an opportunity to learn and the monk did not desire to waste the little time he had left on earth. Before he died, the monk wrote a few manuscripts with his wisdom, but few were capable of understanding his words because their spirit was not ready. They were still thinking about winning. And so they lost everything, they lost the opportunity to develop a new technique, gain experience, study and understand how to win.

Over the years, I’ve come to believe that revision and rewriting are most of what good writing entails: writing a successful book isn’t only making the most of the first burst of inspiration, as pleasurable as that is. It’s also the sustained and often small-scale work of making a promising manuscript better hour by hour, day by day, slowly but steadily moving it closer to your imagined ideal.

By chance – but it is not by chance – I open the preface to the Veda of my friend and master and ask whoever will listen to me: What would you save from a house in flames? A precious, irreplaceable manuscript containing a message of salvation for the human race or a small number of people threatened by that fire? The dilemma is real and not only for the writer: how can one only be an ‘intellectual, interested in the truth, or only a ‘spiritual person’ engaged in goodness, when people desperately beg for food and justice? How can one follow a contemplative, philosophical or even religious path when the world requires action, commitment and politics? Vice versa, how can one act to make a better world or an indispensable revolution when what one needs is a serene intuition and a just evaluation? It should be clear to all who share life on our planet that the house in flames is not a fact that involves only one individual. Why was I created? Why, having been saved, do I still exist? How must I live and what can I do? My reader said: If I am not ready to save the manuscript from the fire, if I don’t take my intellectual vocation seriously, placing it before everything else – even at the risk of appearing inhuman –, then I am also incapable of helping people in a more serious and immediate manner. Vice versa, if I am not attentive and ready to save people from a outbreak of fire, which means, if I don’t consider my spiritual calling with total honesty, sacrificing all the rest for it, even my own life, then I will be incapable of saving the manuscript. If I let myself be involved in the solid problems of my times and if I don’t open my home to all of the winds of the world, then whatever I produce from an ivory tower will be sterile and cursed. Also, if I don’t close the doors and windows in order to concentrate on this work, I will not be able to offer anything of value to my neighbour. I hear each book on my shelves shouting in silence: In truth, the manuscript can come out of the flames charred and people burned, but the intensity of one preoccupation has helped me with the other. The dilemma is not to choose the monastery or the disco, Harvard or Chanakyapuri (the Vatican or the Quirinal), tradition or progress, politics or academia, the Church or the State, justice or truth. In a word, reality is not a matter of ‘either...or’, it is not a matter of choosing between spirit and matter, contemplation and action, written message and living persons, East and West, theory and approach or even between divine and human.1 My sense and destiny are inscribed in these words. I am a library, thus I exist in the world and thanks to men who have written, printed, bought and guarded my texts, I exist for them and in their world. I exist also because a man has existed. 1

Cesarini had suffered poverty in his student days. He had been forced to copy out his own textbooks because he could not afford to buy them and, when he served as tutor to the sons of a wealthy family, had collected the stubs of candles after their splendid banquets in order to prolong his studies into the evening—for the acquisition of knowledge in those days required not just books but also a good supply of candles to read by.

am Thalia,” the girl said. “Daughter of Zeus.” ACKNOWLEDGMENTS Many thanks to my young beta testers, Geoffrey Cole and Travis Stoll, for reading the manuscript and making good suggestions; Egbert Bakker of Yale University for his help with Ancient Greek; Nancy Gallt for her able representation; my editor, Jennifer Besser, for her guidance and perseverance; the students at the many schools I’ve visited for their enthusiastic support; and of course Becky, Haley, and Patrick Riordan, who make my trips to Camp Half-Blood possible.

SATURDAY, APRIL 4 Let us not become weary in doing good, for at the proper time we will reap a harvest if we do not give up. Galatians 6:9 (NIV) WRITING IS MY CALLING. EVEN without compensation, I would write. My latest book explores the life of Dr. Martin Luther King Jr. I wrote the first draft in 2005. Countless editors rejected it. Over ten years, I rewrote the manuscript no fewer than eight times. Each new revision was denied for publication. As an orator and Bible scholar, Dr. King said, “Faith is taking the first step even when you don’t see the whole staircase.” I was tempted to quit on many days as my manuscript received mountain-high rejection notices. Isaiah’s words comforted me, “But they that wait upon the LORD shall renew their strength; they shall mount up with wings as eagles; they shall run, and not be weary; and they shall walk, and not faint” (Isaiah 40:31, KJV). Ultimately I did not quit or cave to self-defeat, and my book was finally published in 2018. The decade that I spent revising the text proved to be a priceless exercise in learning patience and sharpening my writing skills. My dream was deferred, but it was not denied. And here is a spiritual nugget that was gleaned from my ten-year writing journey: The soul will grow weary when it toils toward an unseen promise. Yet, as I labor to attain the vision that I hold for myself, the Spirit of the Lord strengthens my heart and emotions as I press ahead. What are you laboring to achieve? If you refuse to quit, Jesus will touch you with His unwavering perseverance. Despite what happens in the process, never give up on yourself. Press onward. Jesus will bring you to a successful finish. —ALICE THOMPSON

Miles,” Chloe tucked some hair behind her ear, “do you think you could help me with my research paper about War of the Roses? I read that one of the books you wrote was a modern-day retelling of it.” Miles looked absolutely delighted. Me, not so much. We couldn’t afford entangling ourselves further with the man. I couldn’t have more reasons to want to give him my heart. Though A Rose for Every Season was a brilliant book—it was probably my second favorite of his—we didn’t need his insights. “Honey, Miles is very busy right now. I can help you,” I answered before Miles could get a word in. Miles dropped his fork and knife but recovered them quickly. Chloe sighed. “Oh, okay. It’s just, I told my teacher I wanted that topic because we were friends with you, and she thought that was really neat because she’s read all your books.” “Your mum has been misinformed.” Miles gave me a closed-lipped smile. “It’s actually she who will be busy. I need her to go over my manuscript before I continue. While she does that, I would be honored to help you.” Oh. He. Was. Good. He knew how bad I wanted to get my hands on that manuscript. Miles’s eyes said, what else do you got? Chloe clapped her hands together. “Thank you! Thank you! You’re the best.

His students were intended to become a caste of capable citizens and inspired political leaders, men who were, as he hoped, “fit for the management of public and private business.”36 Above all, he wished to create what he called the vir bonus dicendi peritus, the “good man skilled in speaking”37—someone who was both articulate and virtuous, and who used his oratorical powers for the good of his society.

On the final folio he added a coda in the margin - 'I am called Aldred, born {son of] Aelfred; I speak as the distinguished son of a good woman' - and we hear him, centuries on.

Such manuscripts were never a good omen for an editor. Their authors, mostly elderly pests, drop by a couple of days later to ask is the work of their life - what else? - was accepted for publication.

SCROLL 5 The Ether Scroll Kū-no-Maki 空の巻 Main Points * Otherwise known as Void, Emptiness, Nothingness or Heaven, here Musashi explains the true meaning of Ether. * He explains that Ether is not related to the Buddhist concept of Nirvana or enlightenment, but it is an enlightened state of sorts in that everything becomes crystal clear. * Breaking through, breaking free, freedom in all Ways is the essence of Ether. * This final Scroll in Gorin-no-sho was probably not completed by Musashi before he handed the manuscript to his student one week before his death. * Translation source is Uozumi Takashi’s Teihon Gorin-no-sho, pp. 170–72. Introduction The Way of combat in Nitō Ichi-ryū is made clear in the Ether Scroll.1 The Ether is a place where there is nothing. I consider this emptiness as something which cannot be known. Of course, Ether is also nothing. Knowing what does exist, one can then know what does not. This is what I mean by “Ether.” People tend to mistake this notion of Ether as something that cannot be distinguished but this is not the true Ether. It is simply confusion in everybody’s minds. So too in the Way of combat strategy, ignorance of the laws of the samurai by those who practice the Way of the warrior is not represented as emptiness. Likewise, those who harbor various doubts explain it as “emptiness,” but this is not the true meaning of Ether. The warrior must scrupulously learn by heart the Way of combat strategy and thoroughly study other martial arts without forgoing any aspect related to the practice of the warrior’s Way. He must seek to put the Way into practice each hour of every day without tiring or losing focus. He must polish the two layers of his mind, the “heart of perception” and the “heart of intent,” and sharpen his two powers of observation, the gazes of kan (“looking in”) and ken (“looking at”). He must recognize that the true Ether is where all the clouds of confusion have completely lifted, leaving not a hint of haziness. When you are impervious to the true Way, faithfully following your own instead thinking all is well, be it Buddhist Law or secular law, you will stray further from the truth. When the spirit is uncurled and compared with overarching universal principles, it becomes evident that a prejudiced mind and a distorted view of things have led to a departure from the proper path. Know this mind and use what is straight as your foundation. Make the sincere heart your Way as you practice strategy in its broadest sense, correctly and lucidly. Ponder the Ether as you study the Way. As you practice the Way, the Ether will open before you. There is Good, not Evil in the Ether There is Wisdom There is Reason There is the Way The Mind, Empty 12th Day of the 5th Month, Shōhō 2 (1645) Shinmen Musashi Genshin

In fact, some research studies have proved that people with brain damage resulting in not being able to experience emotions fully have reduced capacity to make good decisions. Even

Luther called his tractate An Admonition to Peace on the Twelve Articles of the Peasantry in The manuscript survives, and the editors of the Weimar edition note with some asperity that its punctuation conforms to no rules-perhaps an indication that Luther wrote in white-hot temper. The tone of the opening is surprisingly mild given Luther's penchant for fury when things did not go his way. He was obviously trying to be diplomatic. In their twelfth article the peasants expressed a desire to be instructed if their interpretations of scripture and fairness were incorrect. Luther was happy to give them the instruction they sought. The mildest of peasants could not have been pleased with his detailed response to their grievances. Luther began at the heart of the matter. Without doubt, he said, some among the peasants expressed their fine Christian sentiments only for "paint and show," since "it is not possible in such a great host that all should be true Christians and have good intentions."30 His abiding conviction that true Christians formed a tiny minority among those who professed faith would seemingly force him to conclude that even among his own disciples, most were damned. If true Christians were always an unknown few, no political order was possible that assumed all nominal Christians to be equal. The majority of professing Christians would always live by selfish principles, and any program with specific details that claimed to be Christian could be only be "color and shine," pretense and appearance.

The manuscript seemed to shout less now; it was less stridently flag-wavingly English. As Stella had reinstated the Spanish oranges, the Dutch salad gardens and the Jewish fried fish, the accent of the text had changed. Instead of a clipped BBC English, it now spoke with a hotchpotch voice. Stella felt it more authentic for that, though, and her confidence in it began to return. It might no longer have a lion's roar, but this was a story of a trading and a hospitable nation, turned outward, not inward.

Where the rattle of ducats failed to produce a result, Cincinello deployed other, more drastic means. When he was ambassador to Rome he arranged for the kidnapping of one of Ferrante’s enemies who was slipping in and out of the kingdom on some nefarious business. Determined to “get his hands on him,” Cincinello lured his victim beyond the gates of Rome, where he had him seized and gagged by a band of horsemen, then bundled to Naples and hauled before Ferrante. The king enjoyed taking his vengeance through such baleful whimsies as strangling his enemies and then embalming them for display in a museum of mummies in the Castelnuovo. This latest enemy did not, apparently, become the latest exhibit, because as Vespasiano, in a statement that strains the bounds of credulity, claimed, Ferrante was “a most clement man who had no wish to do violence,” and the offender was released with a caution. Vespasiano did admit that Cincinello’s actions, here and elsewhere, raised certain uncomfortable moral questions. “Now in this case,” he wrote of the kidnapping, “whether I agree or not, I pass no judgment, knowing Antonio to be a man of good conscience.

Sicily--- Oranges, pistachios, and/or aubergine. Sicilian food a product of immense, diverse history. Have sardines! Try the orange cake. You'll find it all over, but there used to be a good one in Taormina. I shake my head in amazement. Somehow, it feels like Dad had been quietly guiding me. Tuscany--- Wild boar is good but tomatoes are better. Nothing else! Please say something with Chiara's tomatoes. I want to help her. Farm is a century old and sells some obscure varieties. Tomato salads, tomato bread soup, panzanella. And here too, Leo and I had organically found the path my father laid out for us. The notes on Liguria are less specific, but when I read his scrawled handwriting, I smile to myself. Liguria--- Was thinking about beans, but basil a good opinion. Oh boy, I cannot wait to show that note to Leo. Basil a good option! Leo. I sit and write with an open heart, not shying away from treacly memories of cut oranges shared in the sea. Pushing my cynicism to the side and allowing the love I have for food, for Italy, for my father, to run from my heart down my veins to my fingers and onto the page.

Apparently he did, for he scrutinized the dates on the dwarf-pedestals with the deepest attention and finally remarked, 'I see you have written a date on each of these. What does that signify?' "'The dates are those on which I acquired the respective specimens,' I answered. "'Oh, indeed.' He reflected, with a profoundly speculative eye on Number Five. I judged that he was trying to recall a date furnished by Number Five's cousin and that he would have liked to consult his note-book. "'The particulars,' I said, 'are too lengthy to put on the labels, but they are set out in detail in the catalogue.' "'Can I see the catalogue?' he asked eagerly. "'Certainly.' I produced a small manuscript volume—not the catalogue which is attached to the 'Archives,' but a dummy that I had prepared for such a contingency as had arisen—and handed it to him. He opened it with avidity, and, turning at once to Number Five, began, with manifest disappointment, to read the description aloud. "'5. Male skeleton of Teutonic type exhibiting well-marked characters of degeneration. The skull is asymmetrical, subdolichocephalic.' (He pronounced this word subdolichocolophalic' and paused abruptly, turning rather red. It is an awkward word.) 'Yes,' he said, closing the catalogue, 'very interesting, very remarkable. Exceedingly so. I should very much like to possess a skeleton like that.' "'You are much better off with the one you have got,' I remarked. "'Oh, I don't mean that,' he rejoined hastily. 'I mean that I should like to acquire a specimen like this Number Five for my proposed collection. Now how could I get one?' "'Well,' I said reflectively, 'there are several ways.' I paused and he gazed at me expectantly. 'You could, for instance,' I continued slowly, 'provide yourself with a lasso and take a walk down Whitechapel High Street.' "'Good gracious!

From the veteran bestsellers down to the writers who are preparing their manuscript for agent queries, everyone approaches their workspace wondering how the hell they managed to get something good onto the page the day before, because today it feels impossible. Until they start to write.

So imposing your modern-day perspective on a manuscript thousands of years old is the best way to understand the Bible? Choose an interpretation that makes you feel good?

No writer ever knows enough words but he doesn’t have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax. My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results. I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: ‘panoply’ meaning ‘a full set of armor’, ‘calendar’ meaning ‘a printed index to a jumbled group of related manuscripts or papers’. —Chapter IX “Intellectual Equipment”, page 306