Grant Writing Quotes

Anyway GONE. My goal in writing GONE To creep you out. To make you stay up all night reading then roll into school tired the next day so that you totally blow the big test and end up dropping out of school. GONE. Imagine a world where every adult vanishes in an instant.

I only knew what was in my mind, and I wished to express it clearly

She wanted to write to him. Tell him she was glad he was back, that he was alive, that he was home and safe. But words to him no longer fit right in her her mouth.Words which belonged in his ownership were no longer hers to give. Silence was the only acceptable state her heart would grant. He would never know what he missed, because she refused to be heard in his presence. All the words he could have had, all the phrases he might have danced with. The smiles which would have been imprinted upon his heart, would never be. And his lips would never be able to reply to the words she could not say.

What do you have in mind after you graduate?" What I always thought I had in mind was getting some big scholarship to graduate school or a grant to study all over Europe, and then I thought I'd be a professor and write books of poems or write books of poems and be an editor of some sort. Usually I had these plans on the tip of my tongue. "I don't really know," I heard myself say. I felt a deep shock, hearing myself say that, because the minute I said it, I knew it was true.

Everyone thinks writers must know more about the inside of the human head, but that's wrong. They know less, that's why they write. Trying to find out what everyone else takes for granted.

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.

The problem, if anything, was precisely the opposite. I had too much to write: too many fine and miserable buildings to construct and streets to name and clock towers to set chiming, too many characters to raise up from the dirt like flowers whose petals I peeled down to the intricate frail organs within, too many terrible genetic and fiduciary secrets to dig up and bury and dig up again, too many divorces to grant, heirs to disinherit, trysts to arrange, letters to misdirect into evil hands, innocent children to slay with rheumatic fever, women to leave unfulfilled and hopeless, men to drive to adultery and theft, fires to ignite at the hearts of ancient houses.

Let us record the atoms as they fall upon the mind in the order in which they fall, let us trace the pattern, however disconnected and incoherent in appearance, which each sight or incident scores upon the consciousness. Let us not take it for granted that life exists more fully in what is commonly thought big than in what is commonly thought small.

The human ego is the ugliest part of man. We lift up men who only show us darkness, and put down those brave enough to show us the light. Likewise, people engage in darkness when it is light outside, and acknowledge the light only when it is dark. We abandon those fighting for us to cheer behind those fighting against us. And, we only remember good people and God when it is convenient for us, and take them for granted because their doors are always open - only to chase after closed doors and personalities void of substance and truth.

Our most basic instinct is not for survival but for family. Most of us would give our own life for the survival of a family member, yet we lead our daily life too often as if we take our family for granted.

Love doesn't give you very many choices. When you love someone, you just want to be with them. If they break your heart, you will still love them. Because hearts are easy to break, and though love is tender and sometimes fragile, love isn't. Love sort of envelops you. It covers you like a giant shadow, then pulls you in like a blanket. You are so warm. The feeling surrounds you, and no matter how you feel, it is always there. You can't escape it. But you wouldn't want to. You are so, so safe. You can't remember the last time you were this happy. Were you ever? This happy? Every second you are apart feels like hours. Sometimes, right before you fall asleep, you miss them so much it hurts. You ache for them. Their warmth. Their touch. Their smell. You need them. When you can't sleep you wish and wish and wish that they would wake up and talk to you. When you dream of them, you wake up smiling. When pain stabs into you, you reach out for them. You cry to them, begging them to hold you and make it all go away, make everything go away. Love addicts you to its feeling. You never, ever want to lose that feeling. Sometimes the fear of losing love drives people to do crazy things. Like buy a plane ticket. Make a phone call. Run out of a class. Cry. Write. Laugh. Because when you love someone, you really love them. You give them your whole heart. You trust them. You never want to be away from them. Sometimes, you don't even need their words. You just need them there. Love is such an amazing thing, and too many people take it for granted. If you're in love, don't let it go. Don't you dare let it go.

Most people's first books are their best anyways. It's the one they wanted most to write.

If God granted me a wish today, I would ask for a talent to read, write and speak all languages of the world!

Most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed to immutable.

Well, I’ve been a musician my whole life. When I was two, I would sing the theme from Star Wars in my crib; my mom taped it for proof. Then, when I was five, I asked for a violin. No one knew why I would want one, but my wish was granted and I ended up a classically trained fiddler by age 12. The only problem with that was, when you’re a classical violinist, everybody expects you to be satisfied with playing Tchaikovsky for the rest of your life, and saying you want to play jazz, rock, write songs, sing your songs, hook up your fiddle to a guitar amp, sleep with your 4-track recorder, mess around with synths, dress like Tinkerbell in combat boots, AND play Tchaikovsky is equivalent to spitting on the Pope.

Well, writing novels is incredibly simple: an author sits down…and writes. Granted, most writers I know are a bit strange. Some, downright weird. But then again, you’d have to be. To spend hundreds and hundreds of hours sitting in front of a computer screen staring at lines of information is pretty tedious. More like a computer programmer. And no matter how cool the Matrix made looking at code seem, computer programmers are even weirder than authors.

I hereby grant you permission to write crap. The more the better. Remember, crap makes the best fertilizer.

The main reason I became a teacher is that I like being the first one to introduce kids to words and music and people and numbers and concepts and idea that they have never heard about or thought about before. I like being the first one to tell them about Long John Silver and negative numbers and Beethoven and alliteration and "Oh, What a Beautiful Morning" and similes and right angles and Ebenezer Scrooge. . . Just think about what you know today. You read. You write. You work with numbers. You solve problems. We take all these things for granted. But of course you haven't always read. You haven't always known how to write. You weren't born knowing how to subtract 199 from 600. Someone showed you. There was a moment when you moved from not knowing to knowing, from not understanding to understanding. That's why I became a teacher.

Oh, yes! Fill the churches with dirty thoughts! Introduce honesty to the White House! Write letters in dead languages to people you've never met! Paint filthy words on the foreheads of children! Burn your credit cards and wear high heels! Asylum doors stand open! Fill the suburbs with murder and rape! Divine madness! Let there be ecstasy, ecstasy in the streets! Laugh and the world laughs with you!

Dearest creature in creation, Study English pronunciation. I will teach you in my verse Sounds like corpse, corps, horse, and worse. I will keep you, Suzy, busy, Make your head with heat grow dizzy. Tear in eye, your dress will tear. So shall I! Oh hear my prayer. Just compare heart, beard, and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it’s written.) Now I surely will not plague you With such words as plaque and ague. But be careful how you speak: Say break and steak, but bleak and streak; Cloven, oven, how and low, Script, receipt, show, poem, and toe. Hear me say, devoid of trickery, Daughter, laughter, and Terpsichore, Typhoid, measles, topsails, aisles, Exiles, similes, and reviles; Scholar, vicar, and cigar, Solar, mica, war and far; One, anemone, Balmoral, Kitchen, lichen, laundry, laurel; Gertrude, German, wind and mind, Scene, Melpomene, mankind. Billet does not rhyme with ballet, Bouquet, wallet, mallet, chalet. Blood and flood are not like food, Nor is mould like should and would. Viscous, viscount, load and broad, Toward, to forward, to reward. And your pronunciation’s OK When you correctly say croquet, Rounded, wounded, grieve and sieve, Friend and fiend, alive and live. Ivy, privy, famous; clamour And enamour rhyme with hammer. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rhyme with anger, Neither does devour with clangour. Souls but foul, haunt but aunt, Font, front, wont, want, grand, and grant, Shoes, goes, does. Now first say finger, And then singer, ginger, linger, Real, zeal, mauve, gauze, gouge and gauge, Marriage, foliage, mirage, and age. Query does not rhyme with very, Nor does fury sound like bury. Dost, lost, post and doth, cloth, loth. Job, nob, bosom, transom, oath. Though the differences seem little, We say actual but victual. Refer does not rhyme with deafer. Foeffer does, and zephyr, heifer. Mint, pint, senate and sedate; Dull, bull, and George ate late. Scenic, Arabic, Pacific, Science, conscience, scientific. Liberty, library, heave and heaven, Rachel, ache, moustache, eleven. We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the differences, moreover, Between mover, cover, clover; Leeches, breeches, wise, precise, Chalice, but police and lice; Camel, constable, unstable, Principle, disciple, label. Petal, panel, and canal, Wait, surprise, plait, promise, pal. Worm and storm, chaise, chaos, chair, Senator, spectator, mayor. Tour, but our and succour, four. Gas, alas, and Arkansas. Sea, idea, Korea, area, Psalm, Maria, but malaria. Youth, south, southern, cleanse and clean. Doctrine, turpentine, marine. Compare alien with Italian, Dandelion and battalion. Sally with ally, yea, ye, Eye, I, ay, aye, whey, and key. Say aver, but ever, fever, Neither, leisure, skein, deceiver. Heron, granary, canary. Crevice and device and aerie. Face, but preface, not efface. Phlegm, phlegmatic, ass, glass, bass. Large, but target, gin, give, verging, Ought, out, joust and scour, scourging. Ear, but earn and wear and tear Do not rhyme with here but ere. Seven is right, but so is even, Hyphen, roughen, nephew Stephen, Monkey, donkey, Turk and jerk, Ask, grasp, wasp, and cork and work. Pronunciation (think of Psyche!) Is a paling stout and spikey? Won’t it make you lose your wits, Writing groats and saying grits? It’s a dark abyss or tunnel: Strewn with stones, stowed, solace, gunwale, Islington and Isle of Wight, Housewife, verdict and indict. Finally, which rhymes with enough, Though, through, plough, or dough, or cough? Hiccough has the sound of cup. My advice is to give up!!!

And please God, grant me the wisdom to remember that I am writing for children, not golden stickers.

I write with my spine, create through my heart and defiant mind. Happy or not happy, it’s real, it’s living like blood, pen and paper. Hearts that wake up racing, wanting. Trading fear in for the hurt, the hard, the challenge, the change, the pain, the stuff that makes you grow bigger, stronger, better. Granting you the crazy, the genius, the ability, the power to change the world.

The great bulk of the legal voters of the South were men who owned no slaves; their homes were generally in the hills and poor country; their facilities for educating their children, even up to the point of reading and writing, were very limited; their interest in the contest was very meagre--what there was, if they had been capable of seeing it, was with the North; they too needed emancipation. Under the old regime they were looked down upon by those who controlled all the affairs in the interest of slave-owners, as poor white trash who were allowed the ballot so long as they cast it according to direction.

What mattered to her was that she loved God, whether or not He granted her the consolation and joy of His felt presence.

He read me extracts from a medical journal describing the progress of a staphylococcus aureus infection. And then he pleasured me with a potato.

The Wisdom of Solomon (Carl) They censor words not the things they denote: It would create less of a stir to drop a piece of shit on Grant's tomb than to write it out in white paint. Because people recognize that's what memorials are for–old bums & dogs to shit on.

This time, Fusako was able to express herself with fluency and candor. The bold letters she had been writing week after week had granted her an unexpected new freedom.

Here is how you know someone has had a good idea: Other people freely admit to their friends that said idea has changed their lives. Most people today will grant that fire and the wheel are the big two. After that, any attempts to rank the greatest ideas of all time are going to draw lots of argument. You’ll have zealots pimping this god or that on the one hand, scientists pimping Darwin on the other, and then practical people pointing at written language and saying, look, fellas, the reason those ideas have gone viral is because someone figured out how to write them down.

Granted, there is always much that is hidden, and we must not forget that the writing of history - however dryly it is done and however sincere the desire for objectivity - remains literature. History's third dimension is always fiction

We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence - and even start a war. And one right word, or one kind word, can grant you the heavens and open doors.

This world is a place of business. What an infinite bustle! I am awaked almost every night by the panting of the locomotive. It interrupts my dreams. There is no sabbath. It would be glorious to see mankind at leisure for once. It is nothing but work, work, work. I cannot easily buy a blank-book to write thoughts in; they are commonly ruled for dollars and cents. An Irishman, seeing me making a minute in the fields, took it for granted that I was calculating my wages. If a man was tossed out of a window when an infant, and so made a cripple for life, or scared out of his wits by the Indians, it is regretted chiefly because he was thus incapacitated for—business! I think that there is nothing, not even crime, more opposed to poetry, to philosophy, ay, to life itself, than this incessant business.

Now this court will learn that I am the greatest in wit and courage. I am he whose writing the blind see and whose words grant hearing to the deaf. Content with complete verses, I sleep, while others strain for simple rhymes. I laughed at the frauds and their ignorance until, with discerning hand and mouth, I destroy them. If you see the lion bare his teeth, do not assume he is smiling!

It's a good thing to read a lot. It's a good thing to write a lot. The best thing to do is to live a lot. Fall in love. Fall out of love. Make a fool of yourself. Watch other people make fools of themselves. Believe something stupid and then realize you've been tricked. Feel embarrassed. Be brave and bold. Then be cowardly and pathetic. Give a damn about the world outside yourself. Have some very dark nights. It's all good. You'll use all of it.

This story was written many moons ago under an apple tree in an orchard in Kent, which is one of England's prettiest counties . . . I had read at least twenty of the [fairy tales] when I noticed something that had never struck me before--I suppose because I had always taken it for granted. All the princesses, apart from such rare exceptions as Snow White, were blond, blue-eyed, and beautiful, with lovely figures and complexions and extravagantly long hair. This struck me as most unfair, and suddenly I began to wonder just how many handsome young princes would have asked a king for the hand of his daughter if that daughter had happened to be gawky, snub-nosed, and freckled, with shortish mouse-colored hair? None, I suspected. They would all have been of chasing after some lissome Royal Highness with large blue eyes and yards of golden hair and probably nothing whatever between her ears! It was in that moment that a story about a princess who turned out to be ordinary jumped into my mind, and the very next morning I took my pencil box and a large rough-notebook down to the orchard and, having settled myself under an apple tree in full bloom, began to write . . . the day was warm and windless and without a cloud in the sky. A perfect day and a perfect place to write a fairy story.

The computer's password protected. I try the basics: 1,2,3,4. QWERTY. YTREWQ, which is qwerty backward. PASSWORD. A few others. Whoever uses this computer isn't quite that dumb. They are, however, dumb enough to write it down in the corner of the desk blotter.

Let’s face it - English is a crazy language. There is no egg in eggplant nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren’t invented in England or French fries in France. Sweetmeats are candies while sweetbreads, which aren’t sweet, are meat. We take English for granted. But if we explore its paradoxes, we find that quicksand can work slowly, boxing rings are square and a guinea pig is neither from Guinea nor is it a pig. And why is it that writers write but fingers don’t fing, grocers don’t groce and hammers don’t ham? If the plural of tooth is teeth, why isn’t the plural of booth beeth? One goose, 2 geese. So one moose, 2 meese? One index, 2 indices? Doesn’t it seem crazy that you can make amends but not one amend? If you have a bunch of odds and ends and get rid of all but one of them, what do you call it? If teachers taught, why didn’t preachers praught? If a vegetarian eats vegetables, what does a humanitarian eat? In what language do people recite at a play and play at a recital? Ship by truck and send cargo by ship? Have noses that run and feet that smell? How can a slim chance and a fat chance be the same, while a wise man and a wise guy are opposites? You have to marvel at the unique lunacy of a language in which your house can burn up as it burns down, in which you fill in a form by filling it out and in which an alarm goes off by going on. English was invented by people, not computers, and it reflects the creativity of the human race (which, of course, isn’t a race at all). That is why, when the stars are out, they are visible, but when the lights are out, they are invisible. And finally, why doesn't "buick" rhyme with "quick"?

I had to get slow and dumb (not take anything for granted) and watch and see how everything connects, how you contact your thoughts and lay them down on paper.

I keep thinking of the gifts of my own upbringing, which I once took for granted: I can read any book I choose and comprehend it. I can write a complete sentence and punctuate it correctly. If I need help, I can call on judges, attorneys, educators, ministers. I wonder what I would be like if I had grown up without such protections and supports. What cracks would have turned up in my character?

Writing engenders in us certain attitudes toward language. It encourages us to take words for granted. Writing has enabled us to store vast quantities of words indefinitely. This is advantageous on the one hand but dangerous on the other. The result is that we have developed a kind of false security where language is concerned, and our sensitivity to language has deteriorated. And we have become in proportion insensitive to silence.

We will never know peace and stability in the world without balance. And we will never know balance without justice for all. Yet, justice exists only where there is fairness and equality -- when every man and country is treated and viewed equally. No country should be given power over another. In addition, no country should be granted privileges that are denied to others. No one country has the authority to decide which country will be embargoed, denied to protect itself, and will be favored based on the weight of their resources. Eliminate the hypocrisy.

It is a long journey, not just as a writer, but as a human being. Take nothing and no one for granted, be humble always, be kind especially when it's difficult and never forget the place where you came from and the people that helped you get where you are. These things will live on in you and through you, long after the words have faded.

And in fact that selfsame strange urge I had when I was small - the desire to grant a second chance to something that could never have one - is still one of the urges that set me going today whenever I sit down to write a story.

There are thousands of talented writers at work in America, and only a few of them (I think the number might be as low as five per cent) can support their families and themselves with their work. There’s always some grant money available, but it’s never enough to go around. As for government subsidies for creative writers, perish the thought. Tobacco subsidies, sure. Research grants to study the motility of unpreserved bull sperm, of course. Creative-writing subsidies, never. …America has never much revered her creative people; as a whole, we’re more interested in commemorative plates from the Franklin Mint and Internet greeting-cards. And if you don’t like it, it’s a case of tough titty, said the kitty, ‘cause that’s just the way things are. Americans are a lot more interested in TV quiz shows than in the short fiction of Raymond Carver.

To the last we will have learned nothing. In all of us, deep down, there seems to be something granite and unteachable. No one truly believes, despite the hysteria in the streets, that the world of tranquil certainties we were born into is about to be extinguished. No one can accept that an imperial has been annihilated by men with bows and arrows and rusty old guns who live in tents and never wash and cannot read or write. And who am I to jeer at life-giving illusions? Is there any better way to pass these last days than in dreaming of a saviour with a sword who will scatter the enemy hosts and forgive us the errors that have been committed by others in our name and grant us a second chance to build our earthly paradise?

Harry’s letter to his daughter: If I could give you just one thing, I’d want it to be a simple truth that took me many years to learn. If you learn it now, it may enrich your life in hundreds of ways. And it may prevent you from facing many problems that have hurt people who have never learned it. The truth is simply this: No one owes you anything. Significance How could such a simple statement be important? It may not seem so, but understanding it can bless your entire life. No one owes you anything. It means that no one else is living for you, my child. Because no one is you. Each person is living for himself; his own happiness is all he can ever personally feel. When you realize that no one owes you happiness or anything else, you’ll be freed from expecting what isn’t likely to be. It means no one has to love you. If someone loves you, it’s because there’s something special about you that gives him happiness. Find out what that something special is and try to make it stronger in you, so that you’ll be loved even more. When people do things for you, it’s because they want to — because you, in some way, give them something meaningful that makes them want to please you, not because anyone owes you anything. No one has to like you. If your friends want to be with you, it’s not out of duty. Find out what makes others happy so they’ll want to be near you. No one has to respect you. Some people may even be unkind to you. But once you realize that people don’t have to be good to you, and may not be good to you, you’ll learn to avoid those who would harm you. For you don’t owe them anything either. Living your Life No one owes you anything. You owe it to yourself to be the best person possible. Because if you are, others will want to be with you, want to provide you with the things you want in exchange for what you’re giving to them. Some people will choose not to be with you for reasons that have nothing to do with you. When that happens, look elsewhere for the relationships you want. Don’t make someone else’s problem your problem. Once you learn that you must earn the love and respect of others, you’ll never expect the impossible and you won’t be disappointed. Others don’t have to share their property with you, nor their feelings or thoughts. If they do, it’s because you’ve earned these things. And you have every reason to be proud of the love you receive, your friends’ respect, the property you’ve earned. But don’t ever take them for granted. If you do, you could lose them. They’re not yours by right; you must always earn them. My Experience A great burden was lifted from my shoulders the day I realized that no one owes me anything. For so long as I’d thought there were things I was entitled to, I’d been wearing myself out —physically and emotionally — trying to collect them. No one owes me moral conduct, respect, friendship, love, courtesy, or intelligence. And once I recognized that, all my relationships became far more satisfying. I’ve focused on being with people who want to do the things I want them to do. That understanding has served me well with friends, business associates, lovers, sales prospects, and strangers. It constantly reminds me that I can get what I want only if I can enter the other person’s world. I must try to understand how he thinks, what he believes to be important, what he wants. Only then can I appeal to someone in ways that will bring me what I want. And only then can I tell whether I really want to be involved with someone. And I can save the important relationships for th

I write all these remarks with exactly the same feeling as if I were writing a letter to post into the distant past: I am so sure that everything we now take for granted is going to be utterly swept away in the next decade. (So why write novels? Indeed, why! I suppose we have to go on living as if ...)

The greatest book in the world, the Mahabharata, tells us we all have to live and die by our karmic cycle. Thus works the perfect reward-and-punishment, cause-and-effect, code of the universe. We live out in our present life what we wrote out in our last. But the great moral thriller also orders us to rage against karma and its despotic dictates. It teaches us to subvert it. To change it. It tells us we also write out our next lives as we live out our present. The Mahabharata is not a work of religious instruction. It is much greater. It is a work of art. It understands men will always fall in the shifting chasm between the tug of the moral and the lure of the immoral. It is in this shifting space of uncertitude that men become men. Not animals, not gods. It understands truth is relative. That it is defined by context and motive. It encourages the noblest of men - Yudhishtra, Arjuna, Lord Krishna himself - to lie, so that a greater truth may be served. It understands the world is powered by desire. And that desire is an unknowable thing. Desire conjures death, destruction, distress. But also creates love, beauty, art. It is our greatest undoing. And the only reason for all doing. And doing is life. Doing is karma. Thus it forgives even those who desire intemperately. It forgives Duryodhana. The man who desires without pause. The man who precipitates the war to end all wars. It grants him paradise and the admiration of the gods. In the desiring and the doing this most reviled of men fulfils the mandate of man. You must know the world before you are done with it. You must act on desire before you renounce it. There can be no merit in forgoing the not known. The greatest book in the world rescues volition from religion and gives it back to man. Religion is the disciplinarian fantasy of a schoolmaster. The Mahabharata is the joyous song of life of a maestro. In its tales within tales it takes religion for a spin and skins it inside out. Leaves it puzzling over its own poisoned follicles. It gives men the chance to be splendid. Doubt-ridden architects of some small part of their lives. Duryodhanas who can win even as they lose.

The great bulk of the legal voters of the South were men who owned no slaves; their homes were generally in the hills and poor country; their facilities for educating their children, even up to the point of reading and writing, were very limited; their interest in the contest was very meagre--what there was, if they had been capable of seeing it, was with the North; they too needed emancipation.

May the Lord grant you grace to read and understand the Holy Scriptures.

Traveling can never be taken for granted, no matter how meticulous the preparations.

On old maps, cartographers would draw strange beasts around the margins and write phrases such as "Here be dragons." That's where monsters exist: in the unmapped spaces, in the places where we haven't filled in all the gaps...

The irony of general-purpose technologies is that, before long, they become invisible and we take them for granted. Language, agriculture, writing—each was a general-purpose technology at the center of an early wave. These three waves formed the foundation of civilization as we know it. Now we take them for granted.

Thus far, the only people who can grant you immortality are not scientists, but writers. By writing you into their books, they may not only immortalize you, but also grant you superpowers.

Literary award judges have the power to select a prize winner, granting them fame and potentially turning their book into a bestseller. However, determining the best book of the year remains a subjective endeavor. It is not surprising, then, that different panels consistently choose different winners from the same pool of submissions.

I believe that any Christian who is qualified to write a good popular book on any science may do much more by that than by any direct apologetic work…. We can make people often attend to the Christian point of view for half an hour or so; but the moment they have gone away from our lecture or laid down our article, they are plunged back into a world where the opposite position is taken for granted…. What we want is not more little books about Christianity, but more little books by Christians on other subjects—with their Christianity latent. You can see this most easily if you look at it the other way around. Our faith is not very likely to be shaken by any book on Hinduism. But if whenever we read an elementary book on Geology, Botany, Politics, or Astronomy, we found that its implications were Hindu, that would shake us. It is not the books written in direct defense of Materialism that make the modern man a materialist; it is the materialistic assumptions in all the other books. In the same way, it is not books on Christianity that will really trouble him. But he would be troubled if, whenever he wanted a cheap popular introduction to some science, the best work on the market was always by a Christian.

INVENTING A WRITING system from scratch must have been incomparably more difficult than borrowing and adapting one. The first scribes had to settle on basic principles that we now take for granted. For example, they had to figure out how to decompose a continuous utterance into speech units, regardless of whether those units were taken as words, syllables, or phonemes. They

I arrive now at the ineffable core of my story. And here begins my despair as a writer. All language is a set of symbols whose use among its speakers assumes a shared past. How, then, can I translate into words the limitless Aleph, which my floundering mind can scarcely encompass? Mystics, faced with the same problem, fall back on symbols: to signify the godhead, one Persian speaks of a bird that somehow is all birds; Alanus de Insulis, of a sphere whose center is everywhere and circumference is nowhere; Ezekiel, of a four-faced angel who at one and the same time moves east and west, north and south. (Not in vain do I recall these inconceivable analogies; they bear some relation to the Aleph.) Perhaps the gods might grant me a similar metaphor, but then this account would become contaminated by literature, by fiction. Really, what I want to do is impossible, for any listing of an endless series is doomed to be infinitesimal. In that single gigantic instant I saw millions of acts both delightful and awful; not one of them occupied the same point in space, without overlapping or transparency. What my eyes beheld was simultaneous, but what I shall now write down will be successive, because language is successive. Nonetheless, I'll try to recollect what I can.

We lived on 82nd Street and the Metropolitan Museum was my short cut to Central Park. I wrote: "I go into the museum and look at all the pictures on the walls. Instead of feeling my own insignificance I want to go straight home and paint." A great painting, or symphony, or play, doesn't diminish us, but enlarges us, and we, too, want to make our own cry of affirmation to the power of creation behind the universe. This surge of creativity has nothing to do with competition, or degree of talent. When I hear a superb pianist, I can't wait to get to my own piano, and I play about as well now as I did when I was ten. A great novel, rather than discouraging me, simply makes me want to write. This response on the part of any artist is the need to make incarnate the new awareness we have been granted through the genius of someone else.

By the second week of November 1990, a new character had begun to spring forth in Kurt's journal writings, and this figure would soon make its way into almost every image, song, or story. He intentionally misspelled its name, and in doing so he was granting it a life of its own. Oddly, he gave it a female persona, but since it became his great love that Fall - and even made him throw up, just like Tobi - there was a fairness in this gender choice. He called it 'heroine'.

How dare I presume to say: He is my friend, or even, more cautiously, I think I know him? At the very most we are like two strangers meeting in the white wintry veld and sitting down together for a while to smoke a pipe before proceeding on their separate ways. No more. Alone. Alone to the very end. I… every one of us. But to have been granted the grace of meeting and touching so fleetingly: is that not the most awesome and wonderful thing one can hope for in this world?

Other Lives And Dimensions And Finally A Love Poem My left hand will live longer than my right. The rivers of my palms tell me so. Never argue with rivers. Never expect your lives to finish at the same time. I think praying, I think clapping is how hands mourn. I think staying up and waiting for paintings to sigh is science. In another dimension this is exactly what's happening, it's what they write grants about: the chromodynamics of mournful Whistlers, the audible sorrow and beta decay of Old Battersea Bridge. I like the idea of different theres and elsewheres, an Idaho known for bluegrass, a Bronx where people talk like violets smell. Perhaps I am somewhere patient, somehow kind, perhaps in the nook of a cousin universe I've never defiled or betrayed anyone. Here I have two hands and they are vanishing, the hollow of your back to rest my cheek against, your voice and little else but my assiduous fear to cherish. My hands are webbed like the wind-torn work of a spider, like they squeezed something in the womb but couldn't hang on. One of those other worlds or a life I felt passing through mine, or the ocean inside my mother's belly she had to scream out. Here, when I say I never want to be without you, somewhere else I am saying I never want to be without you again. And when I touch you in each of the places we meet, in all of the lives we are, it's with hands that are dying and resurrected. When I don't touch you it's a mistake in any life, in each place and forever.

I stand amazed at this tree, this life. I stare up in awe at its branches, raising up toward heaven. I wonder about its origins, how a seed so miniscule could grow into a structure so vast and resilient. I'm still examining its genesis. To examine, to question, to discover and evolve--that is what it means to be alive. The day we cease to explore is the day we begin to wilt. I share my testimony in these pages not because I have reached any lasting conclusions, but because I have so much to understand. I am as inquisitive about life now as I was as a child. My story will never be finished, nor should it be. For as long as God grants me breath, I will be living--and writing--my next chapter.

One could not but play for a moment with the thought of what might have happened if Charlotte Brontë had possessed say three hundred a year — but the foolish woman sold the copyright of her novels outright for fifteen hundred pounds; had somehow possessed more knowledge of the busy world, and towns and regions full of life; more practical experience, and intercourse with her kind and acquaintance with a variety of character. In those words she puts her finger exactly not only upon her own defects as a novelist but upon those of her sex. at that time. She knew, no one better, how enormously her genius would have profited if it had not spent itself in solitary visions over distant fields; if experience and intercourse and travel had been granted her. But they were not granted; they were withheld; and we must accept the fact that all those good novels, VILLETTE, EMMA, WUTHERING HEIGHTS, MIDDLEMARCH, were written by women without more experience of life than could enter the house of a respectable clergyman; written too in the common sitting-room of that respectable house and by women so poor that they could not afford to, buy more than a few quires of paper at a time upon which to write WUTHERING HEIGHTS or JANE EYRE.

I cannot count the pebbles in the brook. Well hath He spoken: "Swear not by thy head. Thou knowest not the hairs," though He, we read, writes that wild number in His own strange book. I cannot count the sands or search the seas, death cometh, and I leave so much untrod. Grant my immortal aureole, O my God, and I will name the leaves upon the trees, In heaven I shall stand on gold and glass, still brooding earth's arithmetic to spell; or see the fading of the fires of hell ere I have thanked my God for all the grass.

At the day's end, a writer lives alone with her story, wrestling with characters and settings, and the way light filters into and out of a scene. The deeper messages often escape her.Sometimes I take for granted the journey through the telling. At other times I curse the muse's power. But through it all, I live each day in deep gratitude.

Power is given only to those you allow to have power over you. No man was born with a master. The only master of all is the Creator, and he created all men to be free. Freedom is a God-given right, not a human-granted gift. No man should have to fight to breathe in good health and peace.

In the shadows of the dreamland, he waits. He watches the gaping windows to the world he had so longed to open. Now flown wide, bleak and empty, ravaged-like him-it grants his wish. He belongs. It cannot compare to the memory of her eyes. Blue azure, warm as a summer sky. If he could but fall into their world. Would that he had. Now he write the end to the story that past its Midnight Dreary-that too late and hour-has its own without him. It was always, he knows now, meant to end this way. Like that circle that "ever returneth into the selfsame spot." My beautiful, my Isobel. My Love. You ask me to wait. And so I wait. For all of this, I know, is but a dream. And when, in sleep, at last we wake, I will see you again.

For God does not give us anything in order that we should enjoy its possession and rest content with it, nor has he ever done so. All the gifts which he has ever granted us in heaven or on earth were made solely in order to be able to give us the one gift, which is himself. With all other gifts he simply wants to prepare us for that gift which is himself. And all the works which God has ever performed in heaven or on earth served solely to perform the one work, that is to sanctify himself so that he can sanctify us. And so I tell you that we should learn to see God in all gifts and works, neither resting content with anything nor becoming attached to anything. For us there can be no attachment to a particular manner of behaviour in this life, nor has this ever been right, however successful we may have been.

The relations one has with a woman one loves (and that can apply also to love for a youth) can remain platonic for other reasons than the chastity of the woman or the unsensual nature of the love she inspires. The reason may be that the lover is too impatient and by the very excess of his love is unable to await the moment when he will obtain his desires by sufficient pretence of indifference. Continually, he returns to the charge, he never ceases writing to her whom he loves, he is always trying to see her, she refuses herself, he becomes desperate. From that time she knows, if she grants him her company, her friendship, that these benefits will seem so considerable to one who believed he was going to be deprived of them, that she need grant nothing more and that she can take advantage of the moment when he can no longer bear being unable to see her and when, at all costs, he must put an end to the struggle by accepting a truce which will impose upon him a platonic relationship as its preliminary condition. Moreover, during all the time that preceded this truce, the lover, in a constant state of anxiety, ceaselessly hoping for a letter, a glance, has long ceased thinking of the physical desire which at first tormented him but which has been exhausted by waiting and has been replaced by another order of longings more painful still if left unsatisfied. The pleasure formerly anticipated from caresses will later be accorded but transmuted into friendly words and promises of intercourse which brings delicious moments after the strain of uncertainty or after a look impregnated with such coldness that it seemed to remove the loved one beyond hope of his ever seeing her again. Women divine all this and know they can afford the luxury of never yielding to those who, from the first, have betrayed their inextinguishable desire. A woman is enchanted if, without giving anything, she can receive more than she generally gets when she does give herself.

Here one comes upon an all-important English trait: the respect for constituitionalism and legality, the belief in 'the law' as something above the state and above the individual, something which is cruel and stupid, of course, but at any rate incorruptible. It is not that anyone imagines the law to be just. Everyone knows that there is one law for the rich and another for the poor. But no one accepts the implications of this, everyone takes for granted that the law, such as it is, will be respected, and feels a sense of outrage when it is not. Remarks like 'They can't run me in; I haven't done anything wrong', or 'They can't do that; it's against the law', are part of the atmosphere of England. The professed enemies of society have this feeling as strongly as anyone else. One sees it in prison-books like Wilfred Macartney's Walls Have Mouths or Jim Phelan's Jail Journey, in the solemn idiocies that take places at the trials of conscientious objectors, in letters to the papers from eminent Marxist professors, pointing out that this or that is a 'miscarriage of British justice'. Everyone believes in his heart that the law can be, ought to be, and, on the whole, will be impartially administered. The totalitarian idea that there is no such thing as law, there is only power, has never taken root. Even the intelligentsia have only accepted it in theory. An illusion can become a half-truth, a mask can alter the expression of a face. The familiar arguments to the effect that democracy is 'just the same as' or 'just as bad as' totalitarianism never take account of this fact. All such arguments boil down to saying that half a loaf is the same as no bread. In England such concepts as justice, liberty and objective truth are still believed in. They may be illusions, but they are powerful illusions. The belief in them influences conduct,national life is different because of them. In proof of which, look about you. Where are the rubber truncheons, where is the caster oil? The sword is still in the scabbard, and while it stays corruption cannot go beyond a certain point. The English electoral system, for instance, is an all but open fraud. In a dozen obvious ways it is gerrymandered in the interest of the moneyed class. But until some deep change has occurred in the public mind, it cannot become completely corrupt. You do not arrive at the polling booth to find men with revolvers telling you which way to vote, nor are the votes miscounted, nor is there any direct bribery. Even hypocrisy is powerful safeguard. The hanging judge, that evil old man in scarlet robe and horse-hair wig,whom nothing short of dynamite will ever teach what century he is living in, but who will at any rate interpret the law according to the books and will in no circumstances take a money bribe,is one of the symbolic figures of England. He is a symbol of the strange mixture of reality and illusion, democracy and privilege, humbug and decency, the subtle network of compromises, by which the nation keeps itself in its familiar shape.

He is blinded and nothing will open his eyes,nothing can,after having had truths so long before him in vain.--He will marry her and poor and miserable.God grant that her influence do not make him cease to be respectable!"---She looked over the letter again."So very fond of me!tis"nonsense all.She loves nobody but herself and her brother.Her friends leading her astray for years!She is quite as likely to have led them astray. They have all,perhaps, been corrupting one another;but if they are so much fonder of her than she is of them,she is the less likely to have been hurt except by their flattery.The only woman in the world,whom he could ever think of as a wife.....I firmly believe it.It is an attachment to govern his whole life. Accepted or refused,his heart is wedded to her for ever.The loss of Mary,I must consider as comprehending the loss of Crawford and Fanny.Edmund you do not know me.The families would never be connected,if you did not connected them. Oh!write,write.Finish it at once.Let there be an end of this suspense.Fix, commit,condemn yourself."-Fanny Price

To learn hard things quickly, you must focus intensely without distraction. To learn, in other words, is an act of deep work. If you’re comfortable going deep, you’ll be comfortable mastering the increasingly complex systems and skills needed to thrive in our economy. If you instead remain one of the many for whom depth is uncomfortable and distraction ubiquitous, you shouldn’t expect these systems and skills to come easily to you. Deep Work Helps You Produce at an Elite Level Adam Grant produces at an elite level. When I met Grant in 2013, he was the youngest professor to be awarded tenure at the Wharton School of Business at Penn. A year later, when I started writing this chapter (and was just beginning to think about my own tenure process), the claim was updated: He’s now the youngest full professor* at Wharton. The reason Grant advanced so quickly in his corner of academia is simple: He produces. In 2012, Grant published seven articles—all of them in major journals. This is an absurdly

Think of that Thoreau fellow. I've read some of his books. He went out and lived in a shack and looked at a pond. Now he's one of your heroes. If I go out and live in a shack and look at a pond, pretty soon I'll have so many damn social workers beating on my door that I won't be able to sleep. “They'll start scribbling in some damn notebook: ‘No initiative. No self-esteem.’ They'll write reports, get grants, start some government program with a bunch of forms.

Although neuroplasticity provides an escape from genetic determinism, a loophole for free thought and free will, it also imposes its own form of determinism on our behavior. As particular circuits in our brain strengthen through the repetition of a physical or mental activity, they begin to transform that activity into a habit. The paradox of neuroplasticity, observes Doidge, is that, for all the mental flexibility it grants us, it can end up locking us into “rigid behaviors.”33 The chemically triggered synapses that link our neurons program us, in effect, to want to keep exercising the circuits they’ve formed. Once we’ve wired new circuitry in our brain, Doidge writes, “we long to keep it activated.

I cannot write myself. What, after all, is this "I" who would write himself? Even as he would enter into the writing, the writing would take the wind out of his sails, would render him null and void -- futile; a gradual dilapidation would occur, in which the other's image, too, would be gradually involved (to write on something is to outmode it), a disgust whose conclusion could only be: what's the use? what obstructs amorous writing is the illusion of expressivity: as a writer, or assuming myself to be one, I continue to fool myself as to the effects of language: I do not know that the word "suffering" expresses no suffering and that, consequently, to use it is not only to communicate nothing but even, and immediately, to annoy, to irritate (not to mention the absurdity). Someone would have to teach me that one cannot write without burying "sincerity" (always the Orpheus myth: not to turn back). What writing demands, and what any lover cannot grant it without laceration, is to sacrifice a little of his Image-repertoire, and to assure thereby, through his language, the assumption of a little reality. All I might produce, at best, is a writing of the Image-repertoire; and for that I would have to renounce the Image-repertoire of writing -- would have to let myself be subjugated by my language, submit to the injustices (the insults) it will not fail to inflict upon the double Image of the lover and of his other. The language of the Image-repertoire would be precisely the utopia of language: an entirely original, paradisiac language, the language of Adam -- "natural, free of distortion or illusion, limpid mirror of our sense, a sensual language (die sensualische Sprache)": "In the sensual language, all minds converse together, they need no other language, for this is the language of nature.

Today, I choose not to take my life for granted. I choose not to look upon the fact that I am healthy, have food in my refrigerator and have clean water to drink as givens. They are not givens for so many people in our world. The fact that I am safe and (relatively) sane are not givens. That I was born into a family who loves me and into a country not ravaged by war are not givens. It is impossible to name all of the circumstances in my life I've taken for granted. All of the basic needs I've had met, all of the friendships and job opportunities and financial blessings and the list, truly, is endless. The fact that I am breathing is a miracle, one I too rarely stop to appreciate. I'm stopping, right now, to be grateful for everything I am and everything I've been given. I'm stopping, right now, to be grateful for every pleasure and every pain that has contributed to the me who sits here and writes these words. I am thankful for my life. This moment is a blessing. Each breath a gift. That I've been able to take so much for granted is a gift, too. But it's not how I want to live—not when gratitude is an option, not when wonder and awe are choices. I choose gratitude. I choose wonder. I choose awe. I choose everything that suggests I'm opening myself to the miraculous reality of simply being alive for one moment more.

May in Varanasi. 25° and wet. It's like the 6th circle of the inferno here, Edith - where they flail the arses off the howling heretics and the men who fuck marine life etc. NATO's stomping on the Balkans while India and Pakistan threaten one another with nukes. "Dead From the Waist Down" on MTV. The humidity's making me horny and mad. I miss Robin. In his new book, Ken Wilbur calls it "skin hunger". I feel like I'm building up a charge. Monsoon's on its way.

The Allatians believe that they have a writing system superior to all others. Unlike books written in alphabets, syllabaries, or logograms, an Allatian book captures not only words, but also the writer’s tone, voice, inflection, emphasis, intonation, rhythm. It is simultaneously a score and a recording. A speech sounds like a speech, a lament a lament, and a story re-creates perfectly the teller’s breathless excitement. For the Allatians, reading is literally hearing the voice of the past. But there is a cost to the beauty of the Allatian book. Because the act of reading requires physical contact with the soft, malleable surface, each time a text is read, it is also damaged and some aspects of the original irretrievably lost. Copies made of more durable materials inevitably fail to capture all the subtleties of the writer’s voice, and are thus shunned. In order to preserve their literary heritage, the Allatians have to lock away their most precious manuscripts in forbidding libraries where few are granted access. Ironically, the most important and beautiful works of Allatian writers are rarely read, but are known only through interpretations made by scribes who attempt to reconstruct the original in new books after hearing the source read at special ceremonies.

Perfectly following a list of punctuation rules may grant me some kinds of power, but it won’t grant me love. Love doesn’t come from a list of rules—it emerges from the spaces between us, when we pay attention to each other and care about the effect that we have on each other. When we learn to write in ways that communicate our tone of voice, not just our mastery of rules, we learn to see writing not as a way of asserting our intellectual superiority, but as a way of listening to each other better. We learn to write not for power, but for love. But for all the subtle vocal modulations that typography can express, we’re not just voices. We still need a way to convey the messages that we send with the rest of our bodies.

We are afraid of what we will do to others, afraid of the rage that lies in wait somewhere deep in our souls. How many human beings go through the world frozen with rage against life! This deeply hidden inner anger may be the product of hurt pride or of real frustration in office, factory, clinic, or home. Whatever may be the cause of our frozen rage (which is the inevitable mother of depression), the great word of hope today is that this rage can be conquered and drained off into creative channels … …What should we do? We should all learn that a certain amount of aggressive energy is normal and certainly manageable in maturity. Most of us can drain off the excess of our angry feelings and destructive impulses in exercise, in competitive games, or in the vigorous battles against the evils of nature and society. We also must realize that no one will punish us for the legitimate expression of self-assertiveness and creative pugnacity as our parents once punished us for our undisciplined temper tantrums. Furthermore, let us remember that we need not totally repress the angry part of our nature. We can always give it an outlet in the safe realm of fantasy. A classic example of such fantasy is given by Max Beerborn, who made a practice of concocting imaginary letters to people he hated. Sometimes he went so far as to actually write the letters and in the very process of releasing his anger it evaporated. As mature men and women we should regard our minds as a true democracy where all kinds of ideas and emotions should be given freedom of speech. If in political life we are willing to grant civil liberties to all sorts of parties and programs, should we not be equally willing to grant civil liberties to our innermost thoughts and drives, confident that the more dangerous of them will be outvoted by the majority within our minds? Do I mean that we should hit out at our enemy whenever the mood strikes us? No, I repeat that I am suggesting quite the reverse—self-control in action based upon (positive coping mechanisms such as) self expression in fantasy.

Doesn’t matter whether you’re a baker’s wife or a whore or a princess—if you have the strength, you can take a lover, write a motet, lead an army, rule a country. Women have. Not all, granted, but some. And we adore them, don’t we? In theory. We make statues of warrior women, paint them on our ceilings—goddesses with shields and togas and one fair breast exposed so there can be no doubt. The palaces of Europe are covered in them. The Opéra stages, too, for that matter. Yet most women I know—no matter how clever, no matter how strong—are dragged down by husbands or fathers or titles or too many petticoats, or priests clutching at their hems, telling them, ‘No, you cannot do that, you cannot be that.’ I never listened. That’s rare.

The answer to all questions of life and death, "the absolute solution" was written all over the world he had known: it was like a traveller realising that the wild country he surveys is not an accidental assembly of natural phenomena, but the page in a book where these mountains and forests, and fields, and rivers are disposed in such a way as to form a coherent sentence; the vowel of a lake fusing with the consonant of a sibilant slope; the windings of a road writing its message in a round hand, as clear as that of one's father; trees conversing in dumb-show, making sense to one who has learnt the gestures of their language... Thus the traveller spells the landscape and its sense is disclosed, and likewise, the intricate pattern of human life turns out to be monogrammatic, now quite clear to the inner eye disentangling the interwoven letters. And the word, the meaning which appears is astounding in its simplicity: the greatest surprise being perhaps that in the course of one's earthly existence, with one's brain encompassed by an iron ring, by the close-fitting dream of one's own personality - one had not made by chance that simple mental jerk, which would have set free imprisoned thought and granted it the great understanding.

I write. I give intimate private names to an external and foreign world. In a sense, I make it mine. In a sense, I return from feeling exiled and foreign to feeling at home. By doing so, I am already making a small change in what appeared to me earlier as unchangeable. Also, when I describe the impermeable arbitrariness that signs my destiny — arbitrariness at the hands of a human being, or arbitrariness at the hands of fate — I suddenly discover new nuances, subtleties. I discover that the mere act of writing about arbitrariness allows me to feel a freedom of movement in relation to it. That by merely facing up to arbitrariness I am granted freedom — maybe the only freedom a man may have against any arbitrariness: the freedom to put your tragedy into your own words. The freedom to express yourself differently, innovatively, before that which threatens to chain and bind one to arbitrariness and its limited, fossilizing definitions.

You will have noticed that I didn’t give this story a pat conclusion, and that’s deliberate. Katherine (my wife and frequent coauthor, K. A. Applegate) and I were among the earliest authors to encounter fan fiction via the internet. We’ve embraced it from the start. And some part of me hopes that fanfic writers will carry this story forward. Don’t ask me what happens to these characters next, because I don’t know. Will Dekka find love, perhaps with Simone? Will Cruz and Armo? How will Sam and Astrid do in this terrifying extension of earlier trauma? Maybe you have some ideas. I built the sandbox; if you want to bring your pails and shovels and play in it, cool. It’s one of the best things about writing for young people: you are my collaborators in imagination. If I leave blanks it’s because I know you’ll fill them.

For it is indeed pointless and foolish to seek to get from another what one can get from oneself. [32] Since I can get greatness of soul and nobility of mind from myself, shall I seek to get a patch of land from you, or a bit of money, or some public post? Heaven forbid! I won’t overlook my own resources in such a manner. [33] But if someone is abject and cowardly, what on earth can one do for him except write letters for him as though on behalf of a corpse, ‘Do please grant us the corpse of this man and a pint of his miserable blood’; [34] for in truth such a person is merely a corpse and a pint of blood, and nothing more. If he amounted to anything more, he would realize that no one suffers misfortune because of the actions of another.

In brief: consciousness is a phenomenon in the zone of evolution. This world lights up to itself only where or only inasmuch as it develops, procreates new forms. Places of stagnancy slip from consciousness; they may only appear in their interplay with places of evolution. If this is granted it follows that consciousness and discord with one's own self are inseparably linked up, even that they must, as it were, be proportional to each other. This sounds a paradox, but the wisest of all times and peoples have testified to confirm it. Men and women for whom this world was lit in an unusually light of awareness, and who by life and word have, more than others, formed and transformed that work of art which we call humanity, testify by speech and writing or even by their lives that more than others have they been torn by the pangs of inner discord. Let this be a consolation to him who also suffers from it. Without it nothing enduring has ever been begotten.

What is the use of beauty in woman? Provided a woman is physically well made and capable of bearing children, she will always be good enough in the opinion of economists. What is the use of music? -- of painting? Who would be fool enough nowadays to prefer Mozart to Carrel, Michael Angelo to the inventor of white mustard? There is nothing really beautiful save what is of no possible use. Everything useful is ugly, for it expresses a need, and man's needs are low and disgusting, like his own poor, wretched nature. The most useful place in a house is the water-closet. For my part, saving these gentry's presence, I am of those to whom superfluities are necessaries, and I am fond of things and people in inverse ratio to the service they render me. I prefer a Chinese vase with its mandarins and dragons, which is perfectly useless to me, to a utensil which I do use, and the particular talent of mine which I set most store by is that which enables me not to guess logogriphs and charades. I would very willingly renounce my rights as a Frenchman and a citizen for the sight of an undoubted painting by Raphael, or of a beautiful nude woman, -- Princess Borghese, for instance, when she posed for Canova, or Julia Grisi when she is entering her bath. I would most willingly consent to the return of that cannibal, Charles X., if he brought me, from his residence in Bohemia, a case of Tokai or Johannisberg; and the electoral laws would be quite liberal enough, to my mind, were some of our streets broader and some other things less broad. Though I am not a dilettante, I prefer the sound of a poor fiddle and tambourines to that of the Speaker's bell. I would sell my breeches for a ring, and my bread for jam. The occupation which best befits civilized man seems to me to be idleness or analytically smoking a pipe or cigar. I think highly of those who play skittles, and also of those who write verse. You may perceive that my principles are not utilitarian, and that I shall never be the editor of a virtuous paper, unless I am converted, which would be very comical. Instead of founding a Monthyon prize for the reward of virtue, I would rather bestow -- like Sardanapalus, that great, misunderstood philosopher -- a large reward to him who should invent a new pleasure; for to me enjoyment seems to be the end of life and the only useful thing on this earth. God willed it to be so, for he created women, perfumes, light, lovely flowers, good wine, spirited horses, lapdogs, and Angora cats; for He did not say to his angels, 'Be virtuous,' but, 'Love,' and gave us lips more sensitive than the rest of the skin that we might kiss women, eyes looking upward that we might behold the light, a subtile sense of smell that we might breathe in the soul of the flowers, muscular limbs that we might press the flanks of stallions and fly swift as thought without railway or steam-kettle, delicate hands that we might stroke the long heads of greyhounds, the velvety fur of cats, and the polished shoulder of not very virtuous creatures, and, finally, granted to us alone the triple and glorious privilege of drinking without being thirsty, striking fire, and making love in all seasons, whereby we are very much more distinguished from brutes than by the custom of reading newspapers and framing constitutions.

Nearly all our associations are determined by chance or necessity; and restricted within a narrow circle. We cannot know whom we would; and those whom we know, we cannot have at our side when we most need them. All the higher circles of human intelligence are, to those beneath, only momentarily and partially open... there is a society continually open to us, of people who will talk to us as long as we like, whatever our rank or occupation; — talk to us in the best words they can choose, and of the things nearest their hearts. And this society, because it is so numerous and so gentle, and can be kept waiting around us all day long, — kings and statesmen lingering patiently, not to grant audience, but to gain it! — in those plainly furnished and narrow ante-rooms, our bookcase shelves, — we make no account of that company, — perhaps never listen to a word they would say, all day long!

I meant to resist your charms; I really did.I wasn't going to do this." Alan took her wrist, guiding her hand over so that he could press a kiss to the palm. "Make love with me?" "No." Shelby's gaze traveled from his mouth to his eyes. "Be in love with you." She felt his fingers tighten on her wrist, then loosen slowly as his eyes stayed dark and fixed on hers. Beneath her, she felt the change in his heartbeart. "And are you?" "Yes." The word, hardly audible, thundered in his head. Alan brought her to him, cradling her head against his chest, feeling her low slow expulsion of air as his arm came around her. He hadn't expected her to give him so much so soon. "When?" "When?" Shelby repeated, enjoying the solid feel of his chest under her cheek. "Sometime between when we first stepped out on the Write's terrace and when I opened a basket of strawberries." "It took you that long? All I had to do was look at you.

Of those few fools, who with ill stars are curst, Sure scribbling fools, called poets, fare the worst: For they're a sort of fools which fortune makes, And, after she has made them fools, forsakes. With Nature's oafs 'tis quite a different case, For Fortune favours all her idiot race. In her own nest the cuckoo eggs we find, Over which she broods to hatch the changeling kind: No portion for her own she has to spare, So much she dotes on her adopted care. Poets are bubbles, by the town drawn in, Suffered at first some trifling stakes to win: But what unequal hazards do they run! Each time they write they venture all they've won: The Squire that's buttered still, is sure to be undone. This author, heretofore, has found your favour, But pleads no merit from his past behaviour. To build on that might prove a vain presumption, Should grant to poets made admit resumption, And in Parnassus he must lose his seat, If that be found a forfeited estate.

Government is a plain, simple, intelligent thing, founded in nature and reason, quite comprehensible by common sense [the Dissertation continued]. . . . The true source of our suffering has been our timidity. We have been afraid to think. . . . Let us dare to read, think, speak, and write. . . . Let it be known that British liberties are not the grants of princes or parliaments . . . that many of our rights are inherent and essential, agreed on as maxims and established as preliminaries, even before Parliament existed. . . . Let us read and recollect and impress upon our souls the views and ends of our more immediate forefathers, in exchanging their native country for a dreary, inhospitable wilderness. . . . Recollect their amazing fortitude, their bitter sufferings—the hunger, the nakedness, the cold, which they patiently endured—the severe labors of clearing their grounds, building their houses, raising their provisions, amidst dangers from wild beasts and savage men, before they had time or money or materials for commerce. Recollect the civil and religious principles and hopes and expectations which constantly supported and carried them through all hardships with patience and resignation. Let us recollect it was liberty, the hope of liberty, for themselves and us and ours, which conquered all discouragements, dangers, and trials.

Well, take e-mail for example. People don’t write to each other anymore, do they? Once my generation’s gone, the written letter will be consigned to social history. Tell me, Jefferson. When did you last write a letter?’ Tayte had to think about it. When the occasion came to him, he smiled, wide and cheesy. ‘It was to you,’ he said. ‘I wrote you on your sixtieth birthday.’ ‘That was five years ago.’ ‘I still wrote you.’ Marcus looked sympathetic. ‘It was an e-mail.’ ‘Was it?’ Marcus nodded. ‘You see my point? Letters are key to genealogical research, and they’re becoming obsolete. Photographs are going the same way.’ He looked genuinely saddened by the thought. ‘How many connections have you made going through boxes of old letters and faded sepia photographs? How many assignments would have fallen flat without them?’ ‘Too many,’ Tayte agreed. ‘I can’t see genealogists of the future fervently poring over their clients’ old e-mails, can you? Where’s the fun in that? Where’s the excitement and the scent of time that so often accompanies the discovery?’ He had Tayte there, too. Tayte’s methods were straight out of the ‘Marcus Brown School of Family History.’ Tripping back into the past through an old letter and a few photographs represented everything he loved about his work. It wouldn’t be the same without the sensory triggers he currently took for granted.

in such moments I have formulated my creed, wherein all is clear and holy to me. This creed is extremely simple; here it is: I believe that there is nothing lovelier, deeper, more sympathetic, more rational, more manly, and more perfect than the Saviour; I say to myself with jealous love that not only is there no one else like Him, but that there could be no one. I would even say more: If anyone could prove to me that Christ is outside the truth, and if the truth really did exclude Christ, I should prefer to stay with Christ and not with truth. I would rather not say anything more about it. And yet I don't know why certain topics may never be touched on in society, and why, if anyone does introduce them, it makes the others uncomfortable. Still, enough of it. I heard that you were desirous of travelling somewhere in the South. God grant that you may succeed in obtaining permission to do so. But will you please tell me when we shall be quite free, or at any rate as free as other people ? Perhaps only when we no longer need freedom ? For my part, I want all or nothing. In my soldier's uniform I am the same prisoner as before. I rejoice greatly that I find there is patience in my soul for quite a long time yet, that I desire no earthly possessions, and need nothing but books, the possibility of writing, and of being daily for a few hours alone. The last troubles me most. For almost five years I have been constantly under surveillance, or with several other people, and not one hour alone with myself. To be alone is a natural need, like eating and drinking ; for in that kind of concentrated communism one becomes a whole-hearted enemy of mankind. The constant companionship of others works like poison or plague; and from that unendurable martyrdom I most suffered in the last four years. There were moments in which I hated every man, whether good or evil, and regarded him as a thief who, unpunished, was robbing me of life. The most unbearable part is when one grows unjust, malignant, and evil, is aware of it, even reproves one's-self, and yet has not the power to control one's-self. I have experienced that. I am convinced that God will keep you from it. I believe that you, as a woman, have more power to forgive and to endure. Do

Higher purpose: I am here to serve. I am here to inspire. I am here to love. I am here to live my truth. Communion: I will appreciate someone who doesn’t know that I feel that way. I will overlook the tension and be friendly to someone who has ignored me. I will express at least one feeling that has made me feel guilty or embarrassed. Awareness: I will spend ten minutes observing instead of speaking. I will sit quietly by myself just to sense how my body feels. If someone irritates me, I will ask myself what I really feel beneath the anger—and I won’t stop paying attention until the anger is gone. Acceptance: I will spend five minutes thinking about the best qualities of someone I really dislike. I will read about a group that I consider totally intolerant and try to see the world as they do. I will look in the mirror and describe myself exactly as if I were the perfect mother or father I wish I had had (beginning with the sentence “How beautiful you are in my eyes”). Creativity: I will imagine five things I could do that my family would never expect—and then I will do at least one of them. I will outline a novel based on my life (every incident will be true, but no one would ever guess that I am the hero). I will invent something in my mind that the world desperately needs. Being: I will spend half an hour in a peaceful place doing nothing except feeling what it is like to exist. I will lie outstretched on the grass and feel the earth languidly revolving under me. I will take in three breaths and let them out as gently as possible. Efficiency: I will let at least two things out of my control and see what happens. I will gaze at a rose and reflect on whether I could make it open faster or more beautifully than it already does—then I will ask if my life has blossomed this efficiently. I will lie in a quiet place by the ocean, or with a tape of the sea, and breathe in its rhythms. Bonding: When I catch myself looking away from someone, I will remember to look into the person’s eyes. I will bestow a loving gaze on someone I have taken for granted. I will express sympathy to someone who needs it, preferably a stranger. Giving: I will buy lunch and give it to someone in need on the street (or I will go to a café and eat lunch with the person). I will compliment someone for a quality that I know the individual values in him- or herself. I will give my children as much of my undivided time today as they want. Immortality: I will read a scripture about the soul and the promise of life after death. I will write down five things I want my life to be remembered for. I will sit and silently experience the gap between breathing in and breathing out, feeling the eternal in the present moment.

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

Entrepreneurs who kept their day jobs had 33 percent lower odds of failure than those who quit. If you’re risk averse and have some doubts about the feasibility of your ideas, it’s likely that your business will be built to last. If you’re a freewheeling gambler, your startup is far more fragile. Like the Warby Parker crew, the entrepreneurs whose companies topped Fast Company’s recent most innovative lists typically stayed in their day jobs even after they launched. Former track star Phil Knight started selling running shoes out of the trunk of his car in 1964, yet kept working as an accountant until 1969. After inventing the original Apple I computer, Steve Wozniak started the company with Steve Jobs in 1976 but continued working full time in his engineering job at Hewlett-Packard until 1977. And although Google founders Larry Page and Sergey Brin figured out how to dramatically improve internet searches in 1996, they didn’t go on leave from their graduate studies at Stanford until 1998. “We almost didn’t start Google,” Page says, because we “were too worried about dropping out of our Ph.D. program.” In 1997, concerned that their fledgling search engine was distracting them from their research, they tried to sell Google for less than $2 million in cash and stock. Luckily for them, the potential buyer rejected the offer. This habit of keeping one’s day job isn’t limited to successful entrepreneurs. Many influential creative minds have stayed in full-time employment or education even after earning income from major projects. Selma director Ava DuVernay made her first three films while working in her day job as a publicist, only pursuing filmmaking full time after working at it for four years and winning multiple awards. Brian May was in the middle of doctoral studies in astrophysics when he started playing guitar in a new band, but he didn’t drop out until several years later to go all in with Queen. Soon thereafter he wrote “We Will Rock You.” Grammy winner John Legend released his first album in 2000 but kept working as a management consultant until 2002, preparing PowerPoint presentations by day while performing at night. Thriller master Stephen King worked as a teacher, janitor, and gas station attendant for seven years after writing his first story, only quitting a year after his first novel, Carrie, was published. Dilbert author Scott Adams worked at Pacific Bell for seven years after his first comic strip hit newspapers. Why did all these originals play it safe instead of risking it all?

Don't you know that the less you tell someone, the more they want to know? You're better off to make something up than to say nothing at all." "I'm the youngest of twelve children of two South African missionaries," he said with such ease,she very nearly believed him. "When I was six,I wandered into the jungle and was taken in by a pride of lions.I still have a pechant for zebra meat.Then when I was eightteen,I was captured by hunters and sold to a circus.For five years I was the star of the sideshow." "The Lion Boy," Gennie put in. "Naturally.One night during a storm the tent caught fire.In the confusion I escaped.Living off the land, I wandered the country-stealing a few chickens now and again.Eventually an old hermit took me in after I'd saved him from a grizzly." "With your bare hands," Gennie added. "I'm telling the story," he reminded her. "He taught me to read and write. On his deathbead he told me where he'd buried his life savings-a quarter million in gold bullion. After giving him the Viking funeral he'd requested, I had to decide whether to be a stockbroker or go back to the wilderness." "So you decided against Wall Street, came here, and began to collect stamps." "That's about it." "Well," Gennie said after a moment. "With a boring story like that, I can see why you keep it to yourself." "You asked," Grant pointed out. "You might have made something up." "No imagination." She laughed then and leaned her head on his shoulder. "No,I can see you have a very literal mind.

Black milk of daybreak we drink it at sundown we drink it at noon in the morning we drink it at night we drink and we drink it we dig a grave in the breezes there one lies unconfined A man lives in the house he plays with the serpents he writes he writes when dusk falls to Germany your golden hair Margarete he writes it and steps out of doors and the stars are flashing he whistles his pack out he whistles his Jews out in earth has them dig for a grave he commands us strike up for the dance Black milk of daybreak we drink you at night we drink in the morning at noon we drink you at sundown we drink and we drink you A man lives in the house he plays with the serpents he writes he writes when dusk falls to Germany your golden hair Margarete your ashen hair Shulamith we dig a grave in the breezes there one lies unconfined He calls out jab deeper into the earth you lot you others sing now and play he grabs at the iron in his belt he waves it his eyes are blue jab deeper you lot with your spades you others play on for the dance Black milk of daybreak we drink you at night we drink you at noon in the morning we drink you at sundown we drink and we drink you A man lives in the house your golden hair Margarete your ashen hair Shulamith he plays with the serpents He calls out more sweetly play death death is a master from Germany he calls out more darkly now stroke your strings then as smoke you will rise into air then a grave you will have in the clouds there one lies unconfined Black milk of daybreak we drink you at night we drink you at noon death is a master from Germany we drink you at sundown and in the morning we drink and we drink you death is a master from Germany his eyes are blue he strikes you with leaden bullets his aim is true a man lives in the house your golden hair Margarete he sets his pack on to us he grants us a grave in the air he plays with the serpents and daydreams death is a master from Germany your golden hair Margarete your ashen hair Shulamith ("Death Fugue")

Something not going well, Mr. Boxley?" The novelist looked back at him in thunderous silence. "I read your letter," said Stahr. The tone of the pleasant young headmaster was gone. He spoke as to an equal, but with a faint two-edged deference. "I can't get what I write on paper," broke out Boxley. "You've all been very decent, but it's a sort of conspiracy. Those two hacks you've teamed me with listen to what I say, but they spoil it--they seem to have a vocabulary of about a hundred words." "Why don't you write it yourself?" asked Stahr. "I have. I sent you some." "But it was just talk, back and forth," said Stahr mildly. "Interesting talk but nothing more." Now it was all the two ghostly attendants could do to hold Boxley in the deep chair. He struggled to get up; he uttered a single quiet bark which had some relation to laughter but non to amusement, and said: "I don't think you people read things. The men are duelling when the conversation takes place. At the end one of them falls into a well and has to be hauled up in a bucket." He barked again and subsided. Would you write that in a book of your own, Mr. Boxley?" "What? Naturally not." "You'd consider it too cheap." "Movie standards are different," said Boxley, hedging. "Do you ever go to them?" "No--almost never." "Isn't it because people are always duelling and falling down wells?" Yes--and wearing strained facial expressions and talking incredible and unnatural dialogue." "Skip the dialogue for a minute," said Stahr. "Granted your dialogue is more graceful than what these hacks can write--that's why we brought you out here. But let's imagine something that isn't either bad dialogue or jumping down a well.

Forcing new loans upon the bankrupt on condition that they shrink their income is nothing short of cruel and unusual punishment. Greece was never bailed out. With their ‘rescue’ loan and their troika of bailiffs enthusiastically slashing incomes, the EU and IMF effectively condemned Greece to a modern version of the Dickensian debtors’ prison and then threw away the key. Debtors’ prisons were ultimately abandoned because, despite their cruelty, they neither deterred the accumulation of new bad debts nor helped creditors get their money back. For capitalism to advance in the nineteenth century, the absurd notion that all debts are sacred had to be ditched and replaced with the notion of limited liability. After all, if all debts are guaranteed, why should lenders lend responsibly? And why should some debts carry a higher interest rate than other debts, reflecting the higher risk of going bad? Bankruptcy and debt write-downs became for capitalism what hell had always been for Christian dogma – unpleasant yet essential – but curiously bankruptcy-denial was revived in the twenty-first century to deal with the Greek state’s insolvency. Why? Did the EU and the IMF not realize what they were doing? They knew exactly what they were doing. Despite their meticulous propaganda, in which they insisted that they were trying to save Greece, to grant the Greek people a second chance, to help reform Greece’s chronically crooked state and so on, the world’s most powerful institutions and governments were under no illusions. […] Banks restructure the debt of stressed corporations every day, not out of philanthropy but out of enlightened self-interest. But the problem was that, now that we had accepted the EU–IMF bailout, we were no longer dealing with banks but with politicians who had lied to their parliaments to convince them to relieve the banks of Greece’s debt and take it on themselves. A debt restructuring would require them to go back to their parliaments and confess their earlier sin, something they would never do voluntarily, fearful of the repercussions. The only alternative was to continue the pretence by giving the Greek government another wad of money with which to pretend to meet its debt repayments to the EU and the IMF: a second bailout.