Hero Instinct Quotes

down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. “He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. “The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

Nyx’s quasar eyes burned. “Of course not. I would not let my horses eat you, any more than I would let Akhlys kill you. Such fine prizes, I will kill myself!” Annabeth didn’t feel particularly witty or courageous, but her instincts told her to take the initiative, or this would be a very short conversation. “Oh, don’t kill yourself!” she cried. “We’re not that scary.” The goddess lowered her whip. “What? No, I didn’t mean—” “Well, I hope not!” Annabeth looked at Percy and forced a laugh. “We wouldn’t want to scare her, would we?” “Ha, ha,” Percy said weakly. “No, we wouldn’t.

human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time.

We wait and think and doubt and hate. How does it make you feel? The overwhelming feeling is rage. We hate ourself for being unable to be other than what we are. Unable to be better. We feel rage. The feelings must be followed. It doesn't matter whether you're an ideologue or a sensualist, you follow the stimuli thinking that they're your signposts to the promised land. But they are nothing of the kind. What they are is rocks to navigate the past, each on your brush against, ripping you a little more open and they are always more on the horizon. But you can't face up to the that, so you force yourself to believe the bullshit of those you instinctively know are liars and you repeat those lies to yourself and to others, hoping that by repeating them often and fervently enough you'll attain the godlike status we accord those who tell the lies most frequently and most passionately. But you never do, and even if you could, you wouldn't value it, you'd realise that nobody believes in heroes any more. We know that they only want to sell us something we don't really want and keep from us what we really do need. Maybe that's a good thing. Maybe we're getting in touch with our condition at last. It's horrible how we always die alone, but no worse than living alone.

Heroes are just villains with worse survival instincts and moral superiority complexes.

To a good man, yes, one who knows her in all her moods, who can laugh at her follies and rejoice in her virtues; who will not allow her to give in to her worst instincts; one who knows her, and who, knowing her, will still love her, and love her as she should be loved.

In everything that can be called art there is a quality of redemption. It may be pure tragedy, if it is high tragedy, and it may be pity and irony, and it may be the raucous laughter of the strong man. But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor -- by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man's money dishonestly and no man's insolence without due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks -- that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is the man's adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

The authentic human being is one of us who instinctively knows what he should not do, and, in addition, he will balk at doing it. He will refuse to do it, even if this brings down dread consequences to him and to those whom he loves. This, to me, is the ultimately heroic trait of ordinary people; they say no to the tyrant and they calmly take the consequences of this resistance. Their deeds may be small, and almost always unnoticed, unmarked by history. Their names are not remembered, nor did these authentic humans expect their names to be remembered. I see their authenticity in an odd way: not in their willingness to perform great heroic deeds but in their quiet refusals. In essence, they cannot be compelled to be what they are not.

I will do everything in my power to keep you safe, but it’s not a guarantee because no matter how much you trust me, you should never, under any circumstances trust anyone fully. In the end, you can only trust yourself. I am not your hero. I am not the other half of your soul who could never let anything bad ever happen to you. Trust your instincts first always, and me, if you choose, last

...as your father, my instinct is to protect you ... Other people will want to protect you too. But remember that you are not a damsel in distress, waiting for some prince to rescue you. Forget the prince. With your brain and your resourcefulness, you can rescue yourself.

This book is for all the readers who love Liv and Dean West as much as I do. This is for those of you who know the courage it takes to trust your instincts and find your way. This is for the women who love being someone’s girl, and for the men who are your heroes. And this is for everyone who believes in the good things—books, a cup of tea, sexy professors, interesting travels that lead you back home, warm quilts, and perfectly imperfect love.

I don't think there are any true heroes. Just people who ignore their survival instincts long enough to do something incredibly foolhardy.

A child's instinct is almost perfect in the matter of fighting; a child always stands for the good militarism as against the bad. The child's hero is always the man or boy who defends himself suddenly and splendidly against aggression. The child's hero is never the man or boy who attempts by his mere personal force to extend his mere personal influence. In all boys' books, in all boys' conversation, the hero is one person and the bully the other. That combination of the hero and bully in one, which people now call the Strong Man or the Superman, would be simply unintelligible to any schoolboy.... But really to talk of this small human creature, who never picks up an umbrella without trying to use it as a sword, who will hardly read a book in which there is no fighting, who out of the Bible itself generally remembers the "bluggy" [bloody] parts, who never walks down the garden without imagining himself to be stuck all over with swords and daggers--to take this human creature and talk about the wickedness of teaching him to be military, seems rather a wild piece of humour. He has already not only the tradition of fighting, but a far manlier and more genial tradition of fighting than our own. No; I am not in favour of the child being taught militarism. I am in favour of the child teaching it.

He had always thought the Holy Grail would be finding a girl who submitted gladly and whole- heartedly to his leadership. Now he saw how much more powerful it was when the surrender was a bit reluctant, when she had to overcome her own strong will before yielding to his. He didn’t want an off-the-shelf submissive after all. He wanted a girl with a mind of her own, whose heart and will had to be tamed, who would submit to him and him alone.

On any given day you have the chance to be a hero or a victim, predator or prey. Most times, circumstances are beyond your control. Other times, you got a choice but you think about it too much and you freeze up. Sometime, though, you're forced to react and it's all instinct. May not make a damn bit of difference in a bad situation. But sometimes instinct squeezes the good out of you, forces you to be a hero before you even realize it.

Without a word he started stalking down the street in the opposite direction my grandparents had taken. I started after him, my steps slower. And then quite abruptly Caine whipped around and marched back toward me. Features etched with determination, he yanked me roughly to him and crushed his mouth down over mine. I made a noise of surprise in the back of my throat before my instincts took over. I couldn’t help sinking into his kiss. When he finally let me go we were both breathing hard. Caine smoothed his thumb over my cheek, his eyes still dark with passion and anger. “I could give a fuck who saw that.

Courage is instinct, and heroes are born in the moment. Trust yourself to be great, I do!

I believe we will become more compassionate. I believe we will fight smarter. I believe that in the deepest place of our souls, we are not cowardly or hateful or cruel to our neighbors. I believe we are kind and smart and brave. I believe that as long as we follow those instincts and do not give in to terror and blame, we can triumph over diseases and the stigmas attached to them. When we fight plagues, not each other, we will not only defeat diseases but preserve our humanity in the process.

Why do we like these stories so? Why do we tell them over and over? Why have we made a folk hero of a man who is the antithesis of all our official heroes, a haunted millionaire out of the West, trailing a legend of desperation and power and white sneakers? But then we have always done that. Our favorite people and our favorite stories become so not by any inherent virtue, but because they illustrate something deep in the grain, something unadmitted. Shoeless Joe Jackson, Warren Gamaliel Harding, The Titanic: how the might are fallen. Charles Lindbergh, Scott and Zelda Fitzgerald, Marilyn Monroe: the beautiful and damned. And Howard Hughes. That we have made a hero of Howard Hughes tells us something interesting about ourselves, something only dimly remembered, tells us that the secret point of money and power in AMerica is neither the things that money can buy nor power for power's sake (Americans are uneasy with their possessions, guilty about power, all of which is difficult for Europeans to perceive because they are themselves so truly materialistic, so versed in the uses of power), but absolute personal freedom, mobility, privacy. Is is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one's own rules.

The bonding ceremony is a walk through our peers, a family member or friend usually leads those to be bonded down that path with a white laced leash.” “You want me to wear a collar!” He placed a hand around his neck instinctively. Lorn lifted a dark eyebrow. “The leash doesn't go around your neck.” He glanced between Kallen’s legs.

It breaks my heart. Better than your words, your eye tells me all your peril. You are not yet free, you still search for freedom. Your search has fatigued you and made you too wakeful. You long for the open heights, your soul thirsts for the stars. But your bad instincts too thirst for freedom. Your fierce dogs long for freedom; they bark for joy in their cellar when your spirit aspires to break open all prisons. To me you are still a prisoner who imagines freedom: ah, such prisoners of the soul become clever, but also deceitful and base. The free man of the spirit, too, must still purify himself. Much of the prison and rottenness still remain within him: his eye still has to become pure. Yes, I know your peril. But, by my love and hope I entreat you: do not reject your love and hope! You still feel yourself noble, and the others, too, who dislike you and cast evil glances at you, still feel you are noble. Learn that everyone finds the noble man an obstruction. The good, too, find the noble man an obstruction: and even when they call him a good man they do so in order to make away with him. The noble man wants to create new things and a new virtue. The good man wants the old things and that the old things shall be preserved. But that is not the danger for the noble man — that he may become a good man — but that he may become an impudent one, a derider, a destroyer. Alas, I have known noble men who lost their highest hope. And henceforth they slandered all high hopes. Henceforth they lived impudently in brief pleasures, and they had hardly an aim beyond the day. ‘Spirit is also sensual pleasure’ — thus they spoke. Then the wings of their spirit broke: now it creeps around and it makes dirty what it feeds on. Once they thought of becoming heroes: now they are sensualists. The hero is to them an affliction and a terror. But, by my love and hope I entreat you: do not reject the hero in your soul! Keep holy your highest hope! Thus spoke Zarathustra.

Here,” he growled and I blinked. “Deacon, I’m not a big fan of—” “Future,” he cut me off. “Assert your feminism when I’m not three seconds away from fuckin’ you on your porch. I come to you, that’s gonna happen. You come to me, maybe it won’t.” Maybe? I didn’t ask that. I asked , “So if you get your way and I come to you, you can miraculously control your base instincts?” His reply? “One.” My body jerked and my brows shot together as the meaning of that word hit me. “Are you counting down—?” “Two.” I planted my hands on my hips. “You are!” I cried angrily. “You’re counting—” “Fuck it,” he muttered, took two long strides, and I was in his arms.

That we have made a hero of Howard Hughes tells us something interesting about ourselves, something only dimly remembered, tells us that the secret point of money and power in America is neither the things that money can buy nor power for power’s sake (Americans are uneasy with their possessions, guilty about power, all of which is difficult for Europeans to perceive because they are themselves so truly materialistic, so versed in the uses of power), but absolute personal freedom, mobility, privacy. It is the instinct which drove America to the Pacific, all through the nineteenth century, the desire to be able to find a restaurant open in case you want a sandwich, to be a free agent, live by one’s own rules.

I want you.Every instinct i possess urges me to mount my horse and ride from here as if all the demons in hell were after me,but i cannot.I find myself deliberately walking into the web of your spinning." -Brett Dangermond

Since the day he was born, he'd been defying the odds. Today was not the day to stop that trend. Unlike Ambrose, he wasn't about to give up or give in. So long as there was breath in his body, there was life. So long as there was life, there was hope. And so long as there was hope, there was the possibility of victory. Life wasn't about just getting by. It was about getting through, no matter what, and making the most of every minute. A chill went down his spine as he remembered what his father had said to him. <>. Nick Gautier would not be remembered as a coward or a villain. He was going out a hero and a champion. And he would not go down without a vicious, vicious fight.

Every error, of whatever kind, is a consequence of degeneration of instinct, disgregation of will: one has thereby virtually defined the bad. Everything good is instinct – and consequently easy, necessary, free. Effort is an objection, the god is typically distinguished from the hero (in my language: light feet are the first attribute of divinity).

Oscar-winning triumph. The New York Times called it “a disturbing revelation of the savagery that prevailed in the hearts of the old gun-fighters, who were simply legal killers under the frontier code.” It was that and more. The hero acts precisely as many Americans believe their country acts in the world. He is an enforcer of morality and a scourge of oppressors; he comes from far away but knows instinctively what must be done; he brings peace by slaying wrongdoers; he risks his life to help others; and for all this he wishes no reward other than the quiet satisfaction of having done what was right. Shane reinforced a cultural consensus

The Gap Instinct The gap instinct is very strong. The first time I lectured to the staff of the World Bank was in 1999. I told them the labels “developing” and “developed” were no longer valid and I swallowed my sword. It took the World Bank 17 years and 14 more of my lectures before it finally announced publicly that it was dropping the terms “developing” and “developed” and would from now on divide the world into four income groups. The UN and most other global organizations have still not made this change. So why is the misconception of a gap between the rich and the poor so hard to change? I think this is because human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time. Journalists know this. They set up their narratives as conflicts between two opposing people, views, or groups. They prefer stories of extreme poverty and billionaires to stories about the vast majority of people slowly dragging themselves toward better lives. Journalists are storytellers. So are people who produce documentaries and movies.

It wasn’t that her dress was revealing, not by current standards, but the fitted bodice and flaring skirt played with a man’s imagination in a maddening way. It would be easy access to put her over his knee, flip up the skirt and warm her luscious ass with the palm of his hand.

The truth is that The Wild One -- despite an admittedly fictional treatment -- was an inspired piece of film journalism. Instead of institutionalizing common knowledge, in the style of Time, it told a story that was only beginning to happen and which was inevitably influenced by the film. It gave the outlaws a lasting, romance-glazed image of themselves, a coherent reflection that only a very few had been able to find in a mirror, and it quickly became the bike rider's answer to The Sun Also Rises. The image is not valid, but its wide acceptance can hardly be blamed on the movie. The Wild One was careful to distinguish between "good outlaws" and "bad outlaws," but the people who were most influenced chose to identify with Brando instead of Lee Marvin whose role as the villain was a lot more true to life than Brando's portrayal of the confused hero. They saw themselves as modern Robin Hoods ... virile, inarticulate brutes whose good instincts got warped somewhere in the struggle for self-expression and who spent the rest of their violent lives seeking revenge on a world that done them wrong when they were young and defenseless.

The icy water hit hard as earth. She thrashed on instinct, but Jacks held her tightly. His arms were unyielding, dragging her up through the crashing waves. Salt water snaked up her nose, and the cold filled her veins. She was coughing and sputtering, barely able to take down air as Jacks swam to shore with her in tow. He held her close and carried her from the ocean as if his life depended on it instead of hers. 'I will not let you die.' A single bead of water dripped from Jacks' lashes on to her lips. It was raindrop soft, but the look in his eyes held the force of a storm. It should have been too dark to his expression, but the crescent moon burned brighter with each second, lining edges of Jacks' cheekbones as he looked at her with too much intensity. The crashing ocean felt suddenly quiet in contrast to her pounding heart, or maybe it was his heart. Jacks' chest was heaving, his clothes were soaked, his hair was a mess across his face- yet in that moment, Evangeline knew he would carry her through fire if he had to, haul her from the clutches of war, from falling cities and breaking worlds. And for one brittle heartbeat, Evangeline understood why so many girls died from his lips. If Jacks hadn't betrayed her, if he hadn't set her up for murder, she might have been a little bewitched by him.

She teetered to catch her balance, but his arm still held her, kept her from falling. And then his mouth crashed down on hers and her balance went wonky for other reasons. Kate clutched his shoulders and moaned, parting her lips to his fierce kiss. The smell of his familiar, spicy cologne filled her senses. His tongue explored every inch of her mouth, his hands roving over her body. It was deliberate. A man staking his claim. Every female instinct inside of her could sense it.

The possession of a particular talent is instinctively sensed by its owner; [31] so if any of you are so blessed you will be the first to know it. [32] It is true, however, that no bull reaches maturity in an instant, nor do men become heroes overnight. We must endure a winter training, and can’t be dashing into situations for which we aren’t yet prepared.

I think all men have this instinct to retreat into oneself to a greater or lesser degree. It is the self-sufficient hero or the lonely suicide.

The instincts of the American people are all perfect, and tend to make heroes.

Before you engage, you won’t know the outcome of the struggle. You may win the day easily, with barely a scratch. You may prevail, after much effort and after earning a few battle scars. You may fall, never to rise again. There may be treasure in the back of the cave, enough to live on in splendor for the rest of your days. There may be nothing. You may win glory and renown, or be considered a fool, worse off than you were before. This is the essence of life. The outcome of your actions and decisions is unknown and unknowable. What separates the adventurer from the bulk of humanity is the willingness to fight in spite of the risks: to meet the enemy on the field of valor, trusting in skill, instinct, and determination to see them through to a good end. There are no certainties and no guarantees. The hero fights anyway.

There are a lot of things that aren't fair, Aladdin." She drew back from him, still holding his hands, and looked into his eyes. "That's just the way life is- which is why it's so important for us Street Rats to take care of each other. That's a good instinct you have. You should always look out for your friends and your family. Because no one is looking out for us. But that doesn't mean you should become a thief." Aladdin looked at the ground, chagrined. She put her hand under his chin to make him look up at her. "Don't let life's unfairness, don't let how poor you are decide who you are. You choose who you will be, Aladdin. Will you be a hero who looks after the weak and powerless? Will you be a thief? Will you be a beggar- or worse? It's up to you, not the things-or people- around you. You can choose to be something more.

In the end, it is not the power of the mind nor the strengths of the body but the instincts of the human heart that save the world. It is the simple human capacity for mercy that finally allows evil to be overthrown.

They will remain shut away behind a hedge of thorns. The journey in search of soul is difficult and even dangerous because it requires that we relinquish the certainty of what we think we know and what we have been taught for generations to believe. It means surrendering the desire to be in control and opening ourselves to a quest, a path of discovery. Many myths and fairy tales emphasize the need for surrender and trust in the strange non-rational guidance offered by animals or shamans on the quest. As the hero follows their guidance, so the hedge opens, the way unfolds. Following the guidance and wisdom of the instinct is the royal road into the realm of soul.

Hero started to say something, then swallowed it. Cousin Victoria’s presence in Berkeley Square should have made Hero feel better. She tried to tell herself that her instinctive dislike of the woman was irrational and baseless. But

My heart dropped directly into my stomach. And I cursed those fucking goatherds to hell, and myself for not executing them when every military codebook ever written had taught me otherwise. Not to mention my own raging instincts, which had told me to go with Axe and execute them. And let the liberals go to hell in a mule cart, and take with them all of their fucking know-nothing rules of etiquette in war and human rights and whatever other bullshit makes ’em happy.

That Hitchens represents a grievous loss to the left is beyond doubt. He is a superb writer, superior in wit and elegance to his hero George Orwell, and an unstanchably eloquent speaker. He has an insatiable curiosity about the modern world and an encyclopaedic knowledge of it, as well as an unflagging fascination with himself. Through getting to know all the right people, an instinct as inbuilt as his pancreas, he could tell you without missing a beat whom best to consult in Rabat about education policy in the Atlas Mountains. The same instinct leads to chummy lunches with Bill Deedes and Peregrine Worsthorne. In his younger days, he was not averse to dining with repulsive fat cats while giving them a piece of his political mind. Nowadays, one imagines, he just dines with repulsive fat cats.

Walking back across the St-Esprit bridge, to the ghetto I'd instinctively gravitated toward, I mentally erected a more appropriate statue on the square. It would depict an unknown Sephardic Jew, kneeling over a stone tripod covered with crushed cacao beans destined for a cup of chocolate for one of the gentiles of Bayonne. It would be a symbolic piece, executed in smooth, chocolate-hued marble, and dedicated to all the other forgotten heroes--coffee-drinking Sufi dervishes, peyote-eating Native Americans, Mexican hemp-smokers--who, throughout history, have faced the wrath of all the sultans, drug czars, and Vatican clerics who have resorted to any spurious pretext to squelch one of the most venerable and misunderstood of human drives: the desire to escape, however briefly, everyday consciousness.

He was wrong, but something about his demeanor made me want to confirm his worst beliefs about me. I had the bad habit of living up to people’s worst assumptions and cutting off my nose to spite my face, just because my feelings were hurt that they would think so little of me. My therapist called it a “self-fulfilling prophecy.” I called it survival instinct.

Lola found herself staring at him when he turned back to the road. He was tall enough that his dark, wavy hair touched the roof of the car, and so broad his sculpted bicep continually brushed against her bare upper arm, sending shivers straight to her nipples and between her legs. She crossed her thighs, disgusted with herself, and vowed not to start lusting after this jerk.

My hero is the mayor in Jaws. He's a fantastic guy, and he keeps the beaches open, if you remember, even after it's demonstrated that his constituents have been eaten by this killer fish. Of course, he was proved catastrophically wrong in his judgment, but his instincts were right.' Boris Johnson is the mayor of London. Taken from Time Magazine interview: June 25, 2012; page 76.

Since the day he was born, he'd been defying the odds. Today was not the day to stop that trend. Unlike Ambrose, he wasn't about to give up or give in. So long as there was breath in his body, there was life. So long as there was life, there was hope. And so long as there was hope, there was the possibility of victory. Life wasn't about just getting by. It was about getting through, no matter what, and making the most of every minute. A chill went down his spine as he remembered what his father had said to him. 'The Malachai will never be forgotten. But it's entirely up to you as to how you'll be remembered.' Nick Gautier would not be remembered as a coward or a villain. He was going out a hero and a champion. And he would not go down without a vicious, vicious fight.

Original sin is a self-initiating act because it evidences human free will. If humanity were devoid of free will, it would relegate humankind to living by instinct. A person who lives by instinct might survive for an enviable period, but they will never live a heroic existence. Every hero’s story commences with an unsatisfied and optimistic person venturing out from the comfortable confines of their common day world, facing forces of fabulous power, and fighting a magnificent personal battle. The greatest traditional heroes were warriors whom survived on the battlefield and learned valuable lessons of honor, love, loyalty, and courage. Heroic warriors and spiritual seekers undertook a rigorous quest, an enduring ordeal that enabled them to transcend their own personhood’s shallow desire merely to survive. By enduring hardships, experiencing breathtaking encounters with the physical world, and undergoing a spiritual renaissance, the hero gains a hard-won sense self-discovery, comprehends his or her place in society, and accepts their role as a teacher. A hero is a bearer of light, wisdom, and charity. The hero reenters society and shares their culmination of knowledge by devoting their life to teaching other people.

Are you deliberately torturing me?” he growls. My heart kicks. Wild and unrhythmic. “Torturing you?” He raises the scotch, downing the contents in one fell swoop before returning the glass to his side. “You know exactly what I’m talking about.” There’s a warning in his voice. A delicious subtle threat. My throat tightens. My chest, too. Everything is so painfully, invigoratingly restricted that I have to fight hard to maintain level breathing. I raise my other leg, crossing both at the ankles against the rim of the tub. I shouldn’t be doing this. Warning bells ring in the farthest recesses of my mind. If only they were loud enough to put a stop to the craziness. “Join me.” His jaw ticks. That’s his only response. No movement. No words. “Matthew?” His features tighten, almost setting in a glower as he grates, “Be sure about this, Layla.” “I think I am,” I lie. I’m not even partially certain. I’m running on instinct alone. No, not instinct—infatuation.  “Then I’m staying where I am.” He crosses his arms over his chest, the glass moving to rest in the crook of his arm. “I’m on the precipice here. I can only pretend to be a stand-up guy for so long, then I’m going to start pushing my own agenda. So don’t play with me, amore mio.

And it is then, when The Cause, with its greedy mouth, tries to take more from you, tries to take that part of you that you cannot give away, it is only then that you realize all of your sacrifices have been for nothing. You have given yourself to a fraud. And what is left to replace what has been taken is not a hero’s pride, but a bitter emptiness that sours even that last little core of yourself that you cling to. This is the destiny of the man who serves, the man who stands for others. This is the lot of the ones who go out to confront the wolf. This is the disillusionment of all those who protect the flock. This is their secret: that they have allowed their instincts to be used, not for the protection of others, but for the gain of a few. And their “honor” is a monument to the ashes of all those little pieces of themselves that they never got back.

I think this is because human beings have a strong dramatic instinct toward binary thinking, a basic urge to divide things into two distinct groups, with nothing but an empty gap in between. We love to dichotomize. Good versus bad. Heroes versus villains. My country versus the rest. Dividing the world into two distinct sides is simple and intuitive, and also dramatic because it implies conflict, and we do it without thinking, all the time.

Self-will is the only virtue that takes no account of man-made laws. A self-willed man obeys a different law, the one law I hold absolutely sacred—the law in himself, his own “will.” What does self-willed mean? Does it not mean “having a will of one’s own?” The human herd instinct demands adaptation and subordination—but for his highest honor man elects not the meek, the pusillanimous, the supine, but precisely the self-willed man, the heroes.

Darwin’s great gift to science was simplifying all life to pure mathematics: your one and only goal on earth is multiplication. Everything you do, every instinct you have, is an evolutionary urge to make babies and leave behind as many copies of yourself as possible. From that perspective, heroism makes no sense. Why risk the grave for someone else if there’s no guarantee of a biological payoff? Dying for your own kids: smart. Dying for a rival’s? Genetic suicide.

It was Marx, with his love of avant-garde instrumental music, who played Brian Eno, John Cage, Terry Riley, Miles Davis, and Philip Glass on his CD player while Sadie and Sam worked. It was Marx who suggested they reread The Odyssey and The Call of the Wild and Call It Courage. He also had them read the story structure book The Hero’s Journey, and a book about children and verbal development, The Language Instinct. He wanted the pre-verbal Ichigo to feel authentic, to have details that came from life.

But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be a complete man and a common man and yet an unusual man. He must be, to use a rather weathered phrase, a man of honor—by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. I do not care much about his private life; he is neither a eunuch nor a satyr; I think he might seduce a duchess and I am quite sure he would not spoil a virgin; if he is a man of honor in one thing, he is that in all things. He is a relatively poor man, or he would not be a detective at all. He is a common man or he could not go among common people. He has a sense of character, or he would not know his job. He will take no man’s money dishonestly and no man’s insolence without a due and dispassionate revenge. He is a lonely man and his pride is that you will treat him as a proud man or be very sorry you ever saw him. He talks as the man of his age talks—that is, with rude wit, a lively sense of the grotesque, a disgust for sham, and a contempt for pettiness. The story is this man’s adventure in search of a hidden truth, and it would be no adventure if it did not happen to a man fit for adventure. He has a range of awareness that startles you, but it belongs to him by right, because it belongs to the world he lives in. If there were enough like him, the world would be a very safe place to live in, without becoming too dull to be worth living in.

But the romantic element in his nature was to be no so much extinguished as transmuted into a romantic ambition, into dreams of a career which should outdo all the heroes of history...The carefully calculated and limited ambition of a a Frederick the Great was no longer enough for Napoleon. The urge to dominate, to dare, to play for the highest stakes was as instinctive to him and as irresistible as the urge of the mountaineer to climb Everest. This element of the irrational, the unlimited, the daemonic is as fundamental to the nature of Napoleon as it is to the character of Mozart's Don Giovannia. Without it, the career of Napoleon is unintelligible.

Factfulness is … recognizing when a scapegoat is being used and remembering that blaming an individual often steals the focus from other possible explanations and blocks our ability to prevent similar problems in the future. To control the blame instinct, resist finding a scapegoat. • Look for causes, not villains. When something goes wrong don’t look for an individual or a group to blame. Accept that bad things can happen without anyone intending them to. Instead spend your energy on understanding the multiple interacting causes, or system, that created the situation. • Look for systems, not heroes. When someone claims to have caused something good, ask whether the outcome might have happened anyway, even if that individual had done nothing. Give the system some credit.

had taught him to sharpen his senses—to trust the instincts that had been guiding him south. His homing radar was tingling like crazy now. The end of his journey was close—almost right under his feet. But how could that be? There was nothing on the hilltop. The wind changed. Percy caught the sour scent of reptile. A hundred yards down the slope, something rustled through the woods—snapping branches, crunching leaves, hissing. Gorgons. For the millionth time, Percy wished their noses weren’t so good. They had always said they could smell him because he was a demigod—the half-blood son of some old Roman god. Percy had tried rolling in mud, splashing through creeks, even keeping air-freshener sticks in his pockets so he’d have that new car smell; but apparently demigod stink was hard to mask. He scrambled to the west

The deadly arrows do not strike the hero from without; it is himself who hunts, fights, and tortures himself. In him, instinct wars with instinct; therefore the poet says, “Thyself pierced through,” which means that he is wounded by his own arrow. As we know that the arrow is a libido-symbol, the meaning of this “piercing” is clear: it is the act of union with oneself, a sort of self-fertilization, and also a self-violation, a self-murder, so that Zarathustra can justly call himself his own hangman (like Odin, who sacrifices himself to Odin). One should not of course take this psychologem in too voluntaristic a sense: nobody deliberately inflicts such tortures on himself, they just happen to him. If a man reckons the unconscious as part of his personality, then one must admit that he is in fact raging against himself. But, in so far as the symbolism thrown up by his suffering is archetypal and collective, it can be taken as a sign that he is no longer suffering from himself, but rather from the spirit of the age. He is suffering from an objective, impersonal cause, from his collective unconscious which he has in common with all men.

Ione III. TO-DAY my skies are bare and ashen, And bend on me without a beam. Since love is held the master-passion, Its loss must be the pain supreme — And grinning Fate has wrecked my dream. But pardon, dear departed Guest, I will not rant, I will not rail; For good the grain must feel the flail; There are whom love has never blessed. I had and have a younger brother, One whom I loved and love to-day As never fond and doting mother Adored the babe who found its way From heavenly scenes into her day. Oh, he was full of youth's new wine, — A man on life's ascending slope, Flushed with ambition, full of hope; And every wish of his was mine. A kingly youth; the way before him Was thronged with victories to be won; so joyous, too, the heavens o'er him Were bright with an unchanging sun, — His days with rhyme were overrun. Toil had not taught him Nature's prose, Tears had not dimmed his brilliant eyes, And sorrow had not made him wise; His life was in the budding rose. I know not how I came to waken, Some instinct pricked my soul to sight; My heart by some vague thrill was shaken, — A thrill so true and yet so slight, I hardly deemed I read aright. As when a sleeper, ign'rant why, Not knowing what mysterious hand Has called him out of slumberland, Starts up to find some danger nigh. Love is a guest that comes, unbidden, But, having come, asserts his right; He will not be repressed nor hidden. And so my brother's dawning plight Became uncovered to my sight. Some sound-mote in his passing tone Caught in the meshes of my ear; Some little glance, a shade too dear, Betrayed the love he bore Ione. What could I do? He was my brother, And young, and full of hope and trust; I could not, dared not try to smother His flame, and turn his heart to dust. I knew how oft life gives a crust To starving men who cry for bread; But he was young, so few his days, He had not learned the great world's ways, Nor Disappointment's volumes read. However fair and rich the booty, I could not make his loss my gain. For love is dear, but dearer, duty, And here my way was clear and plain. I saw how I could save him pain. And so, with all my day grown dim, That this loved brother's sun might shine, I joined his suit, gave over mine, And sought Ione, to plead for him. I found her in an eastern bower, Where all day long the am'rous sun Lay by to woo a timid flower. This day his course was well-nigh run, But still with lingering art he spun Gold fancies on the shadowed wall. The vines waved soft and green above, And there where one might tell his love, I told my griefs — I told her all! I told her all, and as she hearkened, A tear-drop fell upon her dress. With grief her flushing brow was darkened; One sob that she could not repress Betrayed the depths of her distress. Upon her grief my sorrow fed, And I was bowed with unlived years, My heart swelled with a sea of tears, The tears my manhood could not shed. The world is Rome, and Fate is Nero, Disporting in the hour of doom. God made us men; times make the hero — But in that awful space of gloom I gave no thought but sorrow's room. All — all was dim within that bower, What time the sun divorced the day; And all the shadows, glooming gray, Proclaimed the sadness of the hour. She could not speak — no word was needed; Her look, half strength and half despair, Told me I had not vainly pleaded, That she would not ignore my prayer. And so she turned and left me there, And as she went, so passed my bliss; She loved me, I could not mistake — But for her own and my love's sake, Her womanhood could rise to this! My wounded heart fled swift to cover, And life at times seemed very drear. My brother proved an ardent lover — What had so young a man to fear? He wed Ione within the year. No shadow clouds her tranquil brow, Men speak her husband's name with pride, While she sits honored at his side —

Now the remarkable thing here is that it is not Hiawatha who passes through death and emerges reborn, as might be expected, but the god. It is not man who is transformed into a god, but the god who undergoes transformation in and through man. It is as though he had been asleep in the “mother,” i.e., in Hiawatha’s unconscious, and had then been roused and fought with so that he should not overpower his host, but should, on the contrary, himself experience death and rebirth, and reappear in the corn in a new form beneficial to mankind. Consequently he appears at first in hostile form, as an assailant with whom the hero has to wrestle. This is in keeping with the violence of all unconscious dynamism. In this manner the god manifests himself and in this form he must be overcome. The struggle has its parallel in Jacob’s wrestling with the angel at the ford Jabbok. The onslaught of instinct then becomes an experience of divinity, provided that man does not succumb to it and follow it blindly, but defends his humanity against the animal nature of the divine power. It is “a fearful thing to fall into the hands of the living God,” and “whoso is near unto me, is near unto the fire, and whoso is far from me, is far from the kingdom”; for “the Lord is a consuming fire,” the Messiah is “the Lion of the tribe of Judah”:

During the Second World War there was an interrogator for Army Counter-Intelligence by the name of Lieutenant Colonel Oreste Pinto. It was his task to break the cover of enemy spies, and he’s one of my weirder heroes. In 1942 Pinto had a man at the other side of his desk who instinct told him had to be an enemy agent. Before arriving at the Colonel’s office (just off The Strand in central London), this suspect had been through many searing investigations and survived them all. Notwithstanding that, the authorities continued to harbour suspicions; but nobody could break him. So what did Pinto think? Pinto interrogated his man over a period of days. The suspect had an impeccable Oxford accent, excellent socio-geographic knowledge, backed up by documentation that was as good as it gets. Down to the last little parochial nuance, he had an answer for everything, and seemed totally and utterly kosher. Even so, Pinto was convinced he was dealing with an exceptionally talented spy whose true provenance was Berlin. But he couldn’t crack him, so he invited him out to lunch. Ten minutes later they were walking up The Strand, about to cross it to go to the chosen restaurant when, as they stepped off the kerb, Pinto screamed, ‘Look out!’ – and he got his German because the bastard looked the wrong way. ‘We drive on the left in England, old boy.

Within a month of their taking up their residence in Half Moon Street, it had been borne in upon his lordship that his wife was no more fit to carve her way through life than the kitten he called her. His lordship, who had never known responsibility, or shown the least ability to regulate his own career on respectable lines, found himself sole lord and master of a confiding little creature who placed implicit faith in his judgement, and relied upon him not only to guide her footsteps, but to rescue her from the consequences of her own ignorance. A man with a colder heart than Sherry's would have shrugged and turned a blind eye to his wife's difficulties. But the Viscount's heart was not cold, and just as his protective instinct had one night made him search all night through the woods at Sheringham Place for a favorite dog which had dug deep into a rabbit burrow and had been trapped there, so it compelled him to take such care of his Hero as occurred to him. She had always looked up and adored him, and while he took this for granted he was by no means oblivious to it, and did his best to be kind to her. He was amused, but a little touched, to discover that no deeper felicity was known to her than to go about in his company; she would grow out of that soon enough, he supposed, quite forgetting that when she had shown a willingness to go out with Lord Wrotham the instinct of possessiveness in him had led him to discourage such practices in no uncertain manner.

This fear of life is not just an imaginary bogy, but a very real panic, which seems disproportionate only because its real source is unconscious and therefore projected: the young, growing part of the personality, if prevented from living or kept in check, generates fear and changes into fear. The fear seems to come from the mother, but actually it is the deadly fear of the instinctive, unconscious, inner man who is cut off from life by the continual shrinking back from reality. If the mother is felt as the obstacle, she then becomes the vengeful pursuer. Naturally it is not the real mother, although she too may seriously injure her child by the morbid tenderness with which she pursues it into adult life, thus prolonging the infantile attitude beyond the proper time. It is rather the mother-imago that has turned into a lamia.63 (Cf. pls. XXXVIIIa, XLVIII.) The mother-imago, however, represents the unconscious, and it is as much a vital necessity for the unconscious to be joined to the conscious as it is for the latter not to lose contact with the unconscious. Nothing endangers this connection more in a man than a successful life; it makes him forget his dependence on the unconscious. The case of Gilgamesh is instructive in this respect: he was so successful that the gods, the representatives of the unconscious, saw themselves compelled to deliberate how they could best bring about his downfall. Their efforts were unavailing at first, but when the hero had won the herb of immortality (cf. pl. XIX) and was almost at his goal, a serpent stole the elixir of life from him while he slept.

We have become so trusting of technology that we have lost faith in ourselves and our born instincts. There are still parts of life that we do not need to “better” with technology. It’s important to understand that you are smarter than your smartphone. To paraphrase, there are more things in heaven and earth than are dreamt of in your Google. Mistakes are a part of life and often the path to profound new insights—so why try to remove them completely? Getting lost while driving or visiting a new city used to be an adventure and a good story. Now we just follow the GPS. To “know thyself” is hard work. Harder still is to believe that you, with all your flaws, are enough—without checking in, tweeting an update, or sharing a photo as proof of your existence for the approval of your 719 followers. A healthy relationship with your devices is all about taking ownership of your time and making an investment in your life. I’m not calling for any radical, neo-Luddite movement here. Carving out time for yourself is as easy as doing one thing. Walk your dog. Stroll your baby. Go on a date—without your handheld holding your hand. Self-respect, priorities, manners, and good habits are not antiquated ideals to be traded for trends. Not everyone will be capable of shouldering this task of personal responsibility or of being a good example for their children. But the heroes of the next generation will be those who can calm the buzzing and jigging of outside distraction long enough to listen to the sound of their own hearts, those who will follow their own path until they learn to walk erect—not hunched over like a Neanderthal, palm-gazing. Into traffic. You have a choice in where to direct your attention. Choose wisely. The world will wait. And if it’s important, they’ll call back.

Everything and Nothing* There was no one inside him; behind his face (which even in the bad paintings of the time resembles no other) and his words (which were multitudinous, and of a fantastical and agitated turn) there was no more than a slight chill, a dream someone had failed to dream. At first he thought that everyone was like him, but the surprise and bewilderment of an acquaintance to whom he began to describe that hollowness showed him his error, and also let him know, forever after, that an individual ought not to differ from its species. He thought at one point that books might hold some remedy for his condition, and so he learned the "little Latin and less Greek" that a contemporary would later mention. Then he reflected that what he was looking for might be found in the performance of an elemental ritual of humanity, and so he allowed himself to be initiated by Anne Hathaway one long evening in June. At twenty-something he went off to London. Instinctively, he had already trained himself to the habit of feigning that he was somebody, so that his "nobodiness" might not be discovered. In London he found the calling he had been predestined to; he became an actor, that person who stands upon a stage and plays at being another person, for an audience of people who play at taking him for that person. The work of a thespian held out a remarkable happiness to him—the first, perhaps, he had ever known; but when the last line was delivered and the last dead man applauded off the stage, the hated taste of unreality would assail him. He would cease being Ferrex or Tamerlane and return to being nobody. Haunted, hounded, he began imagining other heroes, other tragic fables. Thus while his body, in whorehouses and taverns around London, lived its life as body, the soul that lived inside it would be Cassar, who ignores the admonition of the sibyl, and Juliet, who hates the lark, and Macbeth, who speaks on the moor with the witches who are also the Fates, the Three Weird Sisters. No one was as many men as that man—that man whose repertoire, like that of the Egyptian Proteus, was all the appearances of being. From time to time he would leave a confession in one corner or another of the work, certain that it would not be deciphered; Richard says that inside himself, he plays the part of many, and Iago says, with curious words, I am not what I am. The fundamental identity of living, dreaming, and performing inspired him to famous passages. For twenty years he inhabited that guided and directed hallucination, but one morning he was overwhelmed with the surfeit and horror of being so many kings that die by the sword and so many unrequited lovers who come together, separate, and melodiously expire. That very day, he decided to sell his theater. Within a week he had returned to his birthplace, where he recovered the trees and the river of his childhood and did not associate them with those others, fabled with mythological allusion and Latin words, that his muse had celebrated. He had to be somebody; he became a retired businessman who'd made a fortune and had an interest in loans, lawsuits, and petty usury. It was in that role that he dictated the arid last will and testament that we know today, from which he deliberately banished every trace of sentiment or literature. Friends from London would visit his re-treat, and he would once again play the role of poet for them. History adds that before or after he died, he discovered himself standing before God, and said to Him: I , who have been so many men in vain, wish to be one, to be myself. God's voice answered him out of a whirlwind: I, too, am not I; I dreamed the world as you, Shakespeare, dreamed your own work, and among the forms of my dream are you, who like me, are many, yet no one.

When a middle school teacher in San Antonio, Texas, named Rick Riordan began thinking about the troublesome kids in his class, he was struck by a topsy-turvy idea. Maybe the wild ones weren’t hyperactive; maybe they were misplaced heroes. After all, in another era the same behavior that is now throttled with Ritalin and disciplinary rap sheets would have been the mark of greatness, the early blooming of a true champion. Riordan played with the idea, imagining the what-ifs. What if strong, assertive children were redirected rather than discouraged? What if there were a place for them, an outdoor training camp that felt like a playground, where they could cut loose with all those natural instincts to run, wrestle, climb, swim, and explore? You’d call it Camp Half-Blood, Riordan decided, because that’s what we really are—half animal and half higher-being, halfway between each and unsure how to keep them in balance. Riordan began writing, creating a troubled kid from a broken home named Percy Jackson who arrives at a camp in the woods and is transformed when the Olympian he has inside is revealed, honed, and guided. Riordan’s fantasy of a hero school actually does exist—in bits and pieces, scattered across the globe. The skills have been fragmented, but with a little hunting, you can find them all. In a public park in Brooklyn, a former ballerina darts into the bushes and returns with a shopping bag full of the same superfoods the ancient Greeks once relied on. In Brazil, a onetime beach huckster is reviving the lost art of natural movement. And in a lonely Arizona dust bowl called Oracle, a quiet genius disappeared into the desert after teaching a few great athletes—and, oddly, Johnny Cash and the Red Hot Chili Peppers—the ancient secret of using body fat as fuel. But the best learning lab of all was a cave on a mountain behind enemy lines—where, during World War II, a band of Greek shepherds and young British amateurs plotted to take on 100,000 German soldiers. They weren’t naturally strong, or professionally trained, or known for their courage. They were wanted men, marked for immediate execution. But on a starvation diet, they thrived. Hunted and hounded, they got stronger. They became such natural born heroes, they decided to follow the lead of the greatest hero of all, Odysseus, and

Revolt of solitary instincts against social bonds is the key to the philosophy, the politics, and the sentiments, not only of what is commonly called the romantic movement, but of its progeny down to the present day. Philosophy, under the influence of German idealism, became solipsistic, and self-development was proclaimed as the fundamental principle of ethics. As regards sentiment, there has to be a distasteful compromise between the search for isolation and the necessities of passion and economics. D. H. Lawrence's story, 'The Man Who Loved Islands', has a hero who disdained such compromise to a gradually increasing extent and at last died of hunger and cold, but in the enjoyment of complete isolation; but this degree of consistency has not been achieved by the writers who praise solitude. The comforts of civilized life are not obtainable by a hermit, and a man who wishes to write books or produce works of art must submit to the ministrations of others if he is to survive while he does his work. In order to continue to feel solitary, he must be able to prevent those who serve him from impinging upon his ego, which is best accomplished if they are slaves. Passionate love, however, is a more difficult matter. So long as passionate lovers are regarded as in revolt against social trammels, they are admired; but in real life the love-relation itself quickly becomes a social trammel, and the partner in love comes to be hated, all the more vehemently if the love is strong enough to make the bond difficult to break. Hence love comes to be conceived as a battle, in which each is attempting to destroy the other by breaking through the protecting walls of his or her ego. This point of view has become familiar through the writings of Strindberg, and, still more, of D. H. Lawrence. Not only passionate love, but every friendly relation to others, is only possible, to this way of feeling, in so far as the others can be regarded as a projection of one's own Self. This is feasible if the others are blood-relations, and the more nearly they are related the more easily it is possible. Hence an emphasis on race, leading, as in the case of the Ptolemys, to endogamy. How this affected Byron, we know; Wagner suggests a similar sentiment in the love of Siegmund and Sieglinde. Nietzsche, though not scandalously, preferred his sister to all other women: 'How strongly I feel,' he writes to her, 'in all that you say and do, that we belong to the same stock. You understand more of me than others do, because we come of the same parentage. This fits in very well with my "philosophy".

History records that there was only one Napoleon at the battle of Waterloo — and that he was too small for his job. The fact is there were two Napoleons at Waterloo, and the second one was big enough for his job, with some to spare. The second Napoleon was Nathan Rothschild — the emperor of finance. During the trying months that came before the crash Nathan Rothschild had plunged on England until his own fortunes, no less than those of the warring nations, were staked on the issue. He had lent money direct. He had discounted Wellington's paper. He had risked millions by sending chests of gold through war-swept territory where the slightest failure of plans might have caused its capture. He was extended to the limit when the fateful hour struck, and the future seemed none too certain. The English, in characteristic fashion, believed that all had been lost before anything was lost -— before the first gun bellowed out its challenge over the Belgian plains. The London stock market was in a panic. Consols were falling, slipping, sliding, tumbling. If the telegraph had been invented, the suspense would have been less, even if the wires had told that all was lost. But there was no telegraph. There were only rumors and fears. As the armies drew toward Waterloo Nathan Rothschild was like a man aflame. All of his instincts were crying out for news — good news, bad news, any kind of news, but news — something to end his suspense. News could be had immediately only by going to the front. He did not want to go to the front. A biographer of the family, Mr. Ignatius Balla, 1 declares that Nathan had " always shrunk from the sight of blood." From this it may be presumed that, to put it delicately, he was not a martial figure. But, as events came to a focus, his mingled hopes and fears overcame his inborn instincts. He must know the best or the worst and that at once. So he posted off for Belgium. He drew near to the gathering armies. From a safe post on a hill he saw the puffs of smoke from the opening guns. He saw Napoleon hurl his human missiles at Wellington's advancing walls of red. He did not see the final crash of the French, because he saw enough to convince him that it was coming, and therefore did not wait to witness the actual event. He had no time to wait. He hungered and thirsted for London as a few days before he had hungered and thirsted for the sight of Waterloo. Wellington having saved the day for him as well as for England, Nathan Rothschild saw an opportunity to reap colossal gains by beating the news of Napoleon's 1 The Romance of the Rothschilds, p. 88. 126 OUR DISHONEST CONSTITUTION defeat to London and buying the depressed securities of his adopted country before the news of victory should send them skyward with the hats of those whose brains were still whirling with fear. So he left the field of Waterloo while the guns were still booming out the requiem of all of Napoleon's great hopes of empire. He raced to Brussels upon the back of a horse whose sides were dripping with spur-drawn blood. At Brussels he paid an exorbitant price to be whirled in a carriage to Ostend. At Ostend he found the sea in the grip of a storm that shook the shores even as Wellington was still shaking the luck-worn hope of France. " He was certainly no hero," says Balla, " but at the present moment he feared nothing." Who would take him in a boat and row him to England? Not a boatman spoke. No one likes to speak when Death calls his name, and Rothschild's words were like words from Death. But Rothschild continued to speak. He must have a boatman and a boat. He must beat the news of Waterloo to England. Who would make the trip for 500 francs? Who would go for 800, 1,000? Who would go for 2,000? A courageous sailor would go. His name should be here if it had not been lost to the world. His name should be here and wherever this story is printed, because he said he would go if Rothschild would pay the 2,000 francs to the sailor's wife before

All it requires is that you be a man, a real man, which means a man of courage, perseverance, and integrity. You were made a man for a reason. You were made a man to be a strong, loving husband and father. So listen to your instincts, and do what’s right. Be a hero.

Beethoven, the hero, do we owe its regeneration now and for ever. Instinctively original, keenly searching for novelty, resolutely opposing antiquated forms, and freely exploring the new world which he had created not only for himself but for all his brethren in the art, he may be said to have set to all a task, the solution of which is a constant regeneration of design and idea; thus giving full scope to the emanations of the mind. Beethoven's music wears an ever-varying aspect, bright in all its changes, yet could its language not at once become familiar to those, who had lulled their higher powers to rest with the hum of Divertimento's and Fantasias, whilst on all sides the worshippers of the Cantilena were heard to exclaim, 'And is such originality beautiful?

Conservative elites first turned to populism as a political strategy thanks to Richard Nixon. His festering resentment of the Establishment’s clubby exclusivity prepared him emotionally to reach out to the “silent majority,” with whom he shared that hostility. Nixon excoriated “our leadership class, the ministers, the college professors, and other teachers… the business leadership class… they have all really let down and become soft.” He looked forward to a new party of independent conservatism resting on a defense of traditional cultural and social norms governing race and religion and the family. It would include elements of blue-collar America estranged from their customary home in the Democratic Party. Proceeding in fits and starts, this strategic experiment proved its viability during the Reagan era, just when the businessman as populist hero was first flexing his spiritual muscles. Claiming common ground with the folkways of the “good ole boy” working class fell within the comfort zone of a rising milieu of movers and shakers and their political enablers. It was a “politics of recognition”—a rediscovery of the “forgotten man”—or what might be termed identity politics from above. Soon enough, Bill Clinton perfected the art of the faux Bubba. By that time we were living in the age of the Bubba wannabe—Ross Perot as the “simple country billionaire.” The most improbable members of the “new tycoonery” by then had mastered the art of pandering to populist sentiment. Citibank’s chairman Walter Wriston, who did yeoman work to eviscerate public oversight of the financial sector, proclaimed, “Markets are voting machines; they function by taking referenda” and gave “power to the people.” His bank plastered New York City with clever broadsides linking finance to every material craving, while simultaneously implying that such seductions were unworthy of the people and that the bank knew it. Its $1 billion “Live Richly” ad campaign included folksy homilies: what was then the world’s largest bank invited us to “open a craving account” and pointed out that “money can’t buy you happiness. But it can buy you marshmallows, which are kinda the same thing.” Cuter still and brimming with down-home family values, Citibank’s ads also reminded everybody, “He who dies with the most toys is still dead,” and that “the best table in the city is still the one with your family around it.” Yale preppie George W. Bush, in real life a man with distinctly subpar instincts for the life of the daredevil businessman, was “eating pork rinds and playing horseshoes.” His friends, maverick capitalists all, drove Range Rovers and pickup trucks, donning bib overalls as a kind of political camouflage.

When is there a boy, even in these materialistic times, to whom the call of the wild and the open road does not appeal? Maybe it is the primitive instinct, anyway it is there. With that key a great door may be unlocked, if it is only to admit fresh air and sunshine into lives that were otherwise grey. The heroes of the wild, the frontiersmen and explorers, the rovers of the seas, the airmen of the clouds, are pied pipers to the boys. Where they lead the boys will follow and these will dance to their tune when it sings the song of manliness and pluck, of adventure and high endeavors of efficiency and skill, of cheerful sacrifice of self for others. There's meat in this for the boy. There's soul in it.

A descent into an unlit place from which there is no escape, an underwater labyrinth of impossible mazes. No ghosts floating around down there with writing utensils hidden under their white eyehole sheets. I prefer to either drown like a cockroach in the toilet, or swim the English Channel like a hero. I may well be an eleven-fingered oaf slobbering over a typewriter, pounding out a thorny jumble of trash, an uneducated animal who runs on instinct and feeling. But this is my voice. The facts and figures aren’t important to me, the colors and shapes that make up my world are; they are who I am, right or wrong. The limits of my memory are their own reward. Like Rashomon, the same thing looks different to everyone from their angle. The greatest fault of humankind belongs to those who think their view of what’s real is the only truth. I can only write and hope. Hope to arise from the muddy depths of this process, clear and cleansed, laser beams shooting from my eyeballs, holding the sunken treasure aloft, resplendent in silver and gold, an ebullient grin plastered on my face, and sea monsters docile at my feet.

Percy’s internal radar was pinging like crazy. After so many horrible days, he’d finally reached his goal. His instincts told him that if he could make it inside that door he might find safety for the first time since the wolves had sent him south.

With me, you can always be yourself. Don’t worry about embarrassment or anything like that. With me, you’re safe. Not judged. Not different. Just you, Pepper. And that’s enough.” It’s like she melts before my eyes, her body going soft, eyelids dropping just a bit, her lips parting. “You say the kindest things.” She blinks as if she’s high on my words, and I want to give her more of them, all of them, until she’s so far gone that the only thing to top it would be my tongue between her thighs. I want to kiss her, but when her stomach growls, my instincts kick in. Feeding my woman is primal, a need I can’t ignore.

The Frankfurt School proclaimed that Western civilization had been built around a deliberate degenerative strategy: that of crushing man’s vital instincts through the rational control of nature, oneself, and others. The modern West’s chief characteristic was its essential lifelessness. As Marcuse later put it, Nietzsche’s “total affirmation of the life instinct” represented a “reality principle fundamentally antagonistic to that of Western civilization.”4 Liberation on the Frankfurt School’s terms, therefore, meant giving up a view of life that stressed man’s ability to use logic and reason to arrive at truth and his need to accommodate himself to a reasonable and natural social order in order to be happy and free. Instead, human beings had to look to a deeper and more “negative” consciousness, in short, a Nietzschean consciousness. The Frankfurt School created a new cultural hero, the “critical” writer/teacher/intellectual. A direct descendant of the Romantic artist, he would use his typewriter or classroom to attack and expose the contradictions and evils of modern Western civilization. “Under the conditions of late capitalism,” Horkheimer wrote in 1936, “truth has sought refuge among small groups of admirable men”—meaning himself and his friends. Later on, those same “admirable” critics would act as carriers of a new cultural pessimism, stemming this time from the political Left rather than the Right.

Maybe the wild ones weren't hyperactive; maybe they were misplaced heroes. After all, in another era, the same behavior that is now throttled with Ritalin and disciplinary rap sheets would have been the mark of greatness, the early blooming of a true champion. Riordan played with the idea, imagining the what-ifs. What if strong, assertive children were redirected rather than discouraged? What if there were a place for them, an outdoor training camp that felt like a playground, where they could cut loose with all those natural instincts to run, wrestle, climb, swim, and explore?

There are eaters and the eaten. The tiger does not resent the deer that gets away. The doe does not resent the tiger that captures her fawn. They are following their instincts. Plants and animals live; humans need to judge, for we need to feel good about ourselves. That is why we create stories, full of heroes and villains, victims and martyrs

Heroes, however, have a habit of ending up dead or bankrupt, and, as you know better than anyone, I have much to lose. At my age and in my profession, prudence is more than just a virtue, it's an instinct.

They became demi-heroes, and were moved to respond with special sales, reduced prices, and a carnival atmosphere. The ghetto was a living organism: to counter external threats, it responded with the antibodies of courage, solidarity, and that desperate, magnificent love we usually call the survival instinct.

An adult spectator has greater command over his facial expressions, and it is perhaps for that very reason that fictitiously, that is, without a real cause or real action, he even more intensely lives through the entire gamut of noble and heroic feelings presented by the drama, or gives free rein in his imagination to the base and even criminal inclinations of his nature, the feelings he experiences being real, though his complicity in the crimes committed on the stage is fictitious. What interested me most in this argumentation was the element of “fictitiousness.” Thus art (so far in the form of theatre) enables man through co-experience fictitiously to perform heroic actions, fictitiously to experience great emotions, fictitiously to feel himself a hero like Franz Moor, to rid himself of base instincts with the assistance of Karl Moor, to regard himself as a sage like Faust, to feel inspired by God like Joan of Arc, to be an ardent lover like Romeo, to be a patriot like Count de Rizoor, to see his doubts dissipated by Kareno, Brand, Rosmer or Hamlet. More. The best thing about it was that these fictitious actions brought the spectator real satisfaction. Thus after seeing Verhaeren's Les aubes he feels he is a hero. After seeing Calderon's El principe constante he feels he is a martyr. After seeing Schiller's Kabale und Liebe he is overwhelmed by righteousness and self-pity. “But this is horrible!” I shuddered as I was crossing Trubnaya Square (or was it Sretenskiye Gates?). What infernal mechanics governed this sacred art whose votary I had become? That was mere than a lie! That was more than deceit! That was downright dangerous. Horribly, unspeakably dangerous. Only think: why strive for reality, if for a small sum of money you can satisfy yourself in your imagination without moving from your comfortable theatre seat?

You have no soul," he teased her. "You're right," she answered soberly. "I didn't think it showed." "You're only playing word games now." "No," she said, "what proof have I of a soul?" "How can you have a conscience if you don't have soul?" he asked despite himself - he wanted to keep things light, to get back onto a better footing after their last episode of moral wrestling and estrangement. "How can a bird feed its young if it has no consciousness of before and after? A conscience, Yero my hero, is only consciousness in another dimension, the dimension of time. What you call conscience I prefer to call instinct. Birds feed their young without understanding why, without weeping about how al that is born must die, sob, sob. I do my work with a similar motivation: the movement in the gut toward food, fairness, and safety. I am a pack animal wheeling with the herd, that's all. I'm a forgettable leaf on a tree." "Since your work is terrorism, that's the most extreme argument for crime I've ever heard. You're eschewing all personal responsibility. It's as bad as those who sacrifice their personal will into the gloomy morasses of the unknowable will of some unnamable god. If you suppress the idea of personhood then you suppress the notion of individual culpability.

True-crime narratives represent the human condition writ large: ordinary people operating at the terrifying extremes of those instincts and emotions. In this vein, every mystery we relate, every case we report, every outcome we track, becomes its own morality play, complete with heroes, villains, and victims.

The air between them shifted, electrified. She licked her lips. “Why…why haven’t you dated since moving back?” “I’ve been holding out for someone special, but I’m not sure how she’ll react if I tell her the truth.” Grady reached up. His fingers brushed against her hair, tucking the loose strands behind her ear. “I don’t want to scare her off.” Her breath hitched. Her. He was talking about her. The thrumming of her heart increased. She leaned closer. His gaze dropped to her mouth. Yes. The thought was instinctive.

Therefore Whitman failed radically in his dearest ambition: he can never be a poet of the people. For the people, like the early races whose poetry was ideal, are natural believers in perfection. They have no doubts about the absolute desirability of wealth and learning and power, none about the worth of pure goodness and pure love. Their chosen poets, if they have any, will he always those who have known how to paint these ideals in lively even if in gaudy colours. Nothing is farther from the common people than the corrupt desire to be primitive. They instinctively look toward a more exalted life, which they imagine to be full of distinction and pleasure, and the idea of that brighter existence fills them with hope or with envy or with humble admiration. If the people are ever won over to hostility to such ideals, it is only because they are cheated by demagogues who tell them that if all the flowers of civilization were destroyed its fruits would become more abundant. A greater share of happiness, people think, would fall to their lot could they destroy everything beyond their own possible possessions. But they are made thus envious and ignoble only by a deception: what they really desire is an ideal good for themselves which they are told they may secure by depriving others of their preeminence. Their hope is always to enjoy perfect satisfaction themselves; and therefore a poet who loves the picturesque aspects of labour and vagrancy will hardly be the poet of the poor. He may have described their figure and occupation, in neither of which they are much interested; he will not have read their souls. They will prefer to him any sentimental story-teller, any sensational dramatist any moralizing poet; for they are hero-worshippers by temperament, and are too wise or too unfortunate to be much enamoured of themselves or of the conditions of their existence.

The horrible mismanagement of the AIDS crisis makes me want to grab [disease minimizers] by the shoulders and shake them and say, “Why haven’t you read about what worked or did not work every time a plague cropped up before this one? Why aren’t you paying attention? Do not do the same stupid stuff people did before! We know what works and what doesn’t! Be smarter, please, please, be smarter, be kinder, be kinder and smarter, I am begging you.” I find the forgetfulness of people, especially in true matters of life and death, so frustrating. Sometimes I look at these histories and think, People are just going to keep making the same dumb mistakes every single time. And one day those mistakes will doom us all. And I feel sad and furious and frightened for what will happen next. But then I think about how polio is almost eradicated. Or that penicillin exists. And I remember that we are progressing, always, even if that progress is sometimes slower and more uneven than we might wish. I remind myself, too, of all the ways people have persevered and survived in conditions that are surely as bad as anything that is to come. Whenever I am most disillusioned, I look to one of my favorite quotes from The World of Yesterday (1942) by Stefan Zweig. When Zweig was fleeing from the Nazis and living in exile he wrote: “Even from the abyss of horror in which we try to find our way today, half-blind, our hearts distraught and shattered, I look up again to the ancient constellations of my childhood, comforting myself that, some day, this relapse will appear only an interval in the eternal rhythm of progress onward and upward.” I have to believe that the missteps are only intermittent relapses as we grow stronger and smarter and better. We do get better. At everything. Combatting diseases fits somewhere among “everything.” I believe there will be a day when we will see diseases as what they are—an enemy of all of humanity. Not of perceived sinners, not of people who are poor or have a different sexual orientation, not of those who we somehow decided “have it coming” because they’re “not like us.” Diseases are at war with all of us. Diseases don’t care about any of the labels, so it makes no sense for us to. I believe we will become more compassionate. I believe we will fight smarter. I believe that in the deepest place of our souls, we are not cowardly or hateful or cruel to our neighbors. I believe we are kind and smart and brave. I believe that as long as we follow those instincts and do not give in to terror and blame, we can triumph over diseases and the stigmas attached to them. When we fight plagues, not each other, we will not only defeat diseases but preserve our humanity in the process. Onward and upward.

Americans, Douglass believed, instinctively and culturally watched history and preferred not to act in it. Douglass summed up his bitter complaint as “this terrible paradox of passing history” rooted in a distinctively American selfishness. “Whoever levies a tax upon our Bohea or Young Hyson [two forms of Chinese tea], will find the whole land blazing with patriotism and bristling with bayonets.” If some foreign power tried to “impress a few Yankee sailors,” Americans would go “fight like heroes.” Douglass fashioned a withering chastisement of American self-centeredness that would match any modern complaint about the culture’s hyperindividualism.

Piper’s blade, Hazel’s magical senses, and Annabeth’s instincts all agreed—the answer lay here in Ithaca, at the ancient palace of Odysseus, where a horde of evil spirits had gathered to await Gaea’s orders. The plan was to sneak among them, learn what was going on, and decide the best course of action. Then get out, preferably alive.

Pictures of her, and of the raven and the quote from Lear, snapped and circulated from Twitter. Her, coming out of Park Street station with a cop on each side. Her first instinct was not to read the comments—the first rule of retaining whatever faith you had left in humanity was Never, ever read the comments—but she couldn’t help it. She read the comments. Tim Burton’s Lady Indiana Jones and the T Station of Doom #hero #fuckshitup Who is this woman??? And then—these were her people, all right: resourceful, internet-literate geeks—a link to her professional profile on LinkedIn. She inhaled. And, not for the first time, was intensely grateful no one who didn’t already work for the hospital knew the location of her little satellite office.

Listen to your own voice, your own soul, your own intuition, too many people listen to the noise of the world, instead of themselves.

A hundred feet of blue-black Mediterranean will allow you ample time to deliver a strong self-lecture. At such moments, it may be useful to explicitly recall your training: “You will be infiltrating the lives of criminals. “You will be in constant danger. “Some of you will not survive, but those who do will be heroes. “A few of you will save lives or even change the course of history. “We ask of you an impossible combination of traits: ironclad scruples and a willingness to violate them; “An abiding love for your country and a willingness to consort with individuals working actively to destroy it; “The instincts and intuition of experts, and the blank records and true freshness of ingenues. “You will each perform this service only once, after which you will return to your lives. “We can’t promise that you will be exactly the same when you go back.

Silence is not merely a discipline; rather, it is primarily a state of being. It is in, through, and as silence that we discover our authentic identity, the Self (ātman, purusha). Thus silence partakes of the golden nature of the ultimate Reality. By comparison, speech is like the silver-bodied Moon, which has no light of its own but is illuminated by the radiance of the Sun. Through silence we can attune ourselves to the supreme stillness of the single Being, which is utter silence that is never disrupted by sound. Jean Klein, a twentieth-century exponent of Advaita Vedānta, comments: The Self is silent awareness and cannot be defined in terms of a silence as opposed to noise. How should we react towards silence or its opposite? If you want to rid yourself of agitation so as to attain a state of silence, you reject, you fight, you defend yourself. But if on the contrary you were to accept it, the agitation—which is part of this silence—will disappear within it. Then you will reach the silence of the Self, beyond silence and agitation.2 Once that great, sustaining Reality has been discovered, all our actions, thoughts, and utterances become spontaneous signals of that infinite silence, which is sheer bliss. Thus, the words of the enlightened adepts have transformative power, because they address that part in us which instinctively knows of that unsurpassed silence. Just as in ordinary life, speech and silence are intimately interwoven, so also in spiritual life do they complement one another. This has been recognized particularly in Taoism. In the language of the I Ching, speech is yang, or the masculine pole of silence; silence is yin, or the feminine pole. Together they are responsible for the creativity of human interaction. In spiritual life we cultivate sacred silence to regenerate our inner being so that we can return to our daily activities and to speech from a new perspective. In his monumental work A Study of History, the great British historian Arnold Toynbee has written about the creative withdrawal of the spiritual heroes of the past—the founders and inspirers of religions. They sought out the wilderness in order to find the fountain of truth within their own being. Then they returned, strengthened and ready to uplift humanity by sharing with others their extraordinary discovery. “Silence,” said Ovid, “is strength.” We need not have the spiritual standing of a Moses, Jesus, Mahāvīra, or Gautama the Buddha to practice sacred silence and benefit from it.

Imagine being blindfolded and then taken hundreds of miles from home -- perhaps even to another country across the sea. And then suddenly having the blindfold removed and, despite not having the slightest idea where you are, racing home at top speed. Even if home is six hundred miles away. That is not normal. Just like the superpowers of comicbook heroes, the homing instinct of pigeons is something that scientists cannot explain. They have tried over the years, with theories about magnetic fields and the sun, but no one has satisfactorily managed it. It is a strangely comfy superpower though. The pigeon is not on a mission to save the world. It just wants to go home. From the age of six weeks, pigeons can be taught to "home" to the loft from which they make their first flight because they understand that is where they will find food, water and company. Pigeons can be picky in their journey -- they do not like to fly at night or to cross water, often flying along the coast to find the shortest point at which to cross a body like the English Channel. but they are ultimately single-minded in simply wanting to get back to where they belong. Amid the horrors of wartime, this longing has a particular resonance.

I'm sorry.' I blinked. 'What do you possibly have to be sorry for?' 'His hands were shaking- as if in the aftermath of that fury at what Keir had called me, what he'd threatened. Perhaps he'd brought me here before heading home in order to have some privacy before his friends could interrupt. 'I shouldn't have let you go. Let you see that part of us. Of me.' I'd never seen him so raw, so... stumbling. 'I'm fine.' I didn't know what to make of what had been done. Both between us and to Keir. But it had been my choice. To play that role, to wear those clothes. To let him touch me. But... I said slowly, 'We knew what tonight would require of us. Please- please don't start protecting me. Not like that.' He knew what I meant. He'd protected me Under the Mountain, but that primal, male rage he'd just shown Keir... A shattered study splattered in paint flashed through my memory. Rhys rasped. 'I will never- never lock you up, force you to stay behind. But when he threatened you tonight, when he called you...' Whore. That's what they'd called him. For fifty years, they'd hissed it. I'd listened to Lucien spit the words in his face. Rhys released a jagged breath. 'It's hard to shut down my instincts.' Instincts. Just like... like someone else had instincts to protect, to hide me away. 'Then you should have prepared yourself better,' I snapped. 'You seemed to be going along just fine with it, until Keir said-' 'I will kill anyone who harms you,' Rhys snarled. 'I will kill them, and take a damn long time doing it.' He panted. 'Go ahead. Hate me- despise me for it.' 'You are my friend,' I said, and my voice broke on the word. I hated the tears that slipped down my face. I didn't even know why I was crying. Perhaps for the fact that it had felt real on that throne with him, even for a moment, and... and it likely hadn't been. Not for him. 'You're my friend- and I understand that you're High Lord. I understand that you will defend your true court, and punish threats against it. But I can't... I don't want you to stop telling me things, inviting me to do things, because of the threats against me.' Darkness rippled, and wings tore from his back. 'I am not him,' Rhys breathed. 'I will never be him, act like him. He locked you up and let you wither, and die.' 'He tried-' 'Stop comparing. Stop comparing me to him.' The words cut me short. I blinked. 'You think I don't know how stories get written- how this story will be written?' Rhys put his hands on his chest, his face more open, more anguished than I'd seen it. 'I am the dark lord, who stole away the bride of spring. I am a demon, and a nightmare, and I will meet a bad end. He is the golden prince- the hero who will get to keep you as his reward for not dying of stupidity and arrogance.' The things I love have a tendency to be taken from me. He'd admitted that to me Under the Mountain. But his words were kindling to my temper, to whatever pit of fear was yawning open inside of me. 'And what about my story?' I hissed. 'What about my reward? What about what I want?' 'What is it that you want, Feyre?' I had no answer. I didn't know. Not anymore. 'What is it that you want, Feyre?' I stayed silent. His laugh was bitter, soft. 'I thought so. Perhaps you should take some time to figure that out one of these days.' 'Perhaps I don't know what I want, but at least I don't hide what I am behind a mask,' I seethed. 'At least I let them see who I am, broken bits and all. Yes- it's to save your people. But what about the other masks, Rhys? What about letting your friends see your real face? But maybe it's easier not to. Because what if you did let someone in? And what if they saw everything, and still walked away? Who could blame them- who would want to bother with that sort of mess?' He flinched. The most powerful High Lord in history flinched. And I knew I'd hit hard- and deep. Too hard. Too deep. 'Rhys,' I said.

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

To be successful in the field, a Monuments officer would need not just knowledge; he would need passion, smarts, flexibility, an understanding of military culture: the way of the gun, the chain of command. In Balfour, Stout saw that mix of keen intellect, practical instincts and respect for the uniform. And it gave him confidence. Just

This, then, was the one thing Christina had not figured on–the deadly, far-reaching killer instinct beneath his blank, non-assuming stare. And to make matters worse, LaForche, like Christina, had intrigues and subversions of his own, He was completely normal in all ways except for one detail. He had an insidious delectable kink–an exactingly outrageous idée fixe, a driving monomaniacal purpose behind his ambitious riddling hatred. Very soon, he would turn his warped facilities against her, focusing his vast malignant energies to destroy the ridiculous self-deified woman who abused and humiliated him so. --Felipe LaForche, Villain. The Lady and the Samurai

I don't think there are any true heroes. Just people who ignore their survival instincts long enough to do something incredibly foolhardy.

When the bullets started flying at the Seafood Market disco in Tel Aviv, shoe salesman William Hazan’s first instinct was to duck under a table. His second was to open his wife’s purse and grab a gun to confront the attacker—a move that probably saved many lives. “I didn’t lose my cool,” Hazan told Israel Radio from his hospital bed a few hours after the violence. “Thank God I had my pistol with me.” Hazan and his wife were eating with friends at the nightclub when a Palestinian suicide shooter opened fire with an automatic rifle. After Hazan pulled out the gun he’s been carrying around for years, he crawled under the tables toward the exit and dashed outside. There, he saw a tall man hitting a shorter man with a knife and jumped to conclusions. “I thought the small man was the terrorist,” Hazan said. “I was going to hit him with the butt of my pistol, but then I got a knife in my belly,” he said. “I realized I was looking at the wrong man, so I turned my gun and shot the other one.” Because of his quick action, the killer—who had already shot dead three people and wounded more than two dozen others—never got the chance to detonate the explosives strapped to his body. Uri Dan, “Hero Grabs Pistol from Wife’s Purse and Guns Down Terrorist,” New York Post, Tuesday, March 5, 20021