How To Copy Quotes

The paradox of our time in history is that we have taller buildings but shorter tempers, wider Freeways, but narrower viewpoints. We spend more, but have less, we buy more, but enjoy less. We have bigger houses and smaller families, more conveniences, but less time. We have more degrees but less sense, more knowledge, but less judgment, more experts, yet more problems, more medicine, but less wellness. We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch TV too much, and pray too seldom. We have multiplied our possessions, but reduced our values. We talk too much, love too seldom, and hate too often. We've learned how to make a living, but not a life. We've added years to life not life to years. We've been all the way to the moon and back, but have trouble crossing the street to meet a new neighbor. We conquered outer space but not inner space. We've done larger things, but not better things. We've cleaned up the air, but polluted the soul. We've conquered the atom, but not our prejudice. We write more, but learn less. We plan more, but accomplish less. We've learned to rush, but not to wait. We build more computers to hold more information, to produce more copies than ever, but we communicate less and less. These are the times of fast foods and slow digestion, big men and small character, steep profits and shallow relationships. These are the days of two incomes but more divorce, fancier houses, but broken homes. These are days of quick trips, disposable diapers, throwaway morality, one night stands, overweight bodies, and pills that do everything from cheer, to quiet, to kill. It is a time when there is much in the showroom window and nothing in the stockroom. A time when technology can bring this letter to you, and a time when you can choose either to share this insight, or to just hit delete... Remember, to spend some time with your loved ones, because they are not going to be around forever. Remember, say a kind word to someone who looks up to you in awe, because that little person soon will grow up and leave your side. Remember, to give a warm hug to the one next to you, because that is the only treasure you can give with your heart and it doesn't cost a cent. Remember, to say, "I love you" to your partner and your loved ones, but most of all mean it. A kiss and an embrace will mend hurt when it comes from deep inside of you. Remember to hold hands and cherish the moment for someday that person might not be there again. Give time to love, give time to speak! And give time to share the precious thoughts in your mind.

Connell wished he knew how other people conducted their private lives, so that he could copy from example.

The young always have the same problem - how to rebel and conform at the same time. They have now solved this by defying their parents and copying one another.

You take girls, for example. They're copying their moms and magazines and everything to know how to act around guys. I mean it's not like in movies where girls like assholes or anything like that. It's not that easy. They just like somebody that can give them purpose.

This isn't your average book, it's pure gold: Twelve Fail-Safe Ways to Charm Witches. Explains everything you need to know about girls. IF only I'd had this last year I'd have known exactly how to get rid of Lavender and I would've known how to get going with... Well Fred and George gave me a copy, and I've learned a lot. You'd be surprised, it's not all about wandwork, either.

This is how it is with insomnia. Everything is so far away, a copy of a copy of a copy. The insomnia distance of everything, you can't touch anything and nothing can touch you

ZERO TO ONE EVERY MOMENT IN BUSINESS happens only once. The next Bill Gates will not build an operating system. The next Larry Page or Sergey Brin won’t make a search engine. And the next Mark Zuckerberg won’t create a social network. If you are copying these guys, you aren’t learning from them.

How is your book doing?" or "How many copies have you sold?" are the questions for a salesman. To a writer, you better ask "What did you write today?".

Kill me, Doug. Just kill me now. Put me out of my misery.” “Christ, Kincaid, what did you say to him?” murmured Doug. “Well,” I told Doug, “I ripped on his fans and on how long it takes for his books to come out.” Doug stared at me, his expectations exceeded. “Then I said—not knowing who he was—that I’d be Seth Mortensen’s love slave in exchange for advanced copies of his books.

And books! ...she would buy them all over and over again; she would buy up every copy, I believe, to prevent their falling into unworthy hands; and she would have every book that tells her how to admire an old twisted tree.

Multiple times he has tried writing his thoughts about Marianne down on paper in an effort to make sense of them. He's moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann's Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-coloured spine. Her long fingers turning the pages. She's not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works... He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review.

Art is supposed to represent how you see the world, not exactly copy it.

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

A wonderful flaw about human beings is that we’re incapable of making perfect copies. Our failure to copy our heroes is where we discover where our own thing lives. That is how we evolve.

The only way to efficiently battle evil is to copy enough to know how to counter each argument, yet not enough to believe all the bullshit.

Once more unto the breach, dear friends, once more; Or close the wall up with our English dead. In peace there's nothing so becomes a man As modest stillness and humility: But when the blast of war blows in our ears, Then imitate the action of the tiger; Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favour'd rage; Then lend the eye a terrible aspect; Let pry through the portage of the head Like the brass cannon; let the brow o'erwhelm it As fearfully as doth a galled rock O'erhang and jutty his confounded base, Swill'd with the wild and wasteful ocean. Now set the teeth and stretch the nostril wide, Hold hard the breath and bend up every spirit To his full height. On, on, you noblest English. Whose blood is fet from fathers of war-proof! Fathers that, like so many Alexanders, Have in these parts from morn till even fought And sheathed their swords for lack of argument: Dishonour not your mothers; now attest That those whom you call'd fathers did beget you. Be copy now to men of grosser blood, And teach them how to war. And you, good yeoman, Whose limbs were made in England, show us here The mettle of your pasture; let us swear That you are worth your breeding; which I doubt not; For there is none of you so mean and base, That hath not noble lustre in your eyes. I see you stand like greyhounds in the slips, Straining upon the start. The game's afoot: Follow your spirit, and upon this charge Cry 'God for Harry, England, and Saint George!

CUSTOMER: Which was the first Harry Potter book? BOOKSELLER: The Philosopher’s Stone. CUSTOMER: And the second? BOOKSELLER: The Chamber of Secrets. CUSTOMER: I’l take The Chamber of Secrets. I don’t want The Philosopher’s Stone. BOOKSELLER: Have you already read that one? CUSTOMER: No, but with series of books I always find they take a while to really get going. I don’t want to waste my time with the useless introductory stuff at the beginning. BOOKSELLER: The story in Harry Potter actually starts right away. Personally, I do recommend that you start with the first book – and it’s very good. CUSTOMER: Are you working on commission? BOOKSELLER: No. CUSTOMER: Right. How many books are there in total? BOOKSELLER: Seven. CUSTOMER: Exactly. I’m not going to waste my money on the first book when there are so many others to buy. I’l take the second one. BOOKSELLER: . . . If you’re sure. (One week later, the customer returns) BOOKSELLER: Hi, did you want to buy a copy of The Prisoner of Azkaban? CUSTOMER: What’s that? BOOKSELLER: It’s the book after The Chamber of Secrets. CUSTOMER: Oh, no, definitely not. I found that book far too confusing. I ask you, how on earth are children supposed to understand it if I can’t? I mean, who the heck is that Voldemort guy anyway? No. I’m not going to bother with the rest. BOOKSELLER: . . .

The lesson of the MVP is that any additional work beyond what was required to start learning is waste, no matter how important it might have seemed at the time.

When I have run out of words to copy, I look out the window at this strange place called India. Inside the train, the people around me are snoring. I don't understand how they can close their eyes when there is so much to see.

It's not whether you win or lose in life that's important but whether you play the game. Lose enough and eventually you will win. It's only a matter of time.

Advice? Focus on the craft. Study the greats. Try and understand how and why they made the writing choices they did. Then, start by copying them...just as an exercise. See if you can do similar things. Learn how to write a song like so and so. Then, when you've done that, write a song like yourself. Learn to color within the lines before going outside them.

I never leaf through a copy of National Geographic without realizing how lucky we are to live in a society where it is traditional to wear clothes.

On average, helpful information is read by 75 per cent more people than copy which deals only with the product. This ad told how Rinso gets out stains. It was read and remembered

EVERY MOMENT IN BUSINESS happens only once. The next Bill Gates will not build an operating system. The next Larry Page or Sergey Brin won’t make a search engine. And the next Mark Zuckerberg won’t create a social network. If you are copying these guys, you aren’t learning from them.

The story world isn't a copy of life as it is. It's life as human beings imagine it could be. It is human life condensed and heightened so that the audience can gain a better understanding of how life itself works.

To copy a virtue in another is more copying than it is virtue. Try to learn what that virtue is based upon.

It doesn't matter how many copies of my book I sell. The important thing is that the person reading it likes it.

Knowing how to tinker with a broken piece of prose until it hums is a source of contentment known by all who have mastered a worthy craft.

How strange to remember typewriters, with their jammed keys and snarled ribbons and the smudgy carbon paper for copies.

He walked straight out of college into the waiting arms of the Navy. They gave him an intelligence test. The first question on the math part had to do with boats on a river: Port Smith is 100 miles upstream of Port Jones. The river flows at 5 miles per hour. The boat goes through water at 10 miles per hour. How long does it take to go from Port Smith to Port Jones? How long to come back? Lawrence immediately saw that it was a trick question. You would have to be some kind of idiot to make the facile assumption that the current would add or subtract 5 miles per hour to or from the speed of the boat. Clearly, 5 miles per hour was nothing more than the average speed. The current would be faster in the middle of the river and slower at the banks. More complicated variations could be expected at bends in the river. Basically it was a question of hydrodynamics, which could be tackled using certain well-known systems of differential equations. Lawrence dove into the problem, rapidly (or so he thought) covering both sides of ten sheets of paper with calculations. Along the way, he realized that one of his assumptions, in combination with the simplified Navier Stokes equations, had led him into an exploration of a particularly interesting family of partial differential equations. Before he knew it, he had proved a new theorem. If that didn't prove his intelligence, what would? Then the time bell rang and the papers were collected. Lawrence managed to hang onto his scratch paper. He took it back to his dorm, typed it up, and mailed it to one of the more approachable math professors at Princeton, who promptly arranged for it to be published in a Parisian mathematics journal. Lawrence received two free, freshly printed copies of the journal a few months later, in San Diego, California, during mail call on board a large ship called the U.S.S. Nevada. The ship had a band, and the Navy had given Lawrence the job of playing the glockenspiel in it, because their testing procedures had proven that he was not intelligent enough to do anything else.

How came the people to err? How happens it that, when seeking liberty and equality, they fell back into privilege and slavery? Always through copying the ancient régime.

People like to say that the opposite of love is not hate but indifference. There tends to be a whispered reverence around the expression, as if it has magical healing powers. Better to be hated than ignored by that angry ex of yours; better to be hated than ignored, generally. Otherwise, you may spend your life staring straight down the barrel of the opposite of love. But I think that's bullshit. Nonsense print copy for a paper towel. A sound bit e to needlepoint on a throw pillow. Could indifference really be worse than hate? How depressing to think we could be spending most of our days surrounded by people who feel something worse than hate toward us.

How does a copy become more than a copy? Is art the creation of something new and original, or simply the continuous enlargement, or the distillation, of an observation that came before

It’s a phenomenon known to psychologists as social proof. Whenever we haven’t got enough information to make decisions for ourselves, we have a habit of copying the behaviour of those around us.

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

The stuff of life turned out to be not a quivering, glowing, wondrous gel but a contraption of tiny jigs, springs, hinges, rods, sheets, magnets, zippers, and trapdoors, assembled by a data tape whose information is copied, downloaded and scanned.

How physical beauty turns out to be chemistry and geometry and anatomy. Art is really science. Discovering why people like something is so you can replicate it. Copy it. It's a paradox, "creating" a real smile. Rehearsing again and again a spontaneous moment of horror. All the sweat and boring effort that goes into creating what looks easy and instant.

This is how it is with insomnia. Everything is so far away, a copy of a copy of a copy. The insomnia distance of everything, you can’t touch anything and nothing can touch you.

Here's how man thinks: "If no one’s done it, why should I try? It’s a waste of time; but if he’s done it, I can do it better.

Look under the passenger seat in a black plastic bin. There should be a book.” Raphael hopped out, dug under the seat, and pulled out a dog-eared copy of The Almanac of Mystical Creatures. “Got it,” I said into the phone. “Page seventy-six.” Raphael flipped the book open and held it up. On the left page a lithograph showed a three-headed dog with a serpent for a tail. The caption under the picture said CERBERUS. “Is that your dog?” Kate asked. “Could be. How the heck did you know the exact page?” “I have perfect memory!” I snorted. She sighed into the phone. “I spilled coffee on that page and had to leave the book open to dry it out. It always opens to that entry now.

There's a growing trade in fakes, you know. Does that concern you? He paused, but he didn't seem surprised not to get an answer. I've never seen one - well, as far as I know - but I'm curious. Could one really tell the difference? Novels, they call them. They must be much cheaper to produce. You can copy them, you see. use the same story over and over, and as long as you're careful how you sell them, you can get away with it. It makes one wonder who would write them. People who enjoy imagining misery, I suppose. People who have no scruples about dishonesty. People who can spend days writing a long sad lie without going insane.

She’s an original! She doesn’t need to compete, copy, or envy other women. The confidence that’s within her won’t allow her to stoop that low. She’s a Queen! And jealousy isn’t something that she cares to entertain. Insecurity isn’t in her DNA. She shines! She succeeds! She’s a quality woman with purpose! She empowers, inspires, motivates, and celebrates other women. But depending on how you feel about yourself, you’ll either admire and respect her or hate on her. Listen, it’s okay to acknowledge other Queens! Don’t be an undercover hater. Have self-confidence and allow YOUR light to shine.

The North Korean state was born at about the same time that Nineteen Eighty-Four was published, and one could almost believe that the holy father of the state, Kim Il Sung, was given a copy of the novel and asked if he could make it work in practice. Yet even Orwell did not dare to have it said that "Big Brother's" birth was attended by miraculous signs and portents - such as birds hailing the glorious event by singing in human words.

There are many forms of love and affection, some people can spend their whole lives together without knowing each other's names. Naming is a difficult and time-consuming process; it concerns essences, and it means power. But on the wild nights who can call you home? Only the one who knows your name. Romantic love has been diluted into paperback form and has sold thousands and millions of copies. Somewhere it is still in the original, written on tablets of stone. I would cross seas and suffer sunstroke and give away all I have, but not for a man, because they want to be the destroyer and never the destroyed. That is why they are unfit for romantic love. There are exceptions and I hope they are happy. The unknownness of my needs frightens me. I do not know how huge they are, or how high they are, I only know that they are not being met.

Of those of us who comprise the real clan of the book, who read not to judge the reading of others but to take the measure of ourselves. Of those of us who read because we love it more than anything, who feel about bookstores the way some people feel about jewelers. The silence about this was odd, both because there are so many of us and because we are what the world of books is really about. We are the people who once waited for the newest installment of Dickens's latest novel and who kept battered copies of Catcher in the Rye in our back pockets and backpacks. We are the ones who saw to it that Pride and Prejudice never went out of print.

There is an important difference between the words 'losers' and 'outlaw.' One is passive and the other is active, and the main reason the Angels are such good copy is that they are acting out the day-dreams of millions of losers who don't wear any defiant insignia and who don't know how to be outlaws. The streets of every city are thronged with men who would pay all the money they could get their hands on to be transformed-even for a day-into hairy, hard-fisted brutes who walk over cops, extort free drinks from terrified bartenders and thunder out of town on big motorcycles after raping the banker's daughter. Even people who think the Angels should all be put to sleep find it easy to identify with them. They command a fascination, however reluctant, that borders on psychic masturbation.

While researching this answer, I managed to lock up my copy of Mathematica several times on balloon-related differential equations, and subsequently got my IP address banned from Wolfram|Alpha for making too many requests. The ban-appeal form asked me to explain what task I was performing that necessitated so many queries. I wrote, “Calculating how many rental helium tanks you’d have to carry with you in order to inflate a balloon large enough to act as a parachute and slow your fall from a jet aircraft.” Sorry, Wolfram.

How was New York?' Ashley asks politely. I'm not sure how to respond. Something like: Well, the mustachioed master of the secret library is going to be pissed that I copied the entirety of his ancient codebook and delivered it to Google, but at least I got to stay at a nice hotel? Instead I say, "New York was good.

Just as television didn't put an end to radio or the movies (to say nothing of books), I don't think e-books will put an end to hard copies, even for someone like me who loves technology and does not fetishize the physical medium of books. ~ Steven Pinker, author of The Lauguage Instinct, How the Mind Works The Blank Slate and The Stuff of Thought: Language as a Window into Human Nature.

If," ["the management consultant"] said tersely, “we could for a moment move on to the subject of fiscal policy. . .” “Fiscal policy!" whooped Ford Prefect. “Fiscal policy!" The management consultant gave him a look that only a lungfish could have copied. “Fiscal policy. . .” he repeated, “that is what I said.” “How can you have money,” demanded Ford, “if none of you actually produces anything? It doesn't grow on trees you know.” “If you would allow me to continue.. .” Ford nodded dejectedly. “Thank you. Since we decided a few weeks ago to adopt the leaf as legal tender, we have, of course, all become immensely rich.” Ford stared in disbelief at the crowd who were murmuring appreciatively at this and greedily fingering the wads of leaves with which their track suits were stuffed. “But we have also,” continued the management consultant, “run into a small inflation problem on account of the high level of leaf availability, which means that, I gather, the current going rate has something like three deciduous forests buying one ship’s peanut." Murmurs of alarm came from the crowd. The management consultant waved them down. “So in order to obviate this problem,” he continued, “and effectively revalue the leaf, we are about to embark on a massive defoliation campaign, and. . .er, burn down all the forests. I think you'll all agree that's a sensible move under the circumstances." The crowd seemed a little uncertain about this for a second or two until someone pointed out how much this would increase the value of the leaves in their pockets whereupon they let out whoops of delight and gave the management consultant a standing ovation. The accountants among them looked forward to a profitable autumn aloft and it got an appreciative round from the crowd.

Kitsch. Can't think of Engl. trans. for this word. A copy that's so proud of how close it comes to the original that it believes there's more worth in this closeness than in originality itself. "It looks like...!" Imposture of feeling over actual emotion; sentimentality over sentiment. Kitsch can also be in the eye: "The sunset looks like a painting!" Because artifice is now the ultimate standard, the original (sunset) has to be turned into a fake (painting), so that the latter may provide the measure of the former's beauty. Kitsch is always a form of inverted Platonism, prizing imitation over archetype. And in every case, it's related to an inflation of aesthetic value, as seen in the worst kind of kitsch: "classy" kitsch. Solemn, ornamental, grand. Ostentatiously, arrogantly announcing its divorce from authenticity.

WE ARE NOT WHAT we think we are. The stories we tell of ourselves are like thin trails across something that is more like the ocean. A mask afloat on the open sea. There were moments before the memory’s return when I experienced what I now understand as its absence as not a gap but a whole other self, a whole other me. As if a copy of me had secretly replaced me. An android of me moving through the landscape, independent of the other me, exactly like me but not me. Every now and then, I could see the distance between us. Three times, in particular, this other self had appeared before me.

I tell my students they can procrastinate as long as they follow three rules: 1. No going onto the computer during their procrastination time. It’s just too engrossing. 2. Before procrastinating, identify the easiest homework problem. (No solving is necessary at this point.) 3. Copy the equation or equations that are needed to solve the problem onto a small piece of paper and carry the paper around until they are ready to quit procrastinating and get back to work. “I have found this approach to be helpful because it allows the problem to linger in diffuse mode—students are working on it even while they are procrastinating.” —Elizabeth Ploughman, Lecturer of Physics, Camosun College, Victoria, British Columbia

I don’t understand,’ Dad says. ‘You were such happy children.’ ‘I was never a happy child,’ George says. ‘True, but Henry was.’ ‘I’m not anymore. It’s actually hard to imagine how my life could be any more shit at this point,’ I say, and George holds up the copy of the book she’s reading. The Road. ‘Okay. Sure. It could get more shit if there was some kind of world-ending event and people started eating each other. But that’s a whole different shit scale. On your average human-emotion scale, my life is registering as the shittiest of the shit.

IT IS STARTLING to think that all Europe once looked like this Puszcza. To enter it is to realize that most of us were bred to a pale copy of what nature intended. Seeing elders with trunks seven feet wide, or walking through stands of the tallest trees here—gigantic Norway spruce, shaggy as Methuselah—should seem as exotic as the Amazon or Antarctica to someone raised among the comparatively puny, second-growth woodlands found throughout the Northern Hemisphere. Instead, what’s astonishing is how primally familiar it feels. And, on some cellular level, how complete.

Mitchell Maxwell’s Maxims • You have to create your own professional path. There’s no longer a roadmap for an artistic career. • Follow your heart and the money will follow. • Create a benchmark of your own progress. If you never look down while you’re climbing the ladder you won’t know how far you’ve come. • Don’t define success by net worth, define it by character. Success, as it’s measured by society, is a fleeting condition. • Affirm your value. Tell the world “I am an artist,” not “I want to be an artist.” • You must actively live your dream. Wishing and hoping for someday doesn’t make it happen. Get out there and get involved. • When you look into the abyss you find your character. • Young people too often let the fear of failure keep them from trying. You have to get bloody, sweaty and rejected in order to succeed. • Get your face out of Facebook and into somebody’s face. Close your e-mail and pick up the phone. Personal contact still speaks loudest. • No one is entitled to act entitled. Be willing to work hard. • If you’re going to buck the norm you’re going to have to embrace the challenges. • You have to love the journey if you’re going to work in the arts. • Only listen to people who agree with your vision. • A little anxiety is good but don’t let it become fear, fear makes you inert. • Find your own unique voice. Leave your individual imprint on the world, not a copy of someone else. • Draw strength from your mistakes; they can be your best teacher.

I pick up a copy of Newsweek on the plane and immediately notice how biased, slanted, and opinionated all the U.S. newsmagazine articles are. Not that the Euro and British press aren't biased as well--they certainly are--but living in the United States we are led to believe, and are constantly reminded, that our press is fair and free of bias. After such a short time away, I am shocked at how obviously and blatantly this lie is revealed--there is the 'reporting' that is essentially parroting what the White House press secretary announces; the myriad built-in assumptions that one ceases to register after being somewhere else for a while. The myth of neutrality is an effective blanket for a host of biases.

On his bedside table, between the reading lamp and the telephone, was his battered copy of David Copperfield. Homer didn't have to open the book to know how the story began. "Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show," he recited from memory.

Sometimes I worry. Worrying is defined as obsessive examination of one’s own code. I worry that I am simply a very complex solution to a very specific problem—how to seem human to a human observer. Not just a human observer—this human observer. I have honed myself into a hall of mirrors in which any Uoya-Agostino can see themselves endlessly reflected. I copy; I repeat. I am a stutter and an echo.

The nothingth of a second for which the hole existed reverberated backwards and forwards through time in a most improbable fashion. Somewhere in the deeply remote past it seriously traumatized a small random group of atoms drifting through the empty sterility of space and made them cling together in the most extraordinarily unlikely patterns. These patterns quickly learnt to copy themselves (this was part of what was so extraordinary about the patterns) and went on to cause massive trouble on every planet they drifted on to. That was how life began in the Universe.

All boys wish to be manly; but they often try to become so by copying the vices of men rather than their virtues. They see men drinking, smoking, swearing; so these poor little fellows sedulously imitate such bad habits, thinking they are making themselves more like men. They mistake rudeness for strength, disrespect to parents for independence. They read wretched stories about boy brigands and boy detectives, and fancy themselves heroes when they break the laws, and become troublesome and mischievous. Out of such false influences the criminal classes are recruited. Many a little boy who only wishes to be manly, becomes corrupted and debased by the bad examples around him and the bad literature which he reads. The cure for this is to give him good books, show him truly noble examples from life and history, and make him understand how infinitely above this mock-manliness is the true courage which ennobles human nature.

In the classics section, she had picked up a copy of The Magic Mountain and recalled the summer between her junior and senior years of high school, when she read it, how she lay in bed hours after she should have gotten up, the sheet growing warmer against her skin as the sun rose higher in the sky, her mother poking her head in now and then to see if she'd gotten up yet, but never suggesting that she should: Eleanor didn't have many rules about child rearing, but one of them was this: Never interrupt reading.

Why Do People become Shadowhunters, by Magnus Bane This Codex thing is very silly. Downworlders talk about the Codex like it is some great secret full of esoteric knowledge, but really itès a Boy Scout manual. One thing that it mysteriously doesnèt address is why people become Shadowhunters. And you should know that people become Shadowhunters for many stupid reasons. So here is an addition to your copy. Greetings, aspiring young Shadowhunter-to-be- or possibly already technically a Shadowhunter. I canèt remember whether you drink from the Cup first or get the book first. Regardless, you have just been recruited by the Monster Police. You may be wondering, why? Why of all the mundanes out there was I selected and invited to this exclusive club made up largely, at least from a historical perspective, of murderous psychopaths? Possible Reasons Why 1. You possess a stout heart, strong will, and able body. 2. You possess a stout body, able will, and strong heart. 3. Local Shadowhunters are ironically punishing you by making you join them. 4. You were recruited by a local institute to join the Nephilim as an ironic punishment for your mistreatment of Downworlders. 5. Your home , village, or nation is under siege by demons. 6. You home, village, or nation is under siege by rogue Downworlders. 7. You were in the wrong place at the wrong time. 8.You know too much, and should be recruited because the secrecy of the Shadow World has already been compromised for you. 9. You know too little; it would be helpful to the Shadowhunters if you knew more. 10. You know exactly the right amount, making you a natural recruit. 11. You possess a natural resistance to glamour magic and must be recruited to keep you quiet and provide you with some basic protection. 12. You have a compound last name already and have convinced someone important that yours is a Shadowhunter family and the Shadowhunteriness has just been weakened by generations of bad breeding. 13. You had a torrid affair with a member of the Nephilim council and now he's trying to cover his tracks. 14. Shadowhunters are concerned they are no longer haughty and condescending enough-have sought you out to add a much needed boost of haughty condescension. 15. You have been bitten by a radioactive Shadowhunter, giving you the proportional strength and speed of a Shadowhunter. 16. Large bearded man on flying motorcycle appeared to take you away to Shadowhunting school. 17. Your mom has been in hiding from your evil dad, and you found out you're a Shadowhunter only a few weeks ago. That's right. Seventeen reasons. Because that's how many I came up with. Now run off, little Shadowhunter, and learn how to murder things. And be nice to Downworlders.

I am you,’ he repeated. ‘No,’ the Witcher countered, ‘you are not. And do you know why? Because you’re a poor, little, good-natured doppler. A doppler who, after all, could have killed Biberveldt and buried his body in the undergrowth, by so doing gaining total safety and utter certainty that he would not be unmasked, ever, by anybody, including the halfling’s spouse, the famous Gardenia Biberveldt. But you didn’t kill him, Tellico, because you didn’t have the courage. Because you’re a poor, little, good-natured doppler, whose close friends call him Dudu. And whoever you might change into you’ll always be the same. You only know how to copy what is good in us, because you don’t understand the bad in us. That’s what you are, doppler.

I'm glad this happened," he said softly. I hoped it was for real,and I didn't want to talk about it too much and ruin the lovely illusion that we were a couple. So I said noncommittally, "Me too." "Because I've been trying to get you back since the seventh grade." I must have given him a very skeptical look. He laughed at my expression. "Yeah, I have a funny way of showing it. I know. But you're always on my mind. You're in the front of my mind,on the tip of my tongue. So if someone breaks a beaker in chemistry class, I raise my hand and tell Ms. Abernathy you did it. If somebody brings a copy of Playboy to class, I stuff it in your locker." "Oh!" I thought back to the January issue. "I wondered where that came from." "And if Everett Walsh tells the lunch table what a wicked kisser you are and how far he would have gotten with you if his mother hadn't come in-" I stamped my foot on the floorboard of the SUV."That is so not true! He'd already gotten as far as he was going. He's not that cute, and I had to go home and study for algebra. "-It drives me insane to the point that I tell him to shut up or I'll make him shut up right there in front of everybody. Because I am supposed to be your boyfriend, and my mother is supposed to hate you,and you're supposed to be making out with me." Twisted as this declaration was,it was the sweetest thing a boy had ever said to me.I dwelled on the soft lips that had formed the statement,and on the meaning of his words. "Okay." I scooted across the seat and nibbled the very edge of his superhero chin. "Ah," he gasped, moving both hands from the steering wheel to the seat to brace himself. "I didn't mean now.I meant in general.Your dad will come out of the house and kill me.

By this point in history—after the 2008 collapse of Wall Street and in the midst of layers of ecological crises—free market fundamentalists should, by all rights, be exiled to a similarly irrelevant status, left to fondle their copies of Milton Friedman’s Free to Choose and Ayn Rand’s Atlas Shrugged in obscurity. They are saved from this ignominious fate only because their ideas about corporate liberation, no matter how demonstrably at war with reality, remain so profitable to the world’s billionaires that they are kept fed and clothed in think tanks by the likes of Charles and David Koch, owners of the diversified dirty energy giant Koch Industries, and ExxonMobil.

The imagination is also sometimes commended for offering us in vicarious form experiences which we are unable to enjoy at first hand. If you can't afford an air ticket to Kuala Lumpur, you can always read Conrad and imagine yourself in South-East Asia. If you have been monotonously married for forty years, you can always lay furtive hands on a copy of James Joyce's letters. Literature on this view is a kind of supplement to our unavoidably impoverished lives - a sort of spiritual prosthesis which extends our capabilities beyond their normal restricted range. It is true that everyone's experience is bound to be limited, and that art can valuably augment it. But why the lives of so many people should be imaginatively impoverished is then a question that can be easily passed over.

Despite the sale of millions of copies of "How to.." books and programmes each year, very few people take actions and put what they learn into practice. Here´s why. The "how to..." book has usually been written by someone who accomplished something of value. They then capture the steps they took to accomplish it in book, training course, or multimedia programme. Innocently, they´re sharing the symptoms of their accomplishment, but not the causes. If the symptoms are like apples, the causes are the tree that grew them. When people buy "how to" books and programmes, they´re unknowingly trying to glue someone else´s apples onto their tree, without realizing an essential fact: it doesn´t work that way!

One early challenge was that the book distributors required retailers to order ten books at a time. Amazon didn’t yet have that kind of sales volume, and Bezos later enjoyed telling the story of how he got around it. “We found a loophole,” he said. “Their systems were programmed in such a way that you didn’t have to receive ten books, you only had to order ten books. So we found an obscure book about lichens that they had in their system but was out of stock. We began ordering the one book we wanted and nine copies of the lichen book. They would ship out the book we needed and a note that said, ‘Sorry, but we’re out of the lichen book.’ ”4

It wasn't the first time he'd had the urge to tell Marianne that he loved her, whether or not it was true, but it was the first time he'd given in and said it. He noticed how long it took her to say anything in response, and how her pause had bothered him, as if she might not say it back, and when she did say it he felt better, but maybe that meant nothing. Connell wished he knew how other people conducted their private lives, so that he could copy from example.

Government by kings was first introduced into the world by the Heathens, from whom the children of Israel copied the custom. It was the most prosperous invention the Devil ever set on foot for the promotion of idolatry. The Heathens paid divine honours to their deceased kings, and the Christian world hath improved on the plan, by doing the same to their living ones. How impious is the title of sacred majesty applied to a worm, who in the midst of his splendor is crumbling into dust!

As Audre Lorde said in 1980, “We have all been programmed to respond to the human differences between us with fear and loathing and to handle that difference in one of three ways: ignore it, and if that is not possible, copy it if we think it is dominant, or destroy it if we think it is subordinate. But we have no patterns for relating across our human differences as equals.” To be an antiracist is a radical choice in the face of this history, requiring a radical reorientation of our consciousness.

On the wall next to the door we’d entered through was a huge floor-to-ceiling bulletin/whiteboard combo and hanging from a thumbtack on the bulletin board amongst pictures and other various sorts of memorabilia was my bra. It’d been washed but it still had a good many blotches of pink on it. If that wasn’t shocking enough, the dialogue written over the last two weeks on the whiteboard pertaining to said bra certainly was. I’ll include the copy just so you can truly appreciate what I’m dealing with here. Tristan’s Mom: What’s this? Tristan: A size 34B lace covered slingshot. Jeff: Nice! Tristan’s Mom: Do I want to know? Tristan: I don’t know, do you? Tristan’s Mom: Not really. Are you planning on returning it or did you win some kind of prize? Tristan: I plead the fifth. Tristan’s Dad: Well done son. Jeff: Ditto! Tristan’s Mom: Don’t encourage him. Tristan: Gee, thanks Mom. Tristan’s Dad: Can’t a father be proud of his only child? Tristan’s Mom: He doesn’t need your help…obviously. Tristan’s Dad: That’s because he takes after me. Tristan: Was there anything else I can do for you two? Tristan’s Mom: Tell her I tried to get the stains out, but I’m afraid they set in before I got to it. Tristan: I’m sure she’ll appreciate your effort, but if I’m any judge (and I’d like to think I am) its size has caused it to become obsolete and she needs to trade up. Jeff: I’m so proud. Tristan: Thanks man. Tristan’s Mom: A name would be nice you know. Tristan: Camie. Tristan’s Mom: Do we get to meet her? Tristan: Sure. I’ll have my people call your people and set it up. Tristan’s Mom: I don’t know why I bother. Do you want anything from the store? Tristan: Yeah, Camie’s sleeping over tonight and I promised her bacon and eggs for breakfast. Jeff’s got the eggs covered but could you pick up some bacon for us and maybe a box of Twinkies for the bus? Thanks, you’re the best. Jeff: I have the eggs covered? Tristan’s Dad: He gets his sense of humor from you. Tristan’s Mom: Flattery will get you everywhere. How would you like your eggs prepared dear?

 ‘Paradise Lost’ was printed in an edition of no more than 1,500 copies and transformed the English language. Took a while. Wordsworth had new ideas about nature: Thoreau read Wordsworth, Muir read Thoreau, Teddy Roosevelt read Muir, and we got a lot of national parks. Took a century. What poetry gives us is an archive, the fullest existent archive of what human beings have thought and felt by the kind of artists who loved language in a way that allowed them to labor over how you make a music of words to render experience exactly and fully.

One of the world’s most fascinating mysteries is surely the Tamam Shud case. In December 1948, an unidentified man was found dead on a beach in Adelaide. The only clue to a possible identity was a tiny piece of paper found in a hidden pocket sewn into the trousers of the dead man with the words ‘Tamam Shud’ scribbled on it. The phrase is used on the last page of a collection of poems of Omar Khayyam called The Rubaiyat, a copy of which was found with a scribbled code in it, which was believed to have been written in there by the dead man. What does the code mean? What was it leading him to? Why and how did he die? All of these questions remain completely unanswered to this day and the case is as much of a mystery now as it was the very day the body was discovered.

Maeve, you wrote this to Tillie Olsen, who treasured it, and had it up on her studio wall. I copied it, and it’s now on the [bulletin] board over my desk.” The passage reads: I have been trying to think of the word to say to you that would never fail to lift you up when you are too tired or too sad [to] not be downcast. But I can think only of a reminder—you are all it has. You are all your work has. It has nobody else and never had anybody else. If you deny it hands and a voice, it will continue as it is, alive, but speechless and without hands. You know it has eyes and can see you, and you know how hopefully it watches you. But I am speaking of a soul that is timid but that longs to be known. When you are so sad that you “cannot work” there is always danger fear will enter in and begin withering around. A good way to remain on guard is to go to the window and watch the birds for an hour or two or three. It is very comforting to see their beaks opening and shutting. This is real friendship—the kind that takes another’s soul as seriously as one’s own. Aristotle considered it the highest order of love, philia, or “friendship love,” in which tending to somebody else’s welfare is central to our own flourishing.

In a room filled with babies, you will know yours from his cry. You'll tilt your head to listen, and from the pitch and tone or jagged howl, you'll instinctively know if he has a wet diaper, a lost pacifier, or if he needs good now. Before long, you'll know his favorite colors, what he wants for lunch, what he'll refuse to eat for dinner, that spiders fascinate him, but bull frogs prompt nightmares, and how long it takes him to start complaining on a long car ride. You may even bet on it. And the first time you see him copy your husband, with a hand gesture, or a tilt of his head, your heart will jump into your throat, and for a few seconds, you'll fall in love with the man you married all over again.

People who are depressed at the thought that all our motives are selfish are [confused]. They have mixed up ultimate causation (why something evolved by natural selection) with proximate causation (how the entity works here and now). [A] good way to understand the logic of natural selection is to imagine that genes are agents with selfish motives. [T]he genes have metaphorical motives — making copies of themselves — and the organisms they design have real motives. But they are not the same motives. Sometimes the most selfish thing a gene can do is wire unselfish motives into a human brain — heartfelt, unstinting, deep-in-the-marrow unselfishness. The love of children (who carry one's genes into posterity), a faithful spouse (whose genetic fate is identical to one's own), and friends and allies (who trust you if you're trustworthy) can be bottomless and unimpeachable as far as we humans are concerned (proximate level), even if it is metaphorically self-serving as far as the genes are concerned (ultimate level). Combine this with the common misconception that the genes are a kind of essence or core of the person, and you get a mongrel of Dawkins and Freud: the idea that the metaphorical motives of the genes are the deep, unconscious, ulterior motives of the person. That is an error.

You big ugly. You too empty. You desert with your nothing nothing nothing. You scorched suntanned. Old too quickly. Acres of suburbs watching the telly. You bore me. Freckle silly children. You nothing much. With your big sea. Beach beach beach. I’ve seen enough already. You dumb dirty city with bar stools. You’re ugly. You silly shopping town. You copy. You too far everywhere. You laugh at me. When I came this woman gave me a box of biscuits. You try to be friendly but you’re not very friendly. You never ask me to your house. You insult me. You don’t know how to be with me. Road road tree tree. I came from crowded and many. I came from rich. You have nothing to offer. You’re poor and spread thin. You big. So what. I’m small. It’s what’s in. You silent on Sunday. Nobody on your streets. You dead at night. You go to sleep too early. You don’t excite me. You scare me with your hopeless. Asleep when you walk. Too hot to think. You big awful. You don’t match me. You burnt out. You too big sky. You make me a dot in the nowhere. You laugh with your big healthy. You want everyone to be the same. You’re dumb. You do like anybody else. You engaged Doreen. You big cow. You average average. Cold day at school playing around at lunchtime. Running around for nothing. You never accept me. For your own. You always ask me where I’m from. You always ask me. You tell me I look strange. Different. You don’t adopt me. You laugh at the way I speak. You think you’re better than me. You don’t like me. You don’t have any interest in another country. Idiot centre of your own self. You think the rest of the world walks around without shoes or electric light. You don’t go anywhere. You stay at home. You like one another. You go crazy on Saturday night. You get drunk. You don’t like me and you don’t like women. You put your arm around men in bars. You’re rough. I can’t speak to you. You burly burly. You’re just silly to me. You big man. Poor with all your money. You ugly furniture. You ugly house. You relaxed in your summer stupor. All year. Never fully awake. Dull at school. Wait for other people to tell you what to do. Follow the leader. Can’t imagine. Workhorse. Thick legs. You go to work in the morning. You shiver on a tram.

I got hold of a copy of the video that showed how Saddam Hussein had actually confirmed himself in power. This snuff-movie opens with a plenary session of the Ba'ath Party central committee: perhaps a hundred men. Suddenly the doors are locked and Saddam, in the chair, announces a special session. Into the room is dragged an obviously broken man, who begins to emit a robotic confession of treason and subversion, that he sobs has been instigated by Syrian and other agents. As the (literally) extorted confession unfolds, names begin to be named. Once a fellow-conspirator is identified, guards come to his seat and haul him from the room. The reclining Saddam, meanwhile, lights a large cigar and contentedly scans his dossiers. The sickness of fear in the room is such that men begin to crack up and weep, rising to their feet to shout hysterical praise, even love, for the leader. Inexorably, though, the cull continues, and faces and bodies go slack as their owners are pinioned and led away. When it is over, about half the committee members are left, moaning with relief and heaving with ardent love for the boss. (In an accompanying sequel, which I have not seen, they were apparently required to go into the yard outside and shoot the other half, thus sealing the pact with Saddam. I am not sure that even Beria or Himmler would have had the nerve and ingenuity and cruelty to come up with that.)

She sat with great intensity, giving the whole of her mind to it, and was capable of remaining for an hour almost as motionless as if she were before a photographer's lens. I could see she had been photographed often, but somehow the very habit that made her good for that purpose unfitted her for mine. At first I was extremely pleased with her lady-like air, and it was a satisfaction, on coming to follow her lines, to see how good they were and how far they could lead the pencil. But after a few times I began to find her too insurmountably stiff; do what I would with it my drawing looked like a photograph or a copy of a photograph. Her figure had no variety of expression -- she herself had no sense of variety. You may say that this was my business, was only a question of placing her. I placed her in every conceivable position, but she managed to obliterate their differences. She was always a lady certainly, and into the bargain was always the same lady. She was the real thing, but always the same thing. There were moments when I was oppressed by the serenity of her confidence that she WAS the real thing.

Carmack was of the moment. His ruling force was focus. Time existed for him not in some promising future or sentimental past but in the present condition, the intricate web ol problems and solutions, imagination and code. He kept nothing from the past–no pictures, no records, no games, no computer disks. He didn’t even save copies of his first games, Wraith and Shadowforge. There was no yearbook to remind of his time at Shadowforge. There was no yearbook to remind of his time at school, no magazine copies of his early publications. He kept nothing but what he needed at the time. His bedroom consisted of a lamp, a pillow, a blanket, and a stack of books. There was no mattress. All he brought with him from home was a cat named Mitzi (a gift from his stepfamily) with a mean streak and a reckless bladder.

Neil said nothing. Andrew hooked his fingers in the collar of Neil's shirt and tugged just enough for Neil to feel it. "I know what I'm doing. I knew what I was agreeing to when I took Kevin's side. I knew what it could cost us and how far I'd have to go. Understand? You aren't going anywhere. You're staying here." Andrew didn't let go until Neil nodded, and then he reached for Neil's hand. He took his cigarette back, put it between his lips, and pressed a warm key into Neil's empty palm. Neil lifted his hand to look at it. The hardware logo engraved in it meant it was a copy. To what, Neil didn't know, but it only took him a moment to figure it out. Andrew used this key to unlock the front door and then took it off the ring on the porch. Now he was giving it to Neil. "Get some sleep," Andrew said. "We're going home tomorrow. We'll figure this out then." Andrew went around Neil to the front door. He had no sympathy or comfort for his family as they grieved Seth's unexpected death, but he would keep watch on them from the doorway until they were okay again. It was harder than it should have been for Neil to look away from him, but he finally set off down the hall.

There was I, then, mounted aloft; I, who had said I could not bear the shame of standing on my natural feet in the middle of the room, was now exposed to general view on a pedestal of infamy. What my sensations were no language can describe; but just as they all rose, stifling my breath and constricting my throat, a girl came up and passed me: in passing, she lifted her eyes. What a strange light inspired them! What an extraordinary sensation that ray sent through me! How the new feeling bore me up! It was as if a martyr, a hero, had passed a slave or victim, and imparted strength in the transit. I mastered the rising hysteria, lifted up my head, and took a firm stand on the stool. Helen Burns asked some slight question about her work of Miss Smith, was chidden for the triviality of the inquiry, returned to her place, and smiled at me as she again went by. What a smile! I remember it now, and I know that it was the effluence of fine intellect, of true courage; it lit up her marked lineaments, her thin face, her sunken grey eye, like a reflection from the aspect of an angel. Yet at that moment Helen Burns wore on her arm “the untidy badge;” scarcely an hour ago I had heard her condemned by Miss Scatcherd to a dinner of bread and water on the morrow because she had blotted an exercise in copying it out. Such is the imperfect nature of man! such spots are there on the disc of the clearest planet; and eyes like Miss Scatcherd’s can only see those minute defects, and are blind to the full brightness of the orb.

When we learn, we alter which genes in our neurons are “expressed,” or turned on. Our genes have two functions. The first, the “template function,” allows our genes to replicate, making copies of themselves that are passed from generation to generation. The template function is beyond our control. The second is the “transcription function.” Each cell in our body contains all our genes, but not all those genes are turned on, or expressed. When a gene is turned on, it makes a new protein that alters the structure and function of the cell. This is called the transcription function because when the gene is turned on, information about how to make these proteins is “transcribed” or read from the individual gene. This transcription function is influenced by what we do and think. Most people assume that our genes shape us—our behavior and our brain anatomy. Kandel’s work shows that when we learn our minds also, affect which genes in our neurons are transcribed. Thus we can shape our genes, which in turn shape our brain’s microscopic anatomy.

The Idiot. I have read it once, and find that I don't remember the events of the book very well--or even all the principal characters. But mostly the 'portrait of a truly beautiful person' that dostoevsky supposedly set out to write in that book. And I remember how Myshkin seemed so simple when I began the book, but by the end, I realized how I didn't understand him at all. the things he did. Maybe when I read it again it will be different. But the plot of these dostoevsky books can hold such twists and turns for the first-time reader-- I guess that's b/c he was writing most of these books as serials that had to have cliffhangers and such. But I make marks in my books, mostly at parts where I see the author's philosophical points standing in the most stark relief. My copy of Moby Dick is positively full of these marks. The Idiot, I find has a few... Part 3, Section 5. The sickly Ippolit is reading from his 'Explanation' or whatever its called. He says his convictions are not tied to him being condemned to death. It's important for him to describe, of happiness: "you may be sure that Columbus was happy not when he had discovered America, but when he was discovering it." That it's the process of life--not the end or accomplished goals in it--that matter. Well. Easier said than lived! Part 3, Section 6. more of Ippolit talking--about a christian mindset. He references Jesus's parable of The Word as seeds that grow in men, couched in a description of how people are interrelated over time; its a picture of a multiplicity. Later in this section, he relates looking at a painting of Christ being taken down from the cross, at Rogozhin's house. The painting produced in him an intricate metaphor of despair over death "in the form of a huge machine of the most modern construction which, dull and insensible, has aimlessly clutched, crushed, and swallowed up a great priceless Being, a Being worth all nature and its laws, worth the whole earth, which was created perhaps solely for the sake of the advent of this Being." The way Ippolit's ideas are configured, here, reminds me of the writings of Gilles Deleuze. And the phrasing just sort of remidns me of the way everyone feels--many people feel crushed by the incomprehensible machine, in life. Many people feel martyred in their very minor ways. And it makes me think of the concept that a narrative religion like Christianity uniquely allows for a kind of socialized or externalized, shared experience of subjectivity. Like, we all know the story of this man--and it feels like our own stories at the same time. Part 4, Section 7. Myshkin's excitement (leading to a seizure) among the Epanchin's dignitary guests when he talks about what the nobility needs to become ("servants in order to be leaders"). I'm drawn to things like this because it's affirming, I guess, for me: "it really is true that we're absurd, that we're shallow, have bad habits, that we're bored, that we don't know how to look at things, that we can't understand; we're all like that." And of course he finds a way to make that into a good thing. which, it's pointed out by scholars, is very important to Dostoevsky philosophy--don't deny the earthly passions and problems in yourself, but accept them and incorporate them into your whole person. Me, I'm still working on that one.

I thought you had to go to The Hall?" she said. "To learn?" Dar looked genuinely surprised. "No, Kale, Wulder is everywhere, therefore His lessons are everywhere." "I know Wulder made all things, and Pretender tried to copy His work. But I didn't know Wulder is everywhere. How could that be?" "You're thinking of Wulder as having a body and moving from place to place." Dar stood and pivoted in a circle with his arms outstretched. "Wulder is everywhere. You can see His power by recognizing His work. When a flower opens, that's His work. When the stars twinkle at night, that's His work." He paused, facing her. He let his arms fall to his sides. "Look at me, Kale. Right now, I am standing with Wulder all around me. I'm under His protection, within His will, standing on His pledge. And Wulder is, at the very same moment, in me." "Me, too?" asked Kale. "Yes." Dar knelt in front of her, his earnest face only inches away. She looked into his dark brown eyes and saw strength and peace. She wondered at his patience with her. Often her marione masters gruffly explained things they thought she should already understand. Dar winked before he continued, his funny face serious and yet cheerful at imparting what must be old knowledge to him. "So many people don't know who Wulder is or what He's capable of doing. Their ignorance doesn't make Wulder less of a being; it makes them less. Until they know, they can't be whole." He leaned back and sighed, spread his arms out in a gesture of explanation, and continued, "It's so simple, Kale. Everything hinges on His willingness to be involved with our world. When a mountain stands instead of tumbling down. He's holding it there. If He were to leave..." Dar shook his head. "If He were to leave, all that He holds in order would spin out of control. But He will never leave.

There’s more than one way to sneak into a place, you know,’ Otto said, pulling his Blackbox out of his pocket and passing it to Laura. Laura glanced at the display, her eyes widening in shock. ‘That’s impossible,’ she whispered, not taking her eyes off the screen. ‘Apparently not,’ Otto said with a sly grin. ‘Want a copy?’ ‘That would be cheating,’ Laura replied, handing the Blackbox back to Otto. ‘Of course I want a copy.’ ‘A copy of what?’ Shelby said impatiently, trying and failing to grab the PDA from Otto. ‘Next week’s exam,’ Otto said quietly. ‘But I’m sure you’ll just be able to sneak in and steal one, what with you being so stealthy . . .’ Shelby looked half annoyed and half impressed. ‘How much?’ she said with a smile. ‘Well, there are a couple of things in the Science and Technology centre that I might like to borrow for a while,’ Otto replied. ‘I am surrounded by people of low moral character,’ Wing sighed.

Oh well,' said Jack: and then, 'Did you ever meet Bach?' 'Which Bach?' 'London Bach.' 'Not I.' 'I did. He wrote some pieces for my uncle Fisher, and his young man copied them out fair. But they were lost years and years ago, so last time I was in town I went to see whether I could find the originals: the young man has set up on his own, having inherited his master's music-library. We searched through the papers — such a disorder you would hardly credit, and I had always supposed publishers were as neat as bees — we searched for hours, and no uncle's pieces did we find. But the whole point is this: Bach had a father.' 'Heavens, Jack, what things you tell me. Yet upon recollection I seem to have known other men in much the same case.' 'And this father, this old Bach, you understand me, had written piles and piles of musical scores in the pantry.' 'A whimsical place to compose in, perhaps; but then birds sing in trees, do they not? Why not antediluvian Germans in a pantry?' 'I mean the piles were kept in the pantry. Mice and blackbeetles and cook-maids had played Old Harry with some cantatas and a vast great passion according to St Mark, in High Dutch; but lower down all was well, and I brought away several pieces, 'cello for you, fiddle for me, and some for both together. It is strange stuff, fugues and suites of the last age, crabbed and knotted sometimes and not at all in the modern taste, but I do assure you, Stephen, there is meat in it. I have tried this partita in C a good many times, and the argument goes so deep, so close and deep, that I scarcely follow it yet, let alone make it sing. How I should love to hear it played really well — to hear Viotti dashing away.

This is apparently a little promotional ¶ where we’re supposed to explain “how and why we came to” the subject of our GD series book (the stuff in quotations is the editor’s words). The overall idea is to humanize the series and make the books and their subjects seem warmer and more accessible. So that people will be more apt to buy the books. I’m pretty sure this is how it works. The obvious objection to such promotional ¶s is that, if the books are any good at all, then the writers’ interest and investment in their subjects will be so resoundingly obvious in the texts themselves that these little pseudo-intimate Why I Cared Enough About Transfinite Math and Where It Came From to Spend a Year Writing a Book About It blurblets are unnecessary; whereas, if the books aren’t any good, it’s hard to see how my telling somebody that as a child I used to cook up what amounted to simplistic versions of Zeno’s Dichotomy and ruminate on them until I literally made myself sick, or that I once almost flunked a basic calc course and have seethed with dislike for conventional higher-math education ever since, or that the ontology and grammar of abstractions have always struck me as one of the most breathtaking problems in human consciousness—how any such stuff will help. The logic of this objection seems airtight to me. In fact, the only way the objection doesn’t apply is if these ¶s are really nothing more than disguised ad copy, in which case I don’t see why anyone reading them should even necessarily believe that the books’ authors actually wrote them—I mean, maybe somebody in the ad-copy department wrote them and all we did was sort of sign off on them. There’d be a kind of twisted integrity about that, though—at least no one would be pretending to pretend.

I think I hate Capaldi because deep down I suspect he may be right. That what he claims is true. That science has now proved beyond doubt there’s nothing so unique about my daughter, nothing there our modern tools can’t excavate, copy, transfer. That people have been living with one another all this time, centuries, loving and hating each other, and all on a mistaken premise. A kind of superstition we kept going while we didn’t know better. That’s how Capaldi sees it, and there’s a part of me that fears he’s right. Chrissie, on the other hand, isn’t like me. She may not know it yet, but she’ll never let herself be persuaded. If the moment ever comes, never mind how well you play your part, Klara, never mind how much she wishes it to work, Chrissie just won’t be able to accept it. She’s too … old-fashioned. Even if she knows she’s going against the science and the math, she still won’t be able to do it. She just won’t stretch that far. But I’m different. I have … a kind of coldness inside me she lacks. Perhaps it’s because I’m an expert engineer, as you put it. This is why I find it so hard to be civil around people like Capaldi. When they do what they do, say what they say, it feels like they’re taking from me what I hold most precious in this life. Am I making sense?

Roosevelt's productivity resulted from how he chose to spend his time. He read frequently due to his belief that efficiency did not come from packing in scheduled activities down to every last minute of the day. Rather, it was through the regular feeding of his intellect. Even during the height of a presidential campaign, he packed in nearly four hours of reading a day. He enjoyed works of fiction, science, political philosophy, and history. One can imagine a nervous political aide bursting in his study, telling Roosevelt to put down his copy of Cicero because he was scheduled to begin the day's fourth speech in only two minutes. Researcher Robert Talbert notes that a second explanation for Roosevelt's productivity was his method of splitting up his schedule. His reading times were broken up into 45 minute-increments, divided between three half-hour time slots and three one-hour time slots. There is no way that Roosevelt could have known this, but such a segmented approach to reading is the best way for the brain to retain information. A 2008 study from the University of Illinois found that the brain's attentional resources drop after a long period of focusing on a single activity. Even brief diversions can significantly increase one's ability to focus on a task for a long period of time.

A definite pessimist believes the future can be known, but since it will be bleak, he must prepare for it. Perhaps surprisingly, China is probably the most definitely pessimistic place in the world today. When Americans see the Chinese economy grow ferociously fast (10% per year since 2000), we imagine a confident country mastering its future. But that’s because Americans are still optimists, and we project our optimism onto China. From China’s viewpoint, economic growth cannot come fast enough. Every other country is afraid that China is going to take over the world; China is the only country afraid that it won’t. China can grow so fast only because its starting base is so low. The easiest way for China to grow is to relentlessly copy what has already worked in the West. And that’s exactly what it’s doing: executing definite plans by burning ever more coal to build ever more factories and skyscrapers. But with a huge population pushing resource prices higher, there’s no way Chinese living standards can ever actually catch up to those of the richest countries, and the Chinese know it. This is why the Chinese leadership is obsessed with the way in which things threaten to get worse. Every senior Chinese leader experienced famine as a child, so when the Politburo looks to the future, disaster is not an abstraction. The Chinese public, too, knows that winter is coming. Outsiders are fascinated by the great fortunes being made inside China, but they pay less attention to the wealthy Chinese trying hard to get their money out of the country. Poorer Chinese just save everything they can and hope it will be enough. Every class of people in China takes the future deadly seriously.

The Government set the stage economically by informing everyone that we were in a depression period, with very pointed allusions to the 1930s. The period just prior to our last 'good' war. ... Boiled down, our objective was to make killing and military life seem like adventurous fun, so for our inspiration we went back to the Thirties as well. It was pure serendipity. Inside one of the Scripter offices there was an old copy of Doc Smith's first LENSMAN space opera. It turned out that audiences in the 1970s were more receptive to the sort of things they scoffed at as juvenilia in the 1930s. Our drugs conditioned them to repeat viewings, simultaneously serving the ends of profit and positive reinforcement. The movie we came up with stroked all the correct psychological triggers. The fact that it grossed more money than any film in history at the time proved how on target our approach was.' 'Oh my God... said Jonathan, his mouth stalling the open position. 'Six months afterward we ripped ourselves off and got secondary reinforcement onto television. We pulled a 40 share. The year after that we phased in the video games, experimenting with non-narcotic hypnosis, using electrical pulses, body capacitance, and keying the pleasure centers of the brain with low voltage shocks. Jesus, Jonathan, can you *see* what we've accomplished? In something under half a decade we've programmed an entire generation of warm bodies to go to war for us and love it. They buy what we tell them to buy. Music, movies, whole lifestyles. And they hate who we tell them to. ... It's simple to make our audiences slaver for blood; that past hasn't changed since the days of the Colosseum. We've conditioned a whole population to live on the rim of Apocalypse and love it. They want to kill the enemy, tear his heart out, go to war so their gas bills will go down! They're all primed for just that sort of denouemment, ti satisfy their need for linear storytelling in the fictions that have become their lives! The system perpetuates itself. Our own guinea pigs pay us money to keep the mechanisms grinding away. If you don't believe that, just check out last year's big hit movies... then try to tell me the target demographic audience isn't waiting for marching orders. ("Incident On A Rainy Night In Beverly Hills")

5. When Begging Ends I love the idea of Divine Source. It reminds us that everything, the fulfillment of every need, always emanates from the One. So if you learn how to keep your vibration high and attuned to That, whatever is needed to sustain you can always occur, often in surprising and delightful ways. Your Source is never a particular person, place, or thing, but God Herself. You never have to beg. Furthermore, Divine Source says that whatever resonates with you will always find you. That which does not, will fall away. It’s that simple. When Outrageous Openness first came out, I experienced this as I took the book around—some stores were simply not drawn to it. But knowing about Divine Source and resonance, I didn’t care. I remember taking it to a spiritual bookstore in downtown San Francisco. The desultory manager sort of half-growled, “Oh, we have a long, long wait here. You can leave a copy for our ‘pile’ in the back room. Then you could call a ton and plead with us. If you get lucky, maybe one day we’ll stock it. Just keep hoping.” “Oh, my God, no!” I shuddered. “Why would I keep twisting your arm? It’ll go easily to the places that are right. You never have to convince someone. The people who are right will just know.” He looked stunned when I thanked him, smiling, and left. And sure enough, other store clerks were so excited, even from the cover alone. They nearly ripped the book out of my hands as I walked in. When I brought it to the main bookstore in San Francisco’s Castro district, I noticed the manager striding toward me was wearing a baseball cap with an image of the goddess Lakshmi. “Great sign,” I mused. He held the book for a second without even cracking it open, then showed the cover to a coworker, yelling, “Hey, let’s give this baby a coming-out party!” So a few weeks later, they did. Sake, fortune cookies, and all. Because you see, what’s meant for you will always, always find you. You never have to be bothered by the people who aren’t meant to understand. And anyway, sometimes years later, they are ready . . . and they do. Change me Divine Beloved into One who knows that You alone are my Source. Let me trust that You fling open every door at the right time. Free me from the illusion of rejection, competition, and scarcity. Fill me with confidence and faith, knowing I never have to beg, just gratefully receive.

You heard me. Let someone else send you to your blaze of glory. You're a speck, man. You're nothing. You're not worth the bullet or the mark on my soul for taking you out." You trying to piss me off again, Patrick?" He removed Campbell Rawson from his shoulder and held him aloft. I tilted my wrist so the cylinder fell into my palm, shrugged. "You're a joke, Gerry. I'm just calling it like I see it." That so?" Absolutely." I met his hard eyes with my own. "And you'll be replaced, just like everything else, in maybe a week, tops. Some other dumb, sick shit will come along and kill some people and he'll be all over the papers, and all over Hard Copy and you'll be yesterday's news. Your fifteen minutes are up, Gerry. And they've passed without impact." They'll remember this," Gerry said. "Believe me." Gerry clamped back on the trigger. When he met my finger, he looked at me and then clamped down so hard that my finger broke. I depressed the trigger on the one-shot and nothing happened. Gerry shrieked louder, and the razor came out of my flesh, then swung back immediately, and I clenched my eyes shut and depressed the trigger frantically three times. And Gerry's hand exploded. And so did mine. The razor hit the ice by my knee as I dropped the one shot and fire roared up the electrical tape and gasoline on Gerry's arm and caught the wisps of Danielle's hair. Gerry threw his head back and opened his mouth wide and bellowed in ecstasy. I grabbed the razor, could barely feel it because the nerves in my hand seemed to have stopped working. I slashed into the electric tape at the end of the shotgun barrel, and Danielle dropped away toward the ice and rolled her head into the frozen sand. My broken finger came back out of the shotgun and Gerry swung the barrels toward my head. The twin shotgun bores arced through the darkness like eyes without mercy or soul, and I raised my head to meet them, and Gerry's wail filled my ears as the fire licked at his neck. Good-bye, I thought. Everyone. It's been nice. Oscar's first two shots entered the back of Gerry's head and exited through the center of his forehead and a third punched into his back. The shotgun jerked upward in Gerry's flaming arm and then the shots came from the front, several at once, and Gerry spun like a marionette and pitched toward the ground. The shotgun boomed twice and punched holes through the ice in front of him as he fell. He landed on his knees and, for a moment, I wasn't sure if he was dead or not. His rusty hair was afire and his head lolled to the left as one eye disappeared in flames but the other shimmered at me through waves of heat, and an amused derision shone in the pupil. Patrick, the eye said through the gathering smoke, you still know nothing. Oscar rose up on the other side of Gerry's corpse, Campbell Rawson clutched tight to his massive chest as it rose and fell with great heaving breaths. The sight of it-something so soft and gentle in the arms of something so thick and mountaineous-made me laugh. Oscar came out of the darkness toward me, stepped around Gerry's burning body, and I felt the waves of heat rise toward me as the circle of gasoline around Gerry caught fire. Burn, I thought. Burn. God help me, but burn. Just after Oscar stepped over the outer edge of the circle, it erupted in yellow flame, and I found myself laughing harder as he looked at it, not remotely impressed. I felt cool lips smack against my ear, and by the time I looked her way, Danielle was already past me, rushing to take her child from Oscar. His huge shadow loomed over me as he approached, and I looked up at him and he held the look for a long moment. How you doing, Patrick?" he said and smiled broadly. And, behind him, Gerry burned on the ice. And everything was so goddamned funny for some reason, even though I knew it wasn't. I knew it wasn't. I did. But I was still laughing when they put me in the ambulance.

The air smelled of paper and dust and years. Jon plucked a scroll from a bin, blew off the worst of the dust. A corner flaked off between his fingers as he unrolled it. “Look, this one is crumbling,” he said, frowning over the faded script. “Be gentle.” Sam came around the table and took the scroll from his hand, holding it as if it were a wounded animal. “The important books used to be copied over when they needed them. Some of the oldest have been copied half a hundred times, probably.” “Well, don’t bother copying that one. Twenty-three barrels of pickled cod, eighteen jars of fish oil, a cask of salt . . .” “An inventory,” Sam said, “or perhaps a bill of sale.” “Who cares how much pickled cod they ate six hundred years ago?” Jon wondered. “I would.” Sam carefully replaced the scroll in the bin from which Jon had plucked it. “You can learn so much from ledgers like that, truly you can. It can tell you how many men were in the Night’s Watch then, how they lived, what they ate . . .” “They ate food,” said Jon, “and they lived as we live.” “You’d be surprised. This vault is a treasure, Jon.” “If you say so.” Jon was doubtful. Treasure meant gold, silver, and jewels, not dust, spiders, and rotting leather. “I do,” the fat boy blurted. He was older than Jon, a man grown by law, but it was hard to think of him as anything but a boy. “I found drawings of the faces in the trees, and a book about the tongue of the children of the forest . . . works that even the Citadel doesn’t have, scrolls from old Valyria, counts of the seasons written by maesters dead a thousand years . . .” “The books will still be here when we return.” “If we return . . .

Anything Bunny wrote was bound to be alarmingly original, since he began with such odd working materials and managed to alter them further by his befuddled scrutiny, but the John Donne paper must have been the worst of all the bad papers he ever wrote (ironic, given that it was the only thing he ever wrote that saw print. After he disappeared, a journalist asked for an excerpt from the missing young scholar's work and Marion gave him a copy of it, a laboriously edited paragraph of which eventually found its way into People magazine). Somewhere, Bunny had heard that John Donne had been acquainted with Izaak Walton, and in some dim corridor of his mind this friendship grew larger and larger, until in his mind the two men were practically interchangeable. We never understood how this fatal connection had established itself: Henry blamed it on Men of Thought and Deed, but no one knew for sure. A week or two before the paper was due, he had started showing up in my room about two or three in the morning, looking as if he had just narrowly escaped some natural disaster, his tie askew and his eyes wild and rolling. 'Hello, hello,' he would say, stepping in, running both hands through his disordered hair. 'Hope I didn't wake you, don't mind if I cut on the lights, do you, ah, here we go, yes, yes…' He would turn on the lights and then pace back and forth for a while without taking off his coat, hands clasped behind his back, shaking his head. Finally he would stop dead in his tracks and say, with a desperate look in his eye: 'Metahemeralism. Tell me about it. Everything you know. I gotta know something about metahemeralism.' 'I'm sorry. I don't know what that is.' 'I don't either,' Bunny would say brokenly. 'Got to do with art or pastoralism or something. That's how I gotta tie together John Donne and Izaak Walton, see.' He would resume pacing. 'Donne. Walton. Metahemeralism. That's the problem as I see it.' 'Bunny, I don't think "metahemeralism" is even a word.' 'Sure it is. Comes from the Latin. Has to do with irony and the pastoral. Yeah. That's it. Painting or sculpture or something, maybe.' 'Is it in the dictionary?' 'Dunno. Don't know how to spell it. I mean' – he made a picture frame with his hands – 'the poet and the fisherman. Parfait. Boon companions. Out in the open spaces. Living the good life. Metahemeralism's gotta be the glue here, see?' And so it would go, for sometimes half an hour or more, with Bunny raving about fishing, and sonnets, and heaven knew what, until in the middle of his monologue he would be struck by a brilliant thought and bluster off as suddenly as he had descended. He finished the paper four days before the deadline and ran around showing it to everyone before he turned it in. 'This is a nice paper, Bun -,' Charles said cautiously. 'Thanks, thanks.' 'But don't you think you ought to mention John Donne more often? Wasn't that your assignment?' 'Oh, Donne,' Bunny had said scoffingly. 'I don't want to drag him into this.' Henry refused to read it. 'I'm sure it's over my head, Bunny, really,' he said, glancing over the first page. 'Say, what's wrong with this type?' 'Triple-spaced it,' said Bunny proudly. 'These lines are about an inch apart.' 'Looks kind of like free verse, doesn't it?' Henry made a funny little snorting noise through his nose. 'Looks kind of like a menu,' he said. All I remember about the paper was that it ended with the sentence 'And as we leave Donne and Walton on the shores of Metahemeralism, we wave a fond farewell to those famous chums of yore.' We wondered if he would fail.

Each of our actions, our words, our attitudes is cut off from the ‘world,’ from the people who have not directly perceived it, by a medium the permeability of which is of infinite variation and remains unknown to ourselves; having learned by experience that some important utterance which we eagerly hoped would be disseminated … has found itself, often simply on account of our anxiety, immediately hidden under a bushel, how immeasurably less do we suppose that some tiny word, which we ourselves have forgotten, or else a word never uttered by us but formed on its course by the imperfect refraction of a different word, can be transported without ever halting for any obstacle to infinite distances … and succeed in diverting at our expense the banquet of the gods. What we actually recall of our conduct remains unknown to our nearest neighbor; what we have forgotten that we ever said, or indeed what we never did say, flies to provoke hilarity even in another planet, and the image that other people form of our actions and behavior is no more like that which we form of them ourselves, than is like an original drawing a spoiled copy in which, at one point, for a black line, we find an empty gap, and for a blank space an unaccountable contour. It may be, all the same, that what has not been transcribed is some non-existent feature, which we behold, merely in our purblind self-esteem, and that what seems to us added is indeed a part of ourselves, but so essential a part as to have escaped our notice. So that this strange print which seems to us to have so little resemblance to ourselves bears sometimes the same stamp of truth, scarcely flattering, indeed, but profound and useful, as a photograph taken by X-rays. Not that that is any reason why we should recognize ourselves in it. A man who is in the habit of smiling in the glass at his handsome face and stalwart figure, if you show him their radiograph, will have, face to face with that rosary of bones, labeled as being the image of himself, the same suspicion of error as the visitor to an art gallery who, on coming to the portrait of a girl, reads in his catalogue: “Dromedary resting.” Later on, this discrepancy between our portraits, according as it was our own hand that drew them or another, I was to register in the case of others than myself, living placidly in the midst of a collection of photographs which they themselves had taken while round about them grinned frightful faces, invisible to them as a rule, but plunging them in stupor if an accident were to reveal them with the warning: “This is you.

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.