I Ought To Be In Pictures Quotes

I have the gift of neither the spoken nor the written word, especially if I have to say something about myself or my work. Whoever wants to know something about me -as an artist, the only notable thing- ought to look carefully at my pictures and try and see in them what I am and what I want to do.

Cats don’t have dark sides. That’s all a shadow is—and though you might be prejudiced against the dark, you ought to remember that that’s where stars live, and the moon and raccoons and owls and fireflies and mushrooms and cats and enchantments and a rather lot of good, necessary things. Thieving, too, and conspiracies, sneaking, secrets, and desire so strong you might faint dead away with the punch of it. But your light side isn’t a perfectly pretty picture, either, I promise you. You couldn’t dream without the dark. You couldn’t rest. You couldn’t even meet a lover on a balcony by moonlight. And what would the world be worth without that? You need your dark side, because without it, you’re half gone. Cats, on the other hand, have a more sensible setup. We just have the one side, and it’s mostly the sneaking and sleeping side anyway. So the other Iago and I feel very companionable toward each other. Whereas I expect my drowsy mistress Above would loathe this version of herself, who is kind and quiet and lonely and rather dear, all the things the original is not. My love stands for both. This one pets me more; that one let me pounce on anything I wanted.

Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed.

I was sorry to see the gloomy picture which you drew of the affairs of your Country in your letter of December; but I hope events have not turned out so badly as you then apprehended. Of all the animosities which have existed among mankind, those which are caused by a difference of sentiments in religion appear to be the most inveterate and distressing, and ought most to be deprecated. I was in hopes, that the enlightened and liberal policy, which has marked the present age, would at least have reconciled Christians of every denomination so far, that we should never again see their religious disputes carried to such a pitch as to endanger the peace of Society. [Letter to Edward Newenham, 20 October 1792 about violence between Catholics and Protestants]

The hemulen woke up slowly and recognised himself and wished he had been someone he didn't know. He felt even tireder than when he went to bed, and here it was -- another day which would go on until evening and then there would be another one and another one which would be the same as all days are when they are lived by a hemulen. He crept under the bedcover and buried his nose in the pillow, then he shifted his stomach to the edge of the bed where the sheets were cool. He took possession of the whole bed with outstretched arms and legs he was waiting for a nice dream that wouldn't come. He curled up and made himself small but it didn't help a bit. He tried being the hemulen that everybody like, he tried being the hemulen that no one liked. But however hard he tried he remained a hemulen doing his best without anything really coming off. In the end he got up and pulled on his trousers. The Hemulen didn't like getting dressed and undressed, it gave him a feeling that the days passed without anything of importance happening. Even so, he spent the whole day arranging, organising and directing things from morning till night! All around him there were people living slipshod and aimless lives, wherever he looked there was something to be put to rights and he worked his fingers to the bone trying to get them to see how they ought to live. It's as though they don't want to live well, the Hemulen thought sadly as he brushed his teeth. He looked at the photograph of himself with his boat which was been taken when the boat was launched. It was a beautiful picture but it made him feel even sadder. I ought to learn how to sail, the Hemulen thought. But I've never got enough time... Moominvalley in November Chapter 5, THE HEMULEN

I believe that women ought to be more proactive about making choices in life. I think that I am not happy about seeing women take the passenger's seat and playing the victim game all too often. If you know a guy is engaged, don't kiss him! There is another woman in the situation whom you are hurting and that other woman could have very well been you, your sister, your mother! If someone is committed, don't sleep with him! There is another woman in the picture that is going to get hurt and that other woman is your sister, just because she is a woman too! This is the kind of proactive I want to see in women, everywhere. We're not victims of the choices that we make; we made those choices! Is another woman doing good? More successful? Happier? Good for her. Because she is your sister and she could very well be you. Let's respect the relationships, the personal paths, the doors and the walkways of our fellow women and let us wish one another the utmost happiness. Because this is the only way up and out.

´´I am in agreement with Goethe, who said that every day one ought to ´´hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words.´´ I would add to this the need to love. Without it, the rest is dust.´´

For me the real evil of masturbation would be that it takes an appetite which, in lawful use, leads the individual out of himself to complete (and correct) his own personality in that of another (and finally in children and even grandchildren) and turns it back: sends the man back into the prison of himself, there to keep a harem of imaginary brides. And this harem, once admitted, works against his ever getting out and really uniting with a real woman. For the harem is always accessible, always subservient, calls for no sacrifices or adjustments, and can be endowed with erotic and psychological attractions which no real woman can rival. Among those shadowy brides he is always adored, always the perfect lover: no demand is made on his unselfishness, no mortification ever imposed on his vanity. In the end, they become merely the medium through which he increasingly adores himself . . . . And it is not only the faculty of love which is thus sterilized, forced back on itself, but also the faculty of imagination. The true exercise of imagination, in my view, is (a) To help us to understand other people (b) To respond to, and, some of us, to produce, art. But it has also a bad use: to provide for us, in shadowy form, a substitute for virtues, successes, distinctions etc. which ought to be sought outside in the real world—e.g. picturing all I’d do if I were rich instead of earning and saving. Masturbation involves this abuse of imagination in erotic matters (which I think bad in itself) and thereby encourages a similar abuse of it in all spheres. After all, almost the main work of life is to come out of our selves, out of the little, dark prison we are all born in. Masturbation is to be avoided as all things are to be avoided which retard this process. The danger is that of coming to love the prison.

You get a picture of things in your head and your picture is all you see. You don't know me. You don't even know yourself. All you know is your little picture of how things ought to be, and that's the way you think they are.

Being a painter, I ought to say why in pictures people's faces are painted green and red.

Last week, our picture window Produced a half-word, Heavy and hollow, Hit by a brown bird. We stood and watched her gape like a rattlesnake And pant and labor over every intake. I said a sort of prayer for some rare grace, Then thought i ought to take her to a higher place. Said, “dog nor vulture nor cat shall toy with you, And though you die, bird, you will have a fine view.

Is growin' up always miserable?" Sonny asked. "Nobody seems to enjoy it much." "Oh, it ain't necessarily misearble," Sam replied. "About eighty percent of the time, I guess." They were silent again, Sam the Lion thinking of the lovely, spritely girl he had once led into the water, right there, where they were sitting. "We ought to go to a real fishin' tank next year," Sam said finally. "It don't do to think about things like that too much. If she were here now I'd probably be crazy again in about five minutes. Ain't that ridiculous?" A half-hour later, when they had gathered up the gear and were on the way to town, he answered his own question. "It ain't really, " he said. "Being crazy about a woman like her's always the right thing to do. Being a decrepit old bag of bones is what's ridiculous.

Weight Watchers holds as a descriptive axiom the transparently true fact that for each of us the universe is deeply and sharply and completely divided into for example in my case, me, on one side, and everything else, on the other. This for each of us exhaustively defines the whole universe... And then they hold by a prescriptive axiom the undoubtedly equally true and inarguable fact that we each ought to desire our own universe to be as full as possible, that the Great Horror consists in an empty, rattling personal universe, one where one finds oneself with Self, on one hand, and vastly empty lonely spaces before Others begin to enter the picture at all, on the other. A non-full universe... The emptier one’s universe is, the worse it is... Weight Watchers perceives the problem as one involving the need to have as much Other around as possible, so that the relation is one of minimum Self to maximum Other... We each need a full universe. Weight Watchers and their allies would have us systematically decrease the Self-component of the universe, so that the great Other-set will be physically attracted to the now more physically attractive Self, and rush in to fill the void caused by that diminution of Self. Certainly not incorrect, but just as certainly only half of the range of valid solutions to the full-universe problem... Is my drift getting palpable? Just as in genetic engineering... There is always more than one solution... An autonomously full universe... Rather than diminishing Self to entice Other to fill our universe, we may also of course obviously choose to fill the universe with Self... Yes. I plan to grow to infinite size... There will of course eventually cease to be room for anyone else in the universe at all.

You burn to have your photograph in a tennis magazine.” “I’m afraid so.” “Why again exactly, now?” “I guess to be felt about as I feel about those players with their pictures in magazines.” “Why?” “Why? I guess to give my life some sort of meaning, Lyle.” “And how would this do this again?” “Lyle, I don’t know. I do not know. It just does. Would. Why else would I burn like this, clip secret pictures, not take risks, not sleep or pee?” “You feel these men with their photographs in magazines care deeply about having their photographs in magazines. Derive immense meaning.” “I do. They must. I would. Else why would I burn like this to feel as they feel?” “The meaning they feel, you mean. From the fame.” “Lyle, don’t they?” “LaMont, perhaps they did at first. The first photograph, the first magazine, the gratified surge, the seeing themselves as others see them, the hagiography of image, perhaps. Perhaps the first time: enjoyment. After that, do you trust me, trust me: they do not feel what you burn for. After the first surge, they care only that their photographs seem awkward or unflattering, or untrue, or that their privacy, this thing you burn to escape, what they call their privacy is being violated. Something changes. After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.” “Is this supposed to be good news? This is awful news.” “LaMont, are you willing to listen to a Remark about what is true?” “Okey-dokey.” “The truth will set you free. But not until it is finished with you.” “Maybe I ought to be getting back.” “LaMont, the world is very old. You have been snared by something untrue. You are deluded. But this is good news. You have been snared by the delusion that envy has a reciprocal. You assume that there is a flip-side to your painful envy of Michael Chang: namely Michael Chang’s enjoyable feeling of being-envied-by-LaMont-Chu. No such animal.” “Animal?” “You burn with hunger for food that does not exist.” “This is good news?” “It is the truth. To be envied, admired, is not a feeling. Nor is fame a feeling. There are feelings associated with fame, but few of them are any more enjoyable than the feelings associated with envy of fame.” “The burning doesn’t go away?” “What fire dies when you feed it? It is not fame itself they wish to deny you here. Trust them. There is much fear in fame. Terrible and heavy fear to be pulled and held, carried. Perhaps they want only to keep it off you until you weigh enough to pull toward yourself.” “Would I sound ungrateful if I said this doesn’t make me feel very much better at all?” “LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage.” “So I’m stuck in the cage from either side. Fame or tortured envy of fame. There’s no way out.” “You might consider how escape from a cage must surely require, foremost, awareness of the fact of the cage.

We should be willing to enjoy a full picture of our heroes, leaders, and history. I believe that when we ignore the "darker side" we leave ourselves unprepared for the revelation of some unhappy deed or event of past or present. We might be better off if we leave the warts on and let a few of the skeletons out of the closets ourselves for open examination. On the other hand, there are dangers in debunking everyone and everything that is a little above the ordinary. We ought to seek a happy balance of letting the truth flow forth without either hiding or digging for problems.

I am in agreement with Goethe, who said that every day one ought to 'hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words.' I would add to this the need to love. Without it, the rest is dust.

Playing pool with Korean officials one evening in the Koryo Hotel, which has become the nightspot for foreign businessmen and an increasing number of diplomats (to say nothing of the burgeoning number of spies and journalists traveling under second identities), I was handed that day's edition of the Pyongyang Times. At first glance it seemed too laughable for words: endless pictures of the 'Dear Leader'—Little Boy's exalted title—as he was garlanded by adoring schoolchildren and heroic tractor drivers. Yet even in these turgid pages there were nuggets: a telegram congratulating the winner of the Serbian elections; a candid reference to the 'hardship period' through which the country had been passing; an assurance that a certain nuclear power plant would be closed as part of a deal with Washington. Tiny cracks, to be sure. But a complete and rigid edifice cannot afford fissures, however small. There appear to be no hookers, as yet, in Pyongyang. Yet if casinos come, can working girls be far behind? One perhaps ought not to wish for hookers, but there are circumstances when corruption is the only hope.

Slavery is so vile and miserable an Estate of Man, and so directly opposite to the generous Temper and Courage of our Nation; that 'tis hardly to be conceived, that an Englishman, much less a Gentleman, should plead for't.. And truly, I should have taken Sr. Rt: Filmer's "Patriarcha" as any other Treatise, which would perswade all Men, that they are Slaves, and ought to be so, for such another exercise of Wit, as was his who writ the Encomium (Praise) of Nero, rather than for a serious Discourse meant in earnest, had not the Gravity of the Title and Epistle, the Picture in the Front of the Book, and the Applause that followed it, required me to believe, that the Author and Publisher were both in earnest. I therefore took it into my hands with all the expectation and read it through with all the attention due to a Treaties, that made such a noise at its coming abroad and cannot but confess my self mightily surprised, that in a Book which was to provide Chains for all Mankind, I should find nothing but a Rope of Sand, useful perhaps to such, whose Skill and Business it is to raise a Dust, and would blind the People, the better to mislead them, but in truth is not of any force to draw those into Bondage, who have their Eyes open, and so much Sense about them as to consider, that Chains are but an Ill wearing, how much Care soever hath been taken to file and polish them.

Perhaps we ought to feel with more imagination. As today the sky 70 degrees above zero with lines falling The way September moves a lace curtain to be near a pear, The oddest device can't be usual. And that is where The pejorative sense of fear moves axles. In the stars There is no longer any peace, emptied like a cup of coffee Between the blinding rain that interviews. You were my quintuplets when I decided to leave you Opening a picture book the pictures were all of grass Slowly the book was on fire, you the reader Sitting with specs full of smoke exclaimed How it was a rhyme for "brick" or "redder." The next chapter told all about a brook. You were beginning to see the relation when a tidal wave Arrived with sinking ships that spelled out "Aladdin." I thought about the Arab boy in his cave But the thoughts came faster than advice. If you knew that snow was a still toboggan in space The print could rhyme with "fallen star.

That’s all a shadow is—and though you might be prejudiced against the dark, you ought to remember that that’s where stars live, and the moon and raccoons and owls and fireflies and mushrooms and cats and enchantments and a rather lot of good, necessary things. Thieving, too, and conspiracies, sneaking, secrets, and desire so strong you might faint dead away with the punch of it. But your light side isn’t a perfectly pretty picture, either, I promise you. You couldn’t dream without the dark. You couldn’t rest. You couldn’t even meet a lover on a balcony by moonlight. And what would the world be worth without that? You need your dark side, because without it, you’re half gone.

[A dark side] is all a shadow is—and though you might be prejudiced against the dark, you ought to remember that that’s where stars live, and the moon and raccoons and owls and fireflies and mushrooms and cats and enchantments and a rather lot of good, necessary things. Thieving, too, and conspiracies, sneaking, secrets, and desire so strong you might faint dead away with the punch of it. But your light side isn’t a perfectly pretty picture, either, I promise you. You couldn’t dream without the dark. You couldn’t rest. You couldn’t even meet a lover on the balcony by moonlight. And what would the world be without that? You need your dark side, because without it, you’re half gone.

I have said that in one respect my mind has changed during the last twenty or thirty years. Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge, and Shelley, gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare, especially in the historical plays. I have also said that formerly pictures gave me considerable, and music very great delight. But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure. I retain some taste for fine scenery, but it does not cause me the exquisite delight which it formerly did. On the other hand, novels which are works of the imagination, though not of a very high order, have been for years a wonderful relief and pleasure to me, and I often bless all novelists. A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily–against which a law ought to be passed. A novel, according to my taste, does not come into the first class unless it contains some person whom one can thoroughly love, and if a pretty woman all the better. This curious and lamentable loss of the higher aesthetic tastes is all the odder, as books on history, biographies, and travels (independently of any scientific facts which they may contain), and essays on all sorts of subjects interest me as much as ever they did. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive. A man with a mind more highly organised or better constituted than mine, would not, I suppose, have thus suffered; and if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.

She has a fine genius for poetry, combined with real business earnestness, and "goes in"--to use an expression of Alfred's--for Woman's mission, Woman's rights, Woman's wrongs, and everything that is woman's with a capital W, or is not and ought to be, or is and ought not to be. "Most praiseworthy, my dear, and Heaven prosper you!" I whispered to her on the first night of my taking leave of her at the Picture-Room door, "but don't overdo it. And in respect of the great necessity there is, my darling, for more employments being within the reach of Woman than our civilisation has as yet assigned to her, don't fly at the unfortunate men, even those men who are at first sight in your way, as if they were the natural oppressors of your sex; for, trust me, Belinda, they do sometimes spend their wages among wives and daughters, sisters, mothers, aunts, and grandmothers; and the play is, really, not ALL Wolf and Red Riding-Hood, but has other parts in it." However, I digress.

There is no man,’ he began, ‘however wise, who has not at some period of his youth said things, or lived in a way the consciousness of which is so unpleasant to him in later life that he would gladly, if he could, expunge it from his memory. And yet he ought not entirely to regret it, because he cannot be certain that he has indeed become a wise man—so far as it is possible for any of us to be wise—unless he has passed through all the fatuous or unwholesome incarnations by which that ultimate stage must be preceded. I know that there are young fellows, the sons and grand sons of famous men, whose masters have instilled into them nobility of mind and moral refinement in their schooldays. They have, perhaps, when they look back upon their past lives, nothing to retract; they can, if they choose, publish a signed account of everything they have ever said or done; but they are poor creatures, feeble descendants of doctrinaires, and their wisdom is negative and sterile. We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us, an effort which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world. The lives that you admire, the attitudes that seem noble to you are not the result of training at home, by a father, or by masters at school, they have sprung from beginnings of a very different order, by reaction from the influence of everything evil or commonplace that prevailed round about them. They represent a struggle and a victory. I can see that the picture of what we once were, in early youth, may not be recognisable and cannot, certainly, be pleasing to contemplate in later life. But we must not deny the truth of it, for it is evidence that we have really lived, that it is in accordance with the laws of life and of the mind that we have, from the common elements of life, of the life of studios, of artistic groups—assuming that one is a painter—extracted something that goes beyond them.

FRANK: That boy’s going to be a real doctor; he’s smart. JIM: Over my dead body he’ll be a doctor. A good beginning, too. FRANK: Why? It’s an honorable profession. JIM, looks at him tiredly: Frank, will you stop talking like a civics book? Keller laughs. FRANK: Why, I saw a movie a couple of weeks ago, reminded me of you. There was a doctor in that picture . . . KELLER: Don Ameche! FRANK: I think it was, yeah. And he worked in his basement discovering things. That’s what you ought to do; you could help humanity, instead of . . . JIM: I would love to help humanity on a Warner Brothers salary.

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.

This Is a Photograph of Me It was taken some time ago. At first it seems to be a smeared print: blurred lines and grey flecks blended with the paper; then, as you scan it, you see in the left-hand corner a thing that is like a branch: part of a tree (balsam or spruce) emerging and, to the right, halfway up what ought to be a gentle slope, a small frame house. In the background there is a lake, and beyond that, some low hills. (The photograph was taken the day after I drowned. I am in the lake, in the centre of the picture, just under the surface. It is difficult to say where precisely, or to say how large or small I am: the effect of water on light is a distortion but if you look long enough, eventually you will be able to see me.)

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, 'and what is the use of a book,' thought Alice 'without pictures or conversation?' So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat-pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch

The form the picture had taken was not unreservedly welcome to the patient’s conscious mind. Luckily, however, while painting it Miss X had discovered that two factors were involved. These, in her own words, were reason and the eyes. Reason always wanted to make the picture as it thought it ought to be; but the eyes held fast to their vision and finally forced the picture to come out as it actually did and not in accordance with rationalistic expectations. Her reason, she said, had really intended a daylight scene, with the sunshine melting the sphere free, but the eyes favoured a nocturne with “shattering, dangerous lightning.” This realization helped her to acknowledge the actual result of her artistic efforts and to admit that it was in fact an objective and impersonal process and not a personal relationship.

Eva’s chin ticked up. “Are you threatening me, m’lord?” Scoffing, he gave an exaggerated eye roll. “Heaven forbid someone threaten William Wallace’s woman.” Narrowing her eyes, she glared at him for a moment. Even if he’d seen her take the pictures, he wouldn’t have a clue what she was up to. And she’d turned the flash off. He had absolutely no grounds on which to make any accusations. With a dismissive nod she turned her attention back to Christina. “But—” Comyn stepped closer, making the hackles on the back of Eva’s neck stand on end. “One day that big fella will fall out of favor, and then a pretty lassie such as yourself willna be so smug.” “I beg your pardon, Lord Comyn?” Lady Murray threw her shoulders back. “You over inflate your station. Regardless of your noble birth, Miss Eva is the daughter of a knight, and I daresay she ought not be spoken to like a mere commoner.” “Not to worry.” Eva flashed a wry grin. “I am very comfortable being identified as among the loyal servants of Scotland. Unlike some high-ranking gentry present whose questionable actions have proved their very hypocrisy, and their willingness to change allegiances on a whim only to protect their personal wealth.

I think I might be ready to go upstairs,” she said. Suddenly it was too hard to be in his presence, too painful to know that he would belong to someone else. His lips quirked into a boyish smile. “Are you saying I might finally crawl out from under this table?” “Oh, goodness!” She clapped one of her hands to her cheek in a sheepish expression. “I’m so sorry. I stopped noticing where we were sitting ages ago, I’m afraid. What a ninny you must think me.” He shook his head, still smiling. “Never a ninny, Kate. Even when I thought you the most insufferable female creature on the planet, I had no doubts about your intelligence.” Kate, who had been in the process of scooting out from under the table, paused. “I just don’t know if I should feel complimented or insulted by that statement.” “Probably both,” he admitted, “but for friendship’s sake, let’s decide upon complimented.” She turned to look at him, aware that she presented an awkward picture on her hands and knees, but the moment seemed too important to delay. “Then we are friends?” she whispered. He nodded as he stood. “Hard to believe, but I think we are.” Kate smiled as she took his helping hand and rose to her feet. “I’m glad. You’re— you’re really not the devil I’d originally thought you.” One of his brows lifted, and his face suddenly took on a very wicked expression. “Well, maybe you are,” she amended, thinking he probably was every bit the rake and rogue that society had painted him. “But maybe you’re also a rather nice person as well.” “Nice seems so bland,” he mused. “Nice,” she said emphatically, “is nice. And given what I used to think of you, you ought to be delighted by the compliment.” He laughed. “One thing about you, Kate Sheffield, is that you are never boring.” “Boring is so bland,” she quipped. -Kate & Anthony

I recall a discussion with a highly-respected psychotherapist colleague and friend on the significance of the tragedy of Romeo and Juliet. My friend stated that the trouble with Romeo and Juliet was that they hadn't had adequate counseling. If they had had, they would not have committed suicide. Taken aback, I protested that I didn't think that was Shakespeare's point at all, and that Shakespeare, as well as the other classical writers who have created and molded the literature which speaks to us age after age, is in this drama picturing how sexual love can grasp a man and woman and hurl them into heights and depths—the simultaneous presence of which we call tragic. But my friend insisted that tragedy was a negative state and we, with our scientific enlightenment, had superseded it—or at least ought to at the earliest possible moment. I argued with him, as I do here, that to see the tragic in merely negative terms is a profound misunderstanding. Far from being a negation of life and love, the tragic is an ennobling and deepening aspect of our experience of sexuality and love. An appreciation of the tragic not only can help us avoid some egregious oversimplifications in life, but it can specifically protect us against the danger that sex and love will be banalized also in psychotherapy.

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 on, 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 had 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?" "Tripled 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.

Will you dare to say so?–Have you never erred?–Have you never felt one impure sensation?–Have you never indulged a transient feeling of hatred, or malice, or revenge?–Have you never forgot to do the good you ought to do,–or remembered to do the evil you ought not to have done?–Have you never in trade overreached a dealer, or banquetted on the spoils of your starving debtor?–Have you never, as you went to your daily devotions, cursed from your heart the wanderings of your heretical brethren,–and while you dipped your fingers in the holy water, hoped that every drop that touched your pores, would be visited on them in drops of brimstone and sulphur?–Have you never, as you beheld the famished, illiterate, degraded populace of your country, exulted in the wretched and temporary superiority your wealth has given you,–and felt that the wheels of your carriage would not roll less smoothly if the way was paved with the heads of your countrymen? Orthodox Catholic–old Christian–as you boast yourself to be,–is not this true?–and dare you say you have not been an agent of Satan? I tell you, whenever you indulge one brutal passion, one sordid desire, one impure imagination–whenever you uttered one word that wrung the heart, or embittered the spirit of your fellow-creature–whenever you made that hour pass in pain to whose flight you might have lent wings of down–whenever you have seen the tear, which your hand might have wiped away, fall uncaught, or forced it from an eye which would have smiled on you in light had you permitted it–whenever you have done this, you have been ten times more an agent of the enemy of man than all the wretches whom terror, enfeebled nerves, or visionary credulity, has forced into the confession of an incredible compact with the author of evil, and whose confession has consigned them to flames much more substantial than those the imagination of their persecutors pictured them doomed to for an eternity of suffering! Enemy of mankind!' the speaker continued,–'Alas! how absurdly is that title bestowed on the great angelic chief,–the morning star fallen from its sphere! What enemy has man so deadly as himself? If he would ask on whom he should bestow that title aright, let him smite his bosom, and his heart will answer,–Bestow it here!

ALICE'S ADVENTURES IN WONDERLAND Lewis Carroll THE MILLENNIUM FULCRUM EDITION 3.0 CHAPTER I Down the Rabbit-Hole Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, 'and what is the use of a book,' thought Alice 'without pictures or conversation?' So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, 'Oh dear! Oh dear! I shall be late!' (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the

My hair is coming out from under my cap. Red hair of an ogre. A wild beast, the newspaper said. A monster. When they come with my dinner I will put the slop bucket over my head and hide behind the door, and that will give them a fright. If they want a monster so badly they ought to be provided with one. I never do such things, however. I only consider them. If I did them, they would be sure I had gone mad again. Gone mad is what they say, and sometimes Run mad, as if mad is a direction, like west; as if mad is a different house you could step into, or a separate country entirely. But when you go mad you don't go any other place, you stay where you are. And somebody else comes in. I don't want to be left by myself in this room. The walls are too empty, there are no pictures on them nor curtains on the little high-up window, nothing to look at and so you look at the wall, and after you do that for a time, there are pictures on it after all, and red flowers growing. I think I sleep.

Stop it,” came Eustace’s voice, squeaky with fright and bad temper. “It’s some silly trick you two are playing. Stop it. I’ll tell Alberta--Ow!” The other two were much more accustomed to adventures, but, just exactly as Eustace Clarence said “Ow,” they both said “Ow” too. The reason was that a great cold, salt splash had broken right out of the frame and they were breathless from the smack of it, besides being wet through. “I’ll smash the rotten thing,” cried Eustace; and then several things happened at the same time. Eustace rushed toward the picture. Edmund, who knew something about magic, sprang after him, warning him to look out and not to be a fool. Lucy grabbed at him from the other side and was dragged forward. And by this time either they had grown much smaller or the picture had grown bigger. Eustace jumped to try to pull it off the wall and found himself standing on the frame; in front of him was not glass but real sea, and wind and waves rushing up to the frame as they might to a rock. He lost his head and clutched at the other two who had jumped up beside him. There was a second of struggling and shouting, and just as they thought they had got their balance a great blue roller surged up round them, swept them off their feet, and drew them down into the sea. Eustace’s despairing cry suddenly ended as the water got into his mouth. Lucy thanked her stars that she had worked hard at her swimming last summer term. It is true that she would have got on much better if she had used a slower stroke, and also that the water felt a great deal colder than it had looked while it was only a picture. Still, she kept her head and kicked her shoes off, as everyone ought to do who falls into deep water in their clothes. She even kept her mouth shut and her eyes open. They were still quite near the ship; she saw its green side towering high above them, and people looking at her from the deck. Then, as one might have expected, Eustace clutched at her in a panic and down they both went.

What led you to write a graduate thesis on the subject of the imagination? SARTRE: I suppose that at that period of my life I had some ideas about the image I refer to the time when I was at L'Ecole normale—and later I had the feeling that that was the first thing I ought to do. The idea that sensation was not identical to the image, that the image was not sensation renewed. That was something I felt in myself. It is bound up with the freedom of consciousness since, when the conscious mind imagines, it disengages itself from what is real in order to look for something that isn't there or that doesn't exist. And it was this passage into the imaginary that helped me understand what freedom is. For instance, if one person asks another: "Where is your friend Pierre?" and it turns out that he's in Berlin, for example, that person will picture where his friend Pierre is. There is a disconnection of thought that cannot be explained by determinism. Determinism cannot move to the plane of the imaginary. If it's a fact, it will create a fact.

Well, I don’t know about you girls,” Patti called out, “but I’m starving. You wanna help me throw everything together before I go check on the chicken?” The twins shared uncertain expressions. “Sure, we’ll help,” I answered for them. “What do you need us to do?” “All right, how about you and Marna make the salad, and Ginger can help me bake this cake.” Their eyes filled with horror. “You mean like chopping things?” Marna whispered. “Yeah. It’s not hard. We’ll do it together.” At my prompting they stood but made no move toward the kitchen with me. “I’m not sure you ought to trust me with a knife,” Marna said. “Or me with baked goods,” Ginger added. I’d never seen her so unsure of herself. If it were just me making the request, she’d tell me to go screw myself, but neither girl seemed to know how to act around Patti. They fidgeted and glanced at the kitchen. Patti came over and took Ginger by the arm. “You’ll both be fine,” Patti insisted. “It’ll be fun!” The seriousness of the twins in the kitchen was comical. They took each step of their jobs with slow, attentive detail, checking and double-checking the measurements while Patti ran out to flip the chicken. Somewhere halfway through, the girls loosened up and we started chatting. Patti put Ginger at ease in a way I’d never seen her. At one point we were all laughing and I realized I’d never seen Ginger laugh in a carefree way, only the mean kind of amusement brought on at someone else’s expense. Usually mine. Ginger caught me looking and straightened, smile disappearing. Patti watched with her keen, wise eyes. She wasn’t missing the significance of any gesture here. When she returned from getting the chicken off the grill, Ginger said, “Oh, that smells divine, Miss Patti.” Who was this complimenting girl? Patti smiled and thanked her. Ginger was so proud of the cake when it was finished that she took several pictures of it with her phone. She even wanted a picture of her and Patti holding the cake together, which nearly made Patti burst with motherly affection. I couldn’t even manage to feel jealous as Patti heaped nurture on Ginger. It was so sweet it made my eyes sting. Marna kept sending fond glances at her sister. “I did that part right there all by myself,” Ginger said to Marna, pointing to the frosting trim. “Brilliant, isn’t it?” “Bang-up job, Gin.” Marna squeezed her sister around the shoulder.

Humanism thought that experiences occur inside us, and that we ought to find within ourselves the meaning of all that happens, thereby infusing the universe with meaning. Dataists believe that experiences are valueless if they are not shared, and that we need not – indeed cannot – find meaning within ourselves. We need only record and connect our experience to the great data flow, and the algorithms will discover its meaning and tell us what to do. Twenty years ago Japanese tourists were a universal laughing stock because they always carried cameras and took pictures of everything in sight. Now everyone is doing it. If you go to India and see an elephant, you don’t look at the elephant and ask yourself, ‘What do I feel?’ – you are too busy looking for your smartphone, taking a picture of the elephant, posting it on Facebook and then checking your account every two minutes to see how many Likes you got. Writing a private diary – a common humanist practice in previous generations – sounds to many present-day youngsters utterly pointless. Why write anything if nobody else can read it? The new motto says: ‘If you experience something – record it. If you record something – upload it. If you upload something – share it.

There are people who cannot read Tom Jones. I am not thinking of those who never read anything but the newspapers and the illustrated weeklies, or of those who never read anything but detective stories; I am thinking of those who would not demure if you classed them as members of the intelligentsia, of those who read and re-read Pride and Prejudice with delight, Middlemarch with self-complacency, and The Golden Bowl with reverence. The chances that it has never occurred to them to read Tom Jones; but, sometimes, they have tried and not been able to get on with it. It bores them. Now it is no good saying that they ought to like it. There is no 'ought' about the matter. You read a novel for its entertainment, and, I repeat, if it does not give you that, it has nothing to give you at all. No one has the right to blame you because you don't find it interesting, any more than anyone has the right to blame you because you don't like oysters. I cannot but ask myself, however, what it is that puts readers off a book which Gibbon described as an exquisite picture of human manners, which Walter Scott praised as truth and human nature itself, which Dickens admired and profited by, and of which Thackeray wrote: "The novel of Tom Jones is indeed exquisite; as a work of construction quite a wonder; the by-play of wisdom, the power of observation, the multiplied felicitous turns and thoughts, the varied character of the great comic epic, keep the reader in a perpetual admiration and curiosity.

Depression” is a problematic word. We all believe we know what it means because we toss it off so easily: “Oh, I’m depressed; I got a run in my stocking.” At the same time, when we are describing severe psychopathology, we presume that because the word is descriptive, it offers a definition as well. We move to the next step and presume that because we can take a picture of the brain and “see” depression, it therefore is real. It has been occurring to me more and more, not just from these conversations, but also from my work, that when the brain is in clearly different states—and the Diagnostic and Statistical Manual of Mental Disorders80 says they are the same pathology—maybe our definition of the psychopathology is too broad. We need to redefine the nature of suffering to understand how it may be a condition more like dukkha, instead of a disease with a physiological cause as specific as something like a brain lesion. That is not to deny that true psychopathology exists, or that the patients I take care of do not suffer from a brain disease. I believe very strongly that they do. But I also see patients who, with focused attention and by acquiring new skill sets, can bring themselves out of it in the same way that William James did when he decided to focus his attention from inside to outside. The ability to focus attention means your brain is in a different state. Maybe we ought to understand those as different definitions of illness. What I’ve learned from all of you is that maybe we have to start making those distinctions more strongly. That will allow us to focus attention on how to handle ourselves in a world with natural levels of suffering, and help us not stigmatize people who don’t have the brain capacity to even start. Those are two separate items.

One day, at a quiet hour, I found myself alone in a certain gallery, wherein one particular picture of pretentious size set up in the best light, having a cordon of protection stretched before it, and a cushioned bench duly set in front for the accommodation of worshipping connoisseurs, who, having gazed themselves off their feet, might be fain to complete the business sitting. This picture, I say, seemed to consider itself the queen of the collection. It represented a woman, considerably larger, I thought, than the life. I calculated that this lady, put into a scale of magnitude suitable for the reception of a commodity of bulk, would infallibly turn from fourteen to sixteen stone. She was indeed extremely well fed, very much butcher's meat, to say nothing of bread, vegetables, and liquids must she have consumed to attain that breadth and height, that wealth of muscle, that affluence of flesh. She lay half reclined on a couch – why, it would be difficult to say. Broad daylight blazed round her. She appeared in hearty health, strong enough to do the work of two plain cooks. She could not plead a weak spine. She ought to have been standing, or at least sitting bolt upright. She had no business to lounge away the noon on a sofa. She ought likewise to have worn decent garments – a gown covering her properly, which was not the case. Out of abundance of material, seven and twenty yards I should say, of drapery, she managed to make inefficient raiment. Then, for the wretched untidiness surrounding her, there could be no excuse. Pots and pans – or perhaps I ought to say, vases and goblets – were rolled here and there on the foreground, a perfect rubbish of flowers was mixed amongst them, and an absurd and disorderly mass of curtain upholstery smothered the couch and cumbered the floor. On referring to the catalog, I found that this this notable production bore name: 'Cleopatra.

In his attempt to discover own self, the client typically uses the relationship to explore, to examine the various aspects of his own experience, to recognize and face up to the deep contradictions which he often discovers. He learns how much of his behavior, even how much of the feeling he experiences, is not real, is not something which flows from the genuine reactions of his organism but is a facade, a front, behind which he has been hiding. He discovers how much of his life is guided by what he thinks he should be, not by what he is. Often he discovers that he exists only in response to the demands of others, that he seems to have no self of his own, that he is only trying to think, and feel, and behave in the way that others believe he ought to think, and feel and behave. In this connection I have been astonished to find how accurately the Danish philosopher, Søren Kierkegaard, pictured the dilemma of the individual more than a century ago, with keen psychological insight. He points out that the most common despair is to be in despair at not choosing, or willing, to be oneself; but that the deepest form of despair is to choose "to be another than himself." On the other hand "to will to be that self which one truly is, is indeed the opposite of despair," and this choice is the deepest responsibility of man. As I read some of his writings I almost feel that he must have listened in on the statements made by our clients as they search and explore for the reality of self--often a painful and troubling search. This exploration becomes even more disturbing when they find themselves involved in removing the false faces which they had not known were false face. They begin to engage in the frightening task of exploring the turbulent and sometimes violent feelings within themselves. To remove a mask which you had thought was part of your real self can be a deeply disturbing experience, yet when there is freedom to think and feel and be, the individual moves toward such a goal.

There is no man,” he began, “however wise, who has not at some period of his youth said things, or lived in a way the consciousness of which is so unpleasant to him in later life that he would gladly, if he could, expunge it from his memory. And yet he ought not entirely to regret it, because he cannot be certain that he has indeed become a wise man — so far as it is possible for any of us to be wise — unless he has passed through all the fatuous or unwholesome incarnations by which that ultimate stage must be preceded. I know that there are young fellows, the sons and grandsons of famous men, whose masters have instilled into them nobility of mind and moral refinement in their schooldays. They have, perhaps, when they look back upon their past lives, nothing to retract; they can, if they choose, publish a signed account of everything they have ever said or done; but they are poor creatures, feeble descendants of doctrinaires, and their wisdom is negative and sterile. We are not provided with wisdom, we must discover it for ourselves, after a journey through the wilderness which no one else can take for us, an effort which no one can spare us, for our wisdom is the point of view from which we come at last to regard the world. The lives that you admire, the attitudes that seem noble to you are not the result of training at home, by a father, or by masters at school, they have sprung from beginnings of a very different order, by reaction from the influence of everything evil or commonplace that prevailed round about them. They represent a struggle and a victory. I can see that the picture of what we once were, in early youth, may not be recognisable and cannot, certainly, be pleasing to contemplate in later life. But we must not deny the truth of it, for it is evidence that we have really lived, that it is in accordance with the laws of life and of the mind that we have, from the common elements of life, of the life of studios, of artistic groups — assuming that one is a painter — extracted something that goes beyond them.

Perhaps the immobility of the things around us is imposed on them by our certainty that they are themselves and not anything else, by the immobility of our mind confronting them. However that may be, when I woke thus, my mind restlessly attempting, without success, to discover where I was, everything revolved around me in the darkness, things, countries, years. My body, too benumbed to move, would try to locate, according to the form of its fatigue, the position of its limbs so as to deduce from this the direction of the wall, the placement of the furniture, so as to reconstruct and name the dwelling in which it found itself. Its memory, the memory of its ribs, its knees, its shoulders, offered in succession several of the rooms where it had slept, while around it the invisible walls, changing place according to the shape of the imagined room, spun through the shadows. And even before my mind, hesitating on the thresholds of times and shapes, had identified the house by reassembling the circumstances, it—my body—would recall the kind of bed in each one, the location of the doors, the angle at which the light came in through the windows, the existence of a hallway, along with the thought I had had as I fell asleep and that I had recovered upon waking. My stiffened side, trying to guess its orientation, would imagine, for instance, that it lay facing the wall in a big canopied bed and immediately I would say to myself: “Why, I went to sleep in the end even though Mama didn’t come to say goodnight to me,” I was in the country in the home of my grandfather, dead for many years; and my body, the side on which I was resting, faithful guardians of a past my mind ought never to have forgotten, recalled to me the flame of the night-light of Bohemian glass, in the shape of an urn, which hung from the ceiling by little chains, the mantelpiece of Siena marble, in my bedroom at Combray, at my grandparents’ house, in faraway days which at this moment I imagined were present without picturing them to myself exactly and which I would see more clearly in a little while when I was fully awake.

Armorers wheeled bombs out to the Tu-4 on carts made of steel tubing with rubber tires. Watching them, Boris Gribkov remembered that the groundcrew men at airstrips during the Great Patriotic War hadn’t had such elegant transportation for their high explosives and incendiaries. They’d used whatever they could, sometimes panje wagons, sometimes raw muscle, to get bombs to the bombers. Anton Presnyakov was thinking along with him. “I’ve seen pictures of carts like that at American airstrips in England,” the copilot said. “Now that you mention it, so have I,” Boris replied. “Well, if we can borrow the design for the bomber, no reason we can’t borrow the design for the cart that feeds it, eh?” “We didn’t borrow. We invented,” Lev Vaksman said. “Comrade Reguspatoff is a very clever fellow.” “Reguspatoff?” Boris echoed, puzzled. It sounded as if it ought to be a Russian name, but it wasn’t one he’d ever heard before. “Of course.” The flight engineer’s eyes twinkled. “It’s the abbreviation the Americans put on things they make. It stands for Registered—U.S. Patent Office.

Ed frowned. “Well, it’s a terrible picture of me! Here, give me that. I’m going to tear it up. There ought to be legal action against publishing a bad picture like that without my permission . . . .” A wild scuffle ensued as they tried to keep Ed from destroying the article before they could read it.

I say, too, that when a painter desires to become famous in his art he endeavours to copy the originals of the rarest painters that he knows; and the same rule holds good for all the most important crafts and callings that serve to adorn a state; thus must he who would be esteemed prudent and patient imitate Ulysses, in whose person and labours Homer presents to us a lively picture of prudence and patience; as Virgil, too, shows us in the person of AEneas the virtue of a pious son and the sagacity of a brave and skilful captain; not representing or describing them as they were, but as they ought to be, so as to leave the example of their virtues to posterity.

I met Mr. Persimmons in the village to-day," Mr. Batesby said to the Archdeacon. "He asked after you very pleasantly, although he's sent every day to inquire. It was he that saw you lying in the road, you know, and brought you here in his car. It must be a great thing for you to have a sympathetic neighbour at the big house; there's so often friction in these small parishes." "Yes," the Archdeacon said. "We had quite a long chat," the other went on. "He isn't exactly a Christian, unfortunately, but he has a great admiration for the Church. He thinks it's doing a wonderful work—especially in education. He takes a great interest in education; he calls it the star of the future. He thinks morals are more important than dogma, and of course I agree with him." "Did you say 'of course I agree' or 'of course I agreed'?" the Archdeacon asked. "Or both?" "I mean I thought the same thing," Mr. Batesby explained. He had noticed a certain denseness in the Archdeacon on other occasions. "Conduct is much the biggest thing in life, I feel. 'He can't be wrong whose life is for the best; we needs must love the higher when we see Him.' And he gave me five pounds towards the Sunday School Fund." "There isn't," the Archdeacon said, slightly roused, "a Sunday School Fund at Fardles." "Oh, well!" Mr. Batesby considered. "I daresay he'd be willing for it to go to almost anything active. He was very keen, and I agree—thought just the same, on getting things done. He thinks that the Church ought to be a means of progress. He quoted something about not going to sleep till we found a pleasant Jerusalem in the green land of England. I was greatly struck. An idealist, that's what I should call him. England needs idealists to-day." "I think we had better return the money," the Archdeacon said, "If he isn't a Christian—" "Oh, but he is," Mr. Batesby protested. "In effect, that is. He thinks Christ was the second greatest man the earth has produced." "Who was the first?" the Archdeacon asked. Mr. Batesby paused again for a moment. "Do you know, I forgot to ask?" he said. "But it shows a sympathetic spirit, doesn't it? After all, the second greatest! That goes a long way. Little children, love one another—if five pounds helps us to teach them that in the schools. I'm sure mine want a complete new set of Bible pictures." -Chap. VI The Sabbath

Many discussions of virtue, and many discussions of faith, begin from where we presently are, as muddled, sinful, half-believing human beings, and explore the ways in which virtue (including "faith" in some sense) can help us move forward to become the people God wants and intends us to become. In this, as in many areas of theological exploration, I find it helpful to start instead from the far end, from the ultimate goal. I propose that we begin with the picture of what God intends us to be, and has promised that we shall be, and to work back from there to where we are. This is, I suppose, rather like the procedure adopted by some management consultants: to ask where the company ought to be twenty years from now, to imagine that we are already at that moment of presumed or anticipated success, and then to ask the question, How did we get here? What steps did we take on the way?

It was taken some time ago. At first it seems to be a smeared print: blurred lines and grey flecks blended with the paper; then, as you scan it, you see in the left-hand corner a thing that is like a branch: part of a tree (balsam or spruce) emerging and, to the right, halfway up what ought to be a gentle slope, a small frame house. In the background there is a lake, and beyond that, some low hills. (The photograph was taken the day after I drowned. I am in the lake, in the center of the picture, just under the surface. It is difficult to say where precisely, or to say how large or small I am: the effect of water on light is a distortion but if you look long enough, eventually you will be able to see me.)

The Arians, as S. Augustine tells us,901 corrupted this sentence of S. John i. 1: In principio erat verbum, et verbum erat apud Deum, et Deus erat verbum. Hoc erat in principio apud Deum, by simply changing a point. For they read it thus: Et verbum erat apud Deum et Deus erat. Verbum hoc, &c., instead of Deus erat verbum. Hoc erat in principio apud Deum. They placed the full stop after the erat, instead of after the verbum. They so acted for fear of having to grant that the Word was God; so little is required to change the sense of God’s Word. When one is handling glass beads, if two or three are lost, it is a small matter, but if they were oriental pearls the loss would be great. The better the wine the more it suffers from the mixture of a foreign flavor and the exquisite symmetry of a great picture will not bear the admixture of new colors. Such is the conscientiousness with which we ought to regard and handle the sacred deposit of the Scriptures.

And these fancies affect not only dogmas, but also simple notions. 46. The human understanding when it has once adopted an opinion (either as being the received opinion or as being agreeable to itself) draws all other things to support and agree with it. And though there is a greater number and weight of instances to be found on the other side, yet it either neglects and despises these, or else by some distinction sets aside and rejects, in order that by this great and pernicious predetermination the authority of its former conclusions may remain inviolate. And therefore it was a good answer that was made by one who, when they showed him hanging in a temple a picture of those who had paid their vows as having escaped shipwreck, and would have him say whether he did not now acknowledge the power of the gods; “Yes,” he asked again, “but where are the pictures of those who were drowned after their vows?” And such is the way of all superstition, whether in astrology, dreams, omens, divine judgments, or the like, in which men, having a delight in such vanities, notice the events where they are fulfilled, but where they fail, though this happens much more often, neglect and pass them by. But this mischief insinuates itself with much more subtlety into philosophy and the sciences, in which the first conclusion colors and brings into conformity with itself all that come after, though far sounder and better. Besides, independently of that delight and vanity which I have described, it is the peculiar and perpetual error of the human intellect to be more moved and excited by affirmatives than by negatives, whereas it ought properly to hold itself indifferently disposed towards both alike. Indeed, in the establishment of any true axiom, the negative instance is the more forcible of the two.

Deep started to respond and then he felt Kat’s rush of relief. His fragile hope that she had learned to love him as well as Lock crumbled in that instant. She’s glad, he thought, his mouth twisting. So glad we’ve found the blossoms. Because now we can take them back to Mother L’rin and Kat can be rid of us forever. Rid of me. He had no doubt that Kat would have happily joined with Lock if he himself hadn’t been in the picture. He’d lingered outside the bedroom door after seeing their kiss for a moment, intending to go back in. And he knew what Kat meant when she told Lock that he “came with a lot of baggage.” More Earth vernacular, he thought bitterly. Just another way of saying I’m not the one she wants. He’d fooled himself into thinking that she cared for him—that she loved him as he had so stupidly allowed himself to start loving her. But it wasn’t true—she couldn’t wait to get the Moons blossom and leave—he could feel the impatience to be away coming from her already. It doesn’t matter anyway, Deep told himself grimly. I’m no good for her—just look at my past. At what happened to Miranda. I don’t want that to happen to Kat, even if she doesn’t care for me. I couldn’t bear it if…But he couldn’t make himself finish the grim thought. Instead he watched as his brother helped the woman they both loved gather the rare, mystical blossoms. They were laughing as they did and Kat was tickling Lock under the chin with one of the two-headed flowers. Lock is good for her, Deep realized. He’s the one she ought to be with. Not me and not both of us. Just him. The concept of one of them having a female without the other was so foreign to him it was hard to contemplate, but he knew it was true. It didn’t matter who he thought Kat belonged with, though. They had the Moons blossoms—or fifi flowers, as she called them. Mother L’rin would be able to brew a potion to separate Kat from both of them. By this time tomorrow we will be two and one again instead of three, Deep thought. That’s a good thing—good for all of us. But though he tried, he could feel no joy at the idea. All he felt was achingly empty.  

Around eighteen, Dinah suddenly became interested in acting. I worked with her on This Property Is Condemned, a Tennessee Williams one-act, for her audition for the Actors Studio. Then came Marty Maraschino in Grease, then a running part in Soap, a hot TV series. Then the lead in Neil Simon’s play I Ought to Be in Pictures. She was accepted by the Studio and quickly hired by Robert Redford as the girl in Ordinary People who commits suicide.

I am in agreement with Goethe, who said that every day one ought to “hear a little song, read a good poem, see a fine picture, and if it were possible, to speak a few reasonable words.

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 on, 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 had 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?" "Tripled 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.

What does this mean exactly?" he said. "What does it mean? What does it mean?" She gazed at him in disbelief, then realized it wasn't a good idea to stare at him too long, because he had barely any clothes on, and she might be blushing, which was annoying. "Yes, what does it mean he said?" ....She stomped towards him. She pointed to the lines above her signature. "There" She stabbed the paper with her finger. "How much plainer can I make it?" "Love." "Yes, I believe I mentioned that some time ago." "But you hate me too." "Not as much as I ought to. For heaven's sake Lucius. Must I draw pictures? How thick can a man be? No never mind. I know the answer to that.

Hitler was – well, a bit of a Hitler, to put it bluntly. He got what he wanted. Nobody stood in his way. But there was one incident this reminds me of. I’m thinking of the Kröller-Müller Museum. Goering was very much taken by three paintings there that the museum’s benefactors had bought in Germany. A Portrait of a Lady by Bruyn the Elder, a Venus by Cranach and another Venus by Hans Baldung Grien. He reckoned the price had been set too low and they ought to go back to Germany – to his own private collection, natch. So he sent in Kajetan Mühlmann to deal with the museum’s director. Goering got his pictures but he had to let one of them go. Hans Posse, the Linz director, wrote to Martin Bormann saying the Baldung Grien Venus was one of the masterpieces of the German Renaissance. When Hitler got wind of this, he snapped up the painting for Linz. There was nothing Goering could do.

But I don’t care about money,” Jacy said solemnly. “I don’t care about it at all.” Lois sighed. “You’re pretty stupid then,” she said. “If you’re that stupid you ought to go and marry him—it would be the cheapest way to educate you.

She wants me to tell her it will be all right if I make enough money. A man ought to be able to protect his woman, make her feel secure, but how long will it take for her to hate me as a man once I've traded in my balls? A showpiece spade is a showpiece spade, no matter how many times he gets his picture in the paper or how much bread he makes.

TV is a problem only if you’ve forgotten how to look and listen…My students and I discuss this all the time. They’re beginning to feel they ought to turn against the medium, exactly as an earlier generation turned against their parents and their country. I tell them they have to learn to look as children again. Root out content. Find the codes and messages... … [They say] television is just another name for junk mail. But tell them I can't accept that. I tell them I’ve been sitting this room for more than two months, watching TV into the early hours, listening carefully, taking notes. A great and humbling experience, let me tell you. Close to the mystical. … I’ve come to understand that the medium is a primal force in the American home. Sealed-off, timeless, self-contained, self-referring. It’s like a myth being born right there in our living room, like something we know in a dream-like and preconscious way. I’m very enthused. … You have to learn how to look. You have to open yourself to the data. TV offers incredible amounts of psychic data. It opens ancient memories of world birth, it welcomes us into the grid, the network of little buzzing dots that make up the picture pattern. There is light, there is sound. I ask my students 'What more do you want?' Look at the wealth of data concealed in the grid, in the bright packaging, the jingles, the slice-of-life commercials, the products hurtling out of darkness, the coded messages and endless repetitions, like chants, like mantras. 'Coke is it, Coke is it, Coke is it.’ The medium practically overflows with sacred formulas if we can remember how to respond innocently and get past our irritation, weariness and disgust. (50-51)

Lascaux and Altamira, that's what I want my work to be like. . . . Something people can look back at, whenever, and get a grasp of our time. Another hundred years from now, or a hundred thousand — the amount of time between shouldn't make any difference. If my pictures are done right, people whenever ought to be able to say, 'Oh, that's what was on their minds then.

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use of a book,’ thought Alice ‘without pictures or conversation?’ So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, ‘Oh dear! Oh dear! I shall be late!’ (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time

I knew that if I spoke to Dorian I would become absolutely devoted to him, and that I ought not to speak to him.