Iconic Book Quotes

But when you read a book, what you see are black squiggles on pulped wood or, increasingly, dark pixels on a pale screen. To transform these icons into characters and events, you must imagine. And when you imagine, you create.

The Qur’an does not hesitate to retell biblical incidents with modifications—or to introduce entirely new vignettes around iconic biblical figures. As a book purposely not constructed around a formal narrative, the Qur’an leverages these allusions primarily to emphasize a moral value rather than re- veal an origin story. Every time the Qur’an presents a story, it always follows with terse analyses synthesizing key takeaways.

Everyone is fighting a battle you know nothing about. The heroes in this book are no different. Everyone struggles. Take solace in that.

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

[…]when you read a book, what you see are black squiggles on pulped wood or, increasingly, dark pixels on a pale screen. To transform these icons into characters and events, you must imagine. And when you imagine, you create. It's in reading that a book becomes a book, and in each of a million different readings a book becomes one of a million different books[…]

What is odd is not that so many of the iconic news photos of the past, including some of the best-remembered pictures from the Second World War, appear to have been staged. It is that we are surprised to learn they were staged and always disappointed.

But let me describe the characteristics of peace, my young friend. A pervasive dulling of the senses, a decadence afflicting the culture, evinced by a growing obsession with low entertainment. The virtues of extremity – honour, loyalty, sacrifice – are lifted high as shoddy icons, currency for the cheapest of labours. The longer peace lasts, the more those words are used, and the weaker they become. Sentimentality pervades daily life. All becomes a mockery of itself, and the spirit grows … restless.

Hey, Tessa, nice to meet you. Welcome to WCU, where the dorms are tiny and the parties are huge.

Is a people that elects as its president an icon that has never read a book all that far away from burning books itself?

Raise a glass to freedom something they can never take away, no matter what they tell you.

Perhaps this is also true of places. When you are in a certain place, great love or kindness happens; it imprints itself on the ether of the place. When we pass there, hungry and needy in spirit, that loving imprint shines on us like an icon.

9 likes Like Facebook_icon “Read this to yourself. Read it silently. Don't move your lips. Don't make a sound. Listen to yourself. Listen without hearing anything. What a wonderfully weird thing, huh? NOW MAKE THIS PART LOUD! SCREAM IT IN YOUR MIND! DROWN EVERYTHING OUT. Now, hear a whisper. A tiny whisper. Now, read this next line in your best crotchety- old man voice: "Hello there, sonny. Does your town have a post office?" Awesome! Who was that? Whose voice was that? It sure wasn't yours! How do you do that? How?! It must've been magic.

During the week their fingers were often wagging at each other teasingly, moments before their hands were clasped together affectionately. During our first lunch the Archbishop told the story of a talk they were giving together. As they were getting ready to walk on stage, the Dalai Lama—the world’s icon of compassion and peace—pretended to choke his spiritual older brother. The Archbishop turned to the Dalai Lama and said, “Hey, the cameras are on us, act like a holy man.” These

I see things in windows and I say to myself that I want them. I want them because I want to belong. I want to be liked by more people, I want to be held in higher regard than others. I want to feel valued, so I say to myself to watch certain shows. I watch certain shows on the television so I can participate in dialogues and conversations and debates with people who want the same things I want. I want to dress a certain way so certain groups of people are forced to be attracted to me. I want to do my hair a certain way with certain styling products and particular combs and methods so that I can fit in with the In-Crowd. I want to spend hours upon hours at the gym, stuffing my body with what scientists are calling 'superfoods', so that I can be loved and envied by everyone around me. I want to become an icon on someone's mantle. I want to work meaningless jobs so that I can fill my wallet and parentally-advised bank accounts with monetary potential. I want to believe what's on the news so that I can feel normal along with the rest of forever. I want to listen to the Top Ten on Q102, and roll my windows down so others can hear it and see that I am listening to it, and enjoying it. I want to go to church every Sunday, and pray every other day. I want to believe that what I do is for the promise of a peaceful afterlife. I want rewards for my 'good' deeds. I want acknowledgment and praise. And I want people to know that I put out that fire. I want people to know that I support the war effort. I want people to know that I volunteer to save lives. I want to be seen and heard and pointed at with love. I want to read my name in the history books during a future full of clones exactly like me. The mirror, I've noticed, is almost always positioned above the sink. Though the sink offers more depth than a mirror, and mirror is only able to reflect, the sink is held in lower regard. Lower still is the toilet, and thought it offers even more depth than the sink, we piss and shit in it. I want these kind of architectural details to be paralleled in my every day life. I want to care more about my reflection, and less about my cleanliness. I want to be seen as someone who lives externally, and never internally, unless I am able to lock the door behind me. I want these things, because if I didn't, I would be dead in the mirrors of those around me. I would be nothing. I would be an example. Sunken, and easily washed away.

Whether it’s fair or not, we often do judge books by their covers.

Wildland firefighters do not enjoy the cultural prestige that structural firefighters do. They do not wax their fire engines and cruise down the local parade route, lights flashing; they are not the subject of countless popular books and movies; major politicians do not honor their sacrifices on the Senate floor or from the Rose Garden; they do not have bagpipe bands, fancy equipment, enduring icons, or other signifiers of honor verifying the importance of their activity.

Holography could prosper only in America, a country obsessed with realism, where, if a reconstruction is to be credible, it must be absolutely iconic, a perfect likeness, a “real” copy of the reality being represented.

Spears has since suffered a protracted and very public nervous breakdown, just like the countless other Monroes – some of whom we will meet over the course of this book – who have been destroyed in much the same way as the original icon.

He is on his way to her. In a moment he will leave the wooden sidewalks and vacant lots for the paved streets. The small suburban houses flash by like the pages of a book, not as when you turn them over one by one with your forefinger but as when you hold your thumb on the edge of the book and let them all swish past at once. The speed is breathtaking. And over there is her house at the far end of the street, under the white gap in the rain clouds where the sky is clearing, toward the evening. How he loves the little houses in the street that lead to her! He could pick them up and kiss them! Those one-eyed attics with their roofs pulled down like caps. And the lamps and icon lights reflected in the puddles and shining like berries! And her house under the white rift of the sky! There he will again receive the dazzling, God-made gift of beauty from the hands of its Creator. A dark muffled figure will open the door, and the promise of her nearness, unowned by anyone in the world and guarded and cold as a white northern night, will reach him like the first wave of the sea as you run down over the sandy beach in the dark.

When I started researching airline stewardesses, I found that the topic made for amusing cocktail party banter. “You’re writing a book about that? Wow, what fun!” Yes, it was fun, but it was also serious history. Pretty women do not fit into what we have come to think of as serious history. Real history covers topics like Lincoln, World War II, or, frankly, anything involving powerful white males.

Ifemelu opened her novel, Jean Toomer's Cane, and skimmed a few pages. She had been meaning to read it for a while now, and imagined she would like it since Blaine did not. A precious performance, Blaine had called it, in that gently forbearing tone he used when they talked about novels, as though he was sure that she, with a little more time and a little more wisdom, would come to accept that the novels he liked were superior, novels written by young and youngish men and packed with things, a fascinating, confounding accumulation of brands and music and comic books and icons, with emotions skimmed over, and each sentence stylishly aware of its own stylishness.

Books offered me a gauzy version of reality and I stepped hungrily into it. I inhabited an in-between space of terraced streets and bridges laced with lines from novels and iconic film stills. Art layered another world over my real, perceived one and gave me a calm, quiet feeling inside.

Language was war, vaster than any host of swords, spears and sorcery. The self waging battle against everyone else. Borders enacted, defended, sallies and breaches, fields of corpses rotting like tumbled fruit. Words ever seeking allies, ever seeking iconic verisimilitude in the heaving press.

This book isn’t about Shah Rukh Khan. Rather, I hope to reveal how female fans use his icon to talk about themselves. Their stories will illustrate how his films, songs and interviews are invoked to frame a feminine conversation on inequality within families, workplaces and contemporary romances.

A precious performance, Blaine had called it, in that gently forbearing tone he used when they talked about novels, as though he was sure that she, with a little more time and a little more wisdom, would come to accept that the novels he liked were superior, novels written by young and youngish men and packed with things, a fascinating, confounding accumulation of brands and music and comic books and icons, with emotions skimmed over, and each sentence stylishly aware of its own stylishness. She had read many of them, because he recommended them, but they were like cotton candy that so easily evaporated from her tongue’s memory.

True Films On TrueFilms.com, Kevin has reviewed the best documentaries he’s seen over decades. The counterpart book series, True Films 3.0, contains the 200 documentaries he feels you should see before you die, and it is available as a PDF on kk.org. Three docs we both love are The King of Kong, Man on Wire, and A State of Mind.

George Orwell introduced the dictator Big Brother in his novel 1984, as I’m sure you know. The book was an allegorical treatment of Stalinism, of course. And ever since then, the term ‘Big Brother’ has functioned as a social icon. That was Orwell’s great accomplishment. But now, in the real year 1984, Big Brother is all too famous, and all too obvious. If Big Brother were to appear before us now, we’d point to him and say, ‘Watch out! He’s Big Brother!’ There’s no longer any place for a Big Brother in this real world of ours.

If it was my lot that I should have him for only a little while, then have him I would.

He was letting you break your icons one by one. he was letting you reduce him to the status of a human being.

This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed.

Most broadly understood, lectio divina involves receiving God's revelation wherever it occurs. This means that there are other media beyond Scriptures that can also be engaged with in this same prayerful way. We can, for example, apply it to the reading of a book or article. In fact, it is very appropriately used when reading something devotional-say, for example, the book you now hold in your hands. But we can also open our senses and attend to God's revelation while listening to music, viewing a work of art, contemplating an icon, talking to a friend, listening to a sermon or watching a sunset.

Most of the church landscape in my lifetime has been heavily invested in trying to do something for Jerry or Sherri or some other icon of unchurchness. The problem is that they have been only about themselves from the moment they could wail for their mothers, and the decision to give them at church what they can find in any self-help book appears now as a choice to abandon the One in whose honor the church gathers. What they need is to be set free from themselves with finality and to be lost in the awesome wonder of the manifest presence of God. It was never God’s desire that He would sit on the sideline and watch us frantically devise impressive ways to reach people or simply hold the line on orthodoxy as though faithfulness can exist in a vacuum apart from fruitfulness. God is the Matter of first importance! Can you say that about your current weekly encounter with church?

In this book, you’ll naturally look for common habits and recommendations, and you should. Here are a few patterns, some odder than others: More than 80% of the interviewees have some form of daily mindfulness or meditation practice A surprising number of males (not females) over 45 never eat breakfast, or eat only the scantiest of fare (e.g., Laird Hamilton, page 92; Malcolm Gladwell, page 572; General Stanley McChrystal, page 435) Many use the ChiliPad device for cooling at bedtime Rave reviews of the books Sapiens, Poor

When you watch a TV show or a movie, what you see looks like what it physically represents. A man looks like a man, a man with a large bicep looks like a man with a large bicep, and a man with a large bicep bearing the tattoo "Mama" looks like a man with a large bicep bearing the tattoo "Mama." But when you read a book, what you see are black squiggles on pulped wood or, increasingly, dark pixels on a pale screen. To transform these icons into characters and events, you must imagine. And when you imagine, you create. It's in being read that a book becomes a book, and in each of a million different readings a book become one of a million different books, just as an egg becomes one of potentially a million different people when it's approached by a hard-swimming and frisky school of sperm.

A recurrent theme of this book is that architects, fairly low in the chain of command and needing jobs, are prone to compromise with the state and the establishment. Very rarely do they resist the zeitgeist. On a political level such compromise leads to the folly of invading Vietnam, Iraq and Afghanistan, follies of modern complicity too obvious to need comment. On an architectural level they lead to tearing down historic districts, building leviathans for multinationals or, for instance, constructing with cheap building systems that soon collapse.

House of Leaves by Mark Danielewski: “This is a book that you have to hold, because there are parts of it where you need to turn it upside down to read it. There are certain pages where, you are reading it, and it turns in a circle. . . . This is a book that’s an entire sensory experience.

The Crippled God scattered some seeds onto the brazier’s coals. Popping sounds, then more smoke. ‘Peace. Warm yourself, warrior, while I tell you of peace. History is unerring, and even the least observant mortal can be made to understand, through innumerable repetition. Do you see peace as little more than the absence of war? Perhaps, on a surface level, it is just that. But let me describe the characteristics of peace, my young friend. A pervasive dulling of the senses, a decadence afflicting the culture, evinced by a growing obsession with low entertainment. The virtues of extremity—honour, loyalty, sacrifice—are lifted high as shoddy icons, currency for the cheapest of labours. The longer peace lasts, the more those words are used, and the weaker they become. Sentimentality pervades daily life. All becomes a mockery of itself, and the spirit grows…restless.

The basic sciences of anatomy, physiology, biology, and chemistry are linked to a patient at the bedside through very specific stories that doctors learn and eventually create. These stories, what researchers now call illness scripts, contain key characteristics of a disease to form an iconic version, an idealized model of that particular disease. … It is the story that every doctor puts together for herself with the knowledge she gains from books and patients. The more experience a doctor has with any of these illnesses, the richer and more detailed the illness script she has of the disease becomes.

This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation.

Proof then, has retreated in the face of belief. Science, once heralded as the arbiter of truth, has had its facade of objectivity punctured. Intellectuals may point to the uncertainty of Heisenberg, but generally this has more to do with the growing distrust of statistics and the knowledge that scientists in the pay of governments and multi-nationals are no more objective than their masters. Science, once the avowed enemy of religion, now sees books by Christian physicists and Taoist mathematicians. Science sells washing powders and status symbols and comes in the form of icons of technological nostalgia.

My full name’s Ed Kennedy. I’m nineteen. I’m an underage cabdriver. I’m typical of many of the young men you see in this suburban outpost of the city—not a whole lot of prospects or possibility. That aside, I read more books than I should, and I’m decidedly crap at sex and doing my taxes. Nice to meet you.

Yes, Saul Alinsky, icon of the political left, whose admirers include Hillary Clinton and Barack Obama, commenced his magnum opus—the one for which he is hailed by progressives, a book not only read by Clinton but used as a text by Obama in Chicago as a teacher of community organizing—with an acknowledgement of the devil.

Perched upon the stones of a bridge The soldiers had the eyes of ravens Their weapons hung black as talons Their eyes gloried in the smoke of murder To the shock of iron-heeled sticks I drew closer in the cripple’s bitter patience And before them I finally tottered Grasping to capture my elusive breath With the cockerel and swift of their knowing They watched and waited for me ‘I have come,’ said I, ‘from this road’s birth, I have come,’ said I, ‘seeking the best in us.’ The sergeant among them had red in his beard Glistening wet as he showed his teeth ‘There are few roads on this earth,’ said he, ‘that will lead you to the best in us, old one.’ ‘But you have seen all the tracks of men,’ said I ‘And where the mothers and children have fled Before your advance. Is there naught among them That you might set an old man upon?’ The surgeon among this rook had bones Under her vellum skin like a maker of limbs ‘Old one,’ said she, ‘I have dwelt In the heat of chests, among heart and lungs, And slid like a serpent between muscles, Swum the currents of slowing blood, And all these roads lead into the darkness Where the broken will at last rest. ‘Dare say I,’ she went on,‘there is no Place waiting inside where you might find In slithering exploration of mysteries All that you so boldly call the best in us.’ And then the man with shovel and pick, Who could raise fort and berm in a day Timbered of thought and measured in all things Set the gauge of his eyes upon the sun And said, ‘Look not in temples proud, Or in the palaces of the rich highborn, We have razed each in turn in our time To melt gold from icon and shrine And of all the treasures weeping in fire There was naught but the smile of greed And the thick power of possession. Know then this: all roads before you From the beginning of the ages past And those now upon us, yield no clue To the secret equations you seek, For each was built of bone and blood And the backs of the slave did bow To the laboured sentence of a life In chains of dire need and little worth. All that we build one day echoes hollow.’ ‘Where then, good soldiers, will I Ever find all that is best in us? If not in flesh or in temple bound Or wretched road of cobbled stone?’ ‘Could we answer you,’ said the sergeant, ‘This blood would cease its fatal flow, And my surgeon could seal wounds with a touch, All labours will ease before temple and road, Could we answer you,’ said the sergeant, ‘Crows might starve in our company And our talons we would cast in bogs For the gods to fight over as they will. But we have not found in all our years The best in us, until this very day.’ ‘How so?’ asked I, so lost now on the road, And said he, ‘Upon this bridge we sat Since the dawn’s bleak arrival, Our perch of despond so weary and worn, And you we watched, at first a speck Upon the strife-painted horizon So tortured in your tread as to soak our faces In the wonder of your will, yet on you came Upon two sticks so bowed in weight Seeking, say you, the best in us And now we have seen in your gift The best in us, and were treasures at hand We would set them humbly before you, A man without feet who walked a road.’ Now, soldiers with kind words are rare Enough, and I welcomed their regard As I moved among them, ’cross the bridge And onward to the long road beyond I travel seeking the best in us And one day it shall rise before me To bless this journey of mine, and this road I began upon long ago shall now end Where waits for all the best in us. ―Avas Didion Flicker Where Ravens Perch

Every human is equal in terms of the laws of nature. No one, not even if they are a highly respected icon of society such as a prophet or holy person or president or successful business person can break the laws of nature and get away with it. All must comply with the laws of nature and society, therefore we are essentially all equal. from the book New Paradise Reviving the Primordial Garden

We don’t want to know about some hilarious or dramatic event that isn’t really part of the story. This is another common problem – a writer has an iconic scene, or hilarious event he has thought up, and is going to crowbar it in at all costs. This is a mistake, of course. It may be hilarious or iconic, but if it’s in the wrong story, it must go. Take it out and save it for when it truly fits.

More than that, the Communists hated those whom the liberals loved. As this book will make clear, the Communists maligned the Democratic presidents whom liberals adored. Throughout the twentieth century, each and every Democratic leader was a target for Communist vilification, beginning with Woodrow Wilson, whom Lenin called a “shark” and a “simpleton.” The Communists, whether American or Soviet, demonized icons of the Democratic Party.

It seemed like there was no shortage of things for us to talk about: it was like we were, in dialogue, reading a book that had no chapters and no end. There seemed to be no place to break. We walked each other back and forth until our mothers threatened to take a switch to our behinds. In this very literal way, I came to think of a homegirl as someone with whom the soul conversation is so deep and so stirring that you keep walking each other home.

...that gently forbearing tone that he used when they talked about novels, as though he were sure that she, with a little more time and a little more wisdom, would come to accept that the novels he liked were superior, novels written by young and youngish men and packed with things, a fascinating, confounding accumulation of brands and music and comic books and icons, with emotions skimmed over, and each sentence stylishly aware of its own stylishness. She had read many of them, because he recommended them, but they were like cotton candy that so easily evaporated from her tongue's memory.

Resurrection is presented by Paul as the general principle of all reality. He does not argue from a one-time anomaly and then ask us to believe in this Jesus “miracle,” which most Christians are eager to do. Instead, Paul names the cosmic pattern, and then says in many places that the “Spirit carried in our hearts” is the icon, the guarantee, the pledge, and the promise, or even the “down payment” of that universal message (see 2 Corinthians 1:21–22, Ephesians 1:14). Like I am feebly trying to do in this whole book, he is always grabbing for metaphors that will bring the universal message home.

George Orwell introduced the dictator Big Brother in his novel 1984, as I’m sure you know. The book was an allegorical treatment of Stalinism, of course. And ever since then, the term ‘Big Brother’ has functioned as a social icon. That was Orwell’s great accomplishment. But now, in the real year 1984, Big Brother is all too famous, and all too obvious. If Big Brother were to appear before us now, we’d point to him and say, ‘Watch out! He’s Big Brother!’ There’s no longer any place for a Big Brother in this real world of ours. Instead, these so-called Little People have come on the scene. Interesting verbal contrast, don’t you think?

No, you have been brought up with the lies that books have told you, and granted they are far more comforting and aesthetically pleasing than the truth. I will not rip the illusion from you. Keep it, hold it, love it, let it give solace on dark days. Let the truth die a noble death, with no marker, no troubadours singing its songs, no glorious parades or the trotting out of its many lustrous icons on saint days. Let the truth die with the man who holds it. If there was anything I learned while teaching, it is that truth is overrated. The lies are just as, if not more, beautiful and poetic. And after centuries, if the lies have survived, they become the truth, as such.

J. M. W. Turner is regarded by many as Britain’s greatest artist, whose works have become iconic symbols of the Romantic art movement. He became known as ‘the painter of light’, due to his increasing interest in brilliant colours and the contrast between light and dark in his many landscapes and seascapes. Turner was born on 23 April 1775 in London. His father, William Turner (1745-1829), was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. In 1785, his mother suffered from severe mental illness and was admitted first to St Luke's Hospital for Lunatics in Old Street in 1799 and then Bethlem Hospital in 1800, where she died four years later.

I mention this because Les Misérables is an anomaly: It is a big book—weighty in heft (quite literally), ambitious in theme, and an iconic part of popular culture—that people think they know . . . but don’t. Because they haven’t read it. Unlike The Great Gatsby, it’s a doorstop. Unlike the half dozen novels Jane Austen gave us, it has not become a fixture in reading group circles. And, for better or worse, the narrative is filled with lengthy digressions about the battle of Waterloo, the origins and meaning of “argot,” and (most famously) the Paris sewers. In my obsessively underlined copy of the novel, it is not until the one hundred and second page that Jean Valjean finally steals the bishop’s silver candlesticks.

Which philosophers would Alain suggest for practical living? Alain’s list overlaps nearly 100% with my own: Epicurus, Seneca, Marcus Aurelius, Plato, Michel de Montaigne, Arthur Schopenhauer, Friedrich Nietzsche, and Bertrand Russell. * Most-gifted or recommended books? The Unbearable Lightness of Being by Milan Kundera, Essays of Michel de Montaigne. * Favorite documentary The Up series: This ongoing series is filmed in the UK, and revisits the same group of people every 7 years. It started with their 7th birthdays (Seven Up!) and continues up to present day, when they are in their 50s. Subjects were picked from a wide variety of social backgrounds. Alain calls these very undramatic and quietly powerful films “probably the best documentary that exists.” TF: This is also the favorite of Stephen Dubner on page 574. Stephen says, “If you are at all interested in any kind of science or sociology, or human decision-making, or nurture versus nature, it is the best thing ever.” * Advice to your 30-year-old self? “I would have said, ‘Appreciate what’s good about this moment. Don’t always think that you’re on a permanent journey. Stop and enjoy the view.’ . . . I always had this assumption that if you appreciate the moment, you’re weakening your resolve to improve your circumstances. That’s not true, but I think when you’re young, it’s sort of associated with that. . . . I had people around me who’d say things like, ‘Oh, a flower, nice.’ A little part of me was thinking, ‘You absolute loser. You’ve taken time to appreciate a flower? Do you not have bigger plans? I mean, this the limit of your ambition?’ and when life’s knocked you around a bit and when you’ve seen a few things, and time has happened and you’ve got some years under your belt, you start to think more highly of modest things like flowers and a pretty sky, or just a morning where nothing’s wrong and everyone’s been pretty nice to everyone else. . . . Fortune can do anything with us. We are very fragile creatures. You only need to tap us or hit us in slightly the wrong place. . . . You only have to push us a little bit, and we crack very easily, whether that’s the pressure of disgrace or physical illness, financial pressure, etc. It doesn’t take very much. So, we do have to appreciate every day that goes by without a major disaster.

A civilization makes progress by leveraging the achievements and observations of past generations. We compress history into words, stories, and symbols that allow living people to learn and benefit from the experiences of the dead. In the space of one childhood, we can learn what it took humanity many centuries to figure out. While animals may have some capacity to instruct their young, humans are unlimited in their capacity to learn from one another. Thanks to stories, books, and our symbol systems, we can learn from people we have never met. We create symbols, or what Korzybski calls abstractions, in order to represent things to one another and our descendants more efficiently. They can be icons, brands, religious symbols, familiar tropes, or anything that compresses information bigger than itself.

When ad legend Lee Clow took the imagery from George Orwell’s 1984 to create the most iconic TV commercial of all time, almost no one watching Apple’s Super Bowl ad understood all of the references. (They’d read the book in high school, but if you want to impact a hundred million beer-drinking sports fans, an assigned high school book is not a good place to start.) But the media-savvy talking heads instantly understood, and they took the bait and talked about it. And the nerds did, and they eagerly lined up to go first. The lesson: Apple’s ad team only needed a million people to care. And so they sent a signal to them, and ignored everyone else. It took thirty years for the idea to spread from the million to everyone, thirty years to build hundreds of billions of dollars of market cap. But it happened because of the brilliant use of semiotics, not technology. At every turn, Apple sent signals, and they sent them in just edgy enough words, fonts, and design that the right people heard the message.

What happened at Newport in 1965 was not just a musical disagreement or a single artist breaking with his past. It marked the end of the folk revival as a mass movement and the birth of rock as the mature artistic voice of a generation, and in their respective halves of the decade both folk and rock symbolized much more than music. Fifty years later both the music and the booing still resonate, in part because Dylan continues to be an icon, in part because the generation that cared then has continued to care—but also because the moment itself has become iconic. This book traces the strands that led to that moment, sometimes seeking to untangle them, sometimes emphasizing how tangled they remain, sometimes suggesting where later chroniclers may have imagined or added strands that did not exist or were not visible at the time, sometimes trying to explain, sometimes trying to make the story more complicated, sometimes pointing out how different a familiar strand can seem if we look at it in a new light.

What, then, of the priest's iconic representation of Christ at the altar? If there is no specifically masculine or feminine charism or ontology, the significance of the priest's maleness fades away. What matters—as patristic Christology recognized centuries ago with its dictum, 'That which is not assumed [by the Son of God in the incarnation] is not healed'—is that Christ became human, assuming and thereby healing the nature common to men and women. Although biologically a man, Christ assumed human nature in such a way as to include both men and women in his salvific work. And that means, in turn, that to refuse to allow a woman to preside at the Eucharist may be to say much more than opponents of women's ordination realize—namely, 'that women are not adequate icons of Christ.' The result, notes [Sarah] Hinlicky Wilson near the end of her book, is nothing less than 'to leave both their humanity and their salvation in doubt.' If women can't reflect the human nature of Christ at the altar, how then can they trust Christ's human nature to save them at all?

* Who do you think of when you hear the word “successful”? “The first people who come to mind are the real heroes of Task Unit Bruiser: Marc Lee, first SEAL killed in Iraq. Mike Monsoor, second SEAL killed in Iraq, posthumously awarded the Medal of Honor after he jumped on a grenade to save three of our other teammates. And finally, Ryan Job, one of my guys [who was] gravely wounded in Iraq, blinded in both eyes, but who made it back to America, was medically retired from the Navy, but who died from complications after the 22nd surgery to repair his wounds. Those guys, those men, those heroes, they lived, and fought, and died like warriors.” * Most-gifted or recommended books? “I think there’s only one book that I’ve ever given and I’ve only given it to a couple people. That’s a book called About Face, by Colonel David H. Hackworth. The other book that I’ve read multiple times is Blood Meridian [by Cormac McCarthy].” * Favorite documentaries? “Restrepo, which I’m sure you’ve seen. [TF: This was co-produced and co-filmed by Sebastian Junger, the next profile.] There is also an hour-long program called ‘A Chance in Hell: The Battle for Ramadi.’” Quick Takes * You walk into a bar. What do you order from the bartender? “Water.” * What does your diet generally look like? “It generally looks like steak.” * What kind of music does Jocko listen to? Two samples: For workouts—Black Flag, My War, side B In general—White Buffalo

But then I got into Joseph Campbell—The Power of Myth and The Hero with a Thousand Faces. Joseph Campbell was the first person to really open my eyes to [the] compassionate side of life, or of thought. . . . Campbell was the guy who really kind of put it all together for me, and not in a way I could put my finger on. . . . It made you just glad to be alive, [realizing] how vast this world is, and how similar and how different we are.” * Most-gifted or recommended books? “You’re going to think I’m plugging you, but I probably have recommended The Art of Learning [by Josh Waitzkin, page 577] and The 4-Hour Body, I’m not kidding, more than any other books.” What Would You Say in a College Commencement Speech? “Well, I would say that if you are searching for status, and if you are doing things because there’s an audience for it, you’re probably barking up the wrong tree. “I would say, ‘Listen to yourself.’ Follow your bliss, and Joseph Campbell, to bring it back around, said, ‘There is great security in insecurity.’ We are wired and programmed to do what’s safe and what’s sensible. I don’t think that’s the way to go. I think you do things because they are just things you have to do, or because it’s a calling, or because you’re idealistic enough to think that you can make a difference in the world. “I think you should try to slay dragons. I don’t care how big the opponent is. We read about and admire the people who did things that were basically considered to be impossible. That’s what makes the world a better place to live.

The books began to arrive, boxes of them. At first I could not open a single one, but was taken by them as objects. The covers were all so attractive. The jacket copy made each one sound great, blurbs from established literary icons told me why I should like it. The fat books were praised for being fat, the skinny books were praised for being skinny, old writers were great because they were old, young writers were talents because of their youth, every one was startling, ground-breaking, warm, chilling, original, honest and human. I would have found refreshing: "Jo Blow’ s new novel takes on the mundane and leaves it right where it is. The prose is clear and pedestrian. The moves are tried and true. Yet the book is not so alarmingly dishonest. The characters are as wooden as the ones we meet in real life. This is a torturous journey through the banal. The novel is ordinary but not insipid, pointless but not meaningless, savorless but not stale. Jo Blow is a middle aged writer with a family and no discernible special features. He lives in a house and is about as smart as his last novel." So, I opened the first book and I loved it. Actually, I enjoyed reading. The book sucked. But I did enjoy reading it and so I read another and another. I read three in one night and the better part of the next day. All three were sterile, well-constructed, predictable fare. I decided that perhaps I was jaded. I was familiar with novels the way a surgeon is familiar with blood. I would have to contact my innocent, inner self, the part of me that could be amazed by the dull and commonplace.

But as soon as you enter a university, we witness a radical and communal face of Communism. Here, they propagate the weaknesses and evils of Hindu culture. They manipulate and twist ancient books to misrepresent them and provoke students. For example, they use Tulsidas’ chaupai, without mentioning the rest of the Ramcharitmanas, which is the real context. “ढोल गंवार शूद्र पशु नारी, सकल ताडना के अधिकारी.” Dhol ganvar shudra pashu nari, sakal tadana ke adhikari. ‘The above lines are spoken by the Sea Deity Samudra to Ram. When Lord Ram got angry and took out his weapon in order to evaporate the whole sea, the deity appeared and said the above lines in the context of boundaries that are created by God himself in order to hold his creations.  ‘What Leftists do is that they very cleverly translate it literally in Hindi, ignoring the fact that Ramcharitmanas is written in Awadhi and the same word means one thing in Hindi and another in Awadhi. While the literal meaning of the line in Hindi is ‘Drums, the illiterate, lower caste, animals and women deserve a beating to straighten up and get the acts together’, its real meaning in Awadhi is different. In Awadhi, tadna means to take care, to protect. Whereas, in Hindi, the same word means punishment, torture, oppression. Samudra meant that like drums, the illiterate, Shudra, animals and women need special care and need to be protected in the boundary of a social safety net. In the same way, the sea also needs to reside within the boundaries created by God. And hence, Samudra gave the suggestion to create the iconic Ram Setu. ‘Here, Shudra doesn’t mean lower caste or today’s Dalit. It meant people employed in cottage industries.’ I remember there is a book by R.C. Dutta, Economic Interpretation of History, in which he has said that when the Indian economy was based on the principles of Varna, handicrafts accounted for over twenty-five percent of the economy. Artisans and labour who were involved in the handicraft business were called ‘Shudra’. If there was so much caste-based discrimination, why would Brahmins use their produce? Both Dutta and Dadabhai Naoroji have written that the terminology of ‘caste discrimination’ was used by the British to divide Indian society on those lines.

know that taking a long walk was his preferred way to have a serious conversation. It turned out that he wanted me to write a biography of him. I had recently published one on Benjamin Franklin and was writing one about Albert Einstein, and my initial reaction was to wonder, half jokingly, whether he saw himself as the natural successor in that sequence. Because I assumed that he was still in the middle of an oscillating career that had many more ups and downs left, I demurred. Not now, I said. Maybe in a decade or two, when you retire. I had known him since 1984, when he came to Manhattan to have lunch with Time’s editors and extol his new Macintosh. He was petulant even then, attacking a Time correspondent for having wounded him with a story that was too revealing. But talking to him afterward, I found myself rather captivated, as so many others have been over the years, by his engaging intensity. We stayed in touch, even after he was ousted from Apple. When he had something to pitch, such as a NeXT computer or Pixar movie, the beam of his charm would suddenly refocus on me, and he would take me to a sushi restaurant in Lower Manhattan to tell me that whatever he was touting was the best thing he had ever produced. I liked him. When he was restored to the throne at Apple, we put him on the cover of Time, and soon thereafter he began offering me his ideas for a series we were doing on the most influential people of the century. He had launched his “Think Different” campaign, featuring iconic photos of some of the same people we were considering, and he found the endeavor of assessing historic influence fascinating. After I had deflected his suggestion that I write a biography of him, I heard from him every now and then. At one point I emailed to ask if it was true, as my daughter had told me, that the Apple logo was an homage to Alan Turing, the British computer pioneer who broke the German wartime codes and then committed suicide by biting into a cyanide-laced apple. He replied that he wished he had thought of that, but hadn’t. That started an exchange about the early history of Apple, and I found myself gathering string on the subject, just in case I ever decided to do such a book. When my Einstein biography came out, he came to a book event in Palo Alto and

Marilyn Monroe (born Norma Jeane Mortenson; June 1, 1926 – August 5, 1962) was an American actress, model, and singer, who became a major sex symbol, starring in a number of commercially successful motion pictures during the 1950s and early 1960s. After spending much of her childhood in foster homes, Monroe began a career as a model, which led to a film contract in 1946 with Twentieth Century-Fox. Her early film appearances were minor, but her performances in The Asphalt Jungle and All About Eve (both 1950), drew attention. By 1952 she had her first leading role in Don't Bother to Knock and 1953 brought a lead in Niagara, a melodramatic film noir that dwelt on her seductiveness. Her "dumb blonde" persona was used to comic effect in subsequent films such as Gentlemen Prefer Blondes (1953), How to Marry a Millionaire (1953) and The Seven Year Itch (1955). Limited by typecasting, Monroe studied at the Actors Studio to broaden her range. Her dramatic performance in Bus Stop (1956) was hailed by critics and garnered a Golden Globe nomination. Her production company, Marilyn Monroe Productions, released The Prince and the Showgirl (1957), for which she received a BAFTA Award nomination and won a David di Donatello award. She received a Golden Globe Award for her performance in Some Like It Hot (1959). Monroe's last completed film was The Misfits, co-starring Clark Gable with screenplay by her then-husband, Arthur Miller. Marilyn was a passionate reader, owning four hundred books at the time of her death, and was often photographed with a book. The final years of Monroe's life were marked by illness, personal problems, and a reputation for unreliability and being difficult to work with. The circumstances of her death, from an overdose of barbiturates, have been the subject of conjecture. Though officially classified as a "probable suicide", the possibility of an accidental overdose, as well as of homicide, have not been ruled out. In 1999, Monroe was ranked as the sixth greatest female star of all time by the American Film Institute. In the decades following her death, she has often been cited as both a pop and a cultural icon as well as the quintessential American sex symbol. 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 qwe114.c33.kr 카톡【ACD5】텔레【KKD55】 I believe that everything happens for a reason. People change so that you can learn to let go, things go wrong so that you appreciate them when they're right, you believe lies so you eventually learn to trust no one but yourself, and sometimes good things fall apart so better things can fall together

me to be honest about his failings as well as his strengths. She is one of the smartest and most grounded people I have ever met. “There are parts of his life and personality that are extremely messy, and that’s the truth,” she told me early on. “You shouldn’t whitewash it. He’s good at spin, but he also has a remarkable story, and I’d like to see that it’s all told truthfully.” I leave it to the reader to assess whether I have succeeded in this mission. I’m sure there are players in this drama who will remember some of the events differently or think that I sometimes got trapped in Jobs’s distortion field. As happened when I wrote a book about Henry Kissinger, which in some ways was good preparation for this project, I found that people had such strong positive and negative emotions about Jobs that the Rashomon effect was often evident. But I’ve done the best I can to balance conflicting accounts fairly and be transparent about the sources I used. This is a book about the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing. You might even add a seventh, retail stores, which Jobs did not quite revolutionize but did reimagine. In addition, he opened the way for a new market for digital content based on apps rather than just websites. Along the way he produced not only transforming products but also, on his second try, a lasting company, endowed with his DNA, that is filled with creative designers and daredevil engineers who could carry forward his vision. In August 2011, right before he stepped down as CEO, the enterprise he started in his parents’ garage became the world’s most valuable company. This is also, I hope, a book about innovation. At a time when the United States is seeking ways to sustain its innovative edge, and when societies around the world are trying to build creative digital-age economies, Jobs stands as the ultimate icon of inventiveness, imagination, and sustained innovation. He knew that the best way to create value in the twenty-first century was to connect creativity with technology, so he built a company where leaps of the imagination were combined with remarkable feats of engineering. He and his colleagues at Apple were able to think differently: They developed not merely modest product advances based on focus groups, but whole new devices and services that consumers did not yet know they needed. He was not a model boss or human being, tidily packaged for emulation. Driven by demons, he could drive those around him to fury and despair. But his personality and passions and products were all interrelated, just as Apple’s hardware and software tended to be, as if part of an integrated system. His tale is thus both instructive and cautionary, filled with lessons about innovation, character, leadership, and values.

A Tale of Two Parking Requirements The impact of parking requirements becomes clearer when we compare the parking requirements of San Francisco and Los Angeles. San Francisco limits off-street parking, while LA requires it. Take, for example, the different parking requirements for concert halls. For a downtown concert hall, Los Angeles requires, as a minimum, fifty times more parking than San Francisco allows as its maximum. Thus the San Francisco Symphony built its home, Louise Davies Hall, without a parking garage, while Disney Hall, the new home of the Los Angeles Philharmonic, did not open until seven years after its parking garage was built. Disney Hall's six-level, 2,188-space underground garage cost $110 million to build (about $50,000 per space). Financially troubled Los Angeles County, which built the garage, went into debt to finance it, expecting that parking revenues would repay the borrowed money. But the garage was completed in 1996, and Disney Hall—which suffered from a budget less grand than its vision—became knotted in delays and didn't open until late 2003. During the seven years in between, parking revenue fell far short of debt payments (few people park in an underground structure if there is nothing above it) and the county, by that point nearly bankrupt, had to subsidize the garage even as it laid employees off. The money spent on parking shifted Disney Hall's design toward drivers and away from pedestrians. The presence of a six-story subterranean garage means most concert patrons arrive from underneath the hall, rather than from the sidewalk. The hall's designers clearly understood this, and so while the hall has a fairly impressive street entrance, its more magisterial gateway is an "escalator cascade" that flows up from the parking structure and ends in the foyer. This has profound implications for street life. A concertgoer can now drive to Disney Hall, park beneath it, ride up into it, see a show, and then reverse the whole process—and never set foot on a sidewalk in downtown LA. The full experience of an iconic Los Angeles building begins and ends in its parking garage, not in the city itself. Visitors to downtown San Francisco have a different experience. When a concert or theater performance lets out in San Francisco, people stream onto the sidewalks, strolling past the restaurants, bars, bookstores, and flower shops that are open and well-lit. For those who have driven, it is a long walk to the car, which is probably in a public facility unattached to any specific restaurant or shop. The presence of open shops and people on the street encourages other people to be out as well. People want to be on streets with other people on them, and they avoid streets that are empty, because empty streets are eerie and menacing at night. Although the absence of parking requirements does not guarantee a vibrant area, their presence certainly inhibits it. "The more downtown is broken up and interspersed with parking lots and garages," Jane Jacobs argued in 1961, "the duller and deader it becomes ... and there is nothing more repellent than a dead downtown.

How do I ask a question on Expedia? How do I ask a question on Expedia? To ask a question on Expedia, call ＋１ （８８８） ６９０ （６１３８） and speak directly with a customer support agent. Whether your inquiry is about a flight, hotel, car rental, or vacation package, ＋１ （８８８） ６９０ （６１３８） is the fastest way to get personalized answers. How do I communicate to Expedia? To communicate with Expedia, you can contact their customer support team at ＋１ （８８８） ６９０ （６１３８）. Have your booking details ready for faster assistance. Alternatively, you can use their live chat feature on the website or mobile app. How do I get a human at Expedia? How to Get in Touch with a Person at Expedia. If you're in the U.S., call Expedia customer service at ＋１ （８８８） ６９０ （６１３８）. If you're outside the U.S., call ＋１ （８８８） ６９０ （６１３８）. Alternatively, email Expedia at travel@chat.expedia.com or sign into their website and click the Help icon to contact the chatbot. How do I connect with Expedia? To connect with Expedia, you can contact their customer support team at ＋１ （８８８） ６９０ （６１３８）. Have your booking details ready for faster assistance. Alternatively, you can use their live chat feature on the website or mobile app. How do I connect with people on Expedia? Live Chat Support: Chat via the Expedia ＋１ （８８８） ６９０ （６１３８） website under Help section. Expedia ® Mobile App: Support directly from the app. Email Support: Document your concerns and get a response dial ＋１ （８８８） ６９０ （６１３８）(OTA). Does Expedia allow name changes? To change a passenger's name on an Expedia ticket, all you need to do is contact ＋１ （８８８） ６９０ （６１３８） and talk to a live representative. Whether it's a simple spelling error or a legal name update after marriage, you can request modifications directly over the phone. How do I escalate a problem with Expedia? To escalate an issue with Expedia, ＋１ （８８８） ６９０ （６１３８） start by contacting their customer service through the Help Center or phone support. ＋１ （８８８） ６９０ （６１３８） If your concern isn't resolved, politely ask to escalate to a supervisor or senior representative. How do I complain to Expedia? The quickest and most direct way to start is by calling ＋１ （８８８） ６９０ （６１３８） and requesting to speak with a live representative. Step 1: Contact Customer Support by Phone For most complaints, Expedia recommends speaking to an agent directly. Call ＋１ （８８８） ６９０ （６１３８） and explain your issue calmly and clearly. How do I dispute with Expedia? To dispute a charge on Expedia, call ＋１ （８８８） ６９０ （６１３８） for immediate assistance. Call ＋１ （８８８） ６９０ （６１３８） to quickly start your Expedia charge dispute. Have your booking confirmation number and payment details ready. Contact ＋１ （８８８） ６９０ （６１３８） again if your dispute is unresolved or needs escalation. How do I make a claim with Expedia? To make a claim with Expedia, call [A]＋１ （８８８） ６９０ （６１３８） immediately and speak with a live agent who can guide you through the process—whether you're seeking a refund, travel credit, compensation, or assistance with a travel insurance claim. How do I get my money from Expedia? To get a full refund, contact their customer service at ＋１ （８８８） ６９０ （６１３８） (USA). Is Expedia actually fully refundable? Yes, Expedia does offer a 24-hour cancellation policy ＋１ （８８８） ６９０ （６１３８）, providing a full refund if you cancel within 24 hours of booking. How to resolve a dispute with Expedia? How Do I File a Dispute with Expedia If you need to dispute a charge with Expedia, call their customer service at ＋１ （８８８） ６９０ （６１３８）. For a quicker resolution, be prepared with your booking details, payment receipts, and any supporting documents when speaking with a representative. How can I actually communicate to Expedia? To communicate or get human contact at Expedia, the quickest option is typically to call their customer service at ＋１ （８８８） ６９０ （６１３８）. You can also use the live chat feature on their website or app, or contact them via social media.

So, what should be New York’s highest-priority project? Unfortunately, no objective measure or crystal ball exists to answer that question. Peter Hall’s 1982 book, Great Planning Disasters, reveals the difficulty of trying to assess and compare megaprojects. The author, a world-renowned urban planner, singled out the Sydney Opera House and San Francisco’s BART rail system as planning disasters. The opera house had faced massive cost overruns and its design made it unable to function as a major opera house, while the BART system was attracting far fewer riders than expected. Hall had no idea that these two projects would prove to be wildly successful. The opera house is now Australia’s top tourist destination and the country’s most iconic structure, while BART has become essential to the economic health of the San Francisco Bay Area and the backbone of its transit system. Hall’s effort to determine the success of these two projects after they were built was relatively straightforward compared to a task that requires even more guesswork—assessing projects before they are built, when estimates of both costs and benefits are subject to wide debate and manipulation.

Every writer in this book has a slightly different process, but they all start with the same thing: a blank page.

All of my best friends are imaginary, but at least the cadre of dogs that once existed in my life were real. If I had a choice between super-hero, anti-hero or villain, anti-hero would win out. Somewhere in between solves the detrimental problems that those in power refuse to deal with because of financial gain. A manifesto is nothing more than a more assertive pamphlet. The mythology of comic books was extremely creative and brilliant in concept. The imaginary world offers the psychological escape that is sometimes paramount from the real world. It creates a balance that is sometimes necessary to equalize the mind. It's like an uncomplicated form of math when you don't understand math, and explains that two plus two is four in another way. Star Trek, Star Wars, and Harry Potter were very creative concepts, whole new worlds now exist for people to inhabit. Such things create jobs, revenue, and things for people to occupy themselves with. Dystopia offers great warnings about existence, alerts and informs the populace. Take vampires and werewolves, iconic in creation, still existing after a century. There's a romance angle, and something that also allows kids to enjoy Halloween by playing dress up. Here's my point: I'm a regular person that exist in a world that needs to be fixed, explored and expanded. I'm a cog in the machine, and I don't want to be in the machine. That's what a base job is, and that job usually defines the person. Writing defines me, nothing else.

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George Washington and the Cherry Tree—Jay Richardson, James Mason University “The cherry tree myth is the most well-known and longest enduring legend about George Washington. In the original story, when Washington was six, he received a hatchet as a gift and damaged his father’s cherry tree. When his father confronted him, George said, ‘I cannot tell a lie,’ and admitted to what he had done. Washington’s father embraced him and rejoiced that his son’s honesty was worth more than a thousand trees. “Ironically, this iconic story about the value of truth and honesty isn’t true or honest. It was invented by one of Washington’s first biographers, Mason Locke Weems. After Washington’s death in 1799, Weems explained to a publisher, ‘Millions are excited to read something about him. My plan is to give his history, sufficiently minute, and then go on to show that his unparalleled rise and elevation were due to his great virtues.’ “Weems’ biography, The Life of Washington, was first published in 1800 and was an instant bestseller. However, the cherry tree myth did not appear until the book’s fifth edition was published in 1806.

Then all of it — the contempt, the bitter fury, and abhorrence — returned with renewed and revitalized clarity, like a computer in the final stages of its reboot repopulating icons onto the desktop of his mind.

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They have the intoxicating illusion of personifying the will of the people, which means they assume the people is monolithic. They are Manicheans, dividing the world into two camps: light and darkness, the revolution and its enemies. They despise all traditions, received wisdoms, icons, and superstition. They believe society can be a tabula rasa on which revolution will write.

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Unlock the captivating stories of remarkable individuals with our FPBiography.com collection. Dive into the lives of history's greatest heroes, visionaries, and trailblazers. With FPBiography, you're not just buying a book; you're embarking on a journey of knowledge, motivation, and inspiration. Discover the Benefits: Unparalleled Inspiration: Immerse yourself in the extraordinary lives of iconic figures who changed the course of history. Their stories will ignite your passion and drive. Insightful Wisdom: Learn from the experiences, triumphs, and even setbacks of these luminaries. Gain valuable insights that can empower you to overcome challenges in your own life. Engaging Narratives: Our FPBiographies are meticulously crafted to keep you hooked from the first page to the last. Say goodbye to dull reading and hello to captivating storytelling. Real-Life Role Models: Let these extraordinary individuals become your role models. Witness their journey from adversity to achievement and be motivated to pursue your dreams relentlessly. Timeless Appeal: FPBiographies are not just books; they are a timeless investment in your personal growth. Share these stories with generations to come and inspire a legacy of greatness. With FPBiography, you have the opportunity to own a piece of history and wisdom. Seize the chance to immerse yourself in narratives that have the power to transform your life. Don't miss out on this opportunity to gain access to the secrets of success and resilience. Order your FPBiography today and start your journey towards a brighter, more inspired future. Embrace the power of knowledge, be driven by the stories of legends, and become the hero of your own life story!

She didn't like everything about her apartment, but she loved the view. In fact, that was one of the main reasons she decided to rent the place despite the price. There was nothing particularly special about it — there must have been thousands of equally affordable units out there with a better view of the New York skyline. But for her it wasn’t about iconic silhouettes of iconic buildings. Her window was giving her exactly the kind of view of the streets that she liked. Not too far, not too close, with the right mix of buildings nearby and a straight line of an avenue cutting through the city blocks and allowing to see far away. Depending on the mood, she could feel being in the busy crowd below or outside it. Which was just the way she liked it.

Who wouldn’t want to live in Busytown, the setting of the iconic 1960s children’s books by the American illustrator Richard Scarry? His grocer cats and firefighting pigs are certainly busy; nobody in Busytown is idle—or if they are, they’re carefully hidden from view by the authorities, Pyongyang-style.

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Our annual year-end bash was a tradition as sturdy as our conviction that socks and sandals were a fashion faux pas. From fashion outlaws, we became accepted as fashion forward style icons. -Kim Lee ‘The Big Apple Took a Bite Off Me’ Now on Amazon Books and Kindle

Tips on Web Design and Site Marketing Web content is king, which is why we have devoted an entire chapter to it later in this book. It is what draws visitors and ultimately what converts them to customers. So, try to make your web content as engaging as possible. Make sure the content is interactive, unique and educational. Ensure that visitors have the option of plugins while encouraging them to visit as many pages on your site as possible if they want to obtain vital information. The images you use on your website should be both enticing and descriptive in nature. In today’s world, social media is all pervasive. In order to encourage visitors to share your web content, you can include icons of social media platforms on your website. In some select cases, consider integrating social media feeds, like Facebook or Instagram, onto your website so that they can automatically show the latest postings. A "Call-to-Action" can help convert visitors to your site into customers. Always try using a very clear and concise "Call-to-Action" language. Understand what type of conversion you are looking for, and try to provide multiple levels of conversion. For example, a plastic surgeon may provide Schedule an Appointment as a call to action, which will attract only the segment of web visitors who have reached their decision stage. By adding conversion points for visitors who are at earlier stages of their decision making, like signing up for a webcast or your newsletter can help you widen your conversion points and provide inputs to your email marketing. To raise the average amount of time a visitor spends on your website and to minimize the bounce rate, ensure that your website offers a user-friendly and attractive design. This way you will increase the number of links you have on your website and boost its SEO ranking (Tip: While Google’s algorithm is not public, our iterative testing shows that sites with good usability analytics metrics like time on site and bounce rate play favorably in Google’s algorithm, other things remaining constant). Ensure you observe due diligence when designing a website that will enable visitors to navigate in different languages. For example, you may need a lot more space for your menu, as there are languages that use up more space than the English language.

Look, I didnt want to be a half-blood. If you're reading this because you think you might be one, my advice is: close this book right now. Believe whatever lie your mom and dad told you about your birth, and try to lead a normal life. Being a half-blood is dangerous. It's scary. Most of the time, it gets you killed in painful nasty ways. If you're a normal kid, reading this because you think it's fiction, great. Read on. I envy you for being able to believe none of this ever happened. But if you recognize yourself in these pages-if you feel something stirring inside- stop reading immediately. You might be one of us. And once you know that, it's only a matter of time before THEY sense it too, and they'll come for you. Don't say I didn't warn you.

First published in 2020 this book contains over 560 easily readable compact entries in systematic order augmented by an extensive bibliography, an alphabetical list of countries and locations of individuals final resting places (where known) and a day and month list in consecutive order of when an individual died. It details the deaths of individuals, who died too early and often in tragic circumstances, from film, literature, music, theatre, and television, and the achievements they left behind. In addition, some ordinary people who died in bizarre, freak, or strange circumstances are also included. It does not matter if they were famous or just celebrated by a few individuals, all the people in this book left behind family, friends and in some instances devotees who idolised them. Our heartfelt thoughts and sympathies go out to all those affected by each persons death. Whether you are concerned about yourself, a loved one, a friend, or a work colleague there are many helplines and support groups that offer confidential non-judgemental help, guidance and advice on mental health problems (such as anxiety, bereavement, depression, despair, distress, stress, substance abuse, suicidal feelings, and trauma). Support can be by phone, email, face-to-face counselling, courses, and self-help groups. Details can be found online or at your local health care organisation. There are many conspiracy theories, rumours, cover-ups, allegations, sensationalism, and myths about the cause of some individual’s deaths. Only the facts known at the time of writing are included in this book. Some important information is deliberately kept secret or undisclosed. Sometimes not until 20 or even 30 years later are full details of an accident or incident released or in some cases found during extensive research. Similarly, unsolved murders can be reinvestigated years later if new information becomes known. In some cases, 50 years on there are those who continue to investigate what they consider are alleged cover-ups. The first name in an entry is that by which a person was generally known. Where relevant their real name is included in brackets. Date of Death | In the entry detailing the date an individual died their age at the time of their death is recorded in brackets. Final Resting Place | Where known details of a persons final resting place are included. “Unknown” | Used when there is insufficient evidence available to the authorities to establish whether an individuals’ death was due to suicide, accident or caused by another. Statistics The following statistics are derived from the 579 individual “cause of death” entries included in this publication. The top five causes of death are, Heart attack/failure 88 (15.2%) Cancer 55 (9.5%) Fatal injuries (plane crash) 43 (7.4%) Fatal injuries (vehicle crash/collision) 39 (6.7%) Asphyxiation (Suicide) 23 (4%). extract from 'Untimely and Tragic Deaths of the Renowned, The Celebrated, The Iconic

Dostoevsky is a literary titan, and in some ways this can be the kiss of death, because it becomes easy to regard him as yet another sepia-tinted Canonical Author, belovedly dead. His works, and the tall hill of criticism they’ve inspired, are all required acquisitions for college libraries … and there the books usually sit, yellowly, smelling the way really old library books smell, waiting for somebody to have to do a term paper. Dahlberg is mostly right, I think. To make someone an icon is to make him an abstraction, and abstractions are incapable of vital communication with living people.

You must drink lots of wine. We must get you normal again. I don’t want to travel with an imbecile. Not that I’m quite right in the head myself. What have I let myself in for?

The first of these that we know of is the Löwenmensch. It is an extraordinary piece of work, around twelve inches tall, the figure of a man with a lion’s head, and an important piece in understanding our evolution. Of the artist, it shows profound skill, fine motor control and foresight in selecting the right bone and having a plan to carve this figure. It shows an understanding of nature, and reverence of the animals in the ecosystem that impact upon the lives of those people. Crucially it shows a willingness to imagine a thing that does not exist. The figure is a man, as determined by the genitals, and has seven stripes cut into the left arm, almost like tattoos. It was found deep inside the cave at Hohlenstein-Stadel in 1939, in an almost secret vault, a kind of cubbyhole that also held other objects – carved antlers, pendants and beads. The inference is that these objects were precious, possibly things with totemic significance. Nearby in the Vogelherd Cave, figures of a mammoth and a wild horse have been found, and the ornately carved head of a cave lion. Perhaps cave lions at this time were iconic of a ceremonial cult, and the cut marks on the arm meant something important on this mythical creature. Perhaps.

Peace. Warm yourself, warrior, while I tell you of peace. History is unerring, and even the least observant mortal can be made to understand, through innumerable repetition. Do you see peace as little more than the absence of war? Perhaps, on a surface level, it is just that. But let me describe the characteristics of peace, my young friend. A pervasive dulling of the senses, a decadence afflicting the culture, evinced by a growing obsession with low entertainment. The virtues of extremity — honour, loyalty, sacrifice — are lifted high as shoddy icons, currency for the cheapest of labours. The longer peace lasts, the more those words are used, and the weaker they become. Sentimentality pervades daily life. All becomes a mockery of itself, and the spirit grows… restless. Is this a singular pessimism? Allow me to continue with a description of what follows a period of peace. Old warriors sit in taverns, telling tales of vigorous youth, their pasts when all things were simpler, clearer cut. They are not blind to the decay all around them, are not immune to the loss of respect for themselves, for all that they gave for their king, their land, their fellow citizens. The young must not be abandoned to forgetfulness. There are always enemies beyond the borders, and if none exist in truth, then one must be fashioned. Old crimes dug out of the indifferent earth. Slights and open insults, or the rumours thereof. A suddenly perceived threat where none existed before. The reasons matter not — what matters is that war is fashioned from peace, and once the journey is begun, an irresistible momentum is born. The old warriors are satisfied. The young are on fire with zeal. The king fears yet is relieved of domestic pressures. the army draws its oil and whetstone. Forges blast with molten iron, the anvils ring like temple bells. Grain-sellers and armourers and clothiers and horse-sellers and countless other suppliers smile with the pleasure of impending wealth. A new energy has gripped the kingdom, and those few voices raised in objection are quickly silenced. Charges of treason and summary execution soon persuade the doubters. Peace, my young warrior, is born of relief, endured in exhaustion, and dies with false remembrance. False? Ah, perhaps I am too cynical. Too old, witness to far too much. Do honour, loyalty and sacrifice truly exist? Are such virtues born only from extremity? What transforms them into empty words, words devalued by their overuse? What are the rules of the economy of the spirit, that civilization repeatedly twists and mocks? Withal of the Third City. You have fought wars. You have forged weapons. You have seen loyalty, and honour. You have seen courage and sacrifice. What say you to all this?" "Nothing," Hacking laughter. "You fear angering me, yes? No need. I give you leave to speak your mind." "I have sat in my share of taverns, in the company of fellow veterans. A select company, perhaps, not grown so blind with sentimentality as to fashion nostalgia from times of horror and terror. Did we spin out those days of our youth? No. Did we speak of war? Not if we could avoid it, and we worked hard at avoiding it." "Why?" "Why? Because the faces come back. So young, one after another. A flash of life, an eternity of death, there in our minds. Because loyalty is not to be spoken of, and honour is to be endured. Whilst courage is to be survived. Those virtues, Chained One, belong to silence." "Indeed. Yet how they proliferate in peace! Crowed again and again, as if solemn pronouncement bestows those very qualities upon the speaker. Do they not make you wince, every time you hear them? Do they not twist in your gut, grip hard your throat? Do you not feel a building rage—" "Aye. When I hear them used to raise a people once more to war.

St. Peter’s was much bigger than my mother’s church: you could have comfortably fit ten of my mother’s church inside. And it was made of stone and not wood. As in my mother’s church, there was nothing on the walls, no icons or murals or tale-telling stained glass. I knew from my mother’s famous book that St. Peter’s had once been Roman Catholic and that John Calvin had attempted to strip the building of anything that smacked of ornamentation and idolatry. But it hadn’t worked. The walls were bare, but they looked wrong; their bareness just served to remind you that they hadn’t always been bare. It had been over four hundred years since John Calvin had remodeled, but still, his church looked like a man who has just shaved off his mustache.

I believe comic books and superheroes affect our culture so much because they serve to remind us of this powerful and deeply ingrained fact: we matter.

funding for Dian Fossey to study mountain gorillas and Biruté Galdikas to study orangutans. The three women later became known as “the Trimates.

Whataburger is a burger chain that can be found in Southern states, ranging from Florida to Arizona. The first Whataburger was opened in Corpus Christi in 1950 by Harmon Dobson. It has been said that Dobson’s goal was to make a burger so good that you would say, “What a burger!” The first Whataburger to be opened with its iconic orange-and-white striped, A-frame building was in Odessa, TX. Today, there are over 800 locations.

For those of you who get frustrated (or lost) navigating the Goodreads site, remember that the Goodreads icon and the “home” button are on every page and will always bring you back to the home screen.

Use the Internet. (Well, duh!) In the first edition of this book, I suggested everyone get a copy of the Sears catalog—not necessarily to shop from, but as a handy guide to what everything cost. That iconic catalog is long gone, and now, to buy—or sell—anything, new or used, there’s ebay.com and craigslist.com and, of course, Amazon.

The same is true of the horned helmet for which there is not a scrap of contemporary evidence. Viking warriors were much too sensible to place a pair of protuberances on their helmets so ideally positioned as to enable an enemy to knock the helmet off. It is a pity to abandon the iconic horned helmets, but alas, they did not exist.

You have married an Icarus, he has flown to close to the sun.

The world-renowned icons were once unknown, but discovering their purpose made them known. Know who you are and why you are here, and let the world know what you bring to this planet.