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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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

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

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?

This is also a book about vampires. They’re that iconic American archetype of the rambling man, wearing denim, wandering from town to town with no past and no ties. Think Jack Kerouac, think Shane, think Woody Guthrie. Think Ted Bundy.

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.

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.

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.

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.

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.

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

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.

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.

The 'most precious object of the Western world' is now a national monument of Ireland at the very highest level. It is probably the most famous and perhaps the most emotively charged medieval book of any kind. It is the iconic symbol of Irish culture. It is included in the Memory of the World Register compiled by UNESCO. A design echoing the Book of Kells was used on the former penny coin of Ireland (1971 to 2000) and on a commemorative twenty-euro piece in 2012. One of its initials was shown on the reverse of the old Irish five-pound banknote. It has been illustrated on the country's postage stamps. Probably every Irish bar in the world has some reflexion of its script or decoration.

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.

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?

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.

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

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.

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Nir elaborates in this post: TriggerThe trigger is the actuator of a behavior — the spark plug in the engine. Triggers come in two types: external and internal. Habit-forming technologies start by alerting users with external triggers like an email, a link on a web site, or the app icon on a phone. ActionAfter the trigger comes the intended action. Here, companies leverage two pulleys of human behavior – motivation and ability. This phase of the Hook draws upon the art and science of usability design to ensure that the user acts the way the designer intends. Variable RewardVariable schedules of reward are one of the most powerful tools that companies use to hook users. Research shows that levels of dopamine surge when the brain is expecting a reward. Introducing variability multiplies the effect, creating a frenzied hunting state, activating the parts associated with wanting and desire. Although classic examples include slot machines and lotteries, variable rewards are prevalent in habit-forming technologies as well. InvestmentThe last phase of the Hook is where the user is asked to do bit of work. The investment implies an action that improves the service for the next go-around. Inviting friends, stating preferences, building virtual assets, and learning to use new features are all commitments that improve the service for the user. These investments can be leveraged to make the trigger more engaging, the action easier, and the reward more exciting with every pass through the Hook. We’ve found this model (and the accompanying book) to be a great starting point for a customer acquisition and retention strategy.

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Along with being one of earliest sources for the pumpkin's linguistic heritage, the ancient Romans established the use of the pumpkin as an astonishingly consistent comical motif for the politician.

As a sign of human nature, the pumpkin embodied unbounded lust or lack of civility; as a symbol of a place, it represented the untamed natural bounties of North America; and as an emblem of a way of life, it stood for a rustic peasant existence.

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. 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.

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.

The legal department said we couldn't kidnap Timberlake and Bieber. I wanted to see those two fight..." "That wouldn't be much of a fight. J.T. would slay J.B.," said Sparklez. The Announcer started laughing, "I know! I want to see that little Canadian troll get beat up by a true pop icon." His voice changed and suddenly he was back to his normal, happy, totally bonkers, self. "Whatever... I'll just take my anger out on you two.

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.

Iconic hybridity, on the other hand, is the product of representing the self-translation performed by a character or an embodied narrator and therefore represents hybridity as object. The representation of this self-translation is immediate, or rather, it purports to be immediate. This verbatim reproduction is of course an illusion, as all speech and thought presentation is mediated by the narrator (see also Fludernik 2009:65). Furthermore,

and what one reader might read as translational mimesis, another might read as the represented self-translation of an embodied textual agent or even as nonrepresentational hybridity and vice versa. In other words, the reading of an instance of linguistic hybridity on the level of text as nonrepresentational hybridity, symbolic hybridity or iconic hybridity is a cognitive construct based on the interaction of linguistic cues in the text on the one hand and our prior knowledge, assumptions and beliefs on the other hand. The

Laura Vanderkam has written an entire book on the weekend habits of successful people. In What The Most

At the same time as suggesting the language game we clearly do not have a change in the name of God as our only way to think in New Testament terms of an earth at peace. There is Jesus! It is very hard to attribute violence to the originator of the gospel, of the good news of God’s forgiveness and love, of divine healing and welcome. Despite the fact that people refer to his action in the temple in the last days of his life as an exceptional yet conclusive ‘proof’ of Jesus’ use of violence no serious bible scholar would look on these actions divorced from his whole ministry. And because of that we have to see them as a conscious and deliberate prophetic sign-action, taking control of the temple for a brief period to show how it stood in contrast to the direct relationship with God which he proclaimed, and to make the point with a definitive emphasis. The whip he plaits in John is used to drive the animals, probably with the sound of the crack alone. No one is attacked. No one gets hurt. And very soon the situation reverts to the status quo: the authorities take back control of the temple and decide on Jesus’ suffering and death in order to control him. Overall the event is to be seen as Jesus placing himself purposely and calculatedly in the cross-hairs for the sake of the truth, much rather than doing harm to anyone else. The consequences of his actions were indeed ‘the cross’, and supremely in the situation of crucifixion Jesus does not invoke retaliation on his enemies, or threaten those who reject redemption; rather he prays for their forgiveness. No, Jesus’ whole life-story makes him unmistakably a figure of transcendent nonviolence. The problem lies elsewhere, with the way the cross is interpreted within the framework of a violent God. It is unfathomably ironic that the icon of human non-retaliation, Jesus’ cross, gets turned in the tradition into a supreme piece of vengeance—God’s ‘just’ punishment of Jesus in our place. My book, Cross Purposes, is about the way this tradition got formed and it represents just one of a constant stream of writing, gathering force at the end of the last century and continuing into this, questioning how this could be the meaning of the central symbol of Christianity.2 I think the vigor of that question can only continue to grow, while the nonviolence of Jesus’ response must at the same time stand out in greater and greater relief, in its own right and for its own sake. And for that same reason the argument at hand, of ‘No-name’ for a nonviolent God, can only be strengthened when we highlight the nonviolence of Jesus against the traditional violent concept of ‘God’. Now

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

Bible publishers are not selling Bibles. What they're selling is that iconic idea of the Bible. Their value-added biblical content promises to provide answers to questions, solutions to problems, and speaks in no uncertain terms about God's plan for your life and how to live it. Adding value to the Bible almost always means adding "biblical" values that are either missing or really hard to find in the Bible itself but that provide that feeling of Bibleness so many seek.

The history of the Bible is one of perpetual revolution. In that light, we might begin to think about the Bible not so much as a fixed thing but as a dynamic, vital tradition. In light of its history, the Bible looks less like a rock than a river, continually flowing and changing, widening and narrowing, as it moves downstream. For some, thinking about the Bible as a river and not a rock is liberating. That rock has been a millstone around the neck and a tombstone that won’t be rolled away. But for others, seeing it this way can be disorienting. That rock has promised solid foundation in a stormy world. Cling to it or be swept away.

As the discussion in this chapter is predominantly concerned with TT shifts in representational hybridity, and as representational hybridity is linked to its speaker, that is, it is defined by its quality of representing the language of a character or—in the case of iconic hybridity—also an embodied narrator, it makes sense to postulate a separate language facet, as this is the facet where the absence or presence of linguistic hybridity can signal perspective, as long as we keep in mind (i) that the language facet does not necessarily belong to the same textual agent as the other facets of perspective and (ii) that TT shifts in the language facet can trigger TT shifts in other facets too. For

On the level of signified object, iconic hybridity constitutes a subcategory of English, whereas symbolic hybridity constitutes a separate category.

due to its iconic quality (i.e. the representing language and the represented language are identical) iconic hybridity (i) signifies a norm departure and (ii) highlights in-betweenness. Symbolic hybridity, on the other hand, (i) signifies a norm and (ii) highlights otherness. This is

While Bowie was the great photogenic pop icon, his work about characters and masks, Eno’s art was in disappearance: ‘… Eno’s object was to eliminate himself from his work, to minimise his “degree of participation”, to cleanse his art of the idea of the individual artist,’ wrote Simon Frith and Howard Horne in their book Art Into Pop. Eno was interested in systems music, music that almost played itself and followed repetitive patterns. Bowie was interested in dramatic gestures and melodic sweeps.

Icon Books has a fine series called “Revolutions in Science.” These works are succinct, highly readable, and authoritative. The series includes John Henry's Moving Heaven and Earth: Copernicus and the Solar System (Duxford, Cambridge: Icon Books, 2001). Henry's book can be read in an afternoon, and, while not as detailed as Kuhn's classic, it tells the story with verve and lucidity.

The icon of the Bible as God's textbook for the world is as bankrupt as the idea that it stands for, of religious faith as absolute black-and-white certainty. Just as the cultural icon of the flag often becomes a substitute for patriotism, and just as the cultural icon of the four-wheel-drive truck often becomes a substitute for manly independence and self-confidence, so the cultural icon of the Bible often becomes a substitute for a vital life of faith, which calls not for obedient adherence to clear answers but thoughtful engagement with ultimate questions. The Bible itself invites that kind of engagement. The iconic image of it as a book of answers discourages it.

Whether it’s fair or not, we often do judge books by their covers. And that’s why the perceived value of a service or product is usually greater than the actual one. The same visual identity seen time and again builds trust, and trust keeps customers coming back for more.

Once the kennel clubs’ stud books were closed, dog breeding took on the characteristics of a secular religion, and a very hierarchical one at that.

Fear ye not, stand still.… —Exodus 14:13 (KJV) Help, God! I’m overwhelmed! In the middle of creating a real estate brochure, my computer paused for what seemed an eternity each time I dropped in a new photo. “Hmm,” said the technician when my computer reacted to his touch like a really slow-moving snail, “let’s check your apps.” The technician tapped my home screen twice, and a stream of intriguing icons appeared at the bottom of the page. He swiped them with his finger. There were my mailbox, weather, news, Google, Mapquest, calendar, contacts, two word games, solitaire, a poetry book. On he swiped, past real estate, camera, some magazines, alarm clock, dictionary, Bible. “You haven’t turned off your apps in a while,” he said. “I didn’t know I was supposed to,” I answered. “If you leave them on, there’s too much information vying for space,” he explained. “Then everything slows down. A computer is like a person…can’t handle everything at once.” Hey, God, have You brought me here to tell me something? The tech showed me how to turn off the apps I didn’t need. Now my computer was brochure-ready and humming at full speed. As I left the store, I was humming too. Standing still, I turned off all the extra programs in my head and focused on the task at hand! Father, in a complicated world, You bring me back to what’s always true: “Be still” and know…one thing at a time! —Pam Kidd Digging Deeper: Prv 3:5–6; Is 40:28–31

While in Kolkata, India, for this book, I stayed at the iconic Oberoi Grand. The concierge explained to me the hotel’s hiring philosophy: “You can’t bend mature bamboo. But if you get it as a young shoot, you can bend it, mold it. We hire them between the ages of 18 and 21 so we can mold them.” The concierge was one of only 15 double golden key (Clef d’Or) concierges in India, and he knew that sometimes having no experience is a huge advantage. Age doesn’t matter; an open mind does.

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        Godzilla’s famous roar is from a wild animal. Most movie monsters sounds are from animals. King Kong’s roar is an edited lion roar and Jurassic Park’s T-Rex roar is from the ferocious….walrus… huh… Godzilla has the most iconic roar. Strangely, it isn’t from an animal. Akira Ifukube came up with the idea for the sound by stroking a violin chord with a leather glove. I don’t know if Akira has waaaaay too much time on his hands or if he is a genius.

That day, my Master spoke about a concept associated with that iconic flower of Japan, "mono no aware", which meant the impermanence of things. That nothing in this life lasted, just like the short-lived bloom of the sakura. We would never pass the same moment again twice.

Only Sampson and Walton failed to play more than four quality seasons, although Walton did win an MVP and Finals MVP and reinvent himself as the sixth man on an iconic team.

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.

a Barnes and Noble with no goal in particular, I chance upon a book about suicide. It’s right there in front of me on a display table. Perhaps this is the “miracle”? I sit down and read the entire book, taking copious notes into a journal, including other books listed in the bibliography.

I’ve given it to, maybe ten of them have actually opened the book and done the exercises. Of those ten, seven have had books, movies, TV shows,

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busyness serves as a kind of existential reassurance, a hedge against emptiness: Obviously your life cannot possibly be silly or trivial or meaningless if you are so busy, completely booked, in demand every hour of the day. All this noise and rush and stress seem contrived to drown out or cover up some fear at the center of our lives.

THE GRANDEST, MOST eloquent evocation of Depression-era populism came from the Lincoln biographer Carl Sandburg, whose 1936 offering was a book-length poem called The People, Yes. Aside from its iconic title, the work is almost completely forgotten today, a strange outlier amidst the last century’s highbrow taste in poetry. Sandburg’s verse is not abstract; it is not avant-garde. But let us put our cynicism aside for a moment. As the title suggests, The People, Yes was a full-throated celebration of ordinariness: the manners of the people, their dreams, their folly, their aspirations, and above all their speech, the “plain and irregular sounds and echoes from / the roar and whirl of street crowds, work gangs, sidewalk clamor,” as he wrote in the introduction. As with Ballad for Americans and so many other works of the time, there is a compulsive listing of identities, repeated efforts to name-check everyone. Sandburg gives us cantos that are lists of occupations, cantos made up of slang expressions and lines from folktales and popular jokes. There are strikers, angry farmers, tricksters, soldiers, armies, and, of course, a big fat rich guy, ordering others off his property. Naturally Sandburg attacks the elite, mocking the pretenses of aristocracy and reminding his Depression-era audience of something they knew all too well—that justice treats rich and poor differently. He reminds us that bank robbers go to prison but, if you’re a bank officer who loots the company, “all you have to do is start another bank.

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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.