Illustrator Hanging Quotes

HANG THE LAW AND FUCK THE RULES! Where is your love for others? Where is your compassion? All these warriors want is a chance to serve. Doesn’t their love supersede your rules?

Death hangs over thee. While thou livest, while it is in thy power, be good.

CHURCH is like a hospital. It’s where people who are sick, broken, bruised, beaten, and battered with life because of sin and unrighteousness come for help. It’s okay if you are here and don’t have all your life together. If you had all your life together, you wouldn’t need to be here. However, hospitals do not tolerate sick people hanging around who don’t want to get better. No doctor is going to keep fooling with a patient

This is illustrated by one of Aesop’s fables, which says that each of us is born with two sacks suspended from our neck: one filled with the faults of others that hangs within our view and one hidden behind our back filled with our own faults. We see the flaws of others quite clearly, in other words, but we have a blind spot for our own. The New Testament likewise asks why we look at the tiny splinter of wood in our brother’s eye yet pay no attention to the great plank of wood obscuring our own view (Matthew 7:3–5).

All the products of one period have something in common; the artists who illustrate the poetry of their generation are the same artists who are employed by the big financial houses. And nothing reminds me so much of the monthly parts of Notre-Dame de Paris, and of various books by Gérard de Nerval, that used to hang outside the grocer's door at Combray, than does, in its rectangular and flowery border, supported by recumbent river-gods, a 'personal share' in the Water Company.

Adages about drinking found hanging in so many households illustrate

It was too beautiful a night to sleep, so I put my head out to look and to think. I saw the moon come up and hang for a while over the mountain as if it were discouraged with the prospect, and the big white stars flirted shamelessly with the hills. I saw a coyote come trotting along and I felt sorry for him, having to hunt food in so barren a place, but when presently I heard the whirr of wings I felt sorry for the sage chickens he had disturbed. At length a cloud came up and I went to sleep, and next morning was covered several inches with snow.

The naked body of the female consort illustrates freedom from the obscuration of conceptual symbols. As an illustration of unchanging great bliss endowed with the sixteen joys, she appears in the form of a youthful, sixteen-year-old girl. Her hair hangs loose, showing the unlimited way that wisdom expands impartially out of basic space. She is adorned with five bone ornaments. Of these, the ring at the top of her head symbolizes the wisdom of the basic space of phenomena [dharmadhātu], while her bone necklace represents the wisdom of equality. Her earrings stand for discerning wisdom, her bracelets for mirrorlike wisdom, and her belt for all-accomplishing wisdom. Illustrating the unity of calm abiding and insight, her secret space is joined in union.

If you could meet any character from literature, who would it be? I would not want characters to come to my world. They’d lose their special qualities, the perfect amount of what I should know about them. On the other hand, I could go to theirs because they would not have any preconceptions of who I was. I’d like to hang out with the Cheshire cat, learn how to disappear, and speak in smart illogic. He would look exactly like his pen-and-ink illustration by Tenniel. I’d be rendered in pen and ink, too. That would be required for entering a pen-and-ink world with its particular dimensional strangeness.

Furthermore, Professor Uzzi-Tuzii had begun his oral translation as if he were not quite sure he could make the words hang together, going back over every sentence to iron out the syntactical creases, manipulating the phrases until they were not completely rumpled, smoothing them, clipping them, stopping at every word to illustrate its idiomatic uses and its commutations, accompanying himself with inclusive gestures as if inviting you to be content with approximate equivalents, breaking off to state grammatical rules, etymological derivations, quoting the classics. but just when you are convinced that for the professor philology and erudition mean more than what the story is telling, you realize the opposite is true: that academic envelope serves only to protect everything the story says and does not say, an inner afflatus always on the verge of being dispersed at contact with the air, the echo of a vanished knowledge revealed in the penumbra and in tacit allusions. Torn between the necessity to interject glosses on multiple meanings of the text and the awareness that all interpretation is a use of violence and caprice against a text, the professor, when faced by the most complicated passages, could find no better way of aiding comprehension than to read them in the original, The pronunciation of that unknown language, deduced from theoretical rules, not transmitted by the hearing of voices with their individual accents, not marked by the traces of use that shapes and transforms, acquired the absoluteness of sounds that expect no reply, like the song of the last bird of an extinct species or the strident roar of a just-invented jet plane that shatters the sky on its first test flight. Then, little by little, something started moving and flowing between the sentences of this distraught recitation,. The prose of the novel had got the better of the uncertainties of the voice; it had become fluent, transparent, continuous; Uzzi-Tuzii swam in it like a fish, accompanying himself with gestures (he held his hands open like flippers), with the movement of his lips (which allowed the words to emerge like little air bubbles), with his gaze (his eyes scoured the page like a fish's eyes scouring the seabed, but also like the eyes of an aquarium visitor as he follows a fish's movement's in an illuminated tank).

Did you ever hear of the Queensborough Bridge?' 　　Wilbur shook his head. 'Is it a web?' 　　'Sort of,' replied Charlotte. 'But do you know how long it took men to build it? Eight whole years. My goodness, I would have starved to death waiting that long. I can make a web in a single evening.' 　　'What do people catch in the Queensborough Bridge—bugs?' asked Wilbur. 　　'No,' said Charlotte. 'They don’t catch anything. They just keep trotting back and forth across the bridge thinking there is something better on the other side. If they’d hang head-down at the top of the thing and wait quietly, maybe something good would come along. But no—with men it’s rush, rush, rush, every minute. I’m glad I’m a sedentary spider.

The Scorsese Principle Hold attention with visual images that illustrate a story. I think most who have seen Martin Scorsese’s film Goodfellas remember the scene of Paul Sorvino thinly slicing a garlic clove with a razor blade in prison. That visual illustrated the gourmet lifestyle his wiseguys were living even behind bars. Through your words, craft stories that are so engaging that the listener is hanging on every detail. Direct the film that plays in your listener’s mind.

Here’s one example to illustrate the point. When a smoker takes a cigarette break, on one level he’s simply seeking the nicotine his body craves. That’s the functional dimension. But that’s not all that’s going on. He’s hiring cigarettes for the emotional benefit of calming him down, relaxing him. And if he works in a typical office building, he’s forced to go outside to a designated smoking area. But that choice is social, too—he can take a break from work and hang around with his buddies. From this perspective, people hire Facebook for many of the same reasons. They log onto Facebook during the middle of the workday to take a break from work, relax for a few minutes while thinking about other things, and convene around a virtual water cooler with far-flung friends. In some ways, Facebook is actually competing with cigarettes to be hired for the same Job to Be Done. Which the smoker chooses will depend on the circumstances of his struggle in that particular moment.

The Butcher’s Shop The pigs are strung in rows, open-mouthed, dignified in martyrs’ deaths. They hang stiff as Sunday manners, their porky heads voting Tory all their lives, their blue rosettes discarded now. The butcher smiles a meaty smile, white apron stained with who knows what, fingers fat as sausages. Smug, woolly cattle and snowy sheep prance on tiles, grazing on eternity, cute illustrations in a children’s book. What does the sheep say now? Tacky sawdust clogs your shoes. Little plastic hedges divide the trays of meat, playing farms. playing farms. All the way home your cold and soggy paper parcel bleeds.

Our supposed leader was Miss Joyce, who had been working as a civil servant in the department since its foundation forty-five years earlier in 1921. She was sixty-three years old and, like my late adoptive mother Maude, was a compulsive smoker, favouring Chesterfield Regulars (Red), which she imported from the United States in boxes of one hundred at a time and stored in an elegantly carved wooden box on her desk with an illustration of the King of Siam on the lid. Although our office was not much given to personal memorabilia, she kept two posters pinned to the wall beside her in defence of her addiction. The first showed Rita Hayworth in a pinstriped blazer and white blouse, her voluminous red hair tumbling down around her shoulders, professing that ‘ALL MY FRIENDS KNOW THAT CHESTERFIELD IS MY BRAND’ while holding an unlit cigarette in her left hand and staring off into the distance, where Frank Sinatra or Dean Martin were presumably pleasuring themselves in anticipation of erotic adventures to come. The second, slightly peeling at the edges and with a noticeable lipstick stain on the subject’s face, portrayed Ronald Reagan seated behind a desk that was covered in cigarette boxes, a Chesterfield hanging jauntily from the Gipper’s mouth. ‘I’M SENDING CHESTERFIELDS TO ALL MY FRIENDS. THAT’S THE MERRIEST CHRISTMAS ANY SMOKER CAN HAVE – CHESTERFIELD MILDNESS PLUS NO UNPLEASANT AFTER-TASTE’ it said, and sure enough he appeared to be wrapping boxes in festive paper for the likes of Barry Goldwater and Richard Nixon, who, I’m sure, were only thrilled to receive them

Yet “the danger is great,”55 as Mephistopheles says, for these depths fascinate. When the libido leaves the bright upper world, whether from choice, or from inertia, or from fate, it sinks back into its own depths, into the source from which it originally flowed, and returns to the point of cleavage, the navel, where it first entered the body. This point of cleavage is called the mother, because from her the current of life reached us. Whenever some great work is to be accomplished, before which a man recoils, doubtful of his strength, his libido streams back to the fountainhead—and that is the dangerous moment when the issue hangs between annihilation and new life. For if the libido gets stuck in the wonderland of this inner world,56 then for the upper world man is nothing but a shadow, he is alrof the unconscious to be eady moribund or at least seriously ill. But if the libido manages to tear itself loose and force its way up again, something like a miracle happens: the journey to the underworld was a plunge into the fountain of youth, and the libido, apparently dead, wakes to renewed fruitfulness. This idea is illustrated in an Indian myth: Vishnu sank into a profound trance, and in his slumber brought forth Brahma, who, enthroned on a lotus, rose out of Vishnu’s navel, bringing with him the Vedas (pl. XLVIa), which he diligently read. (Birth of creative thought from introversion.) But through Vishnu’s ecstatic absentmindedness a mighty flood came upon the world. (Devouring and destruction of the world through introversion.) Taking advantage of the general confusion, a demon stole the Vedas and hid them in the depths. Brahma then roused Vishnu, who, changing himself into a fish (pl. XLVII), plunged into the flood, fought the demon, conquered him, and recaptured the Vedas.

The wonderful thing about Moab is that everything happens in a story-book setting, with illustrations by Maxfield Parrish and Wyeth and Joe Coll, and all the rest of them, whichever way you look. Imagine a blue sky—so clear-blue and pure that you can see against it the very feathers in the tails of wheeling kites, and know that they are brown, not black. Imagine all the houses, and the shacks between them, and the poles on which the burlap awnings hang, painted on flat canvas and stood up against that infinite blue. Stick some vultures in a row along a roof-top—purplish—bronze they’ll look between the tiles and sky. Add yellow camels, gray horses, striped robes, long rifles, and a searching sun-dried smell. And there you have El-Kerak, from the inside. From any point along the broken walls or the castle roof you can see for fifty miles over scenery invented by the Master-Artist, with the Jordan like a blue worm in the midst of yellow-and-green hills twiggling into a turquoise sea. The villains stalk on-stage and off again sublimely aware of their setting. The horses prance, the camels saunter, the very street-dogs compose themselves for a nap in the golden sun, all in perfect harmony with the piece. A woman walking with a stone jar on her head (or, just as likely, a kerosene can) looks as if she had just stepped out of eternity for the sake of the picture. And not all the kings and kaisers, cardinals and courtezans rolled into one great swaggering splurge of majesty could hold a candle to a ragged Bedouin chief on a flea-bitten pony, on the way to a small-town mejlis.

I thought my life with Kelli could be balanced, mitigated,. That Irene had just been doing it all wrong these years. I' thought we could hang out like normal sisters, run errands, go for lattes with Jessica Hendy, and every now and then go off and have a little temper tantrum if Kelli go on my nerves--leave her in the car, assume she'd be fine. I'd assumed I could indulge myself if need be, that there could be some kind of fulfillment beyond my sister's care--that I didn't have to give myself over to it completely. But here's what I needed to understand--what Irene understood. Either you were all in with Kelli, or you were not. But if you were, Kelli had to become your joy. Kelli would be where you went for meaning. Kelli was what it was all about. And Irene was right about this too-- it was like faith. It was exactly like faith in that you had to stop futzing around and let it take you over. No more hemming and hawing. No more trying to have it both ways. And once you put your petty shit aside --your petty ego and your petty needs and your petty ambitions--that was when at last the world opened up. The world that was Kelli. It was a small world, a circumscribed world but it was your world and you did what you could to make it more beautiful. You focused on hygiene, nourishing meals, a pleasing home that always smelled good. That was your achievement and more important that was you. Once you accept that, you were--and this was strange to think, but the moment I thought it, I realized I put my finger on the savagely beating heart of my mother's philosophy--free. When I was a kid, my mother had a lavishly illustrated encyclopedia of saints she would sometimes flip through with me, and I remember how she always made a point of skipping over Saint Teresa of Avila . She didn't want to talk about the illustration that went with it. It was a photograph of the sculpture The Ecstasy of Saint Teresa, and it was pretty obvious to me even as a child why my mother disapproved. It was a sexy sculpture. The smirking angel prepares to pierce Teresa's heart with his holy spear, and boy oh boy is Saint Teresa ready. Her eyes are closed, her lips are parted, and somehow everything about her marble body, swathed in marble clothing looks to be in motion. Saint Teresa is writhing. She's writhing because that is what it is to be a Catholic Saint. This is your fulfillment. The giving over. The letting go. The disappearance. This is what it takes

We must never forget that the people who follow us are exactly where we have led them. If there is no one to whom we can delegate, it is our own fault. Many examples in history underscore the centrality of this catalytic leadership principle. Each illustrates the fact that you never know what hangs in the balance of a decision to play to your strengths. Oddly enough, it was the prudent application of this principle that enabled the fledgling first-century church to consolidate its gains and capitalize on its explosive growth, without losing focus or momentum.

In Mahayana Buddhism, the fractal nature of reality is illustrated in the Avatamsaka Sutra by the metaphor of Indra's net, a vast network of precious gems hanging over the palace of the god Indra, so arranged that if you look at one you see all the others reflected in it.

Some people believe labor-saving technological change is bad for the workers because it throws them out of work. This is the Luddite fallacy, one of the silliest ideas to ever come along in the long tradition of silly ideas in economics. Seeing why it's silly is a good way to illustrate further Solow's logic. The original Luddites were hosiery and lace workers in Nottingham, England, in 1811. They smashed knitting machines that embodied new labor-saving technology as a protest against unemployment (theirs), publicizing their actions in circulars mysteriously signed "King Ludd." Smashing machines was understandable protection of self-interest for the hosiery workers. They had skills specific to the old technology and knew their skills would not be worth much with the new technology. English government officials, after careful study, addressed the Luddites' concern by hanging fourteen of them in January 1813. The intellectual silliness came later, when some thinkers generalized the Luddites' plight into the Luddite fallacy: that an economy-wide technical breakthrough enabling production of the same amount of goods with fewer workers will result in an economy with - fewer workers. Somehow it never occurs to believers in Luddism that there's another alternative: produce more goods with the same number of workers. Labor-saving technology is another term for output-per-worker-increasing technology. All of the incentives of a market economy point toward increasing investment and output rather than decreasing employment; otherwise some extremely dumb factory owners are foregoing profit opportunities. With more output for the same number of workers, there is more income for each worker. Of course, there could very well be some unemployment of workers who know only the old technology - like the original Luddites - and this unemployment will be excruciating to its victims. But workers as a whole are better off with more powerful output-producing technology available to them. Luddites confuse the shift of employment from old to new technologies with an overall decline in employment. The former happens; the latter doesn't. Economies experiencing technical progress, like Germany, the United Kingdom, and the United States, do not show any long-run trend toward increasing unemployment; they do show a long-run trend toward increasing income per worker. Solow's logic had made clear that labor-saving technical advance was the only way that output per worker could keep increasing in the long run. The neo-Luddites, with unintentional irony, denigrate the only way that workers' incomes can keep increasing in the long-run: labor-saving technological progress. The Luddite fallacy is very much alive today. Just check out such a respectable document as the annual Human Development Report of the United Nations Development Program. The 1996 Human Development Report frets about "jobless growth" in many countries. The authors say "jobless growth" happens whenever the rate of employment growth is not as high as the rate of output growth, which leads to "very low incomes" for millions of workers. The 1993 Human Development Report expressed the same concern about this "problem" of jobless growth, which was especially severe in developing countries between 1960 and 1973: "GDP growth rates were fairly high, but employment growth rates were less than half this." Similarly, a study of Vietnam in 2000 lamented the slow growth of manufacturing employment relative to manufacturing output. The authors of all these reports forget that having GDP rise faster than employment is called growth of income per worker, which happens to be the only way that workers "very low incomes" can increase.

You have been led astray, my child, by the conflicting and vain opinions of mankind. You, like many others in the world, delight to question, to speculate, to weigh this, to measure that, with little or no profit to yourself or your fellow-creatures. And you have come freshly from a land where, in the great Senate-house, a poor perishable lump of clay calling itself a man, dares to stand up boldly and deny the existence of God, while his compeers, less bold than he, pretend a holy displeasure, yet secretly support him — all blind worms denying the existence of the sun; a land where so-called Religion is split into hundreds of cold and narrow sects, gatherings assembled for the practice of hypocrisy, lip-service and lies — where Self, not the Creator, is the prime object of worship; a land, mighty once among the mightiest, but which now, like an over-ripe pear, hangs loosely on its tree, awaiting but a touch to make it fall!

Crisis results from having sufficient, relevant facts to create a problem that listeners have an interest in solving and that forces them to journey through a narrative to discover the resolution found in the climax. If preachers do not bring an audience to the edge of wonder, grief, anger, confusion, fear, or discovery, then their words have no point—no hook on which to hang meaning. The internal tensions of illustrations hold a congregation because they spotlight the very types of experiences that bring people to hear the minister.

But Not the Hippopotamus This book is a book about a hippopotamus that watches other animals play together and do certain activities. The hippopotamus just hangs around waiting for them to ask him to play. They finally ask him to play and so he is now included. This book I feel covers the Identity of courage by the other kids asking hippopotamus to go play with them. John James Audubon Painted Birds: Little Naturalists This book describes James Audubon and the type of artwork he does. This book shows all the parts of a bird such as the beak, legs, wings, etc. This book is children's literature because it is teaching the children the parts of a bird as well as illustrating the pictures of the birds so that the children can comprehend the birds and have illustrations to help.

I love masks for two completely contrary reasons… One is that they they’re a way of covering up an experience or a feeling. The other is that they’re a way of exposing through a liberation. A mask is a way of taking on another personality for a period of time. Now, I play it both ways, I think, in the drawings, and in the fiction as well. Clearly there are some things that we can do in masked form that we would not otherwise – this is the classic dramatic device of the masked ball. You put on the mask and you’re allowed to do all kinds of things that hitherto you wouldn’t do: you seduce the people you would fear to seduce unmasked; you say the things you most fear to say unmasked. But there’s another way, which is that masks can be something that we plaster onto our faces to cover up the possibility of this eruption. I think masks have two quite contrary forms… I think some of the masks I’ve put on characters are very bland – wilfully bland. And then others seems to want erupt in all directions. That’s the paradox.’ Barker’s love affair with the stage also plays a part in his affection for these symbols of theatre. ‘There’s a whole series of sketches of actors, basically… People with masks on killing each other with wooden swords. People with masks on seducing each other. Just very simple ideas for things. They compare, forcibly, I think, with the masks which are just simply hanging up or floating in the air, as though the person who had once occupied them has just flitted away.’ Indeed, one of the most powerful of these pictures is a simple study of a mask hanging from a tree, laid aside carefully while its owner has a moment in which he doesn’t require it. There are also those masks which allow the wearers to express themselves in a way maybe they couldn’t otherwise… expressing themselves more strongly than human physiognomy will allow.’ Seen in this light, the monsters of Nightbreed and The Skins of the Fathers are clearly just a larger than life version of humanity - just like us beneath their demon masks; seen in this light, we could all just as easily put on the tragic button eyes and zipper mouth of a homicidal maniac. Barker, both in his artwork and his words, remains sagely mute on the obvious (and moralistic) question: are we truest to ourselves when we put on our masks, or when we take them off? If anything, his drawings will admit only to unembroidered irony and acceptance. When two lovers sit in a studied yet impassioned embrace – his penis erect, her nipples swollen – they are able to reveal these most private parts of themselves freely. It is their faces, seemingly the most public part of their personae, that are, in reality, still hidden, as they proceed through life as actors in this stageplay of their own creation. By trying on masks, people experiment with who they are and with who they want to be, free in the knowledge that they can turn back at any time. After all, pretending to be a fish is still a long way from becoming one. It should come as no surprise that, when we begin with humanity and then expose its masks, we find ourselves at transformation, the heart of Barker’s fiction. It is not always an easy place to be. ‘These images of transformation are, for me, ways to draw characters that are exploding out of their condition into something else. Becoming something else. Dissolving into something else… There isn’t rage in the drawings. There’s an awful lot less anger in the drawings than there is in the fiction. When there are images of constriction they tend to be very strong images of constriction, and then there is an eruption from that constriction. There are a lot more images of peace, or at least the possibility of peace, in my drawings than there are in the fiction.

Blankets were served out to hang in the front of the cubicle, in case the inhabitants wanted at any time to “sport their oak”.

​Outside Clank was waiting for me. “Sup bro,” Clank said. ​“Wussahp my dude,” I high fived him. ​“High five dues,” Liz showed up and raised all eight of her arms. ​Wait. ​LIZ?! ​At my house?! Not good, not good, not good, if my mom sees Liz and I hanging out in front of the house I will never hear the end of it. We gotta go, now, like now-now.

A filmmaker made a short documentary about this happy-go-lucky teenager on death row, called My Last Days. It showed Zach living happily, hanging out with his family, and playing music. Everybody loved Zach. When you see the footage, you can’t help but like him. As you watch him laugh and love and sing, you catch yourself forgetting: this kid is about to die. Zach’s family tells the camera how knowing he would die has helped them realize what matters in life and to find true meaning. “It’s really simple, actually,” Zach says. “Just try and make people happy.” As the 22-minute film closes, Zach looks into the camera, smiling, and says, “I want to be remembered as the kid who went down fighting, and didn’t really lose.” Not long after he said those words, Zach passed away. When Eli Pariser and Peter Koechley of Upworthy saw the film, they thought, This is a story that needs to be heard. Now just over a year old, Upworthy has become quite popular. In fact, it recently hit 30 million monthly visitors, making it, according to the Business Insider, the fastest-growing media company in history.* (Seven-year-old BuzzFeed was serving 50 million monthly visitors at the time.) The Zach Sobiech story illustrates how Upworthy used rapid feedback to do it: According to Upworthy’s calculations, My Last Days had the potential to reach a lot of people. But so far, few had seen it. The filmmaker had posted the documentary under the headline, “My Last Days: Meet Zach Sobiech.” Though descriptive, it was suboptimal packaging. In the ADD world of Facebook and Twitter, it’s no surprise that few people clicked. Upworthy reposted the video with a new title: “We Lost This Kid 80 Years Too Early. I’m Glad He Went Out with a Bang,” and shared it with a small number of its subscribers, then waited to see who clicked.

Doesn’t he realize that I’ve had kids hanging on me all day? Literally? The last thing I want now is someone inside of me. I just want my body to myself! I don’t want anyone touching me for at least ten minutes. And then I want to sleep!

With over 5,000 years of continuous history, the subcontinent known as India has flourished. Its culture, people, and history have added a crucial, colorful chapter to the history of humankind as a whole. India has participated in many events that shaped the progress and future of mankind, and its art, philosophy, literature, and culture have influenced billions. From the culture's inception in the Indus Valley or Harappan Civilization, the people of the Indian subcontinent have acted as the fulcrum between the east and west. Their civilization once flourished as a trading titan and provided the ancient world with a rich and varied society, unlike its contemporaries it did so without succumbing to the horrors of war. This tradition of economic and philosophic focus would be transmitted throughout the ages through each of the different eras in Indian history. In the ancient world, the Indus Valley civilization provided the backbone of what would become Indian culture. As the society eventually collapsed, it left behind traces of its existence to be found and adopted by the Vedic peoples that sprung from their demise. In the Vedic period, Indian culture and history were shaped and transformed into literary masterpieces that survive today as a lynchpin of Hindu philosophy. It also saw the birth of Buddhism, the ascension of the Buddha and the spread of a counter culture that has expanded far across the globe, influencing the lives of millions. This very formative era in Indian history gives modern-day society an idea of what the structure of Indian history and society would become. This feudal period in India was one of ideological development in both the Vedic or Hindu ways and the ways of the Sramana traditions that arose as a countercultural movement. These two ideologies would go on to influence the various empires that would begin to form after the Vedic Age. In the Age of Empires, the Indian subcontinent would witness the birth of empires like that of Cyrus the Great in Persia and Alexander the Great of Macedonia. The disunity of the Indian kingdoms would allow foreign invaders to influence this era, but although the smaller Indian kingdoms were defeated in many ways, India remained unconquered as a whole. From this disunity and vulnerability, the first Indian empires would begin taking shape. From the Mauryan to the Gupta and beyond, the first Indian empires would shape the history of India in ways that are hard to fathom. Science, mathematics, art, architecture, and literature would flourish in this age. This period would provide India with a national identity that hangs on to this day. In the Age of Muslim Expansion, India was introduced to yet another vital part of its history and culture. Though many wars were fought between the Indian kingdoms and the Muslim sultanates, the people of the Indian subcontinent adopted an attitude of religious tolerance that persists to this day. In modern-day India, you can see the influence of the Muslim cultures that put down roots in India during this time, most notably in the Taj Mahal. In the Age of Exploration, the expansion of European power across the globe would shape the history of India under the Portuguese, Dutch, and eventually the British. This period, although known for exploitation, can also be attributed with the birth of Indian democracy and republican values that we would see born in the modern age. Though the modern age is but a minuscule fraction of the gravitas of Indian history, it maintains itself as a colorful portrait of the Indian soul. If one truly wants to understand Indian history, one but has to look at the astounding culture of modern-day India. The 50 events chosen to be illustrated in this book are but a few of the thousands if not millions of crucial events that shaped and built the extravagance of the country we now call India.

A breathtaking tree. My tree, as Andy used to proudly proclaim. Three hundred years old, as wide as it was tall, with an enormous trunk and heavy, twisting limbs as thick as barrels. Crowned by a broad, leafy canopy reaching outward and upward and spreading north, south, east and west. The lower limbs were carpeted with hanging moss and drooping ferns and they skimmed the ground - massive, crooked, arthritic fingers gesturing come hither, a tree begging to be climbed. A tree slowly sculpted over the decades by strong and unceasing hilltop winds. At once beautiful and grotesque, a tree beloved by a little boy whose dreams of looking down at the world from above the clouds would never come true.