Impression Printing Quotes

Warning: If you are reading this then this warning is for you. Every word you read of this useless fine print is another second off your life. Don't you have other things to do? Is your life so empty that you honestly can't think of a better way to spend these moments? Or are you so impressed with authority that you give respect and credence to all that claim it? Do you read everything you're supposed to read? Do you think every thing you're supposed to think? Buy what you're told to want? Get out of your apartment. Meet a member of the opposite sex. Stop the excessive shopping and masturbation. Quit your job. Start a fight. Prove you're alive. If you don't claim your humanity you will become a statistic. You have been warned.

You love it right?" Lassiter asked, holding his Bible high. "I mean, you told me to go on the internet. I did. I even printed out my diploma or whatever the hell it's called." Opening the cover of the King James version, he took out a piece of paper and waved it around. "See? Nice and legal-like" Beth leaned in "Wow". "I know right? Just like Harvard" "Impressive" "I'm totally framing that shit, wha-what.

The print does not always have the same shape as the body that impressed it, and it doesn't always derive from the pressure of a body. At times it reproduces the impression a body has left in our mind: it is the print of an idea.

He stole my Nebula Land submission, impressed the Creators, and used the bonus to buy his lover an engagement ring.

What made me maddest was the media treatment of the BPP, which gave the impression that the Party was racist and violent. And it worked. The pigs would burst into a Panther office, shoot first, and ask questions later. The press always reported that the police had “uncovered” a large arsenal of weapons. Later, when the “arsenal” turned out to be a few legally registered rifles and shotguns, the press never printed a word. The same thing goes on today.

He looked at the houses he had been passing these weeks and though he had never studied them carefully they had become familiar through the process of seeing them so often, and he was now impressed with the change in their appearance as he looked at them through the gray of the air and whiteness of the snow, each house, shrub, tree, bush and mailbox trimmed with snow and blending into the air as if they were just a picture projected upon the still, pearly grayness, just an impression created by the silent snow, a picture on the edge and verge of disappearing and leaving only the air and snow through which he now lightly walked. It did not seem possible, but the air was even softer and quieter. He continued walking alongside his prints feeling he could walk forever, that as long as the silent snow continued falling he could continue walking, and as he did he would leave behind all worries and cares, all horrors of the past and future. There would be nothing to bother him or torture his mind and fill his body with tremors of fear, the dark night of the soul over. There would only be himself and the soft, silent snow; and each flake, in its own life, its own separate and distinct entity, would bring with it its own joy, and he would easily partake of that joy as he continued walking, the gentle, silent snow falling ever so quietly, ever so joyously ... yes, and ever so love-ing-ly ... loveing-ly....

Atalanta had shown me bear tracks in the woods. A series of clawed prints, larger than my hand, leading away into the brush. The creature who had made them was long gone and could only be defined by the impressions it had left. Love was like that, noticeable only by its absence.

When you don the pelt of a particular animal--snake, beaver, marmoset--the effect on the viewer is dramatic [...]. You will instantly and shockingly be perceived as having the same traits as your chosen varmint. [...] The wearing of moleskin says, "I am soft and velvety and mysterious and like to hide underground." A mink coat says, "I'm a tough cookie. Though I may not have the wherewithal to actually kill you, please expect to be nipped on a regular basis." The pelts of predators always give the impression that you are a man-stealing, window-smashing home wrecker. This also applies to animal-printed fabric. The message of a leopard-print jumpsuit is clear, "I am a huntress who delights in eating the offal of her prey.

Fiction is history, human history, or it is nothing. But it is also more than that; it stands on firmer ground, being based on the reality of forms and the observation of social phenomena, whereas history is based on documents, and the reading of print and handwriting—on second-hand impression. Thus fiction is nearer truth.4

It happen’d one Day about Noon going towards my Boat, I was exceedingly surpriz’d with the Print of a Man’s naked Foot on the Shore, which was very plain to be seen in the Sand: I stood like one Thunder-struck, or as if I had seen an Apparition; I listen’d, I look’d round me, I could hear nothing, nor see any Thing, I went up to a rising Ground to look farther, I went up the Shore and down the Shore, but it was all one, I could see no other Impression but that one, I went to it again to see if there were any more, and to observe if it might not be my Fancy; but there was no Room for that, for there was exactly the very Print of a Foot, Toes, Heel, and every Part of a Foot; how it came thither, I knew not, nor could in the least imagine. But

The kinds of things he says with a straight face impress the hell out of me, and I can’t help feeling oddly attracted to his blunt nature. I blame my exposure to Pride and Prejudice at a young and impressionable age.

And how easy it was to leave this life, after all - this life that could feel so present and permanent that departing from it must seem to require a tear into a different dimension. There the bunch of them were, young hopefuls, decorating their annually purged dorm rooms with postcards and prints and favorite photographs of friends, filling them with hot pots and dried flowers, throw rugs and stereos. Houseplants, a lamp, maybe some furniture brought up by encouraging parents. They nested there like miniature grownups. As if this provisional student life - with its brushfire friendships and drink-addled intimacies, its gorging on knowledge and blind sexual indulgences - could possibly last. As if it were a home, of any kind at all: someplace to gather one's sense of self. Flannery had never felt for a minute that these months of shared living took place on anything other than quicksand, and it had given this whole year (these scant seven or eight months, into which an aging decade or so had been condensed) a sliding, wavery feel. She came from earthquake country and knew the dangers of building on landfill. That was, it seemed to Flannery, the best description of this willed group project of freshman year: construction on landfill. A collective confusion of impressions and tendencies, mostly castoffs with a few keepers. What was there to count on in any of it? What structure would remain, founded on that?

If you do not know me, you whose presence is not even essential to me, it can only mean that this calendar has been badly printed. Your photographs on my walls and the bitter memories that our meetings have impressed upon my heart have only a paltry role in my love! You figure large in my dreams, ever-present, alone on the stage yet destitute of any role. I encounter you rarely on my path. I am of an age when one begins to contemplate one's emaciated fingers, and at which youth is so full, so real that it cannot be long before it begins to fade. Your lips bring tears to my eyes; you sleep naked in my brain and I dare not rest.

Fiction is history, human history, or it is nothing. But it is also more than that; it stands on firmer ground, being based on the reality of forms and the observation of social phenomena, whereas history is based on documents and the reading of print and handwriting on second-hand impression. Thus fiction is nearer truth.

At every instant the objects and events in the world around us bombard us with impressions. As they do so they produce a phantasia, a mental impression. From this the mind generates a perception (hypolepsis), which might best be compared to a print made from a photographic negative. Ideally this print will be an accurate and faithful representation of the original. But it may not be. It may be blurred, or it may include shadow images that distort or obscure the original. Chief among these are inappropriate value judgments: the designation as “good” or “evil” of things that in fact are neither good nor evil. For example, my impression that my house has just burned down is simply that—an impression or report conveyed to me by my senses about an event in the outside world. By contrast, my perception that my house has burned down and I have thereby suffered a terrible tragedy includes not only an impression, but also an interpretation imposed upon that initial impression by my powers of hypolepsis. It is by no means the only possible interpretation, and I am not obliged to accept it. I may be a good deal better off if I decline to do so. It is, in other words, not objects and events but the interpretations we place on them that are the problem. Our duty is therefore to exercise stringent control over the faculty of perception, with the aim of protecting our mind from error.

The thing that impressed me most was that Eddie should have been bitter and he was not. He had used the incident for his own entertainment and mine. Whether he also used it for my edification I do not know. But I thought about this old man then. And his people. Thought about how they’d been slaughtered, almost wiped out, forced to live on settlements that were more like concentration camps, then poked, prodded, measured and taped, had photos of their sacred business printed in colour in heavy academic anthropological texts, had their sacred secret objects stolen and taken to museums, had their potency and integrity drained from them at every opportunity, had been reviled and misunderstood by almost every white in the country, and then finally left to rot with their cheap booze and our diseases and their deaths, and I looked at this marvellous old half-blind codger laughing his socks off as if he had never experienced any of it, never been the butt of a cruel ignorant bigoted contempt, never had a worry in his life, and I thought, OK old man, if you can, me too.

In French printer's jargon, cliche (which mimicked the sound of a mold striking molten metal) was a synonym for stereotype, which in turn evolved from the Greek for "solid impression." A stereotype was a printing plate that duplicated typography and that was used by the printer in lieu of the original. So a cliche is a word or phrase used over and over again in lieu of the original.

Further along in the sandy soil they found one clear impression after another. Here the tracking was swift. Zack was out in front when there was a different track. The bear print was changed. Zack stared at it and felt the hair on the back of his neck stand up. The print he saw in the sand wasn't a bear anymore. It was the bearfoot print of a man. "Oh, shit!" he said. THE OTHER; R Lawson Gamble

And that discovery would betray the closely guarded secret of modern culture to the laughter of the world. For we moderns have nothing of our own. We only become worth notice by filling ourselves to overflowing with foreign customs, arts, philosophies, religions and sciences: we are wandering encyclopaedias, as an ancient Greek who had strayed into our time would probably call us. But the only value of an encyclopaedia lies in the inside, in the contents, not in what is written outside, in the binding or the wrapper. And so the whole of modern culture is essentially internal; the bookbinder prints something like this on the cover: “Manual of internal culture for external barbarians.” The opposition of inner and outer makes the outer side still more barbarous, as it would naturally be, when the outward growth of a rude people merely developed its primitive inner needs. For what means has nature of repressing too great a luxuriance from without? Only one,—to be affected by it as little as possible, to set it aside and stamp it out at the first opportunity. And so we have the custom of no longer taking real things seriously, we get the feeble personality on which the real and the permanent make so little impression. Men become at last more careless and accommodating in external matters, and the [Pg 34] considerable cleft between substance and form is widened; until they have no longer any feeling for barbarism, if only their memories be kept continually titillated, and there flow a constant stream of new things to be known, that can be neatly packed up in the cupboards of their memory.

Scientists now know the brain receives 400 billion bits of information each second. To give you some idea of just how much information that is, consider this: It would take nearly 600,000 average-size books just to print 400 billion zeros. Needless to say, that’s a heck of a lot of reality. So what do we do? We start screening. We start narrowing down. I’ll take that bit of information over there, and let’s see—this one fits nicely with my ongoing soap opera about the opposite sex. When all is said and done, we’re down to 2,000 measly bits of information. Go ahead and take a bow, because even that’s pretty impressive. We’re talking 2,000 bits of information each and every second. But here’s the problem. What we choose to take in is only one-half of one-millionth of a percent of what’s out there.

In the forty minutes I watched the muskrat, he never saw me, smelled me, or heard me at all. When he was in full view of course I never moved except to breathe. My eyes would move, too, following his, but he never noticed. Only once, when he was feeding from the opposite bank about eight feet away did he suddenly rise upright, all alert- and then he immediately resumed foraging. But he never knew I was there. I never knew I was there, either. For that forty minutes last night I was as purely sensitive and mute as a photographic plate; I received impressions, but I did not print out captions. My own self-awareness had disappeared; it seems now almost as though, had I been wired to electrodes, my EEG would have been flat. I have done this sort of thing so often that I have lost self-consciousness about moving slowly and halting suddenly. And I have often noticed that even a few minutes of this self-forgetfulness is tremendously invigorating. I wonder if we do not waste most of our energy just by spending every waking minute saying hello to ourselves. Martin Buber quotes an old Hasid master who said, “When you walk across the field with your mind pure and holy, then from all the stones, and all growing things, and all animals, the sparks of their souls come out and cling to you, and then they are purified and become a holy fire in you.

[Walter Lippmann] applied the term “stereotype” to what he called “the pictures in our heads”—impressions that reflect subjective perceptions but stand in for objective reality. The word comes from the old typesetting process, in which a mold of a message is cast on a metal plate and replicated in the printing process again and again—mimicking the unchecked spread of ideas that we only presume to be true. Those ideas then dictate how we interpret what we see.

At every instant the objects and events in the world around us bombard us with impressions. As they do so they produce a phantasia, a mental impression. From this the mind generates a perception (hypolepsis), which might best be compared to a print made from a photographic negative. Ideally this print will be an accurate and faithful representation of the original. But it may not be. It may be blurred, or it may include shadow images that distort or obscure the original.

Nothing returns, nothing begins anew; it is never the same thing, and yet it seems always the same. For, if the days never return, every moment brings forth new beings whose destiny it will be to create for themselves, in the course of their lives, the same illusions that have companioned and at times illuminated ours. The fabric is eternal; eternal, the embroidery. A universe dies when we die; another is born when a new creature comes to earth with a new sensibility. If, then, it is very true that nothing begins all over again, it is very just to say, too, that everything continues. One may fearlessly advance the latter statement or the former, according to whether one considers the individual or the blending of generations. From this second point of view, everything is coexistent; the same cause produces contradictory, yet logical effects. All the colors and their shades are printed at a single impression, to form the wonderful image we call life.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

Yes, I do think the ruling class in America would like to grab everything for themselves, because they were brought up that way, and early American Puritans somehow had it wired into their religion that poverty is a sign that God doesn't like you, that you're not "saved," that money, on the other hand, is a sign of God's approval. They say the middle class in this country is shrinking, but I don't really know who the "they" is in that sentence. I tend to think there's a natural process of balances -- that when the very rich press their luck too far, there's a danger of a backlash, and the rich know it. There's often a time when the bully on the playground does one bad thing too many and all the little weaklings gang up on him, and that's the end of that particular pattern. I look at that stuff as a novelist, and as a human being, but I try not to get too worked up about it. I think of myself as wearing the invisible tee shirt with "You can kill me but you can't impress me" printed on it. Every second I spend laughing is a second I don't have to think about Vice President Cheney, for instance.

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

They had all comprehended the idea in an instant, and saw no real difficulty in it. An American sees no real difficulty in anything. Whoever said that the word "impossible" is not French, was certainly wrong: he mistook the dictionary. In America everything is easy, everything is simple, from throwing off 50,000 printed impressions in an hour, to moving monster hotels, guests and all, to any quarter of the city at pleasure. In America, engineering difficulties seem to be all still-born. Between Barbican's project and its complete realization, no true American could see the shadow of a difficulty. To say it, meant to do it.

If you do not know me, you whose presence is not even essential to me, it can only mean that this calendar has been badly printed. Your photographs on my walls and the bitter memories that our meetings have impressed upon my heart have only a paltry role in my love! You figure large in my dreams, ever-present, alone on the stage yet destitute of any role. I encounter you rarely on my path. I am of an age when one begins to contemplate one's emaciated fingers, and at which youth is so full, so real that it cannot be long before it begins to fade. Your lips bring tears to my eyes; you sleep naked in my brain and I dare not rest.

Since Frank was diagnosed eight week previously, I had spent my free time amassing an encyclopaedic knowledge of chronic lymphocytic leukaemia. There was practically nothing left about it that I didn`t know. I graduated way past the booklets they printed for sufferers and onto the hard medical texts, online discussion groups for oncologists, PDFs of recent peer-reviewed studies. I wasn`t under the impression that this made me a good daughter, or even that I was doing it out of concern for Frank. It was in my nature to absorbe large volumes of information during times of distress, like I could master the distress through intelectuall dominance.

Squatting upon the floor of the room, without any perceptible effort he passed into the hollow of his hand the contents of the rectum . . . ,” wrote the anonymous writer’s physician in a letter printed in one of Fletcher’s books. “The excreta were in the form of nearly round balls,” and left no stain on the hand. “There was no more odour to it than there is to a hot biscuit.” So impressive, so clean, was the man’s residue that his physician was inspired to set it aside as a model to aspire to. Fletcher adds in a footnote that “similar [dried] specimens have been kept for five years without change,” hopefully at a safe distance from the biscuits.

Aren’t you the one who keeps telling everyone it’s their first duty to help Harry?” said Ron. “In that magazine of yours?” Xenophilius glanced behind him at the concealed printing press, still banging and clattering beneath the tablecloth. “Er--yes, I have expressed that view. However--” “That’s for everyone else to do, not you personally?” said Ron. Xenophilius did not answer. He kept swallowing, his eyes darting between the three of them. Harry had the impression that he was undergoing some painful internal struggle. “Where’s Luna?” asked Hermione. “Let’s see what she thinks.” Xenophilius gulped. He seemed to be steeling himself. Finally he said in a shaky voice difficult to hear over the noise of the printing press, “Luna is down at the stream, fishing for Freshwater Plimpies. She…she will like to see you. I’ll go and call her and then--yes, very well. I shall try to help you.” He disappeared down the spiral staircase and they heard the front door open and close. They looked at each other. “Cowardly old wart,” said Ron. “Luna’s got ten times his guts.” “He’s probably worried about what’ll happen to them if the Death Eaters find out I was here,” said Harry. “Well, I agree with Ron,” said Hermione. “Awful old hypocrite, telling everyone else to help you and trying to worm out of it himself. And for heaven’s sake keep away from that horn.

Sudenly Garge spring up and walk to the wall to admire some modarn art hanging on Frank and Estele Catandas wall. Hes impressed. Frank and Estele have always had a traditienel sensibility when it come to aesthetic matter's. For as long as he knew it, this space on the wall was ocupied by a Normen Rockwell print of a smileing child with a cast on his arm eating a handful of bird seed out of the hand of the postman. But now its replace with this minimelist art work, a large black rectangle. He make out hes bald reflectien in the imposibly smooth black surfece. It look like something that should be hang in the Moma (Museum Of Modarn Art). "This is beauteful," Garge remark. "It seem like a stark comentary on the end of art. Who designe this?" "Not art," Frank go. "Thats a televisien.

The great danger in the South comes precisely from the fact that the public is not informed. Newspapers shirk notoriously their editorial responsibilities and print what they think their readers want. They lean with the prevailing winds and employ every fallacy of logic in order to editorialize harmoniously with popular prejudices. They also keep a close eye on possible economic reprisals from the Councils and the Klans, plus other superpatriotic groups who bring pressure to bear on the newspapers’ advertisers. In addition, most adhere to the long-standing conspiracy of silence about anything remotely favorable to the Negro. His achievements are carefully excluded or, when they demand attention, are handled with the greatest care to avoid the impression that anything good the individual Negro does is typical of his race.

The ability to perceive and feel, along with the intricacies of family relations unites us as a species. Poets collect succulent physical sense impressions and heartfelt feelings with equal enthusiasm. Poets have the alacrity to see and feel what most of us fail to perceive or otherwise ignore, take for granted, or attempt to forget. Similar to the art of Ukiyo-e (a genre of Japanese woodblock prints and paintings depicting traditional Japanese scenes), poets make the nothingness of our lives come alive. Poets design their sun-filled salvations out of the minutia of nature and the seemingly ordinary happenings of life. Although essayist can also explore the liminal spaces of daily life by probing the avenues of common experiences, essayists are more interested in testing ideas and principles than in invoking memories, sharing feelings, or eliciting emotions.

For nothing is so productive of elevation of mind as to be able to examine methodically and truly every object which is presented to thee in life, and always to look at things so as to see at the same time what kind of universe this is, and what kind of use everything performs in it, and what value everything has with reference to the whole, and what with reference to man, who is a citizen of the highest city, of which all other cities are like families; what each thing is, and of what it is composed, and how long it is the nature of this thing to endure which now makes an impression on me, and what virtue I have need of with respect to it, such as gentleness, manliness, truth, fidelity, simplicity, contentment, and the rest. Wherefore, on every occasion a man should say: this comes from God; and this is according to the apportionment and spinning of the thread of destiny, and such-like coincidence and chance; and this is from one of the same stock, and a kinsman and partner, one who knows not however what is according to his nature. But I know; for this reason I behave towards him according to the natural law of fellowship with benevolence and justice.

Ellie goes back to the kitchen . . . and screams bloody murder. “Nooooooo!” Adrenaline spikes through me and I dart to the kitchen, ready to fight. Until I see the cause of her screaming. “Bosco, noooooo!” It’s the rodent-dog. He got into the kitchen, somehow managed to hoist himself up onto the counter, and is in the process of demolishing his fourth pie. Fucking Christ, it’s impressive how fast he ate them. That a mutt his size could even eat that many. His stomach bulges with his ill-gotten gains—like a snake that ingested a monkey. A big one. “Thieving little bastard!” I yell. Ellie scoops him off the counter and I point my finger in his face. “Bad dog.” The little twat just snarls back. Ellie tosses the mongrel on the steps that lead up to the apartment and slams the door. Then we both turn and assess the damage. Two apple and a cherry are completely devoured, he nibbled at the edge of a peach and apple crumb and left tiny paw-prints in two lemon meringues. “We’re going to have re-bake all seven,” Ellie says. I fold my arms across my chest. “Looks that way.” “It’ll take hours,” she says. “Yeah.” “But we have to. There isn’t any other choice.” Silence follows. Heavy, meaningful silence. I glance sideways at Ellie, and she’s already peeking over at me. “Or . . . is there?” she asks slyly. I look at what remains of the damaged pastries, considering all the options. “If we slice off the chewed bits . . .” “And smooth out the meringue . . .” “Put the licked ones in the oven to dry out . . .” “Are you two out of your motherfucking minds?” I swing around to find Marty standing in the alley doorway behind us. Eavesdropping and horrified. Ellie tries to cover for us. But she’s bad at it. “Marty! When did you get here? We weren’t gonna do anything wrong.” Covert ops are not in her future. “Not anything wrong?” he mimics, stomping into the room. “Like getting us shut down by the goddamn health department? Like feeding people dog-drool pies—have you no couth?” “It was just a thought,” Ellie swears—starting to laugh. “A momentary lapse in judgment,” I say, backing her up. “We’re just really tired and—” “And you’ve been in this kitchen too long.” He points to the door. “Out you go.” When we don’t move, he goes for the broom. “Go on—get!” Ellie grabs her knapsack and I guide her out the back door as Marty sweeps at us like we’re vermin

To state the proposition, generally, at the outset, I assert that the whole end and object of the Etiquette of Courtship and Matrimony is to insult, persecute, and degrade the bridegroom. I first became satisfied of this disgraceful fact at page thirty-six of the Hand Book or Manual. In the earlier part of the volume it was assumed that I had fallen in love, had made my offer, and had been accepted by my young woman and her family. Etiquette is hard on my heels all through those preliminary processes, and finally runs me down as soon as I appear in the character of an engaged man. My behaviour in my future wife’s company is of the last importance and there Etiquette has me, and never lets me go again. “In private,” says the Manual, “the slightest approach to familiarity must be avoided, as it will always be resented by a woman who deserves to be a wife.” So! I may be brimming over with affection; I may even have put on a soft waistcoat expressly for the purpose; but I am never to clasp my future wife with rapture to my bosom; I am never to print upon her soft cheek a momentary impression of the pattern of my upper shirt-stud! She is to keep me at arm’s length, in private as well as in public and I am actually expected to believe, all the time, that she is devotedly attached to me! First insult.

more than anything.” He turned to Jean Louise. “Seven-thirty tonight and no Landing. We’ll go to the show.” “Okay. Where’re you all going?” “Courthouse. Meeting.” “On Sunday?” “Yep.” “That’s right, I keep forgetting all the politicking’s done on Sunday in these parts.” Atticus called for Henry to come on. “Bye, baby,” he said. Jean Louise followed him into the livingroom. When the front door slammed behind her father and Henry, she went to her father’s chair to tidy up the papers he had left on the floor beside it. She picked them up, arranged them in sectional order, and put them on the sofa in a neat pile. She crossed the room again to straighten the stack of books on his lamp table, and was doing so when a pamphlet the size of a business envelope caught her eye. On its cover was a drawing of an anthropophagous Negro; above the drawing was printed The Black Plague. Its author was somebody with several academic degrees after his name. She opened the pamphlet, sat down in her father’s chair, and began reading. When she had finished, she took the pamphlet by one of its corners, held it like she would hold a dead rat by the tail, and walked into the kitchen. She held the pamphlet in front of her aunt. “What is this thing?” she said. Alexandra looked over her glasses at it. “Something of your father’s.” Jean Louise stepped on the garbage can trigger and threw the pamphlet in. “Don’t do that,” said Alexandra. “They’re hard to come by these days.” Jean Louise opened her mouth, shut it, and opened it again. “Aunty, have you read that thing? Do you know what’s in it?” “Certainly.” If Alexandra had uttered an obscenity in her face, Jean Louise would have been less surprised. “You—Aunty, do you know the stuff in that thing makes Dr. Goebbels look like a naive little country boy?” “I don’t know what you’re talking about, Jean Louise. There are a lot of truths in that book.” “Yes indeedy,” said Jean Louise wryly. “I especially liked the part where the Negroes, bless their hearts, couldn’t help being inferior to the white race because their skulls are thicker and their brain-pans shallower—whatever that means—so we must all be very kind to them and not let them do anything to hurt themselves and keep them in their places. Good God, Aunty—” Alexandra was ramrod straight. “Well?” she said. Jean Louise said, “It’s just that I never knew you went in for salacious reading material, Aunty.” Her aunt was silent, and Jean Louise continued: “I was real impressed with the parable where since the dawn of history the rulers of the world have always been white, except Genghis Khan or somebody—the author was real fair about that—and he made a killin’ point about even the Pharaohs were white and their subjects were either black or Jews—” “That’s true, isn’t it?” “Sure, but what’s that got to do with the case?” When Jean Louise felt apprehensive, expectant, or on edge, especially when confronting her aunt, her brain clicked to the meter of Gilbertian tomfoolery. Three sprightly figures

He sat up in bed, and the dictionary was in front of him more often than the book. He looked up so many new words that when they recurred, he had forgotten their meaning and had to look them up again. He devised the plan of writing the definitions in a note book, and filled page after page with them. And still he could not understand. He read until three in the morning, and his brain was in a turmoil, but not one essential thought in the text had he grasped. He looked up, and it seemed that the room was lifting, heeling, and plunging like a ship upon the sea. Then he hurled the "Secret Doctrine" and many curses across the room, turned off the gas, and composed himself to sleep. Nor did he have much better luck with the other three books. It was not that his brain was weak or incapable; it could think these thoughts were it not for lack of training in thinking and lack of the thought tools with which to think. He guessed this, and for a while entertained the idea of reading nothing but the dictionary until he had mastered every word in it. Poetry, however, was his solace, and he read much of it, finding his greatest joy in the simpler poets, who were more understandable. He loved beauty, and there he found beauty. Poetry, like music, stirred him profoundly, and, though he did not know it, he was preparing his mind for the heavier work that was to come. The pages of his mind were blank, and, without effort, much he read and liked, stanza by stanza, was impressed upon those pages, so that he was soon able to extract great joy from chanting aloud or under his breath the music and the beauty of the printed words he had read.

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.

1Ian Potter Centre: NGV AustraliaGALLERY MAP GOOGLE MAP The National Gallery of Victoria's impressive Fed Sq offshoot was set up to showcase its extraordinary collection of Australian works. Set over three levels, it's a mix of permanent (free) and temporary (ticketed) exhibitions, comprising paintings, decorative arts, photography, prints, sculpture and fashion. Free tours are conducted daily at 11am, noon, 1pm and 2pm.

when you’re in a restaurant with a date, for heaven’s sake don’t mention the price of the selections. Yes, they’re printed clearly on the menu. Yes, this might be an opportunity to impress your date with the caliber of the restaurant. But if you rub it in, you’ll be likely to shift your relationship from the social to the market norm.

They ate at a place called El Rey del Taco. At the entrance there was a neon sign: a kid wearing a big crown mounted on a burro that regularly kicked up its hind legs and tried to throw him. The boy never fell, although in one hand he was holding a taco and in the other a kind of scepter that could also serve as a riding crop. The inside was decorated like a McDonald’s, but in an unsettling way. The chairs were straw, not plastic. The tables were wooden. The floor was covered in big green tiles, some of them printed with desert landscapes and episodes from the life of El Rey del Taco. From the ceiling hung piñatas featuring more adventures of the boy king, always accompanied by the burro. Some of the scenes depicted were charmingly ordinary: the boy, the burro, and a one-eyed old woman, or the boy, the burro, and a well, or the boy, the burro, and a pot of beans. Other scenes were set firmly in the realm of the fantastic: in some the boy and the burro fell down a ravine, in others, the boy and the burro were tied to a funeral pyre, and there was even one in which the boy threatened to shoot his burro, holding a gun to its head. It was as if El Rey del Taco weren’t the name of a restaurant but a character in a comic book Fate happened never to have heard of. Still, the feeling of being in a McDonald’s persisted. Maybe the waitresses and waiters, very young and dressed in military uniforms (Chucho Flores told him they were dressed up as federales), helped create the impression. This was certainly no victorious army. The young waiters radiated exhaustion, although they smiled at the customers. Some of them seemed lost in the desert that was El Rey del Taco. Others, fifteen-year-olds or fourteen-year-olds, tried in vain to joke with some of the diners, men on their own or in pairs who looked like government workers or cops, men who eyed them grimly, in no mood for jokes. Some of the girls had tears in their eyes, and they seemed unreal, faces glimpsed in a dream. “This place is like hell,” he said to Rosa Amalfitano. “You’re right,” she said, looking at him sympathetically, “but the food isn’t bad.

By some quirk of fate, I had been chosen—along with five others—as a candidate to be the next equerry to the Princess of Wales. I knew little about what an equerry actually did, but I did not greatly care. I already knew I wanted to do the job. Two years on loan to the royal household would surely be good for promotion, and even if it was not, it had to be better than slaving in the Ministry of Defense, which was the most likely alternative. I wondered what it would be like to work in a palace. Through friends and relatives I had an idea it was not all red carpets and footmen. Running the royal family must involve a lot of hard work for somebody, I realized, but not, surely, for the type of tiny cog that was all I expected to be. In the wardroom of the frigate, alongside in Loch Ewe, news of the signal summoning me to London for an interview had been greeted with predictable ribaldry and a swift expectation that I therefore owed everybody several free drinks. Doug, our quiet American on loan from the U.S. Navy, spoke for many. He observed me in skeptical silence for several minutes. Then he took a long pull at his beer, blew out his mustache, and said, “Let me get this straight. You are going to work for Princess Di?” I had to admit it sounded improbable. Anyway, I had not even been selected yet. I did not honestly think I would be. “Might work for her, Doug. Only might. There’re probably several smooth Army buggers ahead of me in the line. I’m just there to make it look democratic.” The First Lieutenant, thinking of duty rosters, was more practical. “Whatever about that, you’ve wangled a week ashore. Lucky bastard!” Everyone agreed with him, so I bought more drinks. While these were being poured, my eye fell on the portraits hanging on the bulkhead. There were the regulation official photographs of the Queen and Prince Philip, and there, surprisingly, was a distinctly nonregulation picture of the Princess of Wales, cut from an old magazine and lovingly framed by an officer long since appointed elsewhere. The picture had been hung so that it lay between the formality of the official portraits and the misty eroticism of some art prints we had never quite got around to throwing away. The symbolic link did not require the services of one of the notoriously sex-obsessed naval psychologists for interpretation. As she looked down at us in our off-duty moments the Princess represented youth, femininity, and a glamour beyond our gray steel world. She embodied the innocent vulnerability we were in extremis employed to defend. Also, being royal, she commanded the tribal loyalty our profession had valued above all else for more than a thousand years, since the days of King Alfred. In addition, as a matter of simple fact, this tasty-looking bird was our future Queen. Later, when that day in Loch Ewe felt like a relic from another lifetime, I often marveled at the Princess’s effect on military people. That unabashed loyalty symbolized by Arethusa’s portrait was typical of reactions in messhalls and barracks worldwide. Sometimes the men gave the impression that they would have died for her not because it was their duty, but because they wanted to. She really seemed worth it.

Muller's passion for marine biology suffered a severe blow when a trip to the coast of Norway in the company of his students W. Schmidt and A. Schneider ended in tragedy. The boat carrying them back from Christiansand was shipwrecked. Muller and Schneider were able to swim to safety, but Schmidt drowned. As Haeckel wrote, "the long and awful struggle in the waves during that black night made an indelible impression on Muller. Since then, a deep and insuperable horror has taken the place of his particular fondness for the sea. He has never again been able to entrust himself to that deceptive element, either aboard a slight barque or a solid steamship. Muller's subsequent work on the radiolarians was thus rather limited.

In Virginia, the printing press was deliberately restricted by the powers that be, to keep reading matter from the masses, while the aristocracy often had impressive libraries in their homes.396

if you looked in a mirror. Arbinger came because he’s had a threatenin’ letter.” He explained, and had just finished when there came a tap on the door and a messenger appeared with a report from the Fingerprint department. The test had revealed two sets of prints and a smudged impression of a thumb in the top left-hand corner.

Volume three, The Return of the King, finally appeared in England on 20 October 1955 and in the United States on 5 January 1956. With the appearance of the third volume, The Lord of the Rings was published in its entirety, and its first edition text remained virtually unchanged for a decade. Tolkien had made a few small corrections, but further errors entered The Fellowship of the Ring in its December 1954 second impression when the printer, having distributed the type after the first printing, reset the book without informing the author or publisher. These include misrepresentations of the original printed text – that is, words and phrases that read acceptably in context, but which depart from Tolkien’s wording as originally written and published.

A dozen scientific journals turned down Shyh-Ching Lo’s studies for publication before the Journal of Tropical Medicine agreed to print his findings.155 Despite his impressive credentials and his prestigious post as a top military scientist, Dr. Lo’s attempts to find funding failed. Dr. Lo’s research posed a unique annoyance for Dr. Fauci. Because he was a top military doctor with his own laboratory, he could not be easily dismissed, bullied, or defunded.

Harris inventories all that was required to birth such a forest: whole oceans of rain and centuries of sunlight. The same sunlight that glinted upon the helmets of the Romans. The same winds that carried the first explorers to this continent. Here are trees taller than twenty-story buildings; trees that had already obtained immensity when the first printing press rolled. Baudelaire called them ‘living pillars of eternity’ and Harris agrees. Yet ask anyone who’s spent a life among them, and they’ll tell you that while trees are unimpeachably impressive, they’re also just weeds on poles.

This is a reading age; and precisely because it is so reading an age, any book which is the result of profound meditation is, perhaps, less likely to be duly and profitably read than at a former period. The world reads too much and too quickly to read well. When books, were few, to get through one was a work of time and labour: what was written with thought was read with thought, and with a desire to extract from it as much of the materials of knowledge as possible. But when almost every person who can spell, can and will write, what is to be done? It is difficult to know what to read, except by reading everything; and so much of the world's business is now transacted through the press, that it is necessary to know what is printed, if we desire to know what is going on. Opinion weighs with so vast a weight in the balance of events, that ideas of no value in themselves are of importance from the mere circumstance that they are ideas, and have a bonâ fide existence as such anywhere out of Bedlam. The world, in consequence, gorges itself with intellectual food, and in order to swallow the more, bolts it. Nothing is now read slowly, or twice over. Books are run through with no less rapidity, and scarcely leave a more durable impression, than a newspaper article. It is for this, among other causes, that so few books are produced of any, value. The lioness in the fable boasted that though she produced only one at a birth, that one was a lion. But, if each lion only counted for one, and each leveret for one, the advantage would all be on the side of the hare. When every unit is individually weak, it is only multitude that tells. What wonder that the newspapers should carry all before them? A book produces hardly a greater effect than an article, and there can be 365 of these in one year. He, therefore, who should and would write a book, and write it in the proper manner of writing a book, now dashes down his first hasty thoughts, or what he mistakes for thoughts, in a periodical. And the public is in the predicament of an indolent man, who cannot bring himself to apply his mind vigorously to his own affairs, and over whom, therefore, not he who speaks most wisely, but he who speaks most frequently, obtains the influence.

If someone leaves a flake of impression that is beautifully printed upon your heart, and made your eyes, smile, from that seed that creates thoughts, that creates many roads leading away, creating new worlds, through that flake of inspiration dwells the nucleus, of friendship and love cherish it, nurture it, for it is part of life, part of your journey of love

The strongest feelings I have about printing always return to three simple concepts: the sculptural nature of type, the inevitableness of its arrangement on the page, and the authority of its impression.

The Alinsky ideology and Alinsky concepts of mass organization for power” are not relics of the past but practices of the present. Alinsky died in 1972, but he left behind a cadre of community organizers who had been trained how to carry out the political strategies described in Alinsky’s frank and elegantly written book called Rules for Radicals: A Pragmatic Primer for Realistic Radicals (originally published by Random House in 1971)—a book that made a deep impression on a young Barack Obama. The tone of Alinsky’s book and its obvious determination to change America into a socialist and secularist collective are made clear by the book’s audacious dedication to Satan in its first printing (later editions dropped this dedication): Lest we forget at least an over-the-shoulder acknowledgment to the very first radical: from all our legends, mythology, and history (and who is to know where mythology leaves off and history begins—or which is which), the first radical known to man who rebelled against the establishment and did it so effectively that he at least won his own kingdom—Lucifer.

The “self-actualization” philosophy from which most of this new bureaucratic language emerged insists that we live in a timeless present, that history means nothing, that we simply create the world around us through the power of the will. This is a kind of individualistic fascism. Around the time the philosophy became popular in the seventies, some conservative Christian theologians were actually thinking along very similar lines: seeing electronic money as a kind of extension for God’s creative power, which is then transformed into material reality through the minds of inspired entrepreneurs. It’s easy to see how this could lead to the creation of a world where financial abstractions feel like the very bedrock of reality, and so many of our lived environments look like they were 3-D-printed from somebody’s computer screen. In fact, the sense of a digitally generated world I’ve been describing could be taken as a perfect illustration of another social law—at least, it seems to me that it should be recognized as a law—that, if one gives sufficient social power to a class of people holding even the most outlandish ideas, they will, consciously or not, eventually contrive to produce a world organized in such a way that living in it will, in a thousand subtle ways, reinforce the impression that those ideas are self-evidently true.

When he had ate his fill, and proceeded from the urgent first cup and necessary second to the voluntary third which might be toyed with at leisure, without any particular outcry seeming to suggest he should be on his guard, he leant back, spread the city’s news before him, and, by glances between the items, took a longer survey of the room. Session of the Common Council. Vinegars, Malts, and Spirituous Liquors, Available on Best Terms. Had he been on familiar ground, he would have been able to tell at a glance what particular group of citizens in the great empire of coffee this house aspired to serve: whether it was the place for poetry or gluttony, philosophy or marine insurance, the Indies trade or the meat-porters’ burial club. Ships Landing. Ships Departed. Long Island Estate of Mr De Kyper, with Standing Timber, to be Sold at Auction. But the prints on the yellowed walls were a mixture. Some maps, some satires, some ballads, some bawdy, alongside the inevitable picture of the King: pop-eyed George reigning over a lukewarm graphical gruel, neither one thing nor t’other. Albany Letter, Relating to the Behaviour of the Mohawks. Sermon, Upon the Dedication of the Monument to the Late Revd. Vesey. Leases to be Let: Bouwerij, Out Ward, Environs of Rutgers’ Farm. And the company? River Cargos Landed. Escaped Negro Wench: Reward Offered. – All he could glean was an impression generally businesslike, perhaps intersown with law. Dramatic Rendition of the Classics, to be Performed by the Celebrated Mrs Tomlinson. Poem, ‘Hail Liberty, Sweet Succor of a Briton’s Breast’, Offered by ‘Urbanus’ on the Occasion of His Majesty’s Birthday. Over there there were maps on the table, and a contract a-signing; and a ring of men in merchants’ buff-and-grey quizzing one in advocate’s black-and-bands. But some of the clients had the wind-scoured countenance of mariners, and some were boys joshing one another. Proceedings of the Court of Judicature of the Province of New-York. Poor Law Assessment. Carriage Rates. Principal Goods at Mart, Prices Current. Here he pulled out a printed paper of his own from an inner pocket, and made comparison of certain figures, running his left and right forefingers down the columns together. Telescopes and Spy-Glasses Ground. Regimental Orders. Dinner of the Hungarian Club. Perhaps there were simply too few temples here to coffee, for them to specialise as he was used.

Little do they know how hard it is for educated young people in the city, competing against thousands of others, to find a decent job, especially if they have no connections. Some of the unhappiest people I met were young men in Bujumbura, after all these years of sacrifice, desperately looking for a job, month after month after month. Some don’t even manage to find the money to print their final theses, and will thus never get their degrees. They worked so hard, got so close, and then they still find the door closed. It is my impression that these are not people who are inclined to violence and self-destruction: they are too serious for that, they have given too much, they want to belong to the system more than anything else. And so they doggedly keep on going, asking around, trying to ingratiate themselves with more powerful people (including any foreigners they can get to meet), waiting for the day they will get a job, any job, anywhere.

The American presidential election is a drawn-out, byzantine process that involves precinct meetings, regional caucuses, state primaries and national conventions, all to give citizens the impression that their participation matters, for in the end, the lying buffoon who gets to stride into the White House has long been vetted and preselected by the banks, death merchants and brainwashing media that run our infernally corrupt and murderous country. It's foolish to expect a system to allow anyone who threatens it to the least degree to rise to the very top, for all those who benefit from this system will do all they can to snuff out such a pest each step of the way. He'd be lucky to get a job teaching freshmen English at the community college, and is as out of place in this bloody scheme as an Iowa beaver trapper at a Hamptons pool party. As for dissidents who get print space or airtime, they are but harmless, distracting foils or court jesters. Since voting cannot change the system but legitimizes it, voters become collaborators in all of the system's crimes, as well as their own destruction, for the system works against nearly all of them.

The past has a future, something it becomes, and that transforms it. Like the facts themselves, the person, the "I", who experiences it and looks back on it discovers that it is not singular, but plural. Traveling through those places marked down in those epic chronicles of thirty years ago, one gets the impression of slicing through paper-thin, invisible barriers, different levels of reality, still present and with us even though not discernible to the naked eye, infrared or ultraviolet rays of history, images and instants that at this point cannot print an image on the celluloid, but which nonetheless are, and exist in the same way for tangible experience as electrons which elude our grasp.

the stylish simplicity of the food service made a lasting impression on me. They had no printed menu because there were just three entrees: Maine lobster, steak, and roast duckling. Years later I recalled that spare bill of fare in my first motto for McDonald’s—KISS—which meant, “Keep it simple, stupid.” Another

I’m impressed by her perseverance despite all my rejections.

found that by copying the distinctive prints and scratches made by other animals we could gain a new power; here was a method of identifying with the other animal, taking on its expressive magic in order to learn of its whereabouts, to draw it near, to make it appear. Tracing the impression left by a deer’s body in the snow, or transferring that outline onto the wall of the cave: these are ways of placing oneself in distant contact with the Other, whether to invoke its influence or to exert one’s own. Perhaps by multiplying its images on the cavern wall we sought to ensure that the deer itself would multiply, be bountiful in the coming season…. All of the early writing systems of our species remain tied to the mysteries of a more-than-human world. The petroglyphs of pre-Columbian North America abound with images of prey animals, of rain clouds and lightning, of eagle and snake, of the paw prints of bear. On rocks, canyon walls, and caves these figures mingle with human shapes, or shapes part human and part Other (part insect, or owl, or elk.) Some researchers assert that the picture writing of native North America is not yet “true” writing, even where the pictures are strung together sequentially—as they are, obviously, in many of the rock inscriptions (as well as in the calendrical “winter counts” of the Plains tribes). For there seems, as yet, no strict relation between image and utterance. In a much more conventionalized pictographic system, like the Egyptian hieroglyphics (which first appeared during the First Dynasty, around 3000 B.C.E. and remained in use until the second century C.E.),4 stylized images of humans and human implements are still interspersed with those of plants, of various kinds of birds, as well as of serpents, felines, and other animals. Such pictographic systems, which were to be found as well in China as early as the fifteenth century B.C.E., and in Mesoamerica by the middle of the sixth century B.C.E., typically include characters that scholars have

body-print at southern Monkha Rock: Mon is an area in southern Tibet and Bhutan. The body-print is an impression of Padmasambhava’s body in the rock.

It took me a while to draw the parallel myself,” said Hoyer. “Life may not transmute elements like the nanites do, but it does almost everything else the same way. A single fertilized human egg cell knows how to start dividing. How to convert raw materials it finds in its environment into copies of itself. Growing from one cell into trillions. And talk about complexity. Each division requires the cell’s machinery to find the molecular constituents needed to assemble all the ingredients of the cell, including all three billion letters of DNA. Which, if typed out, would fill hundreds of printed volumes. And which has to be copied with near perfect fidelity.” The major paused for effect. “And if this isn’t impressive enough,” he continued, “the cells are also able to change form on command. At some point in the process, some of them morph into heart cells, some eye cells, some blood cells, and so on. How?

single fertilized human egg cell knows how to start dividing. How to convert raw materials it finds in its environment into copies of itself. Growing from one cell into trillions. And talk about complexity. Each division requires the cell’s machinery to find the molecular constituents needed to assemble all the ingredients of the cell, including all three billion letters of DNA. Which, if typed out, would fill hundreds of printed volumes. And which has to be copied with near perfect fidelity.” The major paused for effect. “And if this isn’t impressive enough,” he continued, “the cells are also able to change form on command. At some point in the process, some of them morph into heart cells, some eye cells, some blood cells, and so on. How?” he asked. “Who the hell knows?” he continued, answering his own question. “Most impressive of all, the cells can construct a working human brain, hundreds of billions of neurons strong.

We are all patrons of the Library of Babel now, and we are the librarians, too. We veer from elation to dismay and back. "When it was proclaimed that the Library contained all books," Borges tells us, "the first impression was one of extravagant happiness. All men felt themselves to be the masters of an intact and secret treasure. There was no personal or world problem whose eloquent solution did not exist in some hexagon. The universe was justified." Then came the lamentations. What good are the precious books that cannot be found? What good is complete knowledge, in its immobile perfection? Borges worries: "The certitude that everything has been written negates us or turns us into phantoms." To which, John Donne had replied long before, "He that desires to print a book, should much more desire, to be a book." The library will endure; it is the universe. As for us, everything has not been written; we are not turning into phantoms. We walk the corridors, searching for shelves and rearranging them, looking for lines of meaning amid leagues of cacophony and incoherence, reading the history of the past and future, collecting our thoughts and collecting the thoughts of others, and every so often glimpsing mirrors, in which we may recognize creatures of the information.

In comparison with the unwieldy mechanical clutter of the Monotype or Linotype apparatuses, the Bhisotype was a sleek and compact affair. ‘The illustration of this machine shows such a small and simple-looking implement that one wonders how its claimed output could be so great,’ Richard E. Huss comments in his authoritative work on the history of mechanical typesetting methods.32Yet it did, indeed, yield an impressive output, producing some 2,400 types per minute, thereby outperforming an industry leader, the Wicks rotary typecasting machine, which could produce, at most, around 1,100 types per minute. Requiring minimal electricity and costing only a fraction of Linotype or Monotype machines, the complete Bhisotype machine—consisting of a typecaster and ten type-composing units—seemed set to revolutionise the printing world.33

The fervor for establishing public schools in Massachusetts found no counterpart in Virginia, where illiteracy was much higher and education was largely restricted to those wealthy enough to afford to have their own children educated at home by tutors. In Virginia, the printing press was deliberately restricted by the powers that be, to keep reading matter from the masses, while the aristocracy often had impressive libraries in their homes.

Millinery and Dressmaking.-The portion of these instructive volumes which describes the condition of the young women employed as milliners and mantua-makers in our great cities, and especially in London, is, however, that which has left the most painful impression upon our minds-not only because the work of these unfortunate girls is of all the most, severe and unremitting-nor because it is inflicted exclusively upon the weaker sex, and at a period of life the most susceptible of injury from overstrained exertion-nor yet because the actual consequences which are shown to ensue in thousands of cases are so peculiarly deplorable-but because the excess of labor (with all its pernicious and fatal results) is endured in the service, and inflicted in execution of the orders, of a class whose own exemption from toil and privation should make them scrupulously careful not to increase, causelessly or selfishly, the toils and privations of their less favored fellow-creatures-a class, too, many of whom have been conspicuously loud in denouncing the cruelties of far more venial offenders, and in expressing a somewhat clamorous and overacted sympathy with sufferings which cannot for a moment be compared in severity with those which are every day inflicted on the helpless of their own sex, in ministering to their own factitious and capricious wants. The remark may appear harsh, but the evidence before us fully warrants it-that probably in no occupation whatever-not in the printing fields of Lancashire-not, in the lace trade of Nottingham-not in the collieries of Scotland-scarcely in the workshops of Willenhall-most assuredly not in the cotton factories of Manchester, (which a few years ago the fashionable fair of London were so pathetic in lamenting)-can any instances of cruelty be met with which do not "whiten in the shade" of those which every spring and autumn season sees practiced-unreprobated, and till now nearly unknown-in the millinery establishments of the metropolis.

Oh, everything! The place where it happened, and the weapon, and the body, and any finger-prints or interesting things like that. I’ve never had a chance of being right in on a murder like this before. It’ll last me all my life?” I turned away, sickened. What were women coming to nowadays? The girl’s ghoulish excitement nauseated me. I had read of the mobs of women who besieged the law courts when some wretched man was being tried for his life on the capital charge. I had sometimes wondered who these women were. Now I knew. They were of the likeness of Cinderella, young, yet obsessed with a yearning for morbid excitement, for sensation at any price, without regard to any decency or good feeling. The vividness of the girl’s beauty had attracted me in spite of myself, yet at heart I retained my first impression of disapproval and dislike. I thought of my mother, long since dead. What would she have said of this strange modern product of girlhood? The pretty face with the paint and powder, and the ghoulish mind behind!

There are many modern biographies and histories, full of carefully authenticated fact, which afflict the reader with a weight of indigestion. The author has no right to his facts, no ownership in them. They have flitted through his mind on a calm five minutes' passage from the notebook to the immortality of the printed page. But no man can hope to make much impression on a reader with facts which he has not thought it worth his own while to remember. Every considerable book, in literature or science, is an engine whereby, mind operates on mind. It is an ignorant worship of Science which treats it as residing in books, and reduces the mind to a mechanism of transfer. The measure of an author's power would be best found in the book which he should sit down to write the day after his library was burnt to the ground.

If Sergeant Cooper wasn't impressed by Ruby's time-keeping, then her flouting of the camp dress code really got him marching up and down. His least favourite item was a T-shirt printed with the words: could you repeat that? I wasn't actually listening. 'Redfort, how many times have I told you about that T-shirt of yours?' 'I'm sorry Sergeant Cooper, I haven't been counting, but I can take a wild guess if it's important to you.

more work is accomplished in one day than many diligent scribes could do in a year….

Judex (Matthäus Richter), like many others who wrote about printing, was puzzled why the invention was unknown for so long. He concluded that the art was only revealed to mankind at the very time that God had chosen for unmasking the anti-Christ.

His frown only deepens as he stares at my smiling lips. Then jerking his smooth jaw up, he asks, “What’s this one called?” I touch my lips. “Oh. Uh, Queen of the Bards.” It’s dark-green lipstick, almost black, and I’ve paired it with a lime green maternity dress with black printed flowers and black flats. I’ve given a lot of thought to my appearance. This is the first time I’ll be meeting a friend of the guy I love and I’m trying to make a good impression. “Why?” he asks. “Because of Bardstown. Our town. I love it.” “Good,” he almost growls. I frown. “Good what?” “To know the name of the lipstick that I’m going to wipe off your lips.” And then he does just that. He grabs my face and leans down to kiss me. I’ve gotten a lot heavier now but I’m still a ballerina and my toes jump up so I can meet him halfway.

she could sell in the café provisions she baked in her own time with a shelf life longer than pastries. When she thought of it there had been a rush of certainty she could do it, and a prickling of pride in having conceived a way to make money on her own. It would double at least what she was making now. Without Nicholas it might never had occurred to her. The other day he had stuck a label, which he had found in the junk drawer, on a plastic-wrapped loaf of banana bread. He wrote on the label with a marker, "From the Summer Kitchen Bakery." She had found the gesture adorable at the time and hugged him, but something about it had evidently started percolating in the recesses of her mind, and now she was lapping at the brew like someone tasting it for the first time and wondering how she had never before tasted such ambition. She was thinking of cellophane-packaged chocolate brownies and caramel blondies and orange-and-almond biscotti and pear and oat slices and butter shortbread and Belgian chocolate truffles, marmalades, chutney, relishes, and jellies beautified in jars with black-and-white gingham hats and black-and-white ribbon tied above skirted brims. She could even sell a muesli mix she had developed, full of organic cranberries and nuts and the zest of unwaxed lemons. And she wouldn't change Nicholas's label at all. A child's handwriting impressed that the goods were homemade. She would have his design printed professionally, in black and white, too, old world, like the summer kitchen itself.

identify your employee adjectives, (2) recruit through proper advertising, (3) identify winning personalities, and (4) select your winners. Step One: Identify Your Employee Adjectives When you think of your favorite employees in the past, what comes to mind? A procedural element such as an organized workstation, neat paperwork, or promptness? No. What makes an employee memorable is her attitude and smile, the way she takes the time to make sure a customer is happy, the extra mile she goes to ensure orders are fulfilled and problems are solved. Her intrinsic qualities—her energy, sense of humor, eagerness, and contributions to the team—are the qualities you remember. Rather than relying on job descriptions that simply quantify various positions’ duties and correlating them with matching experience as a tool for identifying and hiring great employees, I use a more holistic approach. The first step in the process is selecting eight adjectives that best define the personality ideal for each job or role in your business. This is a critical step: it gives you new visions and goals for your own management objectives, new ways to measure employee success, and new ways to assess the performance of your own business. Create a “Job Candidate Profile” for every job position in your business. Each Job Candidate Profile should contain eight single- and multiple-word phrases of defining adjectives that clearly describe the perfect employee for each job position. Consider employee-to-customer personality traits, colleague-to-colleague traits, and employee-to-manager traits when making up the list. For example, an accounting manager might be described with adjectives such as “accurate,” “patient,” “detailed,” and “consistent.” A cocktail server for a nightclub or casual restaurant would likely be described with adjectives like “energetic,” “fun,” “music-loving,” “sports-loving,” “good-humored,” “sociable conversationalist,” “adventurous,” and so on. Obviously, the adjectives for front-of-house staff and back-of-house staff (normally unseen by guests) will be quite different. Below is one generic example of a Job Candidate Profile. Your lists should be tailored for your particular bar concept, audience, location, and style of business (high-end, casual, neighborhood, tourist, and so on). BARTENDER Energetic Extroverted/Conversational Very Likable (first impression) Hospitable, demonstrates a Great Service Attitude Sports Loving Cooperative, Team Player Quality Orientated Attentive, Good Listening Skills SAMPLE ADJECTIVES Amazing Ambitious Appealing Ardent Astounding Avid Awesome Buoyant Committed Courageous Creative Dazzling Dedicated Delightful Distinctive Diverse Dynamic Eager Energetic Engaging Entertaining Enthusiastic Entrepreneurial Exceptional Exciting Fervent Flexible Friendly Genuine High-Energy Imaginative Impressive Independent Ingenious Keen Lively Magnificent Motivating Outstanding Passionate Positive Proactive Remarkable Resourceful Responsive Spirited Supportive Upbeat Vibrant Warm Zealous Step Two: Recruit through Proper Advertising The next step is to develop print or online advertising copy that will attract the personalities you’ve just defined.

On his return, my husband was impressed that it was his duty to write and publish the present truth. He was greatly encouraged and blessed as he decided thus to do. But again he would be in doubt and perplexity as he was penniless. There were those who had means, but they chose to keep it. He at length gave up in discouragement, and decided to look for a field of grass to mow. As he left the house, a burden was rolled upon me, and I fainted. Prayer was offered for me, and I was blessed, and taken off in vision. I saw that the Lord had blessed and strengthened my husband to labor in the field one year before; that he had made a right {260} disposition of the means he there earned; and that he would have a hundred fold in this life, and, if faithful, a rich reward in the kingdom of God; but that the Lord would not now give him strength to labor in the field, for he had another work for him; that if he ventured into the field he would be cut down by sickness; but that he must write, write, write, and walk out by faith. He immediately commenced to write, and when he came to some difficult passage we would call upon the Lord to give us the true meaning of his word.  “My husband then began, to publish a small sheet at Middletown, eight miles from Rocky Hill, and often walked this distance and back again, although he was then lame. When he brought the first number from the printing-office, we all bowed around it, asking the Lord, with humble hearts and many tears, to let his blessing rest upon the feeble efforts of his servant. He then directed the paper to all he thought would read it, and carried it to the post office in a carpet-bag. Every number was taken from Middletown to Rocky Hill, and always before preparing them for the post office, they were spread before the Lord, and earnest prayers mingled with tears, were offered to God that his blessing would attend the silent messengers. Very soon letters came bringing means to publish the paper, and the good news of many souls embracing the truth. 

I'm impressed by her perseverance despite all my rejections.

Nothing I do will impress him, but it felt good to say.

To the obvious objection that the most cursory glance at human society showed some people to be happy while others were unhappy, Franklin rejoined that appearances deceived. “When we see riches, grandeur and a cheerful countenance, we easily imagine happiness accompanies them, when oftentimes ’tis quite otherwise; nor is a constantly sorrowful look, attended with continual complaints, an infallible indication of unhappiness.” Having disposed of happiness and unhappiness, Franklin attacked the notion of the immortality of the soul. He identified the soul with consciousness and the ability to treat ideas absorbed by the senses (“The soul is a mere power or faculty of contemplating on and comparing those ideas”), and then argued that when consciousness ended, the soul ceased to exist. Perhaps the soul in some way attached itself to a new body and new ideas. “But that will in no way concern us who are now living, for the identity will be lost; it is no longer that same self but a new being.” If temporal happiness was an illusion, and eternal happiness an impossibility, why should anyone strive for anything? Merely to avoid pain. The soul of an infant did not achieve consciousness (“it is as if it were not”) until it felt pain. Thus is the machine set on work; this is life. We are first moved by pain, and the whole succeeding course of our lives is but one continued series of action with a view to be freed from it. As fast as we have excluded one uneasiness another appears; otherwise the motion would cease. If a continual weight is not applied, the clock will stop. And as soon as the avenues of uneasiness to the soul are choked up or cut off, we are dead, we think and act no more. Like most such attempts to prove the unprovable, Franklin’s effort revealed more about the author than about the subject. Indeed, it revealed more about the author than he cared to have revealed. Although his employer, Palmer, was impressed by the ingenuity of Franklin’s argumentation, he decried Franklin’s conclusions as abominable. This reaction prompted Franklin to reconsider. In his autobiography he characterized various mistakes of his life as “errata”; regarding this episode he asserted, “My printing this pamphlet was another erratum.” Long before then he had burned all but the few copies already delivered to friends.

Money, as a social means of extending and amplifying work and skill in an easily accessible and portable form, lost much of its magical power with the coming of representative money, or paper money. Just as speech lost its magic with writing, and further with printing, when printed money supplanted gold, the compelling aura of it disappeared. Samuel Butler in Erewhon (1872) gave clear indications in his treatment of the mysterious prestige conferred by precious metals. His ridicule of the money medium took the form of presenting the old reverent attitude to money in a new social context. This new kind of abstract, printed money of the high industrial age, however, simply would not sustain the old attitude: This is the true philanthropy. He who makes a colossal fortune in the hosiery trade, and by his energy has succeeded in reducing the price of woollen goods by the thousandth part of a penny in the pound — this man is worth ten professional philanthropists. So strongly are the Erewhonians impressed with this, that if a man has made a fortune of over £20,000 a year they exempt him from all taxation, considering him a work of art, and too precious to be meddled with; they say, “How very much he must have done for society before society could have been prevailed upon to give him so much money”; so magnificent an organization overawes them; they regard it as a thing dropped from heaven. “Money,” they say, “is the symbol of duty, it is the sacrament of having done for mankind that which mankind wanted. Mankind may not be a very good judge, but there is no better.

Money, as a social means of extending and amplifying work and skill in an easily accessible and portable form, lost much of its magical power with the coming of representative money, or paper money. Just as speech lost its magic with writing, and further with printing, when printed money supplanted gold, the compelling aura of it disappeared. Samuel Butler in Erewhon (1872) gave clear indications in his treatment of the mysterious prestige conferred by precious metals. His ridicule of the money medium took the form of presenting the old reverent attitude to money in a new social context. This new kind of abstract, printed money of the high industrial age, however, simply would not sustain the old attitude: This is the true philanthropy. He who makes a colossal fortune in the hosiery trade, and by his energy has succeeded in reducing the price of woollen goods by the thousandth part of a penny in the pound — this man is worth ten professional philanthropists. So strongly are the Erewhonians impressed with this, that if a man has made a fortune of over £20,000 a year they exempt him from all taxation, considering him a work of art, and too precious to be meddled with; they say, “How very much he must have done for society before society could have been prevailed upon to give him so much money”; so magnificent an organization overawes them; they regard it as a thing dropped from heaven.