Ing Direct Quotes

These are all direct quotes, except every time they use a curse word, I'm going to use the name of a famous American poet: 'You Walt Whitman-ing, Edna St. Vincent Millay! Go Emily Dickinson your mom!' 'Thanks for the advice, you pathetic piece of E.E. Cummings, but I think I'm gonna pass.' 'You Robert Frost-ing Nikki Giovanni! Get a life, nerd. You're a virgin.' 'Hey bro, you need to go outside and get some fresh air into you. Or a girlfriend.' I need to get a girlfriend into me? I think that shows a fundamental lack of comprehension about how babies are made.

He's not going to flip out again, is he?" Jessie sounded scared. "What? No, of course not," Mia said automatically. "Uh-huh," Jessie said doubtfully. "He wont," Mia said with confidence, looking directly at Korum. She knew perfectly well that he could hear her. He stared back at her. His eyes still had those dangerous golden flecks in them, but one corner of his mouth tilted up, a ghost of a smile stealing across his face. Mia continued looking at him, her own eyes narrowed, and the smile became a full-blown grin, transforming his features from merely gorgeous to out-of-this-world sexy. Then he turned away and continued speaking to Edgar, as though nothing had happened. "Holy shit," Jessie breathed, her eyes huge. "You did it! Mia, you f***ing did it..." "Did what?" "You tamed a K.

The question is, are you going to grow or are you going to just stay as you are out of fear and waste your precious human life by status quo-ing instead of being willing to break the sound barrier? Break the glass ceiling, or whatever it is in your own life? Are you willing to go forward? I suggest finding the willingness to go forward instead of staying still, which is essentially going backward, particularly when you have a calling in some direction. That calling needs to be answered. And it’s not necessarily going to work out the way you want it to work out, but it is taking you forward, and you are leaving the nest. And that never can be a mistake—to fly instead of staying in the nest with all the poop and everything that’s in there. TS:

I yearn for a complete sense of self; I’m not sure it’s something I can find or something I just have to wait for. I want to be authentic. I yearn to find the real me. I feel I am missing a connection with myself. But the thing is I want to find it while “life-ing.” I want to have yearning and be in this life. Everything seems to be fractured, rather than unified as my gut tells me ought to be the case. This stems from a yearning for the world to make sense, to fit together. I yearn for life direction and purpose. My dad’s illness made me question what I REALLY want to be doing with my life as I could inherit the illness and I don’t want to waste time. I want to wake up. I feel like a zombie going through the motions of work and married life and the real me is dormant. I want to know the real me, even if I have no idea what the real me is. To know the connection to a bigger force. To know that the universe has got this one. It burns at me every day to know that everything I’m doing makes sense.

The healer's job has always been to release something not understood,to remove obstructions (demons, germs, despair) between the sick pa-tient and the force of life driving obscurely toward wholeness. Themeans may be direct—the psychic methods mentioned above—or indi-rect: Herbs can be used to stimulate recovery; this tradition extendsfrom prehistoric wisewomen through the Greek herbal of Dioscoridesand those of Renaissance Europe, to the prevailing drug therapies of thepresent. Fasting, controlled nutrition, and regulation of living habits toavoid stress can be used to coax the latent healing force from the sick body; we can trace this approach back from today's naturopaths to Galenand Hippocrates. Attendants at the healing temples of ancient Greeceand Egypt worked to foster a dream in the patient that would eitherstart the curative process in sleep or tell what must be done on awaken-ing. This method has gone out of style, but it must have worked fairlywell, for the temples were filled with plaques inscribed by grateful pa-trons who'd recovered.

When, when will the state finally recognize that it has no higher duty than to safeguard the happiness of the millions of ordinary people? When finally will the state forget about the ideals that ignore the needs of simple everyday life? And when will it understand that a small step, however difficult it may be, taken in the direction of peace for the individual, as for nations, is greater than victory in battle?

The raid comes without warning, like a team of Juvie-rounders in the night. A real special-ops team—nothing like the playacting kids Starkey calls special ops. The invaders tranq the storks guarding the entrance to the mine before they can even raise their weapons and flood into the tunnels, tranq’ing anyone who comes into view. Their directive is simple: Get to Mason Starkey. The commotion wakes kids deeper in the mine in time for them to scramble for weapons, which they’ve learned to use without hesitation and without fear. They bring several of the intruders down, but there are more behind them—and this force is armed with weapons the storks have never seen: squad machine guns that spray tiny tranq-tipped darts at such an alarming rate, they create an inescapable wall of unconsciousness before them. The layers of protection surrounding Starkey peel away until he’s exposed and vulnerable before the invading force. Starkey swings his own weapon up, but fumbles with it just long enough for his attackers to grab it and grab him. The entire operation is over in less than five minutes.

Together with verbal coffins like model and level in which writers entomb their actors and actions, the English language provides them with a dangerous weapon called nominalization: making something into a noun. The nominalization rule takes a perfectly spry verb and embalms it into a lifeless noun by adding a suffix like –ance, –ment, –ation, or –ing. Instead of affirming an idea, you effect its affirmation; rather than postponing something, you implement a postponement. The writing scholar Helen Sword calls them zombie nouns because they lumber across the scene without a conscious agent directing their motion.

Various defense mechanisms can be used to reach a com- promise between the necessity of sparing the feelings of one’s parents and the need to express one’s own feelings. A patient of mine with a strict religious upbringing, for example, was able to spare her parents by directing her newly awakened rage against God. In God, whom her parents believed in, Inge hoped to have found the strong father who would be able to endure her feelings, who was not insecure, easily offended, and ailing like her own father. She wanted to feel free to direct her disappointment, despair, and resentment at God without having to fear that this would kill Him.

In this confusion we begin to see what lies behind John Paul II's startling warning about democracy "effectively mov[ing] towards a form of totalitarianism." It begins to happen at a practical level when we simultaneously hold that rights which arise from the dignity of the person are also a matter of "bargaining." New rights can be claimed or created, and whatever privileges can be negotiated around them are then secured by reference to human dignity, even when these new rights are directly contrary to the human dignity of some, for example, the unborn or the elderly sick. This confusion about the nature of rights debases their currency and undermines the first principles of democracy. Such freedom gradually becomes a tyrannical "freedom of the 'the strong' against the weak, who have no choice but to submit.

The Japanese psychiatrist Kimura Bin, director of the Psychiatric Hos- pital of Kyoto and translator of Binswanger, sought to deepen Heidegger’s anal- ysis of temporality in Being and Time with reference to a classification of the fundamental types of mental illness. To this end he made use of the Latin for- mula post festum (literally, “after the celebration”), which indicates an irreparable past, an arrival at things that are already done. Post festum is symmetrically dis- tinguished from ante festum (“before the celebration”) and intra festum (“during the celebration”). Post festum temporality is that of the melancholic, who always experiences his own “I” in the form of an “I was,” of an irrecoverably accomplished past with respect to which one can only be in debt. This experience of time corresponds in Heidegger to Dasein’s Being-thrown, its finding itself always already abandoned to a factual situation beyond which it can never venture. There is thus a kind of constitutive “melancholy” of human Dasein, which is always late with respect to itself, having always already missed its “celebration.” Ante festum temporality corresponds to the experience of the schizophrenic, in which the direction of the melancholic’s orientation toward the past is in- verted. For the schizophrenic, the “I” is never a certain possession; it is always something to be attained, and the schizophrenic therefore always lives time in the form of anticipation. “The ‘I’ of the schizophrenic,” Kimura Bin writes, “is not the ‘I’ of the ‘already been’; it is not tied to a duty. In other words, it is not the post festum ‘I’ of the melancholic, which can only be spoken of in terms of a past and a debt. . . . Instead, the essential point here is the problem of one’s own possibility of being oneself, the problem of the certainty of becoming oneself and, therefore, the risk of possibly being alienated from oneself” (Kimura Bin 1992: 79). In Being and Time, the schizophrenic’s temporality corresponds to the primacy of the future in the form of projection and anticipation. Precisely because its experience of time originally temporalizes itself on the basis of the future, Dasein can be defined by Heidegger as “the being for whom, in its very Being, Being is always at issue” and also as “in its Being always already anticipat- ing itself.” But precisely for this reason, Dasein is constitutively schizophrenic; it always risks missing itself and not being present at its own “celebration.

A man might go to an office and run a computer that would correlate great masses of figures that came from sales reports on how well, let’s say, buttons—or something equally archaic—were selling over certain areas of the country. This man’s job was vital to the button industry: they had to have this information to decide how many buttons to make next year. But though this man held an essential job in the button industry, was hired, paid, or fired by the button industry, week in and week out he might not see a button. He was given a certain amount of money for running his computer; with that money his wife bought food and clothes for him and his family. But there was no direct connection between where he worked and how he ate and lived the rest of his time. He wasn’t paid with buttons. As farming, hunting, and fishing became occupations of a small­er and smaller per cent of the population, this separation between man’s work and the way he lived—what he ate, what he wore, where he slept—became greater and greater for more people. Ashton Clark pointed out how psychologi­cally damaging this was to humanity. The entire sense of self-control and self-responsibility that man acquired during the Neolithic Revolution when he first learned to plant grain and domesticate animals and live in one spot of his own choosing was seriously threatened. The threat had been com­ing since the Industrial Revolution and many people had pointed it out, before Ashton Clark. But Ashton Clark went one step further. If the situation of a technological society was such that there could be no direct relation between a man’s work and his modus vivendi, other than money, at least he must feel that he is directly changing things by his work, shaping things, making things that weren’t there before, moving things from one place to another. He must exert energy in his work and see these changes occur with his own eyes. Otherwise he would feel his life was futile.

The population, who are, ultimately, indifferent to public affairs and even to their own interests, negotiate this indifference with an equally spectral partner and one that is similarly indifferent to its own will: the government [Ie pouvoir] . This game between zombies may stabilize in the long term. The Year 2000 will not take place in that an era of indifference to time itself - and therefore to the symbolic term of the millennium - will be ushered in by negotiation. Nowadays, you have to go straight from money to money, telegraphically so to speak, by direct transfer (that is the viral side of the matter). A viral revolution, then, more akin to the Glass Bead Game than to the steam engine, and admirably personified in Bernard Tapie's playboy face. For the look of money is reflected in faces. Gone are the hideous old capitalists, the old-style industrial barons wearing the masks of the suffering they have inflicted. Now there are only dashing playboys, sporty and sexual, true knights of industry, wearing the mask of the happiness they spread all around themselves. The world put on a show of despair after 1968. It's been putting on a big show of hope since 1980. No more tears, alright? Reaganite optimism, the pump ing up of the dollar. Fabius's glossy new look. Patriotic conviviality. Reluctance prohibited. The old pessimism was produced by the idea that things were getting worse and worse. The new pessimism is produced by the fact that everything is getting better and better. Supercooled euphoria. Controlled anaesthesia. I should like to see the equivalent of Bernard Tapie in the world of business emerge in the world of concepts. Buying up failing concepts, swallowing them up, dusting them off (firing all the deadbeats who are in the way), putting them back into circulation with a dynamic virginity, sending them shooting up on the Stock Exchange and then abandoning them afterwards like dogs. Some people do this very well. It is perhaps better to save tired concepts by maintaining them in a super cooled state like unemployed labour, or locking them away in interactive data banks kept alive on a respirator.

Only then comes the fourth and last movement, the Adagio, the final farewell. It takes the form of a prayer, Mahler's last chorale, his closing hymn, so to speak; and it prays for the restoration of life, of tonality, of faith. This is tonality unashamed, presented in all aspects ranging from the diatonic simplicity of the hymn tune that opens it through every possible chromatic ambiguity. It's also a passionate prayer, moving from one climax to another, each more searing than the last. But there are no solutions. And between these surges of prayer there is intermittently a sudden coolness, a wide-spaced transparency, like an icy burning — a Zen-like immobility of pure meditation. This is a whole other world of prayer, of egoless acceptance. But again, there are no solutions. "Heftig ausbrechend!" he writes, as again the despairing chorale breaks out with greatly magnified intensity. This is the dual Mahler, flinging himself back into his burning Christian prayer, then again freezing into his Eastern one. This vacillation is his final duality. In the very last return of the hymn he is close to prostration; it is all he can give in prayer, a sobbing, sacrificial last try. But suddenly this climax fails, unachieved — the one that might have worked, that might have brought solutions. This last desperate reach falls short of its goal, subsides into a hint of resignation, then another hint, then into resignation itself. And so we come to the final incredible page. And this page, I think, is the closest we have ever come, in any work of art, to experiencing the very act of dying, of giving it all up. The slowness of this page is terrifying: Adagissimo, he writes, the slowest possible musical direction; and then langsam (slow), ersterbend (dying away), zögernd (hesitat-ing); and as if all those were not enough to indicate the near stoppage of time, he adds äusserst langsam (extremely slow) in the very last bars. It is terrifying, and paralyzing, as the strands of sound disintegrate. We hold on to them, hovering between hope and submission. And one by one, these spidery strands connecting us to life melt away, vanish from our fingers even as we hold them. We cling to them as they dematerialize; we are holding two-then one. One, and suddenly none. For a petrifying moment there is only silence. Then again, a strand, a broken strand, two strands, one ... none. We are half in love with easeful death ... now more than ever seems it rich to die, to cease upon the midnight with no pain ... And in ceasing, we lose it all. But in letting go, we have gained everything.

COME BACK, LITTLE SHEBA was first presented by The Theatre Guild at the Booth Theatre, New York City, on February 15, 1950, with the following cast: (IN ORDER OF APPEARANCE) DOC Sidney Blackmer MARIE Joan Lorring LOLA Shirley Booth TURK Lonny Chapman POSTMAN Daniel Reed MRS. COFFMAN Olga Fabian MILKMAN ]ohn Randolph MESSENGER Arnold Schulman BRUCE Robert Cunningham ED ANDERSON Wilson Brooks ELMO HUSTON Paul Krauss DIRECTED BY Daniel Mann

More recently, physicist Edwin May, who directed the ESP research at SRI after 1986 and then headed the program researching “anomalous cognition” (May’s preferred term) after it was transferred to SAIC, and psychologist Sonali Bhatt Marwaha have also argued that all forms of ESP are likely precognition misinterpreted or misidentified.29 Unlike Feinberg, they do not assume precognition is solely an “inside the head” phenomenon30; but reducing anomalous cognition to precognition is a bold step that may move the field of parapsychology forward by, as they say, “collaps[ing] the problem space”31 of these phenomena. What has always seemed like several small piles of interesting but perhaps not overwhelming data supporting various diverse forms of psi or anomalous cognition may really be a single, impressively large pile of evidence for the much more singular, astonishing, and as I hope to show, physically plausible ability of people to access information arriving from their own future. In Part Two, where I address the possible “nuts and bolts” of this ability, I will be making a case for precognition being something close to Feinberg’s “memory of things future”—an all-in-the-head information storage and retrieval process, but one that is not limited to short-term memory. Evidence from life and laboratory suggests it may be possible, within limits, to “premember” experiences days, months, and years in our future, albeit dimly and obliquely, in a manner not all that different from how we remember experiences in our past. The main qualitative difference would be that, unlike memory for past experiences, we have no context for recognizing information from our future, let alone interpreting or evaluating it, and thus will seldom even notice its existence. We would also have little ability to directly search our memory for things future, the way we can rummage in our mental attic for information we know we acquired earlier in life. Yet things we will learn in our future may “inform” us in many non-conscious ways, and this information may be accessed in dreams and art and tasks like ESP experiments that draw on ill-defined intuitive abilities.

Once every few weeks, beginning in the summer of 2018, a trio of large Boeing freighter aircraft, most often converted and windowless 747s of the Dutch airline KLM, takes off from Schiphol airport outside Amsterdam, with a precious cargo bound eventually for the city of Chandler, a western desert exurb of Phoe­nix, Arizona. The cargo is always the same, consisting of nine white boxes in each aircraft, each box taller than a man. To get these pro­foundly heavy containers from the airport in Phoenix to their des­tination, twenty miles away, requires a convoy of rather more than a dozen eighteen-wheeler trucks. On arrival and family uncrated, the contents of all the boxes are bolted together to form one enormous 160-ton machine -- a machine tool, in fact, a direct descendant of the machine tools invented and used by men such as Joseph Bramah and Henry Maudslay and Henry Royce and Henry Ford a century and more before. "Just like its cast-iron predecessors, this Dutch-made behemoth of a tool (fifteen of which compose the total order due to be sent to Chandler, each delivered as it is made) is a machine that makes machines. Yet, rather than making mechanical devices by the pre­cise cutting of metal from metal, this gigantic device is designed for the manufacture of the tiniest of machines imaginable, all of which perform their work electronically, without any visible mov­ing parts. "For here we come to the culmination of precision's quarter­millennium evolutionary journey. Up until this moment, almost all the devices and creations that required a degree of precision in their making had been made of metal, and performed their vari­ous functions through physical movements of one kind or another. Pistons rose and fell; locks opened and closed; rifles fired; sewing machines secured pieces of fabric and created hems and selvedges; bicycles wobbled along lanes; cars ran along highways; ball bearings spun and whirled; trains snorted out of tunnels; aircraft flew through the skies; telescopes deployed; clocks ticked or hummed, and their hands moved ever forward, never back, one precise sec­ond at a time."Then came the computer, then the personal computer, then the smartphone, then the previously unimaginable tools of today -- and with this helter-skelter technological evolution came a time of translation, a time when the leading edge of precision passed itself out into the beyond, moving as if through an invisible gateway, from the purely mechanical and physical world and into an immobile and silent universe, one where electrons and protons and neutrons have replaced iron and oil and bearings and lubricants and trunnions and the paradigm-altering idea of interchangeable parts, and where, though the components might well glow with fierce lights send out intense waves of heat, nothing moved one piece against another in mechanical fashion, no machine required that mea­sured exactness be an essential attribute of every component piece.

For the uninitiated, oryoki is a baffling combo of a meal and a shell game. It goes something like this: You start the game with three nested bowls, a pair of chopsticks, a little wooden paddle with a cotton tip, and a cloth or straw place mat—all of which are wrapped like a gift in a generous napkin, whose ends are knotted so the tails stick up and the whole package can be quickly undone. If you are not expert, it is not so easy to undo the knot, spread the cloth, and organize your bowls before the servers start zipping around with the first of three vats—say, vegetable gruel, some sweet potatoes or scrambled eggs, and maybe a salad. The servers arrive at your place long before your bowls are properly aligned. (Also, your chopsticks were supposed to be laid out like compass needles; they point in one direction before you eat and end up in the opposite direction and balanced on one of the bowls when the wooden clapper signals the end of this ordeal.) You can waste a lot of time surveying your neighbors' arrangements, and, thus, barely get a bite to eat. There are also some secret hand signals you have to master to indicate to the servers whether you want the soup, and how much, and if you don't give the proper Stop! sign, you are supplied with way too much gruel or sweet potatoes, and then the lickety-split meal is ending and someone is stand- ing before you with a giant kettle of boiling water, which is aimed at your biggest bowl (which should be empty by now, but you took way too much gruel; learn the hand signals). Here's where the little paddle comes into play; you use it like a big Q-tip to swish and swab the hot water in each bowl in succession—your oryoki will not be otherwise cleaned for a week—and then you drink the dregs, and stack and wrap the bowls up as fast as you can.

not only that symbolic hybridity can signal perspective—both the language facet of perspective and, indirectly, the perception facet of perspective—but also that symbolic hybridity can only feature in specific discourse categories, namely those categories that can contain elements of the character’s discourse and thus have a mimetic quality. TT shifts in linguistic hybridity can therefore lead to TT shifts in discourse category and these discourse-category shifts in turn can trigger TT shifts in the language facet of perspective. The following discussion will illustrate this in more detail. For this, I will draw on Leech and Short’s (2007) as well as Brian McHale’s (1978) classification of speech and thought presentation. Leech and Short (2007:255ff.) distinguish the following five speech-presentation categories: Narrative Report of Speech Act (NRSA) Indirect Speech (IS) Free Indirect Speech (FIS) Direct Speech (DS) Free Direct Speech (FDS) For a detailed discussion of these five speech-presentation categories see Leech and Short 2007:255–270. McHale (1978:258–259) further subdivides indirect discourse into (i) “indirect content paraphrase” and (ii) “indirect discourse, mimetic to some degree”. Building on McHale, I will therefore distinguish between (i) indirect speech (IS) and (ii) mimetic indirect speech (MIS). Short (1996:293) refers to NRSA as “Narrative Representation of Speech Acts” rather than “Narrative Report of Speech Act” and adds another category, that of “Narrator’s Representation of Speech (NRS)”. NRS is the most minimalist form of speech presentation, as it “merely tells us that speech occurred” without “specify[ing] the speech act(s) involved

Sky pulls her arm back, right as I turn back to walk to the couch, and suddenly the controller flies out of her hand and smacks directly into my nose. “Ugh!” I grunt out. Sky puts her hand over her mouth and gasps. But then she runs toward me when she sees the blood dripping down my face. I walk into the kitchen because I don’t want to get blood on the carpet. “Oh thit,” I swear, when I see that the kids didn’t follow us. She sits me down in a chair and puts a towel under my nose. “That hurts wike a mudder fudder.” I sound like I’m all stopped up with a cold, but the blood is still dripping, so I pinch my nose closed. “I’m so sorry,” she says as she drops down in front of me. She rests her forearms on my thighs. I can smell the pizza she just ate on her breath, and I really, really want to kiss her, but I have blood all over my face and hands. “I’m so sorry,” she says again. “I didn’t know it would fly out of my hand like that.” “You hab ta wap it awound your wist,” I say. “I have to wrap it around my wrist?” she repeats. “To keep it fwom fwying.” “Crap,” she says again. “I am so sorry.” She already said that. She gets up and goes to get a wet towel. She cleans my hands and wipes gently beneath my nose. My nose hurts like a son of a bitch. I jerk my head back, but she just follows, probing and prodding. “I think the bleeding has stopped,” she says. But I let her continue to fuss over me, just because I like it. “Do you want some ice?” she asks. Yeah, but I need it for my dick and not for my nose. “Pwease,” I say. Her face is only inches from mine. But then she goes to the fridge. She comes back with a small bag of ice. She’d probably get offended if I shoved it in my pants, so I lay it against my nose, instead. I brace my chin with one hand and hold the ice with the other. “I really didn’t mean to hit you,” she says. She looks so worried that I have to let her off the hook. Hell, I lived with four brothers. I have had more nosebleeds than I could ever begin to count. “I’ll wiv,” I say. She leans close and kisses my cheek. I want to turn my head and press my lips to hers, but I don’t. “You in lub wif me yet?” I ask. She laughs and turns her head away, closing her eyes. Her giggle is so damn cute. She winces. “I gwess dats a no,” I say. I lift my shirt and wipe the edge of my nose, since she took my wet towel. When I do, her eyes go to my frog prince, and she leans forward and presses her lips to him. She looks up at me, her blue eyes wide, as she holds her lips there for a second. Then she makes a loud smacking noise and pops back up, grinning. “There. All better?” Fuck no. We’re just getting started. Seth sticks his head into the room. He smirks at me and shakes his head. “Dude,” he says. He laughs. “That’s the saddest thing I’ve ever seen.” I throw down the ice. “Dat’s it. I’m going to kick your ath at bow’ing, Seth. You are going down.” I follow him into the other room, take a controller, and try to pretend like she didn’t just rock my world.

I accordingly turned her over upon the quarter, and was in the act of nailing on the canvass, when I observed a very large spermaceti whale, as well as I could judge, about eighty-five feet in length; he broke water about twenty rods off our weather-bow, and was lying quietly, with his head in a direction for the ship. He spouted two or three times, and then disappeared. In less than two or three seconds he came up again, about the length of the ship off, and made directly for us, at the rate of about three knots. The ship was then going with about the same velocity. His appearance and attitude gave us at first no alarm; but while I stood watching his movements, and observing him but a ship’s length off, com- ing down for us with great celerity, I involuntarily ordered the boy at the helm to put it hard up; intending to sheer off and avoid him. The words were scarcely out of my mouth, before he came down upon us with full speed, and struck the ship with his head, just forward of the fore-chains; he gave us such an appalling and tremendous jar, as nearly threw us all on our faces. The ship brought up as suddenly and violently as if she had struck a rock and trembled for a few seconds like a leaf. We looked at each other with perfect amazement, deprived almost of the power of speech. Many minutes elapsed before we were able to realize the dreadful accident; during which time he passed under the ship, grazing her keel as he went along, came up underside of her to leeward, and lay on the top of the water (apparently stunned with the violence of the blow), for the space of a minute; he then suddenly started off, in a direction to leeward.

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And now tell me"-in the end I could not restrain myself "how did you manage to know?" "My good Adso," my master said, "during our whole journey I have been teaching you to recognize the evidence through which the world speaks to us like a great book. Alanus de Insulis said that omnis mundi creatura quasi liber et pictura nobis est in speculum and he was thinking of the endless array of symbols with which God, through His creatures, speaks to us of the eternal life. But the universe is even more talkative than Alanus thought, and it speaks not only of the ultimate things (which it does always in an obscure fashion) but also of closer things, and then it speaks quite clearly. I am almost embarrassed to repeat to you what you should know. At the cross roads, on the still-fresh snow, a horse's hoofprints stood out very neatly, heading for the path to our left. Neatly spaced, those marks said that the hoof was small and round, and the gallop quite regular --and so I deduced the nature of the horse, and the fact that it was not running wildly like a crazed animal. At the point where the pines formed a natural roof, some twigs had been freshly broken off at a height of five feet. One of the blackberry bushes where the animal must have turned to take the path to his right, proudly switching his handsome tail, still held some long black horsehairs in its brambles. ... You will not say, finally, that you do not know that path leads to the dungheap, because as we passed the lower curve we saw the spill of waste down the sheer cliff below the great south tower, staining the snow; and from the situation of the crossroads, the path could only lead in that direction." "Yes," I said, "but what about the small head, the sharp ears, the big eyes...?" "I am not sure he has those features, but no doubt the monks firmly believe he does. As Isidore of Seville said, the beauty of a horse requires that the head be small, siccum prope pelle ossibus adhae rente, short and pointed ears, big eyes, flaring nostrils, erect neck, thick mane and tail, round and solid hoofs.' If the horse whose passing I inferred had not really been the finest of the stables, stableboys would have been out chasing him, but instead, the cellarer in person had undertaken the search. And a monk who considers a horse excel lent, whatever his natural forms, can only see him as the auctoritates have described him, especially if" and here he smiled slyly in my direction-"the describer is a learned Benedictine." "All right," I said, "but why Brunellus?" "May the Holy Ghost sharpen your mind, son!" my master exclaimed. "What other name could he possibly have? Why, even the great Buridan, who is about to become rector in Paris, when he wants to use a horse in one of his logical examples, always calls it Brunellus This was my master's way. He not only knew how to read the great book of nature, but also knew the way monks read the books of Scripture, and how they thought through them. A gift that, as we shall see, was to prove useful to him in the days to follow. His explanation, moreover, seemed to me at that point so obvious that my humiliation at not having discovered it by myself was surpassed only by my pride at now being a sharer in it, and I was almost congratulat ing myself on my insight. Such is the power of the truth that, like good, it is its own propagator. And praised be the holy name of our Lord Jesus Christ for this splendid revelation I was granted.

In 2009 and 2010, Koch Industries’ political network created new Republican candidates, seemingly out of nowhere, who rose up and challenged sitting congressmen and senators. Koch’s chosen candidates attacked the incumbents from the right, claiming that the Republican Party was insufficiently conservative and too accommodating of the Obama agenda. The overwhelming message was that compromise with Democrats must end. Bob Inglis was more surprised than anyone to find himself challenged by one of Koch’s candidates. Inglis earned an 84 percent rating from the American Conservative Union, which tracked lawmakers’ votes. He discovered that voting in line with the union 84 percent of the time was not enough. Inglis was seen as a holdout against Koch’s agenda because he stubbornly continued to advocate for controlling greenhouse gas emissions. Inglis’s competition came in May, and it arrived in the form of a prosecuting attorney from Spartanburg named Trey Gowdy. Inglis and Gowdy had been longtime allies and even friends. Inglis heard the news about Gowdy’s candidacy one morning when a friend called and told him. He collapsed back into bed. Gowdy was a formidable opponent. Koch Industries gave no money to Inglis during that campaign cycle, but contributed at least $7,500 to Gowdy. Americans for Prosperity promoted Inglis’s town hall meetings to Tea Party activists so that they could arrive to protest, but there is no evidence that AFP directed such actions against Gowdy or questioned his conservative credentials. Gowdy, in turn, proved that he would support Koch Industries’ most important policy concern in the summer of 2009.

His only human encounter was with Pagan d'Aumesty, one of the Earl of Oxney's more peculiar relatives, who was wandering along High Knock Channel poking vaguely at the sides of the stream with a stick. Gareth halted. "Good morning, sir." "Eh? Oh. You're, uh..." "Gareth Inglis. I came to tea with the Earl in March." "No. No, that's not it." "I beg your pardon?" "I'll have it in a minute. Let me see, you are—" "Gareth Inglis," Gareth said with extreme clarity. "Ah, I have it! You are Gareth Inglis," Pagan informed him. "Are you looking for your father? He's just around here, I believe." "I...I'm afraid he's dead, sir." "Just around here." Pagan gestured in the vague direction of the Isle. "I saw him—now, was it today?" "No, because he's dead?" Somehow that had become a question. "He's dead," Gareth repeated more firmly. "He's been dead for months." "Are you sure?" Gareth dug his fingernails into his palm against the wholly inappropriate laugh that wanted to bubble up. "Quite sure, yes." "Hmph. That seems very odd of him." "I do apologise," Gareth said hopelessly. "We had been discussing my researches. I wanted to tell him about the progress of the project. I wondered why he had not visited." There was a distinct suggestion that Sir Hugo's death was insufficient excuse. "Really, it is most inconvenient. I wished him to assist in illustrating my theory." "What theory is that, sir?" Gareth asked, out of politeness that he was very rapidly to regret, and then stood subject to ten minutes of monologue on Romano-British Mithraic mysteries before he was forced to remember an urgent appointment.

Be-ing is actually a choice that you make in every moment of every day. When you move into a state of consciousness you become aware of everything around you. You become tuned in to your thoughts and your feelings. This is called being mindful. Initially, the more tuned in you become, the more you begin to realize that the thoughts and feelings you are experiencing may not be an accurate portrayal of the present moment. Instead, the thoughts and feelings you experience are a direct reflection of your past experiences. You constantly apply your history to your present,

Deep in the silent inner room Every fiber of my soft heart Turns to a thousand strands of sorrow. I loved the Spring, But the Spring is gone As rain hastens the falling petals. I lean on the balustrade, Moving from one end to the other. My emotions are still disordered. Where is he? Withered grass stretches to the horizon And hides from sight Any road by which he might return. —Li Ch'ing-Chao, from “Remorse,” Songs of Love, Moon, Wind: Poems from the Chinese (New Directions , 2009)

Como podemos observar, ING Direct establece un paralelismo entre cosas que se parecen pero que no son iguales y que la respuesta es evidente.

Como se puede apreciar, ING Direct, para influir en su cliente objetivo sobre las bondades de su cuenta nómina, ofrece hasta 10 argumentos objetivos y razonados; pero no los da enumerados del 1 al 10 sino agrupados y estructurados por categoría o tipos de argumentos:

When Jews “unplug,” and maintaina distance toward the society in which they live, they do not do it forthe sake of their own different substantial identity—in a way, anti-Semitism is right here: the Jews are, in effect, “rootless,” their Law is“abstract,” it “extrapolates” them from the social Substance.And there we have the radical gap that separates the Christian sus-pension of the Law, the passage from Law to love, from the pagan sus-pension of the social law: the highest (or, rather, deepest) point ofevery pagan Wisdom is, of course, also a radical “unplugging” (ei-ther the carnivalesque orgy, or direct immersion in the abyss of theprimordial Void, in which all articulated differences are suspended);what is suspended here, however, is the “pagan” immanent law ofthe social, not the Jewish Law that already unplugs us from the so-cial. When Christian mystics get too close to the pagan mystical ex-perience, they bypass the Jewish experience of the Law—no wonderthey often become ferocious anti-Semites. Christian anti-Semitismis, in effect, a clear sign of the Christian position’s regression into pa-ganism: it gets rid of the “rootless,” universalist stance of Christian-ity proper by transposing it onto the Jewish Other; consequently,when Christianity loses the mediation of the Jewish Law, it loses thespecific Christian dimension of Love itself, reducing Love to the pa-gan “cosmic feeling” of oneness with the universe. It is only refer-ence to the Jewish Law that sustains the specific Christian notion of Love that needs a distance, that thrives on differences, that has noth-ing to do with any kind of erasure of borders and immersion inOneness. (And within the Jewish experience, love remains on thispagan level—that is to say, the Jewish experience is a unique combi-nation of the new Law with pagan love, which accounts for its innertension.)The trap to be avoided here is the opposition of the “external” so-cial law (legal regulations, “mere legality”) and the higher “inter-nal” moral law, where the external social law may strike us ascontingent and irrational, while the internal law is fully assumed as“our own”: we should radically abandon the notion that external so-cial institutions betray the authentic inner experience of the true we should radically abandon the notion that external so-cial institutions betray the authentic inner experience of the trueTranscendence of Otherness (in the guise, for example, of the oppo-sition between the authentic “inner” experience of the divine and its“external” reification into a religious institution in which the reli-gious experience proper degenerates into an ideology legitimizingpower relations). If there is a lesson to be learned from Kafka, it isthat, in the opposition between internal and external, the divine di-mension is on the side of the external. What can be more “divine”than the traumatic encounter with the bureaucracy at its craziest—when, say, a bureaucrat tells us that, legally, we don’t exist? It is insuch encounters that we catch a glimpse of another order beyondmere earthly everyday reality. There is no experience of the divinewithout such a suspension of the Ethical. And far from being simplyexternal, this very externality (to sense, to symbolic integration)holds us from within: Kafka’s topic is precisely the obscene jouissancethrough which bureaucracy addresses the subject on the level of thedisavowed innermost (“ex-timate,” as Lacan would have put it) realkernel of his being.

In the Upper Midwest, newcomers often receive a classic piece of wintertime advice: “The winters will drive you crazy until you learn to get out into them.” Here, people spend good money on warm cloth-ing so they can get outdoors and avoid the “cabin fever” that comes from huddling fearfully by the fire during the long frozen months. If You live here long, you learn that a daily walk into the winter worldwill fortify the spirit by taking you boldly to the very heart of the sea-son you fear. Our inward winters take many forms – failure, betrayal, depres-sion, death. But every one of them, in my experience, yields to the same advice: “The winters will drive you crazy until you learn to get out into them.” Until we enter boldly into the fears we most want to avoid, those fears will dominate our lives. But when we walk directly into them – protected from frostbite by the warm garb of friendship or inner discipline or spiritual guidance – we can learn what they have to teach us. Then, we discover once again that the cycle of the seasons is trustworthy and life-giving, even in the most dismaying season of all.

You add more protective blocks to your wall, thereby making it higher and higher-all of which begins to isolate you, not only from others, but from your Maker. Your False Self comes to the forefront. Your light becomes weaker and more obscured, thus, continuing to distance you from your real Source. As all of this is happening you accept the role of “actor” rather than purposely choosing that of “author” in which you consciously write your life’s drama. While Be-ing the actor you take directions from anyone and everyone- except your Maker.

The billions of texts, tweets, photos, videos, and other postings tsunami-ing in all directions in response to the general panic featured some helpful information, the way in negotiating a nearly impenetrable rain forest you might every so often come across an edible piece of fruit. The good news was that the internet democratized and facilitated the sharing of information, and that was the bad news, as well....On the one hand, useful information might have been pouring in from everywhere; on the other, you had to stir through the stew of journalism and entertainment and horseshit and noise to find it. And anything was probably more comforting than the official story, which seemed perpetually to be 'We're working on it,' and with so many more appealing options out there reality was being abandoned the way you might walk away from farmland that had lost its water source.

Graham divides all work into two buckets: maker (do or create) and manager (oversee or direct). "Maker" time requires large blocks of the clock to write code, develop ideas, generate leads, recruit people, produce products, or execute on projects and plans. This time tends to be viewed in half-day increments. "Manager time," on the other hand, gets divided into hours. This time typically has one moving from meeting to meeting, and because those who oversee or direct tend to have power and authority, "they are in a position to make everyone resonate at their frequency." This can create a huge conflict if those needing maker time are pulled into meetings at odd hours, destroy ing the very time blocks they need to move themselves and the company forward.