Inspirational Introduction Quotes

Keep me up till five because all your stars are out, and for no other reason…Oh dare to do it Buddy! Trust your heart. You’re a deserving craftsman. It would never betray you. Good night. I’m feeling very much over-excited now, and a little dramatic, but I think I’d give almost anything on earth to see you writing a something, an anything, a poem, a tree, that was really and truly after your own heart.

Reality can be entered through the main door or it can be slipped into through a window, which is much more fun.

A man that knows your worth doesn't need to be told how to treat you. That's a given! You won't have to question his feelings, his motives, nor his intentions. How will I know? You ask. See, he will freely show you how he feels and prove it consistently. If you're settling for anything less than what you deserve. Then, maybe you don't even know your worth.

So long as there shall exist, by reason of law and custom, a social condemnation, which, in the face of civilisation, artificially creates hells on earth, and complicates a destiny that is divine, with human fatality; so long as the three problems of the age — the degradation of man by poverty, the ruin of woman by starvation, and the dwarfing of childhood by physical and spiritual night — are not solved; so long as, in certain regions, social asphyxia shall be possible; in other words, and from a yet more extended point of view, so long as ignorance and misery remain on earth, books like this cannot be useless.

Don’t you think the things people are most ashamed of are the things they cannot help?” -Pysche

A miscreant with coiffed, scented hair, a slender waist, the hips of a woman and the chest of a Prussian officer, with a finely tied cravat, by all girls admired. ~ [introduction of character Montparnasse]

We cannot change situations in life, but we can change our attitude towards them

Faraday was asked: "What is the use of this discovery?" He answered: "What is the use of a child - it grows to be a man.

The eternity of "anytime" shines in this moment "now" while the unlimitedness of "anyplace" is manifested in the limits of "here." When the universality of "anyone" dances out in the individual "I," for the first time you have the world of Zen.

Work smartly, diligently and silently; One day your introduction will be "Google Me.

The story that you wanted to write will never be pen down that way, The chapters of incidences will variate, The entrance and exit of characters will alter, The starting of pages might be different, The ending of pages might be unclear, The attractive introduction, The charming ending, Considering the facts in your mind, Concluding with ideas in your heart, The end product will be something else, The same goes with your life, This person is going to be my lover, friend, helper, and well-wisher, or in case some of you decide an enemy, We’re breathing humans, Our thoughts, our minds, our hearts, and our souls, everything works according to our moods, likes, dislikes, etc., There’s a problem with us, There’s a fault in ourselves, When we think that they’ll be there for us, No, they wouldn’t be, Why should they be? They have a different story to live, It’s not their duty to make your story happening, So be delighted with your tale, And enjoy whatever comes your way.

Your personality should be described in poem not in paragraph.

Freedom is a dangerous word, just because it is an inspirational one.

We can check on what people say by seeing what they do.

You meet grief without introductions

God always shows us the introduction and the conclusion of our dreams to excite us about the whole task. He doesn't want to show us the daunting body of our dreams because He knows that we'll rather run away from our dreams than to pursue them.

How to Make People Want to Start a Conversation with You Singles proficient at meeting potential sweethearts without the benefit of introduction (in the vernacular, making a "pickup"), have developed a deliciously devious technique that works equally well for social or corporate networking purposes. The technique requires no exceptional skill on your part, only the courage to sport a simple visual prop called a "Whatzit." What’s a Whatzit? A Whatzit is anything you wear or carry that is unusual—a unique pin, an interesting purse, a strange tie, or an amusing hat. A Whatzit is any object that draws people’s attention and inspires them to approach you and ask, "Uh, what’s that?" Your Whatzit can be as subtle or overt as your personality and the occasion permit.

If you make people think they're thinking, they'll love you; but if you really make them think, they'll hate you." In short, entertainment fulfills our expectations. Art, on the other hand, makes no compromise for public taste as it inspires us to consider life's complexities and ambiguities. Art is the opposition testing the strength of societal and cultural values-values that are thoughtlessly adopted by the mass of individuals living unexamined lives and all who cannot imagine a different way of seeing life.

All these uses a valid; all these reading of the book are "correct". For all these readers have placed themselves inside this story, not as spectators, but as participants, and so have looked at the world of Ender's Game, not with my eyes only, but also with their own.

Christians who take without distinction, as divinely inspired, every spontaneous impression and every more or less developed interior reaction of their own spirit face to face with the divine Word are in greater danger than anyone else of stifling the Spirit by confusing him with their own unconscious caricature.

For all human beings, everything begins and ends with the brain. Every move we make, every instinct we have, every problem we solve, every complicated emotional scenario we could conjure, every moment of joy, and every moment of pain are the result of the interplay between our brain, our body, and the world around us.

The ideal Lexivist should be a polymath or at least interested in many different areas and fields. When it comes to creativity, whether it is in CDT or art, the transformative effect which stems from our creations can have a liberating and inspirational effect on our very selves. What we excel at, whether that is business or politics, should carry a radiant and positive effect not just on the development and progression of the self but also to lead by example for those who surround us. To inspire them to do the same if they so choose.

When we understand the power of the brain we have the opportunity to harness it.

Cultivating mindfulness and being able to rest in the spaces between your thoughts can help you connect with your dharma.

A neural network, also known as an artificial neural network, is a type of machine learning algorithm that is inspired by the biological brain.

Ideas give life meaning. Our minds need ideas the way our bodies need food. We are starved for visions, hungry for understanding. We are caught up in the routines of life, distracted occasionally by those activities we call “recreation” and “entertainment.” What we as a nation have lost is the joy of thinking, the challenge of understanding, the inspirations as well as the consolations of philosophy.

First, the past can inspire us. Second, the familiarity of the past helps us to see our common humanity with others who have lived before us. Third, the past gives us a better understanding of our civic identity.

To some of us the humiliation of failure seems to open a wide gulf between God and us. We imagine that God turns away from us in disgust. What I discovered was that failure could be a bridge across the chasm that pride had created.

[Mani] deleted as interpolations all texts in the New Testament that assumed either the order and goodness of matter or the inspiration and authority of the Old Testament. Otherwise he thought his expurgated New Testament a sound book.

The best company is when you are with those who bring out the best in you and those who inspire you to do what you love doing (Something “good.”). Seneca realised that teaching and development comes from learning especially from those who at the time have a deep knowledge of all things and areas. The best teacher is the one who makes it fun and interesting at the same time. Whatever the subject, especially when teaching our children who absorb things so well, the way in which we convey the knowledge is vital to the development process.

[Karen Lundegaard] was quite frail, debilitated by metastatic breast cancer, which she had long known she had but for which she had been unable to get adequate treatment because she lacked medical insurance. ("If you mention anything about me," she said, "tell people that.")

Kamal was distressed and angry, not merely at the insult to the honor of teachers but first and foremost for the sake of learning itself, for what he felt was true learning. He did not think well of occupations that shook the earth. He had often found that the writers who inspired him applied derogatory epithets to them, referring, for example, to their counterfeit grandeur and ephemeral glory. Basing his opinion on what they had said, he believed that the only true greatness lay in the life of learning and truth. Thus all manifestations of majesty and pomp seemed spurious and trivial to him.

From the shattered tools and bones of our predecessors, we craft our own weapons. Nothing is guaranteed to work, yet we attack regardless. We do so naked, having shed the rags of morality, ideology, and politics that had accumulated over time. We confront this world raw, in all its horrifying glory.

What would you concede if it didn’t matter who got the credit? What would no longer matter if you were not hostage to the accomplishment tally? How much peace could you claim by trusting that the choices that you made for goodness would ultimately turn out right? Just picture the freedom that comes with living a surrendered life.

The introduction of any type of duality into our existence—or the universe, for that matter—is merely mind imposed. Still, is it possible that the essence of all objects is based on a unit of one? All objects manifest energy at a given level. This dimension may consist of different frequencies, but these have the potential to vibrate as one.

To illustrate toaster righteousness, let’s say God decides to use toasters to spread His messages. He incorporates his love into an LLC called God’s Toasters, LLC. Toasters are now the legal and spiritual messengers of God. Different toaster brands are made all over the world. It doesn’t matter where the toasters are introduced in the world, some people support them and others oppose them. It is God’s will to have different toasters made in different countries. Toaster Righteousness comes into play when people start believing that if we do not eat a specific bread recipe and shaped bread, we cannot receive authentic holy toast. Exceptions are made with pita lovers, but everyone else in the world is doomed to live in eternal burnt-toast hell, not golden-brown toast heaven. Throughout history, bread is a staple of peoples’ diets. The introduction of toasters is supposed to support show us how to eat bread better, being grateful for the bread we are given, sharing toast with one’s neighbor, and not killing in the name of bread.

What might our lives feel like if we didn’t march through them with a scorecard, keeping a tally of our failures and successes? How would it be to stop pretending omniscience? Can you imagine being able to trust that the outcome of your efforts will be right, whatever the outcome? Even when it looks as though every effort is marked with failure?

They say, still, that no Wizarding duel ever matched that between Dumbledore and Grindelwald in 1945. Those who witnessed it have written of the terror and the awe they felt as they watched these two extraordinary wizards do battle. Dumbledore’s triumph, and its consequences for the Wizarding world, are considered a turning point in magical history to match the introduction of the International Statute of Secrecy or the downfall of He-Who-Must-Not-Be-Named. Albus Dumbledore was never proud or vain; he could find something to value in anyone, however apparently insignificant or wretched, and I believe that his early losses endowed him with great humanity and sympathy. I shall miss his friendship more than I can say, but my loss is as nothing compared to the Wizarding world’s. That he was the most inspiring and the best loved of all Hogwarts headmasters cannot be in question. He died as he lived: working always for the greater good and, to his last hour, as willing to stretch out a hand to a small boy with dragon pox as he was on the day that I met him.

The male sphere of Norse shamanism consisted of the elite warrior groups known as the berserkir ("bear-shirts") and the úlfheðnar ("wolf-skins"). The berserkers (as we'll refer to the members of both of those groups for the sake of convenience), were shamans of a very different sort. After undergoing a period of rigorous training and initiation, they developed the ability to fight in an ecstatic trance that rendered them fearless - and, according to some sources, impervious to danger - while nevertheless inspiring a tremendous amount of fear in their opponents by their behavior, which was at once animalistic and otherworldly. Perhaps needless to say, there was no ergi associated with being a berserker. Quite the opposite, in fact - the berserker was seen as something of a model of manliness.

Encouragement during the early years is crucial because beginners are still figuring out whether they want to commit or cut bait. Accordingly, Bloom and his research team found that the best mentors at this stage were especially warm ans supportive: 'perhaps the major quality of these teachers was that they made the initial learning very pleasant and rewarding. much of the introduction to the field was as playful activity, and the learning at the beginning of this stage was like a game'. A degree of autonomy during the early years is also important. Longitudinal studies tracking learners confirm that overbearing parents and teachers erode intrinsic motivation. Kids whose parents let them make their own choices about what they like are more likely to develop interests later identified as a passion.

Although technology often leads science in discovery, the philosophy of technology is usually drawn from the scientific philosophy of its time. In our time, the technology of machines has drawn its inspiration from mechanics, dealing with complexity by reducing the number of relevant parts. The technology of government, on the other hand, has drawn upon statistical mechanics, creating simplicity by dealing only with people in the structureless mass, as interchangeable units, and taking averages.

I did what I could to help the people I met: I treated the sick, I fed the hungry, and I even tried to stop the violence throughout the land. Unfortunately, nothing I did prevented the disease and destitution from spreading. However, it wasn’t interaction your world needed; it was inspiration. In a world dominated by ruthless kings and warlords, the ideas of self-worth and self-empowerment were unheard of. So I started telling stories about my world to entertain and raise spirits, especially the poor children’s. Little did I know it would become the greatest contribution of my lifetime. I told stories about cowards who became heroes, peasants who became powerful, and the lonely who became beloved. The stories taught many lessons, but most important, they taught the world how to dream. The ability to dream was a much-needed introduction to hope, and it spread like a powerful epidemic. Families passed the stories from generation to generation, and over the years I watched their compassion and courage

Looking to that future, there is every reason to believe that science and religion will both continue to flourish, to enlighten, to inspire; as well as to frustrate, to obfuscate, and to oppress. Some people may wish that one half of this essentially modern pairing could be disposed of, or could be persuaded to relinquish its troublesome claims to authority in some or other sphere of knowledge, morality, or politics. But such people should be careful what they wish for. Would they really prefer to live in a society where everyone agreed about the questions that this book has been about? What sort of place would that be?

Truth, says instrumentalism, is what works out, that which does what you expect it to do. The judgment is true when you can "bank" on it and not be disappointed. If, when you predict, or when you follow the lead of your idea or plan, it brings you to the ends sought for in the beginning, your judgment is true. It does not consist in agreement of ideas, or the agreement of ideas with an outside reality; neither is it an eternal something which always is, but it is a name given to ways of thinking which get the thinker where he started. As a railroad ticket is a "true" one when it lands the passenger at the station he sought, so is an idea "true," not when it agrees with something outside, but when it gets the thinker successfully to the end of his intellectual journey. Truth, reality, ideas and judgments are not things that stand out eternally "there," whether in the skies above or in the earth beneath; but they are names used to characterize certain vital stages in a process which is ever going on, the process of creation, of evolution. In that process we may speak of reality, this being valuable for our purposes; again, we may speak of truth; later, of ideas; and still again, of judgments; but because we talk about them we should not delude ourselves into thinking we can handle them as something eternally existing as we handle a specimen under the glass. Such a conception of truth and reality, the instrumentalist believes, is in harmony with the general nature of progress. He fails to see how progress, genuine creation, can occur on any other theory on theories of finality, fixity, and authority; but he believes that the idea of creation which we have sketched here gives man a vote in the affairs of the universe, renders him a citizen of the world to aid in the creation of valuable objects in the nature of institutions and principles, encourages him to attempt things "unattempted yet in prose or rhyme," inspires him to the creation of "more stately mansions," and to the forsaking of his "low vaulted past." He believes that the days of authority are over, whether in religion, in rulership, in science, or in philosophy; and he offers this dynamic universe as a challenge to the volition and intelligence of man, a universe to be won or lost at man’s option, a universe not to fall down before and worship as the slave before his master, the subject before his king, the scientist before his principle, the philosopher before his system, but a universe to be controlled, directed, and recreated by man’s intelligence.

Architecture is perhaps the most beautiful and expressive of all the arts.  Painting and sculpture, noble though they are, lack the utility of architecture and strive to interpret nature rather than to originate.  Architecture is not hampered by the necessity of reproducing something already in existence.  It may raise its spires untrammeled by any nature model; it may fling its arches gloriously across a nave and transept with no similitude in nature to hamper by suggestion.  If his genius be great enough, the architect may tell in his structure truths which may not be put in words, inspire by glories not sung in the divinest harmonies.

Anyone who does creative work is familiar with this problem, and in many ways active imagination is similar to writing, painting, and so on; all creative work entails a give-and-take between inspiration (unconscious) and execution (conscious). (As I am writing this, for example, I have to allow my intuitions expression before I can start editing them.) The difference for Jung is that the aesthetic quality of the end product isn’t important; understanding it is. Nevertheless, one of the best introductions to active imagination are the letters On the Aesthetic Education of Man by the poet Friedrich Schiller, a contemporary of Goethe, which discuss in detail the dialogue between the creative (unconscious) and critical (conscious) drives and their union in art, both creating and experiencing it.

In a very distantly possible, scientific sense, yes, of course it’s possible that an asexual person who has never been sexually attracted to anyone could encounter someone in the world who inspires sexual attraction for them. If an experience is possible for most people, it makes sense to suggest that maybe a person who hasn’t experienced it still might. But responding to a non-straight orientation with “well, you never know, you might change” isn’t a practical or useful response; it suggests the responding person is processing asexuality as if it must be a passing phase. Sexual orientations are nothing but descriptions of patterns that have, so far in a person’s life, been predictable. Sexuality can be fluid, but there’s no reason to point this out as a way to suggest someone can, will, or should change.

In short, devotion is simply a spiritual activity and liveliness by means of which Divine Love works in us, and causes us to work briskly and lovingly; and just as charity leads us to a general practice of all God’s Commandments, so devotion leads us to practise them readily and diligently. And therefore we cannot call him who neglects to observe all God’s Commandments either good or devout, because in order to be good, a man must be filled with love, and to be devout, he must further be very ready and apt to perform the deeds of love. And forasmuch as devotion consists in a high degree of real love, it not only makes us ready, active, and diligent in following all God’s Commands, but it also excites us to be ready and loving in performing as many good works as possible, even such as are not enjoined upon us, but are only matters of counsel or inspiration.

human kind to the danger of a painful and comfortless situation. A state of scepticism and suspense may amuse a few inquisitive minds. But the practice of superstition is so congenial to the multitude that, if they are forcibly awakened, they still regret the loss of their pleasing vision. Their love of the marvellous and supernatural, their curiosity with regard to future events, and their strong propensity to extend their hopes and fears beyond the limits of the visible world, were the principal causes which favoured the establishment of Polytheism. So urgent on the vulgar is the necessity of believing that the fall of any system of mythology will most probably be succeeded by the introduction of some other mode of superstition. Some deities of a more recent and fashionable cast might soon have occupied the deserted temples of Jupiter and Apollo, if, in the decisive moment, the wisdom of Providence had not interposed a genuine revelation, fitted to inspire the most rational esteem and conviction, whilst, at the same time, it was adorned with all that could attract the curiosity, the wonder, and the veneration of the people. In their actual disposition, as many were almost disengaged from their artificial prejudices, but equally susceptible and desirous of a devout attachment; an object much less deserving would have been sufficient to fill the vacant place in their hearts, and to gratify the uncertain eagerness of their passions. Those who are inclined to pursue this reflection, instead of viewing with astonishment the rapid progress of Christianity, will perhaps be surprised that its success was not still more rapid and still more universal.

Many people today acquiesce in the widespread myth, devised in the late 19th century, of an epic battle between ‘scientists’ and ‘religionists’. Despite de unfortunate fact that some members of both parties perpetuate the myth by their actions today, this ‘conflict’ model has been rejected by every modern historian of science; it does not portray the historical situation. During the 16th and 17th centuries and during the Middle Ages, there was not a camp of ‘scientists’ struggling to break free of the repression of ‘religionists’; such separate camps simply did not exist as such. Popular tales of repression and conflict are at best oversimplified or exaggerated, and at worst folkloristic fabrications. Rather, the investigators of nature were themselves religious people, and many ecclesiastics were themselves investigators of nature. The connection between theological and scientific study rested in part upon the idea of the Two Books. Enunciated by St. Augustine and other early Christian writers, the concept states that God reveals Himself to human beings in two different ways – by inspiring the sacred writers to pen the Book of Scripture, and by creating the world, the Book of Nature. The world around us, no less than the Bible, is a divine message intended to be read; the perceptive reader can learn much about the Creator by studying the creation. This idea, deeply ingrained in orthodox Christianity, means that the study of the world can itself be a religious act. Robert Boyle, for example, considered his scientific inquiries to be a type of religious devotion (and thus particularly appropriate to do on Sundays) that heightens the natural philosopher’s knowledge and awareness of God through the contemplation of His creation. He described the natural philosopher as a ‘priest of nature’ whose duty it was to expound and interpret the messages written in the Book of Nature, and to gather together and give voice to all creation’s silent praise of its Creator.

The story of Cassius Clay’s lost bicycle would later be told as an indication of the boxer’s determination and the wonders of accidental encounters, but it carries broader meaning, too. If Cassius Clay had been a white boy, the theft of his bicycle and an introduction to Joe Martin might have led as easily to an interest in a career in law enforcement as boxing. But Cassius, who had already developed a keen understanding of America’s racial striation, knew that law enforcement wasn’t a promising option. This subject—what white America allowed and expected of black people—would intrigue him all his life. “At twelve years old I wanted to be a big celebrity,” he said years later. “I wanted to be world famous.” The interviewer pushed him: Why did he want to be famous? Upon reflection he answered from a more adult perspective: “So that I could rebel and be different from all the rest of them and show everyone behind me that you don’t have to Uncle Tom, you don’t have to kiss you-know-what to make it . . . I wanted to be free. I wanted to say what I wanna say . . . Go where I wanna go. Do what I wanna do.” For young Cassius, what mattered was that boxing was permitted, even encouraged, and that it gave him more or less equal status to the white boys who trained with him. Every day, on his way to the gym, Cassius passed a Cadillac dealership. Boxing wasn’t the only way for him to acquire one of those big, beautiful cars in the showroom window, but it might have seemed that way at the time. Boxing suggested a path to prosperity that did not require reading and writing. It came with the authorization of a white man in Joe Martin. It offered respect, visibility, power, and money. Boxing transcended race in ways that were highly unusual in the 1950s, when black Americans had limited control of their economic and political lives. Boxing more than most other sports allowed black athletes to compete on level ground with white athletes, to openly display their strength and even superiority, and to earn money on a relatively equal scale. As James Baldwin wrote in The Fire Next Time, many black people of Clay’s generation believed that getting an education and saving money would never be enough to earn respect. “One needed a handle, a lever, a means of inspiring fear,” Baldwin wrote. “It was absolutely clear the police would whip you and take you in as long as they could get away with it, and that everyone else—housewives, taxi

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

Generative thinking can inspire us to work within a vision for culture that is expressed in centuries and millennia rather than quarters, seasons, or fashions.

The language of martyrdom and persecution is often the language of war. It forces a rupture between “us” and “them” and perpetuates and legitimizes an aggressive posture toward “the other” and “our enemies,” so that we can “defend the faith.” Without this posture and the polarized view of the world upon which it relies, we might—without compromising our religious or political convictions—be able to reach common ground and engage in productive government, and we might focus on real examples of actual suffering and actual oppression.

Contents Introduction: Why Start with Why? PART 1: A WORLD THAT DOESN’T START WITH WHY   1. Assume You Know   2. Carrots and Sticks PART 2: AN ALTERNATIVE PERSPECTIVE   3. The Golden Circle   4. This Is Not Opinion, This Is Biology   5. Clarity, Discipline and Consistency PART 3: LEADERS NEED A FOLLOWING   6. The Emergence of Trust   7. How a Tipping Point Tips PART 4: HOW TO RALLY THOSE WHO BELIEVE   8. Start with WHY, but Know HOW   9. Know WHY. Know HOW. Then WHAT? 10. Communication Is Not About Speaking, It’s About Listening PART 5: THE BIGGEST CHALLENGE IS SUCCESS 11. When WHY Goes Fuzzy 12. Split Happens PART 6: DISCOVER WHY 13. The Origins of a WHY 14. The New Competition

the Portuguese adage holds true: God writes straight on crooked lines.

I felt inspired by Karl and determined to lift greater pound-ages myself, to work on the one lift I was already fairly good at—the squat. Training intensively, even obsessively, at a small gym in San Rafael, I worked up to doing five sets of five reps with 555 pounds every fifth day. The symmetry of this pleased me but caused amusement at the gym—“Sacks and his fives.” I didn’t realize how exceptional this was until another lifter encouraged me to have a go at the California squat record. I did so, diffidently, and to my delight was able to set a new record, a squat with a 600-pound bar on my shoulders. This was to serve as my introduction to the power-lifting world; a weight-lifting record

Perhaps an analogy will clarify the point. Let us suppose that a sect should arise promulgating the view that J. R. R. Tolkien’s The Lord of the Rings was actually an inspired prophecy forecasting political events that must occur before the year 2000. The members of the sect would then busy themselves in attempting to work out the symbolic correlations between the story’s characters and the dramatis personae of the world’s political stage in the 1990s. Some of the proposals might be enormously detailed and ingenious, but surely we would have to say to such interpreters, “No, you’ve got it all wrong; The Lord of the Rings is not that sort of text at all.” Something similar must be said to those who read Revelation as predictive in this way.

editor and edited my first book in a wonderful way. For this book, however, time devoted to bringing up the children made a renewed editorial collaboration impossible. I hope the reader will not suffer unduly as a consequence! My children Christiana Dagmar and Eric James have watched me work on the book—indeed they could not avoid it as I often write at home. I hope they have been drawing the lesson that academic research can be really fun. Certainly, that is the lesson I drew from my father, Arthur von Hippel. He wrote his books in his study upstairs when I was a child and would often come down to the kitchen for a cup of coffee. In transit, he would throw up his hands and say, to no one in particular, “Why do I choose to work on such difficult problems?” And then he would look deeply happy. Dad, I noticed the smile! Finally my warmest thanks to my MIT colleagues and students and also to MIT as an institution. MIT is a really inspiring place to work and learn from others. We all understand the requirements for good research and learning, and we all strive to contribute to a very supportive academic environment. And, of course, new people are always showing up with new and interesting ideas, so fun and learning are always being renewed! Democratizing Innovation 1  Introduction and Overview When I say that innovation is being democratized, I mean that users of products and services—both firms and individual consumers—are increasingly able to innovate for themselves. User-centered innovation processes offer great advantages over the manufacturer-centric innovation development systems that have been the mainstay of commerce for hundreds of years. Users that innovate can develop exactly what they want, rather than relying on manufacturers to act as their (often very imperfect) agents. Moreover, individual

Magic rituals provided emotional empowerment in the face of danger, and inspired solutions when alternative sources of knowledge (including science) were inadequate.

Even as a man just recovering from illness walks only so far as he is obliged to go, with a slow and weary step, so the converted sinner journeys along as far as God commands him but slowly and wearily, until he attains a spirit of true devotion, and then, like a sound man, he not only gets along, but he runs and leaps in the way of God's Commands, and hastens gladly along the paths of heavenly counsels and inspirations.

Introduction   A man who needs no introduction, Wayne Dyer, one of the most recognized and accomplished authors in the self-development and spirituality genre. Wayne Dyer knew the right ways to inspire people.

I have occupied this idle, empty winter with writing a story. It has been written to please myself, without thought of my own vanity or modesty, without regard for other people's feelings, without considering whether I shock or hurt the living, without scrupling to speak of the dead. The world, I know, is changing. I am not indifferent to the revolution that has caught us in its mighty skirts, to the enormity of the flood that is threatening to submerge us. But what could I do? In the welter of the surrounding storm, I have taken refuge for a moment on this little raft, constructed with the salvage of my memory. I have tried to steer it into that calm haven of art in which I still believe. I have tried to avoid some of the rocks and sandbanks that guard its entrance. [from the introduction]

To counter apathy, most change agents focus on presenting an inspiring vision of the future. This is an important message to convey, but it’s not the type of communication that should come first. If you want people to take risks, you need first to show what’s wrong with the present. To drive people out of their comfort zones, you have to cultivate dissatisfaction, frustration, or anger at the current state of affairs, making it a guaranteed loss. “The greatest communicators of all time,” says communication expert Nancy Duarte—who has spent her career studying the shape of superb presentations—start by establishing “what is: here’s the status quo.” Then, they “compare that to what could be,” making “that gap as big as possible.” We can see this sequence in two of the most revered speeches in American history. In his famous inaugural address, President Franklin D. Roosevelt opened by acknowledging the current state of affairs. Promising to “speak the whole truth, frankly and boldly,” he described the dire straits of the Great Depression, only then turning to what could be, unveiling his hope of creating new jobs and forecasting, “This great nation . . . will revive and will prosper. . . . The only thing we have to fear is fear itself.” When we recall Martin Luther King, Jr.’s, epic speech, what stands out is a shining image of a brighter future. Yet in his 16-minute oration, it wasn’t until the eleventh minute that he first mentioned his dream. Before delivering hope for change, King stressed the unacceptable conditions of the status quo. In his introduction, he pronounced that, despite the promise of the Emancipation Proclamation, “one hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.” Having established urgency through depicting the suffering that was, King turned to what could be: “But we refuse to believe that the bank of justice is bankrupt.” He devoted more than two thirds of the speech to these one-two punches, alternating between what was and what could be by expressing indignation at the present and hope about the future. According to sociologist Patricia Wasielewski, “King articulates the crowd’s feelings of anger at existing inequities,” strengthening their “resolve that the situation must be changed.” The audience was only prepared to be moved by his dream of tomorrow after he had exposed the nightmare of today.

Great documentation makes new hires productive in days instead of weeks, prevents thousands of calls to customer support, is the difference between crippling downtime and rock solid stability, and inspires true, fervent love of development platforms.

My minds eye, an oasis where the final petal is caught in the wildfires, foregrounding my inner complexities, a make-up of my day-to-day state of mind twisting and twirling, causing a downpour of sentiments; coiled winds of thought – a spiraling attempt at illuminating my mind. A poem can be a dream, whirling around an idea or, entirely avoiding it – my poems behave like dreams where patterns of thought drift through watery eyes, drawing on the unconscious in hazel cindered minds eye.

While Jane Eyre needs no introduction, I should mention that Charlotte Brontë’s preface to the infamous second edition thrilled me from the instant I first set eyes on the quote, “Conventionality is not morality. Self-righteousness is not religion.” While the author continues to lob great Molotov cocktails of scriptural invective at her critics for perhaps a trifle longer than necessary (if Brontë lived today, it wouldn’t be impossible to picture her replying to troll tweets and one-star Amazon reviews), the spirit of the thing is marvelous, and to anyone who has read the novel without the preface, know that it was a major inspiration for this satirical riff off the classical Jane.

avoid dying a moment before we have to. Given that we expend so much effort staying alive, it might seem strange to think that anyone

Introduction Raised in the cloistered world of Brooklyn’s Satmar sect of Hasidic Judaism, Deborah Feldman struggled as a naturally curious child to make sense of and obey the rigid strictures that governed her daily life. From what she could read to whom she could speak with, virtually every aspect of her identity was tightly controlled. Married at age seventeen to a man she had met for only thirty minutes and denied a traditional education—sexual or otherwise—she was unable to consummate the relationship for an entire year. Her resultant debilitating anxiety went undiagnosed and was exacerbated by the public shame of having failed to serve her husband. In exceptional prose, Feldman recalls how stolen moments reading about the empowered literary characters of Jane Austen and Louisa May Alcott helped her to see an alternative way of life—one she knew she had to seize when, at the age of nineteen, she gave birth to a son and realized that more than just her own future was at stake. Questions and Topics for Discussion 1. The heroines in the books Deborah read as a girl were her first inspirations, the first to make her consider her own potential outside of her community. Which literary characters have inspired you? 2. As a girl, with two absentee parents and an outspoken nature, Deborah was systematically made to feel different or “bad.” How did the structure of Satmar Hasidic culture make her feel such shame, and how did this shame serve to subjugate her? 3. When Deborah learns that King David—a revered historical figure who supposedly did no wrong—is a murderer and a hypocrite, she writes, “I am not aware at this moment that I have lost my innocence. I will realize it many years later.” What is the line between innocence and willful ignorance? How did Deborah’s ability and willingness to question authority and think for herself change the course of her life? 4. The cloistered Satmar community is located on the outskirts of New York City, one of the most racially, spiritually, and culturally diverse places in America. How do aspects of the outside world enter Deborah’s consciousness, and how do you think these glimpses of life outside her insular community affected her development?

Almost any positive good [positive liberty] can be described in terms of freedom from something [negative liberty]. Health is freedom from disease; happiness is a life free from flaws and miseries; equality is freedom from advantage and disadvantage.. Faced with this flexibility, the theorist will need to prioritize some freedoms and discount others. At its extreme we may get the view that only some particular kind of life makes for ‘real freedom’. Real freedom might, for instance, be freedom the bondage of desire, as in Buddhism and Stoicism. Or it might be a kind of self-realization or self-perfection only possible in a community of similarly self-realized individuals, pointing us towards a communitarian, socialist, or even communist ideal. To a laissez-faire capitalist, it is freedom from more than minimal necessary political and legal interference in the pursuit of profit. But the rhetoric of freedom will typically just disguise the merits or demerits of the political order being promoted. The flexibility of the term ‘freedom’ undoubtedly plays a huge role in the rhetoric of political demands, particularly when the language of rights mingles with the language of freedom. ‘We have a right to freedom from…’ is not only a good way, but the best way to start a moral or political demand. Freedom is a dangerous word, just because it is an inspirational one. The modern emphasis on freedom is problematically associated with a particular self-image. This is the 'autonomous' or self-governing and self-driven individual. This individual has the right to make his or her own decisions. Interference or restraint is lack of respect, and everyone has a right to respect. For this individual, the ultimate irrationality would be to alienate his freedom, for instance by joining a monastery that requires unquestioning obedience to a superior, or selling himself into slavery to another. The self-image may be sustained by the thought that each individual has the same share of human reason, and an equal right to deploy this reason in the conduct of his or her own life. Yet the 'autonomous' individual, gloriously independent in his decision-making, can easily seem to be a fantasy. Not only the Grand Unifying Pessimisms, but any moderately sober reflection on human life and human societies, suggest that we are creatures easily swayed, constantly infected by the opinions of others, lacking critical self-understanding, easily gripped by fantastical hopes and ambitions. Our capacity for self-government is spasmodic, and even while we preen ourselves on our critical and independent, free and rational decisions, we are slaves of fashion and opinion and social and cultural forces of which we are ignorant. A little awareness of ethics will make us mistrustful of sound-bite-sized absolutes. Even sacred freedoms meet compromises, and take us into a world of balances. Free speech is sacred. Yet the law does not protect fraudulent speech, libellous speech, speech describing national secrets, speech inciting racial and other hatreds, speech inciting panic in crowded places, and so on. In return, though, we gain freedom from fraud, from misrepresentation of our characters and our doings, from enemy incursions, from civil unrest, from arbitrary risks of panic in crowds. For sure, there will always be difficult cases. There are websites giving people simple recipes on how to make bombs in their kitchens. Do we want a conception of free speech that protects those? What about the freedom of the rest of us to live our lives without a significant risk of being blown up by a crank? It would be nice if there were a utilitarian calculus enabling us to measure the costs and benefits of permission and suppression, but it is hard to find one.

Short and long bios Contracts Cover page and introduction to a proposal Engagement letter Quick blurb/elevator speech—what do you do? What are your focus areas? Letters of recommendation Logo and company graphic art Nondisclosure agreements Presentations of all sorts Progress reports Proposals and statements of work Publications list Marketing trifold (less important now than in the past) Work programs and check-off lists Examples of frequently requested spreadsheets. For example, you may be in a business that uses six sigma for quality control. Graphs, statistical reports, and so on can typically be modified quickly from one client to the next. Unless you are in the graphic arts or publications business itself, there is no need to be original. Inspiring ideas permeate the Internet.

The connection between theological and scientific study rested in part upon the idea of the Two Books. Enunciated by St. Augustine and other early Christian writers, the concept states that God reveals Himself to human beings in two different ways – by inspiring the sacred writers to pen the Book of Scripture, and by creating the world, the Book of Nature. The world around us, no less than the Bible, is a divine message intended to be read; the perceptive reader can learn much about the Creator by studying the creation. This idea, deeply ingrained in orthodox Christianity, means that the study of the world can itself be a religious act. Robert Boyle, for example, considered his scientific inquiries to be a type of religious devotion (and thus particularly appropriate to do on Sundays) that heightens the natural philosopher’s knowledge and awareness of God through the contemplation of His creation. He described the natural philosopher as a ‘priest of nature’ whose duty it was to expound and interpret the messages written in the Book of Nature, and to gather together and give voice to all creation’s silent praise of its Creator.

When I started exploring what flag I should plant back in 2009, there was a confluence of events in the works. The business world was increasingly using a methodology called Agile as its preferred product-development process while, at the same time, digital design was becoming increasingly important. Technology was rapidly evolving, and design was becoming a key differentiating factor for success—this was just a couple of years after the introduction of the iPhone. Companies were struggling to figure out how to integrate these two trends successfully, which created an opportunity for me—no one had solved this problem. This is where I decided to plant my flag—because I had the expertise, the opportunity, a real problem to solve that many people were dealing with, and the credibility to speak to it. I decided to work on solving this challenge and to bring everyone willing along with me on my journey. My teams and I started experimenting, trying different ways of working. We often failed, but as we were going through our ups and downs, I was sharing—publicly writing and giving talks about—what we were trying to do. Turned out I wasn’t the only one struggling with this issue. The more I wrote and the more I presented, the more widely I became known out in the world as someone who was not only working to solve this issue, but who was a source of ideas, honesty, and inspiration. So, when I left TheLadders, I had already planted my flag. I had found the thing I wanted to be known for and the work I was passionate about. A quick word of warning… Success on this path is a double-edged sword and you should approach this process with eyes open. The flag you plant today may very well be with you for the rest of your life—especially if you build widespread credibility on the topic. It’s going to follow you wherever you go and define you. No matter what else I do out in the world, I will forever be Jeff Gothelf—the Lean UX guy.

My own desire is, for the common good of the world and the advantage of all mankind, that Thy people [Christians] should enjoy a life of peace and undisturbed concord. So let those who still delight in error [the pagan majority] be made welcome to the same degree of peace and tranquility which those who believe have. For it may be that this restoration of equal privileges to all [i.e., the removal of repressions of the Church] will prevail to lead them [pagans] into the straight path. Let no one molest another, but let every one do as his soul desires. . . . We pray, however, that they [pagans] too may receive the same blessing, and thus experience that heartfelt joy which unity of sentiment inspires. . . . Once more, let none use that to the detriment of another which he may himself have received on conviction of its truth; but let everyone, if it be possible, apply what he has understood and known to the benefit of his neighbour. (“Constantine’s Edict to the People of the Provinces on the Error of Polytheism,” Life of Constantine 2.56 in The Nicene and Post-Nicene Fathers, 512–14.) For

Do not loose your battle before fighting it, make an introduction that finishes the story.

Secular self-assertion, perhaps inevitably, developed more slowly; it was one thing to act in ‘unfeminine’ ways if divinely inspired, not quite so easy to act unconventionally out of personal ambition.

The last thing DeMille added to his $13 million film before he delivered the final negative to Paramount was his introduction that ran before the opening credits, filmed with him standing behind a microphone in front of a blue-and-white curtain (the colors of the Israeli flag). His intention was to emphasize the “importance” of what the audience was about to see and how authentic the film really was, and to make the spiritual connection to the Holocaust. DeMille says, in part: “The theme of this picture is whether man ought to be ruled by God’s law, or whether they are to be ruled by the whims of a dictator like Rameses. Are men the property of the state or are they free souls under God? This same battle continues throughout the world today. Our intention was not to create a story, but to be worthy of the divinely inspired story, created three thousand years ago . . .” The introduction was almost always cut after the film’s initial run. That

Our life is too short for an introduction.

The founders of Freemasonry—whoever they were—were certainly aware of the history of the Templars, and they were clearly inspired by Templar ideals: devotion to God, a focus on the temple in Jerusalem, dedication and discipline. These founders also remembered the lessons of Templar history: the dangers of both absolute monarchy and the union of church and state.

INTRODUCTION IT LOOKS AND FEELS like a book, I know, but I promise you that what you hold in your hand is an axe. A paper axe, it’s true, but an axe nonetheless. I’ll explain. Jericho Mosaic is the capstone of Ted Whittemore’s Jerusalem Quartet, one of the most ambitious literary endeavors of the 20th Century. Like Robert Musil’s Man of Qualities and Lawrence Durrell’s Alexandria Quartet, Whittemore’s magnum opus explores the great themes of this and every other age. War and peace, friendship and death, loss and betrayal. Dreams. An historical novel of subtle and ferocious dimensions, Jericho Mosaic is, above all else, a tale of espionage inspired by the tragic heroism of a spy named Eli Cohen.

WRITE WHAT’S RANDOM. Some writers require chaos to find inspiration. You might be someone who needs a jolt to the system—who needs to tell yourself, on seeing a duck wearing a sun hat, being led on a leash by a child, “I need to write about that duck, that hat, that child.” You don’t require anything more than surprise and the unexpected moment for inspiration. That sudden shock—that introduction of chaos into the world—serves as the catalyst back into writing what’s interesting, personal, or uncomfortable.

To him the Bible was written not by God, but by inspired people, drawing from both history and experience, who sought to understand better the larger meaning of life and death.

wisdom from the world’s religions which inspires us in our ethical and spiritual life.” Among other things, it reminds us to be humble, especially when we are sure we are right.

Part 3: The Between; Chapter 16: The Weight Nate realized that he lacked the time he'd need to scrutinize a dozen plus pages at the moment ‒ nor had he spotted an available pen ‒ but his curiosity got the better of him. So he settled down upon his usual barstool to begin anyway. Introduction: The Burden When the blossom of a dream is given an opportunity to thrive, it embraces the sunshine and rain with equal fervor ‒ while reveling in the chorus sung by spring songbirds celebrating its promise. Yet if it perseveres, this budding creation ultimately matures into a far weightier burden. Like an apple tree whose branches droop ever noticeably amidst the season's wane; or as an expectant mother waddles and shuffles with increasing effort toward the looming moments in which she is fated to deliver new life; nurturing a fanciful idea to fruition will ultimately transform into a progressively more dutiful task ‒ with sporadic flashes of lightning which recall its genesis as a splendidly creative one. As with any labor of love, it is this toil which brings it meaning. That which has been created then ushers forward, towards its own purpose ‒ as its creator proceeds anew. Thus the act of willful creation itself revolves within a perpetual cycle of collaborative nascence. Likewise all stories are tragedies ‒ authored in sweat; in tears and in blood ‒ yet each begins long before its introduction and will too continue beyond its final page. Just as the same sun which illuminates every voyager’s pathway has unfailingly risen and set in the breaking dawns and dusks of ere will assuredly repeat its ritual ergo. Perhaps this helps to shed light on why fairy tales so often begin and end with abstractions. Once upon a time's are merely chosen moments in which their telling resumes while Happily ever after's offer a cheerful auger of adventures hence ‒ a yet told volume patiently awaiting beyond its transitory resolution. If but a single teller of a solitary story endeavored to detail all which precedes, or proceeds from it; there would not be enough paper upon this earth to document those efforts. More so, the "before" after its "after" must likewise persevere this same mix of happy and unhappy realities which give rise to the conflicts that imbue each story with its purpose. This lack of adventure ‒ rather than any presumptions of finality ‒ best embodies the rationale as to why no tale ever begins with such promises of everlasting bliss. Where there is no wretchedness to inspire tension, neither can a hero or heroine arise to prevail over it, or to ‒ at barest minimum ‒ make a courageous effort in its failure.

Nate realized that he lacked the time he'd need to scrutinize a dozen plus pages at the moment ‒ nor had he spotted an available pen ‒ but his curiosity got the better of him. So he settled down upon his usual barstool to begin anyway. Introduction: The Burden When the blossom of a dream is given an opportunity to thrive, it embraces the sunshine and rain with equal fervor ‒ while reveling in the chorus [sung by] of spring songbirds celebrating its promise. Yet if it perseveres, this budding creation ultimately matures into a far weightier burden. Like an apple tree whose branches droop ever noticeably amidst the season's wane; or as an expectant mother waddles and shuffles with increasing effort toward the looming moments in which she is fated to deliver new life; nurturing a fanciful idea to fruition will ultimately transform into a progressively more dutiful task ‒ with sporadic flashes of lightning which recall its genesis as a splendidly creative one. As with any labor of love, it is this toil which brings it meaning. That which has been created then ushers forward, towards its own purpose ‒ as its creator proceeds anew. Thus the act of willful creation itself revolves within a perpetual cycle of collaborative nascence. Likewise all stories are tragedies ‒ authored in sweat; in tears and in blood ‒ yet each begins long before its introduction and will too continue beyond its final page. Just as the same sun which illuminates every voyager’s pathway has unfailingly risen and set in the breaking dawns and dusks of ere will assuredly repeat its ritual ergo. Perhaps this helps to shed light on why fairy tales so often begin and end with abstractions. Once upon a time's are merely chosen moments in which their telling resumes while Happily ever after's offer a cheerful auger of adventures hence ‒ a yet told volume patiently awaiting beyond its transitory resolution. If but a single teller of a solitary story endeavored to detail all which precedes, or proceeds from it; there would not be enough paper upon this earth to document those efforts. More so, the "before" after its "after" must likewise persevere this same mix of happy and unhappy realities which give rise to the conflicts that imbue each story with its purpose. This lack of adventure ‒ rather than any presumptions of finality ‒ best embodies the rationale as to why no tale ever begin with such promises of everlasting bliss. Where there is no wretchedness to inspire tension, neither can a hero or heroine arise to prevail over it, or to ‒ at barest minimum ‒ make a courageous effort in its failure. Similarly without rot there will be no renewal and absent sorrow one cannot find solace.

The first known published text of the classic fairy tale "Beauty and the Beast" was written by Gabrielle-Suzanne Barbot de Villeneuve in 1740 and collected in her compilation La Jeune Américaine et les contes marins. To say that the story met with favor is an understatement. By 1756, "Beauty and the Beast" was so well known that Jeanne-Marie Leprince de Beaumont wrote an abridged edition of it that would become the popular version included in collections of fairy tales throughout the nineteenth century (although Andrew Lang went back to de Villeneuve's original for his groundbreaking anthology The Blue Fairy Book, first published in 1891 as the beginning of a twelve-book series that would revolutionize the anthologizing of fairy tales for young read ers). Fifteen years later. Jean-François Marmontel and André Ernest Modeste Grétry adapted de Villeneuve's story as the book for the opera Zémire et Azor. the start of more than two centuries of extraliterary treatments that now include Jean Cocteau's famous 1946 film La Belle et la Bête, Walt Disney's 1991 animated feature Beauty and the Beast, and countless other cinematic, televi sion, stage, and musical variations on the story's theme. More than 4,000 years after it became part of the oral storytelling tradi tion, it is easy to understand why "Beauty and the Beast" continues to be one of the most popular fairy tales of all time, and a seemingly inexhaustible source of inspiration for artists working in all mediums. Its theme of the power of unconditional love is one that never grows old.

Self-care is never a selfish act—it is simply good stewardship of the only gift I have, the gift I was put on earth to offer others. —PARKER PALMER Introduction Welcome to the first day of your year of self-care!

Our introduction is one of the most important conversations to have, so make it with honesty. Trust depends on honesty; without honesty, there will be no trust. If trust exists from dishonesty, it will be destroyed.

I believe that Mormon would have us understand that the path to the Savior is more circuitous and scenic than one might expect. In 3–4 Nephi, coming to Christ is what happens when the disciple focuses on other things. We make progress on the road not by speeding as quickly and efficiently as we can to our destination but by stopping to help others who have broken down along the way and by taking detours to search for those who are lost or stranded...Mormon’s focus on other-centeredness and outward-orientation invites the disciple to see salvation less as a goal that can be sought out for its own sake and more as a byproduct of trying to love and serve others. It is the accumulation of small and simple things made great by God.

Christlikeness finds its fullest expression in community, collaboration, and collectivity.

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

The key to adopting novelty is to understand what it entails: introduction of unplanned choices or pursuits.

If you want to discover the future, you must first have the courage to leave behind the past.

The 15 Sure Signs That You Are Walking on the Path 1. There is no lying, stealing or violence involved. 2. It serves and inspires other beings and does not take from them or exploit them 3. It is long term - to does not simply aim to serve a short term high 4. It is in accordance with nature and natural cycles 5. It comes from a place of inspiration, insight and creativity 6. Doing the work actually feeds you with energy 7. There is no such thing as a weekend, and you don’t live for your holidays. 8. It produces stress - but it's not a harmful, self-destructive stress 9. You don't take your work (or your ego) too seriously 10. Joy is a natural by-product 11. It takes courage, risk, and a sense of entrepreneurship 12. There are many signals along the way 13. You are open to new ideas, and are willing to drop the old ones quickly when they no longer serve you 14. If money comes, it usually comes later… 15. The path is about stepping into and living your joy - it's not about your project or the outcome of your project Some Practical Tips to Help You Find the Path Conclusion Let’s Continue the Journey Introduction There are two types of people in this world: The first type of person is a person who is walking their path, and because of this they are now inspiring others and helping others to find their path.

Find your happy medium.

evolution is not final; the future exceeds every number you can imagine: it is the courage to continue that counts towards that evolution.

Futurists of the world unite and take over.

In the future we hope to ensure that bribery's best friend is no longer lobbying.

These inspired futures hold futuristic inspirations.

Over-analysis turns the the future into a coward