Ira Quotes

We live in a world where joy and empathy and pleasure are all around us, there for the noticing.

You'll hit gold more often if you simply try out a lot of things.

Names?' the receptionist asked us. “Jesus,” Jamie answered. “Mary,” said Stella. “Satan,” I said as I walked past her and pushed open the door to Ira Ginsberg’s office.

The way you wear your hat, The way you sip your tea, The mem'ry of all that -- No, no! They can't take that away from me!

Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.

S wonderful! 'S marvelous! That you should care for me!

Wealth is the slave of a wise man. The master of a fool

Perhaps Mozart’s Requiem would be fitting music for the end of the world. She began to hum Dies Irae, recalling its first performance in Vienna.

Anyone who needs more than one suitcase is a tourist, not a traveler

Don't ever become a pessimist, Ira; a pessimist is correct oftener than an optimist, but an optimist has more fun--and neither can stop the march of events.

You will be fierce. You will fearless. And you will make work you know in your heart is not as good as you want it to be.

Maximum remedium est irae mora.

Y recuerda, hay tres cosas que todo hombre sabio debe temer: la tormenta en el mar, las noches sin luna y la ira de un hombre amable.

It's hard to make something that's interesting. It's really, really hard. It's like a law of nature, a law of aerodynamics, that anything that's written or anything that's created wants to be mediocre. The natural state of all writing is mediocrity... So what it takes to make anything more than mediocre is such an act of will...

Great stories happen to those who can tell them

Ira furor brevis est: animum rege: qui nisi paret imperat. (Anger is a brief madness: govern your mind [temper], for unless it obeys it commands.)

Like so many unhappinesses, this one had begun with silence in the place of honest open talk.

Give me my robe, put on my crown; I have Immortal longings in me: now no more The juice of Egypt's grape shall moist this lip: Yare, yare, good Iras; quick. Methinks I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: husband, I come: Now to that name my courage prove my title! I am fire and air; my other elements I give to baser life. So; have you done? Come then, and take the last warmth of my lips. Farewell, kind Charmian; Iras, long farewell. Kisses them. IRAS falls and dies Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover's pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell'st the world It is not worth leave-taking.

Being happy or unhappy - is that really the most important thing? Knowing the truth would be a different kind of happiness - a more satisfying kind, I think, even if it turned out to be a sad kind.

There's a somebody I'm longing to see, I hope that he, turns out to be, someone to watch over me.

APRENDIENDO Después de un tiempo, uno aprende la sutil diferencia entre sostener una mano y encadenar un alma, y uno aprende que el amor no significa acostarse y una compañía no significa seguridad, y uno empieza a aprender... Que los besos no son contratos y los regalos no son promesas, y uno empieza a aceptar sus derrotas con la cabeza alta y los ojos abiertos, y uno aprende a construir todos sus caminos en el hoy, porque el terreno de mañana es demasiado inseguro para planes...y los futuros tienen una forma de caerse en la mitad. Y después de un tiempo uno aprende que si es demasiado, hasta el calor del sol quema. Así que uno planta su propio jardín y decora su propia alma, en lugar de esperar a que alguien le traiga flores. Y uno aprende que realmente puede aguantar, que uno realmente es fuerte, que uno realmente vale, y uno aprende y aprende... y con cada día uno aprende. Con el tiempo aprendes que estar con alguien porque te ofrece un buen futuro, significa que tarde o temprano querrás volver a tu pasado. Con el tiempo comprendes que sólo quien es capaz de amarte con tus defectos, sin pretender cambiarte, puede brindarte toda la felicidad que deseas. Con el tiempo te das cuenta de que si estás al lado de esa persona sólo por acompañar tu soledad, irremediablemente acabarás no deseando volver a verla. Con el tiempo entiendes que los verdaderos amigos son contados, y que el que no lucha por ellos tarde o temprano se verá rodeado sólo de amistades falsas. Con el tiempo aprendes que las palabras dichas en un momento de ira pueden seguir lastimando a quien heriste, durante toda la vida. Con el tiempo aprendes que disculpar cualquiera lo hace, pero perdonar es sólo de almas grandes. Con el tiempo comprendes que si has herido a un amigo duramente, muy probablemente la amistad jamás volverá a ser igual. Con el tiempo te das cuenta que aunque seas feliz con tus amigos, algún día llorarás por aquellos! que dejaste ir. Con el tiempo te das cuenta de que cada experiencia vivida con cada persona es irrepetible. Con el tiempo te das cuenta de que el que humilla o desprecia a un ser humano, tarde o temprano sufrirá las mismas humillaciones o desprecios multiplicados al cuadrado. Con el tiempo aprendes a construir todos tus caminos en el hoy, porque el terreno del mañana es demasiado incierto para hacer planes. Con el tiempo comprendes que apresurar las cosas o forzarlas a que pasen ocasionará que al final no sean como esperabas. Con el tiempo te das cuenta de que en realidad lo mejor no era el futuro, sino el momento que estabas viviendo justo en ese instante. Con el tiempo verás que aunque seas feliz con los que están a tu lado,añorarás terriblemente a los que ayer estaban contigo y ahora se han marchado. Con el tiempo aprenderás que intentar perdonar o pedir perdón, decir que amas, decir que extrañas, decir que necesitas, decir que quieres ser amigo, ante una tumba, ya no tiene ningún sentido. Pero desafortunadamente, solo con el tiempo...

I understand, Ira.

You're not going to get any true confessions out of me," she said. "I'm a Leo, and our thing is changing the subject.

A student once asked anthropologist Margaret Mead, “What is the earliest sign of civilization?” The student expected her to say a clay pot, a grinding stone, or maybe a weapon. Margaret Mead thought for a moment, then she said, “A healed femur.” A femur is the longest bone in the body, linking hip to knee. In societies without the benefits of modern medicine, it takes about six weeks of rest for a fractured femur to heal. A healed femur shows that someone cared for the injured person, did their hunting and gathering, stayed with them, and offered physical protection and human companionship until the injury could mend. Mead explained that where the law of the jungle—the survival of the fittest—rules, no healed femurs are found. The first sign of civilization is compassion, seen in a healed femur.

...these stories are a kind of beacon. By making stories full of empathy and amusement and the sheer pleasure of discovering the world, these writers reassert the fact that we live in a world where joy and empathy and pleasure are all around us, there for the noticing.

-¿Cómo te llamas? Mis amigos me llaman Ira —dice Raffe—. Mis enemigos me llaman Por Favor Ten Piedad.

Seven Deadly Sins. Saligia is an acronym for: superbia, avaritia, luxuria, invidia, gula, ira, and acedia.

Me gustaría que pensaras en algo: Si hoy fuera tu último día en la tierra, ¿dónde pasarías la eternidad? No hay manera de escapar del tribunal del cielo. Si rechazas al Santo, quien derramó Su sangre al morir en la cruz y sobre el cual Dios derramó Su ira contra todo pecado, tendrás que rendir cuentas en el juicio final.

La cabeza me daba vueltas, el odio y la ira me sacudían por igual. —Eres mi esclava. Negué con la cabeza. —A partir de hoy seré tu lobo. Y te juro por mi dios que no cejaré hasta devorarte el alma. Nos sostuvimos la mirada y nos retamos mutuamente. En la mía refulgía la venganza que pensaba cobrarme. En la suya, una determinación apabullante por conquistarme. —Ya has empezado a hacerlo —masculló.

But when you talk about Nabokov and Coover, you’re talking about real geniuses, the writers who weathered real shock and invented this stuff in contemporary fiction. But after the pioneers always come the crank turners, the little gray people who take the machines others have built and just turn the crank, and little pellets of metafiction come out the other end. The crank-turners capitalize for a while on sheer fashion, and they get their plaudits and grants and buy their IRAs and retire to the Hamptons well out of range of the eventual blast radius. There are some interesting parallels between postmodern crank-turners and what’s happened since post-structural theory took off here in the U.S., why there’s such a big backlash against post-structuralism going on now. It’s the crank-turners fault. I think the crank-turners replaced the critic as the real angel of death as far as literary movements are concerned, now. You get some bona fide artists who come along and really divide by zero and weather some serious shit-storms of shock and ridicule in order to promulgate some really important ideas. Once they triumph, though, and their ideas become legitimate and accepted, the crank-turners and wannabes come running to the machine, and out pour the gray pellets and now the whole thing’s become a hollow form, just another institution of fashion. Take a look at some of the critical-theory Ph.D. dissertations being written now. They’re like de Man and Foucault in the mouth of a dull child. Academia and commercial culture have somehow become these gigantic mechanisms of commodification that drain the weight and color out of even the most radical new advances. It’s a surreal inversion of the death-by-neglect that used to kill off prescient art. Now prescient art suffers death-by acceptance. We love things to death, now. Then we retire to the Hamptons.

Perfectionism: the need to be right instead of being right.

The most important possible thing you can do is do a lot of work.

You are only partly alive.

Many times I see you as a portrait of torture.

could anyone know when an actor was true and not acting?

Holding hands at midnight 'Neath a starry sky... Nice work if you can get it And you can get it -- if you try.

Who should be held accountable for a shared history of violence? It was a question that was dogging Northern Ireland as a whole.

Someday, he thought, I would like to meet a monster who looked like a monster.

That’s what she was, Joanna felt suddenly. That’s what they all were, all the Stepford wives: actresses in commercials, pleased with detergents and floor wax, with cleansers, shampoos, and deodorants. Pretty actresses, big in the bosom but small in the talent, playing housewives unconvincingly, too nicey-nice to be real.

What’s the going price for a stay-in-the-kitchen wife with big boobs and no demands?

A chance to sit quietly and find out who you are; where you've been and where you're going.

Sex, yes; sexism, no.

Todo hombre sabio teme tres cosas: una tormenta en el mar, las noches sin luna y la ira un hombre amable

Jesús. —Blake frotó su garganta—. Tienes problemas de control de ira. Es como una enfermedad. —Hay una cura y se llama patear tu trasero.

Names?” the receptionist asked us. “Jesus,” Jamie answered. “Mary,” said Stella. “Satan,” I said as I walked past her and pushed open the door to Ira Ginsberg’s office.

Sometimes I feel like I'm playing at being an adult, like I'm constantly looking around, waiting for a real adult to tell me what to do if my garbage disposal starts making a weird sound or if I should be putting more money in my Roth IRA. I am just...I feel like a complete mess.

When you're older you'll come to realize that acts of kindness are few and far between in this world of ours.

They never stop, these Stepford wives. They something something all their lives. Work like robots. Yes, that would fit. They work like robots all their lives.

...the Statue of Liberty's got this invitation: 'Give me your tired, your poor, your reeking homeless--' 'Huddled masses,' said Ira. 'Give me your tired, your poor, your huddled masses yearning to breathe free.' ... Okay, fine. So like everybody in the old countries says, 'Hey, I'm a huddled mass,' and they all wanna come over.

Lik the tree falling in the forest," says Ira. "Huh?" "You know, the old question - if a tree falls in a forest and no one's there to hear it, does it really make a sound?" Howie considers this. "Is it a pine forest, or oak?" "What's the difference?" "Oak is a much denser wood; it's more likely to be heard by someone on the freeway next to the forest where no one is.

Anyone who needs more than one suitcase,” he said as he double-locked their door, “is a tourist, not a traveler.

Without love everything can be nothing. Does that make me want to love? No. For me, Ignorance is still better than martyrdom.

Oh god, what now? Are you in jail? Being held by the IRA? Stuck on a reef in the Caribbean?" "Wow," Kelly said. "That's uncalled for." Zane laughed. "I thought being engaged to Ty gave me some extra snark privileges.

Our existence comes with Death. And it comes with suffering, death alone is not enough and pleasure have consequences. wicked and fucked. love comes with hurting. And having means losing.

Porque en los momentos mas tristes hay alguien que llora contigo, sufre porque tu sufres, te entiende perfectamente bien cuando te enojas, comprende que en el fondo de tu enojo hay dolor, y no te deja nunca sola. Porque en los momentos mas felices brinca, baila, sonríe y sueña contigo. Y en los momentos mas difíciles, cuando sientes que el mundo esta en tu contra, sabes que ese alguien va a saltar para defenderte y nadie te hará daño. Ese alguien nunca te va a dejar sola, ese alguien te ama, llego contigo y se ira contigo... Ese alguien eres tu.

I'd like to add her initial to my monogram...

Bread now, or cake later

When we lose someone, it is not the loss that makes us sad. It is the thought of all our missed chances.

O problema não é o cavalo falar, é o jumento ouvir.

perfectionism is the need to be right instead of being liked

History is not about the past; it is about arguments we have about the past. And because it is about arguments that we have, it is about us.

Better to live in doubt than to die in certainty.

Esta era Meghan, la misma Meghan que tenía que cuidarme, que había entrado en el Nuncajamás para traerme a casa. Y a pesar de mi ira, a pesar de todos los oscuros momentos en los que pensé que la odiaba, seguía siendo mi hermana.

From the anarchists of tsarist Russia to the IRA of 1916, from the Irgun and the Stern Gang to the EOKA in Cyprus, from the Baader-Meinhof group in Germany, the CCC in Belgium, the Action Directe in France, the Red Brigades in Italy, the Red Army Faction again in Germany, the Rengo Sekigun in Japan, through to the Shining Path in Peru to the modern IRA in Ulster or the ETA in Spain, terrorism came from the minds of the comfortably raised, well-educated, middle-class theorists with a truly staggering personal vanity and a developed taste for self-indulgence.

No," I mumble. I try to shake my head but can't, the agony making it impossible. "I want to stay awake. I want to be with you." "Do not worry. I will be here when you wake." "But you were gone before." "I was not gone. I was here and I will always be here." "How can you be so sure?" She kissed me again before answering. "Because," she says, her voice tender, "I am always with you, Ira.

Back a mouse into a corner and he'll attack a lion.

What we are probably given is a mixture of truth and untruth. It's anybody's guess as to which part is which and how much there is of each.

Damn it all! What rhymes with rhythm?

The future of this nation, with the present generation, You must admit is nothing but a joke

Great stories happen to those who can tell them.

As I would come to discover later in life, one shouldn't be condemned for simply craving freedom.

A false-hearted lover is worse than a thief. For a thief will just rob you and take what you have, But a false-hearted lover will lead you to the grave. And the grave will decay you and turn you to dust; Not one boy in a hundred a poor girl can trust.

...uncorny, human sized drama

If you'll promise not to cry, Baby, I will kiss you by-and-by—Maybe! Though you're six feet three, You will always be Nothing but a Baby, dear, to me.

That green stuff outside is grass, and the yellow stuff coming down on it is sunshine.

philosophers have warned us: if we forget the past, we are doomed to repeat it.

They were confident and cunning. They weren't mucking around looking for nuclear weapon secret sloppy seconds in America. They could care less about America. They were busy with the whole world domination thing.

Once, in the summer of 1995, Adams gave a speech at a rally in Belfast. He looked like a politician, in a crisp summer suit, consulting his cue cards. But during a pause in his prepared remarks, someone in the crowd shouted, "Bring back the IRA!" As the audience cheered, Adams chuckled and smiled. Then he leaned into the microphone and said, "They haven't gone away, you know.

They promised me you wouldn’t be hurt,” he said. “And you haven’t been, really. I mean, suppose you’d had a baby and lost it; wouldn’t it be the same? And we’re getting so much in return, Ro.

All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer.

Force yourself through the work, force the skills to comes; that's the hardest phase; I feel like your problem is that you're trying to judge all things in abstract before you do them. That is your tragic mistake.

Sometimes Love can mean and addiction for hurt.

Tell me you don't feel what I feel." "That doesn't matter." She swallowed hard. "It does to me." I brush my lips against hers.

This is what songs do, even dumb pop songs: they remind us that emotions are not an inconvenient and vaguely embarrassing aspect of the human enterprise but its central purpose. They make us feel specific things we might never have felt otherwise. Every time I listen to "Sunday Bloody Sunday," for instance, I feel a pugnacious righteousness about the fate of the Irish people. I hear that thwacking military drumbeat and Bono starts wailing about the news he heard today and I'm basically ready to enlist in the IRA and stomp some British Protestant Imperialist Ass, hell yes, bring on the fucking bangers and mash and let's get this McJihad started.

Beware of destructive individuals whose spirits breathe every day the worst toxic oxygen of the soul, "SALIGIA" Superbia, Avaritia, Luxuria, Invidia, Gula, Ira, Acedia. No matter how much goodness, patience, understanding, assistance, forgiveness and letting go you have given them, they will resurface again and again at the doors of your home to impede your happiness. Let truth and goodness always prevail but never be again a doormat of their abusive, evil ways.

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

Could you try not aiming so much?" he asked me, still standing there. "If you hit him when you aim, it'll just be luck." He was speaking, communicating, and yet not breaking the spell. I then broke it. Quite deliberately. "How can it be luck if I aim?" I said back to him, not loud (despite the italics) but with rather more irritation in my voice than I was actually feeling. He didn't say anything for a moment but simply stood balanced on the curb, looking at me, I knew imperfectly, with love. "Because it will be," he said. "You'll be glad if you hit his marble — Ira's marble — won't you? Won't you be glad? And if you're glad when you hit somebody's marble, then you sort of secretly didn't expect too much to do it. So there'd have to be some luck in it, there'd have to be slightly quite a lot of accident in it.

The Puffer Fish: Wherein the author flaunts his vocabulary. His father was IRA and his mother was Quebecois, and they had reliquished their mortal coils in the internecine conflagration that ended their conjoined separatist movement, IRA-Q. The appellation he was given by his progenitors was Ray O'Vaque ("Like the battery," he'd elucidate, with an adamantine stare that proscribed any mirth). In his years of incarceration, however, he had earned the sobriquet "Uncle Milty" for his piscine amatory habits. He had been emancipated from the penitentiary for three weeks, and now his restless peregrinations had conveyed him to this liminal place, seeking compurgation in the permafrost of the hyperborean tundra, which was an apt analogue of the permafrost in his heart. He insinuated himself into the caravansary with nugatory expectations, which were confirmed by the exiguous provisions for comfort. But then the bartender looked up from laving the begrimed bar, his eyes growing luminous as he ejactulated, "Milt!

If I'm a guy who doesn't seem so merry, It's just because I'm so misunderstood. When I was young I ate a dictionary, And that did not do me a bit of good. For I've absorbed so many words and phrases— They drive me dizzy when I want to speak. I start explaining but each person gazes As if I spoke in Latin or in Greek.

The body is a fantastic machine,’ Hughes told Mackers in one of his Boston College interviews, recounting the grueling sequence of a hunger strike. ‘It’ll eat off all the fat tissue first, then it starts eating away at the muscle, to keep your brain alive.’ Long after Hughes and Price called an end to their strikes and attempted to reintegrate into society, the nursed old grudges and endlessly replayed their worst wartime abominations. In a sense, they never stopped devouring themselves.

Let everyone beware lest he presume to take it upon himself to criticize and condemn other men's faults without his having been truly touched within by the Holy Spirit in his work. Otherwise he may very easily err in his judgments. Beware therefore. Judge yourself as seems right to you between yourself and your God, and let other men alone.

But is life really worth so much? Let us examine this; it's a different inquiry. We will offer no solace for so desolate a prison house; we will encourage no one to endure the overlordship of butchers. We shall rather show that in every kind of slavery, the road of freedom lies open. I will say to the man to whom it befell to have a king shoot arrows at his dear ones [Prexaspes], and to him whose master makes fathers banquet on their sons' guts [Harpagus]: 'What are you groaning for, fool?... Everywhere you look you find an end to your sufferings. You see that steep drop-off? It leads down to freedom. You see that ocean, that river, that well? Freedom lies at its bottom. You see that short, shriveled, bare tree? Freedom hangs from it.... You ask, what is the path to freedom? Any vein in your body.

You're screwed when you start to notice the details, It's when you begin to notice the curve of his lips when he smiles. It's when you can't help but stare at him and the way he talks. It's when you get to admire the shape of his eyes and even the length of his brow. And even crazier, when you get to see the flash of his face in your mind on a random day or it's when you have his favorite facial expression stuck in your memory. . . And worse when you start to have it all in your mind, then you start to miss him.

After lunch, he rose and gave me the tips of his fingers, saying he would like to show me over his flat; but I snatched away my hand and gave a cry. What I had touched was cold and, at the same time, bony; and I remembered that his hands smelt of death. ‘Oh, forgive me!’ he moaned. And he opened a door before me. ‘This is my bedroom, if you care to see it. It is rather curious.’ His manners, his words, his attitude gave me confidence and I went in without hesitation. I felt as if I were entering the room of a dead person. The walls were all hung with black, but, instead of the white trimmings that usually set off that funereal upholstery, there was an enormous stave of music with the notes of the DIES IRAE, many times repeated. In the middle of the room was a canopy, from which hung curtains of red brocaded stuff, and, under the canopy, an open coffin. 'That is where I sleep,’ said Erik. 'One has to get used to everything in life, even to eternity.’ The sight upset me so much that I turned away my head” - Chapter 12: Apollo’s Lyre

Would you believe me if I told you that there’s an investment strategy that a seven-year-old could understand, will take you fifteen minutes of work per year, outperform 90 percent of finance professionals in the long run, and make you a millionaire over time?   Well, it is true, and here it is: Start by saving 15 percent of your salary at age 25 into a 401(k) plan, an IRA, or a taxable account (or all three). Put equal amounts of that 15 percent into just three different mutual funds:   A U.S. total stock market index fund An international total stock market index fund A U.S. total bond market index fund.   Over time, the three funds will grow at different rates, so once per year you’ll adjust their amounts so that they’re again equal. (That’s the fifteen minutes per year, assuming you’ve enrolled in an automatic savings plan.)   That’s it; if you can follow this simple recipe throughout your working career, you will almost certainly beat out most professional investors. More importantly, you’ll likely accumulate enough savings to retire comfortably.

Through Jimi Hendrix's music you can almost see the assassinations of President John F. Kennedy and of Martin Luther King Junior, the beginnings of the Berlin Wall, Yuri Gagarin in space, Fidel Castro and Cuba, the debut of Spiderman, Martin Luther King Junior’s ‘I Have a Dream’ speech, Ford Mustang cars, anti-Vietnam protests, Mary Quant designing the mini-skirt, Indira Gandhi becoming the Prime Minister of India, four black students sitting down at a whites-only lunch counter in Greensboro North Carolina, President Johnson pushing the Civil Rights Act, flower children growing their hair long and practicing free love, USA-funded IRA blowing up innocent civilians on the streets and in the pubs of Great Britain, Napalm bombs being dropped on the lush and carpeted fields of Vietnam, a youth-driven cultural revolution in Swinging London, police using tear gas and billy-clubs to break up protests in Chicago, Mods and Rockers battling on Brighton Beach, Native Americans given the right to vote in their own country, the United Kingdom abolishing the death penalty, and the charismatic Argentinean Marxist revolutionary Che Guevara. It’s all in Jimi’s absurd and delirious guitar riffs.

The Cloud of Unknowing was written by someone who was exceedingly tough-minded in the sense in which William James used the phrase. He was most unsentimental, matter of fact, and down to earth; and he regarded this habit of mind as a prerequisite for the work in which he was engaged. He proceeded upon the belief that when an individual undertakes to bring his life into relation to God, he is embarking upon a serious and demanding task, a task that leaves no leeway for self-deception or illusion. It requires the most rigorous dedication and self-knowledge. The Cloud of Unknowing is therefore a book of strong and earnest thinking. It makes a realistic appraisal of the problems and weaknesses of individual human beings, for it regards man's imperfections as the raw material to be worked with in carrying out the discipline of spiritual development.

Me contó un montón de cosas que yo no quería oír, cosas que mi madre y mi padre nunca supieron, y que odiarían saber. Lo cabrón que era Billy con ella. Cómo en ocasiones la golpeaba, la humillaba, y la trataba en general como un trozo de mierda excepcionalmente corrompida. "¿Por qué te quedaste con él?" "Era mi chico. Siempre piensas que será diferente, que puedes hacerle cambiar, que tú puedes suponer la diferencia." Eso lo entendía, Pero es un error. Los únicos hijoputas que supusieron alguna vez una diferencia para Billy fueron los Provisionales, y ellos también eran unos cabrones. No tengo ninguna ilusión sobre ellos como luchadores de la libertad. Los muy hijoputas convirtieron a mi hermano en un montón de comida para gatos. Pero ellos sólo tiraron de la palanca. Su muerte fue concebida por esos cabrones anaranjaos que venían por aquí todos los meses de julio con sus fajines y sus flautas, llenando la estúpida cabeza de Billy con insensateces acerca de la corona y la nación y toda esa mierda. Ellos irán a casa felices por el día de hoy. Pueden contarles a todos sus colegas cómo murió asesinado por el IRA uno de la familia mientras defendía el Ulster. Eso alimentará su ira sin objeto, hará que les inviten a copas en los pubs, y consolidará su credibilidad memo-bastarda entre otros tontolabas sectarios.

Préface J'aime l'idée d'un savoir transmis de maître à élève. J'aime l'idée qu'en marge des "maîtres institutionnels" que sont parents et enseignants, d'autres maîtres soient là pour défricher les chemins de la vie et aider à y avancer. Un professeur d'aïkido côtoyé sur un tatami, un philosophe rencontré dans un essai ou sur les bancs d'un amphi-théâtre, un menuisier aux mains d'or prêt à offrir son expérience... J'aime l'idée d'un maître considérant comme une chance et un honneur d'avoir un élève à faire grandir. Une chance et un honneur d'assister aux progrès de cet élève. Une chance et un honneur de participer à son envol en lui offrant des ailes. Des ailes qui porteront l'élève bien plus haut que le maître n'ira jamais. J'aime cette idée, j'y vois une des clefs d'un équilibre fondé sur la transmission, le respect et l'évolution. Je l'aime et j'en ai fait un des axes du "Pacte des MarchOmbres". Jilano, qui a été guidé par Esîl, guide Ellana qui, elle-même, guidera Salim... Transmission. Ellana, personnage ô combien essentiel pour moi (et pour beaucoup de mes lecteurs), dans sa complexité, sa richesse, sa volonté, ne serait pas ce qu elle est si son chemin n avait pas croisé celui de Jilano. Jilano qui a su développer les qualités qu'il décelait en elle. Jilano qui l'a poussée, ciselée, enrichie, libérée, sans chercher une seule fois à la modeler, la transformer, la contraindre. Respect. q Jilano, maître marchombre accompli. Maître accompli et marchombre accompli. Il sait ce qu'il doit à Esîl qui l'a formé. Il sait que sans elle, il ne serait jamais devenu l'homme qu'il est. L'homme accompli. Elle l'a poussé, ciselé, enrichi, libéré, sans chercher une seule fois à le modeler, le transformer, le contraindre. Respect. Évolution. Esîl, uniquement présente dans les souvenirs de Jilano, ne fait qu'effleurer la trame du Pacte des Marchombres. Nul doute pourtant qu'elle soit parvenue à faire découvrir la voie à Jilano et à lui offrir un élan nécessaire pour qu'il y progresse plus loin qu'elle. Jilano agit de même avec Ellana. Il sait, dès le départ, qu'elle le distancera et attend ce moment avec joie et sérénité. Ellana est en train de libérer les ailes de Salim. Jusqu'où s envolera-t-il grâce à elle ? J'aime cette idée, dans les romans et dans la vie, d’un maître transmettant son savoir à un élève afin qu a terme il le dépasse. J'aime la générosité qu'elle induit, la confiance qu'elle implique en la capacité des hommes à s'améliorer. J'aime cette idée, même si croiser un maître est une chance rare et même s'il existe bien d'autres manières de prendre son envol. Lire. Écrire. S'envoler. Pierre Bottero

Nobody tells people who are beginners. I really wish someone had told this to me. Is that [if you are watching this video, you are somebody who wants o make videos right?] all of us who do creative work, we get into it. we get into it because we have good taste. you know what I mean? like you want to make TV, because you love TV. there is stuff you just like, love. ok so you got really good taste. you get into this thing … that i don’t even know how to describe it, but there is a gap. for the first couple of years you are making stuff, what you are making isn’t so good... ok, its not that great. it's really not that great. its trying to be good, it has ambition to be good, but not quite that good. but your taste, the thing get you into the game, your taste is still killer. your taste is good enough that you can tell what you are making is a kind of disappointment to you, you know what i mean? you can tell it is still sort of crappy. a lot of people never get past that phase. a lot of people at that point, they quit. the thing i would just like say to you with all my heart is that most everybody I know, who does interesting creative work, they went through a phase of years where they had really good taste, they could tell what they were making wasn’t as good as they wanted it to be. they knew it felt short. [some of us can admit that to ourselves, some of us less able to admit that to ourselves] we knew like, it didn’t have that special thing that we wanted it to have. [...] everybody goes through that. for you to go through it, if you are going through right now, just getting out of that phase, if you are just starting out and entering into that phase, you gotta know it is totally normal and the most important possible thing you can do is do a lot of work. do a huge volume of work. put yourself on a deadline so that every week or every month you know you’re gonna finish one story. you know what i mean? whatever its gonna be. you create the deadline. it is best if have somebody who is waiting work from you, expecting work from you. even if not somebody who pays you, but that you are in a situation where you have to turn out the work. because it is only by actually going through a volume of work that you are actually going to catch up and close that gap and the work you are making will be as good as your ambitions.