Life In Different Angles Quotes

Creativity arises from our ability to see things from many different angles.

If life has got to be a play, let's play it well. As the avoidance of problems and the maintenance of inner peace may guide us smartly through open and unswerving confrontations, let's face up to conflicts playfully, as well. Playfulness allows us to see things from different angles and may sometimes save us from harmful outcomes. ("The band was still playing")

The first thing you notice about New Orleans are the burying grounds - the cemeteries - and they're a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay - ghosts of women and men who have sinned and who've died and are now living in tombs. The past doesn't pass away so quickly here. You could be dead for a long time. The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don't have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there's a promise of something daring and ideal and things are just getting going. There's something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can't see it, but you know it's here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is. There are a lot of places I like, but I like New Orleans better. There's a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside. Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn't move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There's only one day at a time here, then it's tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you're in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon's generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you'll get smart - to feed pigeons looking for handouts

If the pieces do not fit into your puzzle... Try a different picture

I grow green beans in my garden. The one thing I know about harvesting them is that you need to train your eyes to see the beans. At first it all looks like leaves, until you see one bean and then another and another. If you want clarity, too, you have to look hard. You have to look under things and look from different angles. You'll see what you need to when you do that. A hundred beans, suddenly.

The First [Friend] is the alter ego, the man who first reveals to you that you are not alone in the world by turning out (beyond hope) to share all your most secret delights. There is nothing to be overcome in making him your friend; he and you join like raindrops on a window. But the Second Friend is the man who disagrees with you about everything. He is not so much the alter ego as the antiself. Of course he shares your interests; otherwise he would not become your friend at all. But he has approached them all at a different angle. He has read all the right books but has got the wrong thing out of every one. It is as if he spoke your language but mispronounced it. How can he be so nearly right and yet, invariably, just not right? He is as fascinating (and infuriating) as a woman. When you set out to correct his heresies, you will find that he forsooth to correct yours! And then you go at it, hammer and tongs, far into the night, night after night, or walking through fine country that neither gives a glance to, each learning the weight of the other's punches, and often more like mutually respectful enemies than friends. Actually (though it never seems so at the time) you modify one another's thought; out of this perpetual dogfight a community of mind and a deep affection emerge.

This was too much for him to handle. It was like watching memories of his life play out from a different camera angle, sometimes with new scenes added. He was living DVD extras.

WONDERLAND It is a person's unquenchable thirst for wonder That sets them on their initial quest for truth. The more doors you open, the smaller you become. The more places you see and the more people you meet, The greater your curiosity grows. The greater your curiosity, the more you will wander. The more you wander, the greater the wonder. The more you quench your thirst for wonder, The more you drink from the cup of life. The more you see and experience, the closer to truth you become. The more languages you learn, the more truths you can unravel. And the more countries you travel, the greater your understanding. And the greater your understanding, the less you see differences. And the more knowledge you gain, the wider your perspective, And the wider your perspective, the lesser your ignorance. Hence, the more wisdom you gain, the smaller you feel. And the smaller you feel, the greater you become. The more you see, the more you love -- The more you love, the less walls you see. The more doors you are willing to open, The less close-minded you will be. The more open-minded you are, The more open your heart. And the more open your heart, The more you will be able to Send and receive -- Truth and TRUE Unconditional LOVE.

Life viewed from nine different camera angles; life played at nine tempos. Mixed, montaged; multiple. In the course of one lifetime. Maybe that's what reincarnation was all about. Reinvention.

A poem exists only in the relation between poet and reader. And I'm in need of my readers, except that they never cease to write me as they would wish, turning their reading into another writing that almost rubs out my features. I don't know why my poetry has to be killed on the altar of misunderstanding or the fallacy of ready-made intent. I am not solely a citizen of Palestine, though I am proud of this affiliation and ready to sacrifice my life in defending the radiance of the Palestinian fact, but I also want to take up the history of my people and their struggle from an aesthetic angle that differs from the prevalent and repeatable meanings readily available from an unmediated political reading.

Its hurtful and wonderful how our jokes survive us. Since I left home on this journey, I've thought a lot about this-how a big part of any life is about the hows and whys of setting up machinery. it's building systems, devices, motors. Winding up the clockwork of direct debits, configuring newspaper deliveries and anniversaries and photographs and credit card repayments and anecdotes. Starting their engines, setting them in motion and sending them chugging off into the future to do their thing at a regular or irregular intervals. When a person leaves or dies or ends, they leave an afterimage; their outline in the devices they've set up around them. The image fades to the winding down of springs, the slow running out of fuel as the machines of a life lived in certain ways in certain places and from certain angles are shut down or seize up or blink off one by one. It takes time. Sometimes, you come across the dusty lights or electrical hum of someone else's machine, maybe a long time after you ever expected to, still running, lonely in the dark. Still doing its thing for the person who started it up long, long after they've gone. A man lives so many different lengths of time.

Junior high is no different from looking through a camera. It might take you a while to get the right angle and the right lighting and to bring it all into focus, but once you figure things out, you’ll have a moment in your life you’re going to want to save forever. So take lots of pictures.

From his vantage, three steps back and to the right, Tallow could see Rosato's eye a good five inches outside Rosato's head and still attached to his eye socket by a mess of red worms. In that single second, Tallow abstractedly realized that in his last moment of life, James Rosato could see his killer from two different angles.

Self-distancing is changing the perspective of life by observing inner feelings and experiences from distance with different angles, filters and lenses.

Like the universe is, A giant ocean of darkness having infinite little stars illuminating light at different angles, Like we are, A giant universe of our own, with billions of stars hidden inside.

I wouldn't live in a colony like that, myself, for a thousand dollars an hour. I wouldn't want it next door. I'm not too happy it's within ten miles. Why? Because their soft-headedness irritates me. Because their beautiful thinking ignores both history and human nature. Because they'd spoil my thing with their thing. Because I don't think any of them is wise enough to play God and create a human society. Look. I like privacy, I don't like crowds, I don't like noise, I don't like anarchy, I don't even like discussion all that much. I prefer study, which is very different from meditation-not better, different. I don't like children who are part of the wild life. So are polecats and rats and other sorts of hostile and untrained vermin. I want to make a distinction between civilization and the wild life. I want a society that will protect the wild life without confusing itself with it.

I was just not cut out to be an American journalist. In England, I could phone my editor and say 'Do you want an interview with X?' and get an immediate yes or no. At Vanity Fair I had to 'pitch ideas' and then go through layers of editors, all of whom asked what my 'angle' was going to be. I have always deeply hated and resented this question. If you have an angle on someone, it means you have already decided what to write before you meet, so you really might as well not bother interviewing them" (126).

Konstance is old enough to understand that Father’s farm is unlike the other three: those spaces are tidy and systematic, while Farm 4 is a tangle of wires and sensors, grow-racks skewed at every angle, individual trays crowded with different species, creeping thyme beside radishes beside carrots. Long white hairs sprout from Father’s ears; he’s at least two decades older than the other children’s fathers; he’s always growing inedible flowers just to see what they look like and muttering in his funny accent about compost tea. He claims he can taste whether a lettuce has lived a happy life; he says one sniff of a properly grown chickpea can whisk him three zillion kilometers back to the fields who grew up in Scheria.

is no different from looking through a camera. It might take you a while to get the right angle and the right lighting and to bring it all into focus, but once you figure things out, you’ll have a moment in your life you’re going to want to save forever. So take lots of pictures.

I barely registered moving into the long gallery, one hand absentmindedly wrapping around my throat as I looked up at the paintings. So many, so different, yet all arranged to flow together seamlessly... Such different views and snippets and angles of the world. Pastorals, portraits, still lifes . . . each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colors and shapes I understood. Some showcased colors I had not considered; these had a bend to the world that told me a different set of eyes had painted them. A portal into the mind of a creature so unlike me, and yet . . . and yet I looked at its work and understood, and felt, and cared.

By using the idea of sweaty concepts, I am also trying to show how descriptive work is conceptual work. A concept is worldly, but it is also a reorientation to a world, a way of turning things around, a different slant on the same thing. More specifically, a sweaty concept is one that comes out of a description of a body that is not at home in the world. By this I mean description as angle or point of view: a description of how it feels not to be at home in the world, or a description of the world from the point of view of not being at home in it. Sweat is bodily; we might sweat more during more strenuous and muscular activity. A sweaty concept might come out of a bodily experience that is trying. The task is to stay with the difficulty, to keep exploring and exposing this difficulty. We might need not to eliminate the effort or labor from the writing. Not eliminating the effort or labor becomes an academic aim because we have been taught to tidy our texts, not to reveal the struggle we have in getting somewhere. Sweaty concepts are also generated by the practical experience of coming up against a world, or the practical experience of trying to transform a world.6

Women with dark skin are sharing selfies on social media after decades of being underrepresented in the mainstream media. From what I have observed much of the dark skin adoration on social media appears to come from us - black women. We tend to use the appreciation hashtags with our own pictures of photographs of dark skin women whom we feel are stunning. While I am loving this fierceness.. There is just one sidetone to this revolution: I feel as if we are much more appreciated if we show more skin. The timelines are filled with absolutely beautiful dark-skinned women but most sadly most of the time they are all oiled up and showing their body parts in different angles. Now, I am definitely in to art and as a model I know that this comes with the territory. But we most not forget that we are Queens.. We need to stop degrading ourselves for likes on the gram. You don't have to be naked to show the world you're beautiful. You my sister are an African Queen. I feel as if black women are only appreciated if they wear very provocative clothes or if they do naked photoshoots. To me, it's degrading and reminds me of the time that we couldn't ride the bus because we were black. Women were seen as servants. The black women that weren't servants were sex slaves. We are not objects, we are not meat and people need to stop looking at us as sex objects. BUT we need to start respecting ourselves first! A black woman is a woman first and it should not even be necessary to specify the colour but this is the society we live in and I feel like I had to share this.

kicked off my flip-flops and dug my feet into the sand. It was what we did in the Lowcountry when we found ourselves alone on the beach. We would sit, stare at the water, kick off our shoes, and dig our feet into the sand to stay cool. With the ocean rolling all around me, I could look at life from different angles. The sky gradually gave up its blanket of deep gray to pale blue with golden edges of light, erasing the last traces of night. And over the next half hour or so, the sky would become brilliant blue again. The water changed from deep steel to sparkling navy as the morning sun climbed into position and another day began. On

We can discuss this point from different angles. Experts call one manifestation of such denigration of history historical determinism. In a nutshell we think that we would know when history is made; we believe that people who, say, witnessed the stock market crash of 1929 knew then that they lived an acute historical event and that, should these events repeat themselves, they too would know about such facts. Life for us is made to resemble an adventure movie, as we know ahead of time that something big is about to happen. It is hard to imagine that people who witnessed history did not know at the time how important the moment was. Somehow all respect we may have for history does not translate well into our treatment of the present.

Truth and reality are two different things. Truth is nothing more or less than an expression of reality as you perceive it, while reality being something totally independent of, and indifferent to how you express, or even, perceive it. People differ only in their reference to reality; and this difference is not without its own implications. Certain interpretations have more value in certain situations, and vice versa. Any number of opposite propositions may be true simultaneously, but their truth value will ultimately decide their worth. From which angle to look at reality at a certain time, is a wisdom philosophy is not designed to endow. It can only help you refine your perception. In order to choose and change your mode of perception, you perhaps need Will.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic. And - I would argue as well - all love. ... And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of color across the sky - so the space where I exist, and I want to keep existing, and to be quite frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime.

Everything I had done up to this point in my life was live: live TV, live stage, live competitions. Film is different. Whether you get it right or you get it wrong, you’re still going to do it over and over again. I was doing a dance number and I wasn’t happy with how it was turning out. The old perfectionist in me came out; I was frustrated and angry with myself for messing it up. The director came up to me and said, “Derek, calm down. We’re going to do at least twelve takes of this to get the camera angles.” Oh.

We must preserve the sense of unity and the sense of diversity and multiplicity. We must recognize that the One and the Many are the same thing viewed from different angles. The One is the Many. The One is manifested only in and through the Many. It has no separate existence apart from the Many. Equally the Many are the One. Even during their temporary separation, they are always part of the One, and always united with the One. Every one of us is always part of the One, and can unite with the One at any time we choose.

It’s going to be okay, Jacinda.” I angled my head. “So I won’t be punished?” “I convinced them that you wanted to return. I told them you’re eager to fall back into pride life. That you’ll behave yourself and be more compliant.” His top lip curls faintly, and I remember what he told me in Chaparral when he found me, that he liked me because I was different from everyone else here. Now he wants me to be the same. I inhale sharply through my nose. Compliant. Submissive. Meek. Biddable. Do I even have it in me? “Compliant? Jacinda?” Az giggles, unaware of the tension. “They bought that?

When looking at the cup, you see it with your eyes, from your angle, and with your vision, while I see it with my eyes, from my angle, and with my power of vision. There is no possibility of exchanging even our separate ways of looking at a cup. None of your personal experiences can ever be the same as anyone else’s. More so, then, is your way of thinking bound to be different from everyone else’s. When you are born, your world is born with you, and when you die, so dies your entire world. Your true Self includes the entire world you live in, and in this world there is no possibility of exchange.

I have given a brief explanation of the various meanings of dharma according to the Abhidharma, but what I want to say next is much more important. In Mahayana Buddhism, and especially in Dōgen Zenji's teachings, the meaning of dharma has more depth. According to the concepts we accept, we think that everything exists as objects outside the self. For example, we usually think that all phenomenal things that appear before our eyes, or this twentieth-century human society, have existence outside our individual self. We believe that when we are born we appear on this world's stage, and when we die we leave that stage. All of us think this way. But the truth is that this common-sense concept is questionable. Mahayana Buddhism began from a reexamination of this common-sense attitude. I'll give you one of my favorite examples. I am looking at this cup now. You are also looking at the same cup. We think that we are looking at the very same cup, but this is not true. I am looking at it from my angle, with my eyesight, in the lighting that occurs where I am sitting, and with my own feelings or emotions. Furthermore, the angle, my feeling, and everything else is changing from moment to moment. This cup I am looking at now is not the same one that I will be looking at in the next moment. Each of you is also looking at it from your own angle, with your eyesight, with your own feelings, and these also are constantly changing. This is the way actual life experience is. However, if we use our common-sense way of thinking, we think we are looking at the very same cup. This is an abstraction and not the reality of life. Abstract concepts and living reality are entirely different. The Buddhist view is completely different from our ordinary thinking. Western philosophy's way of thinking is also based on abstractions. It assumes that all of us are seeing the same cup. Greek philosophers went further and further in their abstractions until they came up with the concept of the idea that cannot be seen or felt. One example is Venus, the goddess of beauty. In the real world, no woman is as well-proportioned as Venus, or embodies perfect beauty as she does. Yet the Greeks idealized beauty and created a statue of Venus, just as they had thought of the "idea" of a circle that is abstracted from something round. In other words, the Greek way of thinking is abstraction to the highest degree. Buddhism is different. Buddhism puts emphasis on life, the actual life experience of the reality of the self.

There is a sense in which Arthur and Barfield are the types of every man's First Friend and Second Friend. The First is the alter ego, the man who first reveals to you that you are not alone in the world by turning out (beyond hope) to share all your most secret delights. There is nothing to be overcome in making him your friend; he and you join like rain-drops on a window. But the Second Friend is the man who disagrees with you about everything. He is not so much the alter ego as the anti-self. Of course he shares your interests; otherwise he would not become your friend at all. But he has approached them all at a different angle.

Imagine you were asked in a maths paper at junior school, 'Which would you prefer, a shilling or two sixpences?' and you answered, 'Two sixpences,' because thinking of the two tiny silver coins jingling together in your pocket made you feel good and you loved those cute little sixpences. But when the test paper was returned you saw a big red cross through your answer, and that night your mother explained to you that it was a trick question, two sixpences and a shilling were worth the same amount – which you knew, but you'd still prefer two sixpences. It wasn't that you were stupid, you just saw things from a different angle. Sixpences had character, shillings didn't. And you felt richer with two sixpences because there were two coins, not just one. But despite all these explanations, you were still wrong and you kept getting tripped up by these trick questions over and over again, in exams, in relationships, friendships, jobs and interviews. In fact, these misreadings of situations happened so often that you started to view the world as a tricksy and untruthful place. Then you noticed that the people who saw the tricks behind the questions were popular and always at the top of the class. Baffled by life and its unseen rules, you began to doubt everything around you. You felt you had to approach all of life as a trick, just to get it right a few times.

Shapers are people who can go from visualization to actualization. I wrote a lot about the people I call “shapers” in the first part of this book. I use the word to mean someone who comes up with unique and valuable visions and builds them out beautifully, typically over the doubts of others. Shapers get both the big picture and the details right. To me, it seems that Shaper = Visionary + Practical Thinker + Determined. I’ve found that shapers tend to share attributes such as intense curiosity and a compulsive need to make sense of things, independent thinking that verges on rebelliousness, a need to dream big and unconventionally, a practicality and determination to push through all obstacles to achieve their goals, and a knowledge of their own and others’ weaknesses and strengths so they can orchestrate teams to achieve them. Perhaps even more importantly, they can hold conflicting thoughts simultaneously and look at them from different angles. They typically love to knock things around with other really smart people and can easily navigate back and forth between the big picture and the granular details, counting both as equally important. People wired with enough of these ways of thinking that they can operate in the world as shapers are very rare. But they could never succeed without working with others who are more naturally suited for other things and whose ways of thinking and acting are also essential.

How long have you known about him?” I asked Jesse, using my free hand to gesture toward his guest. “Forever. Nearly as long as I did about you.” “God, Jesse. Why didn’t you say anything?” “He was a shadow of you.” Jesse shrugged. “His background is diluted, his dragon blood les strong. Even with you in his proximity, I wasn’t certain any of his drakon traits would emerge. He hasn’t anywhere near your potential.” “Pardon me,” Armand said, freezingly polite, “but he is still right here with you in this room.” “Do you mean…I did it?” I asked. “I made him figure it out? What he is?” Jesse gave me an assessing look. “Like is drawn to like. We’re all three of us thick with magic now, even if it’s different kinds. It’s inevitable that we’ll feed off one another. The only way to prevent that would be to separate. And even then it might not be enough. Too much has already begun.” “I don’t want to separate from you,” I said. “No.” Jesse lifted our hands and gave mine a kiss. “Don’t worry about that.” Armand practically rolled his eyes. “If you two are quite done, might we talk some sense tonight? It’s late, I’m tired, and your ruddy chair, Holms, is about as comfortable as sitting on a tack. I want to…” But his voice only faded into silence. He closed his eyes and raised a hand to his face and squeezed the bridge of his nose. I noted again those shining nails. The elegance of his bones beneath his flawless skin. Skin that was marble-pale, I realized. Just like mine. “Yes?” I said, more gently than I’d intended. “Excuse me. I’m finding this all a bit…impossible to process. I’m beginning to believe that this is the most profoundly unpleasant dream I’ve ever been caught in.” “Allow me to assure you that you’re awake, Lord Armand,” I retorted, all gentleness gone. “To wit: You hear music no one else does. Distinctive music from gemstones and all sorts of metals. That day I played the piano at Tranquility, I was playing your father’s ruby song, one you must have heard exactly as I did. Exactly as your mother would have. You also have, perhaps, something like a voice inside you. Something specific and base, stronger than instinct, hopeless to ignore. Animals distrust you. You might even dream of smoke or flying.” He dropped his arm. “You got that from the diary.” “No, I got that from my own life. And damned lucky you are to have been brought into this world as a pampered little prince instead of spending your childhood being like this and still having to fend for yourself, as I did.” “Right. Lucky me.” Armand looked at Jesse, his eyes glittering. “And what are you? Another dragon? A gargoyle, perchance, or a werecat?” “Jesse is a star.” The hand went up to conceal his face again. “Of course he is. The. Most. Unpleasant. Dream. Ever.” I separated my hand from Jesse’s, angling for more bread. “I think you’re going to have to show him.” “Aye.” A single blue eye blinked open between Armand’s fingers. “Show me what?

Sometimes it's not what you do differently it's what you do consistently. I approached solving my life’s problems from many different angles. I used to try to be perfect, not in the literal sense, but coasting right below in that realistic level of high performance. That was my desire. It did not happen though, yet that desire did not die. Ironically, as I fell into deeper adversity, it grew. As I dug for China, I knew the comeback would make the suffering worth it. It’s like what Viktor E. Frankl wrote in Man’s Search for Meaning, “In some ways suffering ceases to be suffering at the moment it finds a meaning, such as the meaning of a sacrifice.” I felt the meaning for my self imposed suffering was the honorable character I would later possess; it had to be.

Every man is the sum total of his reactions to experience. As your experiences differ and multiply, you become a different man, and hence your perspective changes. This goes on and on... So it would seem foolish, would it not, to adjust our lives to the demands of a goal we see from a different angle every day? How could we ever hope to accomplish anything... The answer, then, must not deal with goals at all... We do not strive to be firemen, we do not strive to be bankers, nor policemen, nor doctors. WE STRIVE TO BE OURSELVES. But don’t misunderstand me. I don’t mean that we can’t BE firemen, bankers, or doctors...but that we must make the goal conform to the individual, rather than make the individual conform to the goal... Beware of looking for goals: look for a way of life. Decide how you want to live and then see what you can do to make a living WITHIN that way of life.

Nevertheless, to learn right away something new from the same example, how fleeting and weak, how imprecise that comparison would be! If the comparison is to carry out this powerful effect, how much of the difference will be missed in the process. How forcefully must the individuality of the past be wrenched into a general shape, with all its sharp corners and angles broken off for the sake of the correspondence! In fact, basically something that once was possible could appear possible a second time only if the Pythagoreans were correct in thinking that with the same constellations of the celestial bodies the same phenomena on the Earth had to repeat themselves, even in the small single particulars, so that when the stars have a certain position relative to each other, a Stoic and an Epicurean will, in an eternal recurrence, unite and assassinate Caesar, and with another stellar position Columbus will eternally rediscover America.

One day,our love will conquer this dark cycle.That's worth everything to me." Luce looked up and saw the love glowing in his eyes. He believed what he was saying. He didn't care if he suffered again and again; he'd forge on, losing her over and over,buoyed by the hope that one day this wouldn't be their end. He knew it was doomed,but he tried over and over again anyway,and he always would. His commitment to her,to them, touched a part of her that she'd thought she'd given up on. She still wanted to argue: This Daniel didn't know the challenges coming their way,the tears they would shed over the ages.He didn't know that she'd seen him in his moments of deepest desperation. What the pain of her deaths would do to him. But then- Luce knew.And that made all the difference in the world. Daniel's lowest moments had terrified her, but things had changed. All along, she'd felt bound to their love, but now she knew how to protect it.Now she had seen their love from so many different angles. She understood it in a way she'd never thought she would.If Daniel ever faltered,she could raise him up. She had learned how to do it from the best: from Daniel.Here she was,about to kill her soul, about to take away their love permanently, and five minutes alone with him brought her back to life. Some people spent their entire lives looking for love like this. Luce had had it all along. The future held no starshot for her. Only Daniel.Her Daniel, the one she'd left in her parent's backyard in Thunderbolt.She had to go. "Kiss me," she whispered. He was seated on the steps with his knees parted just enough to let her body slide between them. She sank to her knees and faced him. Their foreheads were touching.The tips of their noses. Daniel took her hands. He seemed to want to tell her something,but he could not find the words. "Please," she begged,her lips edging toward his. "Kiss me and set me free.

As I see the bad religion situation, the answer isn't a matter of stepping out and starting new traditions so much as it's a matter of approaching the currents we're already in from a different angle, one person, one relationship at a time. And even putting it this way brings to mind the poet-pastor Eugene Peterson, who once observed that the besetting sin of the American people is probably impatience. This sounds so right to me, especially when I consider the possibility that there's hardly a sin I can think of that isn't somehow born of misperceived need, of haste and its accompanying inattentiveness, of some feverish variation once more of Hurry up and matter! Being true - ringing true - will have to involve a slow work of recognition and resistance to that mad and nervy, deluding spirit. To begin to be true is to try to choose - or risk choosing - presence over progress, really showing up and taking the time to wonder what we're really up to, what we're doing and why.

I select the right practice gun, the one about the size of a pistol, but bulkier, and offer it to Caleb. Tris’s fingers slide between mine. Everything comes easily this morning, every smile and every laugh, every word and every motion. If we succeed in what we attempt tonight, tomorrow Chicago will be safe, the Bureau will be forever changed, and Tris and I will be able to build a new life for ourselves somewhere. Maybe it will even be a place where I trade my guns and knives for more productive tools, screwdrivers and nails and shovels. This morning I feel like I could be so fortunate. I could. “It doesn’t shoot real bullets,” I say, “but it seems like they designed it so it would be as close as possible to one of the guns you’ll be using. It feels real, anyway.” Caleb holds the gun with just his fingertips, like he’s afraid it will shatter in his hands. I laugh. “First lesson: Don’t be afraid of it. Grab it. You’ve held one before, remember? You got us out of the Amity compound with that shot.” “That was just lucky,” Caleb says, turning the gun over and over to see it from every angle. His tongue pushes into his cheek like he’s solving a problem. “Not the result of skill.” “Lucky is better than unlucky,” I say. “We can work on skill now.” I glance at Tris. She grins at me, then leans in to whisper something to Christina. “Are you here to help or what, Stiff?” I say. I hear myself speaking in the voice I cultivated as an initiation instructor, but this time I use it in jest. “You could use some practice with that right arm, if I recall correctly. You too, Christina.” Tris makes a face at me, then she and Christina cross the room to get their own weapons. “Okay, now face the target and turn the safety off,” I say. There is a target across the room, more sophisticated, than the wooden-board target in the Dauntless training rooms. It has three rings in three different colors, green, yellow, and red, so it’s easier to tell where the bullets it. “Let me see how you would naturally shoot.” He lifts up the gun with one hand, squares off his feet and shoulders to the target like he’s about to lift something heavy, and fires. The gun jerks back and up, firing the bullet near the ceiling. I cover my mouth with my hand to disguise my smile. “There’s no need to giggle,” Caleb says irritably. “Book learning doesn’t teach you everything, does it?” Christina says. “You have to hold it with both hands. It doesn’t look as cool, but neither does attacking the ceiling.” “I wasn’t trying to look cool!” Christina stands, her legs slightly uneven, and lifts both arms. She stares the target for a moment, then fires. The training bullet hits the outer circle of the target and bounces off, rolling on the floor. It leaves a circle of light on the target, marking the impact site. I wish I’d had this technology during initiation training. “Oh, good,” I say. “You hit the air around your target’s body. How useful.” “I’m a little rusty,” Christina admits, grinning.

But now, sitting on this airplane on my way back to the life I went on to fashion after she left, I think of her differently. I see her so many ways: sitting back on her heels at the side of the bathtub, singing softly as she washes Sharla and my backs; watching at the window for the six o’clock arrival of our father; wrapping Christmas presents on the wide expanse of her bed; biting her lip as she stood before the open cupboards, making out the grocery list; leaning out the kitchen window that last summer to call Sharla and me in for supper. Most clearly, though, I see her sitting at the kitchen table, in her old, usual spot. There is a cup of coffee before her, but she doesn’t drink it. Instead, she stares out the window. I see the sharp angle of her cheekbone, the beautiful whitish down at the side of face, illuminated by the sun. Her hands are quiet, resting in the cloth bowl of her apron. She sits still as a statue - waiting, I can see now; she was always waiting. -What We Keep

My intention, this time, was to transfer a play to the screen while keeping its theatrical character. It was in some senses a matter of walking, invisibly, around the stage and catching the different aspects and nuances in the play, the urgency and the facial expressions that escape a spectator who cannot follow them in detail from a seat in the stalls. Apart from that, I had noticed how effective a play becomes when you have a bird's-eye view from it, for example from the flies, that is to say from the viewpoint of a voyeur. The Audience is enclosed with the characters in a room lacking its fourth wall and listens to them on equal terms, without the element of my story conferred on scenes of intimacy by the whimsical shape of a keyhole.” “L'aigle à deux têtes is not History. It is a story, an invented story lived out by imaginary heroes, and I should never have dared venture into the realistic world of cinema without being able to rely on the help of Christian Bérard. He has a genius for situating whatever he touches, for giving it a depth in time and space and an appearance of truth that are literally inimitable.” (...) “A drama of this kind would be unacceptable, and almost impossible to tell, unless it was interpreted by superb actors who could instill grandeur and life into it. Edwige Feuillère and Jean Marais, applauded evening after evening in their parts in the play, surpass themselves on the screen and give of themselves, as I suggested above, everything that they cannot give us on the stage.” “George Auric's music and the Strauss waltzes at the krantz ball make up the liquid in this drama of love and death is immersed.” (...) “In L'aigle à deux têtes, I wanted to make a theatrical film.” (...) “I know the faults of the film, but unfortunately the expense of the medium and the constraints of time that it imposes on us, prevent us from correcting our faults, Cinematography costs too much.” (...) “In Les parents terribles (1948), what I determined to do was the opposite of what I did in L'aigle à deux têtes; to de-theatricalize a play, to film it in chronological order and to catch the characters by surprise from the indiscreet angle of the camera. In short, I wanted to watch a family through the keyhole instead of observing its life from a seat in the stalls.

QUESTIONS TO USE TO UNEARTH THE DEAL-KILLING ISSUES What are we up against here? What is the biggest challenge you face? How does making a deal with us affect things? What happens if you do nothing? What does doing nothing cost you? How does making this deal resonate with what your company prides itself on? It’s often very effective to ask these in groups of two or three as they are similar enough that they help your counterpart think about the same thing from different angles. Every situation is unique, of course, but choosing the right mix of these questions will lead your counterpart to reveal information about what they want and need—and simultaneously push them to see things from your point of view. Be ready to execute follow-up labels to their answers to your calibrated questions. Having labels prepared will allow you to quickly turn your counterpart’s responses back to them, which will keep them feeding you new and expanding information. Again, these are fill-in-the-blank labels that you can use quickly without tons of thought: It seems like __________ is important. It seems you feel like my company is in a unique position to __________. It seems like you are worried that __________.

Because between 'reality' on one hand, and the point where the mind strikes reality, there's a middle zone, a rainbow edge where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic. And - I would argue as well - all love. Or perhaps more accurately, this middle zone illustrates the fundamental discrepancy of love. Viewed close: a freckled hand against a black coat, an origami frog tipped over on its side. Step away, and the illusion snaps in again: life-more-than-life, never dying. Pippa herself is the play between those things, both love and not love, there and not there. Photographs on the wall, a balled up sock under the sofa. The moment where I reached out to brush a piece of fluff from her hair and laughed and ducked at my touch. And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of colour across the sky - so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly the middle distance: where despair struck pure otherness and created something sublime.

Because, between 'reality' on one hand, and the point where the mind strikes reality, there's a middle zone, a rainbow edge where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic. And - I would argue as well - all love. Or perhaps more accurately, this middle zone illustrates the fundamental discrepancy of love. Viewed close: a freckled hand against a black coat, an origami frog tipped over on its side. Step away, and the illusion snaps in again: life-more-than-life, never dying. Pippa herself is the play between those things, both love and not love, there and not-there. Photographs on the wall, a balled up sock under the sofa. The moment where I reached to brush a piece of fluff from her hair and she laughed and ducked at my touch. And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of colour across the sky - so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly the middle distance: where despair struck pure otherness and created something sublime.

...he [Perry Hildebrandt] broached the subject of goodness and its relation to intelligence. He'd come to the reception for selfless reasons, but he now saw that he might get not only a free buzz but free advise from, as it were, two professionals. 'I suppose what I'm asking,' he said, 'is whether goodness can ever truly be its own reward, or whether, consciously or not, it always serves some personal instrumentality.' Reverend Walsh [Trinity Lutheran] and the rabbi [Meyer] exchanged glances in which Perry detected pleasant surprise. It gratified him to upset their expectations of a fifteen-year-old. 'Adam may have a different answer,' the rabbi said, but in the Jewish faith there is really only one measure of righteousness: Do you celebrate God and obey His commandments?' 'That would suggest,' Perry said, 'that goodness and God are essentially synonymous.' 'That's the idea,' the rabbi said. 'In biblical times, when God manifested Himself more directly. He could seem like quite the hard-ass--striking people blind for trivial offenses, telling Abraham to kill his son. But the essence of the Jewish faith is that God does what He does, and we obey Him.' 'So, in other words, it doesn't matter what a righteous person's private thoughts are, so long as he obeys the letter of God's commandments?' 'And worships Him, yes. Of course, at the level of folk wisdom, a man can be righteous without being a -mensch.- I'm sure you see this, too, Adam--the pious man who makes everyone around him miserable. That might be what Perry is asking about.' 'My question,' Perry said, 'is whether we can ever escape our selfishness. Even if you bring in God, and make him the measure of goodness, the person who worships and obeys Him still wants something for himself. He enjoys the feeling of being righteous, or he wants eternal life, or what have you. If you're smart enough to think about it, there's always some selfish angle.' The rabbi smiled. 'There may be no way around it, when you put it like that. But we "bring in God," as you say--for the believer, of course, it's God who brought -us- in--to establish a moral order in which your question becomes irrelevant. When obedience is the defining principle, we don't need to police every little private thought we might have.' 'I think there's more to Perry's question, though,' Reverend Walsh said. 'I think he is pointing to sinfulness, which is our fundamental condition. In Christian faith, only one man has ever exemplified perfect goodness, and he was the Son of God. The rest of us can only hope for glimmers of what it's like to be truly good. When we perform an act of charity, or forgive an enemy, we feel the goodness of Christ in our hearts. We all have an innate capability to recognize true goodness, but we're also full of sin, and those two parts of us are constantly at war.' 'Exactly,' Perry said. 'How do I know if I'm really being good or if I'm just pursuing a sinful advantage?' 'The answer, I would say, is by listening to your heart. Only your heart can tell you what your true motive is--whether it partakes of Christ. I think my position is similar to Rabbi Meyer's. The reason we need faith--in our case, faith in the Lord Jesus Christ--is that it gives us a rock-solid basis for evaluating our actions. Only through faith in the perfection of our Savior, only by comparing our actions to his example, only by experiencing his living presence in our hearts, can we hope to be forgiven for the more selfish thoughts we might have. Only faith in Christ redeems us. Without him, we're lost in a sea of second-guessing our motives.

When Florence Allen took a bite of her dessert the expression on her face changed completely. She looked puzzled at first, as if she wasn't at all sure it was cake that she was eating. She cut herself another bite and then held up her fork and looked at it for a minute before slipping it into her mouth. She chewed slowly, as if she were a scientist engaged in an important experiment. She lifted up her plate and held it up to the light, studied it from different angles. Then she dipped down her nose and inhaled the cake. "This is sweet potato." I dabbed at my eyes again and told her that it was. "Sweet potatoes and raisins and... rum? That's a spiked glaze?" I nodded. She took another bite and this time she ate it like a person who knew what she was getting into. She closed her eyes. She savored. "This is," she said. "This is..." "Easy," I said. "I can give you the recipe." She opened up her eyes. She had lovely dark eyes. "This is brilliant. This is a brilliant piece of cake." In my family people tended to work against the cake. They wished it wasn't there even as they were enjoying it. But Florence Allen's reaction was one I rarely saw in an adult: She gave in to the cake. She allowed herself to love the cake. It wasn't that she surrendered her regrets (Oh well, I'll just have to go to the gym tomorrow, or, I won't have any dinner this week). She had no regrets. She lived in the moment. She took complete pleasure in the act of eating cake. "I'm glad you like it," I said, but that didn't come close to what I meant. "Oh, I don't just like it. I think this is-" But she didn't say it. Instead she stopped and had another bite. I could have watched her eat the whole thing, slice by slice, but no one likes to be stared at. Instead I ate my own cake. It was good, really. Every raisin bitten gave a sweet exhalation of rum. It was one of those cakes that most people say should be made for Thanksgiving, that it was by its nature a holiday cake, but why be confined? I was always one to bake whatever struck me on any given day. Florence Allen pressed her fork down several times until she had taken up every last crumb. Her plate was clean enough to be returned to the cupboard directly. "I've made sweet potato pies," she said. "I've baked them and put them in casseroles, but in a cake? That never crossed my mind." "It isn't logical. They're so dense. I think of it as the banana bread principle.

Unconditional Love - Love Without Condition I love you as you are, as you seek to find your own special way to relate to the world. I honour your choices to learn in the way you feel is right for you. I know it is important that you are the person you want to be and not someone that I or others think you "should" be. I realise that I cannot know what is best for you, although perhaps sometimes I think I do. I have not been where you have been, viewing life from the angle you have. I do not know what you have chosen to learn, how you have chosen to learn it, with whom or in what time period. I have not walked life looking through your eyes, so how can I know what you need. I allow you to be in the world without a thought or word of judgement from me about the deeds you undertake. I see no error in the things you say and do. In this place where I am, I see that there are many ways to perceive and experience the different facets of our world. I allow without reservation the choices you make in each moment. I make no judgement of this, for if I would deny your right to your evolution, then I would deny that right for myself and all others. To those who would choose a way I cannot walk, whilst I may not choose to add my power and my energy to this way, I will never deny you the gift of love that God has bestowed within me, for all creation. As I love you, so I shall be loved. As I sow, so shall I reap. I allow you the Universal right of Free Will to walk your own path, creating steps or to sit awhile if that is what is right for you. I will make no judgement that these steps are large or small, nor light or heavy or that they lead up or down, for this is just my viewpoint. I may see you do nothing and judge it to be unworthy and yet it may be that you bring great healing as you stand blessed by the Light of God. I cannot always see the higher picture of Divine Order. For it is the inalienable right of all life to choose their own evolution and with great Love I acknowledge your right to determine your future. In humility I bow to the realisation that the way I see as best for me does not have to mean it is also right for you. I know that you are led as I am, following the inner excitement to know your own path. I know that the many races, religions, customs, nationalities and beliefs within our world bring us great richness and allow us the benefit and teachings of such diverseness. I know we each learn in our own unique way in order to bring that Love and Wisdom back to the whole. I know that if there were only one way to do something, there would need only be one person. I will not only love you if you behave in a way I think you should, or believe in those things I believe in. I understand you are truly my brother and my sister, though you may have been born in a different place and believe in another God than I. The love I feel is for all of God's world. I know that every living thing is a part of God and I feel a Love deep within for every person, animal, tree and flower, every bird, river and ocean and for all the creatures in all the world. I live my life in loving service, being the best me I can, becoming wiser in the perfection of Divine Truth, becoming happier in the joy of ... Unconditional Love

During this same period of his life Bohm also continued to refine his alternative approach to quantum physics. As he looked more carefully into the meaning of the quantum potential he discovered it had a number of features that implied an even more radical departure from orthodox thinking. One was the importance of wholeness. Classical science had always viewed the state of a system as a whole as merely the result of the interaction of its parts. However, the quantum potential stood this view on its ear and indicated that the behavior of the parts was actually organized by the whole. This not only took Bohr's assertion that subatomic particles are not independent "things, " but are part of an indivisible system one step further, but even suggested that wholeness was in some ways the more primary reality. It also explained how electrons in plasmas (and other specialized states such as superconductivity) could behave like interconnected wholes. As Bohm states, such "electrons are not scattered because, through the action of the quantum potential, the whole system is undergoing a co-ordinated movement more like a ballet dance than like a crowd of unorganized people. " Once again he notes that "such quantum wholeness of activity is closer to the organized unity of functioning of the parts of a living being than it is to the kind of unity that is obtained by putting together the parts of a machine. "6 An even more surprising feature of the quantum potential was its implications for the nature of location. At the level of our everyday lives things have very specific locations, but Bohm's interpretation of quantum physics indicated that at the subquantum level, the level in which the quantum potential operated, location ceased to exist All points in space became equal to all other points in space, and it was meaningless to speak of anything as being separate from anything else. Physicists call this property "nonlocality. " The nonlocal aspect of the quantum potential enabled Bohm to explain the connection between twin particles without violating special relativity's ban against anything traveling faster than the speed of light. To illustrate how, he offers the following analogy: Imagine a fish swimming in an aquarium. Imagine also that you have never seen a fish or an aquarium before and your only knowledge about them comes from two television cameras, one directed at the aquarium's front and the other at its side. When you look at the two television monitors you might mistakenly assume that the fish on the screens are separate entities. After all, because the cameras are set at different angles, each of the images will be slightly different. But as you continue to watch you will eventually realize there is a relationship between the two fish. When one turns, the other makes a slightly different but corresponding turn. When one faces the front, the other faces the side, and so on. If you are unaware of the full scope of the situation, you might wrongly conclude that the fish are instantaneously communicating with one another, but this is not the case. No communication is taking place because at a deeper level of reality, the reality of the aquarium, the two fish are actually one and the same. This, says Bohm, is precisely what is going on between particles such as the two photons emitted when a positronium atom decays (see fig. 8).

Due to Tommy’s lateness, he almost always missed out on filming in mellow morning light. From noon to 5:00 p.m., when Tommy liked to film, you get a wide range of light conditions, most of which are hostile to camera lenses. This should explain why, in the finished film, the Rooftop scenes all look like they’re taking place in different climates and countries, depending on the angle and the shot.

The dramatic interplay was more in Lester’s wheelhouse, particularly the scene where Billy Bob contemplates suicide. Wracked with guilt over disappointing his coach (and, in retrospect, possibly suffering from post-concussion syndrome), Billy Bob sits on the back of his pickup with his football trophies, a bottle of tequila, and a Mossberg 12-gauge pump shotgun when he’s confronted by Mox. “Championship trophy. Steelers. We were 9. Remember this shit? Playing Pee Wee?” “Yeah,” Mox says. “It was fun.” “No, it wasn’t. I remember being yelled at.” Billy Bob throws the trophy. “Too fat, Billy Bob!” Bang! “Too slow and dumb!” He pulls the pump handle. Bang! “It was great,” Robbins, the director, says. “I remember that night shooting that scene, and you don’t do that once, you do it over and over again from different angles. And he was just able to deliver that performance over and over again, and those were real tears and real emotion coming out of him.” Lester drew on pain from his personal life, thinking of his late father and his sister Linda, who died at 35. He also pulled from his own struggles with suicide. Inconsolable after Linda passed, he had put a loaded gun to his head and pulled the trigger. Nothing happened. “God,” he says, is the only explanation. “I actually have the bullet, still. It’s not a dud; it’s live. It just didn’t go off,” Lester says. “I was kind of dreading [that scene] because I knew where I’d go. But I’m an actor and I’m making a commitment to the character. To do that, you have to go 100 percent and just hope you pull yourself out of it.

Viewed from a different angle, my uncle's words offered up the rest of my life as an unexpected gift, an opportunity for the most radical improvisation. I could be whatever I wanted to be, as long as I didn't end up another corpse in the casket with a hole in his head. Anything went. Anything was permissible, as long as I lived.

As a result of the threats, Dr. Tiller lived with US Marshal protection at various times in his life. In addition, Dr. Tiller wore a bulletproof vest to work, strategically took different routes on his way to the clinic, and usually drove in the right-hand lane because a security expert had told him this technique gave potential attackers fewer angles of approach.12 Dr. Tiller’s experiences with these constant threats, harassment, and attacks took place against a backdrop of increasing violence against abortion providers in the United States. Starting in the 1970s and escalating through the 1980s, abortion clinics regularly suffered bombings, arsons, and chemical weapon attacks committed by anti-abortion protesters. Protesters also developed intricate methods to physically blockade entrances to clinics, including chaining themselves underneath cars and placing their heads in cement blocks deposited in front of clinic doorways.

Writing surrogate letters wasn’t quite so easily justified; there was something slightly but definitely dishonest about it. To get one placed, you had to sound like the real thing, but not so much that you discredited your own position or insulted the intelligence of the supporter whose name you were hoping to attach to it. You had to start the letter off with some sassy stock phrase or rhetorical question: “Representative So-and-so just doesn’t get it” or “Which constitution is Senator So-and-so reading?” Then you’d make your case without sounding like you knew too much about the topic. That’s where surrogate letters sometimes went wrong. They would refer to specific revenue numbers or to the names of subcommittees or explain the difference between house and senate versions of bills. Average people didn’t know these things, and if a surrogate letter used them, it sounded like what it was, and editors wouldn’t run them. I spent a day writing these wretched things. It wasn’t worth it unless you produced ten or fifteen; newspapers likely wouldn’t print a letter taking a certain view if they got only one, but if they got a handful they’d feel bound to run one or two. It was a mind-numbing exercise: each one had to sound clumsy but not stupid; each had to approach the question from a different angle; and none could use the same vocabulary. We sent them out to the ostensible authors, and over the next two weeks or so I would see my little creations pop up in a variety of newspapers. Sometimes a few words had been changed by the surrogates, but by and large they slapped their names on the letters and forwarded them to their hometown newspapers. I felt the whole exercise was pointless, but perhaps the letters did contribute in a small way to the sense that Knotts’s allegations had been grossly unfair and that the governor had acted properly. Had he? I thought so at the time, but enough time has passed that I can admit I don’t know. One of the melancholy facts of political life is that your convictions tend to align with your paycheck.

Roper shrugged, cleared his throat and then swallowed the phlegm. ‘Never liked fish anyway.’ ‘Just pick it up,’ she muttered. ‘Throw it in a damn bin.’ He looked at her for a few seconds, licked his bottom lip, and then turned towards the river and walked away, leaving it there. Jamie stared at it, weighing up whether to pick it up and prove Roper right, or to leave it and admit to herself that it wasn’t that important. She didn’t like the idea of touching something that had been in his mouth, so she left it and followed him. This morning, they did have bigger fish to fry. Whether Roper liked them or not. There was a police cordon set up around the area and three squad cars and an ambulance parked at odd angles on the street. It ran parallel to the water, with a pavement separating the road from the grassy bank that led down to the body.  A bridge stretched overhead and iron grates spanned the space between the support struts, stopping debris from washing into the Thames. It looked like the body had got caught on one and then dragged to shore.  Some bystanders had gathered on the bridge and were looking down, at a loss for anything else to do than hang around, hoping for a look at a corpse.  Jamie dragged her eyes away from them and looked around. The buildings lining the river were mostly residential. Blocks of apartments. No wonder the body had been seen quickly.  There were six uniformed officers on scene, two of whom were standing guard in front of the privacy tent that had been set up on the bank. It looked like they’d fished the body out onto the grass. Jamie was a little glad she didn’t have to wade into the water.  To the right, a man in his sixties was being interviewed by one of the officers. He was wrapped in a foil blanket and his khaki trousers were still soaked through. Had he been the one to pull the body out? It took a certain kind of person to jump into a river to help someone rather than call it in. Especially in November. That made three officers. She continued to search. She could see another two in the distance, checking the river and talking to pedestrians. The conversations were mostly comprised of them saying the words, ‘I can’t tell you that, sorry,’ to people who kept asking what had happened in a hundred different ways. Jamie was glad her days of crowd control were over. She’d been a uniformed officer for seven years. The day she’d graduated to plainclothes was one of the happiest of her life. For all the shit her father did, he was one hell of a detective, and she’d always wanted to be one — minus the liver cirrhosis and gonorrhoea, of course. She was teetotal. The sixth officer was filling out a report and talking to the paramedics. If the victim had washed up in the river in November then there would have been nothing they could do.

Try to understand the underlying causes of mentally attacking yourself. This might be done with a therapist, a friend or by self-examination in a journal. The loss of a reassuring relationship may trigger negativity that has been lying dormant for years. It is important to discover its origins—perhaps in childhood—to diminish its power in your adult life. To avoid reinforcing those negative thoughts, try to “simply stop” them as they rise up to plague you. Meditation is an excellent method. By focusing your attention on your breath or an object, you can begin to gently dismiss disturbing thoughts as they arise. Another exercise is to practice looking at each negative issue from different angles and list several different ways of viewing it.

Take a look at the events happening in the world from a distance and from different angles! If you look at things like someone from inside, you can't see where things are going!

There’s an old saying: the camera never lies. Photographers know this isn’t true. The camera—and by extension, a photo—lies all the time. We make it lie through manipulation. What looks one way in real life can appear completely different in a photo. Light and dark, negative space and angles…so many things come into play.

If you have seen a person who can look at life from very different angles, you should know that he has known very different lives of very different people!

When you live with a 20/20 mindset your path is straight, vision is clear, and decisions are precise. You see the bigger picture with a broader view and incorporate different angles and perspectives.

If you cannot solve your problem, change your position and look at your problem from a different angle with a different mind! Every problem has a hole where you can enter inside and destroy it!

Because she couldn’t read or write, the Spaniards labeled her uncivilized. But her ability to make and read petroglyphs is the same skill exercised in a different way. The markings on her pot had as much meaning for her as the words in a book do for us. The lines and angles didn’t make her pots stronger or improve their capacity to store seeds. They are there because the potter was answering Whitman’s question, “What good amid these, O me, O life?” The powerful play does indeed go on, and she contributed a verse. The

Your failures should motivate you to look at your life goals from a different angle

Life was filled with so many twists and turns, like the sides of a prism, giving off light; what seemed wrong before seemed almost right when viewed from a different angle.

Either write something worth reading or do something worth writing." -Benjamin Franklin I'm writing to free myself and free women from this prison. My writing is dedicated to all women over the world. I believe that history repeats itself, and for that reason I am indebted to my namesake, Huda Al-Sharawy, Egyptian feminist, and the first woman in the Middle East who called for female emancipation. I see myself as a foreigner in my community. This is because my thoughts do not match their thoughts, and their thoughts do not match mine. My community doesn't consider me to be a real woman because they are unwilling to accept a woman who objects or defends her gender. To them, I am not a woman because I am strong and stand against them. They believe that strength is for men and weakness for women. The only way to express my feelings and share my thoughts is through writing. In the writing of my experiences and thoughts, I found myself writing this book, Women between submission and freedom. I consider myself a messenger for woman, carrying their message, whether from the East or West, to define the true meaning of being a woman. This definition is a culmination of stories and experiences from different perceptions and angles of life, and I hope that they can make all women proud of their womanhood.

Then another thing,” the Dalai Lama continued. “There are different aspects to any event. For example, we lost our own country and became refugees, but that same experience gave us new opportunities to see more things. For me personally, I had more opportunities to meet with different people, different spiritual practitioners, like you, and also scientists. This new opportunity arrived because I became a refugee. If I remained in the Potala in Lhasa, I would have stayed in what has often been described as a golden cage: the Lama, holy Dalai Lama.” He was now sitting up stiffly as he once had to when he was the cloistered spiritual head of the Forbidden Kingdom. “So, personally, I prefer the last five decades of refugee life. It’s more useful, more opportunity to learn, to experience life. Therefore, if you look from one angle, you feel, oh how bad, how sad. But if you look from another angle at that same tragedy, that same event, you see that it gives me new opportunities. So, it’s wonderful. That’s the main reason that I’m not sad and morose. There’s a Tibetan saying: ‘Wherever you have friends that’s your country, and wherever you receive love, that’s your home.

It is montage that produces the sense of the three-dimensional in the cinema. How plastically flat are the representations of men, objects, settings and landscape shot in one piece, from one angle. And how they come to life all of a sudden, how they become rounded and acquire volume, how they become spatial as soon as you begin juxtaposing in montage their individual aspects shot from different angles.

For example, if you view a car head-on and then from the side, and you have a concept for that car, you can know it’s the same one even though the visual information hitting your retina from these two angles is entirely different.

everything seems difficult, until you change the ways and look at life from different angle

I am not proposing to ask you to see it from my point of view. You cannot, no matter how willing you are to try. No two people ever see life from the same angle. There is a law which decrees that two objects may not occupy the same space at the same time - result: two people cannot see things from the same point of view, and the slightest difference in angle changes the thing seen.

So many, so different, yet all arranged to flow together seamlessly … Such different views and snippets and angles of the world. Pastorals, portraits, still lifes … each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colors and shapes I understood. Some showcased colors I had not considered; these had a bend to the world that told me a different set of eyes had painted them.

Take for instance a phenomenon called frustrated spontaneous emission. It sounds like an embarrassing sexual complaint that psychotherapy might help with. In fact, it involves the decay of radioactive particles, which ordinarily takes place at a predictably random rate. The exception, however, is when radioactive material is placed in an environment that cannot absorb the photons that are emitted by decay. In that case, decay ceases—the atoms become “frustrated.” How do these atoms “know” to stop decaying until conditions are suitable? According to Wharton, the unpredictable decay of radioactive particles may be determined in part by whatever receives their emitted photons in the future.20 Decay may not really be random at all, in other words. Another quantum mystery that arguably becomes less mysterious in a retrocausal world is the quantum Zeno effect. Usually, the results of measurements are unpredictable—again according to the famous uncertainty believed to govern the quantum kingdom—but there is a loophole. Persistent, rapid probing of reality by repeating the same measurement over and over produces repetition of the same “answer” from the physical world, almost as if it is “stopping time” in some sense (hence the name of the effect, which refers to Zeno’s paradoxes like an arrow that must first get halfway to its target, and then halfway from there, and so on, and thus is never able to reach the target at all).21 If the measurement itself is somehow influencing a particle retrocausally, then repeating the same measurement in the same conditions may effectively be influencing the measured particles the same way in their past, thereby producing the consistent behavior. Retrocausation may also be at the basis of a long-known but, again, hitherto unsatisfyingly explained quirk of light’s behavior: Fermat’s principle of least time. Light always takes the fastest possible path to its destination, which means taking the shortest available path through different media like water or glass. It is the rule that accounts for the refraction of light through lenses, and the reason why an object underwater appears displaced from its true location.22 It is yet another example of a creature in the quantum bestiary that makes little sense unless photons somehow “know” where they are going in order to take the most efficient possible route to get there. If the photon’s angle of deflection when entering a refractive medium is somehow determined by its destination, Fermat’s principle would make much more sense. (We will return to Fermat’s principle later in this book; it plays an important role in Ted Chiang’s short story, “Story of Your Life,” the basis for the wonderful precognition movie Arrival.) And retrocausation could also offer new ways of looking at the double-slit experiment and its myriad variants.

What if the first eighteen years of your life were an Arctic winter? What if all the sunlight in your life comes late, at an oblique angle? What if the sun cyclically disappears from a life for nights that seem like they’ll never end? To grow just one membraned layer under such conditions is a feat. To add another ring—to endure—is an achievement. Some years are longer than others. Don’t compare your sturdy temperate trees to your neighbor’s Arctic forest. You can’t imagine how much implacable energy it took to grow those saplings. You might not be able to fathom what they have endured. You don’t know how ancient that forest is, how much time it has spent enveloped in darkness. Even more importantly: don’t compare the trees of your tundra existence to someone else’s equatorial rain forest. God doesn’t. They live in different conditions. The sun shines upon the just and the unjust, but not at the same angle or with the same intensity. The birch saplings that have punched up through the crust of your prior life are miracles of grace. (Remember when you thought nothing could ever grow there?) They’ve never lived through your winter. They don’t know how long your night has been. By the grace of God, you’ve endured the dark.

When he paused before a set of wooden doors, the slight smile he gave me was enough to make me blurt, 'Why do anything- anything this kind?' The smile faltered. 'It's been a long time since there was anyone here who appreciated these things. I like seeing them used again.' Especially when there was such blood and death in every other part of his life. He opened the gallery doors, and the breath was knocked from me. The pale wooden floors gleamed in the clean, bright light pouring in from the windows. The room was empty save for a few large chairs and benches for viewing the... the... I barely registered moving into the long gallery, one hand absent-mindedly wrapping around my throat as I looked up at the paintings. So many, so different, yet all arranged to flow together seamlessly. Such different views and snippets and angles of the world. Pastorals, portraits, still lifes... each a story and an experience, each a voice showing or whispering or singing about what that moment, that feeling had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colours and shapes I understood. Some showcased colours I had not considered, these had a bend to the world that told me a different set of eyes had painted them. A portal into the mind of a creature so unlike me, and yet... and yet I looked at its work and understood, and felt, and cared. 'I never knew,' Tamlin said from behind me, 'that humans were capable of...' He trailed off as I turned, the hand I'd put on my throat sliding down to my chest, where my heart roared with a fierce sort of joy and grief and overwhelming humility- humility before that magnificent art. He stood by the doors, head cocked in that animalistic way, the words still lost on his tongue. I wiped at my damp cheeks. 'It's...' Perfect, wonderful, beyond my wildest imaginings didn't cover it. I kept my hand over my heart. 'Thank you,' I said. It was all I could find to show him what these paintings- to be allowed into this room- meant. 'Come here whenever you want.' I smiled at him, hardly able to contain the brightness in my heart. His returning smile was tentative but shining, and then he left me to admire the gallery at my own leisure. I stayed for hours- stayed until I was drunk on the art, until I was dizzy with hunger and wandered out to find food.

Such different views and snippets and angles of the world. Pastorals, portraits, still lifes … each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed.

Once you get that idea of perfection out of your head you can start looking at your ideas from a different angle.

By midlife we can't help but feel aware of the roads not taken. Our awareness can prompt anything from leisurely curiousity to profound regret. We look for ways to incorporate the dreams of our youth into our present reality. It's not simply boredom though it might be that too. We want to reconnect to people form our pasts, to set things straight or understand events from a different angle. We want our life stories to add up to make sense

The monastic culture of the north was practically blotted out by the heathen Danes, and they brought to an end the Angle Kingdoms of Northumbria, Mercia, and East Anglia. They overran and occupied the entire north and east of England. But the Kingdom of Wessex in the southwest, which had already become the strongest Anglo-Saxon state under Egbert, was left to struggle successfully against the Danes under its gallant, learned, and truly Christian king, Alfred the Great. Alfred, who ruled from 871 to 901, united all the rest of England against the Danes, and reorganized the Saxon army and revived the navy. He drove the Danes out of Wessex and recovered London. A line drawn approximately from London to modern Liverpool was made the frontier between the West Saxon Kingdom and the Danelaw, as the territory where Danish customs and institutions prevailed was called. Under Alfred’s son and grandsons the Danelaw was gradually reconquered and all England united under one ruler. The Danes had done at least the one service of obliterating the petty kingdoms in the territory they had occupied; and Kent, Sussex, and a part of Mercia had forgotten their differences and accepted a West Saxon king in order to escape the Danes. The Danes also brought England into closer trade relations with the rest of Europe than before, and were more inclined to town life than the country-loving Anglo-Saxons. Their armor was a military improvement; and they brought in a large class of freemen to a land where, for a century or two before, the weak had been falling under the domination of the strong.

Why?” “Why? Because their soft-headedness irritates me. Because their beautiful thinking ignores both history and human nature. Because they’d spoil my thing with their thing. Because I don’t think any of them is wise enough to play God and create a human society. Look. I like privacy, I don’t like crowds, I don’t like noise, I don’t like anarchy, I don’t even like discussion all that much. I prefer study, which is very different from meditation–not better, different. I don’t like children who are part of the wild life. So are polecats and rats and other sorts of hostile and untrained vermin. I want to make a distinction between civilization and the wild life. I want a society that will protect the wild life without confusing itself with it

Another potential challenge to my thesis is that I myself would be hypocritical to continue in biblical studies. However, while I concede that this would be true if I were pursuing biblical studies for the sake of keeping the field alive, I have instead used my work in biblical studies to persuade people to abandon reliance on this book. I see my goal as no different from physicians, whose goal of ending human illness would lead to their eventual unemployment. The same holds true for me. I would be hypocritical only if I sought to maintain the relevance of my profession despite my belief that the profession is irrelevant. If I work to inform people of the irrelevance of the Bible for modern life, then I am fully consistent with my beliefs. From a different angle, our work is part of the proliferation of books preoccupied with the finality of different aspects of the human experience. Perhaps the most famous recent example is Francis Fukuyama's The End of History and the Last Man (2002), in which he argued that liberal democracy constitutes the "end point of mankind's ideological evolution," so that we should expect no new historical developments in world history. Fukuyama's thesis, of course, has been misunderstood to mean that historical events would end. However, the truth is that he has a more Hegelian view of history, in which history ends when a sort of stasis in the development of new ideas is reached. According to Fukuyama, liberal democracy cannot be superseded and will triumph over any other competing political idea; people will see its advantages and will universally adopt it. And so, in that sense, history will end.

I was wondering why Adam had called Sabrina “crazy bitch” in front of me and Martina? Why would he do that when he knew I would not like to hear it? Did I bring Adam and Sabrina together or did the fact that I got a new girlfriend do that? I was asking the wrong questions. There were so many of them playing mind games that I had to try different angles to find answers. It seemed like Adam was manipulating Martina with an idea of Sabrina and the club. But how could Adam do that if Sabrina and Ruan already knew each other most likely, working for Adam? How could Adam paint two different pictures of Sabrina to Ruan and Martina? Maybe couldn't convince Ruan of any wrongdoing; perhaps he wanted to warn me or Martina, and his arm broke for certain reason. Or was Sabrina playing the same role that Adam painted about her to Martina? Was Adam paying Sabrina to play this game while also trying to sell registration apps to clubs downtown? It seemed like it was a cover up. What was the prize besides the club and the marijuana grow? Who wanted to kill me and why were all these people daring to mess with me? How did they form a group against me? Who or what made them a criminal group? Who was their real leader? Who did they think was the leader, Adam? He was afraid of me. Then who, Sabrina? She wasn't afraid of me, but she wouldn't step over me in my life, my job, or my career unless she had an open field and open goal. Why did she do that? Why did Adam invite her to such strange games? What was the fun? What was the joke? What was the reason why these people thought they were bullying me and wouldn’t get slapped? Why was it my impression that everyone was laughing at me? I felt like Adam didn't have the courage, and his father was not their leader either. I felt like their leader was much less intelligent than Adam or Ferran. I felt like they were being manipulated by someone much less intelligent, or they were acting like that for some reason, or they didn't seem to be hiding how stupid of a leader they had, who wanted to kill me personally, as if the rest of them were just bystanders eating popcorn while I plotted to do the same with Martina once we thought they had taken away my club and the Camorra would take it away from them anyhow. Did Nico say the word “Camorra” to try and scare me? Who told Nico that I knew about the Camorra and what they were up to? Adam, Nico and Martina were aware that the Camorra were one of my clients. Who could have seen Roberto Saviano's book “Gomorrah” in Cantabria, Urgell, and Radas which I bought in the last days of 2011? All of them. I do not know the exact number of particular books that have influenced these events thus far.

Did I bring Adam and Sabrina together or did the fact that I got a new girlfriend do that? I was asking the wrong questions. There were so many of them playing mind games that I had to try different angles to find answers. It seemed like Adam was manipulating Martina with an idea of Sabrina and the club. But how could Adam do that if Sabrina and Ruan already knew each other most likely, working for Adam? How could Adam paint two different pictures of Sabrina to Ruan and Martina? Mabye couldn't convince Ruan of any wrongdoing; perhaps he wanted to warn me or Martina, and his arm broke for certain reason. Or was Sabrina playing the same role that Adam painted about her to Martina? Was Adam paying Sabrina to play this game while also trying to sell registration apps to clubs downtown? It seemed like it was a cover up. What was the prize besides the club and the marijuana grow? Who wanted to kill me and why were all these people daring to mess with me? How did they form a group against me? Who or what made them a criminal group? Who was their real leader? Who did they think was the leader, Adam? He was afraid of me. Then who, Sabrina? She wasn't afraid of me, but she wouldn't step over me in my life, my job, or my career unless she had an open field and open goal. Why did she do that? Why did Adam invite her to such strange games? What was the fun? What was the joke? What was the reason why these people thought they were bullying me and wouldn’t get slapped? Why was it my impression that everyone was laughing at me? I felt like Adam didn't have the courage, and his father was not their leader either. I felt like their leader was much less intelligent than Adam or Ferran. I felt like they were being manipulated by someone much less intelligent, or they were acting like that for some reason, or they didn't seem to be hiding how stupid of a leader they had, who wanted to kill me personally, as if the rest of them were just bystanders eating popcorn while I plotted to do the same with Martina once we thought they had taken away my club and the Camorra would take it away from them anyhow. Did Nico say the word “Camorra” to try and scare me? Who told Nico that I knew about the Camorra and what they were up to? Adam, Nico and Martina were aware that the Camorra were one of my clients. Who could have seen Roberto Saviano's book “Gomorrah” in Cantabria, Urgell, and Radas which I bought in the last days of 2011? All of them. I do not know the exact number of particular books that have influenced these events thus far.

You’ve probably seen people stuck in a situation—a close romantic relationship, a friendship, a job, membership in an organization—in which it’s clear they need to move on and yet they don’t. The most common reaction of someone outside such a situation is to ask the person, “Why keep torturing yourself?” That’s a good question, but I’d pose it from a different angle: “Why waste even one second of the next act of your life?

Unlocking the Universe: The Best Online Astrology Course with Certificate The Best Online Astrology Course with Certificate - Astrology is a belief system that looks at the connections between things that happen on Earth and celestial bodies like planets and stars. It has been practiced in different ways for thousands of years and is a topic that many people find fascinating and interesting. Here is a General Summary of What is Known About Astrology: Astrological Signs: According to astrology, the zodiac is divided into 12 signs, each of which is linked to particular personality traits and physical qualities. Aries, Taurus, Gemini, Cancer, Leo, Virgo, Libra, Scorpio, Sagittarius, Capricorn, Aquarius, and Pisces are among these signs. The location of the Sun at the time of your birth determines your astrological sign, which is also known as your "Sun sign." Natal Chart: A natal chart, sometimes referred to as a birth chart or horoscope, is a diagram that shows the positions of the celestial bodies during a person's birth. It is used to shed light on a person's personality, strengths, and life path and involves the positions of the Sun, Moon, planets, and other celestial points. Planetary Influences: According to astrology, several planets are connected to various facets of life and personality traits. Mars is associated with energy and aggressiveness, Venus with love and relationships, and Mercury with intellect and communication. Astrological Houses: The 12 houses that make up the natal chart each symbolize a distinct aspect of life (such as a person's work, relationships, or home). The placement of the planets in the houses might reveal the direction of certain influences or energy in a person's life. Aspects: Aspects are the angular connections between the natal chart's heavenly bodies. Planets that are close together, opposite each other, or at an angle of 120 degrees are known as conjunctions, oppositions, and trines, respectively. Astrologers analyze these aspects in order to comprehend how the planets relate to one another and affect a person's life. Transits and Progressions: Studying the motion of the planets in relation to a person's natal chart is another aspect of astrology. Transits are the heavenly bodies' current positions and how they affect people's lives at specific times. Progressions are symbolic changes to the natal chart that signify personal progress and development. Astrology's Purpose: Astrology is frequently employed to aid in self-discovery, personal development, and life-insight. For advice on important life decisions, such as careers and romantic relationships, some people turn to astrologers. The scientific community does not recognise it as a science, and there is no evidence to support its assertions. Variations: Astrology has many subfields, such as natal astrology, horary astrology (which provides particular answers), and electional astrology (which chooses favorable periods for events). Criticism and Skepticism: Astrology's assertions are not backed up by actual research, according to its detractors. Astrology is frequently regarded by skeptics as pseudoscience since it has no scientific basis. Popularity: Astrology continues to be widely accepted and popular across many cultures in spite of skepticism. It's important to approach astrology with an open mind, realizing that it is largely a belief system and a tool for self-reflection and discovery rather than a scientific science. Astrology is used by people for a variety of purposes, including for personal insight, amusement, and a sense of connection to the cosmos. For More Details: Click Here

Your job is to first move the barrel away from your body. You need to train your body to make the minimum movement with only your hand reaching the barrel and deflect it before you do anything else. You may swivel your body to point the barrel away from you if the gun is pointed at your back. You definitely do not want to stare at the gun, showing your intention to reach for it. That might make your attacker shoot you, being afraid that you will try to take it. Take into account that your attacker is not going to give up his weapon. You will move in the direction of your attacker. If he tries to pull his hand back and aim again, you should have already gotten a grip on his weapon. Consider that he can use his free hand or his legs to strike or kick you as well. Once the barrel is not pointing at your body, follow immediately with a simultaneous counterattack. Finish by acquiring the weapon. I will show you gunpoints at various angles with their respective defenses. However, if the angle and body position is slightly different, keep in mind the following advice where order of priority is concerned. First, your mindset should be to use the short time you have without thinking too much about the dangers. If you do, you may be dead mid-thought. Second, you need to move the barrel away from your body without projecting your intention. If the barrel is poking your body, you may need to use your body to swivel away, or deflect the opponent’s wrist instead. Third, you need to attack your opponent to buy time and gain control of the hand holding the weapon. I will show you a technique that will combine all your needs into continuous motions. You need to attack your opponent until you feel he loosens his grip and resistance. You can then extract the weapon out of his hand. Fourth, you need to be conscious that the barrel is not pointed at any innocent bystanders if possible. And you need to be ready to use his weapon immediately, or use your body to handle additional attackers. If you do not, you may have wasted your time and your life. And finally, after you have extracted the pistol, move away from the opponent so he will not be able to reverse your fortune again. Do not hesitate to shoot him if he tries to reach you. If his weapon does not function, you can still kick. Your attacker may have other weapons in his possession. Be alert!

Three souls, though the knots in the same string, thought in different directions and slept in varied orientations like the angles of a triangle.

Sometimes, when you had the Quaffle in hand but the goalposts straight ahead were blocked by Beaters and Bludgers and Keepers, then the best thing to do was to come at it from a different angle.

Now Mrs. Retallack wondered how the effects of what she called "intellectual mathematically sophisticated music of both East and West" would appeal to plants. As program director for the American Guild of Organists, she chose choral preludes from Johann Sebastian Bach's Orgelbuchlein and the classical strains of the sitar, a less-com­ plicated Hindustani version of the south Indian veena, played by Ravi Shankar, the Bengali Brahmin. The plants gave positive evidence of liking Bach, since they leaned an unprecedented thirty-five degrees toward the preludes. But even this affirmation was far exceeded by their reaction to Shankar: in their straining to reach the source of the classical Indian music they bent more than halfway to the horizontal, at angles in excess of sixty degrees, the nearest one almost embracing the speaker. In order not to be swayed by her own special taste for the classical music of both hemispheres Mrs. Retallack, at the behest of hundreds of young people, followed Bach and Shankar with trials of folk and "country-western" music. Her plants seemed to produce no more reac­tion than those in the silent chamber. Perplexed, Mrs. Retallack could only ask: "Were the plants in complete harmony with this kind of earthy music or didn't they care one way or the other?" Jazz caused her a real surprise. When her plants heard recordings as varied as Duke Ellington's "Soul Call" and two discs by Louis Arm­ strong, 5 5 percent of the plants leaned fifteen to twenty degrees toward the speaker, and growth was more abundant than in the silent chamber. Mrs. Retallack also determined that these different musical styles markedly affected the evaporation rate of distilled water inside the chambers. From full beakers, fourteen to seventeen milliliters evapo­rated over a given time period in the silent chambers, twenty to twenty­ five milliliters vaporized under the influence of Bach, Shankar, and jazz; but, with rock, the disappearance was fifty-five to fifty-nine milliliters.

Life goes on and we visit and revisit our separations and losses. We mourn them again and again, every time from a different place. We think about them, discover new layers, process from different angles. We accept them and give these losses new meanings.

Cassian angled his head. 'What happened before the disaster that was last night?' ... When Rhys didn't answer, Cassian said, 'Rhys.' Rhys didn't look at him as he whispered, 'The baby has wings.' Joy sparked through Cassian- even as the broken whisper and what those words meant made his blood go cold. 'You're sure?' 'We had an appointment with Madja this morning.' 'But he's only a quarter Illyrian.' It was possible, of course, for the baby to have inherited wings, but unlikely, given that Rhys himself had been born without them, and only conjured them through whatever strange unearthly magic he possessed. 'He is. But Feyre was in an Illyrian form when he was conceived.' 'That can make a difference? I thought she only made the wings- nothing else.' 'She shape-shifts. She transforms her entire self into the form she takes. When she grants herself wings, she essentially alters her body as its most intrinsic level. So she was fully Illyrian that night.' 'She doesn't have the wings now.' 'No, she shifted back before we knew.' 'So let her change back into an Illyrian to bear the babe.' Rhys's face was stark. 'Madja has put a ban on any more shape-shifting. She says that to alter Feyre's body in any way right now could put the baby at risk. On the chance that it could be bad for the baby. Feyre is forbidden to so much as change the colour of her hair until after the birth.' Cassian raked a hand through his hair. 'I see. But, Rhys- it'll be all right. It's not that bad.' Rhys snarled. 'It is bad. For so many gods-damned reasons, it is fucking bad.' Rhys was as close to being beside himself as Cassian had seen him since he'd returned from Amarantha's court. 'Breathe,' Cassian said calmly. Rhys's eyes simmered, the stars within them winked out. 'Fuck you.' 'Take a breath, Rhysand.' Cassian gestured to the window behind him, the lawn sloping down to the river. 'You want to go fight it out, I've got energy to burn.' The study doors opened, and Azriel walked in. From the grim expression etched on his face, he already knew. Azriel claimed the seat beside Cassian. 'Tell us what you need, Rhys.' 'Nothing. I need to not fall apart so my mate doesn't pick up a whiff of this when she comes home for lunch.' Rhys narrowed his eyes, and power rumbled in the room. 'No one says a word about this to Feyre. No one.' 'Didn't Madja warn her?' Azriel asked. 'Not strongly. She only mentioned an elevated risk during labour.' Rhys let out a harsh laugh. 'An elevated risk.

All of them were different. I looked at them one by one. The right one was not the only one I had in view. Life it was, from every angle; or art.

My hope and intent is to provide a wide range of resources and ideas that provoke real questions and considerations under the surface of common dialogue. With a definite thrust toward clues for moving beyond limiting patterns that restrict our personal and communal evolution and experience of, as well as effectiveness in, life. Part of that is about giving different angles of insight into the why and how of developing skills, whatever they may be. I think the larger discussion, or maybe the more relevant one surrounding skills development, involves what quality of fuel is being used to run the skill. Inevitably, and very quickly, this enters into considerations of how much of oneself one brings to the show. For example, anyone can learn a sophisticated skill in an extremely short period of time, once they’re completely convinced of the need, benefit and value of doing so and find enough full-bodied conviction to engage it accordingly (“You never hear anyone practicing a language; they simply listen and then begin to speak.” — Wade Davis).

Some has been written about the reaction of our forces to the bombing of the “highway to death.” The criticism revolves around the lack of apparent remorse or guilt, and perhaps even bloodlust, at bombing the relatively easy targets. Everybody reacts to the stress of war and life and death decisions differently, and to narrow the image one would construct of an individual to his reaction immediately following the events of any battle is superficial and simplistic. Naval aviators are a strange mix of people—utterly homogeneous in certain respects, particularly to the casual observer, and radically different in their core and substance. Very few naval aviators show honest emotion easily; they’re not supposed to fracture the military bearing that has been instilled in them through years of training and detached experience under the stress of carrier aviation. Anger is the easiest emotion to display because it is the natural, instinctual outlet for stress and fear. But even expressions of anger might be as diverse in their reaction to a common event as physical violence or the mere raising of a voice. Most emotion comes out at the officers’ club, or on liberty in a foreign port, where the beer either softens or heightens aviators’ feelings to the edges of their flexibility, which often is not very far. Virtually all naval aviators are college graduates—some from state colleges, some from the Naval Academy, even a few Ivy Leaguers. This is their greatest obvious commonality—a college degree and mutual survival of the weeding-out process to get where they are in the navy. Many are religious, many are not, and the greatest of the values shared by the men is a trust in their comrades, a dedication to their country, and an absolute focus on their mission. It is exceedingly difficult most times for an outsider to register where a naval aviator is “coming from.” The uniform, the haircut, and the navy-speak contribute enormously to the building of a stereotype. So do the mannerisms of each individual; some express the control of emotion in reserved stoicism, others in an outburst of emotional release through inappropriate laughter or anger. Still others never express emotion at all. But the emotion is there, it has to be; despite years of training and desensitizing to hide the race of the heart and the sickening chill in the stomach, anyone who has landed on an aircraft carrier, never mind fought in a war, knows what fear and exhilarating intensity are.

So what about atheism? Well, it doesn’t take a lot of thought to realize that atheism causes all manner of actions. For a non-belief, it leads a pretty busy and exciting life. For example, many Internet-dwelling atheists spend hundreds of hours reading sceptical websites, editing Wikipedia articles, writing angry blogs, frequenting atheist discussion forums, and posting snarky anti-religious remarks on Twitter. These look very much like actions to me. Actions, I presume, caused by their atheism. The same applies offline too. I know many atheists who attend conferences, buy T-shirts with atheist slogans, or fasten amusing atheist bumper stickers to their Hondas. Some, like Richard Dawkins, write books. Now, there’s a puzzler. Why did Richard Dawkins write The God Delusion? We’ve asked that question before, but now we can come at it from a different angle. What was it that drove him to pour endless hours into typing, drafting, editing, and refining? Presumably, it was his atheism. Likewise, it was atheism that led many enthusiastic young sceptics to rush out and buy it, causing, if not much rejoicing in heaven, certainly much celebration in the North Oxford branch of whomever Dawkins banks with. For a non-belief, a non-thing, atheism looks extraordinarily lively, and thus we need to be a little suspicious of anybody who tells us that atheism is nothing at all.

A wide-angle view of sails sparkling white against a cobalt sky as light dances, silver on the water. Like art, it soothes the edge, allowing you to see something simple from a different perspective.

Early July 2012 Young, I started reading your blog, “Life Of A Harem Boy,” and it brought back memories of our time together. As much as I am not in favor of you writing about our E.R.O.S. experiences, I applaud your bravery and the honest approach in your stories. Your courage to tell all has somehow convinced me to add my point of view to our adventures together. My dear, you sure have cogent ways of softening my stances in providing credence to your narrations. One thing I’m glad you didn’t do is tell your story as an exposé to discredit the positive experiences of our clandestine society, of the people involved and the schools we attended. For this I laud you. If you are open to my retelling of your stories through my experiences, we may at some point arrive at a juncture where we can be co-authors in one book of your Harem Boy series. This collaboration will provide further credibility to our escapades. I’d be happy to team up with you if you are open to me being a co-writer of one of your 5 books. Since I am semi-retired and have time to kill, it will be an excellent opportunity for me to recount part of my life story in conjunction with you. In many ways, I am glad we reconnected. Maybe the time is ripe for us to work on a joint project (which we had the intention of doing many years ago). Do you remember how we discussed a collaboration but never got around to it? This may be the perfect project. We can tell a similar story from different angles and points of view. I think we’ll also be able to rekindle our friendship more deeply. Let me know your thoughts.

Lord Martin." The voice came to him from behind. He felt a great jolt in his senses. He turned and saw her- Evelyn- looking ravishing in a dark red silk gown and matching mantle. Her hair was swept up into a braided knot on top of her head, and she wore a fashionable black hat tilted forward at a daring angle. He knew then that he really had made a difference in her life, for she was not the aloof young woman she had been in his younger days, nor was she the cool, dignified widow she used to be. She was proud and confident and dazzling in her beauty. He suddenly wished he could sit down, because she was so lovely, he feared his legs might give out beneath him.

John Vernall lifted up his head, the milk locks that had given him his nickname stirring in the third floor winds, and stared with pale grey eyes out over Lambeth, over London. Snowy's dad had once explained to him and his young sister Thursa how by altering one's altitude, one's level on the upright axis of this seemingly three-planed existence, it was possible to catch a glimpse of the elusive fourth plane, the fourth axis, which was time. Or was at any rate, at least in Snowy's understanding of their father's Bedlam lectures, what most people saw as time from the perspective of a world impermanent and fragile, vanished into nothingness and made anew from nothing with each passing instant, all its substance disappeared into a past that was invisible from their new angle and which thus appeared no longer to be there. For the majority of people, Snowy realised, the previous hour was gone forever and the next did not exist yet. They-were trapped in their thin, moving pane of Now: a filmy membrane that might fatally disintegrate at any moment, stretched between two dreadful absences. This view of life and being as frail, flimsy things that were soon ended did not match in any way with Snowy Vernall's own, especially not from a glorious vantage like his current one, mucky nativity below and only reefs of hurtling cloud above. His increased elevation had proportionately shrunken and reduced the landscape, squashing down the buildings so that if he were by some means to rise higher still, he knew that all the houses, churches and hotels would be eventually compressed in only two dimensions, flattened to a street map or a plan, a smouldering mosaic where the roads and lanes were cobbled silver lines binding factory-black ceramic chips in a Miltonic tableau. From the roof-ridge where he perched, soles angled inwards gripping the damp tiles, the rolling Thames was motionless, a seam of iron amongst the city's dusty strata. He could see from here a river, not just shifting liquid in a stupefying volume. He could see the watercourse's history bound in its form, its snaking path of least resistance through a valley made by the collapse of a great chalk fault somewhere to the south behind him, white scarps crashing in white billows a few hundred feet uphill and a few million years ago. The bulge of Waterloo, off to his north, was simply where the slide of rock and mud had stopped and hardened, mammoth-trodden to a pasture where a thousand chimneys had eventually blossomed, tarry-throated tubeworms gathering around the warm miasma of the railway station. Snowy saw the thumbprint of a giant mathematic power, untold generations caught up in the magnet-pattern of its loops and whorls. On the loose-shoelace stream's far side was banked the scorched metropolis, its edifices rising floor by floor into a different kind of time, the more enduring continuity of architecture, markedly distinct from the clock-governed scurry of humanity occurring on the ground. In London's variously styled and weathered spires or bridges there were interrupted conversations with the dead, with Trinovantes, Romans, Saxons, Normans, their forgotten and obscure agendas told in stone. In celebrated landmarks Snowy heard the lonely, self-infatuated monologues of kings and queens, fraught with anxieties concerning their significance, lives squandered in pursuit of legacy, an optical illusion of the temporary world which they inhabited. The avenues and monuments he overlooked were barricades' against oblivion, ornate breastwork flung up to defer a future in which both the glorious structures and the memories of those who'd founded them did not exist.

. So many, so different, yet all arranged to flow together seamlessly … Such different views and snippets and angles of the world. Pastorals, portraits, still lifes … each a story and an experience, each a voice shouting or whispering or singing about what that moment, that feeling, had been like, each a cry into the void of time that they had been here, had existed. Some had been painted through eyes like mine, artists who saw in colors and shapes I understood. Some showcased colors I had not considered; these had a bend to the world that told me a different set of eyes had painted them. A portal into the mind of a creature so unlike me, and yet … and yet I looked at its work and understood, and felt, and cared.