Love Theme Quotes

I have been happy, though in a dream. I have been happy-and I love the theme: Dreams! in their vivid colouring of life As in that fleeting, shadowy, misty strife

Above all, mine is a love story. Unlike most love stories, this one involves chance, gravity, a dash of head trauma. It began with a coin toss. The coin came up tails. I was heads. Had it gone my way, there might not be a story at all. Just a chapter, or a sentence in a book whose greater theme had yet to be determined. Maybe this chapter would've had the faintest whisper of love about it. But maybe not. Sometimes, a girl needs to lose.

In every bit of honest writing in the world, there is a base theme. Try to understand men, if you understand each other you will be kind to each other. KNOWING A MAN WELL NEVER LEADS TO HATE and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. TRY TO UNDERSTAND EACH OTHER!

When you meet someone so different from yourself, in a good way, you don't even have to kiss to have fireworks go off. It's like fireworks in your heart all the time. I always wondered, do opposites really attract? Now I know for sure they do. I'd grown up going to the library as often as most people go to the grocery store. Jackson didn't need to read about exciting people or places. He went out and found them, or created excitement himself if there wasn't any to be found. The things I like are pretty simple. Burning CDs around themes, like Songs to Get You Groove On and Tunes to Fix a Broken Heart; watching movies; baking cookies; and swimming. It's like I was a salad with a light vinaigrette, and Jackson was a platter of seafood Cajun pasta. Alone, we were good. Together, we were fantastic.

What tale do you like best to hear?' 'Oh, I have not much choice! They generally run on the same theme - courtship; and promise to end in the same catastrophe - marriage.

One of the great tragedies of life is that men seldom bridge the gulf between practice and profession, between doing and saying. A persistent schizophrenia leaves so many of us tragically divided against ourselves. On the one hand, we proudly profess certain sublime and noble principles, but on the other hand, we sadly practise the very antithesis of these principles. How often are our lives characterised by a high blood pressure of creeds and an anaemia of deeds! We talk eloquently about our commitment to the principles of Christianity, and yet our lives are saturated with the practices of paganism. We proclaim our devotion to democracy, but we sadly practise the very opposite of the democratic creed. We talk passionately about peace, and at the same time we assiduously prepare for war. We make our fervent pleas for the high road of justice, and then we tread unflinchingly the low road of injustice. This strange dichotomy, this agonising gulf between the ought and the is, represents the tragic theme of man's earthly pilgrimage.

Attention is love, what we must give children, mothers, fathers, pets, our friends, the news, the woes of others. What we want to change we curse and then pick up a tool. Bless whatever you can with eyes and hands and tongue. If you can't bless it, get ready to make it new.

She loved airports. She loved the smell, she loved the noise, and she loved the whole atmosphere as people walked around happily tugging their luggage, looking forward to going on their holidays or heading back home. She loved to see people arriving and being greeted with a big cheer by their families and she loved to watch them all giving each other emotional hugs. It was a perfect place for people-spotting. The airport always gave her a feeling of anticipation in the pit of her stomach as though she were about to do something special and amazing. Queuing at the boarding gate, she felt like she was waiting to go on a roller coaster ride at a theme park, like an excited little child.

The unifying theme is resilience and faith. The unifying theme is being a warrior and a motherfucker. It is not fragility. It’s strength. It’s nerve.

Yet if we would know God and for other's sake tell what we know we must try to speak of his love. All Christians have tried but none has ever done it very well. I can no more do justice to that awesome and wonder-filled theme than a child can grasp a star. Still by reaching toward the star the child may call attention to it and even indicate the direction one must look to see it. So as I stretch my heart toward the high shining love of God someone who has not before known about it may be encouraged to look up and have hope.

You know it’s a bad sign when the theme song from Titanic describes your relationship.

From my point of view it is immoral for a being not to make the most intense effort every instant of his life.

Reasons we should get married: Because I love you. We both look good in black boots. I spent some time without you, and I didn’t like it. You make me happy. I make you laugh. I like the way you fight. You see through my masks. I really love you. You love me, too. (Though you’ve mostly said this while yelling, so perhaps I should have double-checked.) Army of tiny vigilantes. (I have name ideas.) Various political reasons that make sense but don’t fit with the theme of this list. I’m holding your handwriting hostage. You can have it back when you say yes.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

LJ’s adoptive mother, Julie Grayson, wouldn’t have “expectations” of LJ other than wanting her to become who God had in mind when he thought her into being.


What moved me was the theme of the harmony which is born only of sacrifice, the twofold experience of love. It's not a question of mutual love: what nobody seems to understand is that love can only be one-sided, that no other love exists, that in any other form it is not love. If it involves less than total giving, it is not love. It is impotent; for the moment, it is nothing.

Its hard to stay up. Its been a long long day And you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway. Its ok. You can always sleep through work tomorrow. Ok? Hey, Hey, Tomorrow's just your future yesterday. Tell the clock on the wall, "Forget the wake up call." Cause the night's not nearly through. Wipe the sleep from your eyes. Give yourself a surprise. Let your worries wait another day. And if you stay too late at the bar, At least you made it out this far. So make up your mind and say, "Let's do it anyway!" Its Ok You can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live without And I regret to say, the morning light is hours away. The world can be such a fright, But it belongs to us tonight. What's the point of going to bed? You look so lovely when your eyes are red. Tomorrow's just your future yesterday.

In every bit of honest writing in the world, there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love.

Depressions and melancholy are often a cover for tremendous greed. At the beginning of an analysis there is often a depressed state of resignation-life has no meaning, there is no feeling of being in life. An exaggerated state can develop into complete lameness. Quite young people give the impression of having the resignation of a bitter old man or woman. When you dig into such a black mood you find that behind it there is overwhelming greed-for being loved, for being very rich, for having the right partner, for being the top dog, etc. Behind such a melancholic resignation you will often discover in the darkness a recurring theme which makes things very difficult, namely if you give such people one bit of hope, the lion opens its mouth and you have to withdraw, and then they put the lid on again, and so it goes on, back and forth.

The theme for me is love and the lack of it. We all want that and we don't know how to get it, and everything we do is some kind of attempt to capture it for ourselves.

Such movies are always a danger...falling in love is something most adults have actually experienced...The theme is universal and encourages...unhealthy comparisons...why can't our lives be like that? It's a box left unopened, and its avoidance explains the continued popularity of vampire epics and martial-arts extravaganzas.

Love is not a theme. It's an atmosphere, a mood.

If we could summarize all, or almost all, of the New Testament letters, we would not be too far off the mark to say the theme is: “Grow up!” Just grow up.

Olive Ann describes Sanna as 'a perfectionist and a worrier.' She is obsessed with the idea of finding happiness, and for her, as Olive ann wrote in her notes for the novel, 'happiness means being first with somebody, having perfect, loving children...The theme of Sanna is disillusionment,' Olive Ann wrote. 'Her life is the pursuit of happiness and perfection, but she finds happiness and perfection impossible to obtain-her idea of happiness is constant joy, no changes.

My needs were simple I didn't bother much with themes or felicitous phrases and skipped fine descriptions of weather, landscapes and interiors. I wanted characters I could believe in, and I wanted to be made curious about what was to happen to them. Generally, I preferred people to be falling in and out of love, but I didn't mind so much if they tried their hand at something else. It was vulgar to want it, but I liked someone to say 'Marry me' by the end.

The doctrine of the Incarnation is itself an invitation to all believers to love the earth, cherish it, find the divine in it.

BELIZE: Louis, I’d even pray for you.      He was a terrible person. He died a hard death. So maybe . . . A queen can forgive her vanquished foe. It isn’t easy, it doesn’t count if it’s easy, it’s the hardest thing. Forgiveness. Which is maybe where love and justice finally meet. Peace, at least. Isn’t that what the Kaddish asks for?

Love for the beauty of the soul. I shall love you always. When the flower of life has gone, ever I shall find you. When all is lost and winter comes, I shall be your spring time. And memory fades and wilts then, I shall always find you.... I shall always find you....

Consider how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness, how we go down in the pit of death and feel the waters of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and the harpers when we have a tooth out and come to the surface in the dentist's arm-chair and confuse his "Rinse the mouth-rinse the mouth" with the greeting of the Deity stooping from the floor of Heaven to welcome us - when we think of this, as we are so frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature

We went on every single ride and loved every minute of it!

Generally speaking, though, Americans have an inability to relax into sheer pleasure. Ours is an entertainment-seeking nation, but not necessarily a pleasure-seeking one. Americans spend billions to keep themselves amused with everything from porn to theme parks to wars, but that's not exactly the same thing as quiet enjoyment. Americans work harder and longer and more stressful hours than anyone in the world today. But...we seem to like it. Alarming statistics back this observation up, showing that many Americans feel more happy and fulfilled in their offices than they do in their own homes. Of course, we all inevitably work too hard, then we get burned out and have to spend the whole weekend in our pajamas, eating cereal straight out of the box and staring at the TV in a mild coma (which is the opposite of working, yes, but not exactly the same thing as pleasure). Americans don't really know how to do NOTHING. This is the cause of that great sad American stereotype-the overstressed executive who goes on vacation but who cannot relax.

In order to be enchanted we must be, above all, capable of seeing another person—simply opening one’s eyes will not do.

Want something else more than success. Success is a lovely thing, but your desire to say something, your worth, and your identity shouldn’t rely on it, because it’s not guaranteed and it’s not permanent and it’s not sufficient. So work hard, fall in love with the writing—the characters, the story, the words, the themes—and make sure that you are who you are regardless of your life circumstances. That way, when the good things come, they don’t warp you, and when the bad things hit you, you don’t fall apart.

Thou wouldst be loved?—then let thy heart From its present pathway part not; Being everything which now thou art, Be nothing which thou art not. So with the world thy gentle ways, Thy grace, thy more than beauty, Shall be an endless theme of praise. And love a simple duty.

A paradox of the soul is that it is incapable of satisfying itself, but it is also incapable of living without satisfaction. You were made for soul-satisfaction, but you will only ever find it in God. The soul craves to be secure. The soul craves to be loved. The soul craves to be significant, and we find these only in God in a form that can satisfy us. That’s why the psalmist says to God, “Because your love is better than life . . . my soul will be satisfied as with the richest of foods.” Soul and appetite and satisfaction are dominant themes in the Bible — the soul craves because it is meant for God. “My soul, find rest in God.

The days are passing so quickly. This is the only time of year when I want to slow time down. I spend the entire year trying to get here as fast as I can, then once I'm here I want to slam on the brakes. I'm beginning to have those moments when the feel of autumn is so strong it drowns out everything else. Lately it's been making me think about the perfect soundtrack for a Halloween party. The top of any Halloween music list as to be the theme song from the movie Halloween; right on its heels is "Pet Sematary" by the Ramones. For some reason I've always equated the old Van Morrison song "Moondance" with Halloween, too. I love that song. "Bela Lugosi's Dead" by Bauhaus is an October classic, as well as anything by Type O Negative. And Midnight Syndicate. If you've never heard anything by Midnight Syndicate, look them up right this moment. If you distilled the raw essence of every spooky story you ever heard, you would have Midnight Syndicate. I have a friend who swears by them, believing them to be a vital element of any Halloween party. To finish off the list you must have "The Lyre of Orpheus" by Nick Cave and "I Feel Alright" by Steve Earle.

That was one of your favorite themes: that profusion, replication, popularity wasn't necessarily devaluing, and that time itself made all things rare. You loved to savor the present tense and were more conscious than anyone I have ever met that its every constituent is fleeting.

Do you see a theme emerging? Women like flowers; men like food!

Love is a source of anxiety until it is source of boredom; only friendship feeds the spirit. Love raises great expectations in us that it never satisfies; the hopes based on friendship are milder and in the present, and they exist only because they've already been rewarded. Love is a script about just a few repeated themes we have a hard time following, though we make every effort to conform to its tone. Friendship is a permis de séjour that enables us to go anywhere and do anything exactly as our whims dictate.

It’s like a movie adaptation of your favorite novel, a theme park ride version of your favorite movie. It’s a Xerox of a Xerox, a shadow of a ghost. It’s gluten-free pasta, this. But at least it’s pasta.

Mr. O'Donnell was at the library counter, performing the sort of grim rituals librarians perform with index cards and stumpy pencils and those rubber stamps with columns of rotating numbers. "Ms. Auerbach! What will it be today? Camus? Cervantes?" "Actually I'm looking for a book of poetry by Emily Dickinson" He paused somberly, toying with the twirled tip of his mustache. No matter how seriously librarians are engaged in their work, they are always glad to be interrupted when the theme is books. It makes no difference to them how simple the search is or how behind on time either of you might be running - they consider all queries scrupulously. They love to have their knowledge tested. They lie in wait, they will not be rushed.

Why write, if this too easy activity of pushing a pen across paper is not given a certain bull-fighting risk and we do not approach dangerous, agile, and two-horned topics?

Let others think what they like: for me, the culmination of life consists of a pure and subtly dramatic passion.

Love is the theme of all religions but making it commercial is satanic”.

I loved thee, though I told thee not, Right earlily and long, thou wert joy of my ever spot theme of my every song.

the more one delves into Rumi's life and his mystical poetry it becomes clear that for him, the issue of faith and reason is incomplete unless one includes the central theme of love.

And if he had returned mutilated, ugly, full of infection and horror, she would still have loved him; fed by pity, by a sharing of pain, she would love him even more, and even more, and she would never, never have prayed to God, please let him die if he can’t return to me whole and healthy and able to live a normal life . . . If he had died, she would have buried her heart with him.      So what the fuck is the matter with me?

Flow gently, sweet Afton, amang thy green braes, Flow gently, I'll sing thee a song in thy praise; My Mary's asleep by thy murmuring stream, Flow gently, sweet Afton, disturb not her dream. Thou stock dove whose echo resounds thro' the glen, Ye wild whistly blackbirds in yon thorny den, Thou green crested lapwing thy screaming forbear, I charge you, disturb not my slumbering fair. How lofty, sweet Afton, thy neighboring hills, Far mark'd with the courses of clear winding rills; There daily I wander as noon rises high, My flocks and my Mary's sweet cot in my eye. How pleasant thy banks and green valleys below, Where, wild in the woodlands, the primroses blow; There oft, as mild evening weeps over the lea, The sweet-scented birk shades my Mary and me. Thy crystal stream, Afton, how lovely it glides, And winds by the cot where my Mary resides; How wanton thy waters her snowy feet lave, As, gathering sweet flowerets, she stems thy clear wave. Flow gently, sweet Afton, amang thy green braes, Flow gently, sweet river, the theme of my lays; My Mary's asleep by thy murmuring stream, Flow gently, sweet Afton, disturb not her dreams.

When strangers on a train or a plane ask what I do for a living, I say, "I kill people." This response makes for a short conversation. No eye contact and no sudden movement from my seat-mate. Only peace and quiet. Rare is the fellow passenger who asks why I do it. I suppose I got tired hanging out in a book all day waiting for a story to begin. I write the kind of novels I want to read. And why the theme of solving murders? Violent death is larger than life and it's the great equalizer. By law, every victim is entitled to a paladin and a chase, else life would be cheapened. And the real reason I do this? My brain is simply bent this way. There is nothing else I would rather do. This neatly chains into my theory of the writing life. If you scratch an artist, under the skin you will find a bum who cannot hold down a real job. Conversely, if you scratch a bum... but I have never done that. The heart of my theory has puritan roots: if you love what you do, you cannot call it honest work.

the Japanese love the theme. They play up suicide as Americans play up crime and they have the same vicarious enjoyment of it. They choose to dwell on events of self-destruction instead of on destruction of others.

Considering how common illness is, how tremendous the spiritual change it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness…it is strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature.” from her essay, On Being Ill

Truth changes with the season of our emotions. It is the shadow that moves with the phases of our inner sun. When the nights falls, only our perception can guess where it hides in the dark. Within every solar system of the soul lies a plan of what truth is--- the design God has created, in our own unique story. This is as varying as the constellations, and as turning as the tide. It is not one truth we live to, but many. If we ever hope to determine if there is such a thing as truth, apart from cultural and personal preferences, we must acknowledge that we are then aiming to discover something greater than ourselves, something that transcends culture and individual inclinations. Some say that we must look beyond ourselves and outside of ourselves. However, we don’t need to look farther than what is already in each other. If there was any great plan from a higher power it is a simplistic, repetitious theme found in all religions; the basic core importance to unity comes from shared theological and humanistic virtues. Beyond the synagogue, mosques, temples, churches, missionary work, church positions and religious rituals comes a simple “message of truth” found in all of us, that binds theology---holistic virtues combined with purpose is the foundation of spiritual evolution. The diversity among us all is not divided truth, but the opportunity for unity through these shared values. Truth is the framework and roadmap of positive virtues. It unifies diversity when we choose to see it and use it. It is simple message often lost among the rituals, cultural traditions and socializing that goes on behind the chapel doors of any religion or spiritual theology. As we fight among ourselves about what religion, culture or race is right, we often lose site of the simple message any great orator has whispered through time----a simplistic story explaining the importance of virtues, which magically reemphasizes the importance of loving one another through service.

why is it that that prominent segment of the Left—the same Left that traditionally defended its positions on the modernist grounds of reason, science, fairness for all, and optimism—is now voicing themes of anti-reason, anti-science, all’s-fair-in-love-and-war, and cynicism? 

In The Hunger Games, there's something for everyone. A gripping adventure. A political commentary. A love story. A cautionary tale. Some call it science fiction, some call it potential reality. Some say it's for teenagers, some say it's for adults. The book--and now the film--captures themes and concerns that seem timely. But its real strength, in the end, is that it's timeless. It speaks to us today, and it will speak--even more powerfully--tomorrow.

Southern themes will range from generous and luscious love to cruel and bitter hate, but no one can ever claim that the South is petty or indifferent.

Love is the lighthouse that guides us through life's storms.

From the deepest silence between us arose uncertain, utterly vague and, as it were, whispered varieties on the theme ‘smile’.

There is frankly no other theme that made Jesus quite as furious as seeing people hurt in the name of religion.

Rich people, she decided, loved to stick with a theme.

The chairs and tables, decorated with runners of Italian silk, were Disney-movie themed, because Kelly ate, breathed and farted Disney.

I am drawn to Tom Sawyer Island because a tribute to Mark Twain would not be out of place in a theme park of my own design. Should Vowell World ever get enough investors, I'm going to stick my Tom Sawyer Island in Love and Death in the American Novel Land right between the Jay Gatsby Swimming Pool and Tom Joad's Dust Bowl Lanes, a Depression-themed bowling alley renting artfully worn-out shoes.

There’s a feeling when you really get a handle on your plot that’s like when you’re getting to the end of a jigsaw puzzle and each piece you fit makes the next one fit faster. I love that feeling. Rewriting to add foreshadowing and strengthen the themes, that’s really fun.

If any theme runs through all my work, it is what Adrienne Rich once called "re-vision", i.e., the re-perceiving of experience, not because our experience is complex or subtle or hard to understand (though it is sometimes all three) but because so much of what's presented to us as "the real world" or "the way it is" is so obviously untrue that a great deal of social energy must be mobilized to hide that gross and ghastly fact. has a theatre critic (whose name I'm afraid I've forgotten) once put it," There's less there than meets the eye". Hence, my love for science fiction, which analyses reality by changing it.

You need to learn how to forgive." Ronnie was angery at herself for pushing everyone that loved her away. the theme of this book is to let everyone have a second chance. as Ronnie had learnt this by the end of the story and forgave herself and others including her father and Will.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

One broad theme emerges from decades of this research: the poor are worse parents. They are harsher with their kids, they are less consistent, more disconnected, and thus appear less loving. They are more likely to take out their own anger on the child; one day they will admonish the child for one thing and the next day they will admonish her for the opposite;

Then I understood how hard it is to re-create in words what you see and feel in your head. That’s what I love about Bernhard in the book. He manages to simulate consciousness, and it’s contagious because while you’re reading it rubs off on you and your mind starts working like that for a while. I love that. That reverberation for me is what is most important about literature. Not themes or symbols or the rest of that crap they teach in high school.

Better questions to ask regarding a career or job choice would be: What was I born to do? What would be my greatest contribution to others? What do I really love to do (and when I’m doing it, time just flies by)? What are the recurring themes that I find myself drawn to? How do I want to be remembered?

The 'dance of love' has different themes and moods, just like every relationship has its highs and lows. Enjoy the high moments and hang-on during the downtimes. The diverse range of emotions is the experience that builds you two. Your ability to perfectly switch between these moments and make the best out of the one you find yourself per time, proves that you are not only involved in the relationship like the chicken is in the business of making eggs but also very committed to it like the pig is in the business of making bacon.

And they saw with amazement the coming of the Children of Ilúvatar, and the habitation that was prepared for them; and they perceived that they themselves in the labour of their music had been busy with the preparation of this dwelling, and yet knew not that it had any purpose beyond its own beauty. For the Children of Ilúvatar were conceived by him alone; and they came with the third theme, and were not in the theme which Ilúvatar propounded at the beginning, and none of the Ainur had part in their making. Therefore when they beheld them, the more did they love them, being things other than themselves, strange and free, wherein they saw the mind of Ilúvatar reflected anew, and learned yet a little more of his wisdom, which otherwise had been hidden even from the Ainur.

For these people, music and poetry are only themes which they elaborate into their own feelings. They feed upon the same verses and the same airs for centuries and never tire of them. Nature itself—the sublimity of music and poetry—what has she but two or three words and two or three notes, always the same, with which she saddens or fascinates men from the very first sigh to the very last?

Here libido and ego-interest share the same fate and have once more become indistinguishable from each other. The familiar egoism of the sick person covers them both. We find it so natural because we are certain that in the same situation we should behave in just the same way. The way in which the readiness to love, however great, is banished by bodily ailments, and suddenly replaced by complete indifference, is a theme which has been sufficiently exploited by comic writers.

The intertwining of love and romance with hedonist and antimodernist themes marked the shift from Victorian morality to a consumption-oriented or 'hedonistic' one in which pleasure was encouraged actively rather than dealt with ambivalently.

Well, cast your mind back to the books he wrote. What is the one theme that keeps recurring from book to book? It is that the woman doesn’t fall in love with the man. The man may or may not love the woman; but the woman never loves the man. What do you think that theme reflects? My guess, my highly informed guess, is that it reflects his life experience. Women didn’t fall for him—not women in their right senses. They inspected him, maybe they even tried him our. Then they moved on.

My girl got sick. She was constantly nervous because of problems at work, personal life, her failures and children. She lost 30 pounds and weighted about 90 pounds. She got very skinny and was constantly crying. She was not a happy woman. She had suffered from continuing headaches, heart pain and jammed nerves in her back and ribs. She did not sleep well, falling asleep only in the mornings and got tired very quickly during the day. Our relationship was on the verge of a break up. Her beauty was leaving her somewhere, she had bags under her eyes, she was poking her head, and stopped taking care of herself. She refused to shoot the films and rejected any role. I lost hope and thought that we’ll get separated soon… But then I decided to act. After all I’ve got the MOST Beautiful Woman on earth. She is the idol of more than half of men and women on earth, and I was the one allowed to fall asleep next to her and to hug her. I began to shower her with flowers, kisses and compliments. I surprised and pleased her every minute. I gave her a lot of gifts and lived just for her. I spoke in public only about her. I incorporated all themes in her direction. I praised her in front of her own and our mutual friends. You won’t believe it, but she blossomed. She became better. She gained weight, was no longer nervous and loved me even more than ever. I had no clue that she CAN love that much. And then I realized one thing: the woman is the reflection of her man. If you love her to the point of madness, she will become it.

The idea of beauty, like a slab of magnificent marble, has crushed all possible refinement and vitality from the psychology of love.

All the epic themes covered: war, love, sea-snakes.

Love at first sight was a common romantic theme, but he could not recall reading about love at the umpteenth thousandth meeting

I wrote Dreams of My Mothers because it reveals deep insight into a topic - cross boarder, cross racial adoption - that rarely gets much attention from any quarter, because it represents such a niche subset of our society, but contains within it nearly all the most deeply felt – and held – human themes, passions, values, insecurities, and judgments. And loves.

Since love is the most delicate and total act of a soul, it will reflect the state and nature of the soul. The characteristics of the person in love must be attributed to love itself.

Moreover, it is not entirely without significance that true love was, in Platonic philosophy -- but also, as you know, in a whole sector, a whole domain of Christian spirituality and mysticism -- the form par excellence of the true life. Since Platonism, true love and the true life have traditionally belonged together, and to a large extend Christian Platonism will take up this theme.

I loved libraries, in general—they were the one place so many conflicting ideas could stand being next to each other. I, too, was a mixed bag of interests, not married to any single theme or style.

ASSISTANT PRINCIPAL LAWRENCE IS ON THE PROWL FOR A ROAD CARCASS WE MIGHT BE ABLE TO USE AS A REPRESENTATIVE PROP BECAUSE NOWHERE IN OUR AUTUMN-THEMED POSTER BOARD DÉCOR IS MORBIDITY OR DECAY SYMBOLIZED.

Why do I think these particular books have been popular? Two reasons. First, I think it is because they involve no harsh, garish violence at all. They involve game playing, really. No one is burned or cut or hurt. Certainly no one is killed. Indeed the whole sadomasochistic predicament is presented as a glorified game played out in luxurious rooms and with very attractive people, and involving very attractive slaves. There are endless motifs offered for dominance and submission, for surrender and love. It’s like a theme park of dominance and submission, a place to go to enjoy the fantasy of being overpowered by a beautiful man or woman and delightfully compelled to surrender and feel keening pleasure, without the slightest serious harm. I think it’s authentic to the way many who share this kind of fantasy really feel. I think what makes it work for people is the combination of the very graphic and unsparing sexual details mixed with the elegant fairy-tale world. Unfortunately a lot of hackwork pornography is written by those who don’t share the fantasy, and they slip into hideous violence and ugliness, thinking the market wants all that, when the market never really did. Second, this is shamelessly erotic. It pulls no punches at being what it is. It’s excessive and it is erotica. Before these books, a lot of women read what were called “women’s romances” where they had to mark the few “hot pages” in the book. I said, well, look, try this. Maybe this is what you really want, and you don’t have to mark the hot pages because every page is hot. Every page is about sexual fulfillment. Every page is meant to give you pleasure. There are no boring parts. Yet it’s very “romantic.” And well, I think this worked.

the band plays an upbeat theme song I immediately recognize. I nudge Theo. “Hey, that’s from—” “How to Train Your Dragon.” He grins at my surprise. “What, you think I only know Vivaldi and Mozart?” I’m in love.

Siem began to play the first familiar chords of "Theme from Out of Africa," and sighs of delight could be heard from the audience, Oliver noted, "It's all about that chin, isn't it, clenched against the violin as if he's makine savage love to it. That marvelous chin is what's making all the ladies cream their knickers.

These interreflecting themes, the prerequisites of creation, are playfulness, love, concentration, practice, skill, using the power of limits, using the power of mistakes, risk, surrender, patience, courage, and trust. Creativity is a harmony of opposite tensions, as encapsulated in our opening idea of lila, or divine play.

When our hopes are most alive, it is less from a view of the imperfect beginnings of grace in our hearts, than from an apprehension of him who is our all in all. His person, his love, his sufferings, his intercession, his compassion, his fullness, and his faithfulness—these are our delightful themes, which leave us little leisure, when in our best frames, to speak of ourselves... If any people have contributed a mite to their own salvation, it was more than we could do. If any were obedient and faithful to the first calls and impressions of his Spirit, it was not our case. If any were prepared to receive him beforehand, we know that we were in a state of alienation from him. We needed sovereign, irresistible grace to save us, or we would be lost forever! If there are any who have a power of their own, we must confess ourselves poorer than they are. We cannot watch, unless he watches with us; we cannot strive, unless he strives with us; we cannot stand one moment, unless he holds us up; and we believe we must perish after all, unless his faithfulness is engaged to keep us. But this we trust he will do, not for our righteousness, but for his own name's sake, and because, having loved us with an everlasting love, he has been pleased in loving kindness to draw us to himself, and to be found by us when we sought him not.

Pope John Paul II returned to this theme, condemning state-recognized same-sex unions as parodic versions of authentic families, “based on individual egoism” rather than genuine love. Justifying that condemnation, he observed, “Such a ‘caricature’ has no future and cannot give future to any society”. Queers must respond to the violent force of such constant provocations not only by insisting on our equal right to the social order’s prerogatives, not only by avowing our capacity to promote that order’s coherence and integrity, but also by saying explicitly what Law and the Pope and the whole of the Symbolic order for which they stand hear anyway in each and every expression or manifestation of queer sexuality: Fuck the social order and the Child in whose name we’re collectively terrorized; fuck Annie; fuck the waif from Les Mis; fuck the poor, innocent kid on the Net; fuck Laws both with capital ls and small; fuck the whole network of Symbolic relations and the future that serves as its prop.

Life laughs at me now, Sad, forsaken clown. Dreams crumble and fall. They die silently. Where is there to turn to? Where can I find mercy? Love is what I needed, All I wanted from this life. ―Carmen, singing "Destiny Theme

The idea was there from the beginning: equality. And yet you can read every page of your pocket Constitution and you will not find, in the original Constitution, the word equal, or equality, even though equality was a main theme of the Declaration of Independence. The word equal becomes a part of the Constitution in the Fourteenth Amendment.

I'm the kind of girl who wants to get married in a big, white dress, wearing my grandma's pearls. I want a husband who loves me and is faithful to me. I want him to come home to me every night, and I don't want to have to worry if he's doing his secretary, because he's the kind of man who has too much honor to do that. I want to wait a year and then I want to start trying for the two kids that we'll eventually have, a girl and a boy. And when we have those kids, I do not want, one day, to have to look in their little faces and explain why their daddy is on the internet having relations with everyone from College Honeys to Cougars Gone Wild for money. I want to throw a cartoon themed birthday party at a jump house for my six year old, not mark the occasion by explaining what a "money shot" is. I have a feeling your life goals are somewhat different than mine. And by 'somewhat,' I mean, utterly and completely. Does that explain why it would be a waste of time for both of us to continue being in each other's presence?

The unifying theme is resilience and faith. The unifying theme is being a warrior and a motherfucker. It is not fragility. It’s strength. It’s nerve. And “if your Nerve, deny you—,” as Emily Dickinson wrote, “go above your Nerve.

In every bit of honest writing in the world,” he noted in a 1938 journal entry,” . . . there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love. There are shorter means, many of them. There is writing promoting social change, writing punishing injustice, writing in celebration of heroism, but always that base theme. Try to understand each other.

Let not my love be called idolatry, Nor my beloved as an idol show, Since all alike my songs and praises be To one, of one, still such, and ever so. Kind is my love to-day, to-morrow kind, Still constant in a wondrous excellence; Therefore my verse to constancy confined, One thing expressing, leaves out difference. Fair, kind, and true, is all my argument, Fair, kind, and true, varying to other words; And in this change is my invention spent, Three themes in one, which wondrous scope affords. Fair, kind, and true, have often lived alone, Which three till now, never kept seat in one.

I started out hoping to remind people at some point in the novel that we should be loving and kind. But then the theme usurped my life, spilling over into my novels until love was no longer a small voice, but now my purpose as a writer.

all writers, given adequate technique—technique that communicates—can stir our interest in their special subject matter, since at heart all fiction treats, directly or indirectly, the same thing: our love for people and the world, our aspirations and fears. The particular characters, actions, and settings are merely instances, variations on the universal theme.

So one of my core themes in The Myth of Male Power—that history’s controlling force was not patriarchy, but survival—is still ignored. Instead, the leading universities’ women’s studies and “gender studies” courses still emanate from the Marxist and Civil Rights model of oppressor vs. oppressed. We’ll see in this book exactly why the dichotomy of oppressor/oppressed is both inaccurate and, more important, undermines love and women’s empowerment. In virtually every leading university this leads to a demonizing of men and masculinity that distorts the very essence of traditional masculinity—being socialized to be a hero by being willing to sacrifice oneself in war or in work. The possibility that being socialized to be disposable is not genuine power is, to this day, either considered radical, heretical, or, most frequently, not considered.

The themes that exercised the minds of survivor movements and their allies within the health and welfare professions generated a political project: how to revolutionise medical and judicial approaches to injured adults and children, how to raise awareness so that other people didn’t have to suffer the same, and how to understand, and then challenge, offenders who so love what they do to children that they can and must shut their minds to the feelings of children who have put their trust in them. P4

I began to meditate upon the writer's life. It is full of tribulation. First he must endure poverty and the world's indifference; then, having achieved a measure of success, he must submit to a good grace of its hazards...But he has one compensation, Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as a theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

-On sharing the love story of the Persian prince Khushraw and the niece of the queen of Armenia Shirin (who were looking for each other but in opposite directions): "Both lovers then departed, looking for each other in opposite directions, a theme universal in its pathos, because we all spend our brief lives doing just that, even if we physically share our beds with the same person every night for years. Always we carry an image in our head of a better person, of an ideal person, which blurs our chances of finding happiness.

I could watch myself grappling with the same themes in my writing and in my life: what I needed, whom I loved, what I could let go, and how much energy the letting go would take. Again and again, I was asking what mattered most in this precarious and precious life.

We live in every moment but this one Why don’t we recognize the faces loving us so What’s God if not the spark that started life Smile of a stranger Sweet music, starry skies Wonder, mystery, wherever my road goes Early wake-ups in a moving home Scent of fresh-mown grass in the morning sun Open theme park gates waiting for Riding the day, every day into sunset Finding the way back home

When I first took time off from my profession to write the Bound to Eve story, some people wondered if I had lost my mind. At the very least, they thought I was being irresponsible for my age. But I was in love with the story and in love with the characters. And as we all know, love makes you do the damnedest things. That's ironic, now that I think about it, because that's one of the themes of the story.

Dear love, for nothing less than thee Would I have broke this happy dream; It was a theme For reason, much too strong for fantasy, Therefore thou wak'd'st me wisely; yet My dream thou brok'st not, but continued'st it. Thou art so true that thoughts of thee suffice To make dreams truths, and fables histories; Enter these arms, for since thou thought'st it best, Not to dream all my dream, let's act the rest.

I shuffle over to the tree, sliding beneath it and lying on my back so I can look up through the gnarled branches. It's a kaleidoscope of color and texture: the smooth light bulbs, the prickly pine needles. Ornaments of glass, and silk, and spiky metallic stars. A little wooden drummer Theo gave Ricky nearly twenty years ago. Laminated paper ornaments of our handprints from preschool, handmade ceramic blobs that were supposed to be pigs, or cows, or dogs. Nothing matches; there's no theme. But there is so much love in this tree, so much history.

I had no choice. Love does funny things to people." Jeremy didn't believe in much until he met Lexi. Lexi taught him to have a little faith. the theme here shows how Jeremy grew as a character and starts to believe in love. in something he thought he would never experience again.

Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways.

In my work with hundreds of women over the past few years a theme has emerged: women’s desperate, unquenchable desire to step into their power, countered by the fear of what will happen if they do. The longing to express the riches inside them, wrestling with the deep terror of being burned by the judgement, hatred or rejection of strangers or loved ones if they do. This fear of being burned is an oddly female one. It is a fear which keeps us small and scared… but seemingly safe. From the outside this can seem like an overreaction. Both the need, and the fear. But women, it seems, have an innate knowing of what it means to burn… and be burned. They know the dangers in their bones. And it makes them wary.

And just as it is common to hear how, when one is in love, anything one sees reminds one of that love—our feelings remake the world in a secular equivalent of the faith that sees the hand of God in everything—so I began to find that when one is thinking on a theme, everything seems to reflect on it. Suddenly, everything I saw or read, in this girlish city of temples, seemed to take me back to the theme of the lady and the monk.

When I think of the books I love, there’s always a little laughter in the dark. I love Jane Eyre; I don’t love Wuthering Heights. I love Tolstoy; I don’t love Dostoevsky. I love Joyce; I don’t love Proust. I love Nabokov; I don’t love Pasternak. I don’t think I’m a funny person, but the fiction I grew up on was leavened with humor—I understand the other tradition and I admire it, but I just don’t love it. It never occurs to me to write as, say, A. S. Byatt writes, as I’m sure she would never dream in a squillion years of writing like me. The ironic theme in English writing—and I don’t mean po-mo irony, I mean the irony of someone like Defoe or Dickens—is either in you or it isn’t. Those who find Austen arch and cold and ironical, lacking the kind of intimate and metaphysical commitment of a writer like Emily Brontë cannot be convinced otherwise and vice versa. I appreciate both schools, but I can’t get out of the side I’m on. I don’t think I’d want to, though occasionally I have wet dreams about turning into Iris Murdoch.

There are many themes found in the Book of Psalms that are generally not found in modern music. These include the fear of God, the righteousness and justice of God, the sovereignty of God, the judgement of God, the evil of sin, spiritual and physical warfare, the arch enemies of the Christian, the destruction of the wicked, the reality of hell, the blessedness of the church, the vicious attacks upon the church, the commandments of God, the dominion of David’s son, and so on. Without the backdrop of these truths, the themes of love, mercy, faith, and salvation become largely meaningless.

The deal being that Kandinsky would paint a lovely, vibrant picture in the hope that we would resist the temptation to translate the colors into known objects or themes, but instead allow ourselves to be transported into an imaginary world in much the same way as we would if listening to a piece of music.

Peter Koestenbaum also elaborated on the importance of others, particularly romantic lovers, in the existential context. Love is the choice to create and reflect each other mutually, verifying and illuminating each other's uniqueness because this is how we learn that we exist and who we are. A key theme of authentic love is resistance between, but welcoming of, two independent consciousness acting like positive and negative magnets within a single magnetic field.

The horror of the Same Old Thing is one of the most valuable passions we have produced in the human heart—an endless source of heresies in religion, folly in counsel, infidelity in marriage, and inconstancy in friendship. The humans live in time, and experience reality successively. To experience much of it, therefore, they must experience many different things; in other words, they must experience change. And since they need change, the Enemy (being a hedonist at heart) has made change pleasurable to them, just as He has made eating Pleasurable. But since He does not wish them to make change, any more than eating, an end in itself, He has balanced the love of change in them by a love of permanence. He has contrived to gratify both tastes together on the very world He has made, by that union of change and permanence which we call Rhythm. He gives them the seasons, each season different yet every year the same, so that spring is always felt as a novelty yet always as the recurrence of an immemorial theme. He gives them in His Church a spiritual ear; they change from a fast to a feast, but it is the same feast as before.

-i was "far and away"-riding my motorcycle along an american back road, skiing through the snowy Quebec woods, or lying awake in a backwater motel. the theme i was grappling with was nothing less than the Meaning of Life, and i was pretty sure i had defined it: love and respect. love and respect, love and respect-i have been carrying those words around with me for two years, daring to consider that perhaps they convey the real meaning of life. beyond basic survival needs, everybody wants to be loved and respected. and neither is any good without the other. love without respect can be as cold as pity; respect without love can be as grim as fear. love and respect are the values in life that most contribute to "the pursuit of happiness"-and after, they are the greatest legacy we can leave behind. it's an elegy you'd like to hear with your own ears: "you were loved and respected." if even one person can say that about you, it's a worthy achievement, and if you can multiply that many times-well, that is true success. among materialists, a certain bumper sticker is emblematic: "he who dies with the most toys wins!" well, no-he or she who dies with the most love and respect wins... then there's love and respect for oneself-equally hard to achieve and maintain. most of us, deep down, are not as proud of ourselves as we might pretend, and the goal of bettering ourselves-at least partly by earning the love and respect of others-is a lifelong struggle. Philo of Alexandria gave us that generous principle that we have somehow succeeded in mostly ignoring for 2,000 years: "Be kind, for everyone you meet is fighting a hard battle.

Monotony? Have we not always had the same stars and the same sky above us, changing only in its shades of blue and gray and purple black? And who shall say that such themes are exhausted? Have we not always had love and passion, war and peace, summer and winter and spring and fall with us? And are these things unable longer to impel us to spiritual variations?

The trouble is, we have up-close access to women who excel in each individual sphere. With social media and its carefully selected messaging, we see career women killing it, craft moms slaying it, chef moms nailing it, Christian leaders working it. We register their beautiful yards, homemade green chile enchiladas, themed birthday parties, eight-week Bible study series, chore charts, ab routines, “10 Tips for a Happy Marriage,” career best practices, volunteer work, and Family Fun Night ideas. We make note of their achievements, cataloging their successes and observing their talents. Then we combine the best of everything we see, every woman we admire in every genre, and conclude: I should be all of that. It is certifiably insane.

England has her Stratford, Scotland has her Alloway, and America, too, has her Dresden. For there, on August 11, 1833, was born the greatest and noblest of the Western World; an immense personality, -- unique, lovable, sublime; the peerless orator of all time, and as true a poet as Nature ever held in tender clasp upon her loving breast, and, in words coined for the chosen few, told of the joys and sorrows, hopes, dreams, and fears of universal life; a patriot whose golden words and deathless deeds were worthy of the Great Republic; a philanthropist, real and genuine; a philosopher whose central theme was human love, -- who placed 'the holy hearth of home' higher than the altar of any god; an iconoclast, a builder -- a reformer, perfectly poised, absolutely honest, and as fearless as truth itself -- the most aggressive and formidable foe of superstition -- the most valiant champion of reason -- Robert G. Ingersoll.

Here’s a handy list of warning signs of the worst people on the road. Some are tuned-out menaces, others are just assholes. Be alert, and if you see this on a vehicle close to you, get away now. STICK FIGURE FAMILY: I hereby decree that you are allowed to accelerate to ramming speed every time you see a minivan with a silhouette of the family and their names on the rear window. We get it, you didn’t pull out. Is that information you really think I’m interested in? I know you’re a parent. You’re driving a Plymouth Voyager with two hundred thousand miles on it; do you imagine I’m behind you thinking, “Who is that gay entrepreneur?” Even worse is the theme family. Oh, you’re into snowboarding? Oh, you’ve got cats? Oh, they’ve all got Mickey ears, they must really love Disney. You know what I love? Driving more than fifty-three miles an hour. How about a stick figure depiction of your family moving the fuck over and letting me get to work on time?

His sculpture would have joy in it, try to capture the sense of fertility of Dionysus, the nature god, the power of the intoxicating drink that enabled a man to laugh and sing and forget for a while the sorrow of his earthly miseries. And then, perhaps, at the same time he could portray the decay that came with too much forgetfulness, that he saw all around him, when man surrendered his moral and spiritual values for the pleasures of the flesh. The Bacchus would be the central figure of his theme, a human being rather than a demigod; then there would be a child of about seven, sweet- faced, lovable, nibbling from a bunch of grapes. His composition would have death in it too; the tiger, who liked wine and was loved by Bacchus, with the deadest, dead skin and head conceivable

Well, I've never written a line of poetry in my life: it is not my way! But if I *did* write about you I shouldn't call you a paltry daffodil! I should liken you to a rose--one of those yellow ones, with a deep golden heart, and a sweet scent!" said Sir Bonamy, warming to the theme. "Nonsense!" she said briskly. "You would be very much more likely to call me a plum partridge, or a Spanish fritter!

People spoke to foreigners with an averted gaze, and everybody seemed to know somebody who had just vanished. The rumors of what had happened to them were fantastic and bizarre though, as it turned out, they were only an understatement of the real thing. Before going to see General Videla […], I went to […] check in with Los Madres: the black-draped mothers who paraded, every week, with pictures of their missing loved ones in the Plaza Mayo. (‘Todo mi familia!’ as one elderly lady kept telling me imploringly, as she flourished their photographs. ‘Todo mi familia!’) From these and from other relatives and friends I got a line of questioning to put to the general. I would be told by him, they forewarned me, that people ‘disappeared’ all the time, either because of traffic accidents and family quarrels or, in the dire civil-war circumstances of Argentina, because of the wish to drop out of a gang and the need to avoid one’s former associates. But this was a cover story. Most of those who disappeared were openly taken away in the unmarked Ford Falcon cars of the Buenos Aires military police. I should inquire of the general what precisely had happened to Claudia Inez Grumberg, a paraplegic who was unable to move on her own but who had last been seen in the hands of his ever-vigilant armed forces [….] I possess a picture of the encounter that still makes me want to spew: there stands the killer and torturer and rape-profiteer, as if to illustrate some seminar on the banality of evil. Bony-thin and mediocre in appearance, with a scrubby moustache, he looks for all the world like a cretin impersonating a toothbrush. I am gripping his hand in a much too unctuous manner and smiling as if genuinely delighted at the introduction. Aching to expunge this humiliation, I waited while he went almost pedantically through the predicted script, waving away the rumored but doubtless regrettable dematerializations that were said to be afflicting his fellow Argentines. And then I asked him about Senorita Grumberg. He replied that if what I had said was true, then I should remember that ‘terrorism is not just killing with a bomb, but activating ideas. Maybe that’s why she’s detained.’ I expressed astonishment at this reply and, evidently thinking that I hadn’t understood him the first time, Videla enlarged on the theme. ‘We consider it a great crime to work against the Western and Christian style of life: it is not just the bomber but the ideologist who is the danger.’ Behind him, I could see one or two of his brighter staff officers looking at me with stark hostility as they realized that the general—El Presidente—had made a mistake by speaking so candidly. […] In response to a follow-up question, Videla crassly denied—‘rotondamente’: ‘roundly’ denied—holding Jacobo Timerman ‘as either a journalist or a Jew.’ While we were having this surreal exchange, here is what Timerman was being told by his taunting tormentors: Argentina has three main enemies: Karl Marx, because he tried to destroy the Christian concept of society; Sigmund Freud, because he tried to destroy the Christian concept of the family; and Albert Einstein, because he tried to destroy the Christian concept of time and space. […] We later discovered what happened to the majority of those who had been held and tortured in the secret prisons of the regime. According to a Navy captain named Adolfo Scilingo, who published a book of confessions, these broken victims were often destroyed as ‘evidence’ by being flown out way over the wastes of the South Atlantic and flung from airplanes into the freezing water below. Imagine the fun element when there’s the surprise bonus of a Jewish female prisoner in a wheelchair to be disposed of… we slide open the door and get ready to roll her and then it’s one, two, three… go!

So this is supposed to be the how, and when, and why, and what or reading - about the way that, when reading is going well, one book leads to another and to another, a paper trail of theme and meaning; and how, when it's going badly, when books don't stick or take, when your mood and the mood of the book are fighting like cats, you'd rather do anything but attempt the next paragraph, or reread the last one for the tenth time. "We talked about books," says a character in Charles Baxter's wonderful Feast of Love, "how boring they were to read, but how you loved them anyway. Anyone who hasn't felt like that isn't owning up.

And in the complicated, relished, introspective web of young lovers, or more exactly, young petters, they progress along the oldest channel in the world and the most deceptive, for they are certain it is unique to them. Even as they are calling themselves engaged, they are losing the details of their subtle involved pledging of a troth. They are moved and warmed by intimacies between them, by long husky conversations in the parlor, in inexpensive restaurants, by the murmurs, the holding of hands in the dark velvet caverns of movie houses. They forget most of the things that have advanced them into love, feel now only the effect of them. And of course their conversation alters, new themes are bruited. Shy sensitive girls may end up as poetesses or they may turn bitter and drink alone in bars, but nice shy sensitive Jewish girls usually marry and have children, gain two pounds a year, and worry more about refurbishing hats and trying a new casserole than about the meaning of life. After their engagement, Natalie talks over their prospects.

As girls gravitate to more contemporary fare and away from Little Women, they are missing a lot. Today’s successors to Little Women seem to have overlooked two of the most important themes of Alcott’s classic: companionate marriage and sisterhood. And many of them are missing the central premise altogether, namely that growing up means becoming a better person, one who can balance her own needs and desires with those of the people she loves.

I'm going to lay it out straight for you here, Carson. And the reason that I'm going to do that is because I have every confidence that it will scare you off badly enough that I can then finish my drink in peace, and we can part as acquaintances who simply have nothing in common." He raised one eyebrow and I joined my hands in my lap, tilting my head as I continued. "I'm the kind of girl who wants to get married in a big, white dress, wearing my grandma's pearls. I want a husband who love me and is faithful to me. I want him to come home me every night, and I don't want to have to worry if he's doing his secretary, because he's the kind of man who has too much honor to do that. I want to wait a year and then I want to start trying for the two kids that we'll eventually have, a girl and a boy. And when we have those kids, I do not want, one day, to have to explain why their daddy is on the internet having relations with everyone from College Honeys to Cougars Gone Wild for money. I want to throw a cartoon themed birthday party at a jump house for my six year old, not mark the occasion by explaining what a "money shot" is. I have a feeling your life goals are somewhat different than mine. And by 'somewhat,' I mean, utterly and completely. Does that explain why it would be a waste of time for both of us to continue being in each other's presence?" Chapter 1

Each one of us has to find such a relationship in the suffering that we ourselves experience, be it the loss of a job or a home, the death of someone we love, rejection by our parents or our children, the breakdown of a marriage, institutional injustice, social violence or whatever. The causes of our personal suffering are many. And when we find the living, liberating answer that gives us meaning in the midst of suffering, we realize that it is a very personal answer.

The histories and tragedies of Shakespeare that Lincoln loved most dealt with themes that would resonate to a president in the midst of civil war: political intrigue, the burdens of power, the nature of ambition, the relationship of leaders to those they governed. The plays illuminated with stark beauty the dire consequences of civil strife, the evils wrought by jealousy and disloyalty, the emotions evoked by the death of a child, the sundering of family ties or love of country.

The definition of God as infinite Love was a particularly important theme for [John Duns] Scotus. He disagreed with Anselm, who understood the Incarnation as a necessary payment for sin. He also disagreed with Thomas [Aquinas], who argued that the Incarnation, though willed by God from eternity, was made necessary by the existence of sin. For Scotus the Incarnation was willed through eternity as an expression of God's love, and hence God's desire for consummated union with creation. Our redemption by the cross, though caused by sin, was likewise an expression of God's love and compassion, rather than as an appeasement of God's anger or a form of compensation for God's injured majesty. Scotus believed that...knowledge of God's love should evoke a loving response on the part of humanity. 'I am of the opinion that God wished to redeem us in this fashion principally in order to draw us to his love.' Through our own loving self-gift, he argued, we join with Christ 'in becoming co-lovers of the Holy Trinity.

The gospel Jesus spreads in the book of Luke has as one of its main themes that Jesus brings a social revolution, in which the previous systems and hierarchies of clean and unclean, sinner and saved, and up and down don't mean what they used to. God is doing a new work through Jesus, calling all people to human solidarity. Everybody is a brother, a sister. Equals, children of the God who shows no favouritism. To reject this new social order was to reject Jesus, the very movement of God in flesh and blood.

Love, that is the pulse of all, the sustenance and the pang […] No other theme but love—knitting, enclosing, all-diffusing love. — Walt Whitman, from “The Mystic Trumpeter”, Leaves of Grass (Simon Schuster, August 1st 2006) Originally published July 4th 1855.

Hazel sometimes had a fantasy daydream at school where the teacher walked into the classroom and yelled, ISN’T EVERYTHING HORRIBLE? DOESN’T THE PAIN OF THE WORLD OUTWEIGH THE JOY BY TRILLIONS? WOULD YOU LIKE TO PUSH ALL OF THE DESKS INTO THE CENTER OF THE ROOM AND BURN THEM IN A GIANT BONFIRE? THEN WE CAN RUN AROUND SCREAMING AND WEEPING AMIDST THE SMOKE IN A TRUTHFUL PARADE OF OUR HUMAN CONDITION. SINCE YOU ARE SMALL STATURED, CHILDREN, IT MIGHT HELP OTHERS TO FEEL THE FULL BRUNT OF YOUR AGITATION IF YOU WAVE STICKS AND SHRUBBERY OVER YOUR HEADS ALL THE WHILE. WE DON’T WANT TO KILL ANYTHING WE DON’T HAVE TO KILL; EVERYTHING LIVING THAT WE’VE EVER SEEN OR KNOWN WILL DIE WITHOUT OUR INTERVENTION, OURSELVES INCLUDED; THIS IS A PSYCHOLOGICAL LEAD BLANKET THAT EVEN OUR MOST PERVASIVE MOMENTS OF COMFORT CANNOT CRAWL OUT FROM UNDER AND ONE UNEXTINGUISHABLE SOURCE OF DESPAIR, SO WE WON’T BE PERFORMING ANY RITUALISTIC SACRIFICES; THAT’S NOT THE DIRECTION WE WILL GO IN JUST YET; HOWEVER, ASSISTANT PRINCIPAL LAWRENCE IS ON THE PROWL FOR A ROAD CARCASS WE MIGHT BE ABLE TO USE AS A REPRESENTATIVE PROP BECAUSE NOWHERE IN OUR AUTUMN-THEMED POSTER BOARD DéCOR IS MORBIDITY OR DECAY SYMBOLIZED. OUR SCHOOL BOARD MEMBERS CANNOT AGREE ON HOW BEST TO ACKNOWLEDGE THE BOUNDLESSNESS OF HUMAN CRUELTY. IN OUR SOCIETY SOME OF YOU ARE FAR SAFER AND MORE ADVANTAGED THAN OTHERS; AT HOME SOME OF YOU ARE FAR MORE LOVED; SOME OF YOU WILL FIND THAT CONCEPTS LIKE FAIRNESS AND JUSTICE WILL BE THIN, FLICKERING HOLOGRAMS ON THE PERIPHERY OF YOUR LIVES. OH, LOOK, CHILDREN—I SEE MR. LAWRENCE IN THE DISTANCE DRAGGING A PORTION OF A HIGHWAY-SLAUGHTERED DEER. LET’S GO HELP HIM LUG IT INSIDE AND BE REMINDED THAT WE TOO INHABIT BODIES MADE OF MEAT-WRAPPED BONES; LET’S MEDITATE ON THIS CORPOREAL TERROR. Whenever her mother had asked, Hazel always told her, School is great.

One afternoon in the fall of 2015, while I was writing this book, I was driving in my car and listening to SiriusXM Radio. On the folk music station the Coffee House, a song came on with a verse that directly spoke to me—so much so that I pulled off the road as soon as I could and wrote down the lyrics and the singer’s name. The song was called “The Eye,” and it’s written by the country-folk singer Brandi Carlile and her bandmate Tim Hanseroth and sung by Carlile. I wish it could play every time you open these pages, like a Hallmark birthday card, because it’s become the theme song of this book. The main refrain is: I wrapped your love around me like a chain But I never was afraid that it would die You can dance in a hurricane But only if you’re standing in the eye. I hope that it is clear by now that every day going forward we’re going to be asked to dance in a hurricane, set off by the accelerations in the Market, Mother Nature, and Moore’s law. Some politicians propose to build a wall against this hurricane. That is a fool’s errand. There is only one way to thrive now, and it’s by finding and creating your own eye. The eye of a hurricane moves, along with the storm. It draws energy from it, while creating a sanctuary of stability inside it. It is both dynamic and stable—and so must we be. We can’t escape these accelerations. We have to dive into them, take advantage of their energy and flows where possible, move with them, use them to learn faster, design smarter, and collaborate deeper—all so we can build our own eyes to anchor and propel ourselves and our families confidently forward.

The image of women making love to women grips the male imagination because it expresses one of the dominant themes of male fantasy: the sexually insatiable woman. Women who masturbate, who make love to other women, (..) who not only initiate sexual action but overpower the man (..) release the man from his earliest inhibitions. He need no longer fear making his proposition, need not fear he may not perform well: The sexually enflamed woman in this myth is so close to orgasm right from the start that nothing is going to hold her back.

As the centrality of religion declined during the closing decades of the nineteenth century and the beginning of the twentieth, romantic love was inevitably carried along by the new wave of secularization. The themes of selflessness, sacrifice, and idealism were more and more brushed aside. Romantic love ceased being presented in the terms of religious discourse, at the very same time it started playing a central role in the culture at large. In face, in the view of some historians, romance replaced religion as the focus of daily life.

That was one of your favorite themes: that profusion, replication, popularity wasn’t necessarily devaluing, and that time itself made all things rare. You loved to savor the present tense and were more conscious than anyone I have ever met that its every constituent is fleeting.

Many of the Chinese medical texts dating back from 2,000 years ago lament the ills of 'modern times' and allude to the traditional 'good old days' another 3,000 years before that. A common theme in these texts is the decline in human health due to careless lifestyles and the deterioration in human relations due to lack of love: degenerative conditions that Taoist alchemy as well as psychoneuroimmunology would link as symptoms of the same syndrome. In his essay entitled 'Loving People' Chang San-feng, the thirteenth-century master, summed it up by saying: 'Therefore to those who want to know the way to deal with the world, I suggest, Love People.' This is a potent description for health and longevity that generates positive healing energy throughout the human system by stimulating the internal alchemy of psychoneuroimmunology.

[S]he really was a tired, poverty-stricken woman and nothing more. But this thought itself was accompanied by a welling-up of a feeling of comradeship for this fellow-sufferer from poverty. (The clash between rich and poor is a hackneyed enough subject, but I am now convinced that it really is one of the eternal themes of drama.) I felt pity for Tsuneko; for the first time in my life I was conscious of a positive (if feeble) movement of love in my heart. I vomited. I passed out. This was also the first time I had ever drunk so much as to lose consciousness.

I did not pay much attention, and since it seemed to prolong itself I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

There is a Native American story that highlights the dearth of love in our culture. A Western anthropologist living with and studying the Hopi Indians noticed over time that most of the Hopi songs were about water. One day he asked the shaman: How is it that you sing so much about water? In my culture, love is the theme that is most commonly expressed in our songs? Do your people not value love? The shaman of this desert culture replied: In my culture our songs are frequently prayers, and we sing and pray for the precious things in life of which we do not have enough. Love is not one of them.

In fact, a whole ex-girlfriend themed ghost train sounded genuinely terrifying. You'd get in and instead of a mummy mannequin covered in toilet roll popping out, it's her and you look down and you're wearing a baggy old jumper with a stain on the front. You turn the corner and you find yourself being forced to scroll through her Instagram and there are replies from a girl with tattoos and she looks exactly like the celebrity your ex fancies most. Right at the end, they play a video on a loop that's just screenshots of all the pathetic texts you sent when you were too heartbroken to have any dignity.

Geoffrey Chaucer’s ‘The Merchant’s Tale’ masterfully explores the theme of self-deception and the intricate dynamics of marital relationships. As the narrative unfolds, it illuminates the ironic nature of marriage, where love and treachery often coexist. By restoring January’s sight, Chaucer metaphorically portrays his willful ignorance, allowing him to live in blissful ignorance of his wife’s infidelity. This allegory provokes readers to question the nature of self-deception and the precarious illusions individuals construct in their pursuit of happiness within the confines of marriage. ‘The Merchant’s Tale’ serves as a cautionary tale, addressing the complexities and pitfalls of love, trust, and the frailties of human nature. Chaucer’s exploration of self-deception requires readers to critically examine the choices and illusions woven throughout the tale, shedding light on the paradoxical nature of love and marriage. Through this literary masterpiece, Chaucer prompts us to question the realities of our own lives, reminding us of the delicate balance between truth and the seductive allure of self-imposed blindness. (from an article titled "Chaucer’s ‘The Merchant’s Tale’: Unveiling the Harsh Realities of Matrimony")

Our personal story has many chapters that reconnoiter universal themes. We each struggle to understand ourselves and aspire to make ourselves known to the world. We struggle to win the love of other people. We seek to pick all the low hanging fruit that we come across in our journey through the corridor of time. We write our story in the Niagara of emotional experiences that flowing watercourse makes us human. We use a profusion of words, symbols, and the nuances pulled from a rich library of language to depict the cascade of our visions, sounds, smells, tastes, feelings, dreams, and infelicitous thoughts. We use logical and dialectal thought processes when communing with our inner self. We use self-speak along with the esemplastic powers of poetic imagination, sprinkled with the fizz of creativity, to cohere disparate chapters of our life into a unified whole and relay the effervescence of our story to other people.

I’ve also started thinking of trauma in terms of connection. The theme of broken connection has come up in my work repeatedly over the years: broken connection to our body; broken connection to our sense of self; broken connection to others, especially those we love; broken connection to feeling centered or grounded on the planet; broken connection to God, Source, Life Force, well-being, or however we might describe or relate to our inherent sense of spirituality, openhearted awareness, and beingness. This theme has been so prominent in my work that broken connection and trauma have become almost synonymous to me.

My image of others has gone through a thousand transformations, from idealization to total rejection, to re-creation and rescue of a totally new self. As I changed, my perspective changed. The theme of images. How one must struggle against this creation and invention of others, listen to them attentively, let them state their own case, weigh and balance the impressions. Otherwise this invention takes over, or projection. We are like sculptors, constantly carving out of others the image we long for, need, love or desire. Often against reality, against their benefit, and always, in the end, a disappointment because it does not fit them.

Indians like to classify, and the eighteen chapters of the Gita are said to break into three six-chapter parts. The first third, according to this, deals with karma yoga, the second with jnana yoga, and the last with bhakti yoga: that is, the Gita begins with the way of selfless action, passes into the way of Self-knowledge, and ends with the way of love. This scheme is not tight, and non-Hindu readers may find it difficult to discover in the text. But the themes are there, and Krishna clearly shifts his emphasis as he goes on using this one word yoga. Here he focuses on transcendental knowledge, there on selfless action, here on meditation, there on

What you describe is parasitism, not love. When you require another individual for your survival, you are a parasite on that individual. There is no choice, no freedom involved in your relationship. It is a matter of necessity rather than love. Love is the free exercise of choice. Two people love each other only when they are quite capable of living without each other but choose to live with each other. We all-each and every one of us-even if we try to pretend to others and to ourselves that we don't have dependency needs and feelings, all of us have desires to be babied, to be nurtured without effort on our parts, to be cared for by persons stronger than us who have our interests truly at heart. No matter how strong we are, no matter how caring and responsible and adult, if we look clearly into ourselves we will find the wish to be taken care of for a change. Each one of us, no matter how old and mature, looks for and would like to have in his or her life a satisfying mother figure and father figure. But for most of us these desires or feelings do not rule our lives; they are not the predominant theme of our existence. When they do rule our lives and dictate the quality of our existence, then we have something more than just dependency needs or feelings; we are dependent. Specifically, one whose life is ruled and dictated by dependency needs suffers from a psychiatric disorder to which we ascribe the diagnostic name "passive dependent personality disorder." It is perhaps the most common of all psychiatric disorders. People with this disorder, passive dependent people, are so busy seeking to be loved that they have no energy left to love…..This rapid changeability is characteristic of passive dependent individuals. It is as if it does not matter whom they are dependent upon as long as there is just someone. It does not matter what their identity is as long as there is someone to give it to them. Consequently their relationships, although seemingly dramatic in their intensity, are actually extremely shallow. Because of the strength of their sense of inner emptiness and the hunger to fill it, passive dependent people will brook no delay in gratifying their need for others. If being loved is your goal, you will fail to achieve it. The only way to be assured of being loved is to be a person worthy of love, and you cannot be a person worthy of love when your primary goal in life is to passively be loved. Passive dependency has its genesis in lack of love. The inner feeling of emptiness from which passive dependent people suffer is the direct result of their parents' failure to fulfill their needs for affection, attention and care during their childhood. It was mentioned in the first section that children who are loved and cared for with relative consistency throughout childhood enter adulthood with a deep seated feeling that they are lovable and valuable and therefore will be loved and cared for as long as they remain true to themselves. Children growing up in an atmosphere in which love and care are lacking or given with gross inconsistency enter adulthood with no such sense of inner security. Rather, they have an inner sense of insecurity, a feeling of "I don't have enough" and a sense that the world is unpredictable and ungiving, as well as a sense of themselves as being questionably lovable and valuable. It is no wonder, then, that they feel the need to scramble for love, care and attention wherever they can find it, and once having found it, cling to it with a desperation that leads them to unloving, manipulative, Machiavellian behavior that destroys the very relationships they seek to preserve. In summary, dependency may appear to be love because it is a force that causes people to fiercely attach themselves to one another. But in actuality it is not love; it is a form of antilove. Ultimately it destroys rather than builds relationships, and it destroys rather than builds people.

This idea (Taqwa)can be effectively conveyed by the term "conscience," if the object of conscience transcends it. This is why it is proper to say that "conscience" is truly as central to Islam as love is to Christianity when one speaks of the human response to the ultimate reality—which, therefore, is conceived in Islam as merciful justice rather than fatherhood. Taqwā, then, in the context of our argument, means to be squarely anchored within the moral tensions, the "limits of God," and not to "transgress" or violate the balance of those tensions or limits. Human conduct then becomes endowed with that quality which renders it "service to God [‘ibāda].

In no particular order, I read what I could, sometimes with Fadiman as my docent, sometimes not: Flaubert, Twain, Kerouac, Brontë, Kafka, Camus, Ibsen, James, Thurber, Shakespeare. But in the course of reading great books, something happened. My reading molded me, the tool hammering its hand into shape. By some miracle—and by miracle, I mean great teachers—I pushed past the shallowness and stupidity of my own motivations. I fell in love with the actual literature and the actual ideas of great literature. As an immigrant, as a Vietnamese kid, as a poor kid, I had collected so many scarlet letters of alienation that I connected profoundly to the great works. As I read, I began to understand that all the great works wrangled with big questions, important questions: our place in the world, the value of our experience, the fairness and meaning of our suffering, our quest for love and belonging. Universal themes bound these great works together, and they bound me to their oaky, yellowed pages like Odysseus lashed to the mast of his ship. I felt a connective and humanizing resonance in books: I wasn’t alone in my aloneness. I wasn’t alone in my longing for love. I wasn’t alone in my fear of being rejected, my fear of never finding my place, my fear of failing. The snarl of my journey was untangled and laid out clearly by books.

Scripture is a record of the same story told again and again, in different ways but always with the same theme, for more than three thousand years. God loves man. Man betrays God. Then God calls man back to his friendship. Sometimes that call involves some very painful suffering, and for good reason. God respects our freedom. But he will not interfere with our choices or their consequences, no matter how unpleasant. As a result, the struggle in the human heart between good and evil—a struggle that seems burned into our chromosomes—projects itself onto the world, to ennoble or deform it. The beauty and the barbarism we inflict on one another leave their mark on creation.

As central expressions of patriotism, these changes guaranteed that religious sentiment would be not just a theme pressed by a transitory administration but rather a lasting trait of the nation. The addition of “one nation under God” to the Pledge of Allegiance ensured that the new fusion of piety and patriotism that conservatives had crafted over the past two decades would be instilled in the next generation of children and beyond. From then on, their interpretation of America’s fundamental nature would have a seemingly permanent place in the national imagination. And with “In God We Trust” appearing on postage stamps and paper currency, the daily interactions citizens made through the state—sending mail, swapping money—were similarly sacralized. The addition of the religious motto to paper currency was particularly important, as it formally confirmed a role for capitalism in that larger love of God and country. Since then, every act of buying and selling in America has occurred through a currency that proudly praises God.

PAUL IS SOMEBODY WHO DOES THINGS WITH ENTHUSIASM, which makes people feel appalled and insulted at things he chooses to do. If you’re under thirty, you have never heard of a song called “Spies Like Us,” and I am a horrible person for being the one to tell you. It was the theme for a big-budget Hollywood spy comedy starring Chevy Chase and Dan Aykroyd. Nobody saw the movie, but Paul’s theme was worse than the movie could have been. MTV played it constantly during the 1985 holiday season, though radio wouldn’t touch it. Paul does a rap that goes something like, “Oooh oooh, no one can dance like you.” In the video he plays multiple roles as members of a studio band, mugging and biting his lower lip. The drumming is where his cheeky-chappy act gets profoundly upsetting. You see this video, you’re going to be depressed for at least ten minutes about the existential condition of Paul-dom. His enthusiasm makes you doubt the sincerity of his other public displays. It makes you doubt yourself. You might think it’s a cheap laugh but it will cost you something.

What? Am I to be a listener only all my days? Am I never to get my word in—I that have been so often bored by the Theseid of the ranting Cordus? Shall this one have spouted to me his comedies, and that one his love ditties, and I be unavenged? Shall I have no revenge on one who has taken up the whole day with an interminable Telephus or with an Orestes which, after filling the margin at the top of the roll and the back as well, hasn't even yet come to an end? No one knows his own house so well as I know the groves of Mars, and the cave of Vulcan near the cliffs of Aeolus. What the winds are brewing; whose souls Aeacus has on the rack; from what country another worthy is carrying off that stolen golden fleece; how big are the ash trees which Monychus hurls as missiles: these are the themes with which Fronto's plane trees and marble halls are for ever ringing until the pillars quiver and quake under the continual recitations; such is the kind of stuff you may look for from every poet, greatest or least. Well, I too have slipped my hand from under the cane; I too have counselled Sulla to retire from public life and take a deep sleep; it is a foolish clemency when you jostle against poets at every corner, to spare paper that will be wasted anyhow. But if you can give me time, and will listen quietly to reason, I will tell you why I prefer to run in the same course over which Lucilius, the great nursling of Aurunca drove his horses.

The horror of the Same Old Thing is one of the most valuable passions we have produced in the human heart—an endless source of heresies in religion, folly in counsel, infidelity in marriage, and inconstancy in friendship. The humans live in time, and experience reality successively. To experience much of it, therefore, they must experience many different things; in other words, they must experience change. And since they need change, the Enemy (being a hedonist at heart) has made change pleasurable to them, just as He has made eating pleasurable. But since He does not wish them to make change, any more than eating, an end in itself, He has balanced the love of change in them by a love of permanence. He has contrived to gratify both tastes together on the very world He has made, by that union of change and permanence which we call rhythm. He gives them the seasons, each season different yet every year the same, so that spring is always felt as a novelty yet always as the recurrence of an immemorial theme. He gives them in His Church a spiritual ear; they change from a fast to a feast, but it is the same feast as before.

Music is a form that tends to give shape to rules, social mores, social attitudes, feelings—it does this in a very beautiful, fluid way. To me the issue of form and formlessness is most strong in the theme of mortality versus a human wish for immortality of a sort. Take, for example, the definition of beauty in fashion. Remember what Alison says at the beginning? She says when she was young she didn’t know what beautiful was. She looked at this woman who everyone was saying was beautiful and she didn’t even know what they were talking about. I experienced that when I was a child. If I loved someone I thought they were really beautiful. And then eventually, I began to get it, the social concept of beauty. Not that I think beautiful is completely imaginary, but beauty is so wide ranging and fluid. Yet there’s a need to say: “This is what it is, and it’s not changing; we’re taking a picture of it to hold it still.” It’s like an impulse to put up a building meant to last forever. An urge to grab and hold something in place when nothing human can be grabbed and held in place. We come into these physical bodies . . . whatever we are takes this shape that is so particular and distinct—eyes, nose, mouth—and then it gradually begins to disintegrate. Eventually it’s going to dissolve completely. It’s a huge problem for people; we can understand it, but it breaks our hearts. And so we’re constantly trying to pin something down or leave a trace that will last forever. “And this is the only immortality you and I may share, my Lolita . . .” What other immortality will anyone share?

When it first appeared, in 1943, it was called, by those critics who liked it, an honest book, and that is accurate as far as it goes. But it is more than that: It is deeply, indelibly true. Honesty is casting bright light on your own experience; truth is casting it on the experiences of all, which is why, six decades after it was published and became an instant bestseller, A Tree Grows in Brooklyn continues to be read by people from all countries and all circumstances. Early on in its explosive success it was described as a book about city life, a story about grinding poverty, a tale of the struggles of immigrants in America. But all those things are setting, really, and the themes are farther-reaching: the fabric of family, the limits of love, the loss of innocence, and the birth of knowledge

Power is a primary theme in the worship rituals of many churches. I once made a content analysis of hymns sung in fundamentalist churches, expecting a majority of songs to be about love and praise. It turned out that power was by far the dominant subject, exemplified by such hymns as “All Hail the Power of Jesus’ Name” and “Onward Christian Soldiers.” (Interestingly the second most frequent theme was safety.)

In making practical application of the material covered in this book to everyday solutions, it will be helpful to keep the following underlying themes in mind: Peace of mind is our single goal. Forgiveness is our single function and the way to achieve our goal of peace of mind. Through forgiveness, we can learn not to judge others and to see everyone, including ourselves, as guiltless. We can let go of fear when we stop judging and stop projecting the past into the future, and live only in the now. We can learn to accept direction from our inner intuitive voice, which is our guide to knowing. After our inner voice gives us direction, it will also provide the means for accomplishing whatever is necessary. In following one’s inner guidance, it is frequently necessary to make a commitment to a specific goal even when the means for achieving it are not immediately apparent. This is a reversal of the customary logic of the world, and can be thought of as “putting the cart before the horse.” We do have a choice in determining what we perceive and the feelings we experience. Through retraining of the mind we can learn to use positive active imagination. Positive active imagination enables us to develop positive, loving motion pictures in our minds.

Is that...the Looney Tunes theme?" Mer and St. Clair cock their ears. "Why,yes.I believe it is," St. Clair says. "I heard 'Love Shack' a few minutes ago," Mer says. "It's official," I say. "America has finally ruined France." "So can we go now?" St. Clair holds up a small bag. "I'm done." "Ooo,what'd you get?" Mer asks. She takes his bag and pulls out a delicate, shimmery scarf. "Is it for Ellie?" "Shite." Mer pauses. "You didn't get anything for Ellie?" "No,it's for Mum.Arrrgh." He rakes a hand through his hair. "Would you mind if we pop over to Sennelier before we go home?" Sennelier is a gorgeous little art supply sore,the kind that makes me wish I had an excuse to buy oil paints and pastels. Mer and I went with Rashmi last weekend. She bought Josh a new sketchbook for Hanukkah. "Wow.Congratulations,St. Clair," I say. "Winner of today's Sucky Boyfriend award.And I thought Steve was bad-did you see what happened in calc?" "You mean when Amanda caught him dirty-texting Nicole?" Mer asks. "I thought she was gonna stab him in the neck with her pencil." "I've been busy," St. Clair says. I glance at him. "I was just teasing." "Well,you don't have to be such a bloody git about it." "I wasn't being a git. I wasnt even being a twat, or a wanker, or any of your other bleeding Briticisms-" "Piss off." He snatches his bag back from Mer and scowls at me. "HEY!" Mer says. "It's Christmas. Ho-ho-ho. Deck the halls. Stop fighting." "We weren't fighting," he and I say together. She shakes her head. "Come on,St. Clair's right. Let's get out of here. This place gives me the creeps." "I think it's pretty," I say. "Besides, I'd rather look at ribbons than dead rabbits." "Not the hares again," St. Clair says. "You're as bad as Rashmi." We wrestle through the Christmas crowds. "I can see why she was upset! The way they're hung up,like they'd died of nosebleeds. It's horrible. Poor Isis." All of the shops in Paris have outdone themselves with elaborate window displays,and the butcher is no exception. I pass the dead bunnies every time I go to the movies. "In case you hadn't noticed," he says. "Isis is perfectly alive and well on the sixth floor.

But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as a theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

The unifying theme is resilience and faith. The unifying theme is being a warrior and a motherfucker. It is not fragility. It’s strength. It’s nerve. And “if your Nerve, deny you—,” as Emily Dickinson wrote, “go above your Nerve.” Writing is hard for every last one of us—straight white men included. Coal mining is harder. Do you think miners stand around all day talking about how hard it is to mine for coal? They do not. They simply dig.

The transformations undergone by the meaning of love are characterized by: 1) the extrication of love from religion, that is, the secularization of the discourse of love 2) the increasing prominence of the theme of love in mass culture, especially in film and advertising 3) the glorification of the theme of love as a supreme value and the equation of love with happiness 4) the inclusion of 'intensity' and 'fun' in the new definitions of romance, marriage, and domesticity

Home Is Where the Bodies Are is about life, my life to be exact. But I think we all endure similar experiences, in a way, maybe not the same ones I have, but there are universal themes. It’s about death, grief, regret, the things we need in life, and the things life needs from us. It’s about love with and without conditions. It’s about addiction and healing. But most of all, it’s about family. What it means to be one, what it means to have one, and what it means to lose one.

In fact the "mask" theme has come up several times in my background reading. Richard Sennett, for example, in "The Corrosion of Character: The Personal Consequences of Work in the New Capitalism", and Robert Jackall, in "Moral Mazes: The World of Corporate managers", refer repeatedly to the "masks" that corporate functionaries are required to wear, like actors in an ancient Greek drama. According to Jackall, corporate managers stress the need to exercise iron self-control and to mask all emotion and intention behind bland, smiling, and agreeable public faces. Kimberly seems to have perfected the requisite phoniness and even as I dislike her, my whole aim is to be welcomed into the same corporate culture that she seems to have mastered, meaning that I need to "get in the face" of my revulsion and overcome it. But until I reach that transcendent point, I seem to be stuck in an emotional space left over from my midteen years: I hate you; please love me.

Perhaps the best way to understand the book of Revelation is that it is a prophetic critique of civil religion. By civil religion I mean the religion of state where the state is the actual object of worship. Civil religion is religious patriotism. Christians are called to practice responsible citizenship but to renounce religious patriotism. In the practice of civil religion, the truth that the state is what is actually being deified and worshiped is usually carefully concealed. Instead of directly worshiping the state as God, worship of the state is expressed through sacred symbols, myths, and personifications of the state treated with religious reverence. The tendency to deify the state is particularly pronounced in empires—rich and powerful nations that believe they have a divine right to rule other nations and a manifest destiny to shape history according to their agenda. God’s contention with empire is one of the major themes of the Bible. From Egypt and Assyria to Babylonia and Rome, the prophets constantly critique empire as a direct challenge to the sovereignty of God. This prophetic tradition of empire critique reaches its apex in the book of Revelation. John the Revelator tells us that Rome’s claim of a divine right to rule the nations and of a manifest destiny to shape history is the very thing that God has given to his Son, Jesus Christ. Thus the drama of Revelation is cast as an epic conflict between the Lamb (Jesus) and the Beast (Rome).

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

all of the major themes with which [Koontz] has been obsessed: the healing power of love and friendship; the struggle to overcome the past and change what we are; the moral superiority of the individual over the workings of the state and large institutions; the wonder of both the natural world and the potential of the human mind; the relationship of mankind to God; transcendence; and how we sustain hope in the face of our awareness that all things die.” Those are, indeed, the fundamental issues in this novel.

Unhappiness and dissatisfaction with life are common themes in the American culture today. Folks sometimes mistake my meaning when I say, “You have the freedom of choice and the ability to create your best life”, because they all too often rush to drop everything that is weighing them down. They quit the job, ditch the unhappy marriage, cut out negative friends and family, get out of Dodge, etc. I do not advocate such hastiness; in fact, I believe that rash decision-making leads to more problems further down the road. Another unsatisfying job manifests; another unhappy relationship results. These people want a new environment, yet the same negative energy always seems to occupy it. This is because transformation is all about the internal shift, not the external. Any blame placed on outside sources for our unhappiness will forever perpetuate that unhappiness. Pointing the finger is giving away your power of choice and the ability to create our best life. We choose: “That person is making me unhappy” vs. “I make myself happy.” When you are in unhappy times of lack and feelings of separation – great! Sit there and be with it. Find ways to be content with little. Find ways to be happy with your Self. As we reflect on the lives of mystics past and present, it is not the things they possess or the relationships they share that bring them enlightenment – their light is within. The same light can bring us unwavering happiness (joy). Love, Peace, Joy – these three things all come from within and have an unwavering flame – life source – that is not dependent on the conditions of the outside world. This knowing is the power and wisdom that the mystics teach us that we are all capable of achieving. When I say, “You have the freedom of choice and the ability to create your best life”, I am not referring to external conditions; I am referring to the choice you have to look inward and discover the ability to transform the lead of the soul into gold. Transformation is an inner journey of the soul. Why? Because, as we mentioned above, wherever we go, ourselves go with us. Thus, quitting the job, dumping relationships, etc. will not make us happy because we have forgotten the key factor that makes or breaks our happiness: ourselves. When we find, create, and maintain peace, joy, and love within ourselves, we then gain the ability to embrace the external world with the same emotions, perspective, and vibration. This ability is a form of enlightenment. It is the modern man’s enlightenment that transforms an unsatisfying life into one of fulfillment.

In this sub-species [of science fiction] the author leaps forward into an imagined future when planetary, sidereal, or even galactic travel has become common. Against this huge backcloth he then proceeds to develop an ordinary love-story, spy-story, wreck-story, or crime-story. This seems to me tasteless. Whatever in a work of art is not used is doing harm. The faintly imagined, and sometimes strictly unimagineable, scene and properties, only blur the real theme and distract us from any interest it might have had.

I love being busy, I'm very creative, I'm very inventive, and there are a lot of people a lot smater than me but I've always said I'm a very professional Dolly Parton, I know what I can do what I want to do, and what I believe is best for me. Like when I started the imagination library, I wanted to have a charity that was something that I could believe and, something that meant something that was personal to me. And so that's how I built my whole life whether it be the theme park, production companies, or whatever.

We are hardwired to hear and make music. Yes, we will sigh with pleasure when we hear a favorite theme played by an orchestra, and who hasn’t felt a stab of nostalgia, or even brushed away a tear, when hearing a song reminiscent of youth or a lost love? However, such exquisite moments notwithstanding, the musical experience represents something far deeper. Broadly defined, music is sound in time. Sound is nothing less than our perception of the vibrations, the movement, of the universe around us. Music is an intensification, a crystallization, a celebration, a glorification, of that movement and those vibrations. Pretty heady stuff. Far beyond spoken language—which, with its sounds in time, might rightly be considered a low-end sort of music—music is a universal language; one need not speak Ashanti in order to groove to West African drumming; or German in order to be emotionally flayed by Beethoven; or English to totally freak when listening to Bruce Springsteen. Say it with flowers? Nah. If you really want to get your expressive point across, say it with music. No human activity

opting to complain, life gives you things to complain about this vicious circle ensures your happiness drought life responds to us according to our actions and belief thus reinforcing those beliefs to no relief there is no first cause—still, break the cycle abide in peaceful Silence or experience an inner hell “others” are often a reflecting mirror shining back revealing to us what loads are left to unstack what are friends for but a means to practice kindness and for fortifying the ego’s belief in disconnectedness people cater to me according to my own nature so they are me—there is no individual self, rest assured tweak your thoughts about her and she then treats you thus all minds are one, and all is illusory, as priorly discussed she is you, and you, her the shroud of separateness shall now henceforth wither look back at your life’s recurring patterns and themes and the façade of the ego will start to crack at the seams untranscended mindsets follow wherever we go the common denominator is what your mind has sown that which supports life is automatically supported the get-gain-obtain mentality can be safely aborted

Green Arrow is the embodiment of what one person can do. It’s a theme that comes up repeatedly in this book, one that explains why this powerless archer with a chip on his shoulder appeals to so many people. He wasn’t born of the heartbreaking tragedy of a Batman, he didn’t fall from the stars to deliver humanity from evil, nor is his origin wrapped in the fabric of Greek myths and legends. He is a human character that struggles with work, love, loss, darkness, death, and the weight of his own sins. Like the rest of us humans, Green Arrow is flawed, and a perpetually moving target.

Now I think my role is to make sure that everybody here gets the idea that we have a theme and to remind people what we’re up to and to set standards. . . . I’m actually a little embarrassed to talk about what I do because I love it so much and it’s such a sort of a selfish, quixotic kind of existence I have. But life is short, and if I thought we were being silly, and the beer was a joke, and it was all a con job, then I’d really be embarrassed about what I do. But I have so much fun and do such amazing things, I’m beginning to relax and enjoy it. Because I’m persuaded that the beer is so damn good.

Justice is the act of restoring something to fullness after it has been harmed. Justice is making things right. But that definition for me is still a little incomplete. Even more fundamental than a definition of justice is the place from which our understanding of justice emanates. It is hard to restore what has been wronged if you don’t have a point of reference. We need to know what this fullness looks like in its pure form. We need to know where this restoration comes from. If fullness is the goal for us as the church and as Christians, we must seek to understand the fullness of what God intended for His creation. We need to more deeply understand God the Father, Jesus the Son of God, and the Holy Spirit. We need to more deeply grow in intimacy with the Creator, Redeemer, and Sustainer. More often than not, we’re fixed in the brokenness of our world because we are constantly surrounded by such things. But if we’re not careful, we lose sight of God. We lose sight of God’s purposes and intent for creation. We lose sight of God’s promise to restore our brokenness and our fallen world. This is why for us, as Christians, the person of God, the deity of God, God’s justice, and God’s goodness are such powerful things. God’s justice is His plan of redemption for a broken world. God’s justice is renewing the world to where He would have intended it to be. Justice is not just a thing that is good. Justice is not merely doing good. Justice is not something that’s moral or right or fair. Justice is not, in itself, a set of ethics. Justice is not just an aggregation of the many justice-themed verses throughout the Scriptures. Justice is not trendy, glamorous, cool, or sexy. Justice isn’t a movement. Justice is so much more, and the understanding of this fullness is central to the work that we do in pursuing justice.

But any picture could deal with the problem of light. The problem with this picture is greater than that of reflective surfaces - it's one of death. You invite a profound theme into your work when you choose cut flowers. You are talking about mortality and time moving forward. You are saying that everything, everything we see and experience and love happens uniquely and happens only once. When you take a picture of a flower in a glass you are, paradoxically, capturing evanescence. You are also showing the indifference of Nature. There is no mourning in a flower photograph, only a shrugging of the shoulders.

Even if the powers destroy us," he said, "who are we, to condemn them? As well might a fleeting word judge the speaker that forms it. Perhaps they use us for their own high ends, use our strength and our weakness, our joy and our pain, in some theme inconceivable to us, and excellent." But I protested, "What theme could justify such waste, such futility? And how can we help judging; and how otherwise can we judge than by the light of our own hearts, by which we judge ourselves? It would be base to praise the Star Maker, knowing that he was too insensitive to care about the fate of his worlds." Bvalltu was silent in his mind for a moment. Then he looked up, searching among the smoke-clouds for a daytime star. And then he said to me in his mind, "If he saved all the worlds, but tormented just one man, would you forgive him? Or if he was a little harsh only to one stupid child? What has our pain to do with it, or our failure? Star Maker! It is a good word, though we can have no notion of its meaning. Oh, Star Maker, even if you destroy me, I must praise you. Even if you torture my dearest. Even if you torment and waste all your lovely worlds, the little figments of your imagination, yet I must praise you. For if you do so, it must be right. In me it would be wrong, but in you it must be right.

I began to meditate upon the writer’s life. It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with a good grace to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

Without friendship, the ring never would have made it, and Middle Earth would have been destroyed. Actually, we never would have imagined Middle Earth in the first place because, without friendship, Tolkien never would have finished writing the story. He said that it was only C. S. Lewis’s steady encouragement that kept him writing. Perhaps this is why the theme of friendship stands out so prominently in the story. In Tolkien’s day, authors only produced “fairy stories” (as they were called) for children, not adults. But Tolkien wrote for adults too. He eventually wrote The Lord of the Rings, but it was only because of his relationship with Lewis. Two years after Lewis died, Tolkien reflected on Lewis’s role in his life: The unpayable debt that I owe to him was not “influence” as it is ordinarily understood, but sheer encouragement. He was for long my only audience. Only from him did I ever get the idea that my “stuff” could be more than a private hobby. But for his interest and unceasing eagerness for more I should never have brought the L. of the R. to a conclusion.13 Lewis and Tolkien experienced true friendship. They knew that their experience was both wonderful and rare in their culture. This is why both men wrote to promote the joys of true friendship in their own day—Tolkien in The Lord of the Rings, and Lewis in The Four Loves.

As for this story’s theme, probably the most concise summation of it that I’ve seen appears in Kurt Vonnegut’s introduction to the twenty-fifth-anniversary edition of Slaughterhouse-Five: “Stephen Hawking…found it tantalizing that we could not remember the future. But remembering the future is child’s play for me now. I know what will become of my helpless, trusting babies because they are grown-ups now. I know how my closest friends will end up because so many of them are retired or dead now…To Stephen Hawking and all others younger than myself I say, ‘Be patient. Your future will come to you and lie down at your feet like a dog who knows and loves you no matter what you are.’ 

Gervex's painting had a lurid and well-known literary source: it was based on Alfred de Musset's poem "Rolla," published in 1833 and 1840. The poem, a paradigm of July Monarchy romanticism, chronicles the disgrace that befalls Jacques Rolla, a son of the bourgeoisie, in the big city. The narrative of his decline — he squandered his fortune and committed suicide — is interleaved with lamentations over the moral and spiritual decadence of contemporary life. Thenineteen-year-old Rolla becomes the "most debauched man" in Paris, "where vice is the cheapest, the oldest and the most fertile in the world." The poem tells a second story as well, that of Marie (or Maria or Marion), a pure young girl who becomes a degraded urban prostitute. Her story amplifies the poet's theme — a world in moral disarray - and provides the instrument of, and a sympathetic companion for, Rolla's climactic self-destruction. Musset is clear about his young prostitute's status: she was forced into a prostitution de la misère by economic circumstances ("what had debased her was, alas, poverty /And not love of gold"), and he frequently distinguishes her situation from that of the venal women of the courtesan rank ("Your loves are golden, lively and poetic; . . . you are not for sale at all"). He is also insistent about the tawdry circumstances in which the young woman had to practice her miserable profession ("the shameful curtains of that foul retreat," "in a hovel," "the walls of this gloomy and ramshackle room"). The segments of the poem from which Gervex drew his story — and which were published in press reviews of the painting — are these: With a melancholy eye Rolla gazed on The beautiful Marion asleep in her wide bed; In spite of himself, an unnameable and diabolical horror Made him tremble to the bone. Marion had cost dearly. — To pay for his night He had spent his last coins. His friends knew it. And he, on arriving, Had taken their hand and given his word that In the morning no one would see him alive. When Rolla saw the sun appear on the roofs, He went and leaned out the window. Rolla turned to look at Marie. She felt exhausted, and had fallen asleep. And thus both fled the cruelties of fate, The child in sleep, and the man in death! It was a moment of inaction, then, that Gervex chose to paint - that of weary repose for her and melancholic contemplation for Rolla, following the night of paid sex and just prior to his suicide.

Where were you yesterday?" "Yesterday? Where was I-let me see...." "I thought you took a powder." "Me? How could that be?" "You mean, you wouldn't run out on me?" Run out on fragrant, sexual, high-minded Ramona? Never in a million years. Ramona had passed through the hell of profligacy and attained the seriousness of pleasure. For when will we civilized beings become really serious? said Kierkegaard. Only when we have known hell through and through. Without this, hedonism and frivolity will diffuse hell through all our days. Ramona, however, does not believe in any sin but the sin against the body, for her the true and only temple of the spirit. "But you did leave town yesterday," said Ramona. "How do you know-are you having me tailed by a private eye?" "Miss Schwartz saw you in Grand Central with a valise in your hand." "Who? Ramona said, "Perhaps some lovely woman scared you on the train, and you turned back to your Ramona." "Oh..." said Herzog. Her theme was her power to make him happy. Thinking of Ramona with her intoxicating eyes and robust breasts, her short but gentle legs, her Carmen airs, thievishly seductive, her skill in the sack (defeating invisible rivals), he felt she did not exaggerate. The facts supported her claim. "Well, were you running away?" she said. "Why should I? You're a marvelous woman, Ramona." "In that case you're being very odd, Moses." "Well, I suppose I am one of the odder beasts." "But I know better than to be proud and demanding.” “Life has taught me to be humble." Moses shut his eyes and raised his brows. Here we go. "Perhaps you feel a natural superiority because of your education." "Education! But I don't know anything..." "Your accomplishments. You're in Who's Who. I'm only a merchant-a petit-bourgeois type." "You don't really believe this. Ramona." "Then why do you keep aloof, and make me chase you? I realize you want to play the field. After great disappointments, I've done it myself, for ego-reinforcement." "A high-minded intellectual ninny, square ..." "Who?" "Myself, I mean." She went on. "But as one recovers self-confidence, one learns the simple strength of simple desires.” “Please, Ramona, Moses wanted to say-you're lovely, fragrant, sexual, good to touch-everything. Ramona paused, and Herzog said, "It's true-I have a lot to learn.” Excerpt From: Bellow, Saul. “Herzog.” iBooks. This material may be protected by copyright.

The carciofini were good at the moment, no doubt about it, particularly the romagnolo, a variety of artichoke exclusive to the region, so sweet and tender it could even be eaten raw. Puntarelle, a local bitter chicory, would make a heavenly salad. In the Vini e Olio he found a rare Torre Ercolana, a wine that combined Cabernet and Merlot with the local Cesanese grape. The latter had been paired with the flavors of Roman cuisine for over a thousand years: they went together like an old married couple. There was spring lamb in abundance, and he was able to track down some good abbachio, suckling lamb that had been slaughtered even before it had tasted grass. From opportunities like these, he began to fashion a menu, letting the theme develop in his mind. A Roman meal, yes, but more than that. A springtime feast, in which every morsel spoke of resurgence and renewal, old flavors restated with tenderness and delicacy, just as they had been every spring since time began. He bought a bottle of oil that came from a tiny estate he knew of, a fresh pressing whose green, youthful flavors tasted like a bowl of olives just off the tree. He hesitated before a stall full of fat white asparagus from Bassano del Grappa, on the banks of the fast-flowing river Brenta. It was outrageously expensive, but worth it for such quality, he decided, as the stallholder wrapped a dozen of the pale spears in damp paper and handed it to Bruno with a flourish, like a bouquet of the finest flowers. His theme clarified itself the more he thought about it. It was to be a celebration of youth---youth cut short, youth triumphant, youth that must be seized and celebrated.

As we prepared for sleep that night I noticed that Lisa was staring at her reflection in the mirror. She looked as young now as the day I met her, no grey upon her jet black hair, face always pale, she rarely sun bathed, dark glittering eyes and finally pearly white teeth. What a woman, always passionate about her affairs and always interested in my work. Shame her family could not attend our wedding. I suppose that is the hazard of marrying a Slav, either the family is dead, scattered or too poor to fly to England. Still it was a happy wedding, a quiet one with a few friends from work. Lisa crawled into bed beside me; her body, always cold, quickly warmed to my touch. Why are women always cold when they first get into bed? We kissed for what seemed an age, caressing each other’s bodies until at last she pushed me onto my back, straddled me and smiled looking down into my eyes. She licked her lips and slowly leant forward. The next morning I checked my neck for any tell-tale signs of our love making. Again Lisa had bitten every inch of my body and left not a mark. I smiled down at her sleeping form, kissed her cheek and went to my study. I had term papers to mark and research for my next set of lectures. Lisa came into my study just after lunch. For a woman just out of bed she looked remarkably well, her hair was untangled, her cheeks full in bloom, there were no signs of tiredness in her eyes at all. I smiled at her as we kissed, then she told me of the theme for the dinner party. Eleven guests as usual and each one would have to be very special. I left her to set up the invitations and planning. This was going to be the Last supper revisited it seemed.

FEAR—THE ROOT OF VIOLENCE Some say that there are only two things in the world: God and fear; love and fear are the only two things. There’s only one evil in the world, fear. There’s only one good in the world, love. It’s sometimes called by other names. It’s sometimes called happiness or freedom or peace or joy or God or whatever. But the label doesn’t really matter. And there’s not a single evil in the world that you cannot trace to fear. Not one. Ignorance and fear, ignorance caused by fear, that’s where all the evil comes from, that’s where your violence comes from. The person who is truly nonviolent, who is incapable of violence, is the person who is fearless. It’s only when you’re afraid that you become angry. Think of the last time you were angry. Go ahead. Think of the last time you were angry and search for the fear behind it. What were you afraid of losing? What were you afraid would be taken from you? That’s where the anger comes from. Think of an angry person, maybe someone you’re afraid of. Can you see how frightened he or she is? He’s really frightened, he really is. She’s really frightened or she wouldn’t be angry. Ultimately, there are only two things, love and fear. In this retreat I’d rather leave it like this, unstructured and moving from one thing to another and returning to themes again and again, because that’s the way to really grasp what I’m saying. If it doesn’t hit you the first time, it might the second time, and what doesn’t hit one person might hit another. I’ve got different themes, but they are all about the same thing. Call it awareness, call it love, call it spirituality or freedom or awakening or whatever. It really is the same thing.

She took me through the parlors and the kitchen, and I marveled at the beautiful ceiling molding, the wooden banisters up to the second floor, the crystalline chandelier in the dining room. The furniture was tasteful and sparse, plastic over the fainting couches and coffee tables and wingback chairs, so that as they stood in stasis they wouldn't collect dust. The second floor was just as gorgeous, the rooms all themed in different flowers. The yellow daffodil room was my favorite. The wall with the headboard had an entire mural of huge daffodils blooming across it. Junie's handiwork, I was sure. Just like the mural on the side of Frank's Auto Shop, and the logo for the Grumpy Possum, and even Gail's bar scene. She showed me all the different rooms, each with a different flower theme and a different focal color--- lavender and coral and sage. The pink ones--- roses--- matched Junie's pastel hair.

Buddhist Psychology You can use enlightening Buddhist practices to transform your life. Unfortunately, many people do not know it, but the Buddhist Dharma, or teaching, is actually a scientific system of psychology, developed in India and further refined in Tibet. It is a psychology that works. I call it a „joyous science of the heart“ because it is based on the idea that while unenlightened life is full of suffering, you are completely capable of escaping from that suffering. You can get well. In fact, you already are well; you just need to awaken to that fact. And how do you do this? By analyzing your thought patterns. When you do, you realize that you are full of „misknowledge“ - misunderstandings of yourself and the world that lead to anger, discontent, and fear. The target of Buddhist practice and the constant theme of this book is the primal misconception that you are the center of the universe, that your „self“ is a fixed, constant, and bounded entity. When you meditate on enlightened insights into the true nature of reality and the boundlessness of the self, you develop new habits of thinking. You free yourself from the constraints of your habitual mind. In other words, you teach yourself to think differently. This in turn leads you to act differently. And voila! You are on the path to happiness, fulfillment, and even enlightenment. The battle for happiness is fought and won or lost primarily within the mind. The mind is the absolute key, both to enlightenment and to life. When your mind is peaceful, aware, and under your command, you will be securely happy. When your mind is unaware of its true nature, constantly in turmoil, and in command of you, you will suffer endlessly. This is the whole secret of the Dharma. If you recognize delusion, greed, anger, envy, and pride as the main enemies of your well-being and learn to focus your mind on overcomming them, you can install wisdom, generosity, tolerance, love, and altruism in their place. This is where enlightened psychology can be most useful. Psychology and philosophy are really one entity in Buddhism. They are called the inner science, the science of the human interior. In the flow of Indian history, it is fair to say that the Buddha was a great explorer of the human interior rather than some sort of religious prophet. He came into the world at a time when people were just beginning to experiment with self-exploration, but mostly in an escapist way, using their focus on the inner world to run away from the sufferings of life by entering a supposed realm of absolute quiet far removed from everday existence. The Buddha started out exploring that way too, but then realized the futility of escapism and discovered instead a way of being happier here and now. (pp. 32-33)

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

The therapist Terry Real described our well-worn behaviors as “our internalized family of origin. It’s our repertoire of relational themes.” People don’t have to tell you their stories with words because they always act them out for you. Often they project negative expectations onto the therapist, but if the therapist doesn’t meet those negative expectations, this “corrective emotional experience” with a reliable and benevolent person changes the patients; the world, they learn, turns out not to be their family of origin. If Charlotte works through her complicated feelings toward her parents with me, she’ll find herself increasingly attracted to a different type, one that might give her the unfamiliar experience she’s seeking with a compassionate, reliable, and mature partner. Until then, every time she meets an available guy who might love her back, her unconscious rejects his stability as “not interesting.” She still equates feeling loved not with peace or joy but with anxiety.

April 1 MORNING “Let Him kiss me with the kisses of His mouth.” — Song of Solomon 1:2 FOR several days we have been dwelling upon the Saviour’s passion, and for some little time to come we shall linger there. In beginning a new month, let us seek the same desires after our Lord as those which glowed in the heart of the elect spouse. See how she leaps at once to Him; there are no prefatory words; she does not even mention His name; she is in the heart of her theme at once, for she speaks of Him who was the only Him in the world to her. How bold is her love! it was much condescension which permitted the weeping penitent to anoint His feet with spikenard — it was rich love which allowed the gentle Mary to sit at His feet and learn of Him — but here, love, strong, fervent love, aspires to higher tokens of regard, and closer signs of fellowship. Esther trembled in the presence of Ahasuerus, but the spouse in joyful liberty of perfect love knows no fear. If we have received the same free spirit, we also may ask the like. By kisses we suppose to be intended those varied manifestations of affection by which the believer is made to enjoy the love of Jesus. The kiss of reconciliation we enjoyed at our conversion, and it was sweet as honey dropping from the comb. The kiss of acceptance is still warm on our brow, as we know that He hath accepted our persons and our works through rich grace. The kiss of daily, present communion, is that which we pant after to be repeated day after day, till it is changed into the kiss of reception, which removes the soul from earth, and the kiss of consummation which fills it with the joy of heaven. Faith is our walk, but fellowship sensibly felt is our rest. Faith is the road, but communion with Jesus is the well from which the pilgrim drinks. O lover of our souls, be not strange to us; let the lips of Thy blessing meet the lips of our asking; let the lips of Thy fulness touch the lips of our need, and straightway the kiss will be effected.

...the post-apocalyptic mode has long attracted writers not generally considered part of the science fiction tradition. It's one of the few subgenres of science fiction, along with stories of the near future (also friendly to satirists), that may be safely attempted by a mainstream writer without incurring too much damage to his or her credentials for seriousness. The anti-science fiction prejudice among some readers and writers is so strong that in reviewing a work of science fiction by a mainstream author a charitable critic will often turn to words such as 'parable' or 'fable' to warm the author's bathwater a little, and it is an established fact that a preponderance of religious imagery or an avowed religious intent can go a long way toward mitigating the science-fictional taint, which also helps explain the appeal to mainstream writers such a Walker Percy of the post-apocalyptic story, whose themes of annihilation and recreation are so easily indexed both to the last book of the New Testament and the first book of the Old. It's hard to imagine the author of Love in the Ruins writing a space opera.

rice cooker looked neat, too—when Cecilia wasn’t drawing up orders for her custom bullet journals, she loved cooking, so she’d probably want to try it. Maybe she could borrow Ojiichan’s phone and call her sisters to meet up— “Tessa-chan, over here!” Ojiichan hollered from the corner. “But, look!” Tessa gestured at the next shop. The sparkling clear displays of the arcade games reeled her in, teeming with a special kind of magic. The machines were stuffed with all sorts of plushies and even themed chocolate and snacks from her favorite animes. Ojiichan smiled. “We’re going to be late. I still have to fill out the paperwork for you two.” “Why do I need to register for an antique store?” Tessa asked. Couldn’t they spend time looking around Tokyo instead of just staying in a musty old shop? Jin’s jaw dropped, his eyes already glued to something. “Wait, we’re going here?” Tessa followed his gaze to the building Ojiichan was standing in front of. Exercise Land? That sounded like the polar opposite of cool. Slowly, she read the big poster board set in front: Starting at noon! Move to the beat, and join us for our most popular senior aerobics

Doubtless, if, at that time, I had paid more attention to what was in my mind when I pronounced the words "going to Florence, to Parma, to Pisa, to Venice,” I should have realised that what I saw was in no sense a town, but something as different from anything that I knew, something as delicious, as might be, for a human race whose whole existence had passed in a series of late winter afternoons, that inconceivable marvel, a morning in spring. These images, unreal, fixed, always alike, filling all my nights and days, differentiated this period in my life from those which had gone before it (and might easily have been confused with it by an observer who saw things only from without, that is to say who saw nothing), as in an opera a melodic theme introduces a novel atmosphere which one could never have suspected if one had done no more than read the libretto, still less if one had remained outside the theatre counting only the minutes as they passed. And besides, even from the point of view of mere quantity, in our lives the days are not all equal. To get through each day, natures that are at all highly strung, as was mine, are equipped, like motor-cars, with different gears. There are mountainous, arduous days, up which one takes an infinite time to climb, and downward-sloping days which one can descend at full tilt, singing as one goes. During this month—in which I turned over and over in my mind, like a tune of which one never tires, these visions of Florence, Venice, Pisa, of which the desire that they excited in me retained something as profoundly personal as if it had been love, love for a person—I never ceased to believe that they corresponded to a reality independent of myself, and they made me conscious of as glorious a hope as could have been cherished by a Christian in the primitive age of faith on the eve of his entry into Paradise. Thus, without my paying any heed to the contradiction that there was in my wishing to look at and to touch with the organs of my senses what had been elaborated by the spell of my dreams and not perceived by my senses at all—though all the more tempting to them, in consequence, more different from anything that they knew— it was that which recalled to me the reality of these visions that most inflamed my desire, by seeming to offer the promise that it would be gratified.

Healing is the way of the heart. This book is an invitation to open our heart. Healing is a love affair with life. Healing is pure love. Love is what creates healing. Spiritual healing is to be one with ourselves. And to be one with ourselves is to be in joy. Healing is to develop our inner being. Healing is to discover that which is already perfect within ourselves. It is to rediscover our inner life source. Spiritual healing is to be one with life. We are never really alone, it is our idea of a separate "I" that creates the feeling of being separate from life, from the Whole. In reality there is only one heart, a pulsating Existential heart. Our own heart pulsates in unity with the Existential heartbeats. We are all notes in the Existential music, and without our unique note the music would not be complete. We are all needed in the Whole; we all have our unique fragrance, quality and gifts to contribute to the Whole. More than 30 years ago, I had an individual consultation with a spiritual teacher. I did not have time to sit down before I got the question: "You are interested in healing, are you not?" It was the first time that I encountered the topic that would become my way and deep source of joy in life. This spiritual teacher finished the consultation saying: "You will be a fine healer." The art of healing is the psychology of being, the science of inner transformation. The psychology of being begins where Western psychology ends. It goes beyond Skinner, Freud, Jung, Rogers, Maslow and humanistic psychology. The psychology of being is the psychology of consciousness, a psychology for inner transformation. It is not basically a question of psychology, it is a question of being. The psychology of being begins where we are, and take us to everything that we can be. The underlying theme the psychology of being is meditation - but not meditation as a static technique - but as the capacity to BE with ourselves and others in a quality of watchful awareness, acceptance and realization. The art of being is a search beyond the personality. It a search beyond the thoughts, the emotions and the learned attitudes of the personality, to the inner being, to the depth within, which is hidden in ourselves. The inner being is a deep acceptance of ourselves as we are; the inner being is to be available to life. The inner being is to be in unity with life. This book is an invitation to meet the inner being, our inner source of love, joy, acceptance, humor, intuition, understanding, wisdom, truth, silence and creativity.

Obviously the most enduring way to make this commitment is through marriage. Yet because sexual liberals deny the differences between the sexes, their explanations of why there are marriages and why marriage is needed and desired ignore the central truth of marriage: that it is built on sex roles. Pressed to explain the institution, they respond vaguely that human beings want "structure" or desire "intimacy." But however desirable in marriage, these values are not essential causes or explanations of it. In many cultures, the wife and husband share very few one-to-one intimacies. Ties with others of the same sex--or even the opposite sex--often offer deeper companionship. The most intimate connections are between mothers and their children. In all societies, male groups provide men with some of their most emotionally gratifying associations. Indeed, intimacy can deter or undermine wedlock. In the kibbutz, for example, where unrelated boys and girls are brought up together and achieve a profound degree of companionate feeling, they never marry members of the same child-rearing group. In the many cultures where marriages are arranged, the desire for intimacy is subversive of marriage. Similarly, man's "innate need for structure" can be satisfied in hundreds of forms of organization. The need for structure may explain all of them or none of them, but it does not tell us why, of all possible arrangements, marriage is the one most prevalent. It does not tell us why, in most societies, marriage alone is consecrated in a religious ceremony and entails a permanent commitment. As most anthropologists see it, however, the reason is simple. The very essence of marriage, Bronislaw Malinowski wrote, is not structure and intimacy; it is "parenthood and above all maternity." The male role in marriage, as Margaret Mead maintained, "in every known human society, is to provide for women and children." In order to marry, in fact, Malinowski says that almost every human society first requires the man "to prove his capacity to maintain the woman." Marriage is not simply a ratification of an existing love. It is the conversion of that love into a biological and social continuity. . . . Regardless of what reasons particular couples may give for getting married, the deeper evolutionary and sexual propensities explain the persistence of the institution. All sorts of superficial variations--from homosexual marriage to companionate partnership--may be played on the primal themes of human life. But the themes remain. The natural fulfillment of love is a child; the fantasies and projects of the childless couple may well be considered as surrogate children.

Variations on a tired, old theme Here’s another example of addict manipulation that plagues parents. The phone rings. It’s the addict. He says he has a job. You’re thrilled. But you’re also apprehensive. Because you know he hasn’t simply called to tell you good news. That kind of thing just doesn’t happen. Then comes the zinger you knew would be coming. The request. He says everybody at this company wears business suits and ties, none of which he has. He says if you can’t wire him $1800 right away, he won’t be able to take the job. The implications are clear. Suddenly, you’ve become the deciding factor as to whether or not the addict will be able to take the job. Have a future. Have a life. You’ve got that old, familiar sick feeling in the pit of your stomach. This is not the child you gladly would have financed in any way possible to get him started in life. This is the child who has been strung out on drugs for years and has shown absolutely no interest in such things as having a conventional job. He has also, if you remember correctly, come to you quite a few times with variations on this same tired, old story. One variation called for a car so he could get to work. (Why is it that addicts are always being offered jobs in the middle of nowhere that can’t be reached by public transportation?) Another variation called for the money to purchase a round-trip airline ticket to interview for a job three thousand miles away. Being presented with what amounts to a no-choice request, the question is: Are you going to contribute in what you know is probably another scam, or are you going to say sorry and hang up? To step out of the role of banker/victim/rescuer, you have to quit the job of banker/victim/rescuer. You have to change the coda. You have to forget all the stipulations there are to being a parent. You have to harden your heart and tell yourself parenthood no longer applies to you—not while your child is addicted. Not an easy thing to do. P.S. You know in your heart there is no job starting on Monday. But even if there is, it’s hardly your responsibility if the addict goes well dressed, badly dressed, or undressed. Facing the unfaceable: The situation may never change In summary, you had a child and that child became an addict. Your love for the child didn’t vanish. But you’ve had to wean yourself away from the person your child has become through his or her drugs and/ or alcohol abuse. Your journey with the addicted child has led you through various stages of pain, grief, and despair and into new phases of strength, acceptance, and healing. There’s a good chance that you might not be as healthy-minded as you are today had it not been for the tribulations with the addict. But you’ll never know. The one thing you do know is that you wouldn’t volunteer to go through it again, even with all the awareness you’ve gained. You would never have sacrificed your child just so that you could become a better, stronger person. But this is the way it has turned out. You’re doing okay with it, almost twenty-four hours a day. It’s just the odd few minutes that are hard to get through, like the ones in the middle of the night when you awaken to find that the grief hasn’t really gone away—it’s just under smart, new management. Or when you’re walking along a street or in a mall and you see someone who reminds you of your addicted child, but isn’t a substance abuser, and you feel that void in your heart. You ache for what might have been with your child, the happy life, the fulfilled career. And you ache for the events that never took place—the high school graduation, the engagement party, the wedding, the grandkids. These are the celebrations of life that you’ll probably never get to enjoy. Although you never know. DON’T LET    YOUR KIDS  KILL  YOU  A Guide for Parents of Drug and Alcohol Addicted Children PART 2

Having studied workplace leadership styles since the 1970s, Kets de Vries confirmed that language is a critical clue when determining if a company has become too cultish for comfort. Red flags should rise when there are too many pep talks, slogans, singsongs, code words, and too much meaningless corporate jargon, he said. Most of us have encountered some dialect of hollow workplace gibberish. Corporate BS generators are easy to find on the web (and fun to play with), churning out phrases like “rapidiously orchestrating market-driven deliverables” and “progressively cloudifying world-class human capital.” At my old fashion magazine job, employees were always throwing around woo-woo metaphors like “synergy” (the state of being on the same page), “move the needle” (make noticeable progress), and “mindshare” (something having to do with a brand’s popularity? I’m still not sure). My old boss especially loved when everyone needlessly transformed nouns into transitive verbs and vice versa—“whiteboard” to “whiteboarding,” “sunset” to “sunsetting,” the verb “ask” to the noun “ask.” People did it even when it was obvious they didn’t know quite what they were saying or why. Naturally, I was always creeped out by this conformism and enjoyed parodying it in my free time. In her memoir Uncanny Valley, tech reporter Anna Wiener christened all forms of corporate vernacular “garbage language.” Garbage language has been around since long before Silicon Valley, though its themes have changed with the times. In the 1980s, it reeked of the stock exchange: “buy-in,” “leverage,” “volatility.” The ’90s brought computer imagery: “bandwidth,” “ping me,” “let’s take this offline.” In the twenty-first century, with start-up culture and the dissolution of work-life separation (the Google ball pits and in-office massage therapists) in combination with movements toward “transparency” and “inclusion,” we got mystical, politically correct, self-empowerment language: “holistic,” “actualize,” “alignment.

Psalm 34 * Theme: God pays attention to those who call on him. Whether God offers escape from trouble or help in times of trouble, we can be certain that he always hears and acts on behalf of those who love him. Author: David, after pretending to be insane in order to escape from King Achish (1 Samuel 21:10-15) A psalm of David, regarding the time he pretended to be insane in front of Abimelech, who sent him away.     1I will praise the LORD at all times.         I will constantly speak his praises. +     2I will boast only in the LORD;         let all who are helpless take heart. +     3Come, let us tell of the LORD’s greatness;         let us exalt his name together.     4I prayed to the LORD, and he answered me.         He freed me from all my fears.     5Those who look to him for help will be radiant with joy;         no shadow of shame will darken their faces. +     6In my desperation I prayed, and the LORD listened;         he saved me from all my troubles.     7For the angel of the LORD is a guard;         he surrounds and defends all who fear him. +     8Taste and see that the LORD is good.         Oh, the joys of those who take refuge in him! +     9Fear the LORD, you his godly people,         for those who fear him will have all they need. +    10Even strong young lions sometimes go hungry,         but those who trust in the LORD will lack no good thing. +    11Come, my children, and listen to me,         and I will teach you to fear the LORD. +    12Does anyone want to live a life         that is long and prosperous? +    13Then keep your tongue from speaking evil         and your lips from telling lies! +    14Turn away from evil and do good.         Search for peace, and work to maintain it. +    15The eyes of the LORD watch over those who do right;         his ears are open to their cries for help. +    16But the LORD turns his face against those who do evil;         he will erase their memory from the earth. +    17The LORD hears his people when they call to him for help.         He rescues them from all their troubles.    18The LORD is close to the brokenhearted;         he rescues those whose spirits are crushed. +    19The righteous person faces many troubles,         but the LORD comes to the rescue each time. +    20For the LORD protects the bones of the righteous;         not one of them is broken!    21Calamity will surely destroy the wicked,         and those who hate the righteous will be punished. +    22But the LORD will redeem those who serve him.         No one who takes refuge in him will be condemned.

Our patients predict the culture by living out consciously what the masses of people are able to keep unconscious for the time being. The neurotic is cast by destiny into a Cassandra role. In vain does Cassandra, sitting on the steps of the palace at Mycenae when Agamemnon brings her back from Troy, cry, “Oh for the nightingale’s pure song and a fate like hers!” She knows, in her ill-starred life, that “the pain flooding the song of sorrow is [hers] alone,” and that she must predict the doom she sees will occur there. The Mycenaeans speak of her as mad, but they also believe she does speak the truth, and that she has a special power to anticipate events. Today, the person with psychological problems bears the burdens of the conflicts of the times in his blood, and is fated to predict in his actions and struggles the issues which will later erupt on all sides in the society. The first and clearest demonstration of this thesis is seen in the sexual problems which Freud found in his Victorian patients in the two decades before World War I. These sexual topics‒even down to the words‒were entirely denied and repressed by the accepted society at the time. But the problems burst violently forth into endemic form two decades later after World War II. In the 1920's, everybody was preoccupied with sex and its functions. Not by the furthest stretch of the imagination can anyone argue that Freud "caused" this emergence. He rather reflected and interpreted, through the data revealed by his patients, the underlying conflicts of the society, which the “normal” members could and did succeed in repressing for the time being. Neurotic problems are the language of the unconscious emerging into social awareness. A second, more minor example is seen in the great amount of hostility which was found in patients in the 1930's. This was written about by Horney, among others, and it emerged more broadly and openly as a conscious phenomenon in our society a decade later. A third major example may be seen in the problem of anxiety. In the late 1930's and early 1940's, some therapists, including myself, were impressed by the fact that in many of our patients anxiety was appearing not merely as a symptom of repression or pathology, but as a generalized character state. My research on anxiety, and that of Hobart Mowrer and others, began in the early 1940's. In those days very little concern had been shown in this country for anxiety other than as a symptom of pathology. I recall arguing in the late 1940's, in my doctoral orals, for the concept of normal anxiety, and my professors heard me with respectful silence but with considerable frowning. Predictive as the artists are, the poet W. H. Auden published his Age of Anxiety in 1947, and just after that Bernstein wrote his symphony on that theme. Camus was then writing (1947) about this “century of fear,” and Kafka already had created powerful vignettes of the coming age of anxiety in his novels, most of them as yet untranslated. The formulations of the scientific establishment, as is normal, lagged behind what our patients were trying to tell us. Thus, at the annual convention of the American Psychopathological Association in 1949 on the theme “Anxiety,” the concept of normal anxiety, presented in a paper by me, was still denied by most of the psychiatrists and psychologists present. But in the 1950's a radical change became evident; everyone was talking about anxiety and there were conferences on the problem on every hand. Now the concept of "normal" anxiety gradually became accepted in the psychiatric literature. Everybody, normal as well as neurotic, seemed aware that he was living in the “age of anxiety.” What had been presented by the artists and had appeared in our patients in the late 30's and 40's was now endemic in the land.