Medium Best Quotes

Worldly Wisdom Do not stay in the field! Nor climb out of sight. The best view of the world Is from a medium height.

An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.

Stop micromanaging your life and just live it; joy and meaning will follow. Find the happy medium between being daring and responsible. Cultivate that balance. Do your best. Be good to yourself, even when—especially when—life isn’t being good to you.

So it's back once more, back up the slope. Why do they always ruin my rope with their cuts? I felt so ready the other day, Had a real foretaste of eternity In my guts. Spoonfeeding me yet another sip from life's cup. I don't want it, won't take any more of it. Let me throw up. Life is medium rare and good, I see, And the world full of soup and bread, But it won't pass into the blood for me, Just goes to my head. It makes me ill, though others it feeds; Do see that I must deny it! For a thousand years from now at least I'm keeping a diet.

Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.

The price a world language must be prepared to pay is submission to many different kinds of use. The African writer should aim to use English in a way that brings out his message best without altering the language to the extent that its value as a medium of international exchange will be lost. He should aim at fashioning out an English which is at once universal and able to carry his peculiar experience.

Merely because you have got something to say that may be of interest to others does not free you from making all due effort to express that something in the best possible medium and form." [Letter to Max E. Feckler, Oct. 26, 1914]

John knew the best love stories were the ones that were never told. For no medium—no book, no poem, no play or movie—could ever tell a love story in its entirety, its full span and depth, from the exhilarating beginning to the tragic ending of all love stories. He didn’t mind if his life was forgotten—it had never occurred to him to want to be remembered—as long as he had truly lived, and to live life without experiencing one great love story was to not live at all.

What?” he asked, finishing the second of his nine-ounce steaks, medium rare. “Why are you looking at me that way?” [...] I sighed theatrically, resting my chin on my cupped hands and bracing my elbows on the table. “You are too gorgeous, you know?” I said it just loud enough that the people who’d been watching us surreptitiously could hear me. Unholy laughter lit his eyes—telling me he’d been noticing the looks we’d been getting. But his face was completely serious, as he purred, “So. Am I worth what you paid for me, baby?” I loved it when he played along with me. I sighed again, a sound that I drew up from my toes, a contented, happy sound. I’d get him back for that “baby.” Just see if I didn’t. “Oh, yes,” I told our audience. “I’ll tell Jesse that she was right. Go for the sexy beast, she told me. If you’re going to shell out the money, don’t settle.” He threw back his head and laughed until he had to wipe tears of hilarity off his face. “Jeez, Mercy,” he said. “The things you say.” Then he leaned across the table and kissed me. A while later he pulled back, grinned at me, and sat back in his chair. I had to catch my breath before I spoke. “Best five bucks I ever spent,” I told him fervently.

The human mind delights in grand conceptions of supernatural beings. And the sea is precisely their best vehicle, the only medium through which these giants (against which terrestrial animals, such as elephants or rhinoceroses, are as nothing) can be produced or developed.

Humor as a system of communications and as a probe of our environment—of what's really going on—affords us our most appealing anti-environmental tool. It does not deal in theory, but in immediate experience, and is often the best guide to changing perceptions.

I used to want to understand how the world worked. Little things, like heavy stuff goes at the bottom of the laundry bag, or big things, like the best way to get a boy to chase you is to ignore him, or medium things, like if you cut an onion under running water your eyes won't sting, and if you wash your fingers afterwards with lemon-juice they won't stink. I used to want to know all the secrets, and every time I learned one, I felt like I'd taken--a step. On a journey. To a place. A destination: to be the kind of person who knew all this stuff, the way everyone around me seemed to know all this stuff. I thought that once I knew enough secrets, I'd be like them.

It is customary for adults to forget how hard and dull school is. The learning by memory all the basic things one must know is the most incredible and unending effort. Learning to read is probably the most difficult and revolutionary thing that happens to the human brain and if you don't believe that watch an illiterate adult try to do it. School is not so easy and it is not for the most part very fun, but then, if you are very lucky, you may find a teacher. Three real teachers in a lifetime is the very best of luck. I have come to believe that a great teacher is a great artist and that there are as few as there are any other great artists. Teaching might even be the greatest of the arts since the medium is the human mind and spirit. My three had these things in common. They all loved what they were doing. They did not tell - they catalyzed a burning desire to know. Under their influence, the horizons sprung wide and fear went away and the unknown became knowable. But most important of all, the truth, that dangerous stuff, became beautiful and precious.

It is a commonplace that happiness is not best achieved by those who seek it directly; and it would seem that the same is true of the good. In thought, at any rate, those who forget good and evil and seek only to know the facts are more likely to achieve good than those who view the world through the distorting medium of their own desires.

Observation is the best medium of learning,

For some young artists, it can take a bit of time to discover which tools (which medium, or genre, or career pathway) will truly suit them best. For me, although many different art forms attract me, the tools that I find most natural and comfortable are language and oil paint; I've also learned that as someone with a limited number of spoons it's best to keep my toolbox clean and simple. My husband, by contrast, thrives with a toolbox absolutely crowded to bursting, working with language, voice, musical instruments, puppets, masks animated on a theater stage, computer and video imagery, and half a dozen other things besides, no one of these tools more important than the others, and all somehow working together. For other artists, the tools at hand might be needles and thread; or a jeweller's torch; or a rack of cooking spices; or the time to shape a young child's day.... To me, it's all art, inside the studio and out. At least it is if we approach our lives that way.

When we are caught up in likes and dislikes, in strong opinions and rigid habits, we cannot work at our best, and we cannot know real security either. We live at the mercy of external circumstances: if things go our way, we get elated; if things do not go our way, we get depressed. It is only the mature person – the man or woman who is not conditioned by compulsive likes and dislikes, habits and opinions – who is really free in life. Such people are truly spontaneous. They can see issues clearly rather than through the distorting medium of strong opinions, and they can respond to people as they are and not as they imagine them to be.

Fragile as reason is and limited as law is as the expression of the institutionalized medium of reason, that’s all we have standing between us and the tyranny of mere will and the cruelty of unbridled, unprincipled, undisciplined feeling.” Justice Felix Frankfurter, 1962

Silence is, usually, another form of communication but without all the feeling or impression produced on the ear by a set of vibrations that propagate through an elastic medium such as air. But essentially, it's the same form of communication, just branded with a different name.

He is all my art to me now," said the painter gravely. "I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way—I wonder will you understand me?—his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'—who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad—for he seems to me little more than a lad, though he is really over twenty— his merely visible presence—ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body— how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me! You remember that landscape of mine, for which Agnew offered me such a huge price but which I would not part with? It is one of the best things I have ever done. And why is it so? Because, while I was painting it, Dorian Gray sat beside me. Some subtle influence passed from him to me, and for the first time in my life I saw in the plain woodland the wonder I had always looked for and always missed.

Nova … no, Nightmare. He needed to start thinking of her as Nightmare. She wouldn’t even be housed temporarily at headquarters or the medium-security prison that was a few miles outside the city limits, like criminals sometimes were while it was decided the best placement for them.

Islam is not a native calling settled for spreading its principles in one specific medium, and it is not a sectarian or communal calling, either, particular of one group of people. It is rather a universal appeal. And for that, it is not in our welfare the continuation of war: that which hinders preachers from conveying the message of Islam to people around the globe, and which sends people away worrying about what has befallen them in the aftermath of war, instead of pondering the teachings of this religion. Therefore, Islam favors peace, abides by law, and ensures security and order. For when such circumstances exist, people are free to present themselves accurately, and free to believe and choose, and think and decide upon what is best for them.

But in dozens and dozens of studies, Latham and Locke found that setting goals increased performance and productivity 11 to 25 percent.5 That’s quite a boost. If an eight-hour day is our baseline, that’s like getting two extra hours of work simply by building a mental frame (aka a goal) around the activity. But not every goal is the same. “We found that if you want the largest increase in motivation and productivity,” says Latham, “then big goals lead to the best outcomes. Big goals significantly outperform small goals, medium-sized goals, and vague goals. It comes down to attention and persistence—which are two of the most important factors in determining performance. Big goals help focus attention, and they make us more persistent. The result is we’re much more effective when we work, and much more willing to get up and try again when we fail.

The best way to find out if something needs to be in the picture is to leave it out.

Love EVERYONE! Best self-protection around! And it's free!

Do not stay in the field! Nor climb out of sight. The best view of the world Is from a medium height.

Spanish is the language of the early morning in Manhattan. Frightened people become angry people - as history teaches us again and again. The best of traveling companions: relentlessly curious, tireless and totally without fear.

Advice? Fail constantly. Because the word doesn't mean what you think it means, especially when you're an artist. I use the word artist to mean everything from songwriting to writing a novel to even writing video games. Anything that tells a story, which is almost any medium. Gotta take risks, you gotta go through multiple drafts which means you have to FAIL, a lot. So you won't always get the reaction you always want from every single person, so when you lose that fear of failure, when you stop even thinking of it as failure, and you push yourself farther, you'll take bigger risks, and eventually, after about six or seven hundred rejections, you'll find success. And you'll find a way of conveying what you really want to say, in the best manner.

The medium dictates the style of the show, and transferring from one to another means you're going against the grain the whole time. It's the point where you go against the grain that you come up with the best bits. The bits that were the easiest to transfer were the least interesting bits of the TV show." —Douglas Adams

There are four things a person needs for success: a medium amount of intelligence, a bit of imagination, self-confidence and failure. For once you taste failure, you have no fear. You can take risks more easily. Then You don't want to snuggle in your comfort zone anymore-you are ready to fly. And Success is about flying, not snuggling, God said. God sighed before speaking again. I think you need to understand how my system works. You see I have a contract with all human beings. you do your best, and every now and then, I will come behind to give you a bonus push. But it has to begin with you, For otherwise I can't distinguish who needs my help most

Healing Foods When you’re looking to boost the immune system and support the reproductive system, the best foods to concentrate on are wild blueberries, sesame tahini, avocados, black beans, asparagus, apples, spinach, black grapes, and cucumbers. They’ll help by variously providing antioxidants, preventing hot flashes, providing critical nutrients to fortify vital organs, reducing inflammation, and keeping hormone levels balanced. Herbs and Supplements to Address General Symptoms Silver hydrosol: kills viruses, bacteria, and other microbes on contact and supports the immune system. Zinc: kills viruses, boosts the immune system, and helps protect the endocrine system. Licorice root: aids the adrenal glands and helps balance the body’s levels of cortisol and cortisone. L-lysine: impairs the ability of virus cells to move and reproduce. Vitamin B12 (as methylcobalamin and/or adenosylcobalamin): strengthens the central nervous system. Nascent iodine: stabilizes and strengthens the thyroid and the rest of the endocrine system. Ashwagandha: fortifies the adrenal glands and helps balance the production of cortisol.

A cell phone rang from the end table to my right and Kristen bolted up straight. She put her beer on the coffee table and dove across my lap for her phone, sprawling over me. My eyes flew wide. I’d never been that close to her before. I’d only ever touched her hand. If I pushed her down across my knees, I could spank her ass. She grabbed her phone and whirled off my lap. “It’s Sloan. I’ve been waiting for this call all day.” She put a finger to her lips for me to be quiet, hit the Talk button, and put her on speaker. “Hey, Sloan, what’s up?” “Did you send me a potato?” Kristen covered her mouth with her hand and I had to stifle a snort. “Why? Did you get an anonymous potato in the mail?” “Something is seriously wrong with you,” Sloan said. “Congratulations, he put a ring on it. PotatoParcel.com.” She seemed to be reading a message. “You found a company that mails potatoes with messages on them? Where do you find this stuff?” Kristen’s eyes danced. “I don’t know what you’re talking about. Do you have the other thing though?” “Yeeeess. The note says to call you before I open it. Why am I afraid?” Kristen giggled. “Open it now. Is Brandon with you?” “Yes, he’s with me. He’s shaking his head.” I could picture his face, that easy smile on his lips. “Okay, I’m opening it. It looks like a paper towel tube. There’s tape on the—AHHHHHH! Are you kidding me, Kristen?! What the hell!” Kristen rolled forward, putting her forehead to my shoulder in laughter. “I’m covered in glitter! You sent me a glitter bomb? Brandon has it all over him! It’s all over the sofa!” Now I was dying. I covered my mouth, trying to keep quiet, and I leaned into Kristen, who was howling, our bodies shaking with laughter. I must not have been quiet enough though. “Wait, who’s with you?” Sloan asked. Kristen wiped at her eyes. “Josh is here.” “Didn’t he have a date tonight? Brandon told me he had a date.” “He did, but he came back over after.” “He came back over?” Her voice changed instantly. “And what are you two doing? Remember what we talked about, Kristen…” Her tone was taunting. Kristen glanced at me. Sloan didn’t seem to realize she was on speaker. Kristen hit the Talk button and pressed the phone to her ear. “I’ll call you tomorrow. I love you!” She hung up on her and set her phone down on the coffee table, still tittering. “And what did you two talk about?” I asked, arching an eyebrow. I liked that she’d talked about me. Liked it a lot. “Just sexually objectifying you. The usual,” she said, shrugging. “Nothing a hot fireman like you can’t handle.” A hot fireman like you.I did my best to hide my smirk. “So do you do this to Sloan a lot?” I asked. “All the time. I love messing with her. She’s so easily worked up.” She reached for her beer. I chuckled. “How do you sleep at night knowing she’ll be finding glitter in her couch for the next month?” She took a swig of her beer. “With the fan on medium.” My laugh came so hard Stuntman Mike looked up and cocked his head at me. She changed the channel and stopped on HBO. Some show. There was a scene with rose petals down a hallway into a bedroom full of candles. She shook her head at the TV. “See, I just don’t get why that’s romantic. You want flower petals stuck to your ass? And who’s gonna clean all that shit up? Me? Like, thanks for the flower sex, let’s spend the next half an hour sweeping?” “Those candles are a huge fire hazard.” I tipped my beer toward the screen. “Right? And try getting wax out of the carpet. Good luck with that.” I looked at the side of her face. “So what do you think is romantic?” “Common sense,” she answered without thinking about it. “My wedding wouldn’t be romantic. It would be entertaining. You know what I want at my wedding?” she said, looking at me. “I want the priest from The Princess Bride. The mawage guy.

Who had the bigger boat, wore the better outfit, got the best table seemed all that mattered. There were decade-old feuds over casual cracks long forgotten by everyone but the principals. They circled each other still—waiting to identify a weakness—looking for somewhere and some way to strike. People jockeyed for position, cut each other’s throats over the most petty, nonsensical shit imaginable. This from the people who, it gradually began to dawn on me, actually ran the world.

MAKES: 2 quarts COOKING METHOD: stove COOKING TIME: 20 minutes This is an all-purpose barbecue sauce, with a distinct garlic and tomato flavor. We have used this recipe to rave reviews at the James Beard Foundation and the American Institute of Wine and Food’s “Best Ribs in America” competition. Use it as a finishing glaze or serve it on the side as a dip for any type of barbecue. 2 TABLESPOONS OLIVE OIL ¼ CUP CHOPPED ONION 1 TEASPOON FRESH MINCED GARLIC 4 CUPS KETCHUP 1⅓ CUPS DARK BROWN SUGAR 1 CUP VINEGAR 1 CUP APPLE JUICE ¼ CUP HONEY 1½ TABLESPOONS WORCESTERSHIRE SAUCE 1½ TABLESPOONS LIQUID SMOKE 1 TEASPOON SALT 1 TEASPOON BLACK PEPPER 1 TEASPOON CAYENNE PEPPER 1 TEASPOON CELERY SEED Heat the olive oil in a large nonreactive saucepan over medium heat. Add the onion and garlic and lightly sauté. Stir in the remaining ingredients and heat until the sauce bubbles and starts to steam. Remove from the heat and cool to room temperature. Transfer to a tightly covered jar or plastic container and store refrigerated for up to 2 weeks.

Nowhere is the sense of medium felt more strongly, even by the casual reader, than in a story about to end. For the novelist the problem is no longer how to tell his tale, but how to close it down; how to switch imaginative energies which have been used in sustaining the tale, into energies which will not just stop it, but will resolve it. The process of telling must be made to predicate its own conclusion. For the reader, in sight of an ending, the mode of attention shifts, the rhythm alters, and a pressure of significance begins to build up behind the closing chapters. The pace of the narrative begins to slow, the 'ever after' looms, past and present emerge in ever sharper juxtaposition. It is this heightened attention to the medium that characterises the ending and we are not surprised to find that for some novelists 'endings' seem to play false to the narrative which leads to them. 'Conclusions are the weak points of most authors', George Eliot wrote, 'but some of the fault must lie in the very nature of a conclusion which is at best a negation'.

Madame Blavatsky affirmed long ago that "your best, your most powerful mediums, have all suffered in health and body and mind." Other authorities have stated that mediumship, while sometimes culminating in insanity, leads frequently to the atrophy of brain tissue, the degeneracy of mental powers and increasing egotism and emotionalism. Such testimony tallies, indirectly, with the contaminating presence of hungry ghosts. If mediumship is indeed synonymous with negativity and disintegration, only dissolute astral beings would participate in such a process.

In this section I have tried to demonstrate that Darwinian thinking does live up to its billing as universal acid: it turns the whole traditional world upside down, challenging the top-down image of designs flowing from that genius of geniuses, the Intelligent Designer, and replacing it with the bubble-up image of mindless, motiveless cyclical processes churning out ever-more robust combinations until they start replicating on their own, speeding up the design process by reusing all the best bits over and over. Some of these earliest offspring eventually join forces (one major crane, symbiosis), which leads to multicellularity (another major crane), which leads to the more effective exploration vehicles made possible by sexual reproduction (another major crane), which eventually leads in one species to language and cultural evolution (cranes again), which provide the medium for literature and science and engineering, the latest cranes to emerge, which in turn permits us to “go meta” in a way no other life form can do, reflecting in many ways on who and what we are and how we got here, modeling these processes in plays and novels, theories and computer simulations, and ever-more thinking tools to add to our impressive toolbox. This perspective is so widely unifying and at the same time so generous with detailed insights that one might say it’s a power tool, all on its own. Those who are still strangely repelled by Darwinian thinking must consider the likelihood that if they try to go it alone with only the hand tools of tradition, they will find themselves laboring far from the cutting edge of research on important phenomena as diverse as epidemics and epistemology, biofuels and brain architecture, molecular genetics, music, and morality.

con Zucchine alla Nerano — SERVES 4 — About 16fl oz sunflower oil or vegetable oil, or, if you choose, olive oil 8 to 10 small zucchine (courgettes) 75g chopped fresh basil Sea salt to taste Extra virgin olive oil 500g spaghetti 200g grated Parmigiano-Reggiano • Put the sunflower oil in a large pot and bring to a low boil over medium-high heat. • Slice the zucchine into thin rounds and fry in the oil until they are golden brown. Remove and set aside on paper towels. • Sprinkle with basil and salt. • Transfer to a bowl and drizzle liberally with olive oil. • Boil the pasta until al dente and strain, reserving about two cupfuls of the pasta water. • Place the cooked pasta in a large pan or pot over low heat along with the zucchine mixture and combine gently. Add the pasta water, a little at a time, to create a creamy texture. You may not use all of the pasta water. Now add some of the Parmigiano to the mixture and continue to combine by stirring gently and tossing. When the mixture has a slight creaminess, remove from the stove and serve immediately. Note: The zucchine mixture can be refrigerated for about 5 days for use at a later date. Best to bring it to room temperature before using.

(On D.W Griffith's The Birth of a Nation) This was the one time in movie history that a man of great ability worked freely, in an unspoiled medium, for an unspoiled audience, on a majestic theme which involved all that he was; and brought to it, besides his abilities as an inventor and artist, absolute passion, pity, courage, and honesty. “The Birth of a Nation” is equal with Brady’s photographs, Lincoln’s speeches, Whitman’s war poems; for all its imperfections and absurdities it is equal, in fact, to the best work that has been done in this country. And among moving pictures it is alone, not necessarily as “the greatest” — whatever that means — but as the one great epic, tragic film.

CONDENSATION COVERS THE walls, dimpling into tiny individual drops that follow an almost fractal pattern, like someone has been writing out the secrets of the universe in the most transitory medium they can find. The smell of damp steel assaults my nose as I walk the hall, uncomfortable boots clumping heavily with every step I force myself to take. The space is tight, confined, unyielding; it is like living inside a coral reef, trapped by the limits of our own necessary shells. We are constantly envious of those who escape its limitations, and we fear for them at the same time, wishing them safe return to the reef, where they can be kept away from all the darkness and predations of the open sea.

Cilantro: eat half a cup a day of this herb as-is, sprinkled on salads, or in a smoothie. Parsley: eat a quarter cup a day of this herb as-is, sprinkled on salads, or in a smoothie. Zeolite: buy this mineralized clay in liquid form. Spirulina (preferably from Hawaii): if it’s in powder form (which is best for removal of metals from the gut), mix one teaspoon daily into water or a smoothie. Garlic: eat two fresh cloves a day. Sage: eat two tablespoons a day. L-glutamine: if it’s in powder form (which is preferable for removal of metals from the gut), mix one teaspoon daily into water or a smoothie. Plantain leaf: brew this herb to make tea and drink a cup a day. Red clover blossom: brew two tablespoons of these flower blossoms to make two cups of tea a day.

Is there something fundamentally, ethically … wrong about a meal so Pantagruelian in its ambition and proportions? Other than the “people are starving in Africa” argument, and the “250,000 people lost their jobs in America last month alone” argument, there’s the fact that they must necessarily trim off about 80 percent of the fish or bird to serve that perfectly oblong little nugget of deliciousness on the plate. There’s the unavoidable observation that it’s simply more food and alcohol than the human body is designed to handle. That you will, after even the best of times, the most wonderful of such meals, need to flop onto your bed, stomach roiling with reflux, the beginnings of a truly awful hangover forming in your skull, farting and belching like a medieval friar.

The whole suggestion is predicated on a damnable fucking lie—the BIG lie, actually—one which Richman himself happily helped create and which he works hard, on a daily basis, to keep alive. See … it makes for a better article when you associate the food with a personality. Richman, along with the best and worst of his peers, built up these names, helped make them celebrities by promoting the illusion that they cook—that if you walk into one of dozens of Jean-Georges’s restaurants, he’s somehow back there on the line, personally sweating over your halibut, measuring freshly chopped herbs between thumb and forefinger. Every time someone writes “Mr. Batali is fond of strong, assertive flavors” (however true that might be) or “Jean Georges has a way with herbs” and implies or suggests that it was Mr. Batali or Mr. Vongerichten who actually cooked the dish, it ignores the reality, if not the whole history, of command and control and the creative process in restaurant kitchens. While helpful to chefs, on the one hand, in that the Big Lie builds interest and helps create an identifiable brand, it also denies the truth of what is great about them: that there are plenty of great cooks in this world—but not that many great chefs. The word “chef” means “chief.” A chef is simply a cook who leads other cooks. That quality—leadership, the ability to successfully command, inspire, and delegate work to others—is the very essence of what chefs are about. As Richman knows. But it makes better reading (and easier writing) to first propagate a lie—then, later, react with entirely feigned outrage at the reality.

But the artistic program of the Counter Reformation, the propagation of Catholicism through the medium of art among the braod masses of the population, is frist accomplished by the baroque. It is obvious that what was in the mind of the Council of Trent was not an art which, like mannerism, appealed merely to a thin stratum of intellectuals, but a people's art, such as the baroque in fact became. At the time time of the Council, mannerism was the most widespread and the most live form of art, but it in no way represented the particular direction which was best calculated to solve the artistic problems of the Counter Reformation. The fact that it had to yield to the baroque is to be explained, above all, by its inability to master the ecclesiastical tasks committed to art by the Counter Reformation.

Vegetarians.” Cookie muttered something under his breath. “I ain’t cooking no tofu. I’ll quit first.” “Fine by me. You cook what you like. I just wanted you to know.” “Vegetarians.” Cookie washed his hands, then attacked the lettuce. Frank walked into the kitchen. “Everything’s all set, boss. Tents, saddles, supplies. Cookie’s wagon is loaded, except for the fresh stuff. We have a schedule set up. You’ll get a delivery every afternoon.” Zane nodded. “You get a look at the folks?” His second in command did his best to keep his expression neutral, but Zane saw the corner of Frank’s mouth twitch. “You mean the fact that you’ve got to deal with Maya’s mouth, some old ladies and a couple of kids?” Cookie picked up a lethal-looking knife, then reached for several tomatoes. “You left out the good part, Zane. Tell him about the damn nut eaters.” When Frank looked confused, Zane shrugged. “Vegetarians.” This time Frank’s entire mouth jerked, but he controlled his humor. “Sounds interesting.” “Tits are interesting, boy,” Cookie growled. “Vegetarians are just plain stupid. If people want to eat leaves and grubs, then they should go live in the forest. Root around with those ugly truffle pigs and get away from my table.” “What time is supper?” Zane asked. Cookie snarled something under his breath, then walked to the back door and stuck his head out. “Billy, you got that there barbecue ready yet, boy?” “Yes, sir. Coals are hot and gray. You wanted them gray, didn’t you, Cookie?” “What color gray?” There was a pause. “Sort of medium.” “Huh.” Cookie closed the back door and grinned at Zane. “I screw with him because he makes it so easy.

You are the antidote to any received behaviour. Take a walk when you can. Be alone when you can. Talk to people you care about when you can. We try our best, and somehow it's not enough. We are broken people, the theater shows this. Yet we don't let being inadequate keep us from giving our very best every time. If professionalism has taken the practice of performing to a place where broken human behavior is not acceptable, then it is the medium that is broken, and not the other way around. For at our essence, at our core, we are not professionals. We are amateurs. We are myth, history and advertising, but, still, we exist; we are real, and we are simply beginners. It's how we thrive. We begin and therefore perpetually remain connected to the spark. We ask questions, we thirst, and we learn. And the dissenters complete us, causing us to be better.

I sometimes think, Harry, that there are only two eras of any importance in the world's history. The first is the appearance of a new medium for art, and the second is the appearance of a new personality for art also. What the invention of oil-painting was to the Venetians, the face of Antinous was to late Greek sculpture, and the face of Dorian Gray will some day be to me. It is not merely that I paint from him, draw from him, sketch from him. Of course, I have done all that. But he is much more to me than a model or a sitter. I won't tell you that I am dissatisfied with what I have done of him, or that his beauty is such that art cannot express it. There is nothing that art cannot express, and I know that the work I have done, since I met Dorian Gray, is good work, is the best work of my life. But in some curious way--I wonder will you understand me?--his personality has suggested to me an entirely new manner in art, an entirely new mode of style. I see things differently, I think of them differently. I can now recreate life in a way that was hidden from me before. 'A dream of form in days of thought'--who is it who says that? I forget; but it is what Dorian Gray has been to me. The merely visible presence of this lad--for he seems to me little more than a lad, though he is really over twenty--his merely visible presence--ah! I wonder can you realize all that that means? Unconsciously he defines for me the lines of a fresh school, a school that is to have in it all the passion of the romantic spirit, all the perfection of the spirit that is Greek. The harmony of soul and body--how much that is! We in our madness have separated the two, and have invented a realism that is vulgar, an ideality that is void. Harry! if you only knew what Dorian Gray is to me!

What is a novel, anyway? Only a very foolish person would attempt to give a definitive answer to that, beyond stating the more or less obvious facts that it is a literary narrative of some length which purports, on the reverse of the title page, not to be true, but seeks nevertheless to convince its readers that it is. It's typical of the cynicism of our age that, if you write a novel, everyone assumes it's about real people, thinly disguised; but if you write an autobiography everyone assumes you're lying your head off. Part of this is right, because every artist is, among other things, a con-artist. We con-artists do tell the truth, in a way; but, as Emily Dickenson said, we tell it slant. By indirection we find direction out -- so here, for easy reference, is an elimination-dance list of what novels are not. -- Novels are not sociological textbooks, although they may contain social comment and criticism. -- Novels are not political tracts, although "politics" -- in the sense of human power structures -- is inevitably one of their subjects. But if the author's main design on us is to convert us to something -- - whether that something be Christianity, capitalism, a belief in marriage as the only answer to a maiden's prayer, or feminism, we are likely to sniff it out, and to rebel. As Andre Gide once remarked, "It is with noble sentiments that bad literature gets written." -- Novels are not how-to books; they will not show you how to conduct a successful life, although some of them may be read this way. Is Pride and Prejudice about how a sensible middle-class nineteenth-century woman can snare an appropriate man with a good income, which is the best she can hope for out of life, given the limitations of her situation? Partly. But not completely. -- Novels are not, primarily, moral tracts. Their characters are not all models of good behaviour -- or, if they are, we probably won't read them. But they are linked with notions of morality, because they are about human beings and human beings divide behaviour into good and bad. The characters judge each other, and the reader judges the characters. However, the success of a novel does not depend on a Not Guilty verdict from the reader. As Keats said, Shakespeare took as much delight in creating Iago -- that arch-villain -- as he did in creating the virtuous Imogen. I would say probably more, and the proof of it is that I'd bet you're more likely to know which play Iago is in. -- But although a novel is not a political tract, a how-to-book, a sociology textbook or a pattern of correct morality, it is also not merely a piece of Art for Art's Sake, divorced from real life. It cannot do without a conception of form and a structure, true, but its roots are in the mud; its flowers, if any, come out of the rawness of its raw materials. -- In short, novels are ambiguous and multi-faceted, not because they're perverse, but because they attempt to grapple with what was once referred to as the human condition, and they do so using a medium which is notoriously slippery -- namely, language itself.

HERE ARE MY TEN BEEF NOODLE SOUP COMMANDMENTS: 1. Throw out the first: always flash-boil your bones and beef to get the “musk” out. I’ve gone back and forth on this a lot. I would sometimes brown the meat as opposed to boil, but decided in the end that for this soup, you gotta boil. If you brown, it’s overpowering. The lesson that beef noodle soup teaches you is restraint. Sometimes less is more if you want all the flavors in the dish to speak to you. 2. Make sure the oil is medium-high when the aromatics go down and get a slight caramelization. It’s a fine line. Too much caramelization and it becomes too heavy, but no caramelization and your stock is weak. 3. Rice wine can be tricky. Most people like to vaporize it so that all the alcohol is cooked off. I like to leave a little of the alcohol flavor ’cause it tends to cut through the grease a bit. 4. Absolutely no butter, lard, or duck fat. I’ve seen people in America try to “kick it up a notch” with animal fats and it ruins the soup. Peanut oil or die. 5. Don’t burn the chilis and peppercorns, not even a little bit. You want the spice and the numbness, but not the smokiness. 6. After sautéing the chilis/peppercorns, turn off the heat and let them sit in the oil to steep. This is another reason you want to turn the heat off early. 7. Strain your chilis/peppercorns out of the oil, put them in a muslin bag, and set them aside. Then add ginger/garlic/scallions to the oil in that order. Stage them. 8. I use tomatoes in my beef noodle soup, but I add them after the soup is finished and everything is strained. I let them hang out in the soup as it sits on the stove over the course of the day. I cut the tomatoes thin so they give off flavor without having to cook too long and so you can serve them still intact. 9. Always use either shank or chuck flap. Brisket is too tough. If you want to make it interesting, add pig’s foot or oxtail. 10. Do you. I don’t give you measurements with this because I gave you all the ingredients and the technique. The best part about beef noodle soup is that there are no rules. It just has to have beef, noodle, and soup. There are people that do clear broth beef noodle soup. Beef noodle soup with dairy. Beef noodle soup with pig’s blood. It would suck if you looked at my recipe and never made your own, ’cause everyone has a beef noodle soup in them. Show it to me.

From my vantage point in a busy working kitchen, when I’d see Emeril and Bobby on the tube, they looked like creatures from another planet—bizarrely, artificially cheerful creatures in a candy-colored galaxy in no way resembling my own. They were as far from my experience or understanding as Barney the purple dinosaur—or the saxophone stylings of Kenny G. The fact that people—strangers—seemed to love them, Emeril’s studio audience, for instance, clapping and hooting with every mention of gah-lic, only made me more hostile. In my life, in my world, I took it as an article of faith that chefs were unlovable. That’s why we were chefs. We were basically … bad people—which is why we lived the way we did, this half-life of work followed by hanging out with others who lived the same life, followed by whatever slivers of emulated normal life we had left to us. Nobody loved us. Not really. How could they, after all? As chefs, we were proudly dysfunctional. We were misfits. We knew we were misfits, we sensed the empty parts of our souls, the missing parts of our personalities, and this was what had brought us to our profession, had made us what we were. I despised their very likability, as it was a denial of the quality I’d always seen as our best and most distinguishing: our otherness. Rachael

Because,' he said, 'I sometimes have a queer feeling with regard to you, especially when you are near me, as now; it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situation in the corresponding quarter of your little frame. And if that boisterous channel, and two hundred miles or so of land, come broad between us, I am afraid that cord of communion will be snapped; and the nI've a nervous notion I should take to bleeding inwardly. As for you, you'd forget me.' 'That I never would, sir; you know -,' impossible to proceed. [...] The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway and asserting a right to predominate - to overcome, to live, rise, and reign at last; yes, and to speak. 'I grieve to leave Thornfield; I love Thornfield; I love it, because I have lived in it a full and delightful life, momentarily at least. I have not been trampled on. I have not been petrified. I have not been buried with inferior minds, and excluded from every glimpse of communion with what is bright, and energetic, and high. I have talked, face to face, with what I reverence; with what I delight in, with an origin, a vigorous, and expanded mind. I have known you, Mr. Rochester; and it strikes me with terror and anguish to feel I absolutely must be torn from you forever. I see the necessity of departure; and it is like looking on the necessity of death.' 'Where do you see the necessity?' he asked, suddenly. 'Where? You, sir, have placed it before me.' 'In what shape?' 'In the shape of Miss Ingram; a noble and beautiful woman, your bride.' 'My bride! What bride? I have no bride!' 'But you will have.' 'Yes; I will! I will!' He set his teeth. 'Then I must go; you have said it yourself.' 'No; you must stay! I swear it, and the oath shall be kept.' 'I tell you I must go!' I retorted, roused to something like passion. 'Do you think I can stay to become nothing to you? Do you think I am an automation? a machine without feelings? and can bear to have my morsel of bread snatched from my lips, and my drop of living water dashed from my cup? Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong! I have as much soul as you, and full as much heart! And if God had gifted me with some beauty, and much wealth, I should have made it hard for you to leave me, as it is now for me to leave you. I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh; it is my spirit that addresses your spirits; just as if both had passed through the grace, and we stood at God's feel, equal - as we are!' 'As we are!' repeated Mr. Rochester - 'so,' he added, including me in his arms, gathering me to his breast, pressing his lips on my lips; 'so, Jane!' 'Yes, so, sir,' I rejoined; 'and yet not so; for you are a married man, or as good as a married man, and we'd to one inferior to you - to one with whom you have no sympathy - whom I do not believe you truly love; for I have seen and heard you sneer at her. I would scorn such a union; therefore I am better than you - let me go!' 'Where, Jane? to Ireland?' 'Yes - to Ireland. I have spoke my mind, and can go anywhere now.' 'Jane, be still; don't struggle so, like a wild, frantic bird that is tending its own plumage in its desperation.' 'I am no bird; and no net ensnares me; I am a free human being, with an independent will; which I now exert to leave you.' Another effort set me at liberty, and I stood erect before him. 'And your will shall decide your destiny,' he said; 'I offer you my hand, my heart, and a share of all my possessions.' 'You play a farce, which I merely taught at.' 'I ask you to pass through life at my side - to be my second self, and best earthly companion.' [...] 'Do you doubt me, Jane?' 'Entirely.' 'You have no faith in me?' 'Not a whit.

Most fish—like skate wing—naturally taper off and narrow at the outer edges and toward the tail. Which is fine for moving through the water. Not so good for even cooking. A chef or cook looks at that graceful decline and sees a piece of protein that will cook unevenly: will, when the center—or fattest part—is perfect, be overcooked at the edges. They see a piece of fish that does not look like you could charge $39 for it. Customers should understand that what they are paying for, in any restaurant situation, is not just what’s on the plate—but everything that’s not on the plate: all the bone, skin, fat, and waste product which the chef did pay for, by the pound. When Eric Ripert, for instance, pays $15 or $20 a pound for a piece of fish, you can be sure, the guy who sells it to him does not care that 70 percent of that fish is going in the garbage. It’s still the same price. Same principle applies to meat, poultry—or any other protein. The price of the protein on the market may be $10 per pound, but by the time you’re putting the cleaned, prepped piece of meat or fish on the plate, it can actually cost you $35 a pound. And that’s before paying the guy who cuts it for you. That disparity in purchase price and actual price becomes even more extreme at the top end of the dining spectrum. The famous French mantra of “Use Everything,” by which most chefs live, is not the operative phrase of a three-starred Michelin restaurant. Here, it’s “Use Only the Very Best.

Imagine… There’s a roast goose in Hong Kong—Mongkok, near the outskirts of the city, the place looks like any other. But you sink your teeth into the quickly hacked pieces and you know you’re experiencing something special. Layers of what can only be described as enlightenment, one extraordinary sensation after another as the popils of the tongue encounter first the crispy, caramelized skin, then air, then fat—the juicy, sweet yet savory, ever so slightly gamey meat, the fat just barely managing to retain its corporeal form before quickly dematerializing into liquid. These are the kinds of tastes and textures that come with year after year of the same man making the same dish. That man—the one there, behind the counter with the cleaver—hacking roast pork, and roast duck, and roast goose as he’s done since he was a child and as his father did before him. He’s got it right now for sure—and, sitting there at one of the white Formica tables, Cantonese pop songs oozing and occasionally distorting from an undersized speaker, you know it, too. In fact, you’re pretty goddamn sure this is the best roast goose on the whole planet. Nobody is eating goose better than you at this precise moment. Maybe in the whole history of the world there has never been a better goose. Ordinarily, you don’t know if you’d go that far describing a dish—but now, with that ethereal goose fat dribbling down your chin, the sound of perfectly crackling skin playing inside your head to an audience of one, hyperbole seems entirely appropriate.

The female is uniformly more easily hypnotised than the male throughout the animal world, and it may be seen from the following how closely hypnotic phenomena are related to the most ordinary events. I have already described, in discussing female sympathy, how easy it is for laughter or tears to be induced in females. How impressed she is by everything in the newspapers! What a martyr she is to the silliest superstitions! How eagerly she tries every remedy recommended by her friends! From their complete inability to attain personal truth, to be honest about themselves — the hysterical never think for themselves, they want other people to think about them, they want to arouse the interest of others — it follows that the hysterical are the best mediums for hypnotic purposes. But any one who allows him or herself to be hypnotised is doing the most immoral thing possible. It is yielding to complete slavery; it is a renunciation of the will and consciousness; it means allowing another person to do what he likes with the subject. Hypnosis shows how all possibility of truth depends upon the wish to be truthful, but it must be the real wish of the person concerned: when a hypnotised person is told to do something, he does it when he comes out of the trance, and if asked his reasons will give a plausible motive on the spot, not only before others, but he will justify his action to himself by quite fanciful reasons. All women can be hypnotised and like being hypnotised, but this proclivity is exaggerated in hysterical women.

On the face of it, most people do not think of Jesus as a depressive realist. Yet the Biblical Jesus was clearly anything but a facilely happy consumerist, bureautype or bovine citizen. Rather, he espoused an ascetic lifestyle, nomadic, without possessions, possibly without sex, without career anxieties (‘consider the lilies’) and at best paying lip service to civic authorities and traditional religious institutions. Along with Diogenes, many anarchists, and latter day hip-pies, Jesus has been regarded as a model of the be-here-now philosophy, and hardly a champion of a work ethic and investment portfolio agenda. Jesus and others did not expect to find fulfilment in this world (meaning this civilisation) but looked forward to another world, or another kind of existence. Since that fantasised world has never materialised, we can only wonder about the likeness between early Christian communities and theoretical DR communities. There are certainly some overlaps but one distinctive dissimilarity: the DR has no illusory better world to look forward to, whereas the Christian had (and many Christians still have) illusions of rapture and heaven to look forward to. The key problematic here, however, for Jesus, the early Christians, anarchists, beats, hippies and DRs hoping for a DR-friendly society, is that intentional communities require some sense of overcoming adversity, having purpose, a means of functioning and maintaining morale in the medium to long-term. It is always one thing to gain identity from opposing society at large, and quite another to sustain ongoing commitment.

STUFFIN’ MUFFINS Preheat oven to 350 degrees F., rack in the middle position. 4 ounces salted butter (1 stick, 8 Tablespoons, ¼ pound) ½ cup finely chopped onion (you can buy this chopped or chop it yourself) ½ cup finely chopped celery ½ cup chopped apple (core, but do not peel before chopping) 1 teaspoon powdered sage 1 teaspoon powdered thyme 1 teaspoon ground oregano 8 cups herb stuffing (the kind in cubes that you buy in the grocery store—you can also use plain bread cubes and add a quarter-teaspoon more of ground sage, thyme, and oregano) 3 eggs, beaten (just whip them up in a glass with a fork) 1 teaspoon salt ½ teaspoon black pepper (freshly ground is best) 2 ounces (½ stick, 4 Tablespoons, pound) melted butter ¼ to ½ cup chicken broth (I used Swanson’s) Hannah’s 1st Note: I used a Fuji apple this time. I’ve also used Granny Smith apples, or Gala apples. Before you start, find a 12-cup muffin pan. Spray the inside of the cups with Pam or another nonstick cooking spray OR line them with cupcake papers. Get out a 10-inch or larger frying pan. Cut the stick of butter in 4 to 8 pieces and drop them inside. Put the pan over MEDIUM heat on the stovetop to melt the butter. Once the butter has melted, add the chopped onions. Give them a stir. Add the chopped celery. Stir it in. Add the chopped apple and stir that in. Sprinkle in the ground sage, thyme, and oregano. Sauté this mixture for 5 minutes. Then pull the frying pan off the heat and onto a cold burner. In a large mixing bowl, combine the 8 cups of herb stuffing. (If the boxed stuffing you bought has a separate herb packet, just sprinkle it over the top of the mixture in your frying pan. That way you’ll be sure to put it in!) Pour the beaten eggs over the top of the herb stuffing and mix them in. Sprinkle on the salt and the pepper. Mix them in. Pour the melted butter over the top and mix it in. Add the mixture from your frying pan on top of that. Stir it all up together. Measure out ¼ cup of chicken broth. Wash your hands. (Mixing the stuffing is going to be a lot easier if you use your impeccably clean hands to mix it.) Pour the ¼ cup of chicken broth over the top of your bowl. Mix everything with your hands. Feel the resulting mixture. It should be softened, but not wet. If you think it’s so dry that your muffins might fall apart after you bake them, mix in another ¼ cup of chicken broth. Once your Stuffin’ Muffin mixture is thoroughly combined, move the bowl close to the muffin pan you’ve prepared, and go wash your hands again. Use an ice cream scoop to fill your muffin cups. If you don’t have an ice cream scoop, use a large spoon. Mound the tops of the muffins by hand. (Your hands are still impeccably clean, aren’t they?) Bake the Stuffin’ Muffins at 350 degrees F. for 25 minutes. Yield: One dozen standard-sized muffins that can be served hot, warm, or at room temperature. Hannah’s 2nd Note: These muffins are a great accompaniment to pork, ham, chicken, turkey, duck, beef, or . . . well . . . practically anything! If there are any left over, you can reheat them in the microwave to serve the next day. Hannah’s 3rd Note: I’m beginning to think that Andrea can actually make Stuffin’ Muffins. It’s only April now, so she’s got seven months to practice.

..."facts" properly speaking are always and never more than interpretations of the data... the Gospel accounts are themselves such data or, if you like, hard facts. But the events to which the Gospels refer are not themselves "hard facts"; they are facts only in the sense that we interpret the text, together with such other data as we have, to reach a conclusion regarding the events as best we are able. They are facts in the same way that the verdict of a jury establishes the facts of the case, the interpretation of the evidence that results in the verdict delivered. Here it is as well to remember that historical methodology can only produce probabilities, the probability that some event took place in such circumstances being greater or smaller, depending on the quality of the data and the perspective of the historical enquirer. The jury which decides what is beyond reasonable doubt is determining that the probability is sufficiently high for a clear-cut verdict to be delivered. Those who like "certainty" in matters of faith will always find this uncomfortable. But faith is not knowledge of "hard facts"...; it is rather confidence, assurance, trust in the reliability of the data and in the integrity of the interpretations derived from that data... It does seem important to me that those who speak for evangelical Christians grasp this nettle firmly, even if it stings! – it is important for the intellectual integrity of evangelicals. Of course any Christian (and particularly evangelical Christians) will want to get as close as possible to the Jesus who ministered in Galilee in the late 20s of the first century. If, as they believe, God spoke in and through that man, more definitively and finally than at any other time and by any other medium, then of course Christians will want to hear as clearly as possible what he said, and to see as clearly as possible what he did, to come as close as possible to being an eyewitness and earwitness for themselves. If God revealed himself most definitively in the historical particularity of a Galilean Jew in the earliest decades of the Common Era, then naturally those who believe this will want to inquire as closely into the historical particularity and actuality of that life and of Jesus’ mission. The possibility that later faith has in some degree covered over that historical actuality cannot be dismissed as out of the question. So a genuinely critical historical inquiry is necessary if we are to get as close to the historical actuality as possible. Critical here, and this is the point, should not be taken to mean negatively critical, hermeneutical suspicion, dismissal of any material that has overtones of Easter faith. It means, more straightforwardly, a careful scrutiny of all the relevant data to gain as accurate or as historically responsible a picture as possible. In a day when evangelical, and even Christian, is often identified with a strongly right-wing, conservative and even fundamentalist attitude to the Bible, it is important that responsible evangelical scholars defend and advocate such critical historical inquiry and that their work display its positive outcome and benefits. These include believers growing in maturity • to recognize gray areas and questions to which no clear-cut answer can be given (‘we see in a mirror dimly/a poor reflection’), • to discern what really matters and distinguish them from issues that matter little, • and be able to engage in genuine dialogue with those who share or respect a faith inquiring after truth and seeking deeper understanding. In that way we may hope that evangelical (not to mention Christian) can again become a label that men and women of integrity and good will can respect and hope to learn from more than most seem to do today.

GUAC AD HOC   Hannah’s 1st Note: This is Howie Levine’s guacamole recipe. He’s Lake Eden’s most popular lawyer. 2 ounces cream cheese 4 ripe avocados (I used Haas avocados) 2 Tablespoons lemon juice (freshly squeezed is best) 1 clove garlic, finely minced (you can squeeze it in a garlic press if you have one) cup finely chopped fresh oregano leaves 1 Italian (or plum) tomato, peeled, seeded, and chopped 4 green onions, peeled and thinly sliced (you can use up to 2 inches of the green stem) ½ teaspoon salt 10 grinds of freshly ground pepper (or tea spoon) ½ cup sour cream to spread on top Bacon bits to sprinkle on top of the sour cream Tortilla chips as dippers Howie’s Note: I use chopped oregano because Florence doesn’t always carry cilantro at the Lake Eden Red Owl. This guacamole is equally good with either one. Heat the cream cheese in a medium-sized microwave-safe bowl for 15 seconds on HIGH, or until it’s spreadable. Peel and seed the avocados. Put them in the bowl with the cream cheese and mix everything up with a fork. Mix just slightly short of smooth. You want the mixture to have a few lumps of avocado. Add the lemon juice and mix it in. It’ll keep your Guac Ad Hoc from browning. Add the minced garlic, chopped oregano leaves, tomato, sliced green onion, salt, and pepper. Mix everything together. Put your Guac Ad Hoc in a pretty bowl, and cover it with the sour cream. Sprinkle on the bacon bits. If you’re NOT going to serve it immediately, spread on the sour cream, but don’t use the bacon bits. Cover the bowl with plastic wrap and refrigerate it until time to serve. Then sprinkle on the bacon bits. (My bacon bits got a little tough when I added them to the bowl and refrigerated it. They were best when I sprinkled them on at the last moment.) Hannah’s 2nd Note: Mike and Norman like this best if I serve it with sliced, pickled Jalapenos on top. Mother won’t touch it that way. Yield: This amount of Guac Ad Hoc serves 4 unless you’re making it for a Super Bowl game. Then you’d better double the recipe.

Rather, I found through this experience that there is significant similarity between meditating under a waterfall and tidying. When you stand under a waterfall, the only audible sound is the roar of water. As the cascade pummels your body, the sensation of pain soon disappears and numbness spreads. Then a sensation of heat warms you from the inside out, and you enter a meditative trance. Although I had never tried this form of meditation before, the sensation it generated seemed extremely familiar. It closely resembled what I experience when I am tidying. While not exactly a meditative state, there are times when I am cleaning that I can quietly commune with myself. The work of carefully considering each object I own to see whether it sparks joy inside me is like conversing with myself through the medium of my possessions. For this reason, it is essential to create a quiet space in which to evaluate the things in your life. Ideally, you should not even be listening to music. Sometimes I hear of methods that recommend tidying in time to a catchy song, but personally, I don’t encourage this. I feel that noise makes it harder to hear the internal dialogue between the owner and his or her belongings. Listening to the TV is, of course, out of the question. If you need some background noise to relax, choose environmental or ambient music with no lyrics or well-defined melodies. If you want to add momentum to your tidying work, tap the power of the atmosphere in your room rather than relying on music. The best time to start is early morning. The fresh morning air keeps your mind clear and your power of discernment sharp. For this reason, most of my lessons commence in the morning. The earliest lesson I ever conducted began at six thirty, and we were able to clean at twice the usual speed. The clear, refreshed feeling gained after standing under a waterfall can be addictive. Similarly, when you finish putting your space in order, you will be overcome with the urge to do it again. And, unlike waterfall meditation, you don’t have to travel long distances over hard terrain to get there. You can enjoy the same effect in your own home. That’s pretty special, don’t you think?

There is an art to the business of making sandwiches which it is given to few ever to find the time to explore in depth. It is a simple task, but the opportunities for satisfaction are many and profound: choosing the right bread for instance. The Sandwich Maker had spent many months in daily consultation and experiment with Grarp the baker and eventually they had between them created a loaf of exactly the consistency that was dense enough to slice thinly and neatly, while still being light, moist and having that fine nutty flavour which best enhanced the savour of roast Perfectly Normal Beast flesh. There was also the geometry of the slice to be refined: the precise relationships between the width and height of the slice and also its thickness which would give the proper sense of bulk and weight to the finished sandwich: here again, lightness was a virtue, but so too were firmness, generosity and that promise of succulence and savour that is the hallmark of a truly intense sandwich experience. The proper tools, of course, were crucial, and many were the days that the Sandwich Maker, when not engaged with the Baker at his oven, would spend with Strinder the Tool Maker, weighing and balancing knives, taking them to the forge and back again. Suppleness, strength, keenness of edge, length and balance were all enthusiastically debated, theories put forward, tested, refined, and many was the evening when the Sandwich Maker and the Tool Maker could be seen silhouetted against the light of the setting sun and the Tool Maker’s forge making slow sweeping movements through the air trying one knife after another, comparing the weight of this one with the balance of another, the suppleness of a third and the handle binding of a fourth. Three knives altogether were required. First there was the knife for the slicing of the bread: a firm, authoritative blade which imposed a clear and defining will on a loaf. Then there was the butter-spreading knife, which was a whippy little number but still with a firm backbone to it. Early versions had been a little too whippy, but now the combination of flexibility with a core of strength was exactly right to achieve the maximum smoothness and grace of spread. The chief amongst the knives, of course, was the carving knife. This was the knife that would not merely impose its will on the medium through which it moved, as did the bread knife; it must work with it, be guided by the grain of the meat, to achieve slices of the most exquisite consistency and translucency, that would slide away in filmy folds from the main hunk of meat. The Sandwich Maker would then flip each sheet with a smooth flick of the wrist on to the beautifully proportioned lower bread slice, trim it with four deft strokes and then at last perform the magic that the children of the village so longed to gather round and watch with rapt attention and wonder. With just four more dexterous flips of the knife he would assemble the trimmings into a perfectly fitting jigsaw of pieces on top of the primary slice. For every sandwich the size and shape of the trimmings were different, but the Sandwich Maker would always effortlessly and without hesitation assemble them into a pattern which fitted perfectly. A second layer of meat and a second layer of trimmings, and the main act of creation would be accomplished.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

EASY FRUIT PIE   Preheat oven to 375 degrees F., rack in the middle position. Note from Delores: I got this recipe from Jenny Hester, a new nurse at Doc Knight’s hospital. Jenny just told me that her great-grandmother used to make it whenever the family came over for Sunday dinner. Hannah said it’s easy so I might actually try to make it some night for Doc. ¼ cup salted butter (½ stick, 2 ounces, pound) 1 cup whole milk 1 cup white (granulated) sugar 1 cup all-purpose flour (pack it down in the cup when you measure it) 1 and ½ teaspoons baking powder ½ teaspoon salt 1 can fruit pie filling (approximately 21 ounces by weight—3 to 3 and ½ cups, the kind that makes an 8-inch pie) Hannah’s 1st Note: This isn’t really a pie, and it isn’t really a cake even though you make it in a cake pan. It’s almost like a cobbler, but not quite. I have the recipe filed under “Dessert”. You can use any canned fruit pie filling you like. I might not bake it for company with blueberry pie filling. It tasted great, but didn’t look all that appetizing. If you love blueberry and want to try it, it might work to cover the top with sweetened whipped cream or Cool Whip before you serve it. I’ve tried this recipe with raspberry and peach . . . so far. I have the feeling that lemon pie filling would be yummy, but I haven’t gotten around to trying it yet. Maybe I’ll try it some night when Mike comes over after work. Even if it doesn’t turn out that well, he’ll eat it. Place the butter in a 9-inch by 13-inch cake pan and put it in the oven to melt. Meanwhile . . . Mix the milk, sugar, flour, baking powder and salt together in a medium-size bowl. This batter will be a little lumpy and that’s okay. Just like brownie batter, don’t over-mix it. Using oven mitts or potholders, remove the pan with the melted butter from the oven. Pour in the batter and tip the pan around to cover the whole bottom. Then set it on a cold stove burner. Spoon the pie filling over the stop of the batter, but DO NOT MIX IN. Just spoon it on as evenly as you can. (The batter will puff up around it in the oven and look gorgeous!) Bake the dessert at 375 degrees F., for 45 minutes to 1 hour, or until it turns golden brown and bubbly on top. To serve, cool slightly, dish into bowls, and top with sweetened whipped cream or vanilla ice cream. It really is yummy. Hannah’s 2nd Note: The dessert is best when it’s baked, cooled slightly, and served right away. Alternatively you can bake it earlier, cut pieces to put in microwave-safe bowls, and reheat it in the microwave before you put on the ice cream or sweetened whipped cream. Yield: Easy Fruit Pie will serve 6 if you don’t invite Mike and Norman for dinner. Note from Jenny: I’ve made this by adding ¼ cup cocoa powder and 1 teaspoon of vanilla to the batter. If I do this, I spoon a can of cherry pie filling over the top.

In this world, anything is possible. The United States might win a future war relying solely on air power for the first time in history, with no American or local ground forces involved and no meaningful threat of their deployment. That possibility cannot be excluded. The Rumsfeld vision of military transformation, however, does not pursue that as a possibility: it relies on it as a certainty. By focusing all of America's defense resources on the single medium of air power, Rumsfeld is betting America's future security on the conviction that the U.S. armed forces will be able to do every time what no military to date has ever been able to do. In doing so, he is greatly simplifying the task of those preparing to fight the United States by presenting them with only one threat to defeat. A sound program of military transformation would proceed in exactly the opposite way. It would recognize the value of America's technological advantage in the area of PGMs. It would continue to enlarge and enhance them, much as Rumsfeld currently proposes. But it would not do so at the expense of the unique capabilities that ground forces bring to bear. It would focus, instead, on developing the capabilities provided by air power. Ground forces can seize and hold terrain, separate hostile groups, and comb through urban with infinitely greater precision and distinction between combatant and non-combatant that can air power. They can present the enemy with unacceptable situations simply by occupying a given piece of land, forcing the enemy to take actions that reveal intentions and expose the enemy to destruction. And it goes without saying that only ground forces can execute the peacemaking, peacekeeping, and reconstruction activities that have been essential to success in most of the wars America has fought in the past hundred years. Above all, the United States must avoid the search for "efficiency" in military affairs. Redundancy is inherently a virtue in war. America's leaders should intentionally design systems with overlapping capabilities, spread across the services, and should intentionally support weapons that do not directly contribute to the overarching vision of war that they are pursuing. America should continue to try to build armed forces that are the best in every category and have the latent capabilities to meet challenges that cannot now even be imagined.

Kimchi Jeon There are many different kinds of Korean pancakes using vegetables, seafood, or meat in Korean cuisine. We call this type of pancake "jeon." Among them, this kimchi pancake snack is one of the most popular Korean pancakes. Today, I want to share some secrets to make really tasty kimchi pancakes with you. When I was little, I used to visit an aunt's house and she made kimchi pancakes for me. I love kimchi pancakes, and her kimchi pancakes were the best ever. She gave me some tips about how to make good kimchi jeon. Some people asked me, why I call some Korean dishes "pancakes," even though they are not sweet, and not even close to the American pancakes that you might be imagining. Another word that could describe Korean pancakes is "fritter" - batter mixed with different kinds of ingredients: vegetables, seafood, meat, and so on. Yield: 1/2 Dozen 8-inch Pancakes Main Ingredients 1 Cup All Purpose Flour 1/3 Frying Mix (or 1/3 Cup All Purpose Flour) 1 Cup Well Fermented Kimchi 1/3 Cup Kimchi Broth 1/4 Cup Milk 1/3 Cup Water 1 Egg 1 1/2 tsp Sugar 1/8 Generous tsp Salt Directions Chop 1 cup of kimchi into 1-inch pieces. The most important tip for delicious kimchi pancakes is using well-fermented kimchi. Sour (old) kimchi works great too. When you cut kimchi on your cutting board, the cutting board will get stained. Here is a tip: Put some wax paper on top of your cutting board before cutting the kimchi. :) In a bowl, add 1 cup of all-purpose flour and 1/3 cup of frying mix. To make the pancakes a little crispier, I like to add some frying mix to the batter. However if you don't have the frying mix or don't want a crispy texture, you can use another 1/3 cup of flour instead. Add 1 1/2 tsp of sugar and a generous 1/8 tsp of salt into the bowl. Mix everything together. Adding some sugar is a secret ingredient from my aunt. Depending on how salty your kimchi is, you might need to adjust the amount of salt. Pour 1/4 cup of milk and 1/3 cup of water into the dried ingredients. Milk is another secret ingredient from her, but if you cannot eat milk or do not have it, you can use another 1/4 cup of water instead. Add 1 egg and 1/3 cup of kimchi broth. Several people have asked, "What is kimchi broth?" While the kimchi is fermenting in the jar, a liquid forms from the fermentation process of the napa cabbage. That is what I call kimchi broth. You can use it for other kimchi dishes such as Kimchi fried rice or kimchi soup, so don't throw away your valuable kimchi broth. It will give these dishes an extra burst of kimchi flavor. Before you add the kimchi to the batter, stir the batter until it doesn't have any chunks and gets a consistency like pancake batter. Add 1 cup of chopped kimchi into the batter. If you don't have enough kimchi broth, you can add a little more water and kimchi to get enough flavor. Mix thoroughly. Oh, it already looks delicious, even without frying. In a non-stick pan, add generous amount of oil. Heat the pan on medium-high. I said generous! =P According to your pan size, get 1 or 2 scoops of batter and pour it into the pan. It is important to spread the batter out thinly for crispy pancakes. ;) When the surface of the pancake starts to cook, flip it over. Pressing the pancake with a spatula helps the pancake fry better and makes it crispier. Occasionally flip the pancake, but not too often. When both sides of the pancakes are nicely brown and crispy, it is done. Again, it is a very simple and delicious dish. You should try this someday, especially if you love kimchi.

Shaping the mounds of dough is easiest to do with a spring-loaded ice cream scoop, although you can use two spoons or a pastry bag with a large, plain tip. 1 cup (250 ml) water ½ teaspoon coarse salt 2 teaspoons sugar 6 tablespoons (90 g) unsalted butter, cut into small chunks 1 cup (135 g) flour 4 large eggs, at room temperature ½ cup (85 g) semisweet chocolate chips ½ cup (60 g) pearl sugar (see Note) Position a rack in the upper third of the oven. Preheat the oven to 425°F (220°C) and line a baking sheet with parchment paper or a silicone baking mat. Heat the water along with the salt, sugar, and butter in a medium saucepan, stirring, until the butter is melted. Remove from heat and dump in all the flour at once. Stir rapidly until the mixture is smooth and pulls away from the sides of the pan. Allow the dough to cool for 2 minutes, stirring occasionally to release the heat; then briskly beat in the eggs, one at a time, until the paste is smooth and shiny. Let cool completely to room temperature, then stir in the chocolate chips. If it’s even slightly warm, they’ll melt. Drop mounds of dough, about 2 tablespoons each, on the baking sheet, evenly spaced. Press pearl sugar crystals liberally over the top and sides of each mound. Use a lot and really press them in. Once the puffs expand, you’ll appreciate the extra effort (and sugar). Bake the chouquettes for 35 minutes, or until puffed and well browned. Serve warm or at room temperature. STORAGE: Choquettes are best eaten the same day they’re made. However, once cooled, they can be frozen in a zip-top freezer bag for up to one month. Defrost at room temperature, then warm briefly on a baking sheet in a moderate oven, until crisp.

1. Place all filling ingredients except fish in a blender and puree smooth. 2. Evenly coat the fish filets with achiote mixture; cover and allow to marinate at room temperature for 20 to 30 minutes. 3. (ook fish on a charcoal or gas grill or in the oven broiler for approximately 3 minutes per side, depending on thickness of filets. (We think fish tastes best when cooked medium rare to medium, especially when it is very fresh.) 4. Allow to cool for a few minutes and slice for tacos. 5. Serve in soft corn or flour tortillas. Serving suggestions: Garnish with a fresh fruit or tomato-habanero salsa

Hire reliable and professional locksmith company in Twickenham It is very well known that locking systems and security systems are quite important to keep our valuable possessions safe and secure. Sometimes, people lock their homes and cars and forget no way out to enter the place as they have left the keys inside the car only. In such condition, when you cannot enter your home or office, only locksmith companies come for the rescue and immediate solutions. Locksmith Twickenham companies offer 247x services for business as well as individual needs. Their services include making duplicate keys, security upgrades, opening of gates, electronic locks, opening of frills, opening of windows lock and so on. The customers who are caught in this helpless situation can get all types of locksmith services from one place only and that also for 24 hours. In fact, there are some professional locksmith companies that also provide their services at the time of some emergency. In case, if your door needs replacement on the immediate basis you can hire locksmith Twickenham companies. In places likes Twickenham, a locksmith company cannot run a business without the certified license of the government. So, this means that you can always be sure of the services that are offered by these locksmith companies. It is always advisable to hire a locksmith company in Twickenham which is near to your place so that they can reach the destination quickly. It can be tough for a technician to reach the place if your selected locksmith company is too far. However, it is always considered better to call a local company and avail their secure and reliable services. The locksmith company that you hire must be trustworthy and licensed. All the services provided by them should be legally certified. You can ask for the identity card of the technician to check the authenticity of the company. If the technician has ID card of the company then it is safe to allow him entering in your home or office. After, that you should ask for the invoice bill so that you have a proof that you have made all the payments. You can also register a complaint against the company if proper proofs are not given by the locksmith company. As there are many locksmith companies in Twickenham offering their services, so internet is the best medium to find a professional and reliable company for all your needs. You must always choose a company that offers reliable services at affordable rates. Unfortunately, you can come across many companies that offer poor services and charge completely for their services. So, beware of such fraud companies. Secondly, one can also check the comments and feedback given to the respective company by their previous clients. Believe it this will really help you know the market value of the company that you selected. Last, check the various services offered by the locksmith company that you have selected. Do not forget that you are looking for a locksmith company that is ready to offer their services 24x7 and 365 days. SP Locks are your local Locksmith Twickenham, Contact us today for a reliable Locksmith in Twickenham.

Here is a quote from marketingcharts.com in January 2013, referring to a recent research campaign into the best converting online marketing techniques. “The study, which examined more than 62 million visits, 215 million page views and 350,000 leads from more than 600 small- and medium-sized B2B websites during 2012, found email’s conversion rate to be 81% higher than the average (2.89% vs. 1.6%) and 42% higher than the next-best performer, referrals (2.04%). “Paid search (1.96%) also had an above-average conversion rate, with direct traffic (1.64%) closer to the mean. Organic search (1.45%) and social media (1.22%) were the lowest-rated in this regard.” It is believed that a database of 10,000 emails is worth more than $100,000 a year to your business, so the sooner you start collecting, the better.

best way to connect with your guides is through meditation, prayer, or just sitting quietly and listening to the response of your inner voice, or as I like to say, your Jiminy Cricket. You

There are other problems more closely related to the question of culture. The poor fit between large scale and Korea’s familistic tendencies has probably been a net drag on efficiency. The culture has slowed the introduction of professional managers in situations where, in contrast to small-scale Chinese businesses, they are desperately needed. Further, the relatively low-trust character of Korean culture does not allow Korean chaebol to exploit the same economies of scale and scope in their network organization as do the Japanese keiretsu. That is, the chaebol resembles a traditional American conglomerate more than a keiretsu network: it is burdened with a headquarters staff and a centralized decision-making apparatus for the chaebol as a whole. In the early days of Korean industrialization, there may have been some economic rationale to horizontal expansion of the chaebol into unfamiliar lines of business, since this was a means of bringing modern management techniques to a traditional economy. But as the economy matured, the logic behind linking companies in unrelated businesses with no obvious synergies became increasingly questionable. The chaebol’s scale may have given them certain advantages in raising capital and in cross-subsidizing businesses, but one would have to ask whether this represented a net advantage to the Korean economy once the agency and other costs of a centralized organization were deducted from the balance. (In any event, the bulk of chaebol financing has come from the government at administered interest rates.) Chaebol linkages may actually serve to hold back the more competitive member companies by embroiling them in the affairs of slow-growing partners. For example, of all the varied members of the Samsung conglomerate, only Samsung Electronics is a truly powerful global player. Yet that company has been caught up for several years in the group-wide management reorganization that began with the passing of the conglomerate’s leadership from Samsung’s founder to his son in the late 1980s.72 A different class of problems lies in the political and social realms. Wealth is considerably more concentrated in Korea than in Taiwan, and the tensions caused by disparities in wealth are evident in the uneasy history of Korean labor relations. While aggregate growth in the two countries has been similar over the past four decades, the average Taiwanese worker has a higher standard of living than his Korean counterpart. Government officials were not oblivious to the Taiwanese example, and beginning in about 1981 they began to reverse somewhat their previous emphasis on large-scale companies by reducing their subsidies and redirecting them to small- and medium-sized businesses. By this time, however, large corporations had become so entrenched in their market sectors that they became very difficult to dislodge. The culture itself, which might have preferred small family businesses if left to its own devices, had begun to change in subtle ways; as in Japan, a glamour now attached to working in the large business sector, guaranteed it a continuing inflow of Korea’s best and brightest young people.73

Light to medium stretching promotes circulation. Getting the blood flowing to your achy areas is the best thing to help them recover.

If you’re a Cabernet Sauvignon loyalist, you might want to consider ordering your steaks rare or medium-rare.

Power defines the waking life of every human being. It is found not only in extraordinary acts but also in quotidian acts, indeed in every interaction and every relationship, be it an attempt to get a two-year-old to eat green vegetables or to inspire a stubborn colleague to do her best work. It lies in providing an opportunity to someone, or asking a friend the right question to stir creative thought, or calming a colleague’s rattled nerves, or directing resources to a young person trying to make it in society. Power dynamics, patterns of mutual influence, define the ongoing interactions between fetus and mother, infant and parent, between romantic partners, childhood friends, teens, people at work, and groups in conflict. Power is the medium through which we relate to one another. Power is about making a difference in the world by influencing others.

Module,” Za said, sprawling out over the seat and looking thoughtful, “I’d like a double standard measure of staol and chilled Shungusteriaung warp-wing liver wine bottoming a mouth of white Eflyre-Spin cruchen-spirit in a slush of medium cascalo, topped with roasted weirdberries and served in a number three strength Tipprawlic osmosis-bowl, or your best approximation thereof.

One of the greatest films ever made by a director who, almost forty years after his death, is still an intimidating and disturbing figure in the history of cinema. Visconti’s films stand outside the borders of the medium, by their ambition, by their scope, uniting past and present, individuals and history, both deeply human and transcendent. The Leopard, his most translucent, towering achievement, embodies everything the best filmmaking can be, grand, profound, entertaining, physical and metaphysical, sharp as a blade and melodramatic. It stays with you, forever.

For natural philosophy, the most important lesson we learn from QCD is that what we perceive as empty space is in reality a powerful medium whose activity molds the world. Other developments in modern physics reinforce and enrich that lesson. Later, as we explore the current frontiers, we'll see how the concept of "empty" space as a rich, dynamic medium empowers our best thinking about how to achieve the unification of forces.

I believe in the reality of ideas in themselves. Imagination is my most coveted possession. I think the theories we develop to describe Nature are really couched attempts to understand the limits of our own consciousness. As such I think looking within ourselves and meditating on the silence we find there is the best way to understand the reality around us. I think we as a creative and inquisitive species thrive when we all share our unique explorations and communicate with each other with empathy and a willingness to learn something new. I think it is openness that leads us to love, of ourselves and each other. And I think everyone has a part of Truth to share, but communication is tricky, so it's good to be encouraging of others so that we can be brought to see in a new and equally worthwhile light. I think the value of artists is that they've taken it upon themselves to master mediums of communication. That's what I wish to do, but I'm still an apprentice.

By 2015 online advertising is expected to overtake print advertising and become the second largest advertising medium behind TV

Mashed potatoes have a best friend in this savory meat. The gravy for both only takes a few minutes to prepare from the drippings. You’ll love the marriage! Yield: 6 servings 1 (4-pound) boneless chuck roast, trimmed and cut in half 1 large yellow onion, peeled and chopped 1 ⅓ cups plus 3 tablespoons water, divided 1 (10.5-ounce) can condensed French onion soup 1 cup firmly packed brown sugar ½ cup Worcestershire sauce ¼ cup cider vinegar 6 garlic cloves, peeled and minced ¼ teaspoon black pepper 3 tablespoons cornstarch Place the roast in a lightly greased large slow cooker and surround it with the onions. In a medium bowl whisk together 1 ⅓ cups of the water with the soup, brown sugar, Worcestershire, vinegar, garlic, and pepper. Pour over the roast, cover, and cook on low for 8 hours. Remove the meat and place on a large cutting board. Cover with aluminum foil to keep warm. Skim the fat from the cooking liquid and pour into a small saucepan over high heat. In a small bowl whisk together the remaining 3 tablespoons of water and cornstarch until smooth. When the cooking liquid comes to a boil, gradually whisk in the cornstarch mixture. Cook and stir constantly for 2 minutes or until thickened. Meanwhile, slice the meat and transfer to a serving platter. Serve the warm gravy with

Among primitive peoples we often find that closely connected groups living under exactly similar conditions develop sharply differentiated fashions, by means of which each group establishes uniformity within, as well as difference without the prescribed set. On the other hand, there exists a wide-spread predilection for importing fashions from without, and such foreign fashions assume a greater value within the circle, simply because they did not originate there. [...] Because of their external origin, these imported fashions create a special and significant form of socialization, which arises through mutual relation to a point without the circle. It sometimes appears as though social elements, just like the axes of vision, converge best at a point that is not too near. The currency, or more precisely the medium of exchange among primitive races, often consists of objects that are brought in from without. [...] Paris modes are frequently created with the sole intention of setting a fashion elsewhere. This motive of foreignness, which fashion employs in its socializing endeavors, is restricted to higher civilization, because novelty, which foreign origin guarantees in extreme form, is often regarded by primitive races as an evil. [...] The savage is afraid of strange appearances; the difficulties and dangers that beset his career cause him to scent danger in anything new which he does not understand and which he cannot assign to a familiar category. Civilization, however, transforms this affectation into its very opposite. Whatever is exceptional, bizarre, or conspicuous, or whatever departs from the customary norm, exercises a peculiar charm upon the man of culture, entirely independent of its material justification. The removal of the feelings of insecurity with reference to all things new was accomplished by the progress of civilization.

Money is the medium by which earthly success is measured. Money makes possible the enjoyment of the best the earth affords.

Fantasy is one of the best mediums for telling two stories (if not more!) at once. They layer on one another: reality and make-believe, life and myth, perception and fact.

Onion Soup Gratinée YIELD: 4 SERVINGS ONE OF MY greatest treats when working in Paris was to go with my fellow chefs and commis to les Halles, the big market of Paris that spreads through many streets of the Châtelet neighborhood. The excitement in the streets and cafés started a little before 3:00 A.M. and ended around 7:00 or 8:00 A.M. Our nocturnal forays would, more often than not, finish at Le Pied de Cochon (The Pig’s Foot), the quintessential night brasserie of les Halles. There, large, vociferous butchers in bloody aprons would rub shoulders with tuxedoed and elegantly evening-gowned Parisians stopping by for late-night Champagne and a meal after the opera or the theater. The restaurant was famous for its onion-cheese gratinée; it was one of the best in Paris, and hundreds of bowls of it were served every night. For this recipe, you will need four onion soup bowls, each with a capacity of about 12 ounces and, preferably, with a lip or rim around the edge that the cheese topping will stick to as it melts to form a beautiful crust on top of the soup. 2 tablespoons unsalted butter 3 onions (about 12 ounces), cut into thin slices About 7 cups good-quality chicken stock, or a mixture of chicken and beef stock About ½ teaspoon salt, more or less, depending on the saltiness of the stock ½ teaspoon freshly ground black pepper 16 slices of baguette, each cut about ⅜ inch thick About 3 cups grated Swiss cheese, preferably Gruyère, Comté, or Emmenthaler (about 10 ounces) Melt the butter in a saucepan, and sauté the sliced onions in the butter over medium to high heat for about 8 minutes, or until lightly browned. Add the stock, salt, and pepper, and boil gently for 15 minutes. Meanwhile, preheat the oven to 400 degrees. Arrange the bread slices in a single layer on a tray, and bake them for 8 to 10 minutes, or until they are nicely browned. Divide the toast among the bowls, and sprinkle ¼ cup of cheese into each bowl. When the stock and onions have cooked for 15 minutes, pour the soup into the bowls, filling each to the top. Sprinkle on the remainder of the cheese, dividing it among the bowls and taking care not to push it down into the liquid. Press the cheese around the rim or lip of the bowls, so it adheres there as it cooks and the crust does not fall into the liquid. Arrange the soup bowls on a baking sheet, and bake for 35 to 45 minutes, or until a glorious brown, rich crust has developed on top. Serve hot right out of the oven.

The best cooks doubled as magicians, uplifting moods and conjuring memories through the medium of food.

cornflake crunch MAKES ABOUT 360 G (4 CUPS) This recipe was originally created to accompany the Cereal Milk Panna Cotta. It was one of those first-swing, home-run hits. It is incredibly simple to make and equally as versatile in its uses. Put some in a plastic bag and take it on the go as the best snack ever, or use it as an ingredient in the recipes that follow. 170 g cornflakes [½ (12-ounce) box (5 cups)] 40 g milk powder [½ cup] 40 g sugar [3 tablespoons] 4 g kosher salt [1 teaspoon] 130 g butter, melted [9 tablespoons] Elsewhere in this book: Cornflake crunch is also used in the Pumpkin Ganache dessert. 1. Heat the oven to 275°F. 2. Pour the cornflakes in a medium bowl and crush them with your hands to one-quarter of their original size. Add the milk powder, sugar, and salt and toss to mix. Add the butter and toss to coat. As you toss, the butter will act as glue, binding the dry ingredients to the cereal and creating small clusters. 3. Spread the clusters on a parchment- or Silpat-lined sheet pan and bake for 20 minutes, at which point they should look toasted, smell buttery, and crunch gently when cooled slightly and chewed. 4. Cool the cornflake crunch completely before storing or using in a recipe. Stored in an airtight container at room temperature, the crunch will keep

12 chicken tenders (1¼ pounds total) 1¼ cups dill pickle juice, plus more if needed 1 large egg 1 large egg white ½ teaspoon kosher salt Freshly ground black pepper ½ cup seasoned bread crumbs, regular or gluten-free ½ cup seasoned panko bread crumbs, regular or gluten-free Olive oil spray Place the chicken in a shallow bowl and cover with the pickle juice (enough to cover completely). Cover and marinate for 8 hours in the refrigerator. Drain the chicken and pat completely dry with paper towels (discard the marinade). In a medium bowl, beat together the whole egg, egg white, salt, and pepper to taste. In a shallow bowl, combine both bread crumbs. Working with one piece at a time, dip the chicken in the egg mixture, then into the bread crumbs, gently pressing to adhere. Shake off any excess bread crumbs and place on a work surface. Generously spray both sides of the chicken with oil. Preheat the air fryer to 400°F. Working in batches, arrange a single layer of the chicken in the air fryer basket. Cook for 10 to 12 minutes, flipping halfway, until cooked through, crispy, and golden. (For a toaster oven–style air fryer, the temperature remains the same; cook for about 10 minutes.) Serve immediately.

Olive oil spray ½ tablespoon olive oil 1 tablespoon all-purpose or gluten-free flour ⅓ cup fat-free milk ½ teaspoon ground sage ¼ teaspoon kosher salt ⅛ teaspoon freshly ground black pepper 2 cups (5 ounces) broccoli florets, roughly chopped 6 tablespoons (1½ ounces) shredded extra-sharp cheddar cheese 2 tablespoons panko bread crumbs, regular or gluten-free 1 tablespoon freshly grated Parmesan cheese Spray a 16-ounce round baking dish (about 7 inches) or a 7-inch cake pan with oil. In a medium bowl, whisk together the olive oil, flour, milk, sage, salt, and pepper. Add the broccoli, cheddar, panko, and Parmesan and mix well. Transfer to the baking dish. Preheat the air fryer to 330°F. Place the baking dish in the air fryer basket. Cook for 12 to 14 minutes, until the broccoli is crisp-tender and the cheese is golden brown on top. (For a toaster oven–style air fryer, cook the gratin in a small rectangular baking dish at 300°F for 10 to 12 minutes.) Serve immediately.

Itself a product of the great extension of intellectual activity to classes in which it was formerly bounded by narrow limits, the library is bound to widen those limits wherever they can be stretched, and every movement of them reacts to help it. Surely advertisement on its part is an evangel—a bearing of good intellectual tidings into the darkness. We are spiritualistic mediums in the best sense—the bearers of authentic messages from all the good and great of past or present time; only with us, no turning on of the light, no publicity however glaring, will break the spell or do otherwise than aid, for whether we succeed or fail, whether we live or die, those messages, recorded as they are in books, will stand while humanity remains.

A good or great writer may refuse to accept any responsibility or morality that society wishes to impose on her. Yet the best and greatest of them know that if they abuse this hard-won freedom, it can only lead to bad art. There is an intricate web of morality, rigor, and responsibility that art, that writing itself, imposes on a writer. It’s singular, it’s individual, but nevertheless it’s there. At its best, it’s an exquisite bond between the artist and the medium. At its acceptable end, it’s a sort of sensible cooperation. At its worst, it’s a relationship of disrespect and exploitation.

Especially did his [Seth Jones] intense belief in the efficacy of the “Prayer of Faith” produce a deep impression—partly due to this unquestioned fact: During a distressing drought (I think near Sackett’s Harbor, N.Y.) an assemblage of farmers in open field expressed in his presence utter hopelessness with regard to rain, saying that a single day more would ruin every crop. “If you would pray for rain with Faith it would come,” he said. “But we have no faith! Will not you exercise it for us?” Whereupon he knelt down upon a stump and prayed mightily for three hours, while (it was related) copious showers fell from the eyes of his hearers. When he descended , the first great drops of a “glorious rain” were dashing down. At eighty-three he presided over a Universalist convention…” ~ Amanda Jones

Having grown up knowing the formerly-mentioned historical figures are part of my family lineage, I was interested to learn that at least one, famed American psychic and suffragette, Amanda Theodosia Jones (of Puritan, Quaker and Huguenot heritage), was a self-proclaimed spiritualist. While aware of her inventions and business endeavors, I’d never been informed of her interest in metaphysics. Possessing a rather significant collection of her letters, poetry and other documents, it is perhaps my intimate relationship with this extraordinary individual inspiring my lifelong engagement with the psychic world. Indeed, in a recent dream, the spirit of Amanda T. Jones contacted me for reasons that will later be delineated. It is my ongoing contact with her and other spirit entities (including the Bodhisattva of Compassion, Kuan Yin), in fact, inspiring me to pen this manuscript.

A prime example of these rogue-events, which are both farcical and terrifying, is the recent bird flu scare (where the terrorists were wild ducks!). There is no greater masquerade than this global panic, than the sacred union in panic. The international community becomes hectic and epileptic from the virus of terror and the terror of viruses. Terror is multiplied by the grotesque profusion of security measures that end up causing perverse autoimmune effects: the antibodies turn against the body and cause more damage than the virus. Without real solidarity between nations, the specter of Absolute Evil must be raised up as an ersatz Universal, an emergency solution to symbolic misery. When traditional contracts and symbolic pacts, the universal and the particular no longer function, a form like a conspiracy takes brutal shape, a plot in which everyone is involuntarily involved. Partaking in the conspiracy is not based on anything, on any value, other than delirious self-defense, in response to the total loss of the imaginary's immunity... In fact, the virus is a "cosa mentale" and contamination happens so quickly because the mental immunity, the symbolic defenses are long lost. A panic space can take hold in this liquidation, one to which the entire global information system also belongs for another reason, the system of networks and instant diffusion - a non-Euclidean space where all rational, preventive, prophylactic countermeasures are almost automatically turned against themselves through their own excesses. Security is the best medium for terror.

Oatmeal Breakfast Soup YIELD: 6 SERVINGS (ABOUT 8 CUPS) BREAKFAST was the inspiration for this soup, which has become a favorite at our house. Bacon, oatmeal, and milk are breakfast ingredients. And leeks? Well, I always put leeks in my soup. I microwave the bacon until crisp because Gloria always does so with good results, but it could be cooked in a skillet as well. Although I use coarsely granulated Irish oatmeal, which is chewy and flavorful, the soup is good made with quick-cooking oatmeal, provided you reduce the preparation time and the liquid accordingly. The first part of the recipe—bacon, leeks, and oatmeal—can be prepared ahead. It is better to add the milk and half-and-half at the last moment, however, for a fresher, cleaner-tasting soup. Finishing the soup with both milk and half-and-half is best, although using milk only is fine. 6 slices bacon (6 to 7 ounces), preferably maple- or honey-cured 2 small leeks, trimmed, with most of the green left on, sliced thin, and washed (2½ cups) 5 cups water 1 cup Irish coarse oatmeal 1½ teaspoons salt (less if bacon is highly salted) 1 cup half-and-half 1 cup milk ½ teaspoon freshly ground black pepper Arrange the bacon on a microwave oven tray, cover with paper towels, and cook on full power for about 4 minutes, or until the slices are crisp and brown. Reserve about 2 tablespoons of the bacon fat, and transfer the bacon to a cutting board. Cut the bacon into ½-inch pieces, and set it aside. Put the reserved bacon fat in a saucepan. Add the sliced leeks, and cook over medium heat for 5 to 6 minutes, until softened. Add the water, and bring to a boil. Add the oatmeal and salt, stir, and bring to a boil. Reduce the heat to very low, cover (with the lid placed slightly ajar, so the oatmeal doesn’t boil over), and cook gently for 25 to 30 minutes, or until the oatmeal is tender. (The recipe can be made to this point up to 24 hours ahead of time.) At serving time, add the half-and-half, milk, and pepper, and bring to a boil. Serve hot with the bacon pieces sprinkled on top.

Smoked Trout Gloria YIELD: 4 SERVINGS GLORIA BECAME PASSIONATE about trout fishing when we lived in Hunter. She would go to the river at an ungodly early morning hour, usually with Pierre Larré, and arrive back home, wet and exhilarated, with a bunch of fresh trout at about 9:00 A.M., when I was getting up. She liked them best smoked and served with creamy scrambled eggs on buttered toast, a dish that is a welcome treat for breakfast, brunch, lunch, or even dinner. You can, of course, buy smoked trout, but we smoke our own. I first soak the trout for 2 hours in a brine made of 1 cup of kosher salt, 2 cups of water, and 2 tablespoons of sugar; then I wash and pat it dry. I spread a handful of hickory chips or sawdust in an old roasting pan and add some crumpled pieces of aluminum foil to the pan to support a wire rack, on which I arrange the trout. I cover the pan tightly with a large piece of foil and place it on a small electric burner over medium heat for 10 to 15 minutes, until the trout is golden. After it rests for an hour or so, I remove the skin and head, and the moist, fragrant flesh slides off the central bone. Smoked trout is best served lukewarm or at room temperature. 8 large eggs ½ teaspoon salt ½ teaspoon freshly ground black pepper 4 large slices country bread 4 tablespoons (½ stick) unsalted butter for cooking the eggs, plus extra for spreading on the toast 2 to 3 tablespoons cream or milk 4 smoked trout, 6 to 10 ounces each, with skin and head removed and the flesh separated from the bones Beat the eggs in a bowl, and add the salt and pepper. Toast the bread, and coat it with butter. Heat the 4 tablespoons of butter in a sturdy saucepan. When it is hot, add the eggs, and mix them gently and continuously with a whisk to create a creamy mixture with small curds. Keep cooking for about 2 minutes, until the eggs are thick and creamy but still slightly runny. Do not overcook. Remove the pan from the heat, and add a few tablespoons of the cream or milk to stop the cooking and keep the mixture from becoming too tight. Place a slice of toast on each of four plates, spoon the eggs on top, and surround with pieces of smoked trout. Serve immediately.

Food in the South has always built bridges across political and social chasms impassable by any other medium.

The dialects we speak help to define who we are. They tell those who hear us where we come from, our social or ethnic identification, and other such intimate facts about us. The registers we use reflect the circumstances in which we are communicating. They indicate where we are speaking or writing, to whom, via what medium, about what subject, and for what purpose. Dialects and registers provide options—alternative ways of using language. And those options confront us with the question of what is the right or best alternative.

Relative to other Harry Potter people, I’m in it medium. As it is for, I assume, plenty of other adults with emotional problems, Harry Potter is a reliable security blanket for me—during challenging periods in my life, listening to the (Jim Dale) audiobooks has been the only thing that gets me to sleep. It’s low-stakes and goofy, but also high-stakes and I care about the characters, plus there’s magic. Those are all of my needs. However, the best thing about Harry Potter, the thing that keeps me hooked year after year, is that the internal logic barely hangs together. None of it makes any sense! The best thing about Harry Potter is that I hate it!!!

The Knowledge is a product of the conscious consensus and the facts. Albeit, a bigger consensus over unproven facts is a reflection of knowledge at best, say, as if from a liquid medium which is subject to waves.

CHIMICHURRI SAUCE With a knife or food processor finely chop a bunch of flat-leaf parsley, an entire head of peeled garlic, and one medium carrot. Add olive oil, white wine vinegar, salt, dried oregano, hot pepper flakes, and black pepper, and chop or pulse into a thick sauce. Best served fresh.

About MC Steve Even when I was a kid, I knew I wanted to be a writer. Stories always fascinated me. And I did not just see them in books and movies… I saw them everywhere - especially in video games. When I looked at the characters in the video games I loved, I always wondered: What is their story? What do they spend their time thinking about? What great adventures will they have? Now, as an adult, and living in the greatest city in the world, I still wonder the same things. Living in New York means that ten thousand times a day I pass by strangers, each with rich and complicated lives I know nothing about. But I want to know! And when I want to know, I write. There is a medium for stories that I think many people – especially adults – ignore: and that is video games. So long and complicated are the plots of video games that sometimes they are richer than movies, or even books! In fact, it was Minecraft that actually got me going in my writing career. I saw it as a channel where the audience could not only engage in the stories, but actively participate in them. Hence, my desire to write my first book - Diary of a Minecraft Wimpy Zombie. When I first published my story, I was terrified. What will people think of me? Will they like my stories? However, given some time, kids have come up to me and told me how much they loved my book. They were not only reading, but enjoying my book! It was this feeling - reaching and connecting with kids – that inspired me to write some more. And, as I continued to write, the more positive feedback I got! Before I knew it, Readers’ Favorite rated my book 5 Stars and I became a #1 Amazon best-selling author, all from following my passion and responding to the passion I saw in others. Wimpy Zombie says, “Because zombies can’t go out into the sun, most of them tend to be afraid of anything that can go into the sun and live to tell the tale.” Let me say this: in a writer’s sense, I used to be a zombie. I was afraid to display my work to the light of day, for fear of the scorching rays of ridicule, embarrassment, or failure. But, like Wimpy Zombie eventually learns, and I learned myself, everyone needs to, at some point in their lives, be brave enough to venture into the sun. If you’d like to post a review, click on the button below and it will take you to the reviews page straightaway: