Midway Best Quotes

Roosevelt was a genius at mass communications, and his speechwriters deferred to his reviews of their drafts, not so much because he was the president, but because when a text required the perfect word, the exquisite or incisive phrase, or exactly the right tone, he was the best. And when it came to delivery, he had no peer.

As night fell, Yamamoto, aboard the huge battleship Yamato, steamed eastward at full speed into the night. Far ahead the destroyers went to flank speed to search for the US carriers. Lookouts, with the best night-vision binoculars in the world, swept the night horizon where the very dark sky meets the black ocean. The faintest shape, the tiniest pinprick of light, would show there was something out there, like the superstructure of a ship over the horizon. There was nothing.

After September 11, I wondered rhetorically midway through a column what we in the West are prepared to die for, and got a convoluted e-mail back from a French professor explaining that the fact that Europeans weren't prepared to die for anything was the best evidence of their superiority: they were building a post-historical utopia - a Europe it would not be necessary to die for. But sometimes you die anyway.

He was a wonderful companion for five years. Unashamedly lazy, he required little exercise to uphold his cynical nature. His modus operandi was to sit in front of the fire and drink condensed milk with whisky in it. He used to accompany her to the odd evening of attribution and liked to break wind when he was ready to leave, behaviour Evelyn told her friends she too would eventually adopt. They were good for one another. They were happy years. In her classroom at the Slade, he’d sleep on a blanket under the desk as slides of the High Renaissance sequenced above him. He died peacefully during a long and tedious talk on Giorgio Vasari. Evelyn was surprised more hadn’t succumbed. It wasn’t one of my best, she’d said. Midway through, even she had felt for a pulse.

The best example of this is Dante’s The Divine Comedy, which famously begins: “Midway on our life’s journey, I found myself / In dark woods, the right road lost.”17 One reason these lines have resonated with readers for centuries is that the poet is describing a common human experience: waking up halfway into life only to discover you are lost. Perhaps you wake up one morning questioning whether your life is worth living.

But now, midway through Friday, look. The One whom Jesus calls "Father" is not in heaven, sitting on a throne, preparing to swoop down sometime and fix everything. The Father is there with the Son, hanging on a cross, now in intimate conversation with the Son, therefore not as the Son. We don't want to overhear such terrible, terrifying words, "My God, why have you abandoned me," because we don't want to know that that's the kind of God we've got, the kind of God who does not always work the world to our benefit, the kind of God who, when it gets dark, doesn't immediately switch on the lights but rather comes and hangs out with us, on the cross, in the dark, and lets us in on the most intimate of conversations within the very heart of the Trinity. The Father is one with the Son, in the power of the Holy Spirit. Yet the Father, in infinite love, has sent the Son out to the far country to us sinners. Away from the Father in order to be close to those who have abandoned the Father, the Son risks separation from the Father, risks not only abandonment but also dismemberment from his true identity. The Son comes very close to us, so close that he bears our sinfulness, bears the brunt of our viciousness. And the Father, who is complete righteousness and holiness, cannot embrace the sin that the Son so recklessly, lovingly bears, so the Father must abandon the Son on the cross because the Father is both love and righteousness. Here, in this word from the cross, is the unthinkable: a separation, because of love, in the heart of the fully loving, inseparable Trinity. In this world, love is the cause of some of life's greatest tragedies, and we know that there is no way completely to love anyone without the risk of pain because of that love. Sure, it's an inadequate human analogy, but we grope in our talk of such a mystery. What a sacrifice the Father is making in the Son's sacrifice, in the sacrificial power of the Spirit. There is a real division in the heart of the Trinity at this moment on the cross, and because the Trinity is inherently indivisible, the magnitude of the sacrifice is massive. The division that is part of the pain that must be borne by a God who would come out, in both righteousness and love, to save us.

Despite their proximity to mainland Alaska and an important maritime route, the Japanese invasion of the Aleutians would not have the impact Japan hoped for. At best, it served as a deterrent against a U.S. thrust from that direction. While

Finally, every society develops a system of aesthetic standards that get manifested in everything from decorative art, music, and dance to the architecture and planning of buildings and communities. There are many different ways we could examine artistic systems. One way of thinking about it is to observe the degree to which a society's aesthetics reflect clear lines and solid boundaries versus fluid ones. Many Western cultures favor clean, tight boundaries whereas many Eastern cultures prefer more fluid, indiscriminate lines. In most Western homes, kitchen drawers are organized so that forks are with forks and knives are with knives. The walls of a room are usually uniform in color, and when a creative shift in color does occur, it usually happens at a corner or along a straight line midway down the wall. Pictures are framed with straight edges, molding covers up seams in the wall, and lawns are edged to form a clear line between the sidewalk and the lawn. Why? Because we view life in terms of classifications, categories, and taxonomies. And cleanliness itself is largely defined by the degree of order that exists. It has little to do with sanitation and far more to do with whether things appear to be in their proper place. Maintaining boundaries is essential in the Western world; otherwise categories begin to disintegrate and chaos sets in.13 Most Americans want dandelion-free lawns and roads with clear lanes prescribing where to drive and where not to drive. Men wear ties to cover the adjoining fabric on the shirts that they put on before going to the symphony, where they listen to classical music based on a scale with seven notes and five half steps. Each note has a fixed pitch, defined in terms of the lengths of the sound waves it produces.14 A good performance occurs when the musicians hit the notes precisely. In contrast, many Eastern cultures have little concern in everyday life for sharp boundaries and uniform categories. Different colors of paint may be used at various places on the same wall. And the paint may well “spill” over onto the window glass and ceiling. Meals are a fascinating array of ingredients where food is best enjoyed when mixed together on your plate. Roads and driving patterns are flexible. The lanes ebb and flow as needed depending on the volume of traffic. In a place like Cambodia or Nigeria, the road space is available for whichever direction a vehicle needs it most, whatever the time of day. And people often meander along the road in their vehicles the same way they walk along a path. There are many other ways aesthetics between one place and another could be contrasted. But the important point is some basic understanding of how cultures differ within the realm of aesthetics. Soak in the local art of a place and chalk it up to informing your strategy for international business.

Birth——————————————Death Think of this line as representing your lifetime. Place an X on the line to indicate where you believe you are at present. That is, if you believe that you have lived half of your life, place the X midway between Birth and Death. If you believe that you have lived two-thirds of your life, place the X two-thirds along the line. Once you have placed the X on the line, take note of your feelings. Do you have a sense of relief? Of anxiety? Of fear? Or a realization that much of your life has passed? Next think of six significant events in your life: examples would be meeting your spouse or partner, the birth of a child, the death of a friend, an exciting vacation, a failure, a good financial investment, graduation from university, the birth of a grandchild, a car accident. Number the events 1 through 6 and place the numbers on the line between your birth and the X. What emotions do you feel about each of those events? What about the emotion you feel about your life as a whole? Are you satisfied with the life you have lived? Do you wish that some things had been different? Are there events that ought to have been placed on the line but because of the pain they caused you omitted them? Focus on the line between the X and Death. How might you best embrace life in the time that remains?

A child, not knowing what is extraordinary and what commonplace, usually lights midway between the two, finds interest in incidents adults consider beneath notice, and calmly accepts the most improbable occurrences.

The poet Dante began his famous, fabulous descent into the underworld with the recognition that midway in life he found himself in a dark wood, having lost his way. Despite our best intentions, we, too, frequently find ourselves in a dark wood. No amount of good intentions, conscientious intelligence, forethought, planning, prayer, or guidance from others can spare us these periodic encounters with confusion, disorientation, boredom, depression, disappointment in ourselves and others, and dissolution of the plans and stratagems that seemed to work before. What

Now Kant apparently intends these antinomies to constitute an essential part of the argument for his transcendental idealism, the doctrine that things we deal with (stars and planets, trees, animals and other people) are transcendentally ideal (depend upon us for their reality and structure), even if empirically real. We fall into the problem posed by antinomies, says Kant, only because we take ourselves to be thinking about things in themselves as opposed to the things for us, noumena as opposed to mere appearances...We solve the problem by recognizing our limitations, realizing that we can't think, or can't think of any real purpose, about the Dinge...I want to turn to the fatal objection. That is just that all the antinomical arguments are not at all compelling. Here I will argue this only for the premises of the first antinomy, exactly similar comments would apply to the others. In the first antinomy, there is an argument for the conclusion that 'The world had a beginning in time and is also limited as regards to space' (A426, B454); this is the thesis. There is also an argument for the antithesis: 'The world had no beginning, and no limits in space; it is infinite as regards both time and space' (A426, B454). And the idea...is that if we can think about and refer to the Dinge, then both of these would be true or would have overwhelming intuitive support...(Regarding the antitheis) In an empty time (a time at which nothing exists) nothing could come to be, because there would be no more reason for it to come to be at one part of that empty time than at any other part of it...The objection is that there would have been no more reason for God to create the world at one moment than at any other; hence he wouldn't or couldn't have created it at any moment at all. Again, why believe this?...This argument is like those arguments that start from the premise that God, if he created the world, he would have created the best world he could have; and they go on to add that for every world God could have created (weakly actualized, say) there is an even better world he could have created or weakly actualized; therefore, they conclude, he would have weakly actualized any world at all, and the actual world has not been weakly actualized by God. Again, there seems no reason to believe the first premise. If there were only finitely many worlds among which God was obliged to choose, the perhaps he would have been obliged somehow, to choose the best (although even this is at best dubious). But if there is no best world at all among those he could have chosen (if for every world he could have chosen, there is a better world he could have chosen), why think a world failing to be the best is sufficient for God's being unable to actualize it? Suppose a man had the benefit of immortality and had a bottle of wine that would improve every day, no matter now long he waits to drink it. Would he be rationally obligated never to drink it, on the ground that for any time he might be tempted to, it would be better yet the next day? Suppose a donkey were stranded exactly midway between two bales of hay: would it be rationally obliged to stay there and starve to death because there is no more reason to move the one bale than the other?

This argument is like those arguments that start from the premise that God, if he created the world, he would have created the best world he could have; and they go on to add that for every world God could have created (weakly actualized, say) there is an even better world he could have created or weakly actualized; therefore, they conclude, he would have weakly actualized any world at all, and the actual world has not been weakly actualized by God. Again, there seems no reason to believe the first premise. If there were only finitely many worlds among which God was obliged to choose, the perhaps he would have been obliged somehow, to choose the best (although even this is at best dubious). But if there is no best world at all among those he could have chosen (if for every world he could have chosen, there is a better world he could have chosen), why think a world failing to be the best is sufficient for God's being unable to actualize it? Suppose a man had the benefit of immortality and had a bottle of wine that would improve every day, no matter now long he waits to drink it. Would he be rationally obligated never to drink it, on the ground that for any time he might be tempted to, it would be better yet the next day? Suppose a donkey were stranded exactly midway between two bales of hay: would it be rationally obliged to stay there and starve to death because there is no more reason to move the one bale than the other?

Hellooo.” The ferry captain shot a thumb at her Jeep. “Gonna get it off ?” “Oh.” She laughed. “Sorry.” Releasing Nicole, she ran back onto the ferry and slid behind the wheel. By the time she revved the engine, Nicole was in the passenger’s seat, sliding a hand over the timeworn dashboard. “I am paying you for this.” Charlotte shot her a startled look and inched forward. “For this car? You are not.” “You wouldn’t have bought it if it weren’t for my book, and you won’t take money for that.” “Because it’s your book. I’m just along for the ride.” She laughed at her own words. “Can you believe, this is the first car I’ve ever owned?” She eased it onto the dock. “Is it real or what?” “Totally real,” Nicole said, though momentarily wary. “Safe on the highway?” “It got me here.” Charlotte waved at the captain. “Thank you!” Still crawling along, she drove carefully off the pier. When she was on firm ground, she stopped, angled sideways in the seat, and addressed the first of the ghosts. “I’m sorry about your dad, Nicki. I wanted to be there. I just couldn’t.” Seeming suddenly older, Nicole smiled sadly. “You were probably better off. There were people all over the place. I didn’t have time to think.” “A heart attack?” “Massive.” “No history of heart problems?” “None.” “That’s scary. How’s Angie?” Nicole’s mother. Charlotte had phoned her, too, and though Angie had said all the right words—Yes, a tragedy, he loved you, too, you’re a darling to call—she had sounded distracted. “Bad,” Nicole confirmed. “They were so in love. And he loved Quinnipeague. His parents bought the house when he was little. He actually proposed to Mom here. They always said that if I’d been a boy, they’d have named me Quinn. She can’t bear to come now. That’s why she’s selling. She can’t even come to pack up. This place was so him.” “Woo-hoo,” came a holler that instantly lifted the mood. “Look who’s here!” A stocky woman, whose apron covered a T-shirt and shorts, was trotting down the stairs from the lower deck of the Chowder House. Dorey Jewett had taken over from her father midway through Charlotte’s summers here and had brought the place up to par with the best of city restaurants. She had the gleaming skin of one who worked over steam, but the creases by her eyes, as much from smiling as from squinting over the harbor, suggested she was nearing sixty. “Missy here

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