Mind Maps Quotes

I am alone here in my own mind. There is no map and there is no road. It is one of a kind just as yours is.

She didn't understand that. "How can anyone be afraid of love?" "How can they not?" His face was completely aghast. "When you love someone... truly love them, friend or lover, you lay your heart open to them. You give them a part of yourself that you give to no one else, and you let them inside a part of you that only they can hurt—you literally hand them the razor with a map of where to cut deepest and most painfully on your heart and soul. And when they do strike, it's crippling—like having your heart carved out. It leaves you naked and exposed, wondering what you did to make them want to hurt you so badly when all you did was love them. What is so wrong with you that no one can keep faith with you? That no one can love you? To have it happen once is bad enough... but to have it repeated? Who in their right mind would not be terrified of that?

And most of all, books. They were, in and of themselves, reasons to stay alive. Every book written is the product of a human mind in a particular state. Add all the books together and you get the end sum of humanity. Every time I read a great book I felt I was reading a kind of map, a treasure map, and the treasure I was being directed to was in actual fact myself.

Maybe your country is only a place you make up in your own mind. Something you dream about and sing about. Maybe it's not a place on the map at all, but just a story full of people you meet and places you visit, full of books and films you've been to. I'm not afraid of being homesick and having no language to live in. I don't have to be like anyone else. I'm walking on the wall and nobody can stop me.

I read because one life isn't enough, and in the page of a book I can be anybody; I read because the words that build the story become mine, to build my life; I read not for happy endings but for new beginnings; I'm just beginning myself, and I wouldn't mind a map; I read because I have friends who don't, and young though they are, they're beginning to run out of material; I read because every journey begins at the library, and it's time for me to start packing; I read because one of these days I'm going to get out of this town, and I'm going to go everywhere and meet everybody, and I want to be ready.

What's your deal?" I asked in the hallway after class. "I know you did that." He shrugged. "So?" ... "That was rude, Daemon. You embarrassed him." ... "And I thought using your ... stuff would draw them here?" ... "That was barley a blip on the map. That didn't even leave a trace on anyone." He lowered his head until the edges of his dark curled brushed my cheek. I was caught between wanting to crawl into my locker or crawl into him. "Besides, I was doing you a favor." I laughed. "And how was that doing me a favor?" ... "Studying math wasn't what he had in mind." That was debatable, but I decided to play along ... "And what if that's the case?" "You like Simon?" His chin jerked up, anger flashing in his emerald eyes. "You can't possibly like him." ... "Are you jealous? ... Your jealous of Simon?" I lowered my voice. "Of a human? For shame, Daemon.

There are only shades of gray. Black and white are nothing more than lofty ideals in our minds, the standards by which we try to judge things, and map out our place in the world in relevance to them. Good and evil, in their purest form, are as intangible and forever beyond our ability to hold in our hand as any Fae illusion. We can only aim at them, aspire to them, and hope not to get so lost in the shadows that we can no longer aim for the light.

There are only shades of gray. Black and white are nothing more than lofty ideals in our minds, the standards by which we try to judge things, and map out our place in the world in relevance to them.

I don’t know if you have ever seem a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island; for the Neverland is always more or less and island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with six elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose.

cos' your hands were exploring more than Dora. I wouldn't have minded but Dora had a map and a compass so she knows where she was going. You on the other hand were like a tourist in the center of London. Lost as a fucking fiddle. -Mia Hastings

I want to learn how to speak to anyone at any time and make us both feel a little bit better, lighter, richer, with no commitments of ever meeting again. I want to learn how to stand wherever with whoever and still feel stable. I want to learn how to unlock the locks to our minds, my mind, so that when I hear opinions or views that don’t match up with mine, I can still listen and understand. I want to burn up lifeless habits of following maps and to-do lists, concentrated liquids to burn my mind and throat and I want to go back to the way nature shaped me. I want to learn to go on well with whatever I have in my hands at the moment in a natural state of mind, certain like the sea. I will find comfort in the rhythm of the sea.

I dreamed I saw my maternal grandmother sitting by the bank of a swimming pool, that was also a river. In real life, she had been a victim of Alzheimer’s disease, and had regressed, before her death, to a semi-conscious state. In the dream, as well, she had lost her capacity for self-control. Her genital region was exposed, dimly; it had the appearance of a thick mat of hair. She was stroking herself, absent-mindedly. She walked over to me, with a handful of pubic hair, compacted into something resembling a large artist’s paint-brush. She pushed this at my face. I raised my arm, several times, to deflect her hand; finally, unwilling to hurt her, or interfere with her any farther, I let her have her way. She stroked my face with the brush, gently, and said, like a child, “isn’t it soft?” I looked at her ruined face and said, “yes, Grandma, it’s soft.

Life did not take over the world by combat, but by networking.

Please bring strange things. Please come bringing new things. Let very old things come into your hands. Let what you do not know come into your eyes. Let desert sand harden your feet. Let the arch of your feet be the mountains. Let the paths of your fingertips be your maps And the ways you go be the lines of your palms. Let there be deep snow in your inbreathing And your outbreath be the shining of ice. May your mouth contain the shapes of strange words. May you smell food cooking you have not eaten. May the spring of a foreign river be your navel. May your soul be at home where there are no houses. Walk carefully, well-loved one, Walk mindfully, well-loved one, Walk fearlessly, well-loved one. Return with us, return to us, Be always coming home.

We are not the stuff that abides, but patterns that perpetuate themselves.

Aren't the clouds beautiful? They look like big balls of cotton... I could just lie here all day, and watch them drift by... If you use your imagination, you can see lots of things in the cloud formations... What do you think you see, Linus?" "Well, those clouds up there look like the map of the British Honduras on the Caribbean... That cloud up there looks a little like the profile of Thomas Eakins, the famous painter and sculptor... And that group of clouds over there gives me the impression of the stoning of Stephen... I can see the apostle Paul standing there to one side..." "Uh huh... That's very good... What do you see in the clouds, Charlie Brown?" "Well, I was going to say I saw a ducky and a horsie, but I changed my mind!

Somehow, this was one oddity too many. He could accept "Mind the Gap" and the Earl's Court, and even the strange library. But damn it, like all Londoners, he knew his Tube map, and this was going too far. "There isn't a British Museum Station," said Richard, firmly.

people used to tell me that i had beautiful hands told me so often, in fact, that one day i started to believe them until i asked my photographer father, “hey daddy could i be a hand model” to which he said no way, i dont remember the reason he gave me and i wouldve been upset, but there were far too many stuffed animals to hold too many homework assignment to write, too many boys to wave at too many years to grow, we used to have a game, my dad and i about holding hands cus we held hands everywhere, and every time either he or i would whisper a great big number to the other, pretending that we were keeping track of how many times we had held hands that we were sure, this one had to be 8 million 2 thousand 7 hundred and fifty three. hands learn more than minds do, hands learn how to hold other hands, how to grip pencils and mold poetry, how to tickle pianos and dribble a basketball, and grip the handles of a bicycle how to hold old people, and touch babies , i love hands like i love people, they're the maps and compasses in which we navigate our way through life, some people read palms to tell your future, but i read hands to tell your past, each scar marks the story worth telling, each calloused palm, each cracked knuckle is a missed punch or years in a factory, now ive seen middle eastern hands clenched in middle eastern fists pounding against each other like war drums, each country sees theyre fists as warriors and others as enemies. even if fists alone are only hands. but this is not about politics, no hands arent about politics, this is a poem about love, and fingers. fingers interlock like a beautiful zipper of prayer. one time i grabbed my dads hands so that our fingers interlocked perfectly but he changed positions, saying no that hand hold is for your mom. kids high five, but grown ups, we learn how to shake hands, you need a firm hand shake,but dont hold on too tight, but dont let go too soon, but dont hold down for too long, but hands are not about politics, when did it become so complicated. i always thought its simple. the other day my dad looked at my hands, as if seeing them for the first time, and with laughter behind his eye lids, with all the seriousness a man of his humor could muster, he said you know you got nice hands, you could’ve been a hand model, and before the laughter can escape me, i shake my head at him, and squeeze his hand, 8 million 2 thousand 7hundred and fifty four.

Supposing there was no intelligence behind the universe, no creative mind. In that case, nobody designed my brain for the purpose of thinking. It is merely that when the atoms inside my skull happen, for physical or chemical reasons, to arrange themselves in a certain way, this gives me, as a by-product, the sensation I call thought. But, if so, how can I trust my own thinking to be true? It's like upsetting a milk jug and hoping that the way it splashes itself will give you a map of London. But if I can't trust my own thinking, of course I can't trust the arguments leading to Atheism, and therefore have no reason to be an Atheist, or anything else. Unless I believe in God, I cannot believe in thought: so I can never use thought to disbelieve in God.

Ya Ummi(my mother), I cannot live my life with a woman who has no key to my mind and does not share my concerns. She cannot - will not - read anything. She shrugs off the grave problems of the day and asks if I think her new tablecloth is pretty. We are living in difficult times and it is not enough for a person to be interested in his home and his job - in his own personal life. I need my partner to be someone to whom I can turn, confident of her sympathy, believing her when she tells me I'm in the wrong, strengthened when she tells me I'm in the right. I want to love, and be loved back - but what I see is not love or companionship but a sort of transacton of convenience santioned by religion and society and I do not want it.

It’s of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip - and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naivete. Sentiment equals naïveté on this continent... ...Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naive and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.

I'm no more modern than ancient, no more French than Chinese, and the idea of a native country, that is to say, the imperative to live on one bit of ground marked red or blue on the map and to hate the other bits in green or black, has always seemed to me narrow-minded, blinkered and profoundly stupid. I am a soul brother to everything that lives, to the giraffe and to the crocodile as much as to man.

A mycelial network is a map of a fungus’s recent history and is a helpful reminder that all life-forms are in fact processes not things. The “you” of five years ago was made from different stuff than the “you” of today. Nature is an event that never stops. As William Bateson, who coined the word genetics, observed, “We commonly think of animals and plants as matter, but they are really systems through which matter is continually passing.

When you have a plan in your mind of what the best life is for you, but it doesn't match your life, you have pain.

Modern man has lost the sense of wonder about the unknown and he treats it as an enemy.

To strengthen the connection between your conscious and subconscious, is to gain access to a map and compass, as you travel through parallel worlds.

Every book is a journey, a map into the complexities of the human mind and soul.

Trauma causes people to remain stuck in interpreting the present in light of an unchanging past. The scene you re-create in a structure may or may not be precisely what happened, but it represents the structure of your inner world: your internal map and the hidden rules that you have been living by.

Yet for some reason, we as a society have collectively decided it’s better to have millions of human beings spending years of their lives pretending to type into spreadsheets or preparing mind maps for PR meetings than freeing them to knit sweaters, play with their dogs, start a garage band, experiment with new recipes, or sit in cafés arguing about politics, and gossiping about their friends’ complex polyamorous love affairs.

KEY OF LIFE The key of life Symbolizes the map Of existence. Once you free yourself From all resistance, Your path will become white - For the remainder of the distance. Poetry by Suzy Kassem

Patterns cannot be weighed or measured. Patterns must be mapped.

In coming to Alaska, McCandless yearned to wander uncharted country, to find a blank spot on the map. In 1992, however, there were no more blank spots on the map—-not in Alaska, not anywhere. But Chris, with his idiosyncratic logic, came up with an elegant solution to this dilemma: He simply got rid of the map. In his own mind, if nowhere else, the terra would thereby remain incognita.

Study, along the lines which the theologies have mapped, will never lead us to discovery of the fundamental facts of our existence. That goal must be attained by means of exact science and can only be achieved by such means. The fact that man, for ages, has superstitiously believed in what he calls a God does not prove at all that his theory has been right. There have been many gods – all makeshifts, born of inability to fathom the deep fundamental truth. There must be something at the bottom of existence, and man, in ignorance, being unable to discover what it is through reason, because his reason has been so imperfect, undeveloped, has used, instead, imagination, and created figments, of one kind or another, which, according to the country he was born in, the suggestions of his environment, satisfied him for the time being. Not one of all the gods of all the various theologies has ever really been proved. We accept no ordinary scientific fact without the final proof; why should we, then, be satisfied in this most mighty of all matters, with a mere theory? Destruction of false theories will not decrease the sum of human happiness in future, any more than it has in the past... The days of miracles have passed. I do not believe, of course, that there was ever any day of actual miracles. I cannot understand that there were ever any miracles at all. My guide must be my reason, and at thought of miracles my reason is rebellious. Personally, I do not believe that Christ laid claim to doing miracles, or asserted that he had miraculous power... Our intelligence is the aggregate intelligence of the cells which make us up. There is no soul, distinct from mind, and what we speak of as the mind is just the aggregate intelligence of cells. It is fallacious to declare that we have souls apart from animal intelligence, apart from brains. It is the brain that keeps us going. There is nothing beyond that. Life goes on endlessly, but no more in human beings than in other animals, or, for that matter, than in vegetables. Life, collectively, must be immortal, human beings, individually, cannot be, as I see it, for they are not the individuals – they are mere aggregates of cells. There is no supernatural. We are continually learning new things. There are powers within us which have not yet been developed and they will develop. We shall learn things of ourselves, which will be full of wonders, but none of them will be beyond the natural. [Columbian Magazine interview]

Desire is a teacher: When we immerse ourselves in it without guilt, shame or clinging, it can show us something special about our own minds that allows us to embrace life fully. —Mark Epstein, Open to Desire

I have never got a grip on when the past begins or where it ends, but if cities map the past with statues made from bronze forever frozen in one dignified position, as much as I try to make the past keep still and mind its manners, it moves and murmurs with me through every day.

A map in the hands of a pilot is a testimony of a man's faith in other men; it is a symbol of confidence and trust. It is not like a printed page that bears mere words, ambiguous and artful, and whose most believing reader - even whose author, perhaps - must allow in his mind a recess for doubt. A map says to you, 'Read me carefully, follow me closely, doubt me not.' It says, 'I am the earth in the palm of your hand. Without me, you are alone and lost.

Generally the rational brain can override the emotional brain, as long as our fears don’t hijack us. (For example, your fear at being flagged down by the police can turn instantly to gratitude when the cop warns you that there’s an accident ahead.) But the moment we feel trapped, enraged, or rejected, we are vulnerable to activating old maps and to follow their directions. Change begins when we learn to "own" our emotional brains. That means learning to observe and tolerate the heartbreaking and gut-wrenching sensations that register misery and humiliation. Only after learning to bear what is going on inside can we start to befriend, rather than obliterate, the emotions that keep our maps fixed and immutable.

My journal has become a paper mirror, a topographic map to my mind. It is where I go to sort out confusion and decipher the invisible.

Everywhere I looked, I could see only shades of gray. Black and white were nothing more than lofty ideals in our minds, the standards by which we tried to judge things and map out our place in the world in relevance to them. Good and evil, in their purest form, were as intangible and forever beyond our ability to hold in our hand as any Fae illusion. We could only aim at them, aspire to them, and hope not to get so lost in the shadows that we could no longer see the light.

It was Calzas who told me that your life is a road along which you leave many markers - points in time and places on the map. The ones in time you can only revisit in your mind, and they never change. The places can be revisited firsthand, but they're constantly changing. To keep a place the same, he said, you can no longer return to it - and then it becomes a point in time.

Nature doesn’t need knowledge, because nature is knowledge, knowledge manifest.

Black and white are nothing more than lofty ideals in our minds, the standards by which we try to judge things, and map out our place in the world relevance to them.

My favorite “trick” is to stop writing at a point where I know that I can pick up easily the next day. I’ll stop in mid-paragraph, often in midsentence. It makes getting out of bed so much easier, because I know that all I’ll have to do to be productive is complete the sentence. And by then I’ll be seated at my desk, coffee and Oreo cookie at hand, the morning’s inertia overcome. There’s an added advantage: The human brain hates incomplete sentences. All night my mind will have secretly worked on the passage and likely mapped out the remainder of the page, even the chapter, while simultaneously sending me on a dinner date with Cate Blanchett.

The media landscape of the present day is a map in search of a territory. A huge volume of sensational and often toxic imagery inundates our minds, much of it fictional in content. How do we make sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are presented in terms indistinguishable from the launch of a new candy bar or deodorant? What actually happens on the level of our unconscious minds when, within minutes on the same TV screen, a prime minister is assassinated, an actress makes love, an injured child is carried from a car crash? Faced with these charged events, prepackaged emotions already in place, we can only stitch together a set of emergency scenarios, just as our sleeping minds extemporize a narrative from the unrelated memories that veer through the cortical night. In the waking dream that now constitutes everyday reality, images of a blood-spattered widow, the chromium trim of a limousine windshield, the stylised glamour of a motorcade, fuse together to provide a secondary narrative with very different meanings.

This is your pendulum map. It’ll answer any yes or no question you ask. All you have to do is focus your mind on the question and hover the pendulum over the page. In time, you’ll be able to ask more complicated questions and it’ll spell out the answers.” – Death “Duly awesome. Will I lose my vir–Hey!” – Nick “Stop being stupid and take this seriously.” – Death “What’s wrong with asking that, anyway?” – Nick “It’s a stupid concern.” – Death “What are you? Asexual or something?” – Nick “My libido is fine, Nick. However, it takes a distant second place to my need to kill people who annoy me.” – Death

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

Q: The Continuum didn't think you had it in you, Jean-Luc. But I knew you did...We wanted to see if you had the ability to expand your mind and your horizons. And for one brief moment, you did. Picard: When I realized the paradox. Q: Exactly. For that one fraction of a second, you were open to options you had never considered. That is the exploration that awaits you. Not mapping stars and studying nebula, but charting the unknown possibilities of existence.

That vice has often proved an emancipator of the mind, is one of the most humiliating, but, at the same time, one of the most unquestionable facts in history.

Oneness is not sameness.

You know where the real prison is? It's in your mind. It's in your head.

There she was, the mother of me, like a lit plinth, Heavenly, though I was reared to find this kind Of visitation impractical; she was an unbearable detail Of the supreme celestial map, Of which I had been taught that there was No such thing.

Before cruelly vilifying them from a great height, the mudslingers at newspapers and journals should bear in mind that all artistic endeavors were by and large a mixture of effort and imagination, the embodiment of a solitary endeavor, of a sometimes long-nurtured dream, when they were not a desperate bid to give life meaning.

To strengthen the connection between your conscious mind and your subconscious mind is to gain access to a map and compass to help you move towards your dream. To gain access to the subconscious mind is to gain the ability to see and create the future, the ability to shift the present, and the ability to alter your own perceptions of the past.

Through our maps, we willingly become a part of their boundaries. If our home is included, we feel pride, perhaps familiarity, but always a sense that this is ours. If it is not, we accept our roles as outsiders, though we may be of the same mind and culture. In this way, maps can be dangerous and powerful tools.

We cannot repeat too often the great lesson of freudian psychology: that repression is normal self-protection and creative self-restriction-in a real sense, man's natural substitute for instinct. Rank has a perfect, key term for this natural human talent: he calls it "partialization" and very rightly sees that life is impossible without it. What we call the well-adjusted man has just this capacity to partialize the world for comfortable action. I have used the term "fetishization," which is exactly the same idea: the "normal" man bites off what he can chew and digest of life, and no more. In other words, men aren't built to be gods, to take in the whole world; they are built like other creatures, to take in the piece of ground in front of their noses. Gods can take in the whole of creation because they alone can make sense of it, know what it is all about and for. But as soon as a man lifts his nose from the ground and starts sniffing at eternal problems like life and death, the meaning of a rose or a star cluster-then he is in trouble. Most men spare themselves this trouble by keeping their minds on the small problems of their lives just as their society maps these problems out for them. These are what Kierkegaard called the "immediate" men and the "Philistines." They "tranquilize themselves with the trivial"- and so they can lead normal lives.

Every brilliant experiment, like every great work of art, starts with an act of imagination. Unfortunately, our current culture subscribes to a very narrow definition of truth. If something can’t be quantified and calculated, then it can’t be true. Because this strict scientific approach has explained so much, we assume that it can explain everything. But every method, even the experimental method, has limits. Take the human mind. Scientists describe our brain in terms of its physical details; they say we are nothing but a loom of electrical cells and synaptic spaces. What science forgets is that this isn’t how we experience the world. (We feel like the ghost, not like the machine.) It is ironic but true: the one reality science cannot reduce is the only reality we will ever know. This is why we need art. By expressing our actual experience, the artist reminds us that our science is incomplete, that no map of matter will ever explain the immateriality of our consciousness.

Why are you so infuriatingly blind? Everything I do-every damn word I say-is with you in mind." -Crash

Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child's mind, which is not only confused, but keeps going round all the time.

Our relationship maps are implicit, etched into the emotional brain and not reversible simply by understanding how they were created. You may realize that your fear of intimacy has something to do with your mother’s postpartum depression or with the fact that she herself was molested as a child, but that alone is unlikely to open you to happy, trusting engagement with others.

In one sense, at any rate, it is more valuable to read bad literature than good literature. Good literature may tell us the mind of one man; but bad literature may tell us the mind of many men. A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author. It does much more than that, it tells us the truth about its readers; and, oddly enough, it tells us this all the more the more cynical and immoral be the motive of its manufacture. The more dishonest a book is as a book the more honest it is as a public document. A sincere novel exhibits the simplicity of one particular man; an insincere novel exhibits the simplicity of mankind. The pedantic decisions and definable readjustments of man may be found in scrolls and statute books and scriptures; but men's basic assumptions and everlasting energies are to be found in penny dreadfuls and halfpenny novelettes. Thus a man, like many men of real culture in our day, might learn from good literature nothing except the power to appreciate good literature. But from bad literature he might learn to govern empires and look over the map of mankind.

What a lost person needs is a map of the territory, with his own position marked on it so he can see where he is in relation to everything else. Literature is not only a mirror; it is also a map, a geography of the mind. Our literature is one such map, if we can learn to read it as our literature, as the product of who and where we have been. We need such a map desperately, we need to know about here, because here is where we live. For the members of a country or a culture, shared knowledge of their place, their here, is not a luxury but a necessity. Without that knowledge we will not survive.

be dragons,’” I read out loud. “Are you the dragon?” The corner of his mouth quirks. His hands rest on my hips, holding on with just enough tension to tell me he isn’t quite comfortable with the inspection but is letting me look anyway. “Map makers used to put the saying along the borders, for places where they hadn’t yet charted. It’s in reference to the unknown, to be mindful of the unexplored.

…Even the idea of a city never entered his mind. It was as if he had walked under the millimeter of haze just above the inked fibers of a map, that pure zone between land and chart, between distances and legends, between nature and storyteller. The place they had chosen to come to, to be their best selves, to be unconscious of ancestry. Here, apart from the sun compass and the odometer mileage, and the book, he was alone, his own invention. He knew during these times how the mirage worked, the fata morgana, for he was within it.

Singing is my pleasure, but not in church, for the parson said the gargoyles must remain on the outside, not seek room in the choir stalls. So I sing inside the mountain of my flesh, and my voice is as slender as a reed and my voice has no lard in it. When I sing the dogs sit quiet and people who pass in the night stop their jabbering and discontent and think of other times, when they were happy. And I sing of other times, when I was happy, though I know that these are figments of my mind and nowhere I have been. But does it matter if the place cannot be mapped as long as I can still describe it?

The mind craves ease; it encourages the senses to recognize symbols, to gloss. It makes maps of our kitchen drawers and neighborhood streets; it fashions a sort of algebra out of life. And this is useful, even essential - X is the route to work, Y is the heft and feel of a nickel between your fingers. Without habit, the beauty of the world would overwhelm us. We'd pass out every time we saw - actually saw- a flower.

Being who you are, right here, right now is your greatest gift to the planet - Radiate Your Unique Light! Let your heart be your compass, your mind your map, your soul your guide...and you will never get lost...Make Every Day a Happy Day!

There has been more bloodshed in the name of God than for any other cause. And it is all because people never attempt to reach the fountain-head. They are content only to comply with the customs of their forefathers and instructions on some books, and want others to do the same. But, to explain God after merely reading the scriptures is like explaining the city of New York after seeing it only in a map.

A swami may conceivably follow only the path of dry reasoning, of cold renunciation; but a yogi engages himself in a definite, step-by-step procedure by which the body and mind are disciplined and the soul gradually liberated. Taking nothing for granted on emotional grounds or by faith, a yogi practices a thoroughly tested series of exercises that were first mapped out by the ancient rishis. In every age of India, yoga has produced men who became truly free, true Yogi-Christs.

It's a misery peculiar to would-be writers. Your theme is good, as are your sentences. Your characters are so ruddy with life they practically need birth certificates. The plot you've mapped out for them is grand, simple and gripping. You've done your research, gathering the facts; historical, social, climatic culinary, that will give your story its feel of authenticity. The dialogue zips along, crackling with tension. The descriptions burst with color, contrast and telling detail. Really, your story can only be great. But it all adds up to nothing. In spite the obvious, shining promise of it, there comes a moment when you realize that the whisper that has been pestering you all along from the back of your mind is speaking the flat, awful truth: IT WON'T WORK. An element is missing, that spark that brings to life in a real story, regardless of whether the history or the food is right. Your story is emotionally dead, that's the crux of it. The discovery is something soul-destroying, I tell you. It leaves you with an aching hunger.

Egyptians undergo an odd personality change behind the wheel of a car. In every other setting, aggression and impatience are frowned upon. The unofficial Egyptian anthem "Bokra, Insha'allah, Malesh" (Tomorrow, God Willing, Never Mind) isn't just an excuse for laziness. In a society requiring millennial patience, it is also a social code dictating that no one make too much of a fuss about things. But put an Egyptian in the driver's seat and he shows all the calm and consideration of a hooded swordsman delivering Islamic justice.

Some empathy must be learned and then imagined, by perceiving the suffering of others and translating it into one's own experience of suffering and thereby suffering a little with then. Empathy can be a story you tell yourself about what it must be like to be that other person; but its lack can also arrive from narrative, about why the sufferer deserved it, or why that person or those people have nothing to do with you. Whole societies can be taught to deaden feeling, to dissociate from their marginal and minority members, just as people can and do erase the humanity of those close to them. Empathy makes you imagine the sensation of the torture, of the hunger, of the loss. You make that person into yourself, you inscribe their suffering on your own body or heart or mind, and then you respond to their suffering as though it were your own. Identification, we say, to mean that I extend solidarity to you, and who and what you identify with builds your own identity. Physical pain defines the physical boundaries of the self but these identifications define a larger self, a map of affections and alliances, and the limits of this psychic self are nothing more or less than the limits of love. Which is to say love enlarges; it annexes affectionately; at its utmost it dissolves all boundaries.

I stayed under the moon too long. I am silvered with lust. Dreams flick like minnows through my eyes. My voice is trees tossing in the wind. I loose myself like a flock of blackbirds storming into your face. My lightest touch leaves blue prints, bruises on your mind. Desire sandpapers your skin so thin I read the veins and arteries maps of routes I will travel till I lodge in your spine. The night is our fur. We curl inside it licking.

Give me a map to look at, and I am content. Give me a map of country I know, and I am comforted: I live my travels over again; step by step, I recall the journeys I have made; half-forgotten incidents spring vividly to mind, and again I can suffer and rejoice at experiences which are once more made very real. Old maps are old friends, understood only by the man with whom they have traveled the miles.

I tumbled into the taxi alone, closing the door closed with a dull thud before I could possibly change my mind. Not like this, I remember thinking. Whatever this thing is between us, it could only be tainted and cheapened by a semi-drunken encounter on the night of our first meeting. As the car pulled away I stared back at him. The thought that I might never see him again, that I might never know what it would feel like to be kissed by him, seemed unbearably cruel. At a crossroads, I had been faced with a choice: two possible versions of my future mapped out ahead of me. But I didn't feel like I had made any sort of decision. All I had done was run away.

Somewhere out there are people who still know her poems, who've hidden scraps of them away in the folds of their minds before setting match to the papers of their hands. He will find them. He will ask them what they remember. He will piece together their recollections, fragmentary and incomplete though they may be, mapping the holes of one against the solid patches of another. And in this way, piece by piece, he will set her back down on paper again.

When you love someone... truly love them, friend or lover, you lay your heart open to them. You give them a part of yourself that you give to no one else, and you let them inside a part of you that only they can hurt—you literally hand them the razor with a map of where to cut deepest and most painfully on your heart and soul. And when they do strike, it's crippling—like having your heart carved out. It leaves you naked and exposed, wondering what you did to make them want to hurt you so badly when all you did was love them. What is so wrong with you that no one can keep faith with you? That no one can love you? To have it happen once is bad enough... but to have it repeated? Who in their right mind would not be terrified of that?

Aurora took a deep breath. There it was, she thought, the reason behind all the madness. Why society was acrumble; why she and everyone else were on the brink of starvation. Humanity’s inevitable ending. The Darkspread. The Close. There, in the Golden Dragon’s dark underbelly was where all the maps stopped. ‘Two days from now, the Dark will cover the world,’ she said pensively, trying not to think what horrific sight awaited her behind the spring-loaded door, ‘and the Neon God shall rule over darkness.

As I discussed in the previous chapter, attachment researchers have shown that our earliest caregivers don't only feed us, dress us, and comfort us when we are upset; they shape the way our rapidly growing brain perceives reality. Our interactions with our caregivers convey what is safe and what is dangerous: whom we can count on and who will let us down; what we need to do to get our needs met. This information is embodied in the warp and woof of our brain circuitry and forms the template of how we think of ourselves and the world around us. These inner maps are remarkably stable across time. This doesn‘t mean, however, that our maps can‘t be modified by experience. A deep love relationship, particularly during adolescence, when the brain once again goes through a period of exponential change, truly can transform us. So can the birth of a child, as our babies often teach us how to love. Adults who were abused or neglected as children can still learn the beauty of intimacy and mutual trust or have a deep spiritual experience that opens them to a larger universe. In contrast, previously uncontaminated childhood maps can become so distorted by an adult rape or assault that all roads are rerouted into terror or despair. These responses are not reasonable and therefore cannot be changed simply by reframing irrational beliefs.

What I have always liked best is when he talks about having no memory. No memory of things he'd done just a second before. Good or bad. Because memory is time folding back on itself. To remember is to disengage from the present. In order to reach any success in automobile racing, a driver must never remember. Which is why drivers compulsively record their every move, their every race, with cockpit cameras, in-car video, data mapping; a driver cannot be a witness to his own greatness. This is what Danny says. He says racing is doing. It is being a part of a moment and being aware of nothing else but that moment. Reflection must come at a later time. The great champion Julian Sabella Rosa has said: “When I am racing, my mind and my body are working so quickly and so well together, I must be sure not to think, or else I will definitely make a mistake.

There were two forests for every one you entered. There was the one you walked in, the physical echo, and then there was the one that was connected to all the other forests, with no consideration of distance, or time. The forest primeval, remembered through the collective memory of every tree in the same way that people remembered myth- through the collective subconscious that Jung mapped, the shared mythic resonance that lay buried in every human mind. Legend and myth, all tangled in an alphabet of trees remembered, not always with understanding, but with wonder. With awe.

The neural basis for the self, as I see it, resides with the continuous reactivation of at least two sets of representations. One set concerns representations of key events in an individual's autobiography, on the basis of which a notion of identity can be reconstructed repeatedly, by partial activation in topologically organized sensory maps. ... In brief, the endless reactivation of updated images about our identity (a combination of memories of the past and of the planned future) constitutes a sizable part of the state of self as I understand it. The second set of representations underlying the neural self consists of the primordial representations of an individual's body ... Of necessity, this encompasses background body states and emotional states. The collective representation of the body constitute the basis for a "concept" of self, much as a collection of representations of shape, size, color, texture, and taste can constitute the basis for the concept of orange.

In the chapters on the biology of trauma we saw how trauma and abandonment disconnect people from their body as a source of pleasure and comfort, or even as a part of themselves that needs care and nurturance. When we cannot rely on our body to signal safety or warning and instead feel chronically overwhelmed by physical stirrings, we lose the capacity to feel at home in our own skin and, by extension, in the world. As long as their map of the world is based on trauma, abuse, and neglect, people are likely to seek shortcuts to oblivion. Anticipating rejection, ridicule, and deprivation, they are reluctant to try out new options, certain that these will lead to failure. This lack of experimentation traps people in a matrix of fear, isolation, and scarcity where it is impossible to welcome the very experiences that might change their basic worldview.

In order to succeed he must remain true to the feeling that had inspired him in the first place. It didn't matter that other people would do it in a different way; in fact this was inevitable. He would keep to the roads because, despite the odd fast car, he felt safer there. It didn't matter that he had no mobile phone. It didn't matter that he had not planned his route, or brought a road map. He had a different map, and that was the one in his mind, made up of all the people and places he had passed. He would also stick to his yachting shoes because, despite the wear and tear, they were his. He saw that when a person becomes estranged from the things they know, and is a passerby, strange things take on a new significance. And knowing this, it seemed important to allow himself to be true to the instincts that made him Harold, as opposed to anyone else.

As children, we start off at the center of our own universe, where we interpret everything that happens from an egocentric vantage point. If our parents or grandparents keep telling us we’re the cutest, most delicious thing in the world, we don’t question their judgment—we must be exactly that. And deep down, no matter what else we learn about ourselves, we will carry that sense with us: that we are basically adorable. As a result, if we later hook up with somebody who treats us badly, we will be outraged. It won’t feel right: It’s not familiar; it’s not like home. But if we are abused or ignored in childhood, or grow up in a family where sexuality is treated with disgust, our inner map contains a different message. Our sense of our self is marked by contempt and humiliation, and we are more likely to think “he (or she) has my number” and fail to protest if we are mistreated.

There are readings—of the same text—that are dutiful, readings that map and dissect, readings that hear a rustling of unheard sounds, that count grey little pronouns for pleasure or instruction and for a time do not hear golden or apples. There are personal readings, which snatch for personal meanings, I am full of love, or disgust, or fear, I scan for love, or disgust, or fear. There are—believe it—impersonal readings—where the mind's eye sees the lines move onwards and the mind's ear hears them sing and sing. Now and then there are readings that make the hairs on the neck, the non-existent pelt, stand on end and tremble, when every word burns and shines hard and clear and infinite and exact, like stones of fire, like points of stars in the dark—readings when the knowledge that we shall know the writing differently or better or satisfactorily, runs ahead of any capacity to say what we know, or how. In these readings, a sense that the text has appeared to be wholly new, never before seen, is followed, almost immediately, by the sense that it was always there, that we the readers knew it was always there, and have always known it was as it was, though we have now for the first time recognised, become fully cognisant of, our knowledge.

What rules, then, can one follow if one is dedicated to the truth? First, never speak falsehood. Second, bear in mind that the act of withholding the truth is always potentially a lie, and that in each instance in which the truth is withheld a significant moral decision is required. Third, the decision to withhold the truth should never be based on personal needs, such as a need for power, a need to be liked or a need to protect one’s map from challenge. Fourth, and conversely, the decision to withhold the truth must always be based entirely upon the needs of the person or people from whom the truth is being withheld. Fifth, the assessment of another’s needs is an act of responsibility which is so complex that it can only be executed wisely when one operates with genuine love for the other. Sixth, the primary factor in the assessment of another’s needs is the assessment of that person’s capacity to utilize the truth for his or her own spiritual growth. Finally, in assessing the capacity of another to utilize the truth for personal spiritual growth, it should be borne in mind that our tendency is generally to underestimate rather than overestimate this capacity. All this might seem like an extraordinary task, impossible to ever perfectly complete, a chronic and never-ending burden, a real drag. And it is indeed a never-ending burden of self-discipline, which is why most people opt for a life of very limited honesty and openness and relative closedness, hiding themselves and their maps from the world. It is easier that way. Yet the rewards of the difficult life of honesty and dedication to the truth are more than commensurate with the demands. By virtue of the fact that their maps are continually being challenged, open people are continually growing people. Through their openness they can establish and maintain intimate relationships far more effectively than more closed people. Because they never speak falsely they can be secure and proud in the knowledge that they have done nothing to contribute to the confusion of the world, but have served as sources of

When we were only several hundred-thousand years old, we built stone circles, water clocks. Later, someone forged an iron spring, set clockwork running, imagined grid-lines on a globe. Cathedrals are like machines defining the soul; bells of clock towers stitch the sleeper’s dreams together. You see? So we’ve always been on our way to this new place ― that is no place, really ― but is real. It’s our nature to represent: we’re the animal that represents, the sole and only maker of maps. And if our weakness has been to confuse the bright and bloody colors of our calendars with the true weather of days, and the parchment’s territory of our maps with the lands spread out before us ― never mind. We've always been on our way to this new place ― that is no place, really ― but is real.

Then I spoke with proven shapers I knew—Bill Gates, Elon Musk, Reed Hastings, Muhammad Yunus, Geoffrey Canada, Jack Dorsey (of Twitter), David Kelley (of IDEO), and more. They had all visualized remarkable concepts and built organizations to actualize them, and done that repeatedly and over long periods of time. I asked them to take an hour’s worth of personality assessments to discover their values, abilities, and approaches. While not perfect, these assessments have been invaluable. (In fact, I have been adapting and refining them to help us in our recruiting and management.) The answers these shapers provided to the standardized questions gave me objective and statistically measurable evidence about their similarities and differences. It turns out they have a lot in common. They are all independent thinkers who do not let anything or anyone stand in the way of achieving their audacious goals. They have very strong mental maps of how things should be done, and at the same time a willingness to test those mental maps in the world of reality and change the ways they do things to make them work better. They are extremely resilient, because their need to achieve what they envision is stronger than the pain they experience as they struggle to achieve it. Perhaps most interesting, they have a wider range of vision than most people, either because they have that vision themselves or because they know how to get it from others who can see what they can’t. All are able to see both big pictures and granular details (and levels in between) and synthesize the perspectives they gain at those different levels, whereas most people see just one or the other. They are simultaneously creative, systematic, and practical. They are assertive and open-minded at the same time. Above all, they are passionate about what they are doing, intolerant of people who work for them who aren’t excellent at what they do, and want to have a big, beneficial impact on the world.

I remember once when I had been giving a talk to the R.A.F., an old, hard-bitten officer got up and said, ‘I’ve no use for all that stuff. But, mind you, I’m a religious man too. I know there’s a God. I’ve felt Him: out alone in the desert at night: the tremendous mystery. And that’s just why I don’t believe all your neat little dogmas and formulas about Him. To anyone who’s met the real thing they all seem so petty and pedantic and unreal!’ Now in a sense I quite agreed with that man. I think he had probably had a real experience of God in the desert. And when he turned from that experience to the Christian creeds, I think he really was turning from something real to something less real. In the same way, if a man has once looked at the Atlantic from the beach, and then goes and looks at a map of the Atlantic, he also will be turning from something real to something less real: turning from real waves to a bit of coloured paper. But here comes the point. The map is admittedly only coloured paper, but there are two things you have to remember about it. In the first place, it is based on what hundreds and thousands of people have found out by sailing the real Atlantic. In that way it has behind it masses of experience just as real as the one you could have from the beach; only, while yours would be a single glimpse, the map fits all those different experiences together. In the second place, if you want to go anywhere, the map is absolutely necessary. As long as you are content with walks on the beach, your own glimpses are far more fun than looking at a map. But the map is going to be more use than walks on the beach if you want to get to America.

Shopping malls rarely have any windows on the outside. There is a good reason for this: if you could see the world beyond the window you would be able to orientate yourself and might not get lost. Shopping malls have maps that are unreadable even to the most skilled cartographer. There is a good reason for this: if you could read the map you would be able to find your way to the shop you meant to go without getting lost. Shopping malls look rather the same whichever way you turn. There is a reason for this too: shopping malls are built to disorientate you, to spin you around, to free you from the original petty purpose for which you came and make you wander like Cain past rows and rows of shops thinking to yourself, "Ooh! I should actually go in there and get something. Might as well seeing as I'm here." And this strange mental process, this freeing of the mind from all sense of purpose or reason, is known to retail analysts as the Gruen transfer.

Yet like many other human traits that made sense in past ages but cause trouble in the modern age, the knowledge illusion has its downside. The world is becoming ever more complex, and people fail to realise just how ignorant they are of what’s going on. Consequently some who know next to nothing about meteorology or biology nevertheless propose policies regarding climate change and genetically modified crops, while others hold extremely strong views about what should be done in Iraq or Ukraine without being able to locate these countries on a map. People rarely appreciate their ignorance, because they lock themselves inside an echo chamber of like-minded friends and self-confirming newsfeeds, where their beliefs are constantly reinforced and seldom challenged. Providing people with more and better information is unlikely to improve matters. Scientists hope to dispel wrong views by better science education, and pundits hope to sway public opinion on issues such as Obamacare or global warming by presenting the public with accurate facts and expert reports. Such hopes are grounded in a misunderstanding of how humans actually think. Most of our views are shaped by communal groupthink rather than individual rationality, and we hold on to these views out of group loyalty. Bombarding people with facts and exposing their individual ignorance is likely to backfire. Most people don’t like too many facts, and they certainly don’t like to feel stupid. Don’t be so sure that you can convince Tea Party supporters of the truth of global warming by presenting them with sheets of statistical data.

A wise man knows how little he knows."   In life, there is no end to the lessons that can be learned. Wisdom is not a task that can be completed or a race that can be won. It is a constant development that lasts a lifetime. Every day is a chance to gain experience. Every mistake is an opportunity to learn something new.  To cease the pursuit of wisdom is to walk in a straight line through a dark forest. Arrogance refuses the help of maps or the guidance of others, forging onward and looking only in the direction ahead. Though signs point in warning, a foolish person is too blinded by pride to observe their surroundings — too oblivious to see the cliff's edge in front of them until it is too late.  The wisest study their successes to find what they should repeat, and study their failures to avoid the same

Quince leans in over the map, studying, and I think he’s going to ask me something about the kingdoms or my plan or Daddy’s trident. Instead, without taking his eyes off the map, he asks, “What happens if I fail?” “What?” I whisper. “If I don’t pass the three tests,” he says. “What’s the consequence?” I suck in a shaky breath. This is the part I didn’t want to talk about, the part I hoped he wouldn’t ask about. But I guess he’s too clever—or has learned too much about how mer-world magic works—to assume there won’t be a price. There is, and it’s a big one. “If you fail,” I say, keeping my voice steady, “then you are banished from the water forever.” He lifts his Caribbean-blue eyes to stare into mine. “And?” “And?” I echo. “I know that can’t be it,” he says. “Nothing in your world is ever that simple.” A part of my heart breaks when he calls it my world. I want it to feel like his world, too. But now isn’t the time. He’s right; there’s more to the consequence of failure than him being exiled. “And . . . ,” I say, wishing I didn’t have to tell him this, “I’ll be banished from land.” I swallow hard. “Forever.” He stares into my eyes, unblinking, and I can’t read any sort of reaction. His mind is racing, I’m sure, but everything on the outside is a stone facade. Finally, after what feels like an eternity, he says, “Then I won’t fail.

Reality, at first glance, is a simple thing: the television speaking to you now is real. Your body sunk into that chair in the approach to midnight, a clock ticking at the threshold of awareness. All the endless detail of a solid and material world surrounding you. These things exist. They can be measured with a yardstick, a voltammeter, a weighing scale. These things are real. Then there’s the mind, half-focused on the TV, the settee, the clock. This ghostly knot of memory, idea and feeling that we call ourself also exists, though not within the measurable world our science may describe. Consciousness is unquantifiable, a ghost in the machine, barely considered real at all, though in a sense this flickering mosaic of awareness is the only true reality that we can ever know. The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas. Material existence is entirely founded on a phantom realm of mind, whose nature and geography are unexplored. Before the Age of Reason was announced, humanity had polished strategies for interacting with the world of the imaginary and invisible: complicated magic-systems; sprawling pantheons of gods and spirits, images and names with which we labelled powerful inner forces so that we might better understand them. Intellect, Emotion and Unconscious Thought were made divinities or demons so that we, like Faust, might better know them; deal with them; become them. Ancient cultures did not worship idols. Their god-statues represented ideal states which, when meditated constantly upon, one might aspire to. Science proves there never was a mermaid, blue-skinned Krishna or a virgin birth in physical reality. Yet thought is real, and the domain of thought is the one place where gods inarguably ezdst, wielding tremendous power. If Aphrodite were a myth and Love only a concept, then would that negate the crimes and kindnesses and songs done in Love’s name? If Christ were only ever fiction, a divine Idea, would this invalidate the social change inspired by that idea, make holy wars less terrible, or human betterment less real, less sacred? The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.

Pages later- hearing and exposed- Whitman starts to write about all the travel he can do by imagining, and lists all the places he can visit while loafing on the grass. "My palms cover continents," he writes. I kept thinking about maps, like the way sometimes when I was kid and I would look at atlases, and just the looking was kind of like being somewhere else. This is what I had to do.I had to hear and imagine my way into her map. But hadn't I been trying to do that? I looked up at the maps above my computer. I had tried to plot her possible travels, but just as the grass stood for too much so Margo stood for too much. It seemed impossible to pin her down with maps. She was too small and the space covered by the maps too big. They were more than a waste of time- they were the physical representation of the total fruitlessness of all of it, my absolute inability to develop the kinds of palms that cover continents, to have the kind of mind that correctly imagines.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip — and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza’s The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it’s natural that Himself’s dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who’s empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is the way he despises what it is he’s really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia. 281 281 - This had been one of Hal’s deepest and most pregnant abstractions, one he’d come up with once while getting secretly high in the Pump Room. That we’re all lonely for something we don’t know we’re lonely for. How else to explain the curious feeling that he goes around feeling like he misses somebody he’s never even met? Without the universalizing abstraction, the feeling would make no sense.

Standing in the courtyard with a glass eye; only half the world is intelligible. The stones are wet and mossy and in the crevices are black toads. A big door bars the entrance to the cellar; the steps are slippery and soiled with bat dung. The door bulges and sags, the hinges are falling off, but there is an enameled sign on it, in perfect condition, which says: “Be sure to close the door.” Why close the door? I can’t make it out. I look again at the sign but it is removed; in it’s place there is a pane of colored glass. I take out my artificial eye, spit on it and polish it with my handkerchief. A woman is sitting on a dais above an immense carven desk; she has a snake around her neck. The entire room is lined with books and strange fish swimming in colored globes; there are maps and charts on the wall, maps of Paris before the plague, maps of the antique world, of Knossos and Carthage, of Carthage before and after the salting. In the corner of the room I see an iron bedstead and on it a corpse is lying; the woman gets up wearily, removes the corpse from the bed and absent mindedly throws it out the window. She returns to the huge carven desk, takes a goldfish from the bowl and swallows it. Slowly the room begins to revolve and one by one the continents slide into the sea; only the woman is left, but her body is a mass of geography. I lean out the window and the Eiffle Tower is fizzing champagne; it is built entirely of numbers and shrouded in black lace. The sewers are gurgling furiously. There are nothing but roofs everywhere, laid out with execrable geometric cunning.

I went to the room in Great Jones Street, a small crooked room, cold as a penny, looking out on warehouses, trucks and rubble. There was snow on the windowledge. Some rags and an unloved ruffled shirt of mine had been stuffed into places where the window frame was warped and cold air entered. The refrigerator was unplugged, full of record albums, tapes, and old magazines. I went to the sink and turned on both taps all the way, drawing an intermittent trickle. Least is best. I tried the radio, picking up AM only at the top of the dial, FM not at all." The industrial loft buildings along Great Jones seemed misproportioned, broad structures half as tall as they should have been, as if deprived of light by the great skyscraper ranges to the north and south." Transparanoia owns this building," he said. She wanted to be lead singer in a coke-snorting hard-rock band but was prepared to be content beating a tambourine at studio parties. Her mind was exceptional, a fact she preferred to ignore. All she desired was the brute electricity of that sound. To make the men who made it. To keep moving. To forget everything. To be that sound. That was the only tide she heeded. She wanted to exist as music does, nowhere, beyond maps of language. Opal knew almost every important figure in the business, in the culture, in the various subcultures. But she had no talent as a performer, not the slightest, and so drifted along the jet trajectories from band to band, keeping near the fervers of her love, that obliterating sound, until we met eventually in Mexico, in somebody's sister's bed, where the tiny surprise of her name, dropping like a pebble on chrome, brought our incoherent night to proper conclusion, the first of all the rest, transactions in reciprocal tourism. She was beautiful in a neutral way, emitting no light, defining herself in terms of attrition, a skinny thing, near blond, far beyond recall from the hard-edged rhythms of her life, Southwestern woman, hard to remember and forget...There was never a moment between us that did not measure the extent of our true connection. To go harder, take more, die first.

Wylan—and the obliging Kuwei—will get the weevil working,” Kaz continued. “Once we have Inej, we can move on Van Eck’s silos.” Nina rolled her eyes. “Good thing this is all about getting our money and not about saving Inej. Definitely not about that.” “If you don’t care about money, Nina dear, call it by its other names.” “Kruge? Scrub? Kaz’s one true love?” “Freedom, security, retribution.” “You can’t put a price on those things.” “No? I bet Jesper can. It’s the price of the lien on his father’s farm.” The sharpshooter looked at the toes of his boots. “What about you, Wylan? Can you put a price on the chance to walk away from Ketterdam and live your own life? And Nina, I suspect you and your Fjerdan may want something more to subsist on than patriotism and longing glances. Inej might have a number in mind too. It’s the price of a future, and it’s Van Eck’s turn to pay.” Matthias was not fooled. Kaz always spoke logic, but that didn’t mean he always told truth. “The Wraith’s life is worth more than that,” said Matthias. “To all of us.” “We get Inej. We get our money. It’s as simple as that.” “Simple as that,” said Nina. “Did you know I’m next in line for the Fjerdan throne? They call me Princess Ilse of Engelsberg.” “There is no princess of Engelsberg,” said Matthias. “It’s a fishing town.” Nina shrugged. “If we’re going to lie to ourselves, we might as well be grand about it.” Kaz ignored her, spreading a map of the city over the table, and Matthias heard Wylan murmur to Jesper, “Why won’t he just say he wants her back?” “You’ve met Kaz, right?” “But she’s one of us.” Jesper’s brows rose again. “One of us? Does that mean she knows the secret handshake? Does that mean you’re ready to get a tattoo?” He ran a finger up Wylan’s forearm, and Wylan flushed a vibrant pink. Matthias couldn’t help but sympathize with the boy. He knew what it was to be out of your depth, and he sometimes suspected they could forgo all of Kaz’s planning and simply let Jesper and Nina flirt the entirety of Ketterdam into submission. Wylan pulled his sleeve down self-consciously. “Inej is part of the crew.” “Just don’t push it.” “Why not?” “Because the practical thing would be for Kaz to auction Kuwei to the highest bidder and forget about Inej entirely.” “He wouldn’t—” Wylan broke off abruptly, doubt creeping over his features. None of them really knew what Kaz would or wouldn’t do. Sometimes Matthias wondered if even Kaz was sure. “Okay, Kaz,” said Nina, slipping off her shoes and wiggling her toes. “Since this is about the almighty plan, how about you stop meditating over that map and tell us just what we’re in for.

It's of some interest that the lively arts of the millenial U.S.A. treat anhedonia and internal emptiness as hip and cool. It's maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it's the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip -- and keep in mind that, for kids and younger people, to be hip and cool is the same to be admired and accepted and included and so Unalone. Forget so-called peer pressure. It's more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great tanscendent horror is loneliness, excluded encagement in the self. Once we've hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the sahpe of whatever it wears. And then it's stuck there, the weary cynicism that save us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent (at least since the Reconfiguration). One of the things sophisticated viewers have always liked about J. O. Incandenza's The American Century as Seen Through a Brick is its unsubtle thesis that naïveté is the last true terrible sin in the theology of millennial America. And since sin is the sort of thing that can be talked about only figuratively, it's natural that Himself's dark little cartridge was mostly about a myth, viz. that queerly persistent U.S. myth that cynicism and naïveté are mutually exclusive. Hal, who's empty but not dumb, theorizes privately that what passes for hip cynical transcendence of sentiment is really some kind of fear of being really human, since to be really human (at least as he conceptualizes it) is probably to be unavoidably sentimental and naïve and goo-prone and generally pathetic, is to be in some basic interior way forever infantile, some sort of not-quite-right-looking infant dragging itself anaclitically around the map, with big wet eyes and froggy-soft skin, huge skull, gooey drool. One of the really American things about Hal, probably, is thie way he despises what it is he's really lonely for: this hideous internal self, incontinent of sentiment and need, that pules and writhes just under the hip empty mask, anhedonia.