Minus One Problem Quotes

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In any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn't tip the balance one way or the other. Or you'll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you'll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Every time you come to the limit of what is demanded of you, you are faced with the same problem - to be yourself! And with the first step you make in this direction you realize that there is neither plus nor minus; you throw the skates away and swim. There is no suffering any more because there is nothing which can threaten your security. And there is no desire to be of help to others even, because why rob them of a privilege which must be earned? Life stretches out from moment to moment in stupendous infinitude. Nothing can be more real than what you suppose it to be. Whatever you think the cosmos to be it is and it could not possibly be anything else as long as you are you and I am I. You live in the fruits of your action and your action is the harvest of your thought. Thought and action are one, because swimming you are in it and of it, and it is everything you desire it to be, no more, no less. Every stroke counts for eternity. The heating and cooling system is one system, and Cancer is separated from Capricorn only by an imaginary line. You don't become ecstatic and you are not plunged into violent grief; you don't pray for rain, neither do you dance a jig. You live like a happy rock in the midst of the ocean: you are fixed while everything about you is in turbulent motion. You are fixed in a reality which permits the thought that nothing is fixed, that even the happiest and mightiest rock will one day be utterly dissolved and fluid as the ocean from which it was born.
Henry Miller (Tropic of Capricorn (Tropic, #2))
As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
I shall remain thankful to you for the tenderness of your arms that held me when I wept onto your shoulder, and that held me throughout that winter, after every bicycle accident and every B minus. I discovered Bulbul that you could make everything all right, by blowing softly over scraped knees… but one such winter day, by which time our childhood heroes had become older men with ordinary problems, I might’ve confessed to being in love with you and you, in a moment of ruthless propriety, had pretended not to hear.’ ('Left from Dhakeshwari')
Kunal Sen
She's probably just tired of seeing you miserable.Like we all are," I add. "I'm sure...I'm sure she's as crazy about you as ever." "Hmm." He watches me put away my own shoes and empty the contents of my pockets. "What about you?" he asks, after a minute. "What about me?" St. Clair examines his watch. "Sideburns. You'll be seeing him next month." He's reestablishing...what? The boundary line? That he's taken, and I'm spoken for? Except I'm not. Not really. But I can't bear to say this now that he's mentioned Ellie. "Yeah,I can't wait to see him again. He's a funny guy, you'd like him.I'm gonna see his band play at Christmas. Toph's a great guy, you'd really like him. Oh. I already said that,didn't I? But you would. He's really...funny." Shut up,Anna. Shut.Up. St. Clair unbuckles and rebuckles and unbuckles his watchband. "I'm beat," I say. And it's the truth. As always, our conversation has exhausted me. I crawl into bed and wonder what he'll do.Lie on my floor? Go back to his room? But he places his watch on my desk and climbs onto my bed. He slides up next to me. He's on top of the covers, and I'm underneath. We're still fully dressed,minus our shoes, and the whole situation is beyond awkward. He hops up.I'm sure he's about to leave,and I don't know whether to be relieved or disappointed,but...he flips off my light.My room is pitch-black. He shuffles back toward my bed and smacks into it. "Oof," he says. "Hey,there's a bed there." "Thanks for the warning." "No problem." "It's freezing in here.Do you have a fan on or something?" "It's the wind.My window won't shut all the way.I have a towel stuffed under it, but it doesn't really help." He pats his way around the bed and slides back in. "Ow," he says. "Yes?" "My belt.Would it be weird..." I'm thankful he can't see my blush. "Of course not." And I listen to the slap of leather as he pulls it out of his belt loops.He lays it gently on my hardwood floor. "Um," he says. "Would it be weird-" "Yes." "Oh,piss off.I'm not talking trousers. I only want under the blankets. That breeze is horrible." He slides underneath,and now we're lying side by side. In my narrow bed. Funny,but I never imagined my first sleepover with a guy being,well,a sleepover. "All we need now are Sixteen Candles and a game of Truth or Dare." He coughs. "Wh-what?" "The movie,pervert.I was just thinking it's been a while since I've had a sleepover." A pause. "Oh." "..." "..." "St. Clair?" "Yeah?" "Your elbow is murdering my back." "Bollocks.Sorry." He shifts,and then shifts again,and then again,until we're comfortable.One of his legs rests against mine.Despite the two layers of pants between us,I feel naked and vulnerable. He shifts again and now my entire leg, from calf to thigh, rests against his. I smell his hair. Mmm. NO! I swallow,and it's so loud.He coughs again. I'm trying not to squirm. After what feels like hours but is surely only minutes,his breath slows and his body relaxes.I finally begin to relax, too. I want to memorize his scent and the touch of his skin-one of his arms, now against mine-and the solidness os his body.No matter what happens,I'll remember this for the rest of my life. I study his profile.His lips,his nose, his eyelashes.He's so beautiful.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
Over the years, I’ve realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can’t be, because so many people do it. During the final selection round for each new class of NASA astronauts, for example, there’s always at least one individual who’s hell-bent on advertising him- or herself as a plus one. In fact, all the applicants who make it to the final 100 and are invited to come to Houston for a week have impressive qualifications and really are plus ones—in their own fields. But invariably, someone decides to take it a little further and behave like An Astronaut, one who already knows just about everything there is to know—the meaning of every acronym, the purpose of every valve on a spacesuit—and who just might be willing, if asked nicely, to go to Mars tomorrow. Sometimes the motivation is over-eagerness rather than arrogance, but the effect is the same.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can’t be, because so many people do it.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Over the years, I’ve realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can’t be, because so many people do i
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Over the years, I’ve realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can’t be, because so many people do it.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Over the years, I've realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn't tip the balance one way or the other. Or you'll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-one-ness at the outset almost guarantees you'll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can't be, because so many people do it.
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Over the years, I’ve realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus-oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self-evident, but it can’t be, because so many people do it. During
Chris Hadfield (An Astronaut's Guide to Life on Earth)
Here's my question: What age are you when you're in Heaven? I mean, if it's Heaven, you should be at your beauty-queen best, and I doubt that all the people who die of old age are wandering around toothless and bald. It opens up a whole additional realm of questions, too. If you hang yourself, do you walk around all gross and blue, with your tongue spitting out of your mouth? If you are killed in a war, do you spend eternity minus the leg that got blown up by a mine? I figure that maybe you get a choice. You fill out the application form that asks you if you want a star view or a cloud view, if you like chicken or fish or manna for dinner, what age you'd like to be seen as by everyone else. Like me, for example, I might pick seventeen, in the hopes I grow boobs by then, and even if I'm a pruny centegenarian by the time I die, in Heaven, I'd be young and pretty. Once at a dinner party I heard my father say that even though he was old old old, in his heart he was twenty-one. So maybe there is a place in your life you ear out like a rut, or even better, like the soft spot on the couch. And no matter what else happens to you, you come back to that. The problem, I suppose, is that everyone's different. What happens in Heaven when all these people are trying to find each other after so many years spent apart? Say that you die and start looking around for your husband, who died five years ago. what if you're picturing him at seventy, but he hit his groove at sixteen and is wandering around suave as can be? Or what if you're Kate, and you die at sixteen, but in Heaven you choose to look thirty-five, an age you never got to be here on Earth. How would anyone ever be able to find you?
Jodi Picoult (My Sister's Keeper)
Very interesting, Miracolina, but you’ve left out one thing.” “What?” “Your soul,” he says. “Who gets your soul?” “My soul,” she tells him with confidence, “goes to God.” “Hmm . . .” He strokes some graying whisker stubble. “So it goes to God, even if every part of your body is still alive?” Miracolina stands firm against his questioning. “I have a right to believe that, if I want to.” “True, true. One problem with that, though. You’re Catholic, isn’t that right?” “Yes.” “And you want to be unwound voluntarily.” “So?” “Well . . . if your soul leaves this world, then voluntary unwinding is no different from assisted suicide—and in the Catholic religion, suicide is a mortal sin. Which means that by your own beliefs, you’d be going to hell.” Then he leaves her to stew with an A-minus on her essay. Minus, she assumes, due to the eternal damnation of her soul.
Neal Shusterman (UnWholly (Unwind, #2))
You are a totally pathetic, historical example of the phallocentric, to put it mildly." "A pathetic, historical example," Oshima repeats, obviously impressed. By his tone of voice he seems to like the sound of that phrase. "In other words you're a typical sexist, patriarchic male," the tall one pipes in, unable to conceal her irritation. "A patriarchic male," Oshima again repeats. The short one ignores this and goes on. "You're employing the status quo and the cheap phallocentric logic that supports it to reduce the entire female gender to second-class citizens, to limit and deprive women of the rights they're due. You're doing this unconsciously rather than deliberately, but that makes you even guiltier. You protect vested male interests and become inured to the pain of others, and don't even try to see what evil your blindness causes women and society. I realize that problems with restrooms and card catalogs are mere details, but if we don't begin with the small things we'll never be able to throw off the cloak of blindness that covers our society. Those are the principles by which we act." "That's the way every sensible woman feels," the tall one adds, her face expressionless. [...] A frozen silence follows. "At any rate, what you've been saying is fundamentally wrong," Oshima says, calmly yet emphatically. "I am most definitely not a pathetic, historical example of a patriarchic male." "Then explain, simply, what's wrong with what we've said," the shorter woman says defiantly. "Without sidestepping the issue or trying to show off how erudite you are," the tall one adds. "All right. I'll do just that—explain it simply and honestly, minus any sidestepping or displays of brilliance," Oshima says. "We're waiting," the tall one says, and the short one gives a compact nod to show she agrees. "First of all, I'm not a male," Oshima announces. A dumbfounded silence follows on the part of everybody. I gulp and shoot Oshima a glance. "I'm a woman," he says. "I'd appreciate it if you wouldn't joke around," the short woman says, after a pause for breath. Not much confidence, though. It's more like she felt somebody had to say something. Oshima pulls his wallet out of his chinos, takes out the driver's license, and passes it to the woman. She reads what's written there, frowns, and hands it to her tall companion, who reads it and, after a moment's hesitation, gives it back to Oshima, a sour look on her face. "Did you want to see it too?" Oshima asks me. When I shake my head, he slips the license back in his wallet and puts the wallet in his pants pocket. He then places both hands on the counter and says, "As you can see, biologically and legally I am undeniably female. Which is why what you've been saying about me is fundamentally wrong. It's simply impossible for me to be, as you put it, a typical sexist, patriarchic male." "Yes, but—" the tall woman says but then stops. The short one, lips tight, is playing with her collar. "My body is physically female, but my mind's completely male," Oshima goes on. "Emotionally I live as a man. So I suppose your notion of being a historical example may be correct. And maybe I am sexist—who knows. But I'm not a lesbian, even though I dress this way. My sexual preference is for men. In other words, I'm a female but I'm gay. I do anal sex, and have never used my vagina for sex. My clitoris is sensitive but my breasts aren't. I don't have a period. So, what am I discriminating against? Could somebody tell me?
Haruki Murakami (Kafka on the Shore)
Over the years, I’ve realized that in any new situation, whether it involves an elevator or a rocket ship, you will almost certainly be viewed in one of three ways. As a minus one: actively harmful, someone who creates problems. Or as a zero: your impact is neutral and doesn’t tip the balance one way or the other. Or you’ll be seen as a plus one: someone who actively adds value. Everyone wants to be a plus one, of course. But proclaiming your plus- oneness at the outset almost guarantees you’ll be perceived as a minus one, regardless of the skills you bring to the table or how you actually perform. This might seem self- evident, but it can’t be, because so many people do it.
Chris Hadfield
Numbers had no rhymes that could cause problems, so it was fine to call out one, two, and three by their proper names. But zero, which was even less likely to create rhyming difficulties, proved to be an irresistible target, and so aviators referred to zeros as “balls.” Wally Schirra, more than most astronauts, could barely contain himself. Throughout the eleven days of the Apollo 7 mission, Wally had taken special pleasure in calling down, “First off, we’ll read off balls,” or “Star difference angle was four balls,” or “Two balls twenty-two, plus four balls six, plus four balls one.” Inevitably, the capcom would follow that lead, since he could hardly say zero when Wally was talking balls. So the voice from the ground would answer the commander: “Okay, all balls minus twenty-six eighty-seven.” Then, finally, a female reporter at a NASA press conference during Apollo 7’s mission raised her hand and said, “I don’t understand about the balls.” All of the male reporters laughed until they cried.
Jeffrey Kluger (Apollo 8: The Thrilling Story of the First Mission to the Moon)
A few years ago, I led an expedition to return to Mount Everest, the mountain I had climbed aged 23, a mountain where I had risked everything and survived - just. I had always held a secret dream to return and attempt to fly over the mountain in a small one-man paramotor - like a paraglider, only with a backpack engine strapped to your body. At the time, the highest altitude that one had been flown was around 17,000 feet (5,180 metres). But being an enthusiast (and an optimist!), I reckoned we shouldn’t just aim to break the record by a few feet, I thought we should go as high as it was possible to go, and in my mind that meant flying over the height of Mount Everest. This in turn meant we needed to build a machine capable of flying to over 29,000 feet (8,840 metres). Most of the people we spoke to about this thought a) we were crazy, and b) it was technically impossible. What those naysayers hadn’t factored in was the power of yes, and specifically the ability to build a team capable of such a mission. This meant harnessing the brilliance of my good friend Gilo Cardozo, a paramotor engineer, a born enthusiast, and a man who loves to break the rules - and to say yes. Gilo was - and is - an absolute genius aviation engineer who spends all his time in his factory, designing and testing crazy bits of machinery. When people told us that our oxygen would freeze up in minus 70°, or that at extreme altitudes we would need such a heavy engine to power the machine that it would be impossible to take off, or that even if we managed to do it, we would break our legs landing at such speed, Gilo’s response was: ‘Oh, it’ll be great. Leave it with me.’ No matter what the obstacle, no matter what the ‘problem’, Gilo always said, ‘We can do this.’ And after months in his workshop, he did eventually build the machine that took us above the height of Everest. He beat the naysayers, he built the impossible and by the Grace of God we pulled it off - oh, and in the process we raised over $2.5 million for children’s charities around the world. You see, dreams can come true if you stick to them and think big. So say yes - you never know where it will lead. And there are few limits to how high you just might soar.
Bear Grylls (A Survival Guide for Life: How to Achieve Your Goals, Thrive in Adversity, and Grow in Character)