Notebook First Page Quotes

So tonight I reach for my journal again. This is the first time I’ve done this since I came to Italy. What I write in my journal is that I am weak and full of fear. I explain that Depression and Loneliness have shown up, and I’m scared they will never leave. I say that I don’t want to take the drugs anymore, but I’m frightened I will have to. I am terrified that I will never really pull my life together. In response, somewhere from within me, rises a now-familiar presence, offering me all the certainties I have always wished another person would say to me when I was troubled. This is what I find myself writing on the page: I’m here. I love you. I don’t care if you need to stay up crying all night long. I will stay with you. If you need the medication again, go ahead and take it—I will love you through that, as well. If you don’t need the medication, I will love you, too. There’s nothing you can ever do to lose my love. I will protect you until you die, and after your death I will still protect you. I am stronger than Depression and Braver than Loneliness and nothing will ever exhaust me. Tonight, this strange interior gesture of friendship—the lending of a hand from me to myself when nobody else is around to offer solace—reminds me of something that happened to me once in New York City. I walked into an office building one afternoon in a hurry, dashed into the waiting elevator. As I rushed in, I caught an unexpected glance of myself in a security mirror’s reflection. In that moment, my brain did an odd thing—it fired off this split-second message: “Hey! You know her! That’s a friend of yours!” And I actually ran forward toward my own reflection with a smile, ready to welcome that girl whose name I had lost but whose face was so familiar. In a flash instant of course, I realized my mistake and laughed in embarrassment at my almost doglike confusion over how a mirror works. But for some reason that incident comes to mind again tonight during my sadness in Rome, and I find myself writing this comforting reminder at the bottom of the page. Never forget that once upon a time, in an unguarded moment, you recognized yourself as a FRIEND… I fell asleep holding my notebook pressed against my chest, open to this most recent assurance. In the morning when I wake up, I can still smell a faint trace of depression’s lingering smoke, but he himself is nowhere to be seen. Somewhere during the night, he got up and left. And his buddy loneliness beat it, too.

Perfection is a feeling; you’ll know it if you’ve ever questioned the competency of your penmanship before writing on the first page of a new notebook.

I should never be able to fulfill what is,I understand, the first duty of a lecturer-to hand you after an hour's discourse a nugget of pure truth to wrap up between the pages of your notebooks and keep on the mantelpiece forever".

I want you to start a brand-new section in your notebooks and call it Mr. Browne’s Precepts.” He kept talking as we did what he was telling us to do. “Put today’s date at the top of the first page. And from now on, at the beginning of every month, I’m going to write a new Mr. Browne precept on the chalkboard and you’re going to write it down in your notebook. Then we’re going to discuss that precept and what it means. And at the end of the month, you’re going to write an essay about it, about what it means to you. So by the end of the year, you’ll all have your own list of precepts to take away with you.

However, no matter how brilliant an ideal may be, if the path to realization is too far, then the light at the end is nothing more than an illusion, and those ideals—meaningless. Thus, the quickest path to fulfillment is inscribed on the first page of my notebook: "Do what must be done.

At first he told them that everything was just the same, that the pink snails were still in the house where he had been born, that the dry herring still had the same taste on a piece of toast, that the waterfalls in the village still took on a perfumed smell at dusk. They were the notebook pages again, woven with the purple scribbling, in which he dedicated a special paragraph to each one. Nevertheless, and although he himself did not seem to notice it, those letters of recuperation and stimulation were slowly changing into pastoral letters of disenchantment. One winter night while the soup was boiling in the fireplace, he missed the heat of the back of his store, the buzzing of the sun on the dusty almond trees, the whistle of the train during the lethargy of siesta time, just as in Macondo he had missed the winter soup in the fireplace, the cries of the coffee vendor, and the fleeting larks of springtime. Upset by two nostalgias facing each other like two mirrors, he lost his marvelous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught then about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end.

She refused at first, saying it would make a mockery of their love. She loved him too much to admit that what she thought of as unforgettable could ever be forgotten. Finally, of course, she did as he asked, but without enthusiasm. The notebooks showed it: they had many empty pages, and the entries were fragmentary.

When I first read the Harry Potter books and learned about the lightning bolt scar on Harry's forehead, I thought, Of course. Of course love worked that way. Of course it left its mark on the beloved. This secret mark protected you, kept you safe from harm, reminded you of who you were. All it took was the smallest symbol and you were safe. As I grew older and discovered my love of literature, I externalized the markings, wrote them down in my Moleskine, kept my notebook close - so much so that when the LIA counselors took away my notebook years later, they took away much of this protection. But they didn't take all of it. The empty pages still carried ghosts.

Kenneth Clark referred to Leonardo’s “inhumanly sharp eye.” It’s a nice phrase, but misleading. Leonardo was human. The acuteness of his observational skill was not some superpower he possessed. Instead, it was a product of his own effort. That’s important, because it means that we can, if we wish, not just marvel at him but try to learn from him by pushing ourselves to look at things more curiously and intensely. In his notebook, he described his method—almost like a trick—for closely observing a scene or object: look carefully and separately at each detail. He compared it to looking at the page of a book, which is meaningless when taken in as a whole and instead needs to be looked at word by word. Deep observation must be done in steps: “If you wish to have a sound knowledge of the forms of objects, begin with the details of them, and do not go on to the second step until you have the first well fixed in memory.

I spent a few more minutes puzzling over the timeline before turning my attention to the notebook’s first page, which contained a pencil drawing of an old-school coin-operated arcade game—one I didn’t recognize. Its control panel featured a single joystick and one unlabeled white button, and its cabinet was entirely black, with no side art or other markings anywhere on it, save for the game’s strange title, which was printed in all capital green letters across its jet black marquee: POLYBIUS. Below his drawing of the game, my father had made the following notations: No copyright or manufacturer info anywhere on game cabinet. Reportedly only seen for 1–2 weeks in July 1981 at MGP. Gameplay was similar to Tempest. Vector graphics. Ten levels? Higher levels caused players to have seizures, hallucinations, and nightmares. In some cases, subject committed murder and/or suicide. “Men in Black” would download scores from the game each night. Possible early military prototype created to train gamers for war? Created by same covert op behind Bradley Trainer?

The first time I write my full name Jacqueline Amanda Woodson without anybody' help on a clean white page in my composition notebook, I know If I wanted to I could write anything Letters becoming words, words gathering meaning, becoming thoughts outside my head becoming sentences written by Jacqueline Amanda Woodson

In one of my prewar lectures—they were devilishly daring!—I developed this excerpt from Goethe into the elegiac idea that there is no such thing as happiness, that it is either unattainable or illusory. Then, suddenly, a note was passed to me, a page torn out of a miniature notebook—squared paper: “ ‘But I’m in love—and I am happy! What do you say to that?’ ” “What did you say?” “What can anybody say?

I gripped Marcus’s notebook closer to my chest, tracing the words that he’d written, words that he’d written for my brother. I didn’t realize I was crying at first, but my tears fell to the page, staining the blue ink and forcing it to pool around the letters. I felt my grip on this reality slipping, the knowledge that my brother had this secret, one that he never thought to tell me. I cried for Marcus; I cried for his lost love and the future the two of them might’ve had. I cried for my parents and how awful their only living child had become, how they seemed to have lost both of their kids in a matter of weeks. I cried for Joel and Vanessa, how they’d hurt me, and how I’d hurt them. I cried for myself, and all the hurt I’d caused, and all the pain I felt. But most of all, I cried for Ethan because he was no longer here.

And so I make my way across the room steadily, carefully. Hands shaking, I pull the string, lifting my blinds. They rise slowly, drawing more moonlight into the room with every inch And there he is, crouched low on the roof. Same leather jacket. The hair is his, the cheekbones, the perfect nose . . . the eyes: dark and mysterious . . . full of secrets. . . . My heart flutters, body light. I reach out to touch him, thinking he might disappear, my fingers disrupted by the windowpane. On the other side, Parker lifts his hand and mouths: “Hi.” I mouth “Hi” back. He holds up a single finger, signalling me to hold on. He picks up a spiral-bound notebook and flips open the cover, turning the first page to me. I recognize his neat, block print instantly: bold, black Sharpie. I know this is unexpected . . . , I read. He flips the page. . . . and strange . . . I lift an eyebrow. . . . but please hear read me out. He flips to the next page. I know I told you I never lied . . . . . . but that was (obviously) the biggest lie of all. The truth is: I’m a liar. I lied. I lied to myself . . . . . . and to you. Parker watches as I read. Our eyes meet, and he flips the page. But only because I had to. I wasn’t supposed to fall in love with you, Jaden . . . . . . but it happened anyway. I clear my throat, and swallow hard, but it’s squeezed shut again, tight. And it gets worse. Not only am I a liar . . . I’m selfish. Selfish enough to want it all. And I know if I don’t have you . . . I hold my breath, waiting. . . . I don’t have anything. He turns another page, and I read: I’m not Parker . . . . . . and I’m not going to give up . . . . . . until I can prove to you . . . . . . that you are the only thing that matters. He flips to the next page. So keep sending me away . . . . . . but I’ll just keep coming back to you. Again . . . He flips to the next page. . . . and again . . . And the next: . . . and again. Goose bumps rise to the surface of my skin. I shiver, hugging myself tightly. And if you can ever find it in your (heart) to forgive me . . . There’s a big, black “heart” symbol where the word should be. I will do everything it takes to make it up to you. He closes the notebook and tosses it beside him. It lands on the roof with a dull thwack. Then, lifting his index finger, he draws an X across his chest. Cross my heart. I stifle the happy laugh welling inside, hiding the smile as I reach for the metal latch to unlock my window. I slowly, carefully, raise the sash. A burst of fresh honeysuckles saturates the balmy, midnight air, sickeningly sweet, filling the room. I close my eyes, breathing it in, as a thousand sleepless nights melt, slipping away. I gather the lavender satin of my dress in my hand, climb through the open window, and stand tall on the roof, feeling the height, the warmth of the shingles beneath my bare feet, facing Parker. He touches the length of the scar on my forehead with his cool finger, tucks my hair behind my ear, traces the edge of my face with the back of his hand. My eyes close. “You know you’re beautiful? Even when you cry?” He smiles, holding my face in his hands, smearing the tears away with his thumbs. I breathe in, lungs shuddering. “I’m sorry,” he whispers, black eyes sincere. I swallow. “I know why you had to.” “Doesn’t make it right.” “Doesn’t matter anymore,” I say, shaking my head. The moon hangs suspended in the sky, stars twinkling overhead, as he leans down and kisses me softly, lips meeting mine, familiar—lips I imagined, dreamed about, memorized a mil ion hours ago. Then he wraps his arms around me, pulling me into him, quelling every doubt and fear and uncertainty in this one, perfect moment.

She snatches the notebook back. “About her, not me.” “But she’s you. And I can assure you, the first time I saw you, I wasn’t thinking…” You grab the notebook, and she refuses to surrender it, but you pull it close enough to read. “You’re a commoner because not all girls can be royalty. That’s bullshit. You’re the queen, baby.” She yanks the notebook away, closing it and tossing it out of your reach. “I said it’s my version. It’s fictionalized.” “You should write my version.” “Which would be, what? Thirty pages of duck jokes followed by a whole bunch of smut?” “Duck jokes,” you say. “Or dick jokes?” “Knowing you? Both.

If he silently decides not to say something when they’re talking, Marianne will ask ‘what?’ within one or two seconds. This ‘what?’ question seems to him to contain so much: not just the forensic attentiveness to his silences that allows her to ask in the first place, but a desire for total communication, a sense that anything unsaid is an unwelcome interruption between them. He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review. Then he turns a new page in the notebook so he doesn’t have to look at what he’s done.

Writing down Tasks serves a dual purpose. First, having a record of an open task makes it easier to remember even when you’re away from your journal, partly due to a phenomenon known as the Zeigarnik effect. Russian psychiatrist and psychologist Bluma Wulfovna Zeigarnik observed that the staff at her local restaurant was able to remember complex unfilled orders until they were filled, at which point they forgot the details. The friction of an unfinished Task actively engages your mind. Second, by logging Tasks and their state, you’ll also automatically create an archive of your actions. This becomes immensely valuable during Reflection (this page), or when you review your notebook days, months, or years from now. You’ll always know what you were working toward.

Listen to me boy,' the poet declared, 'here’s a little piece of advice from me about what it takes to write. Buy a notebook. Sit down and write something on the first page—write whatever you like. A poem, a story, doesn’t matter, just write. The next day, wake up, tear out that first page, rip it up, and throw it in the fire. Or in the garbage, all the same, the important thing is that you throw it out. The next day, write some more—again you’ll be on the first page, right? On the third day, wake up, tear it out, crumple it up, and throw it out, then sit back down and write! You follow me? Keep going until you are out of pages in your notebook. Then go and buy a new notebook and start all over again . . . That’s it. Somewhere around your tenth notebook you might have something worthwhile.

But otherwise the only thing I still like is this life with you, with the scarf you first gave me, with all the objects afterward. Life is reading a page that you have read, or reading over your shoulder, reading with you and not forgetting, because you don’t forget anything. Life is also walking around in this void, which has space for everything. It’s a path to the river Glan and the paths along the Gail, I lie stretched out with my notebooks on the Goria, once again I’m filling them with scribbling: he who has a Why to live for will bear almost any How. As if it had always been like that, I’m living the earliest times with you, always simultaneously with today, passively, without assailing anything or conjuring anything up. I’m just letting myself live more. Everything just has to come up at the same time and make an impression on me. Malina: What is life? Me: Whatever can’t be lived.

I pull a little notebook out of my purse and a pen. I write Lara Jean and Peter’s New Contract on the top of the page. Line one I write, Peter will be on time. Peter cranes his neck to read upside down. “Wait, does that say, ‘Peter will be on time’?” “If you say you’re going to be somewhere, then be there.” Peter scowls. “I didn’t show up one time and you hold a grudge--” “But you’re always late.” “That’s not the same as not showing up!” “Being late all the time shows a lack of respect for the person who’s waiting for you.” “I respect you! I respect you more than any girl I know!” I point at him. “‘Girl’? Just ‘girl’? What boy do you respect more than me?” Peter throws his head back and groans so loudly it’s a roar. I reach across the table, over the food, and grab him by the collar and kiss him before we can fight again. Though I have to say, it’s this kind of fighting, the bickering kind, not the hurt-feelings kind, that makes us feel like us for the first time all night.

I stepped from the desert doorway with nothing except the clothes on my back and a shoulder bag filled with notebooks—blue-lined paper pads bound together with rubber bands and stained with my sweat, with camel shit, by smears of my own blood. The pages crazed with jottings about devastating heat. The bearings for remote wells. Inked maps of pilgrim roads. The divinations of Bedouin fire cures. Mile upon mile of sentences from an austere kingdom still largely closed to the world. I walked along the concrete highway and spotted the first alcoholic artifacts I had seen in seven months (bottles, cans), past a large potash mine, and up the wrinkled coast to a tourist town. I saw women in colorful sarongs. Some drove cars. Nobody watched me. I floated out of a desert wadi like windblown trash. I found an ATM. I asked directions to a posh hotel with knockoff Mies van der Rohe tubular furniture in the lobby. Men gave camel rides to tourists outside. “And where”—asked the clerk, without the least curiosity, as I signed the paperwork—”are you coming from, Mr. Salopek?

He’s moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann’s Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-colored spine. Her long fingers turning the pages. She’s not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works. If he silently decides not to say something when they’re talking, Marianne will ask “what?” within one or two seconds. This “what?” question seems to him to contain so much: not just the forensic attentiveness to his silences that allows her to ask in the first place, but a desire for total communication, a sense that anything unsaid is an unwelcome interruption between them. He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to re-create a precise copy of Marianne in print, as if he can preserve her completely for future review. Then he turns a new page in the notebook so he doesn’t have to look at what he’s done.

At that moment the flames flared up and showed his young master’s pale worn face. Alpatych told how he had been sent there and how difficult it was to get away. ‘Are we really quite lost, your Excellency?’ he asked again. Prince Andrei without replying took out a notebook, and raising his knee began writing in pencil on a page he tore out. He wrote to his sister: Smolensk is being abandoned. Bald Hills will be occupied by the enemy within a week. Set off immediately for Moscow. Let me know at once when you will start. Send by special messenger to Usvyazh. Having written this and given the paper to Alpatych, he told him how to arrange for the departure of the prince, the princess, his son, and the boy’s tutor, and how and where to let him know immediately. Before he had had time to finish these instructions, a chief of staff followed by a suite galloped up to him. ‘You are a colonel?’ shouted the chief of staff with a German accent, in a voice familiar to Prince Andrei. ‘Houses are set on fire in your presence and you stand by! What does this mean? You will answer for it!’ shouted Berg, who was now assistant to the chief of staff of the commander of the left flank of the infantry of the First Army, a place, as Berg said, ‘very agreeable and high-profile’.

Please forgive the selfishness of an old man who seizes the past for his own.” He paused, but I was already listening closely. This sounded oddly like what I’d been thinking about. “. . . a version of the past, Eddie may not have experienced anything like it but he realized with the turn of a page that he could do storytelling . . . the first abundance of retelling fairy tales and fables and legends would come from their mouths—Eddie’s and your father’s.” I scrounged around in my pocketbook and found my pen and notebook. “Once one goes to the trouble of becoming a storyteller,” Rich continued, “they want the whole magilla—not only to be the first but the only—I’m not saying that occurred. I’m always glad when it does as long as feelings aren’t hurt.” I scribbled as fast as I could. “Eddie’s fables include multiple storytellers but none of them feels at any loss if they’re not the first or second out of the dugout. The art of storytelling is too various to have any one person have complete control.

The art girl gently explained light and dark to me. She tilted her head, brought her long hand to hover close to my failure. She said, “Can I?” and in my notebook she flipped to the first blank page, pinched a nub of charcoal. She made her case with a sketch of those famous, about-to-kiss vase people, and I let my heart go wild with the thought that something might happen between us.  

No writer ever knows enough words but he doesn’t have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax. My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results. I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: ‘panoply’ meaning ‘a full set of armor’, ‘calendar’ meaning ‘a printed index to a jumbled group of related manuscripts or papers’. —Chapter IX “Intellectual Equipment”, page 306

It wasn't the kind of love that filled my gut with butterflies or made me cover the pages in my notebook with my first name and her last. It wasn't marriage certificates or baby names. It was something older than that. Quitter. It was bones knowing bones, and being built with pieces of the same exploding star.

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

In the Alco Ward a dispute had broken out over plagiarism. Incidentally, when I arrived there for the first time I did not have the slightest notion that I was crossing the threshold of a creative writing program, that I was entering a community of people of the pen, of writers who were incessantly creating their alcoholic autobiographies, recording their innermost feeling in cheap sixty-page notebooks that were called emotional journals, laboriously assembling their drunkard's confessions.

It’s a sort of literary act of survival. I don’t have many words to express myself— rather, the opposite. I’m aware of a state of deprivation. And yet, at the same time, I feel free, light. I rediscover the reason that I write, the joy as well as the need. I find again the pleasure I’ve felt since I was a child: putting words in a notebook that no one will read. In Italian I write without style, in a primitive way. I’m always uncertain. My sole intention, along with a blind but sincere faith, is to be understood, and to understand myself. […] I start with very short pieces, usually no more than a handwritten page. I try to focus on something specific: a person, a moment, a place. I do what I ask my students to do when I teach creative writing. I explain to them that such fragments are the first steps to take before constructing a story. I think that a writer should observe the real world before imagining a nonexistent one. […] I’ve never tried to do anything this demanding as a writer. I find that my project is so arduous that it seems sadistic. I have to start again from the beginning, as if I had never written anything in my life. But, to be precise, I am not at the starting point: rather, I’m in another dimension, where I have no references, no armor. Where I’ve never felt so stupid.

Joe had a perfect game to pass the time, he’d said. Kevin had smirked and agreed. And there were four couples, so it was perfect. Sean should have known better. The reason having four couples was perfect, he found out too late, was because the game was a kind of demented adult version of The Newlywed Game. And now Joe and Kevin were laughing their asses off on the inside because Dani and Roger’s presence meant Sean and Emma had to keep up the pretense or Dani would tell her dad, who would in turn rat them out to Cat. “What’s the first place you had sex?” Roger read from a card. Dani hit the timer and six of them bent over their notepads, furiously scribbling down answers. Sean looked down at his blank page and decided to keep it simple. Hopefully, Emma would do the same. When the timer dinged, he tossed his pencil down. Joe and Keri scored the first point by both writing, In the backseat of Joe’s 1979 Ford Grenada.For Kevin and Beth it was the hotel where Joe and Keri’s wedding reception was held, and Dani and Roger both wrote, Dani’s dorm room. Emma grimaced at Sean and then held up her notebook. “‘On a quilt, under the flowering dogwood.’” The other women made sweet awww noises, but Joe and Kevin were already snickering. That wasn’t keeping it simple. Under a flowering dogwood? “We need your answer,” Roger said. Sean held up his paper. “‘In a bed.’” His cousins’ snickers became full belly laughs, while Dani and Roger just looked a little confused. “Oh,” Emma said. “You meant sex with each other?” It was a nice save, but Sean had a gut feeling it was only going to go downhill from here.

Before she sat, she grabbed the spiral-bound journal she’d been jotting down notes in since she’d first joked about her plan to Lisa, and set it on the table. “I wrote down a few things. You know, about myself? If you skim through it, it’ll help you pretend you’ve known me longer than two days.” Instead of waiting until they were done, he sat down his slice, picked up the notebook and opened it to a random page. “You’re not afraid of spiders, but you hate slugs? That’s relevant?” “It’s something you would know about me.” “You graduated from the University of New Hampshire. Your feet aren’t ticklish.” He chuckled and shook his head. “You actually come with an owner’s manual?” “You could call it that. And if you could write something up for me to look over, that would be great.” He shrugged and flipped through a few more pages of the journal. “I’m a guy. I like guy stuff. Steak. Football. Beer. Women.” “One woman, singular. At least for the next month, and then you can go back to your wild pluralizing ways.” She took a sip of her beer. “You think that’s all I need to know about you?” “That’s the important stuff. I could write it on a sticky note, if you want, along with my favorite sexual position. Which isn’t missionary, by the way.” It was right there on the tip of her tongue--then what is your favorite sexual position?--but she bit it back. The last thing she needed to know about a man she was going to share a bedroom with for a month was how he liked his sex. “I hardly think that’ll come up in conversation.” “It’s more relevant than slugs.” “Since you’ll be doing more gardening than having sex, not really.” “Wait a minute.” He stabbed a finger at one of the notes in the journal. “You can’t cook?” “Not well. Microwave directions help.” “I’d never marry a woman who can’t cook.” “I’d never marry the kind of man who’d never marry a woman who can’t cook, so it’s a good thing we’re just pretending.

Among the papyri interpreted as fragments of books once used by teachers and students, the Psalter is better represented than any other volume of Jewish or Christian canonical Scripture, strongly suggesting that the Davidic Psalter was more used and read ‘than any book of the Old Testament, perhaps more than any book of the Bible, throughout the Christian centuries in Egypt’. A recent inventory of papyrus notebooks lists eleven items for the period between the third century and the seventh inclusive, of which eight give primarily or exclusively the texts of the psalms. Narrowing the period of the third century to the fifth gives seven papyrus items of which five contain copies of psalms. These notebooks are the best guide to what the literate slaves of larger households, grammar masters and attentive parents were teaching their infants in Egypt, both Jewish and Christian, and they suggest that the psalms were a fundamental teaching text in the social circles where men and women used writing, or aspired to it for their children. That is hardly surprising, since the psalms were ideal for teaching the young in households wealthy enough to afford the luxury of an education for an offspring. An almanac of prayer and counsel for times of good and adverse fortune, the poems of the Psalter are arranged in sense-units of moderate length by virtue of the poetic form. This makes them amenable to study, including the slow process of acquiring the skills of penmanship (Pl. 29).

The aspiring writer comes home after a hard day’s work in the plastic shop. Maybe he has a few beers, or a cocktail, but soon he retires to his writing. There he discovers the aroma of burning lavender incense, and a soft red glow streaming from his reading lamp. The strings of a violin sing out softly, romantically. He notices his favorite notebook lying on his desk, submissively, with her blank naked pages spread open for him. He fondles his ballpoint pen and gawks at her 9.75 by 7.5-inch-wide ruled lines. He simply sits and stares at her awhile, lustfully, admiring the soft red lines that run down her legs to form margins. He smiles, feeling shy and perhaps a little apprehensive about this, what is for him, inevitable endeavor. He glances at his eager pen for a moment. It is a small pen. She reassures him that it is not the size of the pen that counts, but rather his prowess with it.        Not having any sort of plan in mind, all the more excited by the spontaneity of it, he sets to writing. He starts out softly, gently, and careful at first, forming each letter of each word with intimate precision. The inhibitions drop with each gentle stroke of his pen. Soon he is inside and one with the inviting quarter blank page. His pen is feverishly scratching against the warm paper. Madly he is marking the page. The blood in his head pounds, as he lets all his energy, all the everything inside him spill out onto the page. Faster and faster he writes with wild abandon, pushing it out onto her! “More” she moans. He grunts a primal grunt that rises up thick and full, from somewhere in the depths of his very soul, and he writes on! From under his pen she screams out in shades of purple passion ecstasy! “YES! OH GOOD GOD, YES! GIVE IT TO ME! YOU MAD MAD POET!” So he writes on, harder and faster, striving for climax. Until it seems at any moment, his pen might explode and spray thick creamy bubbling blue ink everywhere! He comes! To the end of the page. With the ink still wet and strangely sticky between her pages, he closes the notebook. Feeling drained, he lies his head against her soft cardboard cover and dozes off to dream the dreams that writers dream…           Rainbow

Practice: Explore Denotation Take a few minutes to unpack your word hoard, then read the words slowly, out loud. Listen as if you were encountering these words for the first time. Mark any words that you feel curious about, that spark the question What does that word mean? The words you mark don’t have to be words you’ve never used. Sometimes it’s fun to pick a familiar word and look it up. Now select one or more of the words you marked. Look up their meanings in the dictionary. What do you notice? Is this what you thought these words meant? If you own a second dictionary, look up some of your words in that one, too. Are there any differences in the definitions? If you like, write down the definitions in your notebook. Now, with the dictionary meanings of your words in mind, experiment with using some of these words in sentences. What do you notice? Try reading your sentences out loud. You can also make words your own by using them in conversation. Practice: At Play in the Dictionary Take some time to browse the pages of your dictionary. When a word catches your attention, write it down in your notebook, along with its definition(s). Now use the word in a sentence. What do you notice in doing this practice? Practice: Verify the Meanings of Words As you read, take note of words you like whose meanings elude you. Look up those words in a dictionary, then make sentences with them. Practice: At Play in a Thesaurus English, someone once wrote, is the only language that needs a thesaurus. That's because English has so many synonyms. To spend some time browsing in a thesaurus is to be amazed by the wealth of words in English—more words than any writer, no matter how prolific, could ever use in a lifetime. Like a dictionary, a thesaurus is a wonderful playground for writers who want to exercise their word minds and build their word hoards. Give yourself some time, when you can, to simply flip the pages of a thesaurus and browse its entries. Take note of the words you like; collect them into your notebook, if you wish. Try using them in sentences.

Charles Darwin “could be considered a professional outsider,” according to creativity researcher Dean Keith Simonton. Darwin was not a university faculty member nor a professional scientist at any institution, but he was networked into the scientific community. For a time, he focused narrowly on barnacles, but got so tired of it that he declared, “I am unwilling to spend more time on the subject,” in the introduction to a barnacle monograph. Like the 3M generalists and polymaths, he got bored sticking in one area, so that was that. For his paradigm-shattering work, Darwin’s broad network was crucial. Howard Gruber, a psychologist who studied Darwin’s journals, wrote that Darwin only personally carried out experiments “opportune for experimental attack by a scientific generalist such as he was.” For everything else, he relied on correspondents, Jayshree Seth style. Darwin always juggled multiple projects, what Gruber called his “network of enterprise.” He had at least 231 scientific pen pals who can be grouped roughly into thirteen broad themes based on his interests, from worms to human sexual selection. He peppered them with questions. He cut up their letters to paste pieces of information in his own notebooks, in which “ideas tumble over each other in a seemingly chaotic fashion.” When his chaotic notebooks became too unwieldy, he tore pages out and filed them by themes of inquiry. Just for his own experiments with seeds, he corresponded with geologists, botanists, ornithologists, and conchologists in France, South Africa, the United States, the Azores, Jamaica, and Norway, not to mention a number of amateur naturalists and some gardeners he happened to know. As Gruber wrote, the activities of a creator “may appear, from the outside, as a bewildering miscellany,” but he or she can “map” each activity onto one of the ongoing enterprises. “In some respects,” Gruber concluded, “Charles Darwin’s greatest works represent interpretative compilations of facts first gathered by others.” He was a lateral-thinking integrator.

Exercise 1: A Happy Moment First of all, make sure you are in a quiet place, with no distractions.  Put your phone away, switch the TV off, and give this a shot. What I want you to do is to close your eyes and think back to a time you were positive, relaxed or optimistic. A happy moment. Maybe you were spending time with a loved one, or on holiday. It doesn't matter how long ago it was; yesterday, last week, or 20 years ago. Perhaps it was a time when you were a child. No matter how long ago it was, try to remember exactly how you felt, physically and emotionally. Don't put too much thought into how you feel – just relax in reliving this happy moment. Feel free to smile or laugh out loud as you do it, and at the same time don't worry if your mind wanders a little; slowly and gently bring your thoughts back to this sheer sense of bliss. Try this for just five minutes. When you have finished turn the page and try the next step. Finished? Great! So, after that five minutes, how do you feel? Take your notebook (or at the very least a sheet of paper if you can't find a book) and write down the answer to the following question. If you could sum up your emotions during those five minutes, what three words would you use? (i.e. happy, confident, relaxed.) Use whatever words you feel are most appropriate. Sometimes words may be hard to come by; if you can't think of any words you might decide to draw or sketch how you felt. That's okay too. Don't spend too long on writing this down – a minute or two should be fine. Once you're done, let's move on to the next exercise.

Exercise 3: A Future With Anxiety I want you to close your eyes once more. This time, I want you to see yourself in five years' time. Imagine that you are staring into a mirror, looking at your reflection. But what I want you to do is this: imagine that you have never recovered from your health anxiety. Imagine that your anxiety has not only remained but become worse over the five years. Notice how you look – do you look a lot older? Are there bags under your eyes with all the stress and anxiety? How do you feel about yourself as you look at yourself in the mirror? It's okay to feel sad as you visualise this. It's okay to be upset. Let yourself visualise this future for five minutes and turn the page. Sometimes this can be a powerful awakening. I remember when I first tried it at the height of anxiety I burst into tears. As I say, it's okay to be upset by this but remember: this doesn't have to be the future. You have the power to change this. You may well have been fighting anxiety for the last five years – it doesn't mean that you have to be for the next five. In your notebook, please write a few sentences answering the following question: If I let anxiety control me in five years' time, how will this affect my life? You might want to write about how it will affect your relationships, your career plans, your social life. Will you be sleeping well or waking up early and worrying about your health? Once you've finished writing this, turn the page and let's move on to the final exercise.

My hand flies across the first blank page, chicken-scratched lines I can barely decipher wielding the dark tale of my heart. At 5:15 a.m., the pen falls from my grasp and I tuck the notebook away. I wrote my first love song, with his name in a heart to prove it. I wrote my first love song for the boy who knows no love at all.

She pulls a notebook from her desk drawer. It’s cheaply made—the black dye fading to a murky mauve, the pages coming unglued—but it’s her most beloved possession. (It was her very first possession, the very first thing she purchased with her own money after she left St. Hale’s.) The notebook is filled with witch-tales and nursery rhymes, stolen scraps and idle dreams and anything that catches Beatrice’s eye. If she were a scholar she might refer to her notes as research, might imagine it typed and bound on a library shelf, discussed in university halls, but she isn’t and it won’t be. Now she copies the verse about the wayward sisters into the little black book, besides all the other stories she’ll never tell and spells she’ll never work.

I looked over everything, and it seemed pretty good. I called my mother over. She sat in her chair and placed the notebook in front of her, holding a red pen. I assumed my proper place—standing at attention to her left, hands folded in front of me—and watched as she began the edit. She dotted my work with fierce red X’s, circles, and strikethroughs. Each progressive pen mark was a punch to the chest, until I was barely breathing. Oh no. I’m so dumb. Oh no. At the end of the entry, my mother sighed. She wrote an assessment at the bottom of the page: There can only be one “first.” You are still writing too much “Then.” Then I went on a ferris wheel. Then I played two frog games. Try to use other words. And I did it well. Very well. Not good! Then she slapped a large grade at the top: C-minus. She turned to me. “The last two entries, I already told you to write then less. I told you to be more interesting. Are you slow? And what are you talking about here at the end, about whatever you did for fun? I don’t get it.

I’m better now,” Alex insisted. “I don’t think I’m going to come across much more that’ll make me change the design again. I’m pretty sure Lord Smasho the First is coming into his final shape.” “No!” Selina shouted. “No, not that name!” “Alex, I swear on my mother and father’s honour,” Khalik warned him. “If you name your war golem ‘Lord Smasho the First,’ I will pick you up and toss you into the sea myself, then blindfold Grimloch and tell him there’s a wounded seal for him to eat in the waters.” “Alright, alright, jeez! I was joking!” Alex said, laughing. “Come on, guys, it’s just a joke! Even I wouldn’t name a golem something stupid like Lord Smasho the First.” Selina and Khalik exchanged glances. Later that evening, Alex Roth opened his golem-building notebook, flipped to the page that had his list of potential names and crossed out Lord Smasho the First.

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learned to read and write in the Slavic alphabet from a single sheet. Then, I proceeded to make up my own dictionary using a small notebook with every page a different letter. An added impediment was the difference between these two Slavic languages. The writing presented also slight differences, also the orthography. All this added to the difficulties and the confusion, at first. The new, Soviet administration never thought of offering language classes for the new citizens.

Lucullus placed a live fish in a glass jar in front of every diner at his table. The better the death, the better the meal would taste. Catherine de Medici brought her cooks to France when she married, and those cooks brought sherbet and custard and cream puffs, artichokes and onion soup, and the idea of roasting birds with oranges. As well as cooks, she brought embroidery and handkerchiefs, perfumes and lingerie, silverware and glassware and the idea that gathering around a table was something to be done thoughtfully. In essence, she brought being French to France. Everything started somewhere else. She thought of Tim's note: write to me. He didn't want to hear about Lucullus and Catherine de Medici; but she loved her old tomes and the things unearthed there, the ballast they lent, the safety of information. She spread her notebooks open across the table. There was a recipe for roasted locusts from ancient Egypt, and on the facing page, her own memory of the first thing she ever cooked, the curry sauce and Anne's chocolate.

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Signor Botticelli produces a notebook from atop a marble pedestal and opens it to the first page. There I am in black and white, sitting in front of an anvil, my head in a wrap. I turn the page. There I am in profile. Here is a page after page of details about me in his notebook, my hands, my arms, the curve of my neck. Madonna! My every move has been scrutinized.

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