Originals Series Quotes

The whole art of government consists in the art of being honest.

So I was thinking, there're eighty-six thousand, four hundred seconds in a day, right? There're one thousand, four hundred and forty minutes in a day...There're one hundred and sixty-eight hours in a week. Around eighty-seven hundred and then some hours in a year, and you know what?...I want to spend every second, every minute, every hour with you...I want a year's worth of seconds and minutes with you. I want a decade's worth of hours, so many that I can't add them up.

Daemon Black could be as prickly as a hedgehog having a really bad day, but underneath all that spindly armor, he was sweet, protective, and incredibly selfless.

He hasn't even eaten at Olive Garden, so I doubt he's a connoisseur of hotels." - Kat "No Olive Garden? Man, we've got to get that boy some endless breadsticks and salad. Travesty." - Daemon

Thought breeds thought; children familiar with great thoughts take as naturally to thinking for themselves as the well-nourished body takes to growing; and we must bear in mind that growth, physical, intellectual, moral, spiritual, is the sole end of education.

If you give orders and explain nothing, you might get obedience, but you'll get no creativity. If you tell them your purpose, then when your original plan is shown to be faulty, they'll find another way to achieve your goal. Explaining to your men doesn't weaken their respect for you, it proves your respect for them.

Was I totally against the idea of having kids with Kat one day? Other than breaking out in hives at the thought of that, the idea wasn't too horrible. Of course, I wanted the white picket fence bullshit...if it occurred a good ten years from now, and the kids didn't have weird bowl haircuts and couldn't Jedi mind-screw people.

so who's more adult- somebody who works like mad to avoid a problem or somebody who works like mad to solve it?

I really don't think that was a good idea,'' Archer said, appearing in the open archway. ''To go sightseeing when you have half the government gunning for your ass.

If he had smiled why would he have smiled? To reflect that each one who enters imagines himself to be the first to enter whereas he is always the last term of a preceding series even if the first term of a succeeding one, each imagining himself to be first, last, only and alone whereas he is neither first nor last nor only nor alone in a series originating in and repeated to infinity.

Wars come from egotism and selfishness. Every macrocosmic or world war has its origin in microcosmic wars going on inside millions and millions of individuals.

If origin defines race, then we are all Africans – we are all black.

Each imagining himself to be the first last and only alone, whereas he is neither first last nor last nor only not alone in a series originating in and repeated to infinity.

In every moment a choice exists. We can cling to the past or embrace the inevitability of change and allow a brighter future to unfold before us.

This separation was absolute in our original Republic. But the sky-godders do not give up easily. In the 1950s they actually got the phrase In God We Trust onto the currency, in direct violation of the First Amendment.

What?" She burrowed closer, tucking her fingers against the collar of my shirt. Throwing my arm around her waist, I took what felt like the first real breath in weeks. "If I had a Mogwai, I'd totally feed it after midnight. That Mohawk gremlin was a badass." She laughed again, the sound tinkling inside me, and I felt about a thousand pounds lighter. "Why doesn't that surprise me?" she said. "You'd totally bond with the gremlin." "What can I say? It's my sparkling personality.

The most central truth to the creation account is that this world is a place for God's presence.

The mistaken and unhappy notion that a man is an enduring unity is known to you. It is also known to you that a man consists of a multitude of souls, of numerous selves. The separation of the unity of the personality into these numerous pieces passes for madness. Science has invented the name schizomania for it. Science is in this so far right as no multiplicity maybe dealt with unless there be a series, a certain order and grouping. It is wrong insofar as it holds that one only and binding lifelong order is possible for the multiplicity of subordinate selves. This error of science has many unpleasant consequences, and the single advantage of simplifying the work of the state-appointed pastors and masters and saving them the labors of original thought. In consequence of this error many persons pass for normal, and indeed for highly valuable members of society, who are incurably mad; and many, on the other hand, are looked upon as mad who are geniuses...This is the art of life. You may yourself as an artist develop the game of your life and lend it animation. You may complicate and enrich it as you please. It lies in your hands. Just as madness, in a higher sense, is the beginning of all wisdom, so is schizomania the beginning of all art and all fantasy.

Sentiments that glorify humanity know no racial distinction.

In the biological sense, race does not exist.

The spear in the Other's heart is the spear in your own: you are he. There is no other wisdom, and no other hope for us but that we grow wise. -attributed to Surak

Each bringing a hoof down hard on the floor, Asttriane and Nell set in motion a series of chains...

From all the poems written on the subject of unrequited love, there are so few on the pain of being the object of that affection. The truth is..it's not love on which the strongest foundations are built. It's the decency of merciful lies.

Doctors couldn't be everywhere, so the Lord invented Vulcans. I thought you knew.

The Qur’an does not hesitate to retell biblical incidents with modifications—or to introduce entirely new vignettes around iconic biblical figures. As a book purposely not constructed around a formal narrative, the Qur’an leverages these allusions primarily to emphasize a moral value rather than re- veal an origin story. Every time the Qur’an presents a story, it always follows with terse analyses synthesizing key takeaways.

Doug’s entire speech was landing like a series of jabs to my gut, but that last sentence hit me like an actual slap in the face. Doug was truly dead to me. Dead and buried.

[And there was the matter of Dick Turpin. It looked like the same car, except that forever afterwards it seemed able to do 250 miles on a gallon of petrol, ran so quietly that you practically had to put your mouth over the exhaust pipe to see if the engine was firing , and issued its voice-synthesized warnings in a series of exquisite and perfectly-phrased haikus, each one original and apt... Late frost burns the bloom Would a fool not let the belt Restrain the body? ...it would say. And, The cherry blossom Tumbles from the highest tree One needs more petrol]

The mother who takes pains to endow her children with good habits secures for herself smooth and easy days; while she who lets their habits take care of themselves has a weary life of endless friction with the children.

Askade took the battertoast, looked at it blearily. "I can't rewire it into a death ray without some extra parts," he said, and took a bite. "Hm. Tastes okay. What's the problem?

There is beauty in the courage of the fragile fighter. Those that persevere, despite all they’ve been through, those who still believe there is good in the world, as dark things we often find we need that light the most.

And perhaps it is not too beautiful a thing to believe in this redeemed world, that, as the babe turns to his mother though he has no power to say her name, as the flowers turn to the sun, so the hearts of the children turn to their Saviour and God with unconscious delight and trust. Nursery

Suddenly blinded by dazzling light filling the room, they hear a series of clicks echoing around them. As the purple gloom returns and with it their sight, little red dots dance across their chests.

In ancient times a sapphire was given as an oath of trust, honesty and loyalty. Sapphire is the original “true blue,” symbolizing sincerity and the soul.

Holy sea turtles!" - Arabella Valli, The Equinox (Book Two of the Summer Solstice Series)

That is the voice of a place like this, where dead voices echo. They attract men and women of all kinds. But only certain gods visit here…

I took ‘em because nobody else had found ‘em yet. I brought ‘em here ta be protected from mortals that didn’t know the kinda power they once had, that might try ta unlock it again.

Technology would have long ago made privacy impossible, except that this had only made it more precious and desirable--and in the close confines of starship life, respect for another's privacy had become a powerful tradition.

As EP, survivors have been unable to create a complete personal story and are unable to share the original experience verbally and socially. They are stuck in the traumatic experience where they relive rather than retell their terror.

Between ourselves and our real natures we interpose that wax figure of idealizations and selections which we call our character. We extend this into all our thinking. Between us and the realities of social life we build up a mass of generalizations, abstract ideas, ancient glories, and personal wishes. They simplify and soften experience. It is so much easier to talk of poverty than to think of the poor, to argue the rights of capital than to see its results. Pretty soon we come to think of the theories and abstract ideas as things in themselves. We worry about their fate and forget their original content.

I watched her until I could no longer keep my eyes open. I then counted each breath she took until I could no longer remember what the last number was. And when that happened, I repeated her name, over and over again, until it was the last thing I thought before I slipped into oblivion.

Once upon a time,” Nora said, as she fluttered a series of kisses over his shoulders that sent every nerve in his body reeling, “a very poor girl from a fucked-up family became a famous writer with a wicked pen and an even more wicked tongue who made seven figures a year. And she went everywhere she wanted to and did everything she wanted to. And nobody ever tried to stop her. And she had her own pet Angel who needed to learn how to talk. So guess what she did?” “What?” Michael asked. He laughed in surprise as Nora slammed him down onto his back and slid on top of him. She brought her mouth onto his and forced his lips apart. “She gave him her tongue.

The man you are seeing is no man, Andy. He was Odin Borson, Allfather and King of Asgard. His wolves were Freki and Geri and his hall was Valhalla. He was my father and the father of many others. And he was your father.

If death is truly a curse,' Spock said, as soberly as some power pronouncing a hundred years of sleep, but with a glint of private, serene humor in his eyes. 'There is little logic in condemning something one has not experienced...or does not remember experiencing.

Never be within doors when you can rightly be without.

Kagan's law of first contact,'You'll surprise you more than they will.

You just learn to stop thinking about what they think. You’ll never do original work if you can’t.

The world must be romanticized. In this way its original meaning will be rediscovered. Romanticization is nothing but a qualitative realization of potential. The lower self is identified, in this operation, with a better self. As we are ourselves are such a qualitative series of empowerings. This operation is as yet quite unknown. Insofar as I give a higher meaning to what is commonplace, and a mysterious appearance to what is ordinary, the dignity of the unknown to what is known, a semblance of infinity to what is finite, I romanticize it.

Who can take the measure of a child? The Genie of the Arabian tale is nothing to him. He, too, may be let out of his bottle and fill the world. But woe to us if we keep him corked up.

Since natural selection “selects” or preserves functionally advantageous mutations or variations, it can explain the origin of systems that could have arisen through a series of incremental steps, each of which maintains or confers a functional advantage on a living organism. Nevertheless, by this same logic, selection and mutation face difficulty in explaining structures or systems that could not have been built through a close series of functional intermediates. Moreover, since selection operates only on what mutation first produces, mutation and selection do not readily explain appearances of design that require discrete jumps of complexity that exceed the reach of chance; that is to say, the available probabilistic resources.

The child brings with him into the world, not character, but disposition. He has tendencies which may need only to be strengthened, or, again, to be diverted or even repressed. His character — the efflorescence of the man wherein the fruit of his life is a-preparing — is original disposition, modified, directed, expanded by education; by circumstances; later, by self-control and self-culture; above all, by the supreme agency of the Holy Ghost, even where that agency is little suspected, and as little solicited.

To the distinguished character of patriot, it should be our highest glory to add the more distinguished character of Christian

At the edge of who you are, you may find the fragments of your original beginnings.

Surreal reality. Real surreality. Imagination Opium. Reality Morphium.

Losers quit before they win... Winners quit after they win... Legends never quit…

other motion-picture stars, many of whom had promised to invest in his new corporation, Sebring International. While keeping his original salon at 725 North Fairfax in Los Angeles, he planned to open a series of franchised shops and to market a line of men’s toiletries bearing his name. The first shop had been opened in San Francisco in May 1969, Abigail Folger and Colonel and Mrs. Paul Tate being among those at the grand opening.

A ship doesn't look quite the same from inside, does it? A wise sailor,' Robert said, fanning his arms, 'will one time stand upon the shore and watch his ship sail by, that he shall from then on appreciate not being left behind.' He grinned and added, 'Eh?' George gave him a little grimace. 'Who's that? Melville? Or C.S. Forrester?' It's me!' Robert complained. "Can't I be profound now and again?' Hell, no.' Why not?' Because you're still alive. Gotta be dead to be profound.' You're unchivalrous, George.

The old adage that people only want what they can’t have or what they can’t tame— is totally primitive. A being of higher origins will know instinctively that life on earth is a series of chances, moments and concepts. That’s really all that you have. So when you find one of these things and it makes you burn, or it makes you feel peace inside, or it makes you look forwards and backwards and here all at the same time— that’s when you know to hold onto it. And you hold onto it with every fiber of your being. Because it’s in the holding on of these chances and moments and concepts that life is lived. Every other kind of living is only in vitro. I don’t care what psychologists say today about how the human mind works. Because one day they will reach this pinnacle and they will see what I see and they will look upon the old ways as primitive. As long and gone. We do not wish to have what we can’t have. We wish to burn in whatever flame we have stepped into.

With four-to-one odds against us, our ability to leave the encounter without serious damage becomes seriously impaired." "Spock," McCoy said gently, "your bedside manner is flawless. You mean, we're all going to be blown to hell." Spock hesitated, then nodded.

There is nothing little,” she said with great dignity, “about my husband.” Sarek did not at first understand the amused ripple that went through the crowd of reporters standing around. Certainly he was tall by Earth standards. He had to have it explained to him,

Sarek looked up with something like hope in his eyes. “I must say,” he said, “I am impressed. You are quite a detective, Doctor.” “All doctors are detectives. All the ones worth their salt, anyway. . . .” “I will get you as much salt as you want, Doctor,” Sarek said,

The word ‘equinox’ simply means ‘of equal length’ and refers to the twelve hours of daylight and twelve hours of darkness at this point in the year. It was originally thought to stem from two Latin words aequus meaning equal and nox meaning night. The word ‘Vernal’, as this equinox is often called, is derived from the Latin word vernus meaning ‘of spring’.

But that would mean it was originally a sideways number eight. That makes no sense at all. Unless..." She paused as understanding dawned. "You think it was the symbol for infinity?" "Yes, but not the usual one. A special variant. Do you see how one line doesn't fully connect in the middle? That's Euler's infinity symbol. Absolutus infinitus." "How is it different from the usual one?" "Back in the eighteenth century, there were certain mathematical calculations no one could perform because they involved series of infinite numbers. The problem with infinity, of course, is that you can't come up with a final answer when the numbers keep increasing forever. But a mathematician named Leonhard Euler found a way to treat infinity as if it were a finite number- and that allowed him to do things in mathematical analysis that had never been done before." Tom inclined his head toward the date stone. "My guess is whoever chiseled that symbol was a mathematician or scientist." "If it were my date stone," Cassandra said dryly, "I'd prefer the entwined hearts. At least I would understand what it means." "No, this is much better than hearts," Tom exclaimed, his expression more earnest than any she'd seen from him before. "Linking their names with Euler's infinity symbol means..." He paused, considering how best to explain it. "The two of them formed a complete unit... a togetherness... that contained infinity. Their marriage had a beginning and end, but every day of it was filled with forever. It's a beautiful concept." He paused before adding awkwardly, "Mathematically speaking.

The particular myth that's been organizing this talk, and in a way the whole series, is the story of the Tower of Babel in the Bible. The civilization we live in at present is a gigantic technological structure, a skyscraper almost high enough to reach the moon. It looks like a single world-wide effort, but it's really a deadlock of rivalries; it looks very impressive, except that it has no genuine human dignity. For all its wonderful machinery, we know it's really a crazy ramshackle building, and at any time may crash around our ears. What the myth tells us is that the Tower of Babel is a work of human imagination, that its main elements are words, and that what will make it collapse is a confusion of tongues. All had originally one language, the myth says. The language is not English or Russian or Chinese or any common ancestor, if there was one. It is the language that makes Shakespeare and Pushkin authentic poets, that gives a social vision to both Lincoln and Gandhi. It never speaks unless we take the time to listen in leisure, and it speaks only in a voice too quiet for panic to hear. And then all it has to tell us, when we look over the edge of our leaning tower, is that we are not getting any nearer heaven, and that it is time to return to earth. [p.98]

To bring the human race, family by family, child by child, out of the savage and inhuman desolation where He is not, into the light and warmth and comfort of the presence of God, is, no doubt, the chief thing we have to do in the world.

Some children can tell you why they’re frightened, angry, or unhappy. For many, however, the question “Why?” only adds to their problem. In addition to their original distress, they must now analyze the cause and come up with a reasonable explanation. Very often children don’t know why they feel as they do. At other times they’re reluctant to tell because they fear that in the adult’s eyes their reason won’t seem good enough. (“For that you’re crying?”) It’s much more helpful for an unhappy youngster to hear, “I see something is making you sad,” rather than to be interrogated with “What happened?” or “Why do you feel that way?” It’s easier to talk to a grown-up who accepts what you’re feeling rather than one who presses you for explanations.

What a wonderful stimulant it would be for the beginner if his instructor, instead of amazing and dismaying him with the sublimity of great past achievements, would reveal instead the origin of each scientific discovery, the series of errors and missteps that preceded it— information that, from a human perspective, is essential to an accurate explanation of the discovery. Skillful pedagogical tactics such as this would instill the conviction that the discoverer, along with being an illustrious person of great talent and resolve, was in the final analysis a human being just like everyone else.

The creative personality is always one that looks on the world as fit for change and on himself as an instrument for change. Otherwise, what are you creating for? If the world is perfectly all right the way it is, you have no place in it. The creative personality thinks of the world as a canvas for change and of himself as a divine agent of change.

or to what we hope they are. The more we work through our family of origin issues, the less we will find ourselves needing to work through them with the people we’re attracted to. Finishing our business from the past helps us form new and healthier relationships. The more we overcome our need to be excessive caretakers, the less we will find ourselves attracted to people who need to be constantly taken care of. The more we learn to love and respect ourselves, the more we will become attracted to people who will love and respect us and who we can safely love and respect. This is a slow process. We need to be patient with ourselves. The type of people we find ourselves attracted to does not change overnight. Being attracted to dysfunctional people can linger long and well into recovery. That does not mean we need to allow it to control us. The fact is, we will initiate and maintain relationships with people we need to be with until we learn what it is we need to learn—no matter how long we’ve been recovering. No matter who we find ourselves relating to, and what we discover happening in the relationship, the issue is still about us, and not about the other person. That is the heart, the hope, and the power of recovery.

Sarek frowned. "Insubordination?" "Eccentricity," Spock replied. "Captain Kirk allows a great deal of leeway as long as his crewmembers do their jobs well. Mr. Chevron simply takes advantage of it." "That good at his job, is he?" asked Sarek. "Indeed. Extremely good.

Jane sobbed even harder, not noticing the sounds of footsteps coming up behind her. A cold wind blew, and she shivered in it. As her eyes hung between tears, she looked out and saw a shape where the car had been. It was a figure, slim and wrapped in a gray shroud. Almost the whole body was covered, save for a single blue eye that stared at her intently. Jane stared back until she felt a warm hand touch her shoulder and a cold voice whisper in her ear. “You are never alone.

He told me that in 1886 he had invented an original system of numbering and that in a very few days he had gone beyond the twenty-four-thousand mark. He had not written it down, since anything he thought of once would never be lost to him. His first stimulus was, I think, his discomfort at the fact that the famous thirty-three gauchos of Uruguayan history should require two signs and two words, in place of a single word and a single sign. He then applied this absurd principle to the other numbers. In place of seven thousand thirteen he would say (for example) Maximo Pérez; in place of seven thousand fourteen, The Railroad; other numbers were Luis Melián Lafinur, Olimar, sulphur, the reins, the whale, the gas, the caldron, Napoleon, Agustin de Vedia. In place of five hundred, he would say nine. Each word had a particular sign, a kind of mark; the last in the series were very complicated...

The longing of the human heart to know its true nature, our passionate desire to know who we are and to know our origin and our home, is all too easily placated with ready answers. The path described in this book reflects an approach which is far from a ready answer, but begins and ends with a sense of humility before the mystery of our existence. The work of coming to know one’s true nature has perhaps been made easier by the knowledge in this book, but it remains a task requiring tremendous patience and perseverance.

One of the creatures in the front circle shook itself all over and, still shaking, moved very, very slowly toward Spock. He didn't move a muscle. The creature put out a long slender pseudopod, gleaming in the sunshine like suddenly blown glass, and poked Spock's boot with it. Then it made the scratchy sound again, more laughter, and said a word: "Gotcha!" It jumped back into place. All the other creatures began to echo the scratch-laughter. Spock looked around him in mild bemusement. "Captain," he said, "I suspect we have found a kindergarten...

And if you are waiting for a new book in a long ongoing series, whether from George or from Pat Rothfuss or from someone else... Wait. Read the original book again. Read something else. Get on with your life. Hope that the author is writing the book you want to read, and not dying, or something equally as dramatic. And if he paints the house, that's fine. And (...) in the future, when you see other people complaining that George R.R. Martin has been spotted doing something other than writing the book they are waiting for, explain to them, more politely than I did the first time, the simple and unanswerable truth: George R. R. Martin is not working for you.

Intrinsic to the concept of a translator's fidelity to the effect and impact of the original is making the second version of the work as close to the first writer's intention as possible. A good translator's devotion to that goal is unwavering. But what never should be forgotten or overlooked is the obvious fact that what we read in a translation is the translator's writing. The inspiration is the original work, certainly, and thoughtful literary translators approach that work with great deference and respect, but the execution of the book in another language is the task of the translator, and that work should be judged and evaluated on its own terms. Still, most reviewers do not acknowledge the fact of translation except in the most perfunctory way, and a significant majority seem incapable of shedding light on the value of the translation or on how it reflects or illuminates the original.

When Jesus talks about the Sabbath, he makes statements that seem unrelated to rest if we think of it in terms of relaxation. In Matthew 12:8, he is the Lord of the Sabbath. When we realize that the Sabbath has to do with participating in God’s ordered system (rather than promoting our own activities as those that bring us order), we can understand how Jesus is Lord of the Sabbath. Throughout his controversies with the Pharisees, Jesus insisted that it was never a violation of the Sabbath to do the work of God on that day. Indeed, he noted that God is continually working (Jn 5:17). The Sabbath is most truly honored when we participate in the work of God (see Is 58:13-14). The work we desist from is that which represents our own attempts to bring our own order to our lives.2 It is to resist our self-interest, our self-sufficiency and our sense of self-reliance.

Russell is reputed at a dinner party once to have said, ‘Oh, it is useless talking about inconsistent things, from an inconsistent proposition you can prove anything you like.’ Well, it is very easy to show this by mathematical means. But, as usual, Russell was much cleverer than this. Somebody at the dinner table said, 'Oh, come on!’ He said, 'Well, name an inconsistent proposition,’ and the man said, 'Well, what shall we say, 2 = 1.’ 'All right,’ said Russell, 'what do you want me to prove?’ The man said, 'I want you to prove that you’re the pope.’ 'Why,’ said Russell, 'the pope and I are two, but two equals one, therefore the pope and I are one.

The person of winning personality attracts his pupils who will do anything for his sake and are fond and eager in all their ways, docile to the point where personality is submerged, and they live on the smiles, perish on the averted looks, of the adored teacher. Parents look on with a smile and think that all is well; but Bob or Mary is losing that growing time which should make a self-dependent, self-ordered person, and is day by day becoming a parasite who can go only as he is carried, the easy prey of fanatic or demagogue.

Children should know that such things are before them also; that whenever they want to do wrong capital reasons for doing the wrong thing will occur to them. But, happily, when they want to do right no less cogent reasons for right doing will appear. After abundant practice in reasoning and tracing out the reasons of others, whether in fact or fiction, children may readily be brought to the conclusions that reasonable and right are not synonymous terms; that reason is their servant, not their ruler,—one of those servants which help Mansoul in the governance of his kingdom.

Fischhoff calls this phenomenon "creeping determinism" -- the sense that grows on us, in retrospect, that what has happened was actually inevitable -- and the chief effect of creeping determinism, he points out, is that it turns unexpected events into expected events. As he writes, "The occurrence of an event increases its reconstructed probability and makes it less surprising than it would have been had the original probability been remembered.

original plan to write about September 11, 2001, in the I Survived series. But over the past two years, I have received more than a thousand e-mails from kids asking me to write about this topic. At school visits, there are always kids who raise their hands and ask, “Will you be writing about 9/11?” At first, my answer was always no. I was shocked that you would be so curious about that terrible day, which I had been trying to forget since it happened. I have friends who lost family members on 9/11 and others

Where, then, is any particular gene—say, the gene for long legs in humans? This is a little like asking where is Beethoven’s Piano Sonata in E minor. Is it in the original handwritten score? The printed sheet music? Any one performance—or perhaps the sum of all performances, historical and potential, real and imagined? The quavers and crotchets inked on paper are not the music. Music is not a series of pressure waves sounding through the air; nor grooves etched in vinyl or pits burned in CDs; nor even the neuronal symphonies stirred up in the brain of the listener. The music is the information. Likewise, the base pairs of DNA are not genes. They encode genes. Genes themselves are made of bits.

Actually, the entire ascent of life can be presented as an adaptive radiation in the time dimension. From the beginning of replicating molecules to the formation of membrane-bounded cells, the formation of chromosomes, the origin of nucleated eukaryotes, the formation of multicellular organisms, the rise of endothermy, and the evolution of a large and highly complex central nervous system, each of these steps permitted the utilization of a different set of environmental resources, that is, the occupation of a different adaptive zone.

While endowed with the morose temper of genius, he [Lakes, Arts Professor] lacked originality and was aware of that lack; his own paintings always seemed beautifully clever imitations, although one could never quite tell whose manner he mimicked. His profound knowledge of innumerable techniques, his indifference to 'schools' and 'trends', his detestation of quacks, his conviction that there was no difference whatever between a genteel aquarelle of yesterday and, say, conventional neoplasticism or banal non-objectivism of today, and that nothing but individual talent mattered--these views made of him an unusual teacher. St Bart's was not particularly pleased either with Lake's methods or with their results, but kept him on because it was fashionable to have at least one distinguished freak on the staff. Among the many exhilarating things Lake taught was that the order of the solar spectrum is not a closed circle but a spiral of tints from cadmium red and oranges through a strontian yellow and a pale paradisal green to cobalt blues and violets, at which point the sequence does not grade into red again but passes into another spiral, which starts with a kind of lavender grey and goes on to Cinderella shades transcending human perception. He taught that there is no such thing as the Ashcan School or the Cache Cache School or the Cancan School. That the work of art created with string, stamps, a Leftist newspaper, and the droppings of doves is based on a series of dreary platitudes. That there is nothing more banal and more bourgeois than paranoia. That Dali is really Norman Rockwell's twin brother kidnapped by gipsies in babyhood. That Van Gogh is second-rate and Picasso supreme, despite his commercial foibles; and that if Degas could immortalize a calèche, why could not Victor Wind do the same to a motor car?

Most people who wonder why our politics are so corrupt can’t draw the line from racist theories of limited democracy to today’s system, but the small group of white men who are funding the effort to turn back the clock on political equality can lay claim to a long ideological pedigree: from the original property requirement to people like John C. Calhoun, who advocated states’ rights and limited government in defense of slavery, to the Supreme Court justices who decided Shelby County and Citizens United. Over the past few decades, a series of money-in-politics lawsuits, including Citizens United, have overturned anticorruption protections, making it possible for a wealthy individual to give more than $3.5 million to a party and its candidates in an election cycle, for corporations and unions to spend unlimited sums to get candidates elected or defeated, and for secret money to sway elections. The result is a racially skewed system of influence and electoral gatekeeping that invalidates the voices of most Americans.

He came back the next day, and the next, and the day after that, and they argued. The arguments always started about the binding itself, but then they began to stray out into more interesting topics--the relationships and interrelationships in their families, the politics that went on, and the doings of the kingdoms and lordships of the world; and finally, about themselves, or rather, each other. The arguments started early and ended late: it was almost improper. After about three days of this, T'Thelaih realized that she was going to have to be bound to this man, just to have the leisure to argue properly with him.

we're looking for a planeet on the strength of a song. it's crazy I know, but its the only chance we have to do something useful." ...Evan Wilson said gravely "I think you're as crazy as Heinrich Schliemann - and you know what happened to him!" "What" ... "you don't know what happened to him?" she asked her blue eyes widening in astonishment."Ever read Homer's Iliad, Captain?" ... "I don't know what translation you read Doctor, but there was no Heinrich Schliemann in mine - or in the Odyssey." "That depends on how you look at it." smiling she settled back into her chair and went on,"Heinrich Schliemann was from Earth, pre-federation days, and he read Homer too. No, not just read him, believed him. So he set out at his own expense-mind you, I doubt he could have found anyone else to fund such a crazy endeavor - to find Troy, a city that most of the educated people of his time considered pure invention on Homer's part." "And?" "And he found it. Next time you're on earth, stop by the Troy Museum. the artifacts are magnificent, and every one of them was found on the strength of a song.

These words on the screen represented her latest project, an attempt at a series of commercial, discreetly feminist crime novels. She had read all of Agatha Christie at eleven years old, and later lots of Chandler and James M.Cain. There seemed no reason why she shouldn't try writing something in between, but she was discovering once again that reading and writing were not the same-you couldn't just soak it up then squeeze it out again. She found herself unable to think of a name for her detective, let alone a cohesive original plot, and even her pseudonym was poor: Emma T. Wilde? She wondered if she was doomed to be one of those people who spend their lives trying things. She had tried being in a band, writing plays and children's books, she had tried acting and getting a job in publishing. Perhaps crime fiction was just another failed project to place alongside trapeze, Buddhism and Spanish. She used the computer's word counter feature. Thirty-five words, including the title page and her rotten pseudonym. Emma groaned, released the hydraulic lever on the side of her office chair and sank a little closer to the carpet.

The foretelling, Elias,” the Augur says. “The future given to the Augurs in visions. That is the reason we built this school. That is the reason you are here. Do you know the story?” The story of Blackcliff’s origin was the first thing I learned as a Yearling: Five hundred years ago, a warrior brute named Taius united the fractured Martial clans and swept down from the north, crushing the Scholar Empire and taking over most of the continent. He named himself Emperor and established his dynasty. He was called the Masked One, for the unearthly silver mask he wore to scare the hell out of his enemies. But the Augurs, considered holy even then, saw in their visions that Taius’s line would one day fail. When that day came, the Augurs would choose a new Emperor through a series of physical and mental tests: the Trials. For obvious reasons, Taius didn’t appreciate this prediction, but the Augurs must have threatened to strangle him with sheep gut, because he didn’t make a peep when they raised Blackcliff and began training students here. And here we all are, five centuries later, masked just like Taius the First, waiting for the old devil’s line to fail so one of us can become the shiny new Emperor. I’m not holding my breath. Generations of Masks have trained and served and died without a whisper of the Trials. Blackcliff may have started out as a place to prepare the future Emperor, but now it’s just a training ground for the Empire’s deadliest asset. “I know the story,” I say in response to the Augur’s question. But I don’t believe a word of it, since it’s mythical horse dung.

In the time of Luther, Spinoza, Galileo, or Voltaire people did not complain because they were “offended” or “insulted” by the ideas these men put forward.123 New ideas were suppressed, to be sure, and even more brutally than nowadays, but not because people said they felt “offended.” The Inquisition was not “insulted” by the heretics, atheists, and secularists they brought to the stake. Where does this contemporary preoccupation with being “offended” and “insulted” come from? Why do people feel victimized if contradicted? What is the origin of those frequent calls for “respect” and “dialogue,” as if there were people who advocated “disrespect” or would favor stopping the dialogue?

The distance is commonly very great between actual performances and speculative possibility. It is natural to suppose, that as much as has been done to-day may be done to-morrow; but on the morrow some difficulty emerges or some external impediment obstructs. Indolence, interruption, business, and pleasure; all take their turns of retardation; and every long work is lengthened by a thousand causes that can, and ten thousand that cannot, be recounted. Perhaps no extensive and multifarious performance was ever effected within the term originally fixed in the undertaker's mind. He that runs against Time, has an antagonist not subject to casualties. From Samuel Johnson's Lives of the Poets series, published in 3 volumes between 1779 and 1781, on Alexander Pope

I am the daughter of a mother who would never change...The refusal to modify her aspect, her habits, her attitudes was strategy for resisting American culture, for fighting it, for maintaining her identity...When my mother returns to Calcutta, she is proud of the fact that, in spite of almost fifty years away from India, she seems like a woman who never left. I am the opposite. While the refusal to change was my mother's rebellion, the insistence on transforming myself is mine...All my life I've tried to get away from the void of my origin. It was the void that distressed me, that I was fleeing...Writing, I discovered a way of hiding in my characters, of escaping myself. Of undergoing one mutation after another. One could say that the mechanisms of metamorphosis is the only element of life that never changes. The journey of every individual, every country, every historical epoch, of the entire universe and all it contains, is nothing but a series of changes, at times subtle, at times deep, without which we would stand still. The moments of transitions in which something changes, constitute the backbone of all of us. Whether they are a salvation or a loss, they are moments we tend to remember. They give a structure to our existence. Almost all the rest is oblivion.

And against whom is this censorship directed? By way of answer, think back to the big subcultural debates of 2011 – debates about how gritty fantasy isn’t really fantasy; how epic fantasy written from the female gaze isn’t really fantasy; how women should stop complaining about sexism in comics because clearly, they just hate comics; how trying to incorporate non-Eurocentric settings into fantasy is just political correctness gone wrong and a betrayal of the genre’s origins; how anyone who finds the portrayal of women and relationships in YA novels problematic really just wants to hate on the choices of female authors and readers; how aspiring authors and bloggers shouldn’t post negative reviews online, because it could hurt their careers; how there’s no homophobia in publishing houses, so the lack of gay YA protagonists can only be because the manuscripts that feature them are bad; how there’s nothing problematic about lots of pretty dead girls on YA covers; how there’s nothing wrong with SF getting called ‘dystopia’ when it’s marketed to teenage girls, because girls don’t read SF. Most these issues relate to fear of change in the genre, and to deeper social problems like sexism and racism; but they are also about criticism, and the freedom of readers, bloggers and authors alike to critique SFF and YA novels without a backlash that declares them heretical for doing so. It’s not enough any more to tiptoe around the issues that matter, refusing to name the works we think are problematic for fear of being ostracized. We need to get over this crushing obsession with niceness – that all fans must act nicely, that all authors must be nice to each other, that everyone must be nice about everything even when it goes against our principles – because it’s not helping us grow, or be taken seriously, or do anything other than throw a series of floral bedspreads over each new room-hogging elephant. We, all of us, need to get critical. Blog post: Criticism in SFF and YA

Separating from Family Issues: January 4 We can draw a healthy line, a healthy boundary, between ourselves and our nuclear family. We can separate ourselves from their issues. Some of us may have family members who are addicted to alcohol and other drugs and who are not in recovery from their addiction. Some of us may have family members who have unresolved codependency issues. Family members may be addicted to misery, pain, suffering, martyrdom, and victimization. We may have family members who have unresolved abuse issues or unresolved family of origin issues. We may have family members who are addicted to work, eating, or sex. Our family may be completely enmeshed, or we may have a disconnected family in which the members have little contact. We may be like our family. We may love our family. But we are separate human beings with individual rights and issues. One of our primary rights is to begin feeling better and recovering, whether or not others in the family choose to do the same. We do not have to feel guilty about finding happiness and a life that works. And we do not have to take on our family’s issues as our own to be loyal and to show we love them. Often when we begin taking care of ourselves, family members will reverberate with overt and covert attempts to pull us back into the old system and roles. We do not have to go. Their attempts to pull us back are their issues. Taking care of ourselves and becoming healthy and happy does not mean we do not love them. It means we’re addressing our issues. We do not have to judge them because they have issues; nor do we have to allow them to do anything they would like to us just because they are family. We are free now, free to take care of ourselves with family members. Our freedom starts when we stop denying their issues, and politely, but assertively, hand their stuff back to them—where it belongs—and deal with our own issues. Today, I will separate myself from family members. I am a separate human being, even though I belong to a unit called a family. I have a right to my own issues and growth; my family members have a right to their issues and a right to choose where and when they will deal with these issues. I can learn to detach in love from my family members and their issues. I am willing to work through all necessary feelings in order to accomplish this.

In the intricate and mutable space-time geometry at the black hole, in-falling matter and energy interacted with the virtualities of the vacuum in ways unknown to the flatter cosmos beyond it. Quasi-stable quantum states appeared, linked according to Schrodinger's wave functions and their own entanglement, more and more of them, intricacy compounding until it amounted to a set of codes. The uncertainty principle wrought mutations; variants perished or flourished; forms competed, cooperated, merged, divided, interacted; the patterns multiplied and diversified; at last, along one fork on a branch of the life tree, thought budded. That life was not organic, animal and vegetable and lesser kingdoms, growing, breathing, drinking, eating, breeding, hunting, hiding; it kindled no fires and wielded no tools; from the beginning, it was a kind of oneness. An original unity differentiated itself into countless avatars, like waves on a sea. They arose and lived individually, coalesced when they chose by twos or threes or multitudes, reemerged as other than they had been, gave themselves and their experiences back to the underlying whole. Evolution, history, lives eerily resembled memes in organic minds. Yet quantum life was not a series of shifting abstractions. Like the organic, it was in and of its environment. It acted to alter its quantum states and those around it: action that manifested itself as electronic, photonic, and nuclear events. Its domain was no more shadowy to it than ours is to us. It strove, it failed, it achieved. They were never sure aboardEnvoy whether they could suppose it loved, hated, yearned, mourned, rejoiced. The gap between was too wide for any language to bridge. Nevertheless they were convinced that it knew something they might as well call emotion, and that that included wondering.

This summer, a lot of what I was teaching was against Bloom’s Anxiety of Influence, very broadly speaking, this anxiety of sounding too much like another poet, especially a firmly established poet, for fear of not sounding original. I kept telling my students, “Why wouldn’t you want to be influence by these poets! Why wouldn’t you want to sound like Keats or Robert Hayden?” Pound and Eliot were influenced by Browning, and they influenced one another. James Wright—when he came on the scene, many of us were consciously imitating him, trying to do do what he so gloriously did.... I tell them not to worry about influence or imitation as long as you’re emulating the best work, the work you love. How much imitation is too much? You’ll know it when you see it. . . .And that’s just a huge problem in general, especially in America. We’re individuals. we’re the one, not the many. We want to stand out from the crowd. Everyone is trying to differentiate themselves. The fact is we are one big organism. We belong together. We are a tribe. Not one of us can do something that doesn’t affect the other, past or present.

There is no freedom, but everything in the world takes place entirely according to nature....Transcendental freedom is therefore opposed to the law of causality, and represents such a connection of successive states of effective causes, that no unity of experience is possible with it. It is therefore an empty fiction of the mind, and not to be met with in any experience. We have, therefore, nothing but nature, in which we must try to find the connection and order of cosmical events. Freedom (independence) from the laws of nature is no doubt a deliverance from restraint, but also from the guidance of all rules. For we cannot say that, instead of the laws of nature, laws of freedom may enter into the causality of the course of the world, because, if determined by laws, it would not be freedom, but nothing else but nature. Nature, therefore, and transcendental freedom differ from each other like legality and lawlessness. The former, no doubt, imposes upon the understanding the difficult task of looking higher and higher for the origin of events in the series of causes, because their causality is always conditioned. In return for this, however, it promises a complete and well-ordered unity of experience; while, on the other side, the fiction of freedom promises, no doubt, to the enquiring mind, rest in the chain of causes, leading him up to an unconditioned causality, which begins to act by itself, but which, as it is blind itself, tears the thread of rules by which alone a complete and coherent experience is possible.

There's a theme that appears in much of your work," I say to Maurice on my last visit to Connecticut, "and I can only hint at it because it's difficult to formulate or describe. It has something to do with the lines: 'As I went over the water/the water went over me' [from As I Went over the Water] or 'I'm in the milk and the milk's in me' [from Night Kitchen]." "Obviously I have one theme, and it's even in the book I'm working on right now. It's not that I have such original ideas, just that I'm good at doing variations on the same idea over and over again. You can't imagine how relieved I was to find out that Henry James admitted he had only a couple of themes and that all of his books were based on them. That's all we need as artists - one power-driven fantasy or obsession, then to be clever enough to do variations… like a series of variations by Mozart. They're so good that you forget they're based on one theme. The same things draw me, the same images…" "What is this one obsession?" "I'm not about to tell you - not because it's a secret, but because I can't verbalize it." "There's a line by Bob Dylan in 'Just Like a Woman' which talks about being 'inside the rain.'" "Inside the rain?" "When it's raining outside," I explain, "I often feel inside myself, as if I were inside the rain… as if the rain were my self. That's the sense I get from Dylan's image and from your books as well." "It's strange you say that," Maurice answers, "because rain has become one of the potent images of my new book. It sort of scares me that you mentioned that line. Maybe that's what rain means. It's such an important ingredient in this new work, and I've never understood what it meant. There was a thing about me and rain when I was a child: if I could summon it up in one sentence, I'd be happy to. It's such connected tissue…

Algren’s book opens with one of the best historical descriptions of American white trash ever written.* He traces the Linkhorn ancestry back to the first wave of bonded servants to arrive on these shores. These were the dregs of society from all over the British Isles—misfits, criminals, debtors, social bankrupts of every type and description—all of them willing to sign oppressive work contracts with future employers in exchange for ocean passage to the New World. Once here, they endured a form of slavery for a year or two—during which they were fed and sheltered by the boss—and when their time of bondage ended, they were turned loose to make their own way. In theory and in the context of history the setup was mutually advantageous. Any man desperate enough to sell himself into bondage in the first place had pretty well shot his wad in the old country, so a chance for a foothold on a new continent was not to be taken lightly. After a period of hard labor and wretchedness he would then be free to seize whatever he might in a land of seemingly infinite natural wealth. Thousands of bonded servants came over, but by the time they earned their freedom the coastal strip was already settled. The unclaimed land was west, across the Alleghenies. So they drifted into the new states—Kentucky and Tennessee; their sons drifted on to Missouri, Arkansas and Oklahoma. Drifting became a habit; with dead roots in the Old World and none in the New, the Linkhorns were not of a mind to dig in and cultivate things. Bondage too became a habit, but it was only the temporary kind. They were not pioneers, but sleazy rearguard camp followers of the original westward movement. By the time the Linkhorns arrived anywhere the land was already taken—so they worked for a while and moved on. Their world was a violent, boozing limbo between the pits of despair and the Big Rock Candy Mountain. They kept drifting west, chasing jobs, rumors, homestead grabs or the luck of some front-running kin. They lived off the surface of the land, like army worms, stripping it of whatever they could before moving on. It was a day-to-day existence, and there was always more land to the west. Some stayed behind and their lineal descendants are still there—in the Carolinas, Kentucky, West Virginia and Tennessee. There were dropouts along the way: hillbillies, Okies, Arkies—they’re all the same people. Texas is a living monument to the breed. So is southern California. Algren called them “fierce craving boys” with “a feeling of having been cheated.” Freebooters, armed and drunk—a legion of gamblers, brawlers and whorehoppers. Blowing into town in a junk Model-A with bald tires, no muffler and one headlight … looking for quick work, with no questions asked and preferably no tax deductions. Just get the cash, fill up at a cut-rate gas station and hit the road, with a pint on the seat and Eddy Arnold on the radio moaning good back-country tunes about home sweet home, that Bluegrass sweetheart still waitin, and roses on Mama’s grave. Algren left the Linkhorns in Texas, but anyone who drives the Western highways knows they didn’t stay there either. They kept moving until one day in the late 1930s they stood on the spine of a scrub-oak California hill and looked down on the Pacific Ocean—the end of the road.

The “noble” person has a completely naïve and non-reflective awareness of his own value and of his fullness of being, an obscure conviction which enriches every conscious moment of his existence, as if he were autonomously rooted in the universe. This should not be mistaken for “pride.” Quite on the contrary, pride results from an experienced diminution of this “naive” self-confidence. It is a way of “holding on” to one’s value, of seizing and “preserving” it deliberately. The noble man’s naive self-confidence, which is as natural to him as tension is to the muscles, permits him calmly to assimilate the merits of others in all the fullness of their substance and configuration. He never “grudges” them their merits. On the contrary: he rejoices in their virtues and feels that they make the world more worthy of love. His naive self-confidence is by no means “compounded” of a series of positive valuations based on specific qualities, talents, and virtues: it is originally directed at his very essence and being. Therefore he can afford to admit that another person has certain “qualities” superior to his own or is more “gifted” in some respects—indeed in all respects. Such a conclusion does not diminish his naïve awareness of his own value, which needs no justification or proof by achievements or abilities. Achievements merely serve to confirm it. On the other hand, the “common” man (in the exact acceptation of the term) can only experience his value and that of another if he relates the two, and he clearly perceives only those qualities which constitute possible differences. The noble man experiences value prior to any comparison, the common man in and through a comparison. For the latter, the relation is the selective precondition for apprehending any value. Every value is a relative thing, “higher” or “lower,” “more” or “less” than his own. He arrives at value judgments by comparing himself to others and others to himself