Outline Good Quotes

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What goes on inside is just too fast and huge and all interconnected for words to do more than barely sketch the outlines of at most one tiny little part of it at any given instant.
David Foster Wallace (Oblivion: Stories)
I love you," he said. She looked up at him, her eyes shiny and black, then looked away. "I know," she said. He pulled one of his arms out from under her and traced her outline against the couch. He could spend all day like this, running his hand down her ribs, into her waist, out to her hips and back again.... If he had all day, he would. If she weren't made of so many other miracles. "You know?" he repeated. She smiled, so he kissed her. "You're not the Han Solo in this relationship, you know." "I'm totally the Han Solo," she whispered. It was good to hear her. It was good to remember it was Eleanor under all this new flesh. "Well, I'm not the Princess Leia," he said. "Don't get so hung up on gender roles," Eleanor said.
Rainbow Rowell (Eleanor & Park)
Here's why I will be a good person. Because I listen. I cannot talk, so I listen very well. I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like being a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein (The Art of Racing in the Rain)
Make me an offer, " I said at last. "Write it up, and give me a point-by-point outline of why you're a good would-be suitor. " He started to laugh, then saw my face. "Seriously? That's like homework. There's a reason I'm not in college. " I snapped my fingers. "Get to it, Ivashkov. I want to see you put in a good day's work. " I expected a joke or a brush-off until later, but instead, he said, "Okay. " "Okay?" "Yep. I'm going to go back to my room right now to start drafting my assignment. " I stared incredulously as he reached for his coat. I had never seen Adrian move that fast when any kind of labor was involved. Oh no. What had I gotten myself into?
Richelle Mead (Blood Promise (Vampire Academy, #4))
If we constantly focus only on the stones in our mortal path, we will almost surely miss the beautiful flower or cool stream provided by the loving Father who outlined our journey. Each day can bring more joy than sorrow when our mortal and spiritual eyes are open to God's goodness. Joy in the gospel is not something that begins only in the next life. It is our privilege now, this very day. We must never allow our burdens to obscure our blessings. There will always be more blessings than burdens--even if some days it doesn't seem so. Jesus said, "I am come that they might have life, and that they might have it more abundantly." Enjoy those blessings right now. They are yours and always will be.
Jeffrey R. Holland
I would not be you for a kingdom.' The remark was too naïve to rouse anger; I merely said - 'Very good.' 'And what would you give to be ME?' she inquired. 'Not a bad sixpence - strange as it may sound', I replied. 'You are but a poor creature.' 'You don't think so in your heart.' 'No; for in my heart you have not the outline of a place: I only occasionally turn you over in my brain.
Charlotte Brontë (Villette)
The biologist and intellectual E. O. Wilson was once asked what represented the most hindrance to the development of children; his answer was the soccer mom. He did not use the notion of the Procrustean bed, but he outlined it perfectly. His argument is that they repress children's natural biophilia, their love of living things. But the problem is more general; soccer moms try to eliminate the trial and error, the antifragility, from children's lives, move them away from the ecological and transform them into nerds working on preexisting (soccer-mom-compatible) maps of reality. Good students, but nerds--that is, they are like computers except slower. Further, they are now totally untrained to handle ambiguity. As a child of civil war, I disbelieve in structured learning . . . . Provided we have the right type of rigor, we need randomness, mess, adventures, uncertainty, self-discovery, near-traumatic episodes, all those things that make life worth living, compared to the structured, fake, and ineffective life of an empty-suit CEO with a preset schedule and an alarm clock.
Nassim Nicholas Taleb (Antifragile: Things That Gain from Disorder)
A sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal.
Rachel Cusk (Outline)
West looks up. 'This is the best time to hunt, when the animals are out looking for their suppers. 'Course, with a painted sky, light's not always good.' I never heard someone call the sky painted before, but it's the perfect word. Clouds outlined in gold streak across the firmament, casting uneven shadows over the landscape.
Stacey Lee (Under a Painted Sky)
The values by which we are to survive are not rules for just and unjust conduct, but are those deeper illuminations in whose light justice and injustice, good and evil, means and ends are seen in fearful sharpness of outline.
Jacob Bronowski
You promised to be on your best behavior,” I reminded him, breathless. “You kissed me,” he growled. His voice had gone very deep. “Well, but you started it by kissing my neck.” “True. I hadn't planned that.” His sultry voice, paired with those blazing eyes, told me I needed to get away from him. I hurried to the end of the bed, where I jumped off and began to pace back and forth, yanking out my loose hairband and pulling my hair back into a tight ponytail. I tried hard not to think about the taste of his lips. I'd had my first kiss, and I'd never be the same. “Why did you stop?” he asked. “Because you were moving on to other things.” He scratched his chin and cheek. “Hmm, moved too quickly. Rookie mistake.” I crossed my arms again, watching him speculate internally like a coach outlining a play that had gone wrong. Incredible. Then he sized me up in his sights again. “But I can see you still want me.” I gave him my meanest stare, but it was hard to look at him. Gosh, he was hot! And a total player. The kiss meant nothing to him. “Oh,” he said with mock sadness, “there it goes. Mad instead? Well, sort of. You can't seem to muster a really good anger—” “Stop it!” “Sorry, was I saying that out loud?” “I can read people, too, you know. Well, not you, but at least I have the decency to try not to notice, to give them some sort of emotional privacy!” “Yes, how very decent of you.” He hadn't moved from his languid position on my bed. I leaned forward, grabbing a pillow and throwing it at him. “Pillow fight?” He raised an eyebrow. “Get off my bed. Please. I'm ready to go to sleep.
Wendy Higgins (Sweet Evil (Sweet, #1))
I shall now explain my plan. You may then speak, but only to amend the detail. The broad outline is not subject to negotiation. Are you ready? Good … I propose to have sex with you. I believe it will be excellent sex. Your obedience on one particular issue of timing it will be required to make it unforgettable sex. I will explain that issue as we go. At the moment, I wish to hear your inevitable objection to the general sex part of this plan.
Nick Harkaway (Angelmaker)
Well, well, well,” Santa said once the elf had retreated. “Come and sit on my lap, little boy.” This Santa’s beard was real, and so was his hair. He wasn’t fucking around. “I’m not really a little boy,” I pointed out. “Get on my lap, then, big boy.” I walked up to him. There wasn’t much lap under his belly. And even though he tried to disguise it, as I went up there, I swear he adjusted his crotch. “Ho ho ho!” he chortled. I sat gingerly on his knee, like it was a subway seat with gum on it. “Have you been a good little boy this year?” he asked. I didn’t feel that I was the right person to determine my own goodness or badness, but in the interest of speeding along this encounter, I said yes. He actually wobbled with joy. “Good! Good! Then what can I bring you this Christmas?” I thought it was obvious. “A message from Lily,” I said. “That’s what I want for Christmas. But I want it right now.” “So impatient!” Santa lowered his voice and whispered in my ear. “But Santa does have a little something for you”—he shifted a little in his seat—“right under his coat. If you want to have your present, you’ll have to rub Santa’s belly.” “What?” I asked. He gestured with his eyes down to his stomach. “Go ahead.” I looked closely and saw the faint outline of an envelope beneath his red velvet coat. “You know you want it,” he whispered. The only way I could survive this was to think of it as the dare it was. Fuck off, Lily. You can’t intimidate me. I reached right under Santa’s coat. To my horror, I found he wasn’t wearing anything underneath. It was hot, sweaty, Geshy, hairy … and his belly was this massive obstacle, blocking me from the envelope. I had to lean over to angle my arm in order to reach it, the whole time having Santa laugh, “Oh ho ho, ho ho oh ho!” in my ear. I heard the elf scream, “What the hell!” and various parents start to shriek. Yes, I was feeling up Santa. And now the corner of the envelope was in my hand. He tried to jiggle it away from me, but I held tight and yanked it out, pulling some of his white belly hair with me. “OW ho ho!” he cried. I jumped o1 his lap. “Security’s here!” the elf proclaimed. The letter was in my hand, damp but intact. “He touched Santa!” a young child squealed.
Rachel Cohn (Dash & Lily's Book of Dares (Dash & Lily, #1))
A pickpocket is obviously a champion of private enterprise. But it would perhaps be an exaggeration to say that a pickpocket is a champion of private property. The point about Capitalism and Commercialism, as conducted of late, is that they have really preached the extension of business rather than the preservation of belongings; and have at best tried to disguise the pickpocket with some of the virtues of the pirate.
G.K. Chesterton (The Outline of Sanity)
I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}
Thomas A. Edison (Diary and Sundry Observations of Thomas Alva Edison)
You could kiss me, we’ve hardly kissed since you’ve come back. You didn’t meet another woman while you were gone did you?” I traced around the outline of his lips with my index finger. “There are other women out there?” The look on his face was one of genuine surprise. “Oh, you’re good.” I kissed his cheek. “Did you come up with that all by yourself, or is it a line from one of your old movies?” “All by myself.” Seth put his arms around my waist and drew me close.
Sherry Gammon (Unlovable (Port Fare, #1))
One morning I fell to sketching a face: what sort of a face it was to be, I did not care or know. I took a soft black pencil, gave it a broad point, and worked away. Soon I had traced on the paper a broad and prominent forehead and a square lower outline of visage: that contour gave me pleasure; my fingers proceeded actively to fill it with features. Strongly-marked horizontal eyebrows must be traced under that brow; then followed, naturally, a well-defined nose, with a straight ridge and full nostrils; then a flexible-looking mouth, by no means narrow; then a firm chin, with a decided cleft down the middle of it: of course, some black whiskers were wanted, and some jetty hair, tufted on the temples, and waved above the forehead. Now for the eyes: I had left them to the last, because they required the most careful working. I drew them large; I shaped them well: the eyelashes I traced long and sombre; the irids lustrous and large. "Good! but not quite the thing," I thought, as I surveyed the effect: "they want more force and spirit;" and I wrought the shades blacker, that the lights might flash more brilliantly--a happy touch or two secured success. There, I had a friend's face under my gaze; and what did it signify that those young ladies turned their backs on me? I looked at it; I smiled at the speaking likeness: I was absorbed and content. Is that a portrait of some one you know?" asked Eliza, who had approached me unnoticed. I responded that it was merely a fancy head, and hurried it beneath the other sheets. Of course, I lied: it was, in fact, a very faithful representation of Mr. Rochester. But what was that to her, or to any one but myself? Georgiana also advanced to look. The other drawings pleased her much, but she called that 'an ugly man.
Charlotte Brontë (Jane Eyre)
The lights of the city streaked off below him like the luminous spokes of a warped wheel. An indistinctly outlined, pearly moon seemed to drip down the sky, like a clot of incandescent tapioca thrown up against the night by a cosmic comic. He lit the after-the-dance, while-waiting-for-her-to-come-back cigarette. He felt good, looking down at the town that had nearly had him licked once. "I'm all set now," he thought. "I'm young. I've got love. I've got a clear track. The rest is a cinch.
Cornell Woolrich (The Bride Wore Black)
...never [enter] into dispute or argument with another. I never saw an instance of one of two disputants convincing the other by argument. I have seen many, on their getting warm, becoming rude, & shooting one another. ... When I hear another express an opinion which is not mine, I say to myself, he has a right to his opinion, as I to mine; why should I question it? His error does me no injury, and shall I become a Don Quixote, to bring all men by force of argument to one opinion? ... There are two classes of disputants most frequently to be met with among us. The first is of young students, just entered the threshold of science, with a first view of its outlines, not yet filled up with the details & modifications which a further progress would bring to their knoledge. The other consists of the ill-tempered & rude men in society, who have taken up a passion for politics. ... Consider yourself, when with them, as among the patients of Bedlam, needing medical more than moral counsel. Be a listener only, keep within yourself, and endeavor to establish with yourself the habit of silence, especially on politics. In the fevered state of our country, no good can ever result from any attempt to set one of these fiery zealots to rights, either in fact or principle. They are determined as to the facts they will believe, and the opinions on which they will act. Get by them, therefore, as you would by an angry bull; it is not for a man of sense to dispute the road with such an animal.
Thomas Jefferson
The European Parliament responded by focusing on corporate governance. If corporations wanted to be legal citizens they could damned well shoulder the responsibilities of good citizenship as well as the benefits. Social as well as financial audits were the order of the day. Directives outlining standards for corporate citizenship were drafted and a lucrative niche for a new generation of management consultants emerged - those who could look at an organization and sound a warning if its structure rewarded pathological behaviour.
Charles Stross (Rule 34 (Halting State, #2))
You can easily recognize the good parts of your life because they are starkly outlined in crap.
John DeChancie (Starrigger (Skyway, #1))
As for your instruction here, this is what the First House asks of you.” The room drew breath together—or at least, all the necromancers did, alongside a goodly proportion of their cavaliers. Harrow’s knuckles whitened. Gideon wished that she could flop into a seat or take a sly nap. Everybody was poised in readiness for the outlined syllabus, and scholarship made her want to die.
Tamsyn Muir (Gideon the Ninth (The Locked Tomb, #1))
Andy Grove, former CEO of Intel, outlined when he described what happens to businesses in tumultuous times: “Bad companies are destroyed by crisis. Good companies survive them. Great companies are improved by them.
Ryan Holiday (The Obstacle Is the Way: The Timeless Art of Turning Adversity to Advantage)
It was that summer, too, that I began the cutting, and was almost as devoted to it as to my newfound loveliness. I adored tending to myself, wiping a shallow red pool of my blood away with a damp washcloth to magically reveal, just above my naval: queasy. Applying alcohol with dabs of a cotton ball, wispy shreds sticking to the bloody lines of: perky. I had a dirty streak my senior year, which I later rectified. A few quick cuts and cunt becomes can't, cock turns into back, clit transforms to a very unlikely cat, the l and i turned into a teetering capital A. The last words I ever carved into myself, sixteen years after I started: vanish. Sometimes I can hear the words squabbling at each other across my body. Up on my shoulder, panty calling down to cherry on the inside of my right ankle. On the underside of a big toe, sew uttering muffled threats to baby, just under my left breast. I can quiet them down by thinking of vanish, always hushed and regal, lording over the other words from the safety of the nape of my neck. Also: At the center of my back, which was too difficult to reach, is a circle of perfect skin the size of a fist. Over the years I've made my own private jokes. You can really read me. Do you want me to spell it out for you? I've certainly given myself a life sentence. Funny, right? I can't stand to look myself without being completely covered. Someday I may visit a surgeon, see what can be done to smooth me, but now I couldn't bear the reaction. Instead I drink so I don't think too much about what I've done to my body and so I don't do any more. Yet most of the time that I'm awake, I want to cut. Not small words either. Equivocate. Inarticulate. Duplicitous. At my hospital back in Illinois they would not approve of this craving. For those who need a name, there's a gift basket of medical terms. All I know is that the cutting made me feel safe. It was proof. Thoughts and words, captured where I could see them and track them. The truth, stinging, on my skin, in a freakish shorthand. Tell me you're going to the doctor, and I'll want to cut worrisome on my arm. Say you've fallen in love and I buzz the outlines of tragic over my breast. I hadn't necessarily wanted to be cured. But I was out of places to write, slicing myself between my toes - bad, cry - like a junkie looking for one last vein. Vanish did it for me. I'd saved the neck, such a nice prime spot, for one final good cutting. Then I turned myself in.
Gillian Flynn (Sharp Objects)
There is no biblical ground in the New Testament to align the Gospel message with a political party or ideology. Christians are rather taught in the Bible to be salt and light within their nations and societies, and to contend for biblical principles. The politically-related action outlined for Christians in the New Testament are chiefly limited to three essential things: praying for those in power, appealing to Caesar, and being good citizens as a witness and testimony while not bowing to man’s laws when they directly contradict God’s laws.
James Jacob Prasch (Shadows of the Beast)
You think you understand this world, demoiselle,” he whispered, leaning closer. That sharp tang of genévrier needles slapped me in the face. “You think you hear Dexter, or Sinister, and you know what that means. Good, evil, legacy. Pain, poison, power. You imagine these words bound up and trussed away, with clear outlines and hard borders. But they are alive, seething with a complexity you refuse to acknowledge.
Lyra Selene (Amber & Dusk (Amber & Dusk, #1))
(...) the small of his back slick with sweat, the surprisingly soft hair brushing my body when he took control. And moved over me. "Stop it", Pritkin grated, his voice somehow cutting through the fog. But he didn't let go. I suppose he was afraid to, because a Pythia or one of her senior initiates could shift without him if there was no contact. But that left us stuck together, and that was becoming really, really- Awesome, my body piped up enthusiastically. "I told you, cut it out!" Pritkin said, sounding pissed. "You first," I snarled, snapping my eyes open to glare at him, because he wasn't exactly helping. Of course, neither did that. He must have been jogging, probably his usual early morning ten-mile warm-up before coming to torture me. At least, I assumed that was why the rock-hard abs were outlined by a damp khaki T-shirt, the thin old sweatpants were clinging in all the right places, and the sleeves of the hoodie had been pushed to his elbows, showing the flexing muscles in his forearms. And then there were those hands and those eyes and that mouth... I shivered again, a full-on shudder this time, and he cursed. But that didn't seem to matter. Because it had come out like a growl, and my body liked that, too. My hips shifted automatically, pressing us together, and I gave a little gasp because it felt so good. And then gasped again when I was abruptly released.
Karen Chance (Tempt the Stars (Cassandra Palmer, #6))
Under the blanket the outline of her body was slender and displayed a certain innocence, a precious quality far more significant than the elegance of her form. She seemed to radiate kindness and essential goodness, and Darby, trying to measure the value of her, told himself it was immeasurable.
David Goodis (Of Tender Sin)
To replace wiring diagrams, Marcus suggests a better analogy: The brain is like a book, the first draft of which is written by the genes during fetal development. No chapters are complete at birth, and some are just rough outlines waiting to be filled in during childhood. But not a single chapter—be it on sexuality, language, food preferences, or morality—consists of blank pages on which a society can inscribe any conceivable set of words.
Jonathan Haidt (The Righteous Mind: Why Good People are Divided by Politics and Religion)
Disasterology The Badger is the thirteenth astrological sign. My sign. The one the other signs evicted: unanimously. So what? ! Think I want to read about my future in the newspaper next to the comics? My third grade teacher told me I had no future. I run through snow and turn around just to make sure I’ve got a past. My life’s a chandelier dropped from an airplane. I graduated first in my class from alibi school. There ought to be a healthy family cage at the zoo, or an open field, where I can lose my mother as many times as I need. When I get bored, I call the cops, tell them there’s a pervert peeking in my window! then I slip on a flimsy nightgown, go outside, press my face against the glass and wait… This makes me proud to be an American where drunk drivers ought to wear necklaces made from the spines of children they’ve run over. I remember my face being invented through a windshield. All the wounds stitched with horsehair So the scars galloped across my forehead. I remember the hymns cherubs sang in my bloodstream. The way even my shadow ached when the chubby infants stopped. I remember wishing I could be boiled like water and made pure again. Desire so real it could be outlined in chalk. My eyes were the color of palm trees in a hurricane. I’d wake up and my id would start the day without me. Somewhere a junkie fixes the hole in his arm and a racing car zips around my halo. A good God is hard to find. Each morning I look in the mirror and say promise me something don’t do the things I’ve done.
Jeffrey McDaniel
My delightful, my love, my life, I don’t understand anything: how can you not be with me? I’m so infinitely used to you that I now feel myself lost and empty: without you, my soul. You turn my life into something light, amazing, rainbowed—you put a glint of happiness on everything—always different: sometimes you can be smoky-pink, downy, sometimes dark, winged—and I don’t know when I love your eyes more—when they are open or shut. It’s eleven p.m. now: I’m trying with all the force of my soul to see you through space; my thoughts plead for a heavenly visa to Berlin via air . . . My sweet excitement . . . Today I can’t write about anything except my longing for you. I’m gloomy and fearful: silly thoughts are swarming—that you’ll stumble as you jump out of a carriage in the underground, or that someone will bump into you in the street . . . I don’t know how I’ll survive the week. My tenderness, my happiness, what words can I write for you? How strange that although my life’s work is moving a pen over paper, I don’t know how to tell you how I love, how I desire you. Such agitation—and such divine peace: melting clouds immersed in sunshine—mounds of happiness. And I am floating with you, in you, aflame and melting—and a whole life with you is like the movement of clouds, their airy, quiet falls, their lightness and smoothness, and the heavenly variety of outline and tint—my inexplicable love. I cannot express these cirrus-cumulus sensations. When you and I were at the cemetery last time, I felt it so piercingly and clearly: you know it all, you know what will happen after death—you know it absolutely simply and calmly—as a bird knows that, fluttering from a branch, it will fly and not fall down . . . And that’s why I am so happy with you, my lovely, my little one. And here’s more: you and I are so special; the miracles we know, no one knows, and no one loves the way we love. What are you doing now? For some reason I think you’re in the study: you’ve got up, walked to the door, you are pulling the door wings together and pausing for a moment—waiting to see if they’ll move apart again. I’m tired, I’m terribly tired, good night, my joy. Tomorrow I’ll write you about all kinds of everyday things. My love.
Vladimir Nabokov (Letters to Vera)
The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder ― its DNA ― xerox it, and embed it in the fertile lining of a well-traveled highway, preferably one with a lef- turn lane. Then the growth will expand until it runs up against its property lines. In olden times, you’d wander down to Mom’s Café for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your hometown. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn’t recognize. If you did enough traveling, you’d never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald’s and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald’s is Home, condensed into a three-ringed binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world’s most surprising and terrible country, take comfort in that motto.
Neal Stephenson (Snow Crash)
Psychology can make us feel good, but religion can make us be good.
Peter Kreeft (Christianity for Modern Pagans: Pascal's Pensées - Edited, Outlined & Explained)
I said that I thought most of us didn’t know how truly good or truly bad we were, and most of us would never be sufficiently tested to find out.
Rachel Cusk (Outline)
As we have seen, prayer, celebration of the religious offices, alms, consoling the afflicted, the cultivation of a little piece of ground, fraternity, frugality, hospitality, self-sacrifice, confidence, study, and work, filled up each day of his life. Filled up is exactly the phrase; and in fact, the Bishop's day was full to the brim with good thoughts, good words, and good actions. Yet it was not complete if cold or rainy weather prevented him from passing an hour or two in the evening, when the two women had retired, in his garden before going to sleep. It seemed as though it were a sort of rite with him, to prepare himself for sleep by meditating in the presence of the great spectacle of the starry firmament. Sometimes late at night, if the two women were awake, they would hear him slowly walking the paths. He was out there alone with himself, composed, tranquil, adoring, comparing the serenity of his heart with the serenity of the skies, moved in the darkness by the visible splendors of the constellations, and the invisible splendor of God, opening his soul to the thoughts that fall from the Unknown. In such moments, offering up his heart at the hour when the flowers of night emit their perfume, lit like a lamp in the center of the starry night, expanding his soul in ecstasy in the midst of creation’s universal radiance, perhaps he could not have told what was happening in his own mind; he felt something depart from him, and something descend upon him; mysterious exchanges of the depths of the soul with the depths of the universe. He contemplated the grandeur, and the presence of God; the eternity of the future, that strange mystery; the eternity of the past, a stranger mystery; all the infinities hidden deep in every direction; and, without trying to comprehend the incomprehensible, he saw it. He did not study God; he was dazzled by Him. He reflected upon the magnificent union of atoms, which give visible forms to Nature, revealing forces by recognizing them, creating individualities in unity, proportions in extension, the innumerable in the infinite, and through light producing beauty. These unions are forming and dissolving continually; from which come life and death. He would sit on a wooden bench leaning against a decrepit trellis and look at the stars through the irregular outlines of his fruit trees. This quarter of an acre of ground, so sparingly planted, so cluttered with shed and ruins, was dear to him and satisfied him. What more was needed by this old man, who divided the leisure hours of his life, where he had so little leisure, between gardening in the day time, and contemplation at night? Was this narrow enclosure, with the sky for a background not space enough for him to adore God in his most beautiful, most sublime works? Indeed, is that not everything? What more do you need? A little garden to walk in, and immensity to reflect on. At his feet something to cultivate and gather; above his head something to study and meditate on; a few flowers on earth and all the stars in the sky.
Victor Hugo (Les Misérables)
Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story , you, upon hearing the words 'soccer' and 'neighbor' in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that no, you grew up in Brazil on the streets of Tres Coracoes with Pele and I might say, I thought you were from Tennessee, and you might say, not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein
I feel him beside me, hear the even sound of his breathing, smell the delicious saltiness of his skin. I have missed him. I move to face him, and that’s when the pain reminds me that I’ve recently been stabbed. I bury my face in the pillow, but it doesn’t quite muffle my yelp. “Emma?” Galen says groggily. I feel his hand in my hair, stroking the length of it. “Don’t move, angelfish. Stay on your stomach. I’ll go tell Rachel you’re ready for more pain medicine.” Immediately I disobey and turn my face up to him. He shakes his head. “I’ve recently learned where your stubbornness comes from.” I grimace/smile. “My mom?” “Worse. King Antonis. The resemblance is uncanny.” He leans down and presses his lips to mine and all too quickly springs back up. “Now, be a good little deviant and stay put while I go get more pain meds.” “Galen,” I say. “Hmmm?” “How bad am I hurt?” He caresses the outline of my cheek. His touch could disintegrate me. “Hurt at all is bad enough for me.” “Yeah, but you’ve always been a baby about this stuff.” I grin at his faux offense. “Your mother says it’s only a flesh wound. She’s been treating it.” “Mom is here?” “She’s downstairs. Uh…You should know that Grom is here, too.” Grom left the tribunal and headed for land? Did that mean it all ended badly? Well, even worse than my getting impaled? An urgent need to know everything about everything shimmies through me. “Whoa. Sit. Talk. Now.” He laughs. “I will, I promise. But I want to make you comfortable first.” “Well, then, you need to come over here and switch places with the bed.” A blush fills my cheeks, but I don’t care. I need him. All of him. It feels like forever since we’ve talked like this, just me and him. But talking usually doesn’t last long. Lips were made for other things, too. And Galen is especially good at the other things. He walks back and squats by the bed. “You have no idea how tempting that is.” It seems like the violet of his eyes gets darker. It’s the color they get when he has to pull away from me, when we’re about to violate a bunch of Syrena laws if we don’t stop. “But you’re not well enough to…” He runs a hand through his hair. “I’ll go get Rachel. Then we can talk.” I’m a little surprised that his argument didn’t begin with “But the law…” That is what has stopped us in the past. Now the only thing that appears to be stopping us is my stabby condition. What’s changed? And why am I not excited about it? I used to get so frustrated when he would pull away. But a small part of me loved that about him, his respect for the law and for the tradition of his people. His respect for me. Respect is a hard thing to come by when picking from among human boys. Is that respect gone? And is it my fault?
Anna Banks (Of Triton (The Syrena Legacy, #2))
No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin.
Neal Stephenson (Snow Crash)
I'm not an easy man, not even for forty-eight hours." Keeping her gaze locked on his face, she stroked the hard outline of his dick with the tip of her fingernail. "Good thing I like things hard.
Avery Flynn (His Undercover Princess (Tempt Me, #1))
He pressed bravely ahead with his story, the outlines and preliminary versions of which by now filled two thick notebooks, reorganizing, redrafting, and obsessively re-polishing lines and paragraphs with a jeweler's precision. But it was not good enough. He wanted the pages to sing with ideas that had once seemed so important to him, all and everything he knew, and yet they did not, and no amount of diligence was able to bring them to life. The story came to be a burden and weighed more heavily in his hands each time he lifted it out of the drawer. After a few weeks he was reluctant to open the desk at all. ("Talking In The Dark")
Dennis Etchison (Shadows 7)
Ed Lim’s daughter, Monique, was a junior now, but as she’d grown up, he and his wife had noted with dismay that there were no dolls that looked like her. At ten, Monique had begun poring over a mail-order doll catalog as if it were a book–expensive dolls, with n ames and stories and historical outfits, absurdly detailed and even more absurdly expensive. ‘Jenny Cohen has this one,’ she’d told them, her finger tracing the outline of a blond doll that did indeed resemble Jenny Cohen: sweet faced with heavy bangs, slightly stocky. 'And they just made a new one with red hair. Her mom’s getting it for her sister Sarah for Hannukkah.’ Sarah Cohen had flaming red hair, the color of a penny in the summer sun. But there was no doll with black hair, let alone a face that looked anything like Monique’s. Ed Lim had gone to four different toy stores searching for a Chinese doll; he would have bought it for his daughter, whatever the price, but no such thing existed. He’d gone so far as to write to Mattel, asking them if there was a Chinese Barbie doll, and they’d replied that yes, they offered 'Oriental Barbie’ and sent him a pamphlet. He had looked at that pamphlet for a long time, at the Barbie’s strange mishmash of a costume, all red and gold satin and like nothing he’d ever seen on a Chinese or Japanese or Korean woman, at her waist-length black hair and slanted eyes. I am from Hong Kong, the pamphlet ran. It is in the Orient, or Far East. Throughout the Orient, people shop at outdoor marketplaces where goods such as fish, vegetables, silk, and spices are openly displayed. The year before, he and his wife and Monique had gone on a trip to Hong Kong, which struck him, mostly, as a pincushion of gleaming skyscrapers. In a giant, glassed-in shopping mall, he’d bought a dove-gray cashmere sweater that he wore under his suit jacket on chilly days. Come visit the Orient. I know you will find it exotic and interesting. In the end he’d thrown the pamphlet away. He’d heard, from friends with younger children, that the expensive doll line now had one Asian doll for sale – and a few black ones, too – but he’d never seen it. Monique was seventeen now, and had long outgrown dolls.
Celeste Ng (Little Fires Everywhere)
The program Hitler outlined rejected everything: it was anticapitalistic and antiproletarian, revolutionary and restorational; it conjured up its dire visions of the future along with nostalgic pictures of the good old days.
Joachim Fest (Hitler)
Jonathan Edwards wrote a sermon with the following outline:342 Our bad things will turn out for good (Rom 8:28), Our good things can never be taken away from us (Ps 4:6–7), and The best things are yet to come (1 Cor 2:9). If,
Timothy J. Keller (Prayer: Experiencing Awe and Intimacy with God)
No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.
Neal Stephenson (Snow Crash)
From Bertrand Russell’s “An Outline of Intellectual Rubbish”: “I am sometimes shocked by the blasphemies of those who think themselves pious — for instance, the nuns who never take a bath without wearing a bathrobe all the time. When asked why, since no man can see them, they reply: ‘Oh, but you forget the good God.’ Apparently they conceive of the Deity as a Peeping Tom, whose omniscience enables him to see through bathroom walls, but who is foiled by bathrobes.
Lindy Moone (Hyperlink from Hell: A Couch Potato's Guide to the Afterlife (The After Ward))
The drive of his own nature to keep developing prevents him from believing that anything is final and complete, yet everything he encounters behaves as though it were final and complete. He suspects that the given order of things is not as solid as it pretends to be; no thing, no self, no form, no principle, is safe, everything is undergoing an invisible but ceaseless transformation, the unsettled holds more of the future than the settled, and the present is nothing but a hypothesis that has not yet been surmounted. What better can he do than hold himself apart from the world, in the good sense exemplified by the scientist's guarded attitude toward facts that might be tempting him to premature conclusions? Hence he hesitates in trying to make something of himself; a character, a profession, a fixed mode of being, are for him concepts that already shadow forth the outlines of the skeleton, which is all that will be left of him in the end.
Robert Musil (The Man Without Qualities: Volume I)
The Sermon on the Mount outlines the true nature of man, and the proper aim of mankind: concentrate on the day, so that you can live in the present, and attend completely and properly to what is right in front of you—but do that only after you have decided to let what is within shine forth, so that it can justify Being and illuminate the world. Do that only after you have determined to sacrifice whatever it is that must be sacrificed so that you can pursue the highest good.
Jordan B. Peterson (12 Rules for Life: An Antidote to Chaos)
They were transformed along the lines that Andy Grove, former CEO of Intel, outlined when he described what happens to businesses in tumultuous times: “Bad companies are destroyed by crisis. Good companies survive them. Great companies are improved by them.
Ryan Holiday (The Obstacle Is the Way: The Timeless Art of Turning Adversity to Advantage)
It is easy to get bogged down trying to find the optimal plan for change: the fastest way to lose weight, the best program to build muscle, the perfect idea for a side hustle. We are so focused on figuring out the best approach that we never get around to taking action. As Voltaire once wrote, “The best is the enemy of the good.” I refer to this as the difference between being in motion and taking action. The two ideas sound similar, but they’re not the same. When you’re in motion, you’re planning and strategizing and learning. Those are all good things, but they don’t produce a result. Action, on the other hand, is the type of behavior that will deliver an outcome. If I outline twenty ideas for articles I want to write, that’s motion. If I actually sit down and write an article, that’s action.
James Clear (Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones)
Everything becomes a blur when you travel beyond a certain speed. Distant objects may still be clear in outline, but the blurred foreground makes it impossible to attend to them. This landscape is unreal and the passengers in the express train turn to their books, their thoughts or their private fantasies. The subjectivism of our age has a good deal to do with this imprisonment in a speeding vehicle, and the fact that we made this vehicle ourselves, with all the tireless care that children give to a contrivance of wood and wire, does not save us from the sense of being trapped without hope of escape. A further effect of such vertiginous speed is a kind of anaesthesia, entirely natural when the operation of the senses by which we normally make contact with our environment is suspended. With no opportunity to assimilate what is going on, our powers of assimilation are inevitably weakened and certain numbness sets in; nothing is fully savoured and nothing is properly understood. Even fear (which exists to forewarn us of danger) is suspended. This would be so even if speed of change were the only factor involved, but the kind of environment in which a large part of humanity lives today --- the environment created by technology at the service of immediate, short-term needs – does much to intensify this effect. Outside of works of art which embody something beyond our physical needs, our own constructions bore us. Those who, when they have built something and admired the finished product for a decent moment, are ready to pull it down and start on something new have good sense on their side.
Charles Le Gai Eaton (King of the Castle: Choice and Responsibility in the Modern World)
When Epicurus defined happiness as the supreme good, he warned his disciples that it is hard work to be happy. Material achievements alone will not satisfy us for long. Indeed, the blind pursuit of money, fame and pleasure will only make us miserable. Epicurus recommended, for example, to eat and drink in moderation, and to curb one’s sexual appetites. In the long run, a deep friendship will make us more content than a frenzied orgy. Epicurus outlined an entire ethic of dos and don’ts to guide people along the treacherous path to happiness.
Yuval Noah Harari (Homo Deus: A Brief History of Tomorrow)
The Peacemaker Colt has now been in production, without change in design, for a century. Buy one to-day and it would be indistinguishable from the one Wyatt Earp wore when he was the Marshal of Dodge City. It is the oldest hand-gun in the world, without question the most famous and, if efficiency in its designated task of maiming and killing be taken as criterion of its worth, then it is also probably the best hand-gun ever made. It is no light thing, it is true, to be wounded by some of the Peacemaker’s more highly esteemed competitors, such as the Luger or Mauser: but the high-velocity, narrow-calibre, steel-cased shell from either of those just goes straight through you, leaving a small neat hole in its wake and spending the bulk of its energy on the distant landscape whereas the large and unjacketed soft-nosed lead bullet from the Colt mushrooms on impact, tearing and smashing bone and muscle and tissue as it goes and expending all its energy on you. In short when a Peacemaker’s bullet hits you in, say, the leg, you don’t curse, step into shelter, roll and light a cigarette one-handed then smartly shoot your assailant between the eyes. When a Peacemaker bullet hits your leg you fall to the ground unconscious, and if it hits the thigh-bone and you are lucky enough to survive the torn arteries and shock, then you will never walk again without crutches because a totally disintegrated femur leaves the surgeon with no option but to cut your leg off. And so I stood absolutely motionless, not breathing, for the Peacemaker Colt that had prompted this unpleasant train of thought was pointed directly at my right thigh. Another thing about the Peacemaker: because of the very heavy and varying trigger pressure required to operate the semi-automatic mechanism, it can be wildly inaccurate unless held in a strong and steady hand. There was no such hope here. The hand that held the Colt, the hand that lay so lightly yet purposefully on the radio-operator’s table, was the steadiest hand I’ve ever seen. It was literally motionless. I could see the hand very clearly. The light in the radio cabin was very dim, the rheostat of the angled table lamp had been turned down until only a faint pool of yellow fell on the scratched metal of the table, cutting the arm off at the cuff, but the hand was very clear. Rock-steady, the gun could have lain no quieter in the marbled hand of a statue. Beyond the pool of light I could half sense, half see the dark outline of a figure leaning back against the bulkhead, head slightly tilted to one side, the white gleam of unwinking eyes under the peak of a hat. My eyes went back to the hand. The angle of the Colt hadn’t varied by a fraction of a degree. Unconsciously, almost, I braced my right leg to meet the impending shock. Defensively, this was a very good move, about as useful as holding up a sheet of newspaper in front of me. I wished to God that Colonel Sam Colt had gone in for inventing something else, something useful, like safety-pins.
Alistair MacLean (When Eight Bells Toll)
The world deprived of clear-cut outlines, of the up and the down, of good and evil, succumbs to a peculiar nihilization, that is, it loses its colors, so that grayness covers not only things of this earth and of space, but also the very flow of time, its minutes, days and years. Abstract considerations will be of little help, even if they are intended to bring relief. Poetry is quite different. By its very nature it says: All those theories are untrue. Since poetry deals with the singular, not hte general, it can't - if it is good poetry - look at things of this earth other than as colorful, variegated, and exciting, and so, it cannot reduce life, with all its pain, horror, suffering, and ecstasy, to a unified tonality of boredom or complaint. By necessity poetry is therefore on the side of being and against nothingness.
Czesław Miłosz
In any case, it is a mistake to equate concreteness with things. An individual object is the unique phenomenon it is because it is caught up in a mesh of relations with other objects. It is this web of relations and interactions, if you like, which is 'concrete', while the object considered in isolation is purely abstract. In his Grundrisse, Karl Marx sees the abstract not as a lofty, esoteric notion, but as a kind of rough sketch of a thing. The notion of money, for example, is abstract because it is no more than a bare, preliminary outline of the actual reality. It is only when we reinsert the idea of money into its complex social context, examining its relations to commodities, exchange, production and the like, that we can construct a 'concrete' concept of it, one which is adequate to its manifold substance. The Anglo-Saxon empiricist tradition, by contrast, makes the mistake of supposing that the concrete is simple and the abstract is complex. In a similar way, a poem for Yury Lotman is concrete precisely because it is the product of many interacting systems. Like Imagist poetry, you can suppress a number of these systems (grammar, syntax, metre and so on) to leave the imagery standing proudly alone; but this is actually an abstraction of the imagery from its context, not the concretion it appears to be. In modern poetics, the word 'concrete' has done far more harm than good.
Terry Eagleton (How to Read a Poem)
In his book Digital Minimalism, Cal Newport outlines a philosophy for using technology as much as we need but not as much as we want. Digital minimalism isn’t about giving up your smartphone or deleting Facebook. It’s about focusing and optimizing your online time to serve you best.
Jen Smith (Pay Off Your Debt for Good: 21 Days to Change Your Relationship With Money & Improve Your Spending Habits So You Can Get Out of Debt Fast)
When the White House got news of the disaster, POTUS coordinated a relief effort pretty much immediately. According to the ticktock, the minute-by-minute outline of an event that the White House comms team would send out afterward, POTUS heard about the quake at 5:52 PM in the Oval Office on January 12, and by 9:00 PM he was in the Situation Room for an emergency meeting to figure out the relief effort, which would include the deployment of thousands of troops and $100 million in aid. He asked a small group of people to go to Haiti to coordinate it immediately:
Alyssa Mastromonaco (Who Thought This Was a Good Idea?: And Other Questions You Should Have Answers to When You Work in the White House)
The current debate about whether we should have a national curriculum is phony. We already have a national curriculum locked up in the seven lessons I have just outlined. Such a curriculum produces physical, moral, and intellectual paralysis, and no curriculum of content will be sufficient to reverse its hideous effects. What is currently under discussion in our national hysteria about failing academic performance misses the point. Schools teach exactly what they are intended to teach and they do it well: how to be a good Egyptian and remain in your place in the pyramid.
John Taylor Gatto (Dumbing Us Down: The Hidden Curriculum of Compulsory Schooling)
No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto.
Neal Stephenson (Snow Crash)
The truth is you already know what it’s like. You already know the difference between the size and speed of everything that flashes through you and the tiny inadequate bit of it all you can ever let anyone know. As though inside you is this enormous room full of what seems like everything in the whole universe at one time or another and yet the only parts that get out have to somehow squeeze out through one of those tiny keyholes you see under the knob in older doors. As if we are all trying to see each other through these tiny keyholes. But it does have a knob, the door can open. But not in the way you think. But what if you could? Think for a second — what if all the infinitely dense and shifting worlds of stuff inside you every moment of your life turned out now to be somehow fully open and expressible afterward, after what you think of as you has died, because what if afterward now each moment itself is an infinite sea or span or passage of time in which to express it or convey it, and you don’t even need any organized English, you can as they say open the door and be in anyone else’s room in all your own multiform forms and ideas and facets? Because listen — we don’t have much time, here’s where Lily Cache slopes slightly down and the banks start getting steep, and you can just make out the outlines of the unlit sign for the farmstand that’s never open anymore, the last sign before the bridge — so listen: What exactly do you think you are? The millions and trillions of thoughts, memories, juxtapositions — even crazy ones like this, you’re thinking — that flash through your head and disappear? Some sum or remainder of these? Your history? Do you know how long it’s been since I told you I was a fraud? Do you remember you were looking at the respicem watch hanging from the rearview and seeing the time, 9:17? What are you looking at right now? Coincidence? What if no time has passed at all?* The truth is you’ve already heard this. That this is what it’s like. That it’s what makes room for the universes inside you, all the endless inbent fractals of connection and symphonies of different voices, the infinities you can never show another soul. And you think it makes you a fraud, the tiny fraction anyone else ever sees? Of course you’re a fraud, of course what people see is never you. And of course you know this, and of course you try to manage what part they see if you know it’s only a part. Who wouldn’t? It’s called free will, Sherlock. But at the same time it’s why it feels so good to break down and cry in front of others, or to laugh, or speak in tongues, or chant in Bengali — it’s not English anymore, it’s not getting squeezed through any hole. So cry all you want, I won’t tell anybody.
David Foster Wallace
Nervousness from earlier surged back into me. Goodness. He was honey poured over an athletic body. Short, sandy-blond curls outlined his face, which boasted full lips, high cheek bones, and long lashes that any woman would envy. Even with those soft features, his face appeared hard and sculpted by an artist.
Kenya Wright (Flirting with Chaos (Crazy in Love, #1))
Subjected to those pressures, these individuals were transformed. They were transformed along the lines that Andy Grove, former CEO of Intel, outlined when he described what happens to businesses in tumultuous times: “Bad companies are destroyed by crisis. Good companies survive them. Great companies are improved by them.
Ryan Holiday (The Obstacle is the Way: The Timeless Art of Turning Adversity to Advantage)
The room drew breath together—or at least, all the necromancers did, alongside a goodly proportion of their cavaliers. Harrow’s knuckles whitened. Gideon wished that she could flop into a seat or take a sly nap. Everybody was poised in readiness for the outlined syllabus, and scholarship made her want to die. There would be some litany of how breakfast would take place every morning at this time, and then there’d be study with the priests for an hour, and then Skeleton Analysis, and History of Some Blood, and Tomb Studies, and, like, lunchtime, and finally Double Bones with Doctor Skelebone. The most she could hope for was Swords, Swords II, and maybe Swords III.
Tamsyn Muir (Gideon the Ninth (The Locked Tomb, #1))
He offered a less diabolic likeness of a complex and many-sided personality, and one that is both more plausible and more attractive. He said: Catilina had many excellent qualities, not indeed maturely developed, but at least sketched out roughly in outline.… There was a good deal about him that exercised a corrupting effect on other people; and yet he also undeniably possessed a gift for stimulating his associates into vigorous activity. Catilina was at one and the same time a furnace of inordinate sensual passions and a serious student of military affairs. I do not believe that the world has ever seen such a portent of divergent, contrary, contradictory tastes and appetites.
Anthony Everitt (Cicero: The Life and Times of Rome's Greatest Politician)
I am only as good as I am, and I could only do what the person as good as I am could do. A statue isn't built from the ground up...and I often wonder if we aren't likewise shaped by the qualities we lack, outlined by the empty space where the marble used to be...It's not what we do that makes us who we are. It's what we don't do that defines us.
Raphael Bob-Waksberg (Someone Who Will Love You in All Your Damaged Glory)
A week ago," Ishmael said, "when we were talking about laws, you said that there's only one kind of law about how people should live--the kind that can be changed by a vote. What do you think now? Can the laws that govern competition in the community be changed by a vote?" "No. But they're not absolutes, like the laws of aerodynamics. They can be broken." "Can't the laws of aerodynamics be broken?" "No. If your plane isn't built according to the law, it doesn't fly." "But if you push it off a cliff, it stays in the air, doesn't it?" "For a while." "The same is true of a civilization that isn't built in accordance with the law of limited competition... Any species that, as a matter of policy, exempts itself from the law of limited competition will end by destroying the community..." "Yes." "Then what have we discovered here?" "We've discovered a piece of certain knowledge about how people ought to live. Must live in fact." "The law we've outlined here enables species to live--enables species to survive, including the human. It won't tell you whether mood-altering drugs should be legalized or not. It won't tell you whether premarital sex is good or bad. It won't tell you if capital punishment is right or wrong. It *will* tell you how you have to live if you want to avoid extinction, and that's the first and most fundamental knowledge anyone needs... You might say that this is one of the law's basic operations: Those who threaten the stability of the community by defying the law automatically eliminate themselves.
Daniel Quinn (Ishmael: An Adventure of the Mind and Spirit (Ishmael, #1))
the translator says that a sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal. Those lines concerned the art of writing, but looking around himself in early middle age my neighbour began to see that they applied just as much to the art of living.
Rachel Cusk (Outline)
Shirt off.” Neil stared at her. “Why?” “I can’t check track marks through cotton, Neil.” “I don’t do drugs.” “Good on you,” Abby said. “Keep it that way. Now take it off.” […] “I want to make this as painless as possible, but I can’t help you if you can’t help me. Tell me why you won’t take off your shirt.” Neil looked for a delicate way to say it. The best he managed was, “I’m not okay.” She put a finger to his chin and turned his face back toward her. “Neil, I work for the Foxes. None of you are okay. Chances are I’ve seen a lot worse than whatever it is you’re trying to hide from me.” Neil’s smile was humorless. “I hope not. “Trust me,” Abby said. “I’m not going to judge you. I’m here to help, remember? I’m your nurse now. That door is closed, and it comes with a lock. What happens in here stays in here.” […] “You can’t ask me about them,” he said at last. “I won’t talk to you about it. Okay?” “Okay,” Abby agreed easily. “But know that when you want to, I’m here, and so is Betsy.” Neil wasn’t going to tell that psychiatrist a thing, but he nodded. Abby dropped her hand and Neil pulled his shirt over his head before he could lose his nerve. Abby thought she was ready. Neil knew she wouldn’t be, and he was right. Her mouth parted on a silent breath and her expression went blank. She wasn’t fast enough to hide her flinch, and Neil saw her shoulders go rigid with tension. He stared at her face as she stared at him, watching her gaze sweep over the brutal marks of a hideous childhood. It started at the base of his throat, a looping scar curving down over his collarbone. A pucker with jagged edges was a finger-width away, courtesy of a bullet that hit him right on the edge of his Kevlar vest. A shapeless patch of pale skin from his left shoulder to his navel marked where he’d jumped out of a moving car and torn himself raw on the asphalt. Faded scars crisscrossed here and there from his life on the run, either from stupid accidents, desperate escapes, or conflicts with local lowlifes. Along his abdomen were larger overlapping lines from confrontations with his father’s people while on the run. His father wasn’t called the butcher for nothing; his weapon of choice was a cleaver. All of his men were well-versed in knife-fighting, and more than one of them had tried to stick Neil like a pig. And there on his right shoulder was the perfect outline of half a hot iron. Neil didn’t remember what he’s said or done to irritate his father so much.
Nora Sakavic (The Foxhole Court (All for the Game, #1))
Will smiled in spite of himself as he pressed the silver into Jean’s hand. It was a look of shock at first as the old man traced the outlines of the coins and realized what they were. Then tears welled up in his sightless eyes as he realized what they meant. The pardoner’s stolen silver would keep the family fed, Gerard’s neck clear of the hangman’s noose, and old Jean from dying of grief. It was a good day to be an outlaw.
Matthew Cody (Will in Scarlet)
If, then, there is some end of the things we do, which we desire for its own sake (everything else being desired for the sake of this), and if we do not choose everything for the sake of something else (for at that rate the process would go on to infinity, so that our desire would be empty and vain), clearly this must be the good and the chief good. Will not the knowledge of it, then, have a great influence on life? Shall we not, like archers who have a mark to aim at, be more likely to hit upon what is right? If so, we must try, in outline at least, to determine what it is, and of which of the sciences or capacities it is the object. It would seem to belong to the most authoritative art and that which is most truly the master art. And politics appears to be of this nature; for it is this that ordains which of the sciences should be studied in a state, and which each class of citizens should learn and up to what point they should learn them; and we see even the most highly esteemed of capacities to fall under this, e.g. strategy, economics, rhetoric; now, since politics uses the rest of the sciences, and since, again, it legislates as to what we are to do and what we are to abstain from, the end of this science must include those of the others, so that this end must be the good for man. For even if the end is the same for a single man and for a state, that of the state seems at all events something greater and more complete whether to attain or to preserve; though it is worth while to attain the end merely for one man, it is finer and more godlike to attain it for a nation or for city-states. These, then, are the ends at which our inquiry aims, since it is political science, in one sense of that term.
Aristotle (The Complete Works of Aristotle)
A thrilling sense of having been chosen for something is the best and the only certain thing in one whose glance surveys the world for the first time. If he monitors his feelings, he finds nothing he can accept without reservation. He seeks a possible beloved but can't tell whether it's the right one; he is capable of killing without being sure that he will have to. The drive of his own nature to keep developing prevents him from believing that anything is final and complete, yet everything he encounters behaves as though it were final and complete. He suspects that the given order of things is not as solid as it pretends to be; no thing, no self, no form, no principle, is safe, everything is undergoing an invisible but ceaseless transformation, the unsettled holds more of the future than the settled, and the present is nothing but a hypothesis that has not yet been surmounted. What better can he do than hold himself apart from the world, in the good sense exemplified by the scientist's guarded attitude toward facts that might be tempting him to premature conclusions? Hence he hesitates in trying to make something of himself; a character, a profession, a fixed mode of being, are for him concepts that already shadow forth the outlines of the skeleton, which is all that will be left of him in the end.
Robert Musil (The Man Without Qualities: Volume I)
Who knows. maybe everybody’s end isn’t the day they actually die, but the last time anyone speaks of them. Maybe when you die you don’t really disappear, but you fade into a shadow, dark and featureless, only your outlines visible. Over time, as people forget you, your silhouette gradually fades into darkness until the final time anyone says your name on this planet. That’s when your very last feature—the freckled tip of your nose, or the heart-top bubble of your lips—fades for good.
Ali Benjamin (The Thing About Jellyfish)
What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.
Mark Galli (Preaching That Connects: Using Techniques of Journalists to Add Impact)
The red glow of the robot's eyes held him. "Do you expect me," said cutie slowly, "to believe any such complicated, implausible, hypothesis as you have just outlined? What do you take me for?" Powell sputtered apple fragments onto the table and turned red. "Why damn you, it wasn't a hypothesis. Those were facts." Cutie sounded grim, "Globes of energy millions of miles across! Worlds with three billion humans on them! Infinite emptiness! Sorry, Powell, but I don't believe it. I'll puzzle this thing out for myself. Good-by.
Isaac Asimov (I, Robot (Robot, #0.1))
At least she was good at archaeology, she mused, even if she was a dismal failure as a woman in Tate’s eyes. “She’s been broody ever since we got here,” Leta said with pursed lips as she glanced from Tate to Cecily. “You two had a blowup, huh?” she asked, pretending innocence. Tate drew in a short breath. “She poured crab bisque on me in front of television cameras.” Cecily drew herself up to her full height. “Pity it wasn’t flaming shish kebab!” she returned fiercely. Leta moved between them. “The Sioux wars are over,” she announced. “That’s what you think,” Cecily muttered, glaring around her at the tall man. Tate’s dark eyes began to twinkle. He’d missed her in his life. Even in a temper, she was refreshing, invigorating. She averted her eyes to the large grass circle outlined by thick corded string. All around it were make-shift shelters on poles, some with canvas tops, with bales of hay to make seats for spectators. The first competition of the day was over and the winners were being announced. A woman-only dance came next, and Leta grimaced as she glanced from one warring face to the other. If she left, there was no telling what might happen. “That’s me,” she said reluctantly, adjusting the number on her back. “Got to run. Wish me luck.” “You know I do,” Cecily said, smiling at her. “Don’t disgrace us,” Tate added with laughter in his eyes. Leta made a face at him, but smiled. “No fighting,” she said, shaking a finger at them as she went to join the other competitors. Tate’s granitelike face had softened as he watched his mother. Whatever his faults, he was a good son.
Diana Palmer (Paper Rose (Hutton & Co. #2))
the translator says that a sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal. Those lines concerned the art of writing, but looking around himself in early middle age my neighbour began to see that they applied just as much to the art of living. Everywhere he looked he saw people as it were ruined by the extremity of their own experiences, and his new parents-in-law appeared to be a case in point.
Rachel Cusk (Outline)
The deeply irrational attitude of each sex toward women may be seen in novels, particularly in bad novels. In bad novels by men, there is the woman with whom the author is in love, who usually possesses every charm, but is somewhat helpless, and requires male protection; sometimes, however, like Shakespeare’s Cleopatra, she is an object of exasperated hatred, and is thought to be deeply and desperately wicked. In portraying the heroine, the male author does not write from observation, but merely objectifies his own emotions. In regard to his other female characters, he is more objective, and may even depend upon his notebook; but when he is in love, his passion makes a mist between him and the object of his devotion. Women novelists, also, have two kinds of women in their books. One is themselves, glamorous and kind, and object of lust to the wicked and of love to the good, sensitive, highsouled, and constantly misjudged. The other kind is represented by all other women, and is usually portrayed as petty, spiteful, cruel, and deceitful. It would seem that to judge women without bias is not easy either for men or for women.
Bertrand Russell (An Outline of Intellectual Rubbish: A Hilarious Catalogue of Organized and Individual Stupidity)
HOW TO DRIVE A WRITER CRAZY “1. When he starts to outline a story, immediately give him several stories just like it to read and tell him three other plots. This makes his own story and his feeling for it vanish in a cloud of disrelated facts. "2. When he outlines a character, read excerpts from stories about such characters, saying that this will clarify the writer's ideas. As this causes him to lose touch with the identity he felt in his character by robbing him of individuality, he is certain to back away from ever touching such a character. "3. Whenever the writer proposes a story, always mention that his rate, being higher than other rates of writers in the book, puts up a bar to his stories. "4. When a rumor has stated that a writer is a fast producer, invariably confront him with the fact with great disapproval, as it is, of course, unnatural for one human being to think faster than another. "5. Always correlate production and rate, saying that it is necessary for the writer to do better stories than the average for him to get any consideration whatever. "6. It is a good thing to mention any error in a story bought, especially when that error is to be editorially corrected, as this makes the writer feel that he is being criticized behind his back and he wonders just how many other things are wrong. "7. Never fail to warn a writer not to be mechanical, as this automatically suggests to him that his stories are mechanical and, as he considers this a crime, wonders how much of his technique shows through and instantly goes to much trouble to bury mechanics very deep—which will result in laying the mechanics bare to the eye. "8. Never fail to mention and then discuss budget problems with a writer, as he is very interested. "9. By showing his vast knowledge of a field, an editor can almost always frighten a writer into mental paralysis, especially on subjects where nothing is known anyway. "10. Always tell a writer plot tricks, as they are not his business.
L. Ron Hubbard
Fisher outlines the different hormones and personalities for me. Those with lots of dopamine, she says, are likely to be "Explorers," optimistic risk takers. Serotonin breeds "Builders," who tend to be calm and organized and work well in groups. Those brimming with testosterone she calls "Directors." Two thirds of them are men. They're analytical, logical, and often musical. (They sound suspiciously like Numerati to me.) In the fourth group, their brains coursing with estrogen, are the negotiators. They're verbal and intuitive, and have good people skills. You'd think they'd be built for relationships. But sometimes, Fisher says, "they're so pliable that they turn into placaters. You don't know who they are.
Stephen Baker (The Numerati)
A flash of lightning ghosts into the room, and when it leaves again, my eyes follow it back out to sea. In the window's reflection, I glimpse a figure standing behind me. I don't need to turn around to see who creates such a big outline-or who makes my whole body turn into a goose-bump farm. "How do you feel?" he says. "Better," I say to his reflection. He hops over the back of the couch and grabs my chin, turning my head side to side, up and down, all around, watching for my reaction. "I just did that," I tell him. "Nothing." He nods and unhands me. "Rach-Uh, my mom called your mom and told her what happened. I guess your mom called your doctor, and he said it's pretty common, but that you should rest a few more days. My mom insisted you stay the night since no one needs to be driving in this weather." "And my mother agreed to that?" Even in the dark, I don't miss his little grin. "My mom can be pretty persuasive," he says. "By the end of the conversation, your mom even suggested we both stay home from school tomorrow and hang out here so you can relax-since my mom will be home supervising, of course. Your mom said you wouldn't stay home if I went to school." A flash from the storm illuminates my blush. "Because we told her we're dating." He nods. "She said you should have stayed home today, but you threw a fit to go anyway. Honestly, I didn't realize you were so obsessed-ouch!" I try to pinch him again, but he catches my wrist and pulls me over his lap like a child getting a spanking. "I was going to say, 'with history.'" He laughs. "No you weren't. Let me up." "I will." He laughs. "Galen, you let me up right now-" "Sorry, not ready yet." I gasp. "Oh, no! The room is spinning again." I hold still, tense up. Then the room does spin when he snatches me up and grabs my chin again. The look of concern etched on his face makes me feel a little guilty, but not guilty enough to keep my mouth shut. "Works every time," I tell him, giving my best ha-ha-you're-a-sucker smirk. A snicker from the entryway cuts off what I can tell is about to be a good scolding. I've never heard Galen curse, but his glower just looks like a four-letter word waiting to come out. We both turn to see Toraf watching us with crossed arms. He is also wearing a ha-ha-you're-a-sucker smirk. "Dinner's ready, children," he says. Yep, I definitely like Toraf. Galen rolls his eyes and extracts me from his lap. He hops up and leaves me there, and in the reflection, I see him ram his fist into Toraf's gut as he passes. Toraf grunts, but the smirk never leaves his face. He nods his head for me to follow them. As we pass through the rooms, I try to remember the rich, sophisticated atmosphere, the marble floors, the hideous paintings, but my stomach makes sounds better suited to a dog kennel at feeding time. "I think your stomach is making mating calls," Toraf whispers to me as we enter the kitchen. My blush debuts the same time we enter the kitchen, and it's enough to make Toraf laugh out loud.
Anna Banks (Of Poseidon (The Syrena Legacy, #1))
It is significant that modern believers in power are in complete accord with the philosophy of the only great thinker who ever attempted to derive public good from private interest and who, for the sake of private good, conceived and outlined a Commonwealth whose basis and ultimate end is the accumulation of power. Hobbes, indeed, is the only great philosopher to whom the bourgeoisie can rightly and exclusively lay claim.... .... The consistency of this conclusion is in no way altered by the remarkable fact that for some three hundred years there was neither a sovereign who would "convert this Truth of Speculation into the Utility of Practice," nor a bourgeoisie politically conscious and economically mature enough openly to adopt Hobbes's philosophy of power.
Hannah Arendt (The Origins of Totalitarianism)
Mom?” Then again, louder. “Mom?” She turned around so quickly, she knocked the pan off the stove and nearly dropped the gray paper into the open flame there. I saw her reach back and slap her hand against the knobs, twisting a dial until the smell of gas disappeared. “I don’t feel good. Can I stay home today?” No response, not even a blink. Her jaw was working, grinding, but it took me walking over to the table and sitting down for her to find her voice. “How—how did you get in here?” “I have a bad headache and my stomach hurts,” I told her, putting my elbows up on the table. I knew she hated when I whined, but I didn’t think she hated it enough to come over and grab me by the arm again. “I asked you how you got in here, young lady. What’s your name?” Her voice sounded strange. “Where do you live?” Her grip on my skin only tightened the longer I waited to answer. It had to have been a joke, right? Was she sick, too? Sometimes cold medicine did funny things to her. Funny things, though. Not scary things. “Can you tell me your name?” she repeated. “Ouch!” I yelped, trying to pull my arm away. “Mom, what’s wrong?” She yanked me up from the table, forcing me onto my feet. “Where are your parents? How did you get in this house?” Something tightened in my chest to the point of snapping. “Mom, Mommy, why—” “Stop it,” she hissed, “stop calling me that!” “What are you—?” I think I must have tried to say something else, but she dragged me over to the door that led out into the garage. My feet slid against the wood, skin burning. “Wh-what’s wrong with you?” I cried. I tried twisting out of her grasp, but she wouldn’t even look at me. Not until we were at the door to the garage and she pushed my back up against it. “We can do this the easy way or the hard way. I know you’re confused, but I promise that I’m not your mother. I don’t know how you got into this house, and, frankly, I’m not sure I want to know—” “I live here!” I told her. “I live here! I’m Ruby!” When she looked at me again, I saw none of the things that made Mom my mother. The lines that formed around her eyes when she smiled were smoothed out, and her jaw was clenched around whatever she wanted to say next. When she looked at me, she didn’t see me. I wasn’t invisible, but I wasn’t Ruby. “Mom.” I started to cry. “I’m sorry, I didn’t mean to be bad. I’m so sorry, I’m so sorry! Please, I promise I’ll be good—I’ll go to school today and won’t be sick, and I’ll pick up my room. I’m sorry. Please remember. Please!” She put one hand on my shoulder and the other on the door handle. “My husband is a police officer. He’ll be able to help you get home. Wait in here—and don’t touch anything.” The door opened and I was pushed into a wall of freezing January air. I stumbled down onto the dirty, oil-stained concrete, just managing to catch myself before I slammed into the side of her car. I heard the door shut behind me, and the lock click into place; heard her call Dad’s name as clearly as I heard the birds in the bushes outside the dark garage. She hadn’t even turned on the light for me. I pushed myself up onto my hands and knees, ignoring the bite of the frosty air on my bare skin. I launched myself in the direction of the door, fumbling around until I found it. I tried shaking the handle, jiggling it, still thinking, hoping, praying that this was some big birthday surprise, and that by the time I got back inside, there would be a plate of pancakes at the table and Dad would bring in the presents, and we could—we could—we could pretend like the night before had never happened, even with the evidence in the next room over. The door was locked. “I’m sorry!” I was screaming. Pounding my fists against it. “Mommy, I’m sorry! Please!” Dad appeared a moment later, his stocky shape outlined by the light from inside of the house. I saw Mom’s bright-red face over his shoulder; he turned to wave her off and then reached over to flip on the overhead lights.
Alexandra Bracken (The Darkest Minds (The Darkest Minds, #1))
I do not wish to dwell on my analysis of the existential problem posed by Nietzsche in any detail. After all, if Nietzsche's definition of the problem is clear, the solutions he suggested are both hazy and dangerous — particularly in the case of his theory of the Übermensch and the will to power, and his naturalistic, almost physical praise of 'life'. To 'be oneself' and to follow one's own law as an absolute law can certainly be a positive and legitimate option — or, rather, the only remaining option: but this is true only in the case of the human type I addressed in Ride the Tiger: an individual possessing two natures, one 'personal' and one transcendent. The idea of 'being oneself', therefore — of achieving self-realization and of severing all bonds — will have a different meaning according to what nature it is that expresses it. Transcendence ('that which is more than life’), understood as a central and conscious element present within immanence ('life'), provides the foundation for the existential path I outlined — a path that includes elements such as: 'Apollonian Dionysism' (i.e., an opening towards the most intense and diverse aspects of life, here experienced through the lucid inebriation brought about by the presence of a superior principle), impersonal activism (pure action that transcends good and evil, prospects of success or failure, happiness and unhappiness) and the challenging of oneself without any fear that the 'I' might suffer (internal invulnerability). The origin of some of these ideas should be self-evident to those who have followed my discussion so far.
Julius Evola (The Path of Cinnabar)
On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In
Hal Elrod (The Miracle Morning for Writers: How to Build a Writing Ritual That Increases Your Impact and Your Income, Before 8AM)
All this is to say that I believe in conscience, not as something implanted by divine act, but as something learned from infancy, from the tradition and society which bred us. The outward forms of virtue will vary greatly from nation to nation...But in the essential outlines of what constitutes human decency, we vary amazingly little. The Chinese and the Indian know as well as I do what kindness is, what generosity is, what fortitude is. They can define justice quite as accurately. It is only when they and I are blinded by tribal and denominational narrowness that we must insist upon our differences and can recognize goodness only in the robes of our own crowd...I am humble before the responsibilities that are also mine. For no right comes without a responsibility, and being born luckier than most of the world's millions, I am also born more obligated.
Wallace Stegner (This I Believe: The Personal Philosophies of Remarkable Men and Women)
I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.
Mariam Petrosyan (Дом, в котором...)
Do you know where we are?” he whispered. “Surely that is Baker Street,” I answered, staring through the dim window. “Exactly. We are in Camden House, which stands opposite to our own old quarters.” “But why are we here?” “Because it commands so excellent a view of that picturesque pile. Might I trouble you, my dear Watson, to draw a little nearer to the window, taking every precaution not to show yourself, and then to look up at our old rooms--the starting-point of so many of your little fairy-tales? We will see if my three years of absence have entirely taken away my power to surprise you.” I crept forward and looked across at the familiar window. As my eyes fell upon it, I gave a gasp and a cry of amazement. The blind was down, and a strong light was burning in the room. The shadow of a man who was seated in a chair within was thrown in hard, black outline upon the luminous screen of the window. There was no mistaking the poise of the head, the squareness of the shoulders, the sharpness of the features. The face was turned half-round, and the effect was that of one of those black silhouettes which our grandparents loved to frame. It was a perfect reproduction of Holmes. So amazed was I that I threw out my hand to make sure that the man himself was standing beside me. He was quivering with silent laughter. “Well?” said he. “Good heavens!” I cried. “It is marvellous.” “I trust that age doth not wither nor custom stale my infinite variety,” said he, and I recognized in his voice the joy and pride which the artist takes in his own creation. “It really is rather like me, is it not?” “I should be prepared to swear that it was you.” “The credit of the execution is due to Monsieur Oscar Meunier, of Grenoble, who spent some days in doing the moulding. It is a bust in wax. The rest I arranged myself during my visit to Baker Street this afternoon.
Arthur Conan Doyle (The Complete Sherlock Holmes)
I wanted to rip him apart limb by limb with my teeth and fingers turned into claws. I wanted to hold his lion’s heart in my hands too tightly and feel it beat and throb for me, against me. I wanted to disassemble him, piece by bloody piece, to satisfy my burning passion, my crushing rage at the changes he’d wrought on my life and me. But then…I wanted to sit crossed-legged in the middle of the mess, smooth my claws turned fingers over the jagged edges of him and put him back together again. I wanted to trace the outline of each of his limbs, knot together his muscles and slot his bones into their joints. I wanted to sew myself into every atom of his DNA and live there forever, intrinsically tied to him so that if any force tried to tear me away like I knew they would, they’d have to kill him to separate us. It was a gruesome way to love someone, but it was the way I felt about Lionel Danner and I knew that would never change.
Giana Darling (Good Gone Bad (The Fallen Men, #3))
Nicolas couldn’t stop looking at her with her head thrown back, her thick, black hair streaming in the wind, her body perfectly balanced as she guided the boat. With her head back, he could see her neck and the outline of her body beneath the shirt, almost as if she wore nothing at all. His body stirred, hardened. Nicolas didn’t bother to fight the reaction. Whatever was between them, the chemistry was apparent and it wasn’t going to go away. He could sit in the boat and admire the flawless perfection of her skin. Imagine the way it would feel beneath his fingertips, his palm. Dahlia’s head suddenly turned and her eyes were on him. Hot Wild. Wary. “Stop touching my breasts.” She lifted her chin, faint color stealing under her skin. He held up his hands in surrender. “I have no idea what you’re talking about.” “You know exactly what I’m talking about.” Dahlia’s breasts ached, felt swollen and hot, and deep inside her, a ravenous appetite began to stir. Nicolas was sitting across from her, looking the epitome of the perfect male statue, his features expressionless and his eyes cool, but she felt his hands on her body. Long caresses, his palms cupping her breasts, thumbs stroking her nipples until she shivered in awareness and hunger. “Oh, that.” “Yes, that.” She couldn’t help seeing the rigid length bulging beneath his jeans, and he made no effort to hide it. His unashamed display sent her body into overtime reaction so that she felt a curious throbbing where no throbbing needed to be. She grit her teeth together. “I can still feel you touching me.” He nodded thoughtfully. “I consider myself an innocent victim in this situation,” Nicolas said. “I’ve always had control, in fact I pride myself on self-discipline. You seem to have destroyed it. Permanently.” He wasn’t exactly lying to her. He couldn’t take his eyes or his mind from her body. It was an unexpected pleasure, a gift. He was devouring her with his eyes. With his mind. A part of her, the truly insane part—and Dahlia was beginning to believe there really was one—loved the way he was looking at her. She’d never experienced a man’s complete attention centered on her in a sexual way before. And he wasn’t just any man. He was . . . extraordinary. “Well, stop all the same,” she said, caught between embarrassment and pleasure. “I don’t see why my having a few fantasies should bother you.” “I’m feeling your fantasies. I think you’re projecting just a little too strongly.” His eyebrows shot up. “You mean you can actually feel what I’m thinking? My hands on your body? I thought you were reading my mind.” “I told you I could feel you touching me.” “That’s amazing. Has that ever happened before?” “No, and it better not happen again. Good grief, we’re strangers.” “You slept with me last night,” he pointed out. “Do you sleep with many strangers?” He was teasing her, but the question sent a dark shadow skittering through him.
Christine Feehan (Mind Game (GhostWalkers, #2))
It looked like every cartoon of a flying saucer Newt had ever seen. As he stared over the top of his map, a door in the saucer slid aside with a satisfying whoosh, revealing a gleaming walkway which extended automatically down to the road. Brilliant blue light shone out, outlining three alien shapes. They walked down the ramp. At least, two of them walked. The one that looked like a pepper pot just skidded down it, and fell over at the bottom. The other two ignored its frantic beeping and walked over to the car quite slowly, in the worldwide approved manner of policemen already compiling the charge sheet it their heads. The tallest one, a yellow toad dressed in kitchen foil, rapped on Newt's window. He wound it down. The thing was wearing the kind of mirror-finished sunglasses that Newt always thought of as Cool Hand Luke shades. 'Morning, sir or madam or neuter,' the thing said. 'This your planet, is it?' The other alien, which was stubby and green, had wandered off into the woods by the side of the road. Out of the corner of his eye Newt saw it kick a tree, and then run a leaf through some complicated gadget on its belt. It didn't look very pleased. 'Well, yes. I suppose so.' he said. The toad stared thoughtfully at the skyline. 'Had it long, have we, sir?' it said. 'Er. Not personally. I mean, as a species, about half a million years. I think.' The alien exchanged glances with its colleague. 'Been letting the old acid rain build up, haven't we, sir?' it said. 'Been letting ourselves go a bit with the old hydrocarbons, perhaps?' 'I'm sorry.' 'Could you tell me your planet's albedo, sir?' said the the toad, still staring levelly at the horizon as though it was doing something interesting. 'Er. No.' 'Well, I'm sorry to have to tell you, sir, that your polar ice caps are below regulation size for a planet of this category, sir.' 'Oh, dear,' said Newt. He was wondering who he could tell about this, and realizing that there was absolutely no one who would believe him. [...] The small alien walked past the car. 'CO2 level up 0.5 percent,' it rasped, giving him a meaningful look. 'You do know you could find yourself charged with being a dominant species while under the influence of impulse-driven consumerism, don't you?
Terry Pratchett (Good Omens: The Nice and Accurate Prophecies of Agnes Nutter, Witch)
That is the moment I begin to despise the idea of fame. What does it do for the bearer of the laurel? Who cares if your name is in the paper? Who cares if you are mentioned as one of the top-ten cyclists, boxers, batters, painters, poets, artists, fly fishermen in the world? Who cares if your name is written in history books? When you have died you can't read those history books. When you have died the small trace you have left behind, even if you win a Tony, an Emmy, an Oscar, an election, will lose its vibrancy, fade into an outline. Oh yes, him, I heard of him, I knew someone who read him once. What difference does it make to the corpse if his books are in libraries or not in libraries? Who cares if his plays are revived on the summer-stock circuit for one hundred years? Isn't the simplest touch of a child's arm on the face more important, isn't the good meal, the brush against a thigh, a hand held during a movie, a swim in the sea, aren't those things of equal importance as the sands of time come rushing down on our heads burying ambition and love, good and evil, breath, blood, brains, waste, memory, alike in oblivion?
Anne Roiphe
After almost two hours, the phone rang. I could guess who it was. "Hello, Blix," I said before he could say anything. "Adding kidnapping to your long list of felonies?" "We prefer to think of it as 'vacationing at the specific invitation of His Majesty," replied Blix. "Open the top drawer of the bureau." I did so, and found a contract for Kazam to concede the competition, with all the details that Blix had already outlined. The document had been prepared by a law firm in Financia and registered with the Ununited Kingdoms Supreme Court, so even if King Snodd had wanted to reverse the deal, he couldn't. "It's all there," said Blix. "I knew my or the King's word wouldn't be good enough, so I made it official. Sign it and your vacation in the North Tower is over." "And if I don't?" "Then you'll stay there until six Mondays from now, and we'll have Kazam for nothing." "Blix?" "Yes?" "Are you in the castle watching the top of the North Tower at the moment?" "I might be." I ripped the phone from the wall and tossed it out the open window. The telephone took almost five seconds to hit the ground. It was a pointless gesture, but very satisfying.
Jasper Fforde (The Song of the Quarkbeast (The Last Dragonslayer, #2))
There is, however, another avenue of utopian thought, one that is all but forgotten. If the blueprint is a high-resolution photo, then this utopia is just a vague outline. It offers not solutions but guideposts. Instead of forcing us into a straitjacket, it inspires us to change. And it understands that, as Voltaire put it, the perfect is the enemy of the good. As one American philosopher has remarked, “any serious utopian thinker will be made uncomfortable by the very idea of the blueprint.”23 It was in this spirit that the British philosopher Thomas More literally wrote the book on utopia (and coined the term). Rather than a blueprint to be ruthlessly applied, his utopia was, more than anything, an indictment of a grasping aristocracy that demanded ever more luxury as common people lived in extreme poverty. More understood that utopia is dangerous when taken too seriously. “One needs to be able to believe passionately and also be able to see the absurdity of one’s own beliefs and laugh at them,” observes philosopher and leading utopia expert Lyman Tower Sargent. Like humor and satire, utopias throw open the windows of the mind. And that’s vital. As
Rutger Bregman (Utopia for Realists: And How We Can Get There)
She flipped through the notebook. In most places, Murphy’s large, crooked handwriting ate up the pages greedily, as if she couldn’t write large enough to get her point across. Occasionally Birdie’s more graceful handwriting appeared, adding asides or participating with Murphy in some kind of list she had thrown together, like favorite Leeda moments, or most unknown things about Leeda, or Leeda’s top five best articles of clothing. Mostly, though, it was all Murphy. Listing albums Leeda had to own before she died, like Janis Joplin’s Pearl. Copied scraps of her favorite poetry: about nature and despair and cities and even one or two about love that Murphy had annotated with words like Sickening, but she’s good and Horrible but worth reading. Dried leaves---pecan, magnolia, and, of course, the thin slivered shape of the peach leaf---taped in messy crisscrosses. A cider label Birdie had once kissed. A diagram of Leeda---outlined sloppily with colored-in blond hair, with words on the outside pointing to different parts of her: brainy pointing to her head, good posture pointing to her back, hot gams pointing to her legs, impenetrable (ha ha) pointing to her heart.
Jodi Lynn Anderson (The Secrets of Peaches (Peaches, #2))
I kill it because we cannot stay in the same room. I kill it because we cannot stay in the same room with me sleeping. I kill it because I might look away and not see it there on the wall when I look back. I kill it because I might spend all night hunting it. I kill it because I am afraid to go near enough with glass and paper to carry it outside. I kill it because I have been told to. I kill it by slapping my shoe against the wall because I have been told to do it that way. I kill it standing as far away as possible and stretching my hand holding the shoe towards it. I kill it because it has been making me shake out the bedclothes, look inside my shoes, scan the walls at night. I kill it with two fast blows in case one isn’t enough. I kill it because I can. I kill it because it cannot stop me. I kill it because I know it is there. I kill it so that its remains are on the heel of my shoe. I kill it so that its outline with curved sting is on my wall. I kill it to feel sure I will live. I kill it to feel alive. I kill it because I am weaker than it is. I kill it because I am not good enough to let it live. I kill it out of the corner of my eye, remembering it is black, vertical, stock still on the white wall. I kill it because it will not speak to me.
Jo Shapcott (Of Mutability)
Gandhian nonviolence as interpreted in Næss: 1. The character of the means used in a group struggle determines the character of the results. 2. In a group struggle you can keep the goal-directed motivation and the ability to work effectively for the realization of the goal stronger than the destructive, violent tendencies, and the tendencies to passivity, despondency, or destruction, only by making a constructive program part of your campaign and by giving all phases of your struggle, as far as possible a positive character. 3. Short-term violence contradicts long-term universal reduction of violence. 4. You can give a struggle a constructive character only if you conceive of it and carry it out as a struggle in favour of living beings and certain values, thus eventually fighting antagonisms, not antagonists. 5. It increases your understanding of the conflict, of the participants, and of your own motivation, to live together with the participants, especially with those for whom you primarily fight. The most adequate form for living together is that of jointly doing constructive work. 6. If you live together with those for whom you primarily struggle and do constructive work with them, this will create a natural basis for trust and confidence in you. 7. All human (and non-human) beings have long-term interests in common. 8. Cooperation on common goals reduces the chance that the actions and attitudes of the participants in the conflict will become violent. 9. You invite violence from your opponent by humiliating or provoking him. 10. Thorough understanding of the relevant facts and factors increases the chance of a nonviolent realization of the goals of your campaign. 11. Incompleteness and distortion in your description of your case and the plans for your struggle reduce the chance of a nonviolent realization of your goals 12. Secrecy reduce the chance of a nonviolent realization of your goals. 13. You are less likely to take a violent attitude, the better you make clear to yourself the essential points in your cause and your struggle. 14. Your opponent is less likely to use violent means the better he understands your conduct and your case. 15. There is a strong disposition in every opponent such that wholehearted, intelligent, strong, and persistent appeal in favour of a good cause is able ultimately to convince him. 16. Mistrust stems from misjudgement, especially of the disposition of your opponent to answer trust with trust, mistrust with mistrust. 17. The tendency to misjudge and misunderstand your opponent and his case in an unfavourable direction increases his and your tendency to resort to violence. 18. You win conclusively when you turn your opponent into a believer and supporter of your case.
Arne Næss (Ecology, Community and Lifestyle: Outline of an Ecosophy)
No,’ he says very firmly. ‘It doesn’t matter how good a drummer, singer, or trombone-mimer you are, bragging about anything is bad form. They have a mantra in the business – “Lego over ego” – and people follow it.’ He tells me that he and his fellow non-Danes have been guided towards the writings of a 1930s Danish-Norwegian author, Aksel Sandemose, for a better understanding of how best to ‘integrate’ into the workplace in Denmark. Sandemose outlines ten rules for living Danishly (otherwise known as ‘Jante’s Law’) in his novel, A Fugitive Crosses His Tracks. These, as far as Google Translate and I can make out, are: You’re not to think you are anything special You’re not to think you are as good as we are You’re not to think you are smarter than us You’re not to convince yourself that you are better than us You’re not to think you know more than us You’re not to think you are more important than us You’re not to think you are good at anything You’re not to laugh at us You’re not to think anyone cares about you You’re not to think you can teach us anything ‘Crikey, you’re not to do much round here, are you?’ ‘Oh, and there’s another, unspoken one.’ ‘Yes?’ ‘“Don’t put up with presenteeism”. If anyone plays the martyr card, staying late or working too much, they’re more likely to get a leaflet about efficiency or time management dropped on their desk than any sympathy.
Helen Russell (The Year of Living Danishly: Uncovering the Secrets of the World's Happiest Country)
I just mean that she’s different, you know? Not like us. She’s not so good with, hm, how do you say, human interaction and any trappings of decorum or rules. I suppose that’s why she prefers animals to people. Most animals don’t exchange hellos and ask how the other is. They just exist next to one another.” Yetu’s ears and skin perked at the sound of that. Oori preferred animals, did she? “Perfect, then. I’m not human,” said Yetu. Though her foremothers were two-legs, she felt she had very little in common with these strange land walkers, whose teeth were weak and flat. “I am animal.” Suka played with their breath in the back of their throat then pushed it through their mouth—a strange habit of the two-legs. It was too thoughtful to be a sigh. Too calm and content to be a groan. Just a sound, meaningless, as they considered what to say. “Yes, but only animal-ish?” they said, hedging. Yetu didn’t understand what that could mean. She groaned, unable to keep track of it all. Without the vivid images of the rememberings, she was left only with outlines of memories, and even those were waning. Two-legs had specific ways of classifying the world that Yetu didn’t like. She remembered that, at least. They organized the world as two sides of a war, the two-legs in conflict with everything else. The way Suka talked about farming, it was as if they ruled the land and what it produced, as opposed to—they’d just said it themselves—existing alongside it.
Rivers Solomon (The Deep)
You know,” I said, “you don’t owe New Fiddleham anything. You don’t need to help them.” “Look,” Charlie said as we clipped past Market Street. He was pointing at a man delicately painting enormous letters onto a broad window as we passed. NONNA SANTORO’S, it read, although the RO’S was still just an outline. “That Italian restaurant?” “Yes,” he smiled. “They will be opening their doors for the first time very soon. Sweet family. I bought my first meal in New Fiddleham from that man. A couple of meatballs from a street cart were about all I could afford at the time. He’s an immigrant, too. He’s going to do well. His red sauce is amazing.” “That’s grand for him, then,” I said. “I like it when doors open,” said Charlie. “Doors are opening in New Fiddleham every day. It is a remarkable time to be alive anywhere, really. Do you think our parents could ever have imagined having machines that could wash dishes, machines that could sew, machines that do laundry? Pretty soon we’ll be taking this trolley ride without any horses. I’ve heard that Glanville has electric streetcars already. Who knows what will be possible fifty years from now, or a hundred. Change isn’t always so bad.” “Your optimism is both baffling and inspiring,” I said. “The sun is rising,” he replied with a little chuckle. I glanced at the sky. It was well past noon. “It’s just something my sister and I used to say,” he clarified. “I think you would like Alina. You often remind me of her. She has a way of refusing to let the world keep her down.” He smiled and his gaze drifted away, following the memory. “Alina found a rolled-up canvas once,” he said, “a year or so after our mother passed away. It was an oil painting—a picture of the sun hanging low over a rippling ocean. She was a beautiful painter, our mother. I could tell that it was one of hers, but I had never seen it before. It felt like a message, like she had sent it, just for us to find. “I said that it was a beautiful sunset, and Alina said no, it was a sunrise. We argued about it, actually. I told her that the sun in the picture was setting because it was obviously a view from our camp near Gelendzhik, overlooking the Black Sea. That would mean the painting was looking to the west. “Alina said that it didn’t matter. Even if the sun is setting on Gelendzhik, that only means that it is rising in Bucharest. Or Vienna. Or Paris. The sun is always rising somewhere. From then on, whenever I felt low, whenever I lost hope and the world felt darkest, Alina would remind me: the sun is rising.” “I think I like Alina already. It’s a heartening philosophy. I only worry that it’s wasted on this city.” “A city is just people,” Charlie said. “A hundred years from now, even if the roads and buildings are still here, this will still be a whole new city. New Fiddleham is dying, every day, but it is also being constantly reborn. Every day, there is new hope. Every day, the sun rises. Every day, there are doors opening.” I leaned in and kissed him on the cheek. “When we’re through saving the world,” I said, “you can take me out to Nonna Santoro’s. I have it on good authority that the red sauce is amazing.” He blushed pink and a bashful smile spread over his face. “When we’re through saving the world, Miss Rook, I will hold you to that.
William Ritter (The Dire King (Jackaby, #4))
Two days ago, I was lunching at the Writers Union with the eminent historian Tomashevski. That's the sort of man you should know. Respected, charming, hasn't produced a piece of work in ten years. He has a system, which he explained to me. First, he submits an outline for a biography to the Academy to be absolutely sure his approach is consistent with Party policy. A crucial first step, as you'll see later. Now, the person he studies is always an important figure - that is, someone from Moscow - hence Tomashevski must do his Russian research close to home for two years. But this historical character also traveled, yes, lived for some years in Paris or London; hence Tomashevski must do the same, apply for and receive permission for foreign residence. Four years have passed. The Academy and the Party are rubbing their hands in anticipation of this seminal study of the important figure by the eminent Tomashevski. And now Tomashevski must retire to the solitude of a dacha outside Moscow to tend his garden and creatively brood over his cartons of research. Two more years pass in seminal thought. And just as Tomashevski is about to commit himself to paper, he checks with the Academy again only to learn that Party policy has totally about-faced; his hero is a traitor, and with regrets all around, Tomashevski must sacrifice his years of labor for the greater good. Naturally, they are only too happy to urge Tomashevski to start a new project, to plow under his grief with fresh labor. Tomashevski is now studying a very important historical figure who lived for some time in the South of France. He says there is always a bright future for Soviet historians, and I believe him.
Martin Cruz Smith (Gorky Park (Arkady Renko, #1))
In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your home-own. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles; Sherman's March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
Neal Stephenson (Snow Crash)
It’s not a crass relativism, Morton’s idea; his point is not that morality and ethics are, or should be, relative to our situation. He is outlining the limitations our fetishizing of empathy causes: the way protecting our image as a moral person can keep us from being exactly who we want to be—good at understanding the world and others, at preventing atrocities, at helping people to heal and change. He’s also suggesting why we do this: in everyday life, in order to get along quickly with others, we need clear distinctions between moral and atrocious acts, without the kind of extensive knowledge of their contexts that it takes to really and deeply understand. And when we begin questioning the centrality and accuracy of our own perspective, searching out the details that matter so we can get a more accurate representation of the other, we find too much similarity, that too many “ordinary actions are continuous with many atrocious ones,” and we can’t function. It is easier to choose to see others as mirrored inversions of our false sense of decency—to imagine that when they do selfish or violent things, it must be decency they abhor. When it speaks through us, sometimes, the narcissism script helps us do this, valorizing closeness and empathy as the ultimate moral good, and as what is increasingly lacking in others, so we can perform astonishment at the boyfriend, Milgram’s subjects, the Nazis, the millennials, the world—in exactly that moment when, if we were to acknowledge the difference in context, we might find too threatening a similarity. In the case of the bad boyfriend, the millennial, and the murderer, it’s not just decency that keeps us from being able to actually understand and feel the other, but our beliefs about the opposition between human and inhuman, and our beliefs about mental “health.” In fact, the mistake the script repeats and repeats—that what is human is the opposite of what is inhuman—may be partly responsible for keeping us, for centuries, from this deeper understanding of what it actually means to do what Morton calls “empathy’s work.” The narcissism of decency, then, does exactly what we decent people fear: it prevents a deep sharing of feeling. But that sharing is the very feeling of being alive, and somewhere on the other side of our everyday moralizing, it is always there.
Kristin Dombek (The Selfishness of Others: An Essay on the Fear of Narcissism)
The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder -- its DNA -- Xerox(tm) it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines. In olden times, you'd wander down to Mom's Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your hometown. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn't recognize. If you did enough traveling, you'd never feel at home anywhere. But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald's and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald's is Home, condensed into a three-ring binder and xeroxed. "No surprises" is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman's March, gridlock, motorcycle gangs, and bun-gee jumping. They have parallelparked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture. The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee's Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.
Neal Stephenson (Snow Crash)
Here is my six step process for how we will first start with ISIS and then build an international force that will fight terrorism and corruption wherever it appears. “First, in dedication to Lieutenant Commander McKay, Operation Crapshoot commenced at six o’clock this morning. I’ve directed a handpicked team currently deployed in Iraq to coordinate a tenfold increase in aerial bombing and close air support. In addition to aerial support, fifteen civilian security companies, including delegations from our international allies, are flying special operations veterans into Iraq. Those forces will be tasked with finding and annihilating ISIS, wherever they walk, eat or sleep. I’ve been told that they can’t wait to get started. “Second, going forward, our military will be a major component in our battle against evil. Militaries need training. I’ve been assured by General McMillan and his staff that there is no better final training test than live combat. So without much more expenditure, we will do two things, train our troops of the future, and wipe out international threats. “Third, I have a message for our allies. If you need us, we will be there. If evil raises its ugly head, we will be with you, arm in arm, fighting for what is right. But that aid comes with a caveat. Our allies must be dedicated to the common global ideals of personal and religious freedom. Any supposed ally who ignores these terms will find themselves without impunity. A criminal is a criminal. A thief is a thief. Decide which side you’re on, because our side carries a big stick. “Fourth, to the religious leaders of the world, especially those of Islam, though we live with differing traditions, we are still one people on this Earth. What one person does always has the possibility of affecting others. If you want to be part of our community, it is time to do your part. Denounce the criminals who besmirch your faith. Tell your followers the true meaning of the Koran. Do not let the money and influence of hypocrites taint your religion or your people. We request that you do this now, respectfully, or face the scrutiny of America and our allies. “Fifth, starting today, an unprecedented coalition of three former American presidents, my predecessor included, will travel around the globe to strengthen our alliances. Much like our brave military leaders, we will lead from the front, go where we are needed. We will go toe to toe with any who would seek to undermine our good intentions, and who trample the freedoms of our citizens. In the coming days you will find out how great our resolve truly is. “Sixth, my staff is in the process of drafting a proposal for the members of the United Nations. The proposal will outline our recommendations for the formation of an international terrorism strike force along with an international tax that will fund ongoing anti-terrorism operations. Only the countries that contribute to this fund will be supported by the strike force. You pay to play.
C.G. Cooper (Moral Imperative (Corps Justice, #7))
Dear Mel: I trust this finds you recovered. Why did you have to run off like that? But I figured you were safe arrived at home, and well, or Khesot would’ve sent to me here--since you wouldn’t write. And how was I to pay for sending a letter to Remalna-city? I thought indignantly, then sighed. Of course, I had managed to find enough coin to write to Ara’s family, and to obtain through the father the name of a good bookseller. But the first was an obligation, I told myself. And as for the latter, it was merely the start of the education that Branaric had blabbed to the world that I lacked. I’m here at Athanarel, finding it to my taste. It helps that Galdran’s personal fortune has been turned over to us, as repayment for what happened to our family--you’ll find the Letter of Intent in with this letter, to be kept somewhere safe. Henceforth, you send your creditors for drafts on Arclor House… I looked up at the ceiling as the words slowly sank in. “Personal fortune”? How much was that? Whatever it was, it had to be a vast improvement over our present circumstances. I grinned, thinking how I had agonized over which book to choose from the bookseller’s list. Now I could order them all. I could even hire my own scribe… Shaking my head, I banished the dreams of avarice, and returned to the letter--not that much remained. …so, outfit yourself in whatever you want, appoint someone responsible as steward, and join me here at Athanarel as soon as you can. Everyone here wants to meet you. “Now, that’s a frightening thought,” I said grimly. And I think it’s time for you to make your peace with Vidanric. He ended with a scrawled signature. I lowered the letter slowly to the desk, not wanting to consider why I found that last suggestion even more frightening than the first. Behind Bran’s letter, bearing three official-looking seals, was the Letter of Intent. In very beautiful handwriting, it named in precise terms a sum even higher than I’d dared to let myself think of, the remainder after the taxes for the army had been subtracted. Wondering who was getting that sum, which was even greater, I scanned the rest, which outlined in flowery language pretty much what Branaric had said. It seemed we now had a business house handling our money; previously I’d gathered the scanty sums and redispersed them myself, in coin. I put that letter down, too. Suddenly the possibilities now available started multiplying in my mind. Not visiting Athanarel. I didn’t even consider that; I’d tried to win a crown, and lost. But supposedly all the wrongs I had fought for were being addressed, and so--I vowed--I was done with royal affairs. No, I told myself, my work now was Tlanth, and with this money, all my plans could be put into action. Rebuilding, new roads, booksellers…I looked around at the castle, no longer seeing the weather damage and neglect, but how it would look repaired and redecorated. “Oria!” I yelled, running downstairs. “Oria! Julen! Calaub! We’re rich!
Sherwood Smith (Crown Duel (Crown & Court, #1))
Since, however, darwinism has once for all displaced design from the minds of the 'scientific,' theism has lost that foothold; and some kind of an immanent or pantheistic deity working IN things rather than above them is, if any, the kind recommended to our contemporary imagination. Aspirants to a philosophic religion turn, as a rule, more hopefully nowadays towards idealistic pantheism than towards the older dualistic theism, in spite of the fact that the latter still counts able defenders. But, as I said in my first lecture, the brand of pantheism offered is hard for them to assimilate if they are lovers of facts, or empirically minded. It is the absolutistic brand, spurning the dust and reared upon pure logic. It keeps no connexion whatever with concreteness. Affirming the Absolute Mind, which is its substitute for God, to be the rational presupposition of all particulars of fact, whatever they may be, it remains supremely indifferent to what the particular facts in our world actually are. Be they what they may, the Absolute will father them. Like the sick lion in Esop's fable, all footprints lead into his den, but nulla vestigia retrorsum. You cannot redescend into the world of particulars by the Absolute's aid, or deduce any necessary consequences of detail important for your life from your idea of his nature. He gives you indeed the assurance that all is well with Him, and for his eternal way of thinking; but thereupon he leaves you to be finitely saved by your own temporal devices. Far be it from me to deny the majesty of this conception, or its capacity to yield religious comfort to a most respectable class of minds. But from the human point of view, no one can pretend that it doesn't suffer from the faults of remoteness and abstractness. It is eminently a product of what I have ventured to call the rationalistic temper. It disdains empiricism's needs. It substitutes a pallid outline for the real world's richness. It is dapper; it is noble in the bad sense, in the sense in which to be noble is to be inapt for humble service. In this real world of sweat and dirt, it seems to me that when a view of things is 'noble,' that ought to count as a presumption against its truth, and as a philosophic disqualification. The prince of darkness may be a gentleman, as we are told he is, but whatever the God of earth and heaven is, he can surely be no gentleman. His menial services are needed in the dust of our human trials, even more than his dignity is needed in the empyrean. Now pragmatism, devoted tho she be to facts, has no such materialistic bias as ordinary empiricism labors under. Moreover, she has no objection whatever to the realizing of abstractions, so long as you get about among particulars with their aid and they actually carry you somewhere. Interested in no conclusions but those which our minds and our experiences work out together, she has no a priori prejudices against theology. IF THEOLOGICAL IDEAS PROVE TO HAVE A VALUE FOR CONCRETE LIFE, THEY WILL BE TRUE, FOR PRAGMATISM, IN THE SENSE OF BEING GOOD FOR SO MUCH. FOR HOW MUCH MORE THEY ARE TRUE, WILL DEPEND ENTIRELY ON THEIR RELATIONS TO THE OTHER TRUTHS THAT ALSO HAVE TO BE ACKNOWLEDGED.
William James
After all,” he may say, “the rules you have outlined are pretty simple and easygoing. A highly trained analyst ought to be able to use all his skill and techniques to improve substantially on something as obvious as the Dow Jones list. If not, what good are all his statistics, calculations, and pontifical judgments?
Benjamin Graham (The Intelligent Investor)
Cultural capital does not include material goods. Rather, it belongs to those people who have access to, and understand the meanings of, cultural goods (museums, philosophical debates, movies, etc.), which they can translate into educational success and social mobility. This conceptualization of cultural capital became one of the most widely adopted concepts in Bourdieu’s work.
Rodolfo Maggio (Pierre Bourdieu's Outline of a Theory of Practice (The Macat Library))
One common pattern of parent-child interaction which leads to insecurity and over-compliance can be outlined. A child who is not spurned nor in any way ill-treated may yet grow up to feel that his parents’ love for him is conditional. Such a child comes to believe that continuance of his parents’ love for him, and hence his security, depends, not upon being his authentic self, but upon being what his parents require him to be. Parents who induce this kind of belief in their children are often deeply concerned about their welfare, but are apt to demand impossibly high standards of ‘good’ behaviour, making the child believe that its instinctive drives and spontaneous responses are wrong. In extreme instances, this leads to the formation of a false self built on identification with the parent, and the total repression of the true self. In less extreme cases, the child displays a false self when in the company of others, but maintains a true self which only emerges when he is alone. This is one reason for developing an especial need to be alone. A child who shows this kind of partial compliance is clearly not going to incorporate the inner sense of his own worth which develops in children who are certain that their parents’ love for them will be unconditionally continued. Confidence that one is of value and significance as a unique individual is one of the most precious possessions which anyone can have. Whether or not genetic factors are concerned with the development of this kind of confidence, it is certainly furthered or hindered by the quality of love which parents extend.
Anthony Storr (Solitude a Return to the Self)
The enclosure next to the dingoes held Graham the crocodile. Wes, Steve, and other staff battled the flood in Graham’s home. One man stood on the fence to spot the croc. He had to shout to Wes and Steve as they cleared the fence line inside the enclosure in waist-deep, dark waters. With the vehicle spotlights casting weird shadows, he had to scope out the murky water and try to discern the crocodile from among the floating bits of debris. Once the backup man had the crocodile pegged, he kept a close eye on him. If Graham submerged, Wes and Steve had to be warned immediately. The spotter worked hard to keep a bead on Graham. Steve and Wes were synchronized with their every move. They had worked together like this for years. They didn’t even have to speak to each other to communicate. There was no room for error as the amount of time spent in Graham’s enclosure was kept to a minimum. They jumped into the enclosure, cleared on, two, three armloads of debris, then jumped back out and re-evaluated the situation. Graham’s fence line had a bow in it, but it wasn’t in any danger of buckling. Steve and Wes were doing a good job, and there was no need for me to be there with them. It was more urgent for me to keep the dingo fence line intact next door. Graham’s female, named Bindi, was nesting, and this added another dangerous dimension to the job, since Graham was feeling particularly protective. The men were also keenly aware that nighttime meant croc time--and Graham would be stalking them with real intent. They reached down for their three armloads of debris. Steve scooped up his first load, flung it out, and gathered his second. Suddenly, Wes slammed into the fence with such force that his body was driven in an arc right over the top of Steve. It only took a split second for Steve to realize what had happened. As Wes had bent over to reach for an armload of debris, he had been hit from behind by more than twelve feet of reptile, weighing close to nine hundred pounds. Graham grabbed Wes, his top teeth sinking into Wes’s bum, his bottom teeth hooking into the back of Wes’s thigh, just above his knee. The croc then closed his mouth, exerting that amazing three thousand pounds per square inch of jaw pressure, pulling and tearing tissue as he did. The croc hit violently. Wes instinctively twisted away and rolled free of Graham’s jaws, but two fist-sized chunks were torn from his backside. The croc instantly swung in for another grab. Wes pushed the lunging croc’s head away, but not before Graham’s teeth crushed through his finger. They crashed back down into the water. Wes screamed out when he was grabbed, but no one could hear him because of the roar of the storm. In almost total darkness, Steve seized a pick handle that rested near the fence. He turned toward the croc as Graham was lining Wes up for another bite. Wes was on his side now, in water that was about three feet deep. He could see the crocodile in the lights of a Ute spotlight that shone over the murk--the dark outline of the osteodermal plates along the crocodile’s back. As Graham moved in, Wes knew the next bite would be to his skull. It would be all over. Wes braced himself for the inevitable, but it didn’t come. Steve reached into the water and grabbed Graham’s back legs. He didn’t realize that Graham had released Wes in preparation for that final bite. He thought Graham was holding Wes under the water. Steve pulled with all his strength, managing to turn the crocodile around to focus on him. As Graham lunged toward Steve, Steve drove the pick handle into the crocodile’s mouth and started hammering at his head. Wes saw what was happening and scrambled up the fence. “I’m out mate, I’m out,” Wes yelled, blood pouring down his leg. Steve looked up to see Wes on the top of the fence. He realized that even though Wes was wounded, he was poised to jump back down into the water to try to rescue his best mate.
Terri Irwin (Steve & Me)
Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein (The Art of Racing in the Rain)
If I weren't in this shade sail business, a method I would do it is to move to the setting up resource business and ask some of the fellas behind the office about personnel who conduct your size task - they sure as heck aren't going to recommend personnel who not necessarily paying their bills and that will be a lifesaver there as well. It's unexpected those men at the setting up source would come to be obtaining kickbacks from personnel. Some of those men will certainly not suggest technicians, but some will. Obtain four or five advice. We prepare subcontractor contracts for our Standard Service provider construction organization and just before preparing the agreements, definitely check with the condition workplace that gives out builder contractor licenses to make certain they're listed in the trade they say to be proficient in and find if there are any complaints filed. I also contact the status company commission to see if they're outlined now there and how long they've been in business, and then have got their insurance agent to send us a copy of their insurance certificate showing that they have general liability and worker's compensation insurance (and make sure the name of their company on the contract matches the builder's license, the listed corporate entity, and insurance). And, you definitely want to ensure your contract has start and finish dates with liquidated damages for failure to finish on time, that the contractor supplies all materials and labor, that if the contractor breaches the contract that the contractor will be in charge of your legal fees, progress payments with lien waivers, as well as many other clauses AND a very detailed scope of work. It is important to specify the manufacturer and the precise type/quality & color of shingle, the underlayment brand and quality, the valleys' ice and water shield, tear-off or not of the existing shingles, how much will be charged if the sheathing is rotten per sheet for labor and material and type that it is to be replaced with, disposal of all construction debris, protection of your landscaping and personal property below the roof. I also attach a copy of the manufacturer's installation instructions and state that the product will be installed according to them. I prepare our contract and attach the subcontractor's contract to ours as an addendum (and our clauses supersede theirs). You want to get your scope of work ready to give to contractors to bid on so everyone is bidding on the same thing. When I first started, I would get several bids and cobble together a scope of work and then ask persons to rework their bids based on it if their bids didn't include my new scope of work. So, this is going to be a large, important expense for you, and you probably want a good attorney, experienced in contracts, to review your contract. It will be worth the couple hundred extra dollars. (Ask how much the cost is up front.)
Her outline kept slipping, like a wonky contact lens that wouldn’t sit on the iris. When other people were around, she could do the back-and-forth talk, but lately it felt like muscle memory, rather than genuine engagement. Now and again both her selves overlapped perfectly, clicked into place, and suddenly she was there, in the moment. Intense feelings would surge through her, both good and not-so-good, then her outline would detach again. She was living her life a short distance from herself.
Marian Keyes (Grown Ups)
Campaigns A “humble campaign” is very similar to Sean and Alan’s approach: launch a small campaign as your first project to learn the ropes, then launch a more ambitious project later. Humble campaigns aren’t meant to raise $100,000+ from thousands of backers, though. They have humble ambitions. Not only is this good for running the campaign itself, but it also gives you the opportunity to learn how to create and ship something without the pressure of thousands of backers. The other benefit of a humble campaign is that it’s not as all consuming as a big, complex project. You might actually get to sleep and eat on a regular schedule during a humble campaign. A prime example of a humble campaign is Michael Iachini’s light card game, Otters. In a postmortem blog post6 following his successful campaign ($5,321 raised from 246 backers), Michael outlined the five core elements of a humble campaign: • Low funding goal Keep the product simple and find a way to produce it in small print runs. • Paid graphic design Just because a campaign is humble doesn’t mean it shouldn’t look polished and professional. • Creative Commons art The cards in Otters feature photos of actual otters downloaded from Google Images using a filter for images that are available for reuse (even for commercial purposes, pending credit to the photographers). • Efficient marketing Instead of spending every waking hour on social media, Michael targeted specific reviewers and offered them prototype copies of Otters before the campaign. All he had to do during the campaign was share the reviews when they went live. • Limited expandability Michael offered exactly two stretch goals (compared with dozens for many other projects) and one add-on. In doing so, he intentionally limited the growth potential for the project. You might read this and wonder why you would want to run a humble campaign for $12K or $5K when you create something that could raise $100K. Aside from the standard cautionary tales about letting a project spiral out of control, maintaining a manageable project is like having a summer internship before jumping into a career at an unknown organization. It gives you the chance to poke around, experience the pros and cons firsthand, and make a few mistakes without jeopardizing your entire future.
Jamey Stegmaier (A Crowdfunder’s Strategy Guide: Build a Better Business by Building Community)
Important FAQs for Selecting a Painting Contractor If you think that a painting contractor is good enough and fulfills all the basic requirements, you can hire him for the painting task. The contractor should draw an outline that how the work will be executed. You can look for the Brian Erik Jamison of Portland Oregon and can get a better experience of wall painting in your town.
Brian Erik Jamison,
With this framework of an evangelical theology of justification, grace, faith, and good works, key points of disagreement with Catholic theology’s developments of these topics can be outlined. Most importantly, its definition of justification is incorrect. Justification is a forensic or legal act, the declaration of the forgiveness of sin and the imputation of righteousness. Catholic theology errs when it mixes justification with two other mighty acts of God, sanctification and regeneration: “Justification is not only the remission of sins, but also the sanctification and renewal of the interior man.”109 This critique does not mean that evangelical theology minimizes or denies these other two divine acts. On the contrary, while affirming that justification is linked with regeneration and sanctification, evangelical theology distinguishes these three, as does Scripture (e.g., 1 Cor. 6:11). Tragically, conflating justification, regeneration, and sanctification results in Catholic theology’s false idea of justification.
Gregg R. Allison (Roman Catholic Theology and Practice: An Evangelical Assessment)
Diagnosing this alleged antipathy of the Muslims, he elaborated: The Moslems in general and Indian Moslems in particular have not as yet grown out of the historical stage, of intense religiosity and the theological concept of state. Their theology and theocratical [sic] politics divide the human world into two groups only—The Moslem land and the enemy land. All lands which are either entirely inhabited by the Moslems or are ruled over by the Moslems are Moslem lands. All lands, which are mostly inhabited by non-Moslem power are enemy lands and no faithful Moslem is allowed to bear any loyalty to them and is called upon to do everything in his power by policy or force or fraud to convert the non-Moslem there to Moslem faith, to bring about its political conquest by a Moslem power. It is no good quoting sentences here or there from Moslem theological books to prove the contrary. Read the whole book to know its trend. And again it is not with books that we are concerned here but with the followers of the book and how they translate them in practice. You will then see that the whole Moslem history and their daily actions are framed on the design I have outlined above. Consequently, a territorial patriotism is a word unknown to the Moslem—nay is tabooed, unless in connection with a Moslem territory. Afghans can be patriots for Afghanisthan is a Moslem territory today. But an Indian Moslem if he is a real Moslem—and they are intensely religious as a people—cannot faithfully bear loyalty to India as a country, as a nation, as a State, because it is today ‘an Enemy Land’ and doubly lost; for non-Moslems are in a majority here and to boot it is not ruled by any Moslem power, Moslem sovereign. Add to this that of all non-Moslems the Hindus are looked upon as the most damned by Moslem theologians. For Christians and Jews are after all ‘Kitabis’, having the holy books partially in common. But the Hindus are totally ‘Kafirs’ as a consequence their land ‘Hindusthan’ is pre-eminently an ‘enemy’ and as long as it is not ruled by Moslems or all Hindus do not embrace Islam . . . What wonder then that the Muslim League should openly declare its intention to join hands with non-Indian alien Moslem countries rather than with Indian Hindus in forming a Moslem Federation? They could not be accused from their point of view of being traitors to Hindusthan. Their conscience was clear. They never looked upon our today’s ‘Hindusthan’ as their country, nation. It is to them already an alien land, and enemy land—‘a Dar-ul-Harb’ and not a ‘Dar-ul-Islam!!
Vikram Sampath (Savarkar: A Contested Legacy, 1924-1966)
Interestingly, even the IMF, so long the bastion of growth-first orthodoxy, now recognizes that sacrificing the poor to promote growth was bad policy. It now requires its country teams to include inequality in factors to take into consideration when providing policy guidance to countries and outlining conditions under which they can receive IMF assistance.123
Abhijit V. Banerjee (Good Economics for Hard Times: Better Answers to Our Biggest Problems)
We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t
Ethan Mordden (When Broadway Went to Hollywood)
He was a man who had his own urgent problems, but he visualized the life of this rejected girl, and it hurt him. She seemed to be full of energy, and—despite her deadly existence —operating on a high level of liveliness and good spirits. He began to question her casually. What kind of jobs had she held? Where did she sleep when she didn’t have a Wade Trask to provide a temporary haven for her? What about mail? Had she ever tried living in the Pripp section of the city? What about moving to the country? . . . It was a long list of questions. Riva replied, sometimes vaguely, but she seldom hesitated. In about an hour he had her life in outline. Her early childhood was dim. She had recollections of being with parents who moved, drove, flew—always seeking remoter distances of escape. And always the reaching red tape of the Great Judge’s registrars followed them. They were among the minority who were invariably refused group status. Their past connection with the Brain dogged them, brought them to ruin and hopelessness. The finale came with crushing unexpectedness. The Control descended one day upon the hovel where they lived. The father, unbelieving and protesting, was led out and put against the wall of the shack, and shot. There was no explanation, no further direct interference—but the breadwinner was gone. For mother and daughter, the time of nightmare had come. The transition to woman of the town took place in direct proportion to the need for food.
A.E. van Vogt (The Mind Cage)
Here is the outline of my simple, actionable advice for healthy eating, which I describe in detail later in the book: • Eat plenty of vegetables and fruits, but limit fruit juices and corn, and hold the potatoes. • Eat more good fats (these mostly come from plants) and fewer bad fats (these mostly come from meat and dairy foods). • Eat more whole-grain carbohydrates and fewer refined-grain carbohydrates. • Choose healthy sources of protein, limit your consumption of red meat, and don’t eat processed meat. • Drink more water. Coffee and tea are okay; sugar-sweetened soda and other beverages aren’t. • Drink alcohol in moderation, if at all. • Take a multivitamin for insurance, just in case you aren’t getting the vitamins and minerals you need from the foods you eat. Make sure it delivers at least 1,000 international units of vitamin D.
Walter C. Willett (Eat, Drink, and Be Healthy: The Harvard Medical School Guide to Healthy Eating)
Raffe lifted the latch on the heavy door and sidled in. As usal, he gagged as he took his first breath in the cloying, fishy stink of the smoke that rose from the burning seabirds, which were skewered on to the wall spikes in place of candles. In the dim oily light, he could make out the vague outlines of men sitting in twos and threes around the tables, heard the muttered conversations, but could no more recognize a face than see his own feet in the shadows. A square, brawny woman deposited a flagon and two leather beakers on a table before waddling across to Raffe. Pulling his head down towards hers, she planted a generous kiss on his smooth cheek. Thought you'd left us,' she said reprovingly. You grown tired of my eel pic?' How could anyone grow tired of a taste of heaven?' Raffe said, throwing his arm around her plump shoulders and squeezing her. The woman laughed, a deep, honest belly chuckle that set her pendulous breasts quivering. Raffe loved her for that. 'He's over there, your friend,' she murmured. 'Been wait ing a good long while.' Raffe nodded his thanks and crossed to the table set into a dark alcove, sliding on to the narrow bench. Even in the dirty mustard light he could recognize Talbot's broken nose and thickened ears. Talbot looked up from the rim of his beaker and grunted. By way of greeting he pushed the half-empty flagon of ale towards Raffe. Raffe waited until the serving woman had set a large portion of eel pie in front of him and retreated out of earshot. He hadn't asked for food, no one ever needed to here. In the Fisher's Inn you ate and drank whatever was put in front of you and you paid for it too. The marsh and river were far too close for arguments, and the innkeeper was a burly man who had beaten his own father to death when he was only fourteen, so rumour had it, for taking a whip to him once too often. Opinion was divided on whether the boy or the father deserved what they suffered at each other's hands, but still no one in those parts would have dreamed of report ing the killing. And since the innkeeper's father lay rotting somewhere at the bottom of the deep, sucking bog, he wasn't in a position to complain.
Karen Maitland (The Gallows Curse)
The persons I speak of are not thoughtless about religion: they think a good deal about it. They are not ignorant of religion: they know the outlines of it pretty well. But their great defect is that they are not "rooted and grounded" in their faith. Too often they have picked up their knowledge second hand, from being in religious families, or from being trained in religious .ways, but have never worked it out by their own inward experience
J.C. Ryle (Holiness)
Is it possible to be out of balance with too much goodness? The short answer is ’yes.’ The prequel trilogy outlines just such a condition where the Jedi Order finds itself in the smugness of complacency as the Dark Side is active right under their noses. The Jedi are living so much in the light of morality, that the shadow of unconscious desire, symbolized by the Sith, takes on a life of its own and, like an unsupervised child, becomes delinquent. If one is out of touch with the shadow side of one’s nature—one’s Dark Side—it become pathological, like feeling lust or greed and living in denial or otherwise becomes unconscious, such that it only magnifies itself in the repressed unconsciousness.
Walter Robinson
The real life of the ordinary man is his everyday life, his little circle of affections, fears, hungers, lusts, and imaginative impulses. It is only when his attention is directed to political affairs as something vitally affecting this personal circle, that he brings his reluctant mind to bear upon them. It is scarcely too much to say that the ordinary man thinks as little about political matters as he can, and stops thinking about them as soon as possible. It is still only very curious and exceptional minds, or minds that have by example or good education acquired the scientific habit of wanting to know why, or minds shocked and distressed by some public catastrophe and roused to wide apprehensions of danger, that will not accept governments and institutions, however preposterous, that do not directly annoy them, as satisfactory. The ordinary human being, until he is so aroused, will acquiesce in any collective activities that are going on in this world in which he finds himself, and any phrasing or symbolization that meets his vague need for something greater to which his personal affairs, his individual circle, can be anchored.
H.G. Wells (The Outline of History :"The Whole Story of Man" or "Being a Plain History of Life and Mankind")
Don Moore and I outlined the following steps for choosing the right option among multiple choices:17 Define the problem. Identify the relevant criteria. Weight the criteria. Generate alternatives. Rate each alternative on each criterion. Compute the optimal decision.
Max H. Bazerman (Better, Not Perfect: A Realist's Guide to Maximum Sustainable Goodness)
I hear from the sofa- ‘Wear a jacket, Karly!’ My mom thinks even when I’m dressed, I’m still half-naked. So, out the door, I see sis get on the yellow bus. Waving at me like a moron out the window! And the cold feels like a b*tch slap to my face, yet it is a good way to wake up. I got into the SUV that was wrecked the night before. Thinking that this thing is like a coffin to me, yet I could say anything, or Jenny would think I have completely lost my mind. So, we go down all the same roads, not stopping at any of the red or yellow lights or signs. When Liv gets into the car she leans forward and grabs my hot- chocolate, and the smell of her perfume is strawberry, it is a body spray she has been wearing devotedly ever senses she was twelve and her hips and boobs develop like the end of sixth grade, she buys like five bottles every time we go into Sally Beauty Supply. I know that she has it on her, so I ask her for a squirt, even though I am sick of it after all these years, and even though I don’t want to smell like her, I ask for it anyway, I don’t want to smell like balls! Even though it stopped being cool in seventh grade, to where kiddy stuff like she still does- I have to close my eyes, overwhelmed, and coffin as a puff of it surrounds me, or then what I asked for. Gross, I smell like a pre-teen after gym class now, just trying to cover it up. Closing my eyes was a horrible idea. One- I get to feeling car sick. Two- I can see where Jenny is driving, and the way it feels- it must be off the road. Three- I start to daydream about Marcel, plus heartsick over Ray still, even though I was done after what he did to me, I can stop having feelings for him, he was the first that took me from behind. Oh no, he was not my first love god no, I didn’t know what love was until I saw it in Marcel's eyes, but was it real? That is what I am afraid of- trusting my heart to a boy again. I could see all the flashes of sincere light within Marcel's home, I could see him holding as no boy has ever done with me. I could almost feel the tingle of his kiss on my lips. ‘Holy freaking crap balls,’ said Jenny. I snap my eyes open as Jenny swerves to avoid hitting a cuddly black cat, walking past. That is when I start to look out the window into the side mirror, and the glossy dark trees are flocking on either side of us like outlined ghosts in the navy-blue sky. I smell something hot. I said- ‘Yeah that’s just me.’ I hear Jenny shrieking not too long after I feel relaxed, and yet once more, I feel my stomach go to the bottom of my feet and back up, as the SUV rolls to the one side, tires wailing- ‘It was a family of deer this time, trying not to get murdered. You should have seen their faces. It’s like mine every time I ride in this SUV.
Marcel Ray Duriez (Nevaeh Dreaming of you Play with Me)
If I outline twenty ideas for articles I want to write, that’s motion. If I actually sit down and write an article, that’s action.
James Clear (Atomic Habits: An Easy and Proven Way to Build Good Habits and Break Bad Ones)
Action, on the other hand, is the type of behavior that will deliver an outcome. If I outline twenty ideas for articles I want to write, that’s motion. If I actually sit down and write an article, that’s action. If I search for a better diet plan and read a few books on the topic, that’s motion. If I actually eat a healthy meal, that’s action.
James Clear (Atomic Habits: An Easy & Proven Way to Build Good Habits & Break Bad Ones)
Good writers aren’t born good writers; they develop into good writers through dedication and practice. Through hard work. Through habit.
Sarah Domet (The 90-Day Novel: A Day-by-Day Plan for Outlining & Writing Your Book)
If you favor the explanation that the 'O' was devised by the Greeks without reference to their alphabet, its arbitrariness is lessened by noticing how often nature supplies us with circular hollows: from an open mouth to the faintly outlined dark of the moon; from craters to wounds. 'Skulls and seeds and all good things are round,' wrote Nabokov.
Robert Kaplan
... the possibility of death presented itself to him, for the first time in his life, with no relation to the everyday, with no considerations of how it would affect others, but only in relation to himself, to his soul, vividly, almost with certainty, simply, and terribly. And from the height of that picture, all that used to torment and preoccupy him was suddenly lit up by a cold, white light, without shadows, without perspective, without clear-cut outlines. The whole of life presented itself to him as a magic lantern, into which he had long been looking through a glass and in artificial light. Now he suddenly saw these badly daubed pictures without a glass, in bright daylight. ... "There they are, those crudly daubed figures, which had presented themselves as something beautiful and mysterious. Glory, the general good, the love of a woman, the fatherland itself -- how grand those pictures seemed to me, how filled with deep meaning! And it's all so simple, pale, and crude in the cold, white light of the morning that I feel is dawning for me.
Leo Tolstoy (War and Peace)
One: Mankind’s activities are causing the disintegration (a word chosen carefully) of natural ecosystems at a cataclysmic rate. We all know the rough outlines of that problem. By way of logging, road building, slash-and-burn agriculture, hunting and eating of wild animals (when Africans do that we call it “bushmeat” and impute a negative onus, though in America it’s merely “game”), clearing forest to create cattle pasture, mineral extraction, urban settlement, suburban sprawl, chemical pollution, nutrient runoff to the oceans, mining the oceans unsustainably for seafood, climate change, international marketing of the exported goods whose production requires any of the above, and other “civilizing” incursions upon natural landscape—by all such means, we are tearing ecosystems apart. This much isn’t new. Humans have been practicing most of those activities, using simple tools, for a very long time. But now, with 7 billion people alive and modern technology in their hands, the cumulative impacts are becoming critical. Tropical forests aren’t the only jeopardized ecosystems, but they’re the richest and most intricately structured. Within such ecosystems live millions of kinds of creatures, most of them unknown to science, unclassified into a species, or else barely identified and poorly understood.
David Quammen (Spillover: Animal Infections and the Next Human Pandemic)
Donald looked at some examples and noticed a logo on the back label of one of the bottles. It was a small outline of a rabbit and around the cartoon figure were the words: No Animal Testing. “That's good,” he said. “You don't test on animals.” It was a nice logo, and it was truthful. We didn't conduct any tests on animals. Then again, we didn't do any other testing either. King Chemical ran some basic checks to ensure the general stability of the formulation, but they were not the sort of rigorous tests that brought anyone any real comfort. We did not test for toxic chemicals or bacterial contamination, for example. The factory had just a small laboratory located in a back room. The equipment was basic. Most high school laboratories in the United States had equipment that was more up to date. In any case, no one was checking on the factory to ensure that it produced a quality product.
Paul Midler (Poorly Made in China: An Insider's Account of the China Production Game)
CREATION-FALL-REDEMPTION-CONSUMMATION IS NOT THE GOSPEL Many Christians have outlined the story of the Bible using the four words creation, fall, redemption, consummation. Actually that outline is a really good way to summarize the Bible’s main story line. God creates the world, man sins, God acts in the Messiah Jesus to redeem a people for himself, and history comes to an end with the final consummation of his glorious kingdom. From Genesis to Revelation, that’s a great way to remember the Bible’s basic narrative. In fact, when you understand and articulate it rightly, the creation-fall-redemption-consummation outline provides a good framework for a faithful presentation of the biblical gospel. The problem, though, is that creation-fall-redemption-consummation has been used wrongly by some as a way to place the emphasis of the gospel on God’s promise to renew the world, rather than on the cross.
Greg Gilbert (What Is the Gospel? (Ixmarks))
Put shortly, these are the two views, then. One, that man is intrinsically good, spoilt by circumstance; and the other that he is intrinsically limited, but disciplined by order and tradition to something fairly decent. To the one party man's nature is like a well, to the other like a bucket. The view which regards man as a well, a reservoir full of possibilities, I call the romantic; the one which regards him as a very finite and fixed creature, I call the classical. One may note here that the Church has always taken the classical view since the defeat of the Pelagian heresy and the adoption of the sane classical dogma of original sin. It would be a mistake to identify the classical view with that of materialism. On the contrary it is absolutely identical with the normal religious attitude. I should put it in this way: That part of the fixed nature of man is the belief in the Deity. This should be as fixed and true for every man as belief in the existence of matter and in the objective world. It is parallel to appetite, the instinct of sex, and all the other fixed qualities. Now at certain times, by the use of either force or rhetoric, these instincts have been suppressed - in Florence under Savonarola, in Geneva under Calvin, and here under the Roundheads. The inevitable result of such a process is that the repressed instinct bursts out in some abnormal direction. So with religion. By the perverted rhetoric of Rationalism, your natural instincts are suppressed and you are converted into an agnostic. Just as in the case of the other instincts, Nature has her revenge. The instincts that find their right and proper outlet in religion must come out in some other way. You don't believe in a God, so you begin to believe that man is a god. You don't believe in Heaven, so you begin to believe in a heaven on earth. In other words, you get romanticism. The concepts that are right and proper in their own sphere are spread over, and so mess up, falsify and blur the clear outlines of human experience. It is like pouring a pot of treacle over the dinner table. Romanticism then, and this is the best definition I can give of it, is spilt religion.
T.E. Hulme
It is impossible to give any book an inspectional reading without being alert, without having all of one's faculties awake and working. How many times have you daydreamed through several pages of a good book only to wake up to the realization that you have no idea of the ground you have gone over? That cannot happen if you follow the steps outlined here-that is, if you have a system for following a general thread.
The Pen Made for the White House Presidents come and go, but one thing remains constant in the West Wing BY DAN LEWIS FROM NOW I KNOW PHOTOGRAPH BY ADAM VOORHES The pens read “Skilcraft U.S. Government.” And if you have worked for an American government institution, chances are you’ve used one. About $5 million worth of these pens are sold every year (with 60 percent going to the military), and they have quite the story behind them. To start, they’re assembled by the blind. In 1938, in the midst of the Great Depression, the government stepped in to help blind workers, who were already at a competitive disadvantage. Franklin Delano Roosevelt signed into law the Wagner-O’Day Act, which required that the federal government purchase specific goods manufactured by blind Americans. The law soon included pens. The Skilcraft brand came to be a decade or so later, in 1952. Today, the company employs over 5,500 blind workers in 37 states, producing an arsenal of office supplies, with the pens made in factories in Wisconsin and North Carolina. The pens must be built to the specifications outlined in a 16-page document that was first promulgated more than 50 years ago. Among the requirements? The pens must be able to write continuously for no less than 5,000 feet and in temperatures up to 160 degrees and down to 40 degrees below zero. You know, just in case. Copyright © 2011 by Dan Lewis.
You have expressed an interest in the process used to carve detailed feathers on realistic duck decoys. The tools used are the same ones needed to prepare the carving up to this point: flexible-shaft grinder, stone bits, soft rubber sanding disc, pencil, and knife. My intention is to explain the ease with which mastery of this process can be achieved. There are five steps involved: drawing, outlining, and concaving the feathers, stone carving the quill, and grinding the barbs. The key to drawing the feathers is research. Good-quality references have been used in getting the carving to this stage and they will prove invaluable here. When comfortable with the basic knowledge of placement and types of feathers, drawing can begin. As with the actual carving, drawing should be done in a systematic manner. All feathers should be drawn in from front to back and top to bottom. Drawing should be done lightly so that changes can be made if necessary. All of the other steps are determined by what is done here, so the carver must be satisfied before beginning. Outlining creates a lap effect Copyright
Daniel G. Riordan (Technical Report Writing Today)
If we conceive of the question in the second way, to ask all that God is going to accomplish in history, we explain where the world came from, what went wrong with it, and what must happen for it to be mended. This is a message about the world. The answer can be outlined: creation, fall, redemption, and restoration. These are chapters in a plotline, a story. As we will see in the next chapter, there is no single way to present the biblical gospel. Yet I urge you to try to be as thoughtful as possible in your gospel presentations. The danger in answering only the first question (“What must I do to be saved?”) without the second (“What hope is there for the world?”) is that, standing alone, the first can play into the Western idea that religion exists to provide spiritual goods that meet individual spiritual needs for freedom from guilt and bondage. It does not speak much about the goodness of the original creation or of God’s concern for the material world, and so this conception may set up the listener to see Christianity as sheer escape from the world.
Timothy J. Keller (Center Church: Doing Balanced, Gospel-Centered Ministry in Your City)
Very much as I expected," Mason said cautiously."And do you want to do something that is for the best interests of your client?" "Very much. " "If," the voice said, "you will adhere to the bargain I outlined to you, you should be able to score another triumph over the prosecution, have the defendant released and have the case thrown out of court."Both my son and I are in a position to testify, if necessary, that when we entered that unit the man was lying on the floor breathing heavily and we thought he was drunk. And I will testify that I was the one who made the phone call to the manager of the motel. " "Suppose I simply subpoena you and put you on the stand?" Mason asked. She laughed and said, "Come, come, Mr.Mason, you're a veteran attorney. You could hardly commit a booboo of that sort. Think of what it would mean if I should state the man was alive and well when I left. " "And your price?" Mason asked."You know my price.Complete, utter silence about matters which will affect my property status and my social status.Good-by, Mr.Mason. " The receiver clicked at the other end of the line. Della Street raised inquiring eyebrows. Mason said, "Paul, you're going to have to pick up lunch somewhere along the line. I want you to go out to the Restawhile Motel. I want you to take a stop watch. I want you to get the manager to walk rapidly from the switchboard, out the front door, down to Unit to. I want you to have her open the door, walk inside, turn around, walk back, pick up the telephone, call police headquarters and ask what time it is. See how long it takes and report to me. " "Okay," Drake said."What time do you want me back here?" 171
Jessie’s eyes widened and her head shot up. “And you’re only coming for advice now, after all of this time?” she asked pointedly. “I don’t need your judgement, Jessie,” Toni countered angrily. In an instant Jessie regretted her tone. Where was her so called professional manner? The scratching of the ballpoint pen against yellow paper was the only sound in the office as Jessie transcribed the gist of their discussion in shorthand. A small, dark part of Jessie still hated Toni for abandoning her to the mercy of those bullies ten years ago, and it revelled in seeing her in similar straits now. But she hated that part of herself for holding on to an empty grudge for so long. As her pen filled the page with notes, she cleared her throat for Toni’s attention. “I’m very sorry to hear that you’ve suffered this kind of treatment, Toni. You really do have my sympathies. Who did you take your concerns to at your place of work?” “I spoke to the owner, Mark Baldwin. He basically tried to shut me down by taking her side.” “Did you put your complaint in writing?” “No, I didn’t see the point after my conversation with him. So what happens now? Are you going to call him?” Jessie shook her head. “I’m afraid it doesn’t work like that. I’ll give you an outline of the procedure, should you wish to proceed.” Jessie rested the pad on the desk. “So far, you have only made an informal complaint, so your first step is to write a grievance letter to your employer about the issues you have encountered.” She restlessly played with the pen between her fingers as she continued. “They will investigate and then invite you to a meeting to state your case. You can have someone accompany you at this meeting. Your workplace will then inform you of the outcome and if you aren’t happy, you have the right to appeal their decision. It is only after this that you can consider a tribunal and it would be at that point we would get involved.” “Okay, so I just write the letter to start with? I can’t see it doing any good though,
Jade Winters (Say Something)
any society, no matter how tolerant, draws limits somewhere.10 In much of the Western world at the moment, however, there is very little culture-wide consensus on right and wrong, good and evil, holiness and sin, while tolerance has been elevated to the highest spot in the moral echelon. It’s not that we have self-consciously taken that step; rather, for reasons I’ve tried to outline elsewhere, tolerance has become more important than truth, morality, or any widely held value system. Tolerance becomes the supreme good, the supreme god in the culture’s pantheon, in a sphere of existence that often argues by merest clichés11 and that has very few other widely agreed desiderata. The complicating irony is that those who hold tenaciously to the supreme virtue of this new tolerance are by and large extremely intolerant of those who do not agree with them.
Christopher W. Morgan (Fallen: A Theology of Sin)
I’m not good at that whole outlining thing, which shouldn’t be a surprise because outlines share many commonalities with goal-setting. They proclaim what you’re going to do before you actually do it, and it may be a mistake, because you may find when it comes time to do what you were going to do, you no longer feel like doing it.
M.F. Stone (Goals Suck: Why the Obsession with Goal-Setting is a Flawed Approach to Productivity and Life in General)
Patronage and clientelism constitute substantial normative deviations from good democratic practice for all of the reasons outlined above, and are therefore illegal and frowned upon in virtually all contemporary democracies. As such, they are often considered another form of political corruption. There are a number of reasons, however, why clientelism should be considered an early form of democratic accountability and be distinguished from other types of corruption—or, indeed, not considered a form of corruption at all. The first reason is that it is based on a relationship of reciprocity and creates a degree of democratic accountability between the politician and those who vote for him or her. Even though the benefit given is individual rather than programmatic, the politician still needs to deliver something in return for support, and the client is free to vote for someone else if the benefit is not forthcoming. Moreover, clientelism is designed to generate mass political participation at election time, something we regard as desirable.
He was very good, it turned out, at outlining the flaws in the government as long as someone else was in charge of the government.
David Halberstam (The Powers That Be)
Because the gospel is news, good news… it is to be announced; that is what one does with news. The essential heraldic element in preaching is bound up with the fact that the core message is not a code of ethics to be debated, still less a list of aphorisms to be admired and pondered, and certainly not a systematic theology to be outlined and schematized. Though it properly grounds ethics, aphorisms, and systematics, it is none of these three: it is news, good news, and therefore must be publicly announced2.
Timothy J. Keller (Center Church: Doing Balanced, Gospel-Centered Ministry in Your City)
f you're living in a place that's just not big enough for that huge Christmas tree you'd love to have, get branches of evergreen, balsam, or juniper and use them to outline mirrors, arrange on mantels or windowsills, or decorate tabletops and bookshelves. Add gold or silver balls or showcase your holiday collectibles among the branches, such as snow villages, angels, and Christmas teacups. And don't forget to use plenty of unlit candles in seasonal colors. If you do light them, make sure the branches are arranged so they're not a fire hazard. Add a nativity scene to set the significant tone of the season. Make your home warm and welcoming, overflowing with love and good cheer. hose food shows on TV don't have anything on me! Cooking with your friends-inviting them to sit with you while you prepare a fantastic meal is something I've been doing for years. More often, though, I'll put my friends to work. We all have fun pitching in. I've had some of my best conversations while I was stirring a pot of soup and someone else was tossing a salad. I've also had some of my closest times with my husband in that warm, creative room in our house. Good talk seems to happen naturally in the kitchen. And teamwork is great fun! No one is lonely; no one feels left out. Creativity flourishes as you work together.
Emilie Barnes (365 Things Every Woman Should Know)
I repeat that dogmatics is not a thing which has fallen from Heaven to earth. And if someone were to say that it would be wonderful if there were such an absolute dogmatics fallen from Heaven, the only possible answer would be: ‘Yes, if we were angels.’ But since by God’s will we are not, it will be good for us to have just a human and earthly dogmatics. The Christian Church does not exist in Heaven, but on earth and in time. And although it is a gift of God, He has set it right amid earthly and human circumstances, and to that fact corresponds absolutely everything that happens in the Church. The Christian Church lives on earth and it lives in history, with the lofty good entrusted to it by God. In the possession and administration of this lofty good it passes on its way through history, in strength and in weakness, in faithfulness and in unfaithfulness, in obedience and in disobedience, in understanding and in misunderstanding of what is said to it.
Karl Barth (Dogmatics in Outline (scm classics))
Imam Mawlūd outlines three signs of ostentation. The first two are laziness and lack of action for the sake of God when one is alone and out of view of others. When alone, such a person becomes lethargic, unable (or unwilling) to perform acts of devotion, such as reading the Qur’an at home; but in the mosque, in the presence of others, he finds the drive to recite. This is not to suggest that one should not respond to the inspiration one receives when in the company of people who are doing good deeds; the point here is guarding the motivation behind one’s acts, especially devotional ones, ensuring that they be for God alone and not for anyone else. Another sign of ostentation is increasing one’s actions when praised and decreasing them in the absence of such praise. In Islamic sacred law, encouragement is not censured.
Hamza Yusuf (Purification of the Heart: Signs, Symptoms and Cures of the Spiritual Diseases of the Heart)
During that time, “Hurry up or we’ll be late” was commonly heard, either yelled from the kitchen or hissed while we scurried into the back row at church. There was too much to do in too little time. Life was a blur. And I thought everyone lived like this. That was until I read about “hurry sickness” in The Life You’ve Always Wanted by John Ortberg. My heart was skewered when I read that one of its symptoms is a diminished capacity to love. My children could have told you I had a problem. Only it wasn’t hurry sickness, it was hurry addiction. God dealt with my addiction to overload and hurry by taking it all away in a cross-country move. He made me go cold turkey as I said good-bye to working at my job, directing the children’s ministry, coleading the women’s ministry, being on the praise team, having my small group, leading Vacation Bible Study each summer, and more. God moved us 2,100 miles away—so far that I couldn’t even sneak back to lead a women’s event. I had no job, no church, and no friends, just lots of time. Since two of the boys were in school and the youngest had just started preschool, I had plenty of time to think and pray. And while there were lots of tears, I also experienced God in a new way. Very quickly, God connected me with Proverbs 31 Ministries. I started to learn that God had a better plan for my life than I did, and that I should look to Him for direction on my daily activities. I also learned that my first line of ministry was inside my home. I wasn’t completely cured of my hurry addiction yet, so I decided I would become the Best Homemaker Ever. And then I picked up a book called No Ordinary Home by Carol Brazo. And right in the beginning of the book I read something that brought about the biggest change in my life: If there were one biblical truth I wish I could give my children and lay hold of in my own deepest parts, it would be this one thing. He created me, He loves me, He will always love me. Nothing I do will change who I am. Being versus doing. The error was finally outlined in bold. I was always worried about what I was doing. . . . God’s only concern was and is what I am being—a child of His, forgiven, justified by the work of His Son, His Heir.[2] You know when you feel like an author has peeked into your living room window and knows exactly who you are? That’s what reading this was like for me. God wired me to be highly productive, but I hadn’t undergirded that with an understanding of my true identity. So in order to feel worthwhile and valued and confident, I was driven to take on more. More accomplishments equaled more worth. But it was never enough.
Glynnis Whitwer (Taming the To-Do List)
There’s Tom,” Becky says. He’s been tromping around the city half the day, but I don’t see a speck of mud on him. Though he dresses plain, it always seems he rolls out of bed in the morning with his hair and clothes as neat and ordered as his arguments. We walk over to join him, and he acknowledges us with a slight, perfectly controlled nod. He’s one of the college men, three confirmed bachelors who left Illinois College to join our wagon train west. Compared to the other two, Tom Bigler is a bit of a closed book—one of those big books with tiny print you use as a doorstop or for smashing bugs. And he’s been closing up tighter and tighter since we blew up Uncle Hiram’s gold mine, when Tom negotiated with James Henry Hardwick to get us out of that mess. “How goes the hunt for an office?” I ask. “Not good,” Tom says. “I found one place—only one place—and it’s a cellar halfway up the side of one those mountains.” Being from Illinois, which I gather is flat as a griddle, Tom still thinks anything taller than a tree is a mountain. “Maybe eight foot square, no windows and a dirt floor, and they want a thousand dollars a month for it.” “Is it the cost or the lack of windows that bothers you?” He pauses. Sighs. “Believe it or not, that’s a reasonable price. Everything else I’ve found is worse—five thousand a month for the basement of the Ward Hotel, ten thousand a month for a whole house. The land here is more valuable than anything on it, even gold. I’ve never seen so many people trying to cram themselves into such a small area.” “So it’s the lack of windows.” He gives me a side-eyed glance. “I came to California to make a fortune, but it appears a fortune is required just to get started. I may have to take up employment with an existing firm, like this one.” Peering at us more closely, he says, “I thought you were going to acquire the Joyner house? I mean, I’m glad to see you, but it seems things have gone poorly?” “They’ve gone terribly,” Becky says. “They haven’t gone at all,” I add. “They’ll only release it to Mr. Joyner,” Becky says. Tom’s eyebrows rise slightly. “I did mention that this could be a problem, remember?” “Only a slight one,” I say with more hope than conviction. “Without Mr. Joyner’s signature,” Becky explains, “they’ll sell my wedding cottage at auction. Our options are to buy back what’s ours, which I don’t want to do, or sue to recover it, which is why I’ve come to find you.” If I didn’t know Tom so well, I might miss the slight frown turning his lips. He says, “There’s no legal standing to sue. Andrew Junior is of insufficient age, and both his and Mr. Joyner’s closest male relative would be the family patriarch back in Tennessee. You see, it’s a matter of cov—” “Coverture!” says Becky fiercely. “I know. So what can I do?” “There’s always robbery.” I’m glad I’m not drinking anything, because I’m pretty sure I’d spit it over everyone in range. “Tom!” Becky says. “Are you seriously suggesting—?” “I’m merely outlining your full range of options. You don’t want to buy it back. You have no legal standing to sue for it. That leaves stealing it or letting it go.” This is the Tom we’ve started to see recently. A little angry, maybe a little dangerous. I haven’t made up my mind if I like the change or not. “I’m not letting it go,” Becky says. “Just because a bunch of men pass laws so other men who look just like them can legally steal? Doesn’t mean they should get away with it.” We’ve been noticed; some of the men in the office are eyeing us curiously. “How would you go about stealing it back, Tom?” I ask in a low voice, partly to needle him and partly to find out what he really thinks. He glances around, brows knitting. “I suppose I would get a bunch of men who look like me to pass some laws in my favor and then take it back through legal means.” I laugh in spite of myself. “You’re no help at all,” Becky says.
Rae Carson (Into the Bright Unknown (The Gold Seer Trilogy, #3))
The bad news is your flaws don’t come from nowhere. The world is deeply fucked from every angle; its damage is incomprehensibly vast and ancient, hooked into the future and printed upon you in endless, innumerable ways. You can’t reverse it. But art can unmake you differently. A perfect pop song, the kind that knees you in the chest while you’re standing in a checkout line, is the sound of something familiar resolving into something transcendent. A good poem finds the cracks in the foundations of your thinking and outlines them with glitter, or sets the whole building on fire. People make things with money they get from the government, or from jobs, or from stealing, and one time out of every 500 that you go to see those things they’ve made, some small corner of your world will come unlaced because of it. That’s not a lot, but it’s proof that the work of living can be more than just gesture: that there is more to do with structure than to surrender or be crushed by it. You can always be made a little more unsure; you can always be taken a little more apart.
Emma Healey
My neighbour from the plane was a good foot shorter than me
Rachel Cusk (Outline)
Well, looks like we’re going to Penn. College decision done.” “Well, one of us has the transcript for Penn,” she says slowly, wrinkling her nose at me. “Ugh. How hard could it be?” I eye the door, hoping for another glimpse of Finn. Chloe pinches the bridge of her nose. “It’s Ivy League, Everly.” “So I’ll Legally Blonde myself together.” “Good plan. You remember how that movie ended, don’t you?” I nod. “She gets the guy.” “Not the guy she got into law school for.” Humph. Sometimes Chloe is just so literal. “It’s an outline, Chloe. We can edit as we go.
Jana Aston (Right (Cafe, #2))
Ah, yes, this is the way of it, eh? A heathen and his woman?” His face twisted in a sneer as he rolled her sensitive flesh between his finger and thumb, sending shocks of sensation shooting into her belly. “Hunter, the one who rapes and tortures? That is me.” Abandoning her breast, he rocked back on his heels and jerked up her skirt. “This is very good, Blue Eyes. The animal in me likes having you tied.” With that, he stretched out beside her. Even in her turmoil, Loretta heard an echo in every word he spoke. Looking into his eyes, she knew how deeply her leaving had hurt him. Propping himself up on an elbow, he planted a hand on her abdomen and lowered his head to brush his lips across her temple. Her belly convulsed as his fingers began a subtle manipulation, charging her senses, making her skin tingle, in a relentless path toward her breasts. “I will be cruel, yes? And make you weep rivers of tears while I play my games. It will be good, very good.” His mouth touched hers, teasingly light. His hand cupped her breast. Silhouetted against the moon-silvered sky, he was a black outline, his broad shoulders a threatening wall, his long hair drifting in a silken curtain around her. Nightmare or dream? He continued to whisper--saying terrible things, cruel things, taunting her with what was yet to come, living up to all her worst expectations. But his touch was that of a lover, as sweet and magical, as patient and gentle, as the last time they had been together. She knew he had tied her only to prove a point, that no matter what the circumstances, no matter how angry he might become, he would never harm her. “Oh, Hunter, I’m sorry,” she said on the crest of a sob. “I didn’t mean to hurt you like this. I didn’t mean to hurt you.” “You rip my heart out and it should not hurt?” His teeth closed on her earlobe, nipping lightly, sending shivers over her skin. “You spit upon all that I am, and it should not hurt? You abandon me, you dishonor me, and it should not hurt?
Catherine Anderson (Comanche Moon (Comanche, #1))
It is in the context of this mid-Sasanian era edict reported by Elishe that the myth of Zurvan as hypostatized “Time” is outlined. Another fifth century CE Armenian, Eznik of Kølb, narrates the myth in more details and with some variations. It describes Zurvan as progenitor of both Ahura Mazda and Angra Mainyu. This myth of a common progenitor seems to have been one way that Zoroastrians in the Sasanian period understood the separate origins and natures of good and evil. Although in this schema Zurvan is the source of both, he is not a creator god—that role belongs to Ahura Mazda. The Zurvanite “twinning” of Ahura Mazda and Angra Mainyu as “brothers” from a common origin is rejected as a false teaching in the Middle Persian Denkard.
Jenny Rose (Zoroastrianism: A Guide for the Perplexed (Guides for the Perplexed))
Anxiety does not exist to control you. You exist to control it. It is, as I said, a simple fact of life that can be managed. In fact, used properly, it can actually give you an extra boost by heightening your energy and awareness. If you have social anxiety about such things as giving a presentation, speaking up at a meeting, attending a social gathering, initiating plans, developing intimacy in friendships and dating, then learning to manage your anxiety will help. This book will teach you how to channel your anxiety—not how to eliminate it. The twelve chapters delineate a five-step program that essentially works like this: Step I: Identify your anxiety symptoms and recognize the ways in which they interfere with your life. Your social fears prevent you from doing things you would like to do (pursue friendships, date, achieve career success). Pinpointing your stress responses and noting what causes them give you the information you need to move on to Step 2. Step 2: Set short- and long-term social goals. Having identified the situations you have trouble confronting, you can identify immediate goals to work toward, and start to form a vision of your ideal social self. Goal-setting is a valuable way of letting your imagination offer a reward for your hard work. Next, you will begin to learn skills that can make your dream a reality. Step 3: Learn stress management and self-awareness. The techniques outlined in this book will allow you to control your anxiety response and tune in to your own desires and strong points, giving you more to share as you become more comfortable interacting. With your anxiety in check and your self-awareness guiding you toward fulfillment, anxiety becomes positive energy and will be the base of your self-empowerment. Now you are ready to polish your social skills. Step 4: Learn or refine social skills. Your fear has diminished, making it possible to refine social skills and enhance your interactive productivity, which will make the difference between social success and failure. Good conversation, active listening, an awareness of what behavior is appropriate—all of these skills will add to your overall social ability and self-empowerment. Step 5: Expand and refine your social network. At this point, you are ready to roll. You understand your anxiety, your stress is manageable, and you have learned the finer points of interacting in a positive, productive manner. The final step is to use your community’s resources to create, expand, or refine your social network to best meet your interactive goals. No matter who you are, you can improve your social network to better suit your needs. From here, anything is possible!
Jonathan Berent (Beyond Shyness: How to Conquer Social Anxieties)
Alice Miller, in her powerful book, The Drama of the Gifted Child, has described the paradoxical fact that many good, kind, devoted parents abandon their children. She also outlines the equally paradoxical fact that many highly gifted, superachieving and successful people are driven by a deep-seated chronic depression, resulting from their true and authentic selves being shamed through abandonment in childhood. I referred to this earlier as the “hole in your soul” phenomena. Alice Miller’s work has expanded my understanding of the abandonment trauma. She does not use shame as a major organizing principle of her work. However, it is easy to see that the loss of authentic selfhood, with its accompanying depression, is another way to describe toxic shame.
John Bradshaw (Healing the Shame that Binds You)
With no middle management and little staff, Teal Organizations dispense with the usual control mechanisms; they are built on foundations of mutual trust. Zobrist has written a book outlining FAVI’s practices that is subtitled: L’entreprise qui croit que l’Homme est bon (“The organization that believes that mankind is good”). The heart of the matter is that workers and employees are seen as reasonable people that can be trusted to do the right thing. With that premise, very few rules and control mechanisms are needed. Before
Frederic Laloux (Reinventing Organizations: A Guide to Creating Organizations Inspired by the Next Stage of Human Consciousness)
He had never before been trapped in a summerhouse with a beautiful woman in his arms, and it wasn’t unwelcome. Her slender body was light, though her skirts billowed down to the ground. “I fear this is rather awkward for you.” She sent him a chagrined smile. “I didn’t mean for you to hold me until the rain stopped.” “I don’t mind it, a chara.” “I must be getting heavy.” Her face was flushed, as if she hadn’t considered the consequences of the rain. But her slight weight meant nothing at all to him. He met her gaze, and in her brown eyes, he saw that she was unsettled by his presence. Though he had done nothing at all except hold her, he was well aware of her slender curves. Her gown was damp, outlining her figure, and he found himself studying her closely. There was no hint of red in her brown hair now, for it was soaked from the rain. Her eyelashes were tipped with droplets, and the deep brown of her eyes fascinated him. Her nose had a slight tilt, and her cheeks held the flush of embarrassment. Even her lips were a soft pink, her upper lip slightly smaller than the lower. She pressed them together for a moment and then whispered, “Why are you staring at me?” “Because you are a beautiful woman. Why wouldn’t I stare?” He knew he ought to smile to reassure her that he was only teasing and it meant nothing, but that wasn’t entirely true. She was lovely, and he saw no harm in telling her so. “You are making me feel uncomfortable,” she admitted. “And I should remind you that my heart is already given to another man.” “Don’t worry, a chara. I wouldn’t be trespassing where I’m not wanted. They’re only words.” She still appeared uneasy. “Perhaps you should put me down on the bench again, Lord Ashton.” “If you’re wanting me to, I will. But I should warn you that the rain will soak through your gown and make you colder. It might not be wise.” “Nothing I do is very wise, it seems.” She lowered her gaze to avoid his. “I know how improper this is. My grandmother would be appalled if she could see you holding me right now. Even though we do have a chaperone.” She nodded toward Hattie, who was still cowering from the storm. “I-I should have brought Calvert along.” He didn’t deny it. The scent of her skin enticed him, and he was caught up in watching a single raindrop slide down her throat. Her breathing seemed to shift, and she was staring back at him now. Her eyes passed over his hair and his face. In her scrutiny, he wondered if she found him appealing enough. He’d never given much thought to his looks, but he hoped she was not displeased. “Why are you looking at me?” he murmured. Her mouth tightened, but she managed a smile. “I suppose, for the same reason you looked at me.” “Because you find me handsome?” He continued watching her, and the longer he held her, the more it struck him that he liked having this woman in his arms. “Well, you are that,” she admitted with a smile. “But I wondered if you might be a pirate in disguise, planning to carry me off. Despite my intentions to wed Lord Burkham.” There was teasing in her voice, meant to lighten the mood. “I
Michelle Willingham (Good Earls Don't Lie)
My gaze fell on a plain door-tapestry at the other end of the room. A service access? I turned and saw a narrow, discreet outline of a door tucked in the corner between two bookshelves; that was the service door, then. Might I find some kind of archive beyond that tapestry? I crossed the room, heard no noise beyond, so I lifted the tapestry. The room was small, filled with light. It was a corner room, with two entrances, floor-to-ceiling windows in two walls, and bookshelves everywhere else. In the slanting rays of the morning sun I saw a writing table angled between the windows--and kneeling at the table, dressed in riding clothes, was the Marquis of Shevraeth. He put down his pen and looked up inquiringly. Feeling that to run back out would be cowardly, I said, “Your mother invited me to use the library. I thought this might be an archive.” “It is,” he said. “Memoirs from kings and queens addressed specifically to heirs. Most are about laws. A few are diaries of Court life. Look around.” He picked up the pen again and waved it toward the shelves. “Over there you’ll find the book of laws by Turic the Third, he of the twelve thousand proclamations. Next to it is his daughter’s, rescinding most of them.” He pushed a pile of papers in my direction. “Or if you’d like to peruse something more recent, here are Galdran’s expenditure lists and so forth. They give a fairly comprehensive overview of his policies.” I stepped into the room and bent down to lift up two or three of the papers. Some were proposals for increases in taxes for certain nobles; the fourth was a list of people “to be watched.” I looked at him in surprise. “You found these just lying around?” “Yes,” he said, sitting back on his cushion. The morning light highlighted the smudges of tiredness under his eyes. “He did not expect to be defeated. Your brother and I rode back here in haste, as soon as we could, in order to prevent looting; but such was Galdran’s hold on the place that, even though the news had preceded us by two days, I found his rooms completely undisturbed. I don’t think anyone believed he was really dead--they expected one of his ugly little ploys to catch out ‘traitors.’” I whistled, turning over another paper. “Wish I could have been there,” I said. “You could have been.” This brought me back to reality with a jolt. Of course I could have been there--but I had left without warning, without saying good-bye even to my own brother, in my haste to retreat to home and sanity. And memory. I glanced at him just in time to see him wince slightly and shake his head. Was that regret? For his words--or for my actions that day?
Sherwood Smith (Court Duel (Crown & Court, #2))
After he returned to London, we talked on the phone almost every day, and he got busy tinkering with the software. After I took a look at the finished version, I agreed to take the tracking system off his hands for $30,000. I sat down and wrote a simple agreement in which I outlined the general terms and conditions. I am not a lawyer, of course, but I thought I’d done a pretty good job of writing my first contract. And the way I did it was simplicity itself. I went online and did my homework. I looked at dozens of sample contracts, to try to get a handle on the way these things were written, and found everything I needed on the Web. (It’s even easier today; you can get a variety of contracts from various sites, at no charge.) The agreement stipulated that I would pay him in ninety days, once I had tested the program, but I already knew that it was working fine. The fact is, I needed those ninety days to generate enough income to pay him—though he didn’t need to know that. I also told him that if things worked out, I might want to hire him to run the software for me, on a month-to-month basis, when the company was up and running, and I mentioned the possibility of paying him $10,000 a month. I know that sounds like a huge number, and it was certainly a huge number to me, but I had been looking closely at my competition and at the staggering amounts of money that were being generated, and I knew that all I needed was one little deal to get my business off the ground.
Gurbaksh Chahal (The Dream: How I Learned the Risks and Rewards of Entrepreneurship and Made Millions)
In “The Corrupt Business of Child Protective Services,” former congresswoman Nancy Schaefer outlines how this bill led to children being treated as merchandise. The act offered “adoption incentive bonuses” to CPS for every child that the agency removed. Yet again, the “good intentions” of politicians have led to tragic consequences. There
Carlos Morales (Legally Kidnapped: The Case Against Child Protective Services)
Consider an event from the life of Napoleon Bonaparte, one of the world’s greatest military strategists: During a meeting, his subordinates informed Napoleon Bonaparte of a new general who was turning out to be extremely capable. The new man’s bravery, skill, determination and organizational capabilities were outlined for Napoleon in great detail. Napoleon waved his hand impatiently. ‘That’s all very well,’ said Napoleon. ‘But tell me: Is he lucky?’ Napoleon’s question may sound rather strange in our times, but he saw luck as a personal trait rather than an extraneous factor. A
Ashwin Sanghi (13 Steps to Bloody Good Luck)
If we may believe so good an authority as Edward Moor (author of Moor's "Hindu Pantheon," and "Oriental Fragments"), both the name of Crishna, and the general outline of his history, were long anterior to the birth of our Saviour, as very certain things, and probably extended to the time of Homer, nearly nine hundred years before Christ, or more than a hundred years before Isaiah lived and prophesied." [286:2]
Thomas William Doane (Bible Myths & Their Parallels in Other Religions)
the translator says that a sentence is born into this world neither good nor bad, and that to establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal.
Rachel Cusk (Outline)
As Ross entered the kitchen, he saw Ernest sitting at the scrubbed wooden table. The boy wolfed down a plate of breakfast as if it were the first decent meal he'd had in months. Sophia stood at the range with the scrawny cook-maid, apparently showing her how to prepare the morning's fare. "Turn them like this," Sophia was saying, expertly flipping a row of little cakes on a griddle pan. The kitchen atmosphere was especially fragrant today, spiced with frying bacon, coffee, and sizzling batter. Sophia looked fresh and wholesome, the trim curves of her figure outlined by a white apron that covered her charcoal-gray dress. Her gleaming hair was pinned in a coil at the top of her head and tied with a blue ribbon. As she saw him standing in the doorway, a smile lit her sapphire eyes, and she was so dazzlingly pretty that Ross felt a painful jab low in his stomach. "Good morning, Sir Ross," she said. "Will you have some breakfast?" "No, thank you," he replied automatically. "Only a jug of coffee. I never..." He paused as the cook set a platter on the table. It was piled with steaming batter cakes sitting in a pool of blackberry sauce. He had a special fondness for blackberries. "Just one or two?" Sophia coaxed. Abruptly it became less important that he adhere to his usual habits. Perhaps he could make time for a little breakfast, Ross reasoned. A five-minute delay would make no difference in his schedule. He found himself seated at the table facing a plate heaped with cakes, crisp bacon, and coddled eggs. Sophia filled a mug with steaming black coffee, and smiled at him once more before resuming her place at the range with Eliza. Ross picked up his fork and stared at it as if he didn't quite know what to do with it. "They're good, sir," Ernest ventured, stuffing his mouth so greedily that it seemed likely he would choke. Ross took a bite of the fruit-soaked cake and washed it down with a swallow of hot coffee. As he continued to eat, he felt an unfamiliar sense of well-being. Good God, it had been a long time since he'd had anything other than Eliza's wretched concoctions. For the next few minutes Ross ate until the platter of cakes was demolished. Sophia came now and then to refill his cup or offer more bacon. The cozy warmth of the kitchen and the sight of Sophia as she moved about the room caused a tide of unwilling pleasure inside him.
Lisa Kleypas (Lady Sophia's Lover (Bow Street Runners, #2))
Maybe Sloan would agree to a deal. I’d talk to someone about some of my issues if she would agree to go to grief counseling. It wasn’t me giving in to Josh like she wanted, but Sloan knew how much I hated therapists, and she’d always wanted me to see someone. I was debating how to pitch this to her when I glanced into the living room and saw it—a single purple carnation on my coffee table. I looked around the kitchen like I might suddenly find someone in my house. But Stuntman was calm, plopped under my chair. I went in to investigate and saw that the flower sat on top of a binder with the words “just say okay” written on the outside in Josh’s writing. He’d been here? My heart began to pound. I looked again around the living room like I might see him, but it was just the binder. I sat on the sofa, my hands on my knees, staring at the binder for what felt like ages before I drew the courage to pull the book into my lap. I tucked my hair behind my ear and licked my lips, took a breath, and opened it up. The front page read “SoCal Fertility Specialists.” My breath stilled in my lungs. What? He’d had a consultation with Dr. Mason Montgomery from SoCal Fertility. A certified subspecialist in reproductive endocrinology and infertility with the American Board of Obstetrics and Gynecology. He’d talked to them about in vitro and surrogacy, and he’d had fertility testing done. I put a shaky hand to my mouth, and tears began to blur my eyes. I pored over his test results. Josh was a breeding machine. Strong swimmers and an impressive sperm count. He’d circled this and put a winking smiley face next to it and I snorted. He’d outlined the clinic’s high success rates—higher than the national average—and he had gotten signed personal testimonials from previous patients, women like me who used a surrogate. Letter after letter of encouragement, addressed to me. The next page was a complete breakdown on the cost of in vitro and information on Josh’s health insurance and what it covered. His insurance was good. It covered the first round of IVF at 100 percent. He even had a small business plan. He proposed selling doghouses that he would build. The extra income would raise enough money for the second round of in vitro in about three months. The next section was filled with printouts from the Department of International Adoptions. Notes scrawled in Josh’s handwriting said Brazil just opened up. He broke down the process, timeline, and costs right down to travel expenses and court fees. I flipped past a sleeve full of brochures to a page on getting licensed for foster care. He’d already gone through the background check, and he enclosed a form for me, along with a series of available dates for foster care orientation classes and in-home inspections. Was this what he’d been doing? This must have taken him weeks. My chin quivered. Somehow, seeing it all down on paper, knowing we’d be in it together, it didn’t feel so hopeless. It felt like something that we could do. Something that might actually work. Something possible. The last page had an envelope taped to it. I pried it open with trembling hands, my throat getting tight. I know what the journey will look like, Kristen. I’m ready to take this on. I love you and I can’t wait to tell you the best part…Just say okay. I dropped the letter and put my face into my hands and sobbed like I’d never sobbed in my life. He’d done all this for me. Josh looked infertility dead in the eye, and his choice was still me. He never gave up. All this time, no matter how hard I rejected him or how difficult I made it, he never walked away from me. He just changed strategies. And I knew if this one didn’t work he’d try another. And another. And another. He’d never stop trying until I gave in. And Sloan—she knew. She knew this was here, waiting for me. That’s why she’d made me leave. They’d conspired to do this.
Abby Jimenez
Simplicity, balance, character, direction and relation of the limbs to each other, with their proportions and general symmetry of the whole, must be apprehended in a flash and put down in long lines, without lingering on less important details of form, for there is little time to hesitate in making a ten-minutes sketch. The quicker we draw, the better, so long as we can keep up the tension of our eyes, brain and hand all working together at the same time. The moment one of these three faculties gets out of gear or tired, the vitality of the drawing is lost. An intelligent model in a good pose inspires us enormously to produce an artistic and living drawing. A drawing done in a few minutes, in a red-hot fever of excitement and with concentrated observation, following the contour of the form from start to finish, is far more living than the often elaborated drawings of a cataleptic, relaxed figure, dumped upon the traditional throne, so often seen in art schools ; for the essence of life figure drawing lies in the outline. There is no short cut, no royal road to excellence : the only way is by persistent study and cultivation of visual memory.
Borough Johnson (The Technique of Pencil Drawing)
the late communication theorist and New York University professor Neil Postman. Writing in the early 1990s, as the personal computer revolution first accelerated, Postman argued that our society was sliding into a troubling relationship with technology. We were, he noted, no longer discussing the trade-offs surrounding new technologies, balancing the new efficiencies against the new problems introduced. If it’s high-tech, we began to instead assume, then it’s good. Case closed. He called such a culture a technopoly, and he didn’t mince words in warning against it. “Technopoly eliminates alternatives to itself in precisely the way Aldous Huxley outlined in Brave New World,” he argued in his 1993 book on the topic. “It does not make them illegal. It does not make them immoral. It does not even make them unpopular. It makes them invisible and therefore irrelevant.
Cal Newport (Deep Work: Rules for Focused Success in a Distracted World)
How do you do? I’m Henry.” So he was Henry Jenkins. “I’m still Jane,” she said. Or, squeaked, rather. He was trying to fasten his seat belt and his look of confusion was so adorable, she wanted to reach over and help, but that wouldn’t be in keeping with the…wait, they were on a plane. There were no more Rules. There was no more game. She felt her hopes rise so that she thought she’d float away before the plane took off, so she pushed her feet flat against the floor. She reminded herself that she was the predator now. Tallyho. “This is a bit far to go, even for Mrs. Wattlesbrook.” “She didn’t send me,” said Nobley-Henry. “Not before, not now. I sent myself, or rather I came because I…I had to try it. Look, I know this is crazy, but the ticket was nonrefundable. Could I at least accompany you home?” “This is hardly a stroll through the park.” “I’m tired of parks.” She noticed that his tone was more casual now. He lost the stilted Regency air, his words relaxed enough to allow contractions--but besides that, so far Henry didn’t seem much different from Mr. Nobley. He leaned back, as if trying to calm down. “It was a good gig, but the pay wasn’t astronomical, so you can imagine my relief to find you weren’t flying first class. Though I’d prefer a cargo ship, frankly. I hate planes.” “Mr. Nob--uh, Henry, it’s not too late to get off the plane. I’m not writing an article for the magazine.” “What magazine?” “Oh. And I’m not rich.” “I know. Mrs. Wattlesbrook outlines every guest’s financials along with their profiles.” “Why would you come after me if you knew I wasn’t…” “That’s what I’m trying to tell you. You’re irresistible.” “I am not.” “I’m not happy about it. You really are the most irritating person I’ve ever met. I’d managed to avoid any women of any temptation whatsoever for four years--a very easy task in Pembrook Park. Things were going splendidly, I was right on track to die alone and unnoticed. And then…” “You don’t know me! You know Miss Erstwhile, but--” “Come now, ever since I witnessed your abominable performance in the theatrical, it’s been clear that you can’t act to save your life. All three weeks, that was you.” He smiled. “And I wanted to keep knowing you. Well, I didn’t at first. I wanted you to go away and leave me in peace. I’ve made a career out of avoiding any possibility of a real relationship. And then to find you in that circus…it didn’t make sense. But what ever does?” “Nothing,” said Jane with conviction. “Nothing makes sense.
Shannon Hale (Austenland (Austenland, #1))
Available data indicate that the blood and saliva normally carry defensive factors which when present control the growth of the acid producing organisms and the local reactions at tooth surfaces. When these defensive factors are not present the acid producing organisms multiply and produce an acid which dissolves tooth structure. The origin of this protective factor is provided in nutrition and is directly related to the mineral content of the foods and to known and unknown vitamins particularly the fat-soluble. Clinical data demonstrate that by following the program outlined dental caries can be prevented or controlled when active in practically all individuals. This does not require either permission or prescription but it is the inherent right of every individual. A properly balanced diet is good for the entire body
(1) Karl Barth was not an evangelical. He was a European Protestant wrestling with how to salvage Protestant Christianity in the wake of World War I, which exposed the debacle of liberal theology. Barth was not an inerrantist or a revivalist, and he was wrestling with a different array of issues than the “battle for the Bible.” (2) Karl Barth is on the side of the good guys when it comes to the major ecumenical doctrines about the Trinity and the atonement. Barth is decidedly orthodox and Reformed in his basic stance, though he sees the councils and confessions mainly as guidelines rather than holy writ. (3) Karl Barth arguably gives evangelicals some good tips about how to do theology over and against liberalism. Keep in mind that Karl Barth’s main sparring partner was not Billy Graham or the Chicago Statement on Biblical Inerrancy, but the European liberal tradition from Friedrich Schleiermacher to Albert Ritschl. For a case in point, whereas Schleiermacher made the Trinity an appendix to his book on Christian Faith because it was irrelevant to religious experience, Barth made the Trinity first and foremost in his Church Dogmatics, which was Barth’s way of saying, “Suck on that one, Schleiermacher!” (4) Evangelicals and the neoorthodox tend to be rather hostile toward each other. Many evangelicals regard the neoorthodox as nothing more than liberalism reloaded, while many neoorthodox theologians regard evangelicals as a more culturally savvy version of fundamentalism. Not true on either score. Evangelicalism and neoorthodoxy are both theological renewal movements trying to find a biblical and orthodox center in the post-Enlightenment era. The evangelicals left fundamentalism and edged left toward a workable orthodox center. The neoorthodox left liberalism and edged right toward a workable orthodox center. Thus, evangelicalism and neoorthodoxy are more like sibling rivals striving to be the heirs of the Reformers in the post-Enlightenment age. There is much in Karl Barth that evangelicals can benefit from. His theology is arguably the most christocentric ever devised. He has a strong emphasis on God’s transcendence, freedom, love, and “otherness.” Barth stresses the singular power and authority of the Word of God in its threefold form of “Incarnation, Preaching, and Scripture.” Barth strove with others like Karl Rahner to restore the Trinity to its place of importance in modern Christian thought. He was a leader in the Confessing Church until he was expelled from Germany by the Nazi regime. He preached weekly in the Basel prison. His collection of prayers contain moving accounts of his own piety and devotion to God. There is, of course, much to be critical of as well. Barth’s doctrine of election implied a universalism that he could never exegetically reconcile. Barth never could regard Scripture as God’s Word per se as much as it was an instrument for becoming God’s Word. He never took evangelicalism all that seriously, as evidenced by his famous retort to Carl Henry that Christianity Today was Christianity Yesterday. Barth’s theology, pro and con, is something that we must engage if we are to understand the state of modern theology. The best place to start to get your head around Barth is his Evangelical Theology, but note that for Barth, “evangelical” (evangelische) means basically “not Catholic” rather than something like American evangelicalism. Going beyond that, his Göttingen Dogmatics or Dogmatics in Outline is a step up where Barth begins to assemble a system of theology based on his understanding of the Word of God. Then one might like to launch into his multivolume Church Dogmatics with the kind assistance of Geoffrey Bromiley’s Introduction to the Theology of Karl Barth, which conveniently summarizes each section of Church Dogmatics.
Michael F. Bird (Evangelical Theology: A Biblical and Systematic Introduction)
No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin. The people of America, who live in the world's most surprising and terrible country, take comfort in that motto.
For a leader to diagnose a church for a culture compatible for developing leaders requires a good bit of courage and even more humility. The leadership task of discovering problems rather than ignoring them is not necessarily a well-worn path in the world of Christian leadership. We struggle to admit something is off or wrong in our cultures. For many, “ministry success” is the only acceptable narrative, and the demand for it has been fertile soil for hubris that has plagued leaders longing for or envious of ministry celebrity status. But if we are to be churches that train the very best leaders, we must put our egos to death. For the leader who longs for the church to repent, change often begins with the leader’s repentance. While we are wasting our time if we only address behavior while ignoring the wrong convictions, to discover what a culture fundamentally believes, a leader must work backward from the behaviors. While it is foolish and futile to attempt to change culture by only addressing behavior, one can learn the culture by watching the collective behavior of the church, by observing what is applauded and what is seen as normal. By observing the aggregate behaviors of the people, one can get a good sense of what the church really believes. We offer the following framework to help church leaders assess if the culture actually believes in and values leadership development. While this list of attributes does not cover everything that can or should be present in a church culture, we believe this list includes critical cultural attributes necessary for leadership development. The framework was built from the theological beliefs outlined in the previous chapter along with potential deviant expressions that corrode a church culture. As you consider your church culture, do the attributes on the left describe the church or those on the right? Working backward from the behavioral analysis, it is possible to make some theological assessments for church culture.
Eric Geiger (Designed to Lead: The Church and Leadership Development)
The task of government was not to stop selfish striving—a hopeless task—but to harness it for the public good. In starting to outline the contours of his own vision of government, Hamilton was spurred by Hume’s dark vision of human nature, which corresponded to his own.
Ron Chernow (Alexander Hamilton)
Nor could I ever tire of gazing at her large face, outlined like a beautiful cloud, calm and glowing, illuminated from within by its tenderness. Anything that partook, however faintly, however remotely, of her sensations, anything that could be said to be still a part of her being, was thereby so spiritualized and sanctified that, in smoothing under my hands her lovely hair, which was hardly gray yet, my touch was as respectful, careful, and gentle as though it were her goodness itself I was handling.
Marcel Proust (In the Shadow of Young Girls in Flower)
Chicago-based marketer Andy Crestodina writes an outline of a piece and then makes the main points its headers. Then he fleshes out the outline in a kind of fill-in-the-blank exercise. For him, “great writing isn't written, as much as assembled,” Andy told me.
Ann Handley (Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content)
I. THE FIRST STAGE OF ANALYTICAL READING: RULES FOR FINDING WHAT A BOOK IS ABOUT 1. Classify the book according to kind and subject matter. 2. State what the whole book is about with the utmost brevity. 3. Enumerate its major parts in their order and relation, and outline these parts as you have outlined the whole. 4. Define the problem or problems the author has tried to solve. II. THE SECOND STAGE OF ANALYTICAL READING: RULES FOR INTERPRETING A BOOK’S CONTENTS 5. Come to terms with the author by interpreting his key words. 6. Grasp the author’s leading propositions by dealing with his most important sentences. 7. Know the author’s arguments, by finding them in, or constructing them out of, sequences of sentences. 8. Determine which of his problems the author has solved, and which he has not; and of the latter, decide which the author knew he had failed to solve. III. THE THIRD STAGE OF ANALYTICAL READING: RULES FOR CRITICIZING A BOOK AS A COMMUNICATION OF KNOWLEDGE A. General Maxims of Intellectual Etiquette 9. Do not begin criticism until you have completed your outline and your interpretation of the book. (Do not say you agree, disagree, or suspend judgment, until you can say “I understand.”) 10. Do not disagree disputatiously or contentiously. 11. Demonstrate that you recognize the difference between knowledge and mere personal opinion by presenting good reasons for any critical judgment you make. B. Special Criteria for Points of Criticism 12. Show wherein the author is uninformed. 13. Show wherein the author is misinformed. 14. Show wherein the author is illogical. 15. Show wherein the author’s analysis or account is incomplete. Note: Of these last four, the first three are criteria for disagreement. Failing in all of these, you must agree, at least in part, although you may suspend judgment on the whole, in the light of the last point.
Mortimer J. Adler (How to Read a Book)
A key point about a one-on-one: It should be regarded as the subordinate’s meeting, with its agenda and tone set by him. There’s good reason for this. Somebody needs to prepare for the meeting. The supervisor with eight subordinates would have to prepare eight times; the subordinate only once. So the latter should be asked to prepare an outline, which is very important because it forces him to think through in advance all of the issues and points he plans to raise. Moreover, with an outline, the supervisor knows at the outset what is to be covered and can therefore help to set the pace of the meeting according to the “meatiness” of the items on the agenda.
Andrew S. Grove (High Output Management)
generous sprinkling of stars in the night sky poured down a silver-blue glow that filtered through the tree leaves and cast everyone in mottled patterns of shadow and specks of light. "It would be an audacious move," Lord Reginald was saying, having just heard the outline of McGantry’s plan. "Enough so, I dare say, to stand a good chance of succeeding." "All we need is for the wind to hold," O’Malley pointed out. "Then the rest of it can work." "It’s held this long, it’ll last at least until daybreak. That’ll give us all the time we need," said McGantry. Lufkin, whose nature and station caused him to usually remain a strong but silent presence on the periphery of things, surprised
Wayne D. Dundee (Lone McGantry: A Western Double)
Andy Crestodina writes an outline of a piece and then makes the main points its headers. Then he fleshes out the outline in a kind of fill-in-the-blank exercise.
Ann Handley (Everybody Writes: Your Go-To Guide to Creating Ridiculously Good Content)
key point about a one-on-one: It should be regarded as the subordinate’s meeting, with its agenda and tone set by him. There’s good reason for this. Somebody needs to prepare for the meeting. The supervisor with eight subordinates would have to prepare eight times; the subordinate only once. So the latter should be asked to prepare an outline, which is very important because it forces him to think through in advance all of the issues and points he plans to raise. Moreover, with an outline, the supervisor knows at the outset what is to be covered and can therefore help to set the pace of the meeting according to the “meatiness” of the items on the agenda. An outline also provides a framework for supporting information, which the subordinate should prepare in advance. The subordinate should then walk the supervisor through all the material.
Andrew S. Grove (High Output Management)
To wait can be a terrible mistake, since AA can swiftly progress and worsen causing deterioration and lead to a miserable, shortened life.  This handbook is primarily designed to keep people with AA from getting worse, but there is hope, as most people get better with the measures outlined in this handbook.  Plunge in.  Even when you find good medical care for AA, you will have to practice measures described in this handbook.
Forest Tennant (Handbook to Live Well with Adhesive Arachnoiditis)
MIRACULOUS!” . . . “Revolutionary!” . . . “Greatest ever!” We are inundated by a flood of extravagant claims as we channel surf the television or flip magazine pages. The messages leap out at us. The products assure that they are new, improved, fantastic, and capable of changing our lives. For only a few dollars, we can have “cleaner clothes,” “whiter teeth,” “glamorous hair,” and “tastier food.” Automobiles, perfume, diet drinks, and mouthwash are guaranteed to bring happiness, friends, and the good life. And just before an election, no one can match the politicians’ promises. But talk is cheap, and too often we soon realize that the boasts were hollow, quite far from the truth. “Jesus is the answer!” . . . “Believe in God!” . . . “Follow me to church!” Christians also make great claims but are often guilty of belying them with their actions. Professing to trust God and to be his people, they cling tightly to the world and its values. Possessing all the right answers, they contradict the gospel with their lives. With energetic style and crisp, well-chosen words, James confronts this conflict head-on. It is not enough to talk the Christian faith, he says; we must live it. “What good is it, my brothers and sisters, if someone claims to have faith but has no deeds? Can such faith save them?” (2:14). The proof of the reality of our faith is a changed life. Genuine faith will inevitably produce good deeds. This is the central theme of James’ letter, around which he supplies practical advice on living the Christian life. James begins his letter by outlining some general characteristics of the Christian life (1:1–27). Next, he exhorts Christians to act justly in society (2:1–13). He follows this practical advice with a theological discourse on the relationship between faith and action (2:14–26). Then James shows the importance of controlling one’s speech (3:1–12). In 3:13–18, James distinguishes two kinds of wisdom—earthly and heavenly. Then he encourages his readers to turn from evil desires and obey God (4:1–12). James reproves those who trust in their own plans and possessions (4:13—5:6). Finally, he exhorts his readers to be patient with each other (5:7–11), to be straightforward in their promises (5:12), to pray for each other (5:13–18), and to help each other remain faithful to God (5:19, 20). This letter could be considered a how-to book on Christian living. Confrontation, challenges, and a call to commitment await you in its pages. Read James and become a doer of the Word (1:22–25).
Anonymous (Life Application Study Bible: NIV)
A GOOD LIBRARY Besides the works mentioned everyone should endeavor to have the following: Plutarch's Lives, Meditations of Marcus Aurelius, Chaucer, Imitation of Christ (Thomas a Kempis), Holy Living and Holy Dying (Jeremy Taylor), Pilgrim's Progress, Macaulay's Essays, Bacon's Essays, Addison's Essays, Essays of Elia (Charles Lamb), Les Miserables (Hugo), Heroes and Hero Worship (Carlyle), Palgrave's Golden Treasury, Wordsworth, Vicar of Wakefield, Adam Bede (George Eliot), Vanity Fair (Thackeray), Ivanhoe (Scott), On the Heights (Auerbach), Eugenie Grandet (Balzac), Scarlet Letter (Hawthorne), Emerson's Essays, Boswell's Life of Johnson, History of the English People (Green), Outlines of Universal History, Origin of Species, Montaigne's Essays, Longfellow, Tennyson, Browning, Whittier, Ruskin, Herbert Spencer. A good encyclopoedia is very desirable and a reliable dictionary indispensable.
Joseph Devlin (How to Speak and Write Correctly)
physical sharing and exchange of computer tapes and disks on which the code was recorded. In current Internet days, rapid technological advances in computer hardware and software and networking technologies have made it much easier to create and sustain a communal development style on ever-larger scales. Also, implementing new projects is becoming progressively easier as effective project design becomes better understood, and as prepackaged infrastructural support for such projects becomes available on the Web. Today, an open source software development project is typically initiated by an individual or a small group seeking a solution to an individual's or a firm's need. Raymond (1999, p. 32) suggests that "every good work of software starts by scratching a developer's personal itch" and that "too often software developers spend their days grinding away for pay at programs they neither need nor love. But not in the (open source) world...." A project's initiators also generally become the project's "owners" or "maintainers" who take on responsibility for project management." Early on, this individual or group generally develops a first, rough version of the code that outlines the functionality envisioned. The source code for this initial version is then made freely available to all via downloading from an Internet website established by the project. The project founders also set up infrastructure for the project that those interested in using or further developing the code can use to seek help, provide information or provide new open source code for others to discuss and test. In the case of projects that are successful in attracting interest, others do download and use and "play with" the code-and some of these do go on to create new and modified code. Most then post what they have done on the project website for use and critique by any who are interested. New and modified code that is deemed to be of sufficient quality and of general interest by the project maintainers is then added to the authorized version of the code. In many projects the privilege of adding to the authorized code is restricted to only a few trusted developers. These few then serve as gatekeepers for code written by contributors who do not have such access (von Krogh and Spaeth 2002). Critical tools and infrastructure available to open source software project participants includes email lists for specialized purposes that are open to all. Thus, there is a list where code users can report software failures ("bugs") that they encounter during field use of the software. There is also a list where those developing the code can share ideas about what would be good next steps for the project, good features to add, etc. All of these lists are open to all and are also publicly archived,
Eric von Hippel (Democratizing Innovation)
One of the most effective guidelines is not to get stuck on a single approach. If diagramming the design in UML isn't working, write it in English. Write a short test program. Try a completely different approach. Think of a brute-force solution. Keep outlining and sketching with your pencil, and your brain will follow. If all else fails, walk away from the problem. Literally go for a walk, or think about something else before returning to the problem. If you've given it your best and are getting nowhere, putting it out of your mind for a time often produces results more quickly than sheer persistence can. You don't have to solve the whole design problem at once. If you get stuck, remember that a point needs to be decided but recognize that you don't yet have enough information to resolve that specific issue. Why fight your way through the last 20 percent of the design when it will drop into place easily the next time through? Why make bad decisions based on limited experience with the design when you can make good decisions based on more experience with it later? Some people are uncomfortable if they don't come to closure after a design cycle, but after you have created a few designs without resolving issues prematurely, it will seem natural to leave issues unresolved until you have more information (Zahniser 1992, Beck 2000).
Steve McConnell (Code Complete)
Your heart holds great love for her.” “Yes. Those terrible men-- She’s just a little girl. They’ve already had her for eight days. I can think of nothing else. Even in my sleep I dream about what could be happening to her, hear her calling for me. I try to find her, and I can’t.” He grasped her chin, his touch deceptively gentle, as it had always been. “This night, you will sleep without dreams. I have said I will find her. Suvate, it is finished.” With that, he left the lodge. A few minutes later he returned. After donning a pair of buckskin pants, which he pulled on while still wearing his breechcloth, he gathered his weapons, making several trips outside to his horse. When he had collected everything he needed, he sat on a fur pallet, propped a small shaving mirror on his knees, and painted his face, outlining his eyes with black graphite and striping his chin thrice with crimson. Loretta sat on the edge of the bed watching him. When he finished he glanced over at her. She was seeing Hunter the killer for the first time. On the one hand, he looked so fierce that he terrified her; on the other, she felt strangely reassured. Such a brutal, grimly determined man would be able to find and rescue Amy when another might fail. “What does the paint say?” she asked. “That this Comanche rides for war.” “War?” she whispered. “Santos will know by the paint that I come in anger.” “Will there be a fight? Amy might get hurt.” “Your Aye-mee will suffer no harm.” He rose and put away his paints, cleaning his hands on a swatch of cloth. Turning to face her, he said, “My brother, Warrior, and my good friend Swift Antelope will remain beside you. Their strong arms are yours.” He motioned for her to stand. “I take you to Warrior now. You will sleep in his lodge circle. No harm, eh?
Catherine Anderson (Comanche Moon (Comanche, #1))
Finn looked up at Megan and suddenly she felt totally self-conscious. But she meant everything she had said. She knew she was right. But something about the way he was looking at her was making her feel like he could see under her skin. “Can I paint you?” Finn asked. Megan blinked. “Okay, that’s basically the last thing I ever thought you were gonna say.” Finn was on his feet and removing Kayla’s painting from the easel before the rush of heat had eased from Megan’s face. Suddenly he was a flurry of motion, cleaning brushes, squirting paint onto his palette, crumpling paper towels and launching them toward an overflowing trash can in the corner. “So, can I?” he asked. “Uh…I guess,” Megan said, already feeling awkward. If there was one thing Megan wasn’t, it was a model. She had never seen a freckle-faced, broad-shouldered, thick-calved girl in the pages of Tracy’s fashion mags. Not once. Finn was busily arranging his easel, which faced the back wall. Megan started to push herself off her stool. “Should I--?” “No! No. Stay right there,” Finn said. He picked up his easel and turned it so that the back of the contraption was facing her and her stool. “That’s good. I like the light right there.” Megan glanced up at the skylight and the blue sky beyond. “Am I gonna have to sit still for this?” she asked. “’Cuz I’m not very good at that.” Finn grinned and peeked at her over the top of his clean canvas. “Don’t worry. We’ll figure it out.” Megan sat and watched Finn as he worked, sketching her outline, the pencil scraping lightly against the cloth. He was riveted, concentrating, but his arms and hands seemed to move of their own volition. Watching him was mesmerizing. Even when he looked up at her, she found that she couldn’t tear her eyes away. She kept catching his glance, looking directly into his eyes. Megan’s skin grew warm under his intense scrutiny. She lifted her ponytail off the back of her neck to get some air and the ends of her hair tickled her skin. Her breath came quick and shallow. “You okay?” he asked. Megan instantly blushed and averted her gaze. “Yeah, fine.” “’Cuz we can stop if you don’t want to do this,” Finn replied. “No, I’m…I’m okay,” Megan said. Truth be told, everything inside her and around her felt charged. She could have sat there all day. “Good,” Finn said. Megan’s whole body felt a pleasant, tingling warmth. For a split second, neither of them moved.
Kate Brian (Megan Meade's Guide to the McGowan Boys)
Megan sat and watched Finn as he worked, sketching her outline, the pencil scraping lightly against the cloth. He was riveted, concentrating, but his arms and hands seemed to move of their own volition. Watching him was mesmerizing. Even when he looked up at her, she found that she couldn’t tear her eyes away. She kept catching his glance, looking directly into his eyes. Megan’s skin grew warm under his intense scrutiny. She lifted her ponytail off the back of her neck to get some air and the ends of her hair tickled her skin. Her breath came quick and shallow. “You okay?” he asked. Megan instantly blushed and averted her gaze. “Yeah, fine.” “’Cuz we can stop if you don’t want to do this,” Finn replied. “No, I’m…I’m okay,” Megan said. Truth be told, everything inside her and around her felt charged. She could have sat there all day. “Good,” Finn said. Megan’s whole body felt a pleasant, tingling warmth. For a split second, neither of them moved.
Kate Brian (Megan Meade's Guide to the McGowan Boys)
Much of the Persian period is blank for Jewish history, however you look at it. If a good deal of the work of writing and editing the Hebrew Bible went on during this time, it is hardly surprising that we know nothing about it. Yet we are not completely ignorant: for some parts of this 200-year period we have a fair amount of information, and for other parts we have some outline information provided by archaeology and other sources.
Lester L. Grabbe (An Introduction to Second Temple Judaism: History and Religion of the Jews in the Time of Nehemiah, the Maccabees, Hillel, and Jesus)
By the time Columbus discovered America, the Indians were already using beads for decoration. Beads were made from shells, bones, claws, stones, and minerals. The Algonquin and Iroquois tribes of the eastern coast made beads from clam, conch, periwinkle, and other seashells. These beads were used as a medium of exchange by the early Dutch and English colonists. They were called “wampum,” a contraction of the Algonquin “wampumpeak” or “wamponeage,” meaning string of shell beads. The purple beads had twice the value of the white ones. The explorer, followed by the trader, missionary and settler, soon discovered that he had a very good trade item in glass beads brought from Europe. The early beads that were used were about 1/8 inch in diameter, nearly twice as large as beads in the mid-1800’s. They were called pony beads and were quite irregular in shape and size. The colors most commonly used were sky-blue, white, and black. Other less widely used colors were deep bluff, light red, dark red, and dark blue. The small, round seed beads, as they are called, are the most generally used for sewed beadwork. They come in a variety of colors. Those most commonly used by the Indians are red, orange, yellow, light blue, dark blue, green, lavender, and black. The missionaries’ floral embroidered vestments influenced the Woodland tribes of the Great Lakes to apply beads in flower designs. Many other tribes, however, are now using flower designs. There are four main design styles used in the modern period. Three of the styles are largely restricted to particular tribes. The fourth style is common to all groups. It is very simple in pattern. The motifs generally used are solid triangles, hourglasses, crosses, and oblongs. This style is usually used in narrow strips on leggings, robes, or blankets. Sioux beadwork usually is quite open with a solid background in a light color. White is used almost exclusively, although medium or light blue is sometimes seen. The design colors are dominated by red and blue with yellow and green used sparingly. The lazy stitch is used as an application. The Crow and Shoshoni usually beaded on red trade or blanket cloth, using the cloth itself for a background. White was rarely used, except as a thin line outlining other design elements. The most common colors used for designs are pale lavender, pale blue, green, and yellow. On rare occasions, dark blue was used. Red beads were not used very often because they blended with the background color of the cloth and could not be seen. The applique stitch was used. Blackfoot beadwork can be identified by the myriad of little squares or oblongs massed together to make up a larger unit of design such as triangles, squares, diamonds, terraces, and crosses. The large figure is usually of one color and the little units edging it of many colors. The background color is usually white, although other light colors such as light blue and green have been used. The smallness of the pattern in Blackfoot designs would indicate this style is quite modern, as pony trading beads would be too large to work into these designs. Beadwork made in this style seems to imitate the designs of the woven quill work of some of the northwestern tribes with whom the Blackfoot came in contact.
W. Ben Hunt (Indian Crafts & Lore)
The essence of its failure was that it could not sustain unity. In its early stages its citizens, both patrician and plebeian, had a certain tradition of justice and good faith, and of the loyalty of all citizens to the law, and of the goodness of the law for all citizens; it clung to this idea of the importance of the law and of law-abidingness nearly into the first century B.C. But the unforeseen invention and development of money, the temptations and disruptions of imperial expansion, the entanglement of electoral methods, weakened and swamped this tradition by presenting old issues in new disguises under which the judgment did not recognize them, and by enabling men to be loyal to the professions of citizenship and disloyal to its spirit.
H.G. Wells (The Outline of History (illustrated & annotated))
It is curious to note how slowly the mechanism of the intellectual life improves. Contrast the ordinary library facilities of a middle-class English home, such as the present writer is now working in, with the inconveniences and deficiencies of the equipment of an Alexandrian writer, and one realizes the enormous waste of time, physical exertion, and attention that went on through all the centuries during which that library flourished. Before the present writer lie half a dozen books, and there are good indices to three of them. He can pick up any one of these six books, refer quickly to a statement, verify a quotation, and go on writing. Contrast with that the tedious unfolding of a rolled manuscript. Close at hand are two encyclopedias, a dictionary, an atlas of the world, a biographical dictionary, and other books of reference. They have no marginal indices, it is true; but that perhaps is asking for too much at present. There were no such resources in the world in 300 B.C. Alexandria had still to produce the first grammar and the first dictionary. This present book is being written in manuscript; it is then taken by a typist and typewritten very accurately. It can then, with the utmost convenience, be read over, corrected amply, rearranged freely, retyped, and recorrected. Fig 00346
H.G. Wells (The Outline of History (illustrated & annotated))
No animal will change when its conditions are good enough for present survival. And in this matter man is still an animal.
H.G. Wells (The Outline of History (illustrated & annotated))
Give the Audience Something to Cheer For Austin Madison is an animator and story artist for such Pixar movies as Ratatouille, WALL-E, Toy Story 3, Brave, and others. In a revealing presentation Madison outlined the 7-step process that all Pixar movies follow. 1. Once there was a ___. 3 [A protagonist/ hero with a goal is the most important element of a story.] 2. Every day he ___. [The hero’s world must be in balance in the first act.] 3. Until one day ___. [A compelling story introduces conflict. The hero’s goal faces a challenge.] 4. Because of that ___. [This step is critical and separates a blockbuster from an average story. A compelling story isn’t made up of random scenes that are loosely tied together. Each scene has one nugget of information that compels the next scene.] 5. Because of that ___. 6. Until finally ____. [The climax reveals the triumph of good over evil.] 7. Ever since then ___. [The moral of the story.] The steps are meant to immerse an audience into a hero’s journey and give the audience someone to cheer for. This process is used in all forms of storytelling: journalism, screenplays, books, presentations, speeches. Madison uses a classic hero/ villain movie to show how the process plays out—Star Wars. Here’s the story of Luke Skywalker. Once there was a farm boy who wanted to be a pilot. Every day he helped on the farm. Until one day his family is killed. Because of that he joins legendary Jedi Obi-Wan Kenobi. Because of that he hires the smuggler Han Solo to take him to Alderaan. Until finally Luke reaches his goal and becomes a starfighter pilot and saves the day. Ever since then Luke’s been on the path to be a Jedi knight. Like millions of others, I was impressed with Malala’s Nobel Peace prize–winning acceptance speech. While I appreciated the beauty and power of her words, it wasn’t until I did the research for this book that I fully understood why Malala’s words inspired me. Malala’s speech perfectly follows Pixar’s 7-step storytelling process. I doubt that she did this intentionally, but it demonstrates once again the theme in this book—there’s a difference between a story, a good story, and a story that sparks movements.
Carmine Gallo (The Storyteller's Secret: From TED Speakers to Business Legends, Why Some Ideas Catch On and Others Don't)
Be careful who you let define your good. —Lois McMaster Bujold, science fiction writer • Why is learning to sift through possibilities and to prioritize them one of our key developmental tasks as women? • Do you have any dreams that are currently intersecting? How are you prioritizing them? • If you are deferring a dream, have you considered keeping a journal that outlines how what you are doing now will help you achieve your dream? • Some dreams that we all deserve may go unrealized indefinitely. Do we honor that loss? • Unrealized dreams may also lead to unimagined opportunities, new dreams, and happiness. What unrealized dreams have freed up the resources (time, money, energy) that you can reinvest in your current dreams? • Is it time to redirect or shift one of your dreams? • Is there something that you used to love to do that you’ve set aside? Is it possible that you can combine your childhood skills with the ones you’ve since acquired, to tell yourself a new story—one that is fresh and relevant to you today? • Do you have a dream that needs to be supersized? What do you need to make this happen? And if you are holding back—why?
Whitney Johnson (Dare, Dream, Do: Remarkable Things Happen When You Dare to Dream)
I could see the outline of the cage coming into sight. “It’s so beautiful out today,” she commented. “It is.” I started to sweat. “Do you need a hand?” She could see the trap breaking the water. “No, I’m good,” I said, clearing my throat. “Oh, that stinks. It’s empty.” “Oh well. No loss.” Maybe I didn’t have to do this now. Maybe she wouldn’t see the box, and I could just pull up the traps I had set earlier today. She didn’t have to know. “Wait. What’s that?” Okay, never mind. Back to plan A. “What’s what?” That was smooth.
Kiera Cass (The Siren)
Well, Mr. Cranton,” she said, brows raised. “When you told me you needed my gown so as to clean the sea stains and tar from it, I had no idea that you had… uh, other uses for it.” Loud guffaws met her remark. “Really, Captain O’ Devir,” she said, turning to the grinning Irishman. “Your so-called Navy has some odd ways of amusing itself.” “Odd ways that saved all of our hides,” cried a nearby seaman. “Three cheers for our captain!” “Hip hip, huzzah! Hip hip, huzzah! Hip hip, huzzah!” Nerissa, confused, could only stare at them all. They’d surely lost their minds. “I expected there to be a sea fight, and I’m very glad there was not, but how did you manage to avoid getting blown to the ends of the earth, Captain O’ Devir?” He just shrugged, his eyes hungry and dark as he took in her long, willowy form, her legs clearly outlined in Midshipman Cranton’s skinny breeches. “Well, Lady Nerissa, ye’re the most valuable person on this ship and that countryman of yers back there knows it. He wouldn’t dare fire on us with you up here on deck.” “But I wasn’t up here on deck.” “Aye, precisely. But that piece of sh—… ehm, that blaggard back there, didn’t know that. Ye’ll stay in Cranton’s uniform so he doesn’t find out.” “What? What are you all talking about?” Lieutenant Morgan, chewing on a piece of dried ginger, was the one who clarified it for her. “Captain O’ Devir would never risk your life by having you up on deck where musket or cannonballs could be flying, so he had Cranton here pretend to be you.” The youth rubbed the back of his head. “Didn’t need to hit me quite so hard, sir,” he said good naturedly. “I nearly didn’t have to fake being knocked out cold.” “My heavens,” Nerissa said, as laughter greeted the youth’s remark, and immediately the sailor’s teasing resumed. “Still think you make a fetching young lady, Mr. Cranton!” “Can I call on you, my lady?” asked Tackett the sailing master, making an elegant leg to the blushing youth. “I’d love to run my fingers through your hair….” “Hell, I’d love to run mine through his cleavage.” “Hahaha!” “Shut yer gobs, ye rogues,” said Captain O’ Devir. “That’s an officer ye’re talkin’ to. Give him some respect.” More guffaws, because it was hard to give a man any respect when he stood before them in a lady’s gown, red-faced, fuming, and reaching into his bosom to tear out the other stocking. He flung it down. “My apologies, Lady Nerissa,” he said, looking like he was about to take a swing at the sailing master. “You should not have to listen to such talk.” She couldn’t help but be caught up in their high spirits. “I have brothers,” she said, smiling. “There’s not much that will offend me, I can assure you.
Danelle Harmon (The Wayward One (The de Montforte Brothers, #5))