Page Description Quotes

She drinks pints of coffee and writes little observations and ideas for stories with her best fountain pen on the linen-white pages of expensive notebooks. Sometimes, when it's going badly, she wonders if what she believes to be a love of the written word is really just a fetish for stationery.

I was satisfied with haiku until I met you, but now I want a Russian novel, a 50-page description of you sleeping.

To borrow Granny’s description, a bookstore is a place densely populated with tens of thousands of authors, dead or living, residing side by side. But books are quiet. They remain dead silent until somebody flips open a page. Only then do they spill out their stories, calmly and thoroughly, just enough at a time for me to handle.

No one will be alive by the last book. In fact, they all die in the fifth. The sixth book will be just a thousand-page description of snow blowing across the graves ...

‎I was satisfied with haiku until I met you, jar of octopus, cuckoo's cry, 5-7-5, but now I want a russian novel, a 50-page description of you sleeping, another 75 of what you think staring at your window.

I love words.  I crave descriptions that overwhelm my imagination with vivid detail.  I dwell on phrases that make my heart thrum.  I cherish expressions that pierce my emotions and force the tears to spill over.   In essence, I long for a writer's soul sealed in ink on the page.

We want to imagine that people are consistent, steady, stable. We define who they are, create descriptions to lock them on a page, divide them up by their likes, talents, beliefs. Then we pretend some—perhaps most—are better than we are, because they stick to their definitions, while we never quite fit ours. Truth is, people are as fluid as time is. We adapt to our situation like water in a strangely shaped jug, though it might take us a little while to ooze into all the little nooks. Because we adapt, we sometimes don’t recognize how twisted, uncomfortable, or downright wrong the container is that we’ve been told to inhabit.

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

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

In old Chinese novels, especially in the Kimpeibai, usually after every ten or twenty pages of innocent description, the author invariably throws in an indecent scene as if he were quite punctually fulfilling a promise.

Sometimes I would worry about my internet habits and force myself awy from the computer, to read a magazine or book. Contemporary literature offered no respite: I would find the prose cluttered with data points, tenuous historical connections, detail so finely tuned it could have only been extracted from a feverish night of search-engine queries. Aphorisms were in; authors were wired. I would pick up books that had been heavily documented on social media, only to find that the books themselves had a curatorial affect: beautiful descriptions of little substance, arranged in elegant vignettes—gestural text, the equivalent of a rumpled linen bedsheet or a bunch of dahlias placed just so. Oh, I would think, turning the page. This author is addicted to the internet, too.

I glanced through another page in case I had missed something, and came to the description of Simon's face as he lay on the grass with his eyes closed. It gave me a stab in which happiness and misery were somehow a part of each other.

I won't read a book that starts with a description of the weather. I don't read books over 300 pages, though I'll make an exception for Don Delillo.

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

When I started reading the literature of molecular biology, I was stunned by certain descriptions. Admittedly, I was on the lookout for anything unusual, as my investigation had led me to consider that DNA and its cellular machinery truly were an extremely sophisticated technology of cosmic origin. But as I pored over thousands of pages of biological texts, I discovered a world of science fiction that seemed to confirm my hypothesis. Proteins and enzymes were described as 'miniature robots,' ribosomes were 'molecular computers,' cells were 'factories,' DNA itself was a 'text,' a 'program,' a 'language,' or 'data.' One only had to do a literal reading of contemporary biology to reach shattering conclusions; yet most authors display a total lack of astonishment and seem to consider that life is merely 'a normal physiochemical phenomenon.

[John] Harrison [could not] express himself clearly in writing.... No matter how brilliantly ideas formed in his mind, or crystallized in his clockworks, his verbal descriptions failed to shine with the same light.... The first sentence [of his last published work] runs on, virtually unpunctuated, for twenty-five pages." Dava Sobel, Longitude, p66

Description begins with visualization of what it is you want the reader to experience. It ends with you translating what you see in your mind into words on the page.

He went plof and vanished. Onomatopoeia can be so very handy. Imagine if we’d had to provide a detailed description of someone disappearing. It would have taken us at least ten pages. Plof.

My mother tells Tina that she doesn't like books where the protagonist is established as Sad on page one. Okay, she's sad! We get it, we know what sad is, and then the whole book is basically a description of the million and one ways in which our protagonist is sad. Gimme a break! Get on with it!

Well, each interpretation of an event, setting or character is unique to each of those who read it because they clothe the author's description with the memory of their own experiences. Every character they read is actually a complex amalgam of people they've met, read or seen before - far more real than it can ever be just from the text on the page. Because every reader's experiences are different, each book is unique for each reader.

She was home, among the mayor's books of every color and description, with their silver and gold lettering. She could smell the pages. She could almost taste the words as they stacked up around her.

On the edge of the prairie, where the sun had gone down, the sky was turquoise blue, like a lake, with gold light throbbing in it. Higher up, in the utter clarity of the western slope, the evening star hung like a lamp suspended by silver chains -- like the lamp engraved up the title-page of old Latin texts, which is always appearing in new heavens and waking new desires in men.

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

I’ll tell you a thing that will shock you. It will certainly shock the readers of Writer’s Digest. What I often do nowadays when I have to, say, describe a room, is to take a page of a dictionary, any page at all, and see if with the words suggested by that one page in the dictionary I can build up a room, build up a scene. … I even did it in a novel I wrote called MF. There’s a description of a hotel vestibule whose properties are derived from Page 167 in R.J. Wilkinson’s Malay-English Dictionary. Nobody has noticed. … As most things in life are arbitrary anyway, you’re not doing anything naughty, you’re really normally doing what nature does, you’re just making an entity out of the elements. I do recommend it to young writers.

With every passing day, we add a page to our personal story, an illustrative script that casts our character shaped by an implacable external environment and fashioned by our supple state of inwardness.

In light of recent events—genocide in East Africa, the collapse of democracy throughout the continent, the isolation of Cuba, the overthrow of progressive movements throughout the so-called third world—some might argue that the moment of truth has already passed, that Césaire and Fanon’s predictions proved false. We’re facing an era where fools are calling for a renewal of colonialism, where descriptions of violence and instability draw on the very colonial language of “barbarism” and “backwardness” that Césaire critiques in these pages. But this is all a mystification; the fact is, while colonialism in its formal sense might have been dismantled, the colonial state has not. Many of the problems of democracy are products of the old colonial state whose primary difference is the presence of black faces. It has to do with the rise of a new ruling class—the class Fanon warned us about—who are content with mimicking the colonial masters,

But the essence of a place, the part of it that picks you up and puts you down somewhere else, cannot be given to the reader through factual description. And maybe not at all. You have to find your own secret images. The slow fall of a coin into the gorge with the sun catching the copper only for a moment, and the fall into nothing says more about a sense of place than three pages of restaurant and hotel descriptions...

She quickly realized she had an affinity for the older books and their muted scents of past dinners and foreign countries, the tea and chocolate stains coloring the phrases. You could never be certain what you would find in a book that has spent time with someone else. As she has rifled through the pages looking for defects, she had discovered an entrance ticket to Giverny, a receipt for thirteen bottles of champagne, a to-do list that included, along with groceries and dry cleaning, the simple reminder, 'buy a gun.' Bits of life tucked like stowaways in between the chapters. Sometimes she couldn't decide which story she was most drawn to.

No novel is anything, for the purposes either of comedy or tragedy, unless the reader can sympathise with the characters whose names he finds upon the pages. Let an author so tell his tale as to touch his reader's heart and draw his tears, and he has, so far, done his work well. Truth let there be, --truth of description, truth of character, human truth as to men and women. If there be such truth, I do not know that a novel can be too sensational.

He flipped through the book as he ambled toward her. "Good God. There are whole pages of description. The roguish wave of my hair. My chiseled profile. I have eyes like... like diamonds?" "Not real diamonds. Bristol diamonds." "What are Bristol diamonds?" "They're a kind of rock formation. On the outside, they look like ordinary pebbles. Round, brownish gray. But when you crack them open, inside they're filled with crystals in a hundred different shades.

She turned back to the spot where Kamala had been, and where the bow she'd held still was. Andrea walked over to it and picked it up. She ran her hands over it gently, feeling the intricate designs carved into it, the elegance of the metal guard. Andrea held it out before her and pulled the string back. It came easily, though with all the tensions of a thousand taut muscles. She relaxed the string and looked at the bow with a sad familiarity, as she uttered one word. “Sister.

These inventive metaphors may be descriptive on the written page, but they often create distance between our feelings and our words.

You made an offering of a battle of gods and demons," Joshua said. "That kind of offer does not go unnoticed. You awoke the souls of your kinsmen inside the mortals they have become.

Once, before leaving on vacation, I copied an entire page from an Alice Munro story and left it in my typewriter, hoping a burglar might come upon it and mistake her words for my own. That an intruder would spend his valuable time reading, that he might be impressed by the description of a crooked face, was something I did not question, as I believed, and still do, that stories save you.

Descriptions of dreams have a dubious place in storytelling. For these are dreams which have been imagined--'dreamed up', to be slotted in. A story can be made up. How can a dream be made up? By not rising of its own free will from the unconscious it sets a note of falsity, merely illustrating something 'dream-like', which may be why dream descriptions within stories seen curiously meaningless. To avoid glazing over, best then to turn the page quickly.

It is to be regretted that no mental method of daguerreotype or photography has yet been discovered by which the characters of men can be reduced to writing and put into grammatical language with an unerring precision of truthful description. How often does the novelist feel, ay, and the historian also and the biographer, that he has conceived within his mind and accurately depicted on the tablet of his brain the full character and personage of man, and that nevertheless, when he flies to pen and ink to perpetuate the portrait, his words forsake, elude, disappoint, and play the deuce with him, till at the end of a dozen pages the man described has no more resemblance to the man conceived than the signboard at the coner of the street has to the Duke of Cambridge?

His unstoppable curiosity triumphed, and Leonardo went into the cave. There he discovered, embedded in the wall, a fossil whale. “Oh mighty and once-living instrument of nature,” he wrote, “your vast strength was to no avail.”26 Some scholars have assumed that he was describing a fantasy hike or riffing on some verses by Seneca. But his notebook page and those surrounding it are filled with descriptions of layers of fossil shells, and many fossilized whale bones have in fact been discovered in Tuscany.27 The whale fossil triggered

And how easy it was to leave this life, after all - this life that could feel so present and permanent that departing from it must seem to require a tear into a different dimension. There the bunch of them were, young hopefuls, decorating their annually purged dorm rooms with postcards and prints and favorite photographs of friends, filling them with hot pots and dried flowers, throw rugs and stereos. Houseplants, a lamp, maybe some furniture brought up by encouraging parents. They nested there like miniature grownups. As if this provisional student life - with its brushfire friendships and drink-addled intimacies, its gorging on knowledge and blind sexual indulgences - could possibly last. As if it were a home, of any kind at all: someplace to gather one's sense of self. Flannery had never felt for a minute that these months of shared living took place on anything other than quicksand, and it had given this whole year (these scant seven or eight months, into which an aging decade or so had been condensed) a sliding, wavery feel. She came from earthquake country and knew the dangers of building on landfill. That was, it seemed to Flannery, the best description of this willed group project of freshman year: construction on landfill. A collective confusion of impressions and tendencies, mostly castoffs with a few keepers. What was there to count on in any of it? What structure would remain, founded on that?

They asked forty-two experienced investors in the firm to estimate the fair value of a stock (the price at which the investors would be indifferent to buying or selling). The investors based their analysis on a one-page description of the business; the data included simplified profit and loss, balance sheet, and cash flow statements for the past three years and projections for the next two. Median noise, measured in the same way as in the insurance company, was 41%. Such large differences among investors in the same firm, using the same valuation methods, cannot be good news.

I'm not saying that French books are talented, and intelligent, and noble. They don't satisfy me either. But they're less boring than the Russian ones, and not seldom one finds in them the main element of creative work––a sense of personal freedom, which Russian authors don't have. I can't remember a single new book in which the author doesn't do his best, from the very first page, to entangle himself in all possible conventions and private deals with his conscience. One is afraid to speak of the naked body, another is bound hand and foot by psychological analysis, a third must have "a warm attitude towards humanity," a fourth purposely wallows for whole pages in descriptions of nature, lest he be suspected of tendentiousness... One insists on being a bourgeois in his work, another an aristocrat, etc. Contrivance, caution, keeping one's own counsel, but no freedom nor courage to write as one wishes, and therefore no creativity. - A Boring Story

I have written various words, verbs, adjectives, and adverbs, and bits of dismantled sentences, fragments of expressions and descriptions and all kinds of tentative combinations. Every now and again I pick up one these particles, these molecules of texts, hold it up to the light and examine it carefully, turn it in various directions, lean forward and rub or polish it, hold it up to the light again, rub it again slightly, then lean forward and fit it into the texture of the cloth I am weaving. Then I stare at it from different angles, still not entirely satisfied, and take it out again and replace it with another word, or try to fit it into another niche in the same sentence, then remove, file it down a tiny bit more, and try to fit it in again, perhaps at a slightly different angle. Or deploy it differently. Perhaps farther down the sentence. Or at the beginning of the next one. Or should I cut it off and make it into a one-word sentence on its own? I stand up. Walk around the room. Return to the desk. Stare at it for a few moments or longer, cross out the whole sentence or tear up the whole page. I give up in despair. I curse myself aloud and curse writing in general and the language as a whole, despite which I sit down and start putting the whole thing together all over again. [p.268]

He had gone again and, emboldened by his first successful trip, had chosen a different sort of world to enter, that of THE MONK. He had studied the book with great care and finally selected a passage that was purely descriptive. The result was the same. The instant he closed the top of the showcase, he was transported to the world described in the open pages. He found himself standing - and shivering - in a dank corridor that, he knew, was far underground. Feeble candlelight flickered in the distance, off to his left. Water dripped down the gleaming walls and startled rats scurried past his feet. The air was stale and unpleasant. Down the corridor to his left, he could hear singing but could not make out the words. Then suddenly, from his right, he heard a woman's high-pitched scream, its sound caroming off the wet, stone walls of the passageway. He jumped, his skin crawling at the back of his neck. And found himself back in his warm and familiar room. ("I Shall Not Leave England Now")

It is important to note that the design of an entire brain region is simpler than the design of a single neuron. As discussed earlier, models often get simpler at a higher level—consider an analogy with a computer. We do need to understand the detailed physics ofsemiconductors to model a transistor, and the equations underlying a single real transistor are complex. A digital circuit that multiples two numbers requires hundreds of them. Yet we can model this multiplication circuit very simply with one or two formulas. An entire computer with billions of transistors can be modeled through its instruction set and register description, which can be described on a handful of written pages of text and formulas. The software programs for an operating system, language compilers, and assemblers are reasonably complex, but modeling a particular program—for example, a speech recognition programbased on hierarchical hidden Markov modeling—may likewise be described in only a few pages of equations. Nowhere in such a description would be found the details ofsemiconductor physics or even of computer architecture. A similar observation holds true for the brain. A particular neocortical pattern recognizer that detects a particular invariant visualfeature (such as a face) or that performs a bandpass filtering (restricting input to a specific frequency range) on sound or that evaluates the temporal proximity of two events can be described with far fewer specific details than the actual physics and chemicalrelations controlling the neurotransmitters, ion channels, and other synaptic and dendritic variables involved in the neural processes. Although all of this complexity needs to be carefully considered before advancing to the next higher conceptual level, much of it can be simplified as the operating principles of the brain are revealed.

No, I shall not weary you with a long account of my childhood, and all that sort of thing. When I read a story, I always skip the pages devoted to a description of the juvenile days of the hero or heroine. They are generally insufferably uninteresting, or interesting only to the writer, and I can find no excuse for selfishness, with such a weapon as a pen in one’s hand.

That's why your poems can never be no more than a description of life. The page is finite. Once you put the words down on paper, you've fossilized your thought. Bugs in amber, nigger. But music is life itself. Music is time. Played live, played at seventy-eight rpms, thirty-three and a third, backwards, looped, whatever. There's no need for translation. You understand or you don't.

If you think neuro-electric or neuro-electromagnetic weapons or mind-control methods are far out, consider this. If you Google “Voice-to-Skull device” the U.S. Army’s Website appears. However, when you click on the link, you discover that the page has been taken down. Still, a description remains on the Federation of American Scientist’s Website. The device is described there as: Nonlethal weapon which includes (1) a neuro-electromagnetic device which uses microwave transmission of sound into the skull of persons or animals by way of pulsed-modulated microwave radiation; and (2) a silent sound device which can transmit sound into the skull of persons or animals. Note: The sound modulation may be voice or audio subliminal messages. One application of V2K is use as an electronic scarecrow to frighten birds in the vicinity of airports.37

I was overjoyed two weeks later when I received 6 letter pages back from Alex. Three of which were devoted to memories of the times in Alex’s childhood when he’d been intimidated by boys in sewage tunnels and of the violence that ensued. After the passage in which Alex detailed the anatomy of the human nose and how weak it is in comparison to a swiftly butted forehead, I asked him just exactly who I had become pen pals with….

Wikipedia first appeared to Internet users with a simple self-description: HomePage You can edit this page right now! It’s a free, community project Welcome to Wikipedia! We’re writing a complete encyclopedia from scratch, collaboratively. We started work in January 2001. We’ve got over 3,000 pages already. We want to make over 100,000. So, let’s get to work! Write a little (or a lot) about what you know! Read our welcome message here: Welcome, newcomers!

We want to imagine that people are consistent, steady, stable. We define who they are, create descriptions to lock them on a page, divide them up by their likes, talents, beliefs. Then we pretend some—perhaps most—are better than we are, because they stick to their definitions, while we never quite fit ours. Truth is, people are as fluid as time is. We adapt to our situation like water in a strangely shaped jug, though it might take us a little while to ooze into all the little nooks. Because we adapt, we sometimes don’t recognize how twisted, uncomfortable, or downright wrong the container is that we’ve been told to inhabit. We can keep going that way for a while. We can pretend we fit that jug, awkward nooks and all. But the longer we do, the worse it gets. The more it wears on us. The more exhausted we become. Even if we’re doing nothing at all, because simply holding the shape can take all the effort in the world. More, if we want to make it look natural.

I had to wait in the lobby while Rene pretended to find my name on the roster of fighters. “Fools,” she said, flipping through the pages. “Is that a description of your team’s intelligence or your need to amuse?” “It’s our motto.” “Hmmm . . .” She pretended to leaf through paperwork. “You like screwing with me, don’t you?” She offered me a mordant smile. “Just doing my job properly. Like you told me.” She’d keep me waiting for a while. I should’ve kissed Curran before I left. What did I have to lose anyway?

Some could say it is the external world which has molded our thinking-that is, the operation of the human brain-into what is now called logic. Others-philosophers and scientists alike-say that our logical thought (thinking process?) is a creation of the internal workings of the mind as they developed through evolution "independently" of the action of the outside world. Obviously, mathematics is some of both. It seems to be a language both for the description of the external world, and possibly even more so for the analysis of ourselves. In its evolution from a more primitive nervous system, the brain, as an organ with ten or more billion neurons and many more connections between them must have changed and grown as a result of many accidents. The very existence of mathematics is due to the fact that there exist statements or theorems, which are very simple to state but whose proofs demand pages of explanations. Nobody knows why this should be so. The simplicity of many of these statements has both aesthetic value and philosophical interest.

This, too, is the Biblical description of work. In sin men lose their dominion over the creation which God gave them, and their relationship with this creation becomes toil. “Cursed is the ground because of you; in toil you shall eat of it all the days of your life; thorns and thistles it shall bring forth to you; and you shall eat the plants of the field. In the sweat of your face you shall eat bread till you return to the ground, for our of it you were taken; you are dust, and to dust you shall return.” (Gen. 3:17-19) Work represents the broken relationship between men and the rest of creation. Men, literally, work to death. The fallenness of work, the broken relationship between men and the rest of creation which work is, involves both the alienation of men from nature and from the rest of creation, including the principalities and powers. In work men lose their dominion over the principalities and are in bondage to the principalities. Instead of men ruling the great institutions – corporations, unions, and so on – men are ruled by the great institutions.

Although Travels with Charley is replete with whimsical vignettes, charming dialogue, and lyrical descriptions of the natural landscape that often rise to the level of poetry, there is beneath its surface a sense of disenchantment that turns, eventually, into barely suppressed anger. Steinbeck seems never quite able to bring himself to say that he was truly and often disgusted by what he saw on his journey, but the reader is left with that impression. One puts down this book aware of how remarkably prophetic it really was, and how America continues to wrestle with the problems raised in its pages.

Words, so much more readily remembered, gradually replace our past with their own. Our birth pangs become pages. Our battles, our triumphs, our trophies, our stubbed toes, will survive only in their descriptions; because it is the gravestone we visit, when we visit, not the grave. It is against the stone we stand our plastic flowers. Who wishes to bid good morrow to a box of rot and bones? We say a name, and only a faint simulacrum of its object forms itself (if any at all does)- forms itself in that grayless gray area of consciousness where we put imaginary maps and once heard music; where we hunt for lost articles and diagram desire.

Many college courses in the humanities focus on discussion over lecture. Students read course material ahead of time and have a discussion in class. Harvard Business School took this to the extreme by pioneering case-based learning more than a hundred years ago, and many business schools have since followed suit. There are no lectures there, not even in subjects like accounting or finance. Students read a ten-to twenty-page description of a particular company’s or person’s circumstance—called a “case”—on their own time and then participate in a discussion/debate in class (where attendance is mandatory). Professors are there to facilitate the discussion, not to dominate it. I can tell you from personal experience that despite there being eighty students in the room, you cannot zone out. Your brain is actively processing what your peers are saying while you try to come to your own conclusions so that you can contribute during the entire eighty-minute session. The time goes by faster than you want it to; students are more engaged than in any traditional classroom I’ve ever been a part of. Most importantly, the ideas that you and your peers collectively generate stick. To this day, comments and ways of thinking about a problem that my peers shared with me (or that I shared during class) nearly ten years ago come back to me as I try to help manage the growth and opportunities surrounding the Khan Academy.

Open a dictionary at random; metaphors fill every page. Take the word "fathom." for example. The meaning is clear. A fathom is a measurement of water depth, equivalent to about six feet. But fathom also means "to understand." Why? Scrabble around in the word's etymological roots. "Fathom comes from the Anglo-Saxon faethm, meaning "the two arms outstretched." The term was originally used as a measurement of cloth, because the distance from fingertip to fingertip for the average man with his arms outsretched is roughly six feet. This technique was later extended to sounding the depths of bodies of water, since it was easy to lower a cord divided into six-foot increments, or fathoms, over the side of a boat. But how did fathom come to mean "to understand," as in "I can't fathom that" or "She's unfathomable"? Metaphorically, of course. You master something- you learn to control or accept it-when you embrace it, when you get your arms around it, when you take it in hand. You comprehend something when you grasp it, take its measure, get to the bottom of it-fathom it. Fathom took on its present significance in classic Aristotelian fashion: through the metaphorical transfer of its original meaning (a measurement of cloth or water) to an abstract concept (understanding). This is the primary purpose of metaphor: to carry over existing names or descriptions to things that are either so new that they haven't yet been named or so abstract that they cannot be otherwise explained.

I liked it when things went together like that. Not just timing things like the chop/ flick/ knock-stopping, but space things, too. Like all the man-made products that fit into other man-made products that were not made by the same men or for the same reasons. Like how the sucking wand of my parents’ vacuum held seven D batteries stacked nub to divot, and my Artgum eraser, before I’d worn it down, sat flush in any slot of the ice-cube tray, and the ice-cube tray sat flush on the rack in the toaster oven, the oven itself between the wall and the sink-edge. I liked how the rubber stopper in the laundry-room washtub was good for corking certain Erlenmeyer flasks and that 5 mg. Ritalins could be stored in the screw-hollows on the handles of umbrellas. (page 29-30)

Page 548: We can imagine no recommendation for using the government to manipulate fertility that does not have dangers. But this highlights the problem: The United States already has policies that inadvertently social-engineer who has babies, and it is encouraging the wrong women. If the United States did as much to encourage high-IQ women to have babies as it now does to encourage low-IQ women, it would rightly be described as engaging in aggressive manipulation of fertility. The technically precise description of America's fertility policy is that it subsidizes births among poor women, who are also disproportionately at the low end of the intelligence distribution. We urge generally that these policies, represented by the extensive network of cash and services for low-income women who have babies, be ended.

The implication that the change in nomenclature from “Multiple Personality Disorder” to “Dissociative Identity Disorder” means the condition has been repudiated and “dropped” from the Diagnostic and Statistical Manual (DSM) of the American Psychiatric Association is false and misleading. Many if not most diagnostic entities have been renamed or have had their names modified as psychiatry changes in its conceptualizations and classifications of mental illnesses. When the DSM decided to go with “Dissociative Identity Disorder” it put “(formerly multiple personality disorder)” right after the new name to signify that it was the same condition. It’s right there on page 526 of DSM-IV-R. There have been four different names for this condition in the DSMs over the course of my career. I was part of the group that developed and wrote successive descriptions and diagnostic criteria for this condition for DSM-III-R, DSM–IV, and DSM-IV-TR. While some patients have been hurt by the impact of material that proves to be inaccurate, there is no evidence that scientifically demonstrates the prevalence of such events. Most material alleged to be false has been disputed by someone, but has not been proven false. Finally, however intriguing the idea of encouraging forgetting troubling material may seem, there is no evidence that it is either effective or safe as a general approach to treatment. There is considerable belief that when such material is put out of mind, it creates symptoms indirectly, from “behind the scenes.” Ironically, such efforts purport to cure some dissociative phenomena by encouraging others, such as Dissociative Amnesia.

She doesn’t mean to make me feel like a freak, not on purpose. It’s when she says I’m drawn to you, because you’re a strong man, like Caleb. When she says I kissed you because sex is the way I’ve been conditioned to get my way, that it’s all psychological, and it’s all because Caleb fucked with my head. I can’t stand it. I can’t have everything I feel, reduced to a textbook description that fits me, and millions of other broken idiots. More than that, I can’t stand thinking that maybe…she’s right. Maybe I don’t really love Caleb, maybe my brain made it up so I wouldn’t kill myself or feel so scared and alone. Maybe I’ll accept that one day and I won’t be able to stop having nightmares. Maybe I’ll never trust another emotion I ever have again. Who’s going to love a girl like that, Reed? Who’s ever going to love a freak like me?” She collapsed onto her bed and rolled into a ball, crying and rocking.

The proper METHOD for studying poetry and good letters is the method of contemporary biologists, that is careful first-hand examination of the matter, and continual COMPARISON of one ‘slide’ or specimen with another. No man is equipped for modern thinking until he has understood the anecdote of Agassiz and the fish: A post-graduate student equipped with honours and diplomas went to Agassiz to receive the final and finishing touches. The great man offered him a small fish and told him to describe it. Post-Graduate Student: “That’s only a sun-fish” Agassiz: “I know that. Write a description of it.” After a few minutes the student returned with the description of the Ichthus Heliodiplodokus, or whatever term is used to conceal the common sunfish from vulgar knowledge, family of Heliichterinkus, etc., as found in textbooks of the subject. Agassiz again told the student to describe the fish. The student produced a four-page essay. Agassiz then told him to look at the fish. At the end of the three weeks the fish was in an advanced state of decomposition, but the student knew something about it. — ABC of Reading (1934; New Directions)

I want to convince you that intellectual property is important, that it is something that any informed citizen needs to know a little about, in the same way that any informed citizen needs to know at least something about the environment, or civil rights, or the way the economy works. I will try my best to be fair, to explain the issues and give both sides of the argument. Still, you should know that this is more than mere description. In the pages that follow, I try to show that current intellectual property policy is overwhelmingly and tragically bad in ways that everyone, and not just lawyers or economists, should care about. We are making bad decisions that will have a negative effect on our culture, our kids’ schools, and our communications networks; on free speech, medicine, and scientific research. We are wasting some of the promise of the Internet, running the risk of ruining an amazing system of scientific innovation, carving out an intellectual property exemption to the First Amendment. I do not write this as an enemy of intellectual property, a dot-communist ready to end all property rights; in fact, I am a fan. It is precisely because I am a fan that I am so alarmed about the direction we are taking.

Caroline rose. She studied him for a moment before sitting on his knee. He wasn't quite sure exactly how it happened. If pressed, he would have asked for three or four hundred pages to write a description of the series of impossibly graceful bendings and movements that ended with her perched there with one hand on his shoulder. He didn't understand - and he was sure that it defied physics - how Caroline could be so light on that tiny patch of his legs, and yet so weighty in the way her presence affected him. Her gaze, for instance, probably clocked in at about fifty or sixty tons, to judge from the effect it was having on him. He never wanted to move. Never, ever, ever. Let the heat death of the universe come along and he'd be quite happy to still have Caroline Hepworth sitting just like that, on his knee, looking at him without speaking. The tiny light of the shaded lantern was irrelevant. He saw everything, as if it were the brightest of middays. It was so perfect, so hoped for, that Aubrey knew it couldn't last. He glanced around. 'What are you doing?' Caroline asked very, very softly. 'Looking for whoever is going to interrupt us.' 'That's a pessimistic outlook.' 'Wars, especially, have a habit of ignoring the lives of people.' 'If you follow that through, it suggests living for the moment is best.' 'Live without planning? Without dreams? That sounds rather limited.' 'And that sounds rather like Aubrey.

Just as Pierre-Joseph Proudhon's statement "Property is theft" is usually misunderstood, so it is easy to misunderstand Benjamin Tucker's claim that individualist anarchism was part of "socialism." Yet before Marxists monopolized the term, socialism was a broad concept, as indeed Marx's critique of the "unscientific" varieties of socialism in the Communist Manifesto indicated. Thus, when Tucker claimed that the individualist anarchism advocated in the pages of Liberty was socialist, he was not engaged in obfuscation or rhetorical bravado. He (and most of his writers and readers) understood socialism to mean a set of theories and demands that proposed to solve the "labor problem" through radical changes in the capitalist economy. Descriptions of the problem varied (e.g., poverty, exploitation, lack of opportunity), as did explanations of its causes (e.g., wage employment, monopolies, lack of access to land or credit), and, consequently, so did the proposed solutions (e.g., abolition of private property, regulation, abolition, or state ownership of monopolies, producer cooperation, etc.). Of course, this led to a variety of strategies as well: forming socialist or labor parties, fomenting revolution, building unions or cooperatives, establishing communes or colonies, etc. This dazzling variety led to considerable public confusion about socialism, and even considerable fuzziness among its advocates and promoters.

Promises of two children and superhuman happiness are of no avail, nor assurance of extreme respectability carried to an age far exceeding that usually allotted to mortals. The sorrows of our heroes and heroines, they are your delight, oh public! — their sorrows, or their sins, or their absurdities; not their virtues, good sense, and consequent rewards. When we begin to tint our final pages with couleur de rose, as in accordance with fixed rule we must do, we altogether extinguish our own powers of pleasing. When we become dull, we offend your intellect; and we must become dull or we should offend your taste. A late writer, wishing to sustain his interest to the last page, hung his hero at the end of the third volume. The consequence was that no one would read his novel. And who can apportion out and dovetail his incidents, dialogues, characters, and descriptive morsels so as to fit them all exactly into 930 pages, without either compressing them unnaturally, or extending them artificially at the end of his labour? Do I not myself know that I am at this moment in want of a dozen pages, and that I am sick with cudgelling my brains to find them? And then, when everything is done, the kindest-hearted critic of them all invariably twits us with the incompetency and lameness of our conclusion. We have either become idle and neglected it, or tedious and overlaboured it. It is insipid or unnatural, overstrained or imbecile. It means nothing, or attempts too much. The last scene of all, as all last scenes we fear must be,

Williams, having awarded Orwell the title of exile, immediately replaces it with the description ‘vagrant’. A vagrant will, for example, not be reassured or comforted by Williams’s not-very-consoling insistence that '"totalitarian" describes a certain kind of repressive social control, but, also, any real society, any adequate community, is necessarily a totality. To belong to a community is to be a part of a whole, and, necessarily, to accept, while helping to define, its disciplines.’ In other words, Williams is inviting Orwell and all of us to step back inside the whale! Remember your roots, observe the customs of the tribe, recognise your responsibilities. The life of the vagrant or exile is unwholesome, even dangerous or deluded. The warmth of the family and the people is there for you; so is the life of the ‘movement.’ If you must criticize, do so from within and make sure that your criticisms are constructive. This rather peculiar attempt to bring Orwell back into the fold is reinforced by this extraordinary sentence: ‘The principle he chose was socialism, and Homage to Catalonia is still a moving book (quite apart from the political controversy it involves) because it is a record of the most deliberate attempt he ever made to become part of a believing community.’ I leave it to any reader of those pages to find evidence for such a proposition; it is true that Orwell was very moved by the Catalan struggle and by the friends he made in the course of it. But he wasn’t exactly deracinated before he went, and the ‘believing community’ of which, in the aftermath, he formed a part was a community of revolutionary sympathisers who had felt the shared experience of betrayal at the hands of Stalin. And of Stalin’s ‘community’, at that epoch, Williams formed an organic part. Nor, by the time he wrote Culture and Society, had he entirely separated from it.

1. Each husband’s section opens with an illustrative moniker (for example, “Poor Ernie Diaz,” “Goddamn Don Adler,” “Agreeable Robert Jamison”). Discuss the meaning and significance of some of these descriptions. How do they set the tone for the section that follows? Did you read these characterizations as coming from Evelyn, Monique, an omniscient narrator, or someone else? 2. Of the seven husbands, who was your favorite, and why? Who surprised you the most? 3. Monique notes that hearing Evelyn Hugo’s life story has inspired her to carry herself differently than she would have before. In what ways does Monique grow over the course of the novel? Discuss whether Evelyn also changes by the end of her time with Monique, and if so, what spurs this evolution. 4. On page 147, Monique says, "I have to 'Evelyn Hugo' Evelyn Hugo." What does it mean to "Evelyn Hugo"? Can you think of a time when you might be tempted to "Evelyn Hugo"? 5. Did you trust Evelyn to be a reliable narrator as you were reading? Why, or why not? Did your opinion on this change at all by the conclusion, and if so, why? 6. What role do the news, tabloid, and blog articles interspersed throughout the book serve in the narrative? What, if anything, do we learn about Evelyn’s relationship to the outside world from them? 7. At several points in the novel, such as pages 82–83 and 175–82, Evelyn tells her story through the second person, “you.” How does this kind of narration affect the reading experience? Why do you think she chooses these memories to recount in this way? 8. How do you think Evelyn’s understanding and awareness of sexuality were shaped by her relationship with Billy—the boy who works at the five-and-dime store? How does her sensibility evolve from this initial encounter? As she grows older, to what extent is Evelyn’s attitude toward sex is influenced by those around her? 9. On page 54, Evelyn uses the saying “all’s well that ends well” as part of her explanation for not regretting her actions. Do you think Evelyn truly believes this? Using examples from later in her life, discuss why or why not. How do you think this idea relates to the similar but more negatively associated phrase “the ends justify the means”?

Early on it is clear that Addie has a rebellious streak, joining the library group and running away to Rockport Lodge. Is Addie right to disobey her parents? Where does she get her courage? 2. Addie’s mother refuses to see Celia’s death as anything but an accident, and Addie comments that “whenever I heard my mother’s version of what happened, I felt sick to my stomach.” Did Celia commit suicide? How might the guilt that Addie feels differ from the guilt her mother feels? 3. When Addie tries on pants for the first time, she feels emotionally as well as physically liberated, and confesses that she would like to go to college (page 108). How does the social significance of clothing and hairstyle differ for Addie, Gussie, and Filomena in the book? 4. Diamant fills her narrative with a number of historical events and figures, from the psychological effects of World War I and the pandemic outbreak of influenza in 1918 to child labor laws to the cultural impact of Betty Friedan. How do real-life people and events affect how we read Addie’s fictional story? 5. Gussie is one of the most forward-thinking characters in the novel; however, despite her law degree she has trouble finding a job as an attorney because “no one would hire a lady lawyer.” What other limitations do Addie and her friends face in the workforce? What limitations do women and minorities face today? 6. After distancing herself from Ernie when he suffers a nervous episode brought on by combat stress, Addie sees a community of war veterans come forward to assist him (page 155). What does the remorse that Addie later feels suggest about the challenges American soldiers face as they reintegrate into society? Do you think soldiers today face similar challenges? 7. Addie notices that the Rockport locals seem related to one another, and the cook Mrs. Morse confides in her sister that, although she is usually suspicious of immigrant boarders, “some of them are nicer than Americans.” How does tolerance of the immigrant population vary between city and town in the novel? For whom might Mrs. Morse reserve the term Americans? 8. Addie is initially drawn to Tessa Thorndike because she is a Boston Brahmin who isn’t afraid to poke fun at her own class on the women’s page of the newspaper. What strengths and weaknesses does Tessa’s character represent for educated women of the time? How does Addie’s description of Tessa bring her reliability into question? 9. Addie’s parents frequently admonish her for being ungrateful, but Addie feels she has earned her freedom to move into a boardinghouse when her parents move to Roxbury, in part because she contributed to the family income (page 185). How does the Baum family’s move to Roxbury show the ways Betty and Addie think differently from their parents about household roles? Why does their father take such offense at Herman Levine’s offer to house the family? 10. The last meaningful conversation between Addie and her mother turns out to be an apology her mother meant for Celia, and for a moment during her mother’s funeral Addie thinks, “She won’t be able to make me feel like there’s something wrong with me anymore.” Does Addie find any closure from her mother’s death? 11. Filomena draws a distinction between love and marriage when she spends time catching up with Addie before her wedding, but Addie disagrees with the assertion that “you only get one great love in a lifetime.” In what ways do the different romantic experiences of each woman inform the ideas each has about love? 12. Filomena and Addie share a deep friendship. Addie tells Ada that “sometimes friends grow apart. . . . But sometimes, it doesn’t matter how far apart you live or how little you talk—it’s still there.” What qualities do you think friends must share in order to have that kind of connection? Discuss your relationship with a best friend. Enhance

Most previous theories of violence and most previous descriptive theories of morality have been derived from the explicit or implicit folk theories of the theorist’s specific culture, together with the theorist’s experiences in his or her own culture. Most theorists have had very limited knowledge and less understanding of other cultures, and none have systematically explored their ideas across the wide range of cultures and times. Hence, in this book we have made every effort to collect observations from around the world and across history.

The resulting four-page paper, published in May 1935 and known by the initials of its authors as the EPR paper, was the most important paper Einstein would write after moving to America. “Can the Quantum-Mechanical Description of Physical Reality Be Regarded as Complete?” they asked in their title.

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but is forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents' dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but if forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

As I may, without vanity, presume that the name and official description prefixed to this Proem will secure it, from the sedate and reflecting part of mankind, to whom only I would be understood to address myself, such attention as is due to the sedulous instructor of youth, and the careful performer of my Sabbath duties, I will forbear to hold up a candle to the daylight, or to point out to the judicious those recommendations of my labours which they must necessarily anticipate from the perusal of the title-page. Nevertheless, I am not unaware, that, as Envy always dogs Merit at the heels, there may be those who will whisper, that albeit my learning and good principles cannot (lauded be the heavens) be denied by any one, yet that my situation at Gandercleugh hath been more favourable to my acquisitions in learning than to the enlargement of my views of the ways and works of the present generation. To the which objection, if, peradventure, any such shall be started, my answer shall be threefold:

By the end of the year, X-ray burns were front-page news in virtually every prominent electrical, medical, and scientific journal. No one, however, paid a greater price than the men and women on the front lines of this new technology: radiologists and radiology technicians, most of whom saw themselves as noble warriors, “martyrs to science,” in their quest to save lives with X-rays. In November 1896, Walter Dodd, a founding father of radiology in the United States, suffered severe skin burns on both hands. Within five months, the pain was “beyond description” and his face and hands were visibly scalded. When the pain kept him awake at night, Dodd paced the floor of Massachusetts General Hospital with his hands held above his head. In July 1897, he received the first of fifty skin grafts, all of which failed. Bit by bit, his fingers were amputated. Dodd waited as long as he could before amputating his little finger because, as he said, “I needed something to oppose my thumb.” On August 3, 1905, at the age of forty-six, Elizabeth Fleischmann, the most experienced woman radiographer in the world, died from X-ray-induced cancer after a series of amputations. Fleischmann had gained international renown for her X-rays of soldiers in the Philippines during the Spanish-American War. Upon her death, almost every major newspaper published eulogies about “America’s Joan of Arc.

A Season in Hell - 1854-1891 A while back, if I remember right, my life was one long party where all hearts were open wide, where all wines kept flowing. One night, I sat Beauty down on my lap.—And I found her galling.—And I roughed her up. I armed myself against justice. I ran away. O witches, O misery, O hatred, my treasure's been turned over to you! I managed to make every trace of human hope vanish from my mind. I pounced on every joy like a ferocious animal eager to strangle it. I called for executioners so that, while dying, I could bite the butts of their rifles. I called for plagues to choke me with sand, with blood. Bad luck was my god. I stretched out in the muck. I dried myself in the air of crime. And I played tricks on insanity. And Spring brought me the frightening laugh of the idiot. So, just recently, when I found myself on the brink of the final squawk! it dawned on me to look again for the key to that ancient party where I might find my appetite once more. Charity is that key.—This inspiration proves I was dreaming! "You'll always be a hyena etc. . . ," yells the devil, who'd crowned me with such pretty poppies. "Deserve death with all your appetites, your selfishness, and all the capital sins!" Ah! I've been through too much:-But, sweet Satan, I beg of you, a less blazing eye! and while waiting for the new little cowardly gestures yet to come, since you like an absence of descriptive or didactic skills in a writer, let me rip out these few ghastly pages from my notebook of the damned.

If you keep your description to one or two lines, you will be able to list your scene weave in a few pages. Next to the scene description, list any structure step (such as desire, plan, or apparent defeat) that is accomplished during that scene. Some scenes will have these structure tags, but many will not.

The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” The sing-song-y-ness of “dah-duh dah-duh dah-duh, dah-dah” in line after line pummels a reader with sameness. It also encourages authors to make terrible word choices: odd or forced descriptions or line endings because that last word HAS. TO. RHYME. My test: Extract a line out of your rhyming text and ask yourself if you’d write it the same way if it DIDN’T have to rhyme. If the answer is no, it’s a bad line. The rhyming has to feel effortless." Frances Gilbert On Rhyming Picture Books in Goodreads  "The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” The sing-song-y-ness of “dah-duh dah-duh dah-duh, dah-dah” in line after line pummels a reader with sameness. It also encourages authors to make terrible word choices: odd or forced descriptions or line endings because that last word HAS. TO. RHYME. My test: Extract a line out of your rhyming text and ask yourself if you’d write it the same way if it DIDN’T have to rhyme. If the answer is no, it’s a bad line. The rhyming has to feel effortless." Frances Gilbert On Rhyming Picture Books in Goodreads  "The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” The sing-song-y-ness of “dah-duh dah-duh dah-duh, dah-dah” in line after line pummels a reader with sameness. It also encourages authors to make terrible word choices: odd or forced descriptions or line endings because that last word HAS. TO. RHYME. My test: Extract a line out of your rhyming text and ask yourself if you’d write it the same way if it DIDN’T have to rhyme. If the answer is no, it’s a bad line. The rhyming has to feel effortless." Frances Gilbert On Rhyming Picture Books in Goodreads  "The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” The sing-song-y-ness of “dah-duh dah-duh dah-duh, dah-dah” in line after line pummels a reader with sameness. It also encourages authors to make terrible word choices: odd or forced descriptions or line endings because that last word HAS. TO. RHYME. My test: Extract a line out of your rhyming text and ask yourself if you’d write it the same way if it DIDN’T have to rhyme. If the answer is no, it’s a bad line. The rhyming has to feel effortless." Frances Gilbert On Rhyming Picture Books in Goodreads  "The number one mistake in rhyming texts is when the rhyme overwhelms the story rather than serving the story. The monotony of a 32-page story all told in the same rhythm can wear a reader down after a few pages. As an editor, I often start these submissions thinking, “Okay, let’s see if this can be sustained . . .” and after a few stanzas say, “Oh please stop. I can’t do this anymore.” =

plus cher et le plus inaccessible reste celui d'écrire ce qu'on appelle avec dédain un roman de gare, celui qu'on ouvre à Austerlitz et qu'on laisse sur la banquette à Angoulême, en ayant juste sauté quelques pages de description (ça

Search Engine Optimization is basically the process of enhancing the quantity and quality of site traffic to a particular site or a web site from search engines. SEO focuses on paid rather than organic traffic, and unpaid visitors rather than paid advertising or sponsored links. SEO helps increase the visibility of a site by making sure that its contents are relevant and informative. Several things can affect search engine rankings, including keyword relevancy, backlinking, title tags, meta tags, and description tags. It is important that your content is keyword-rich and that it contains keywords that are commonly used by search engine crawlers. This ensures that when a search engine user performs a search on a particular topic, they find what they are looking for. Keyword-rich content gives a higher chance of appearing in search results. Search Engine Optimization also works well in promoting your website by ensuring that your keywords appear in the meta tags of the HTML code and in the description tag of every web page that you create.

CREATE A FACEBOOK PAGE BEFORE MAKING A WEBSITE Here’s a simple thing you can do to kick yourself into gear right now: if you think you will ever use social media for your hustle, take ten minutes and create a Facebook page for it. You don’t have to program, design, or do much of anything besides sign up and add a brief description of what you’re selling. Why do this before making a website? Well, first, it’s incredibly easy—might as well knock it off the list. But that’s not the only reason. As people begin to engage with your page, Facebook will automatically gather data about them. Once enough visitors have arrived (typically around one thousand, though it may vary), you’ll be able to access a section called “Insights,” which

I shall not indulge in descriptions of persons because, as Boethius says, nothing is more fleeting than the external form, which withers and alters like the flowers of the field at the appearance of autumn; and what would be the point of saying today that the abbot Abo had a stern eye and pale cheeks, when by now he and those around him are dust and their bodies have the mortal grayness of dust

I shall not indulge in descriptions of persons because, as Boethius says, nothing is more fleeting than the external form, which withers and alters like the flowers of the field at the appearance of autumn; and what would be the point of saying today that the abbot Abo had a stern eye and pale cheeks, when by now he and those around him are dust and their bodies have the mortal grayness of dust?

job descriptions as self-descriptions.

Then there is The Whole Rat Catalog. Published by Harvard Bioscience, it consists of 140 pages of equipment for use in experimenting on small animals, all written in cute advertising jargon. Of the transparent plastic rabbit restrainers, for instance, the catalog tells us: “The only thing that wiggles is the nose!” Sometimes, however, a little sensitivity to the controversial nature of the subject is shown: the description of the Rodent Carrying Case suggests, “Use this unobtrusive case to carry your favorite animal from one place to another without attracting attention.” In addition to the usual cages, electrodes, surgical implements, and syringes, the catalog advertises Rodent Restraint Cones, Harvard Swivel-Tether Systems, Radiation Resistant Gloves, Implantable FM Telemetry Equipment, Liquid Diets for Rats and Mice in Alcohol Studies, Decapitators for both small and large animals, and even a Rodent Emulsifier which “will quickly reduce the remains of a small animal to a homogenous suspension.”26

Her description of the trees echoed through the air between us, plain poetry that could have graced the pages of any number of pastoral novels, and I realized how beautiful she was, and how insignificant I'd become to her.

These are the ten steps Peg uses to promote a blog post: Write multiple interesting and click-worthy versions of the blog title. Create three images in Canva: 735 by 1102 pixels, 788 by 940 pixels, and 512 by 1024 pixels. Pin the 735-by-1102-pixel image on Pinterest with two links (one in the description field and one in the source field) back to the blog post. Embed the pin in your blog post with the Pinterest widget. Share the link to your post on LinkedIn with the 788-by-940-pixel image. Make sure the image name matches the title of your post, because LinkedIn shows the image name—for example, “image819809754.jpg” is awkward. Create a longer post on Google+ with the 735-by-1102-pixel image, a link to the blog, and a link to your Pinterest post. Share a short post on your Facebook profile and Page with the 788-by-940-pixel image. Add a question to start the conversation on Facebook, along with two links—one to the blog and one to the Pinterest post. Tweet the blog post with the 512-by-1024-pixel image. Schedule additional tweets with quotes from the post using the different titles. Share your article in relevant LinkedIn and Facebook groups and Google+ communities. Add relevant hashtags when you share your post so more people can find it.

If Agnes ever noticed Alice's silence, she never said anything to break it. It was understood time spent in the garden was quiet time. Like a library, her mother once mused as she glided through her maidenhair ferns. Though Alice hadn't ever been to a library- to see more books in one place than she could imagine, or hear the whispers of collective pages turning- she almost felt she had, through her mother's stories. From Agnes's description, Alice imagined a library must be a quiet garden of books, where stories grew like flowers.

After several of these counseling sessions, she would become enflamed at me for sharing negative descriptions of our marriage. Remember, a BP doesn’t accept shades of gray. If I insult any part of our union, she interprets this as a statement that I don’t love anything about

Our affordable SEO packages in Delhi provide off page SEO web 2.0 and white hat technology services. Website that is optimized for search engines focuses mainly on the relevancy as well as organic ranking. The optimization is considered best using White Hat SEO practices. We have a specialized team that focuses on white hat SEO technologies for bringing better traffic to the website. The White hat technologies of SEO packages in Delhi include backlinking, link building, keyword analysis and improve link popularity. Off page SEO packages provides visibility of website in the search engine result pages. The goal of our SEO Packages in Delhi is to generate organic traffic and awareness for a website. We prefer using high quality content that meets the visitors’ needs and also solve their problems. Using SEO keyword research tools, we discover the most relevant keywords that is must for your site content. We try to follow best practices while creating meta descriptions for each and every page on the website. This helps search engines and users discover content appropriately. While offering SEO packages in Delhi based on white hat technologies, we make sure that the sites are easy to navigate by the users. Online SEO promotion is the vital part of marketing, introduce now, that too within economical prices. Reach more people and improve the higher chance of success. Optimizing your On-page SEO is imperative if you want to target leads. However, it does not mean that you would continue SEO on page optimization and neglect the other channels like the social media. In order to get the best results, one needs to target all the channels with the user landing up on your website. Having a great user-friendly website with all the relevant information is ultimately help you to reap benefits.

The old order types were simple and straightforward and mainly sensible. The new order types that accompanied the explosion of high-frequency trading were nothing like them, either in detail or spirit. When, in the summer of 2012, the Puzzle Masters gathered with Brad and Don and Ronan and Rob and Schwall in a room to think about them, there were maybe one hundred fifty different order types. What purpose did each serve? How might each be used? The New York Stock Exchange had created an order type that ensured that the trader who used it would trade only if the order on the other side of his was smaller than his own order; the purpose seemed to be to prevent a high-frequency trader from buying a small number of shares from an investor who was about to crush the market with a huge sale. Direct Edge created an order type that, for even more complicated reasons, allowed the high-frequency trading firm to withdraw 50 percent of its order the instant someone tried to act on it. All of the exchanges offered something called a Post-Only order. A Post-Only order to buy 100 shares of Procter & Gamble at $80 a share says, “I want to buy a hundred shares of Procter & Gamble at eighty dollars a share, but only if I am on the passive side of the trade, where I can collect a rebate from the exchange.” As if that weren’t squirrely enough, the Post-Only order type now had many even more dubious permutations. The Hide Not Slide order, for instance. With a Hide Not Slide order, a high-frequency trader—for who else could or would use such a thing?—would say, for example, “I want to buy a hundred shares of P&G at a limit of eighty dollars and three cents a share, Post-Only, Hide Not Slide.” One of the joys of the Puzzle Masters was their ability to figure out what on earth that meant. The descriptions of single order types filed with the SEC often went on for twenty pages, and were in themselves puzzles—written in a language barely resembling English and seemingly designed to bewilder anyone who dared to read them. “I considered myself a somewhat expert on market structure,” said Brad. “But I needed a Puzzle Master with me to fully understand what the fuck any of it means.” A Hide Not Slide order—it was just one of maybe fifty such problems the Puzzle Masters solved—worked as follows: The trader said he was willing to buy the shares at a price ($80.03) above the current offering price ($80.02), but only if he was on the passive side of the trade, where he would be paid a rebate. He did this not because he wanted to buy the shares. He did this in case an actual buyer of stock—a real investor, channeling capital to productive enterprise—came along and bought all the shares offered at $80.02. The high-frequency trader’s Hide Not Slide order then established him as first in line to purchase P&G shares if a subsequent investor came into the market to sell those shares. This was the case even if the investor who had bought the shares at $80.02 expressed further demand for them at the higher price. A Hide Not Slide order was a way for a high-frequency trader to cut in line, ahead of the people who’d created the line in the first place, and take the kickbacks paid to whoever happened to be at the front of the line.

RAYNAL, ABBE. Philosophical and Political History of the British Settlements and Trade in North America. Translated from the French. (Dependence of Great Britain upon colonies and Discussion of taxation. Colonies held as "Shackled in their Industry and Commerce," etc.) 2 Vols. Edinburgh: 1776. Record of Indentures, Individuals Bound Out as Apprentices, Servants, etc., and of German and Other Redemptioners in the ofice of the Mayor of the City of Philadelphia. October 3, 1771 to October 5, 1773. Before Mayors John Gibson and William Fisher. MS. Presented to American Phil. Society by Thos. P. Roberts, 1835. Reproduced in publications of Pennsylvania Germany Society, Vol. XVI, Lancaster, Pa., 1907. 321 closely printed pages averaging about twenty-two names to each double page or above 3,500 names recorded; both recently arrived and transfers recorded. Full description of terms, considerations, previous place of residence, etc. RECORD BEFORE THE MAYOR. (1745.) James Hamilton, Register. MS. contributed by George W. Neifle, Chester, Pa. Pa. Mag. Hist. and Biog., Vols. 30, 31 and 32. REDEMPTIONERS, REGISTRY OF THE "Book A" Germans, etc. (1785-1804); "Book C" (1817-1831). MSS. Library Historical Society of Pennsylvania. RICHARDS, ML H. "German Emigration from New York Province into Pennsylvania," Pennsylvania-German Society Proceedings, Vol. VII Lancaster: 1899.

With hindsight, it is truly remarkable that, as early as the sixteenth century, Copernicus and his disciple Georg Joachim Rheticus (1514–74) resolved the issue to their satisfaction by invoking the patristic distinction between the Bible’s teaching on spiritual and eternal realities and its descriptions of the natural world in the language of ordinary people. Rheticus specifically appealed to Augustine’s doctrine of “accommodation,” asserting that the Holy Spirit accommodated himself on the pages of Scripture to the everyday language and terminology of appearances.

Section One Summary Here’s what you should take away from this section about on-page optimization:         On-page optimization is what you do on your website to influence SERPs on Google.         Doing proper keyword research is the first step to a successful SEO campaign.         Having proper meta tags is essential. Always include your keyword phrase(s) in your meta tags.         The proper meta tags include your title tag, description tag, keywords tag, and robots tag.         Choose your URL carefully. Your URL doesn’t have to have your keyword included but it helps when other sites link to your site. Avoid exact match domains.         How you format your page is important for optimization purposes.         Make sure you design your web pages so Google is forced to read your on-page content first.         Verify that your code is W3C compliant.         Don’t forget to include your keyword phrase(s) in , , and header tags. This signifies the importance of your content to Google.         Label each graphic with an alt tag that includes your keyword phrase.         Place your keyword(s) in the first twenty-five words on your web page and the last twenty-five words on your web page.         Eliminate Flash if it’s the main presentation of your website. Google does not view this favorably.         If you’re going to use JavaScript to enhance the overall visitor experience of your website, place the code in an external file.         Include a sitemap that’s easily accessible by Google. Submit an XML version of your sitemap through Google Webmaster Tools.          Never underestimate the power of internal linking. A good internal linking structure can improve your SERPs.          Keyword development is one of the most important on-page optimization strategies.          Research keywords and competing websites to select ideal keywords.          Research the strength of competing websites before selecting your final keywords using Google PR and authority (ex: number of inbound links).          Page load speed is a significant factor in Google rankings. Ensure that your home page loads more quickly than those of competing

When you are going to plan your website anatomy, few things you need to make clear like you have to give a proper briefing of your product or product range on the landing page of your website, technically called ‘home page’. This home page should cover all the highlights of your products or services that you want to tell your visitors to grab their interest. Then you have to make a page that tells a description about your product or service; call it service page or product page. As much details you can give in this page – your visitors will get a more detailed idea about your business. Depending on your product you can develop specific product related pages. As example, if you are selling 20 books on your website and if you are trying to give all details in a single page then it will not be a user friendly page, say when the visitor is searching for a particular book and it comes at the bottom of the page with a serial of 20th.  So here you need to categorize your products based on some criteria. Now you have to develop a page telling about you or your company

Au retour de voyage, les livres affichent leurs taches comme trophées : huile et café, sable crissant entre les pages, insectes, feuilles d'arbres puis notes rageuses, des idées simples, une description, un horaire, le menu d'un dîner, le numéro d'une personne rencontrée sur la route, une adresse de courrier électronique, la matière palpable des voyages. Cette poésie est celle du présent, celle qui reste après l'émotion, lorsque la collecte de ces bouts permet de continuer l'aventure alors que nous avons repris une vie normale. Je les colle en vrac sur des feuilles que je répands au hasard de la bibliothèque. Autant de bouteilles à la mer retrouvées avec plaisir. Ces petits recueils prennent place sur un rayon dédié. Je n'en ai pas beaucoup, mais je sais que je les prendrai à nouveau. La poésie se relit.

Some leaders seek power for its own sake; some leaders seek power in order to increase their own resources or those of family, friends, and close associates. Those are not the leaders whom I admire, nor are they the leaders that young people should emulate. As I make clear in the pages that follow, the key to effective leadership is amoral: The skills that I describe can be used for the ends of a Nelson Mandela, or for the ends of Osama bin Laden. But once we turn from description to prescription, it is clear that, as individuals and as members of broader communities, we should do all that we can to increase the incidence of good leaders—individuals who are engaged, excellent, and dedicated to the pursuit of ethical ends.

Onomatopoeia can be so very handy. Imagine if we’d had to provide a detailed description of someone disappearing. It would have taken us at least ten pages. Plof.

The title on the front of the sketchbook was written in bold cursive: 'Libby's Book of Butterflies.' One of the edges was folded, and she smoothed it with her hand, reverently, to honor the sister she'd never known. Then she stepped back under the light and flipped through the first pages. There were beautiful paintings of butterflies, their wings bright from the watercolors. Did her sister create this book or did someone make it for her? Mum had loved her gardens, but Heather had never known her to do any kind of artwork. She'd always been busy planting her flowers and working as a hairdresser and caring well for their family. Intrigued, Heather slowly turned the pages. The butterflies were unique in their brilliance, each one with a magical name. Golden Shimmer. Moonlit Fairy. Lavender Lace. Under the butterflies were short descriptions. Like they all had different personalities. Her favorite was the Autumn Dancer, colored a vibrant orange and red with speckles of teal. It reminded her of a leaf, clinging to its branch before the autumn winds blew it away.

With all the flourishes and flowers, these pictures seemed to be created by a young woman anyway. At least one who was young at heart. Heather turned the page again to a pink butterfly named Rosa Belle, and she smiled as she read the description. Rosa Belle was a very proper butterfly, invited often to take tea with the queen in the gardens behind Buckingham Palace.

What about after? Getting back through the lobby, I mean. Assuming you’ll need to leave at some point. For the bachelorette party, if nothing else.” “That’s not until the weekend.” He grinned. “Your point being?” “You know,” she said, tipping up on her toes and kissing his cheek, “I like it when you do the thinking.” “Well, I was going to mention that, but--” She pinched his butt, making him laugh. “Careful or I’ll swing you up and carry you up to my room over my shoulder.” Kerry spluttered a laugh, then said, “You know, it’s almost worth doing, just to blow everyone’s minds.” He pulled her closer. “Don’t tempt me.” She batted her lashes again. “But I thought you liked it when I tempted you.” Now he slid his hand behind her and gave her a little pinch, making her skip a little step but laugh at the same time. “I guess I had that coming.” “There’s a lot I’d like to do that has coming in the description.” “Okay, okay, so assuming I will have to leave your pirate’s lair at some point, then yes, how to do that without being the front-page story of the gossip gazette.” She looked up at him, her expression serious. “I could always come down the ramp carrying a box of tiddledywinks. Then no one would suspect for sure.” “A real funny one, you are,” he said dryly. “I was revisiting the whole black spandex cat burglar idea. Maybe you could sneak out under cover of darkness, shimmy down a rope from my window.” “Okay, you’ve given that particular scenario way too much thought.” They were still laughing when they reached the end of the pier.

When Page describes Google reshaping the future of humanity, this isn’t simply a description of the convenience it provides; what it aims to redirect is the course of evolution, in the Darwinian sense of the word. It’s not too grandiose to claim that they are attempting to create a superior species, a species that transcends our natural form.

Action titles on slides The title bar at the top of your PowerPoint slide is precious real estate: use it wisely! This is the first thing your audience encounters on the page or screen and yet so often it gets used for redundant descriptive titles (for example, “2015 Budget”). Instead use this space for an action title. If you have a recommendation or something you want your audience to know or do, put it here (for example, “Estimated 2015 spending is above budget”).

I quite feel that an apology is due for beginning a novel with two long dull chapters full of description. I am perfectly aware of the danger of such a course. In so doing I sin against the golden rule which requires us all to put our best foot foremost, the wisdom of which is fully recognised by novelists, myself among the number. It can hardly be expected that any one will consent to go through with a fiction that offers so little of allurement in its first pages; but twist it as I will I cannot do otherwise.

Everyone in my family loves novels,” Poppy finally said, pushing the conversation back into line. “We gather in the parlor nearly every evening, and one of us reads aloud. Win is the best at it—she invents a different voice for each character.” “I’d like to hear you read,” Harry said. Poppy shook her head. “I’m not half as entertaining as Win. I put everyone to sleep.” “Yes,” Harry said. “You have the voice of a scholar’s daughter.” Before she could take offense, he added, “Soothing. Never grates. Soft . . .” He was extraordinarily tired, she realized. So much that even the effort to string words together was defeating him. “I should go,” he muttered, rubbing his eyes. “Finish your sandwiches first,” Poppy said authoritatively. He picked up a sandwich obediently. While he ate, Poppy paged through the book until she found what she wanted . . . a description of walking through the countryside, under skies filled with fleecy clouds, past almond trees in blossom and white campion nestled beside quiet brooks. She read in a measured tone, occasionally stealing a glance at Harry while he polished off the entire plate of sandwiches. And then he settled deeper into the corner, more relaxed than she had ever seen him. She read a few pages more, about walking past hedges and meadows, through a wood dressed with a counterpane of fallen leaves, while soft pale sunshine gave way to a quiet rain . . . And when she finally reached the end of the chapter, she looked at Harry once more. He was asleep. His chest rose and fell in an even rhythm, his long lashes fanned against his skin. One hand was palm down against his chest, while the other lay half open at his side, the strong fingers partially curled. “Never fails,” Poppy murmured with a private grin.

Before we move on to discussing specific ways description can modulate the pace of a story, let’s clarify what we mean by action. Action in a story is not the same as activity. Action is motion that is going somewhere, that pushes the story along. It’s a forward movement, an outward sign of an inward motive. Motion serves, as the lyrics of a popular song suggests, to “second that emotion.” Activity, on the other hand, is mere random movement. Made-for-TV movies often include lots of activity— cars crashing, buildings exploding, bullets flying—with little or no motivated action. When a viewer or a reader turns off the TV or closes the book, complaining that “nothing’s happening,” he’s usually referring not to the lack of activity on the screen or page, but to the lack of forward movement. The difference between activity and action is the difference between running on a treadmill and running in a race. So

SECTION SUMMARY TO BE AN EFFECTIVE LEADER … Recognize that you have limited strengths. Do whatever it takes to discover what they are. Once you know, find a work environment that allows you to focus your energies on the few things you were created to do well. Don’t allow your time to get eaten up with responsibilities and projects that call for skills that fall outside your core competencies. That is a recipe for mediocrity. Embrace this truth: The less you do, the more you will accomplish. Narrow your focus to increase your productivity and expand your influence within your organization. Empower the leaders around you by delegating those responsibilities that fall outside your zone. Somebody is dying to pick up the ball you drop. Your weakness is his opportunity. Remember: Great leaders know when to follow. THE NEXT GENERATION CHALLENGE What defines success for you in your current employment situation? Is there alignment between your core competencies and those competencies necessary to succeed in your job? What would change about your current job description if you were given the freedom to focus on the two or three things you do best? What would need to change in your current employment situation in order for you to focus on the things that add the most value to your organization? Take some time to complete the exercises described on this page through this page.

Literary subjects as a whole enjoyed a great popularity at the Salon of 1839. France had a passionate addiction throughout the twenties and thirties to English literature, English history, and Goethe. This addiction is seen, for instance, in the extraordinary popularity of the historical novels of Walter Scott. Their pages held not only events and figures of profound interest to a history-curious society, but also a wealth of descriptive detail about the material side of life in other times: what people did, what their homes were like, how they spoke, how they dressed, what they fought about, what they believed in, and—most entertaining—whom they loved. These accounts, told by a fictional observer of the lower class, found universal favor. The educated admired Scott’s erudition, while all social strata loved his use of local color, description, and melodramatic anecdotes. Scott’s historical novel, by format and methods, is the primary literary source of the genre historique in history painting. Both were equally popular in the arts. Both directly reflect bourgeois tastes and were dependent for their proliferation on a new literate, commercial society. By the early thirties, the Scott repertoire was so well known that a Salon audience would have found the stories recognizable without a catalog entry.

Your main keywords can be included in the title of your pages or blog posts. H1, h2, h3 tags. These tags might be placed in the subtitles or headers on your pages. The first paragraph of content. This is extremely important since having the target keywords in the first paragraph ensures that the topic is made clear instantly. Anchor text. This type of text has a clickable hyperlink that will bring readers to another page. Meta description and tags. These

The most common meta tags are for the description of the page and that is actually what you see in the SERPS when you type in a phrase. These tags are invisible to the user but not to the search engines and they are very important.

Perhaps someday, a look-ahead program with enough brute force will indeed overcome the best human players-but that will be a small intellectual gain, compared to the revelation that intelligence depends crucially on the ability to create high-level descriptions of complex arrays, such as chess boards, television screens, printed pages, or paintings.

He sat astonished in front of the menu, as if he had never seen one before. There were pages of dead things – cows, shrimps, pigs, oysters, lambs – stretched out like a casualty list, accompanied by a brief description of how they had been treated since they died – skewered, grilled, smoked, and boiled. Christ, if they thought he was going to eat these things they must be mad.

A fruitful pastor I know keeps a job description from God in his desk. The job description is eight pages long—every page completely blank. He has signed it on the bottom of the last page. Periodically, he pulls it out and reminds himself that God has the authority and absolute right to fill in those pages as He wills.

I swallowed the coffee while staring at the strange drawings and data I had scribbled the day before. Among my sketches, one mysterious figure stood out—faceless, cloaked, hooded, and pointing a gnarled hand toward someone or something unseen. The pages that followed contained descriptions of another world, perhaps another dimension … things that just now were incomprehensible. I pored over them, trying to grasp their significance, when smack! a firm hand clamped down hard on my shoulder. “Not bad for the new guy in town.

They left. Among the many dumb rules of paragraphing foisted on students in composition courses is the one that says that a paragraph may not consist of a single sentence. Wilkerson ends a richly descriptive introductory chapter with a paragraph composed of exactly two syllables. The abrupt ending and the expanse of blankness at the bottom of the page mirror the finality of the decision to move and the uncertainty of the life that lay ahead. Good writing finishes strong.

I have noticed that a lot of literary critics are bothered by the mixing of genres; indeed, some of them are so easily offended in this regard that they experience distress when faced with trifles like the use in a passage of fiction of concepts of theory (as if there were some fundamental difference between stories of people, animals, plants and objects on the one hand and stories of concepts on the other). What a torture it would be for them to read the island’s Book, in which it is common for a lyrical passage to give way to several pages of description related in chemical formulae!

As the 1970s drew to a close, and Commodore, Tandy, Altair, and Apple began to emerge from the sidelines, PARC director Bert Sutherland asked Larry Tesler to assess what some analysts were already predicting to be the coming era of “hobby and personal computers.” “I think that the era of the personal computer is here,” Tesler countered; “PARC has kept involved in the world of academic computing, but we have largely neglected the world of personal computing which we helped to found.”41 His warning went largely unheeded. Xerox Corporation’s parochial belief that computers need only talk to printers and filing cabinets and not to each other meant that the “office of the future” remained an unfulfilled promise, and in the years between 1978 and 1982 PARC experienced a dispersal of core talent that rivals the flight of Greek scholars during the declining years of Byzantium: Charles Simonyi brought the Alto’s Bravo text editing program to Redmond, Washington, where it was rebooted as Microsoft Word; Robert Metcalf used the Ethernet protocol he had invented at PARC to found the networking giant, 3Com; John Warnock and Charles Geschke, tiring of an unresponsive bureaucracy, took their InterPress page description language and founded Adobe Systems; Tesler himself brought the icon-based, object-oriented Smalltalk programming language with him when he joined the Lisa engineering team at Apple, and Tim Mott, his codeveloper of the Gypsy desktop interface, became one of the founders of Electronic Arts—five startups that would ultimately pay off the mortgages and student loans of many hundreds of industrial, graphic, and interaction designers, and provide the tools of the trade for untold thousands of others.

The literary achievement of "The Road to Character" is inseparable from the virtues of its author. As the reader, you not only want to know about Frances Perkins or Saint Augustine. You also want to know what Brooks makes of Frances Perkins or Saint Augustine. The voice of the book is calm, fair and humane. The highlight of the material is the quality of the author's moral and spiritual judgments. Across the pages, Brooks is a reliable guide and a pleasant companion. But this description plays down the radical, disruptive ambition of the book. "The Road to Character" can't be reduced to cultural criticism, because the author doesn't take our communal struggle to be primary. Like the writer and theologian Frederick Buechner, he finds the greatest drama in our sacred journeys - the saving and losing of souls. This requires the moral vocabulary of a previous

SEO - The Cheapest And Easiest Way To Boost Traffic No matter what kind of web site you have, it's vital to always work to increase your visibility to attract new visitors. By optimizing your site so that you get the best results from the search engines, you'll make yourself more noticeable. In this article, you'll find some great tips for doing so. Having relevant, keyword oriented page titles is one of the best SEO strategies. By choosing titles that accurately describe your page you are better able to inform human searchers and web crawlers about the content of your site. This will naturally boost your traffic as people are better able to find your site when they search for your particular niche. Using flash files is not a good idea for search engine optimization. Be aware of using flash as it can be very slow to load, and users will get frustrated. In addition, search engine spiders will not read keywords that are found in flash files. For better search engine optimization, make use of the h1 tag. Use the h1 tag in your title, and make sure the title is somehow contained in the text. The h1 tag helps you focus directly on keywords. Also, make use of the h2 and h3 tags for more streamlined optimization. To better optimize your site for search engines, you should place keywords in the title tag for every post. Most search engines place more importance on titles than other types of contents. This means that using effective keywords is your title is one of the best ways to draw in traffic from search engines. Include the most important keywords for your site in the left-hand navigation bar and title of your homepage. These texts will be searched before the main text on your website, so you should include the keywords with which you would like your site to be most closely associated with.. Use keywords throughout your site to maximize your visibility to search engines. Be sure to choose appropriate and popular keywords that are commonly searched by people looking for information about your products and services. The two most important places to include keywords are the title tag and the page header. Pay attention to what you're using as a title tag. As people enter into your site, they will notice the title tag first. It needs to be a good description of the website and have related keywords. In addition, keep it short. If you put keywords in your HTML tag it will help your SEO efforts. Title tags have the most weight with the search engines, so make sure to put your best keywords there. Try to use strong keywords to get the best results. With so much competition for visitors on the internet, it's more important than ever that you keep yourself ahead of the game, by making sure that your site is as search engine friendly as possible. You can use the techniques in this article, so that your site will have a more visible online presence.

It was like a Michener book (with the other fifty pages of the description torn out).

What? Subjugation? Alliances? Militarism? These are supposed to be European traits! Maybe that’s why Zinn skips this page, on which Nash also notes that “the Iroquois on the eve of European arrival were feared and sometimes hated by their neighbors for their skill and cruelty in warfare.” Furthermore, “[t]heir belief in the superiority of their culture was as pronounced as that of the arriving Europeans.”55 Nash’s book—which, alas, has been updated and imposed upon innocent students in American classrooms—skims over Indian acts of cruelty while providing vivid descriptions of those by Puritans.

They had read a fantastic book, a doorstop novel from India with colors and spices and music and poetry spilling out into the margins, a seven-course literary feast. After reading a brief biographical note about the author, they always went around the table. When it was Maya's turn, she was ready with yellow Post-its stuck in between the pages that held the paragraphs she wanted to read aloud. "I thought this book was like a tapestry," she'd begun, hearing her own voice sounding excited but focused. "Poetic and romantic descriptions of nature and art combined with a social message that's both brutal and- provocative

Jeremiah lowered himself into his chair, turned to the first page of The Phantom of the Opera, and started to read aloud. “The Opera ghost really existed. He was not, as long believed, a creature of the imagination . . .” He read to himself the next few lines and expressed the following. “Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say of a spectral shade.” Jeremiah thought for a moment. It’s rather like me. It could have been an apt description of him before Miss Herman walked into his life with a plate of strawberry scones and a jug of lemonade. He had walked around like a phantom. Yes, he had been alive, but it had been a grim, lonely sort of life where he had shut people out. Funny what a little kindness can do, he told himself and went back to reading.

The power to mould the future of the Republic will be in the hands of the journalists of future generations." ~ Joseph Pulitzer "What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation and accuracy, accuracy, accuracy." ~ Joseph Pulitzer "Money is the great power today. Men sell their souls for it. Women sell their bodies for it. Others worship it. The money power has grown so great that the issue of all issues is whether the corporation shall rule this country or the country shall again rule the corporations." ~ Joseph Pulitzer "A cynical, mercenary, demagogic press will produce in time a people as base as itself." ~ Joseph Pulitzer

By way of reference, one William H. Corliss set up an activity in 1974 called The Sourcebook Project with the goal of compiling “strange phenomena.” In 1985, he published a substantial compilation entitled The Moon and the Planets: A Catalog of Astronomical Anomalies, which included 108 pages descriptive of Moon anomalies.

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Author of the book ‘Selfish Gene’, Prof. Richard Dawkins once said that evolution is the biggest show on earth. We learn the characters in the show and their respective evolving roles, but forget who is running the show and the purpose of that show. We are all part of the show as well at some point. Some episodes of the show are missing. Initial pages are muted. There are no living characters, but just description of details of the environment in the scene. One by one, characters start appearing. To get to know these other characters and their physical attributes does not make us the Producer and Director of that show.

Often, instead of accurately naming our emotions, we’ll use figures of speech. I’m on top of the world. You’re burned up. He’s happy as a clam. I’m down in the dumps. She’s blue. All highly evocative, of course. But still, they allow us to evade having to confront, plainly and exactly, what we feel. These inventive metaphors may be descriptive on the written page, but they often create distance between our feelings and our words.

As Maxwell recognized, if atoms and molecules operated on the same principles as the Solar System, the world would be very different. Every atom would be different from every other, and every atom would change over time. Such a world wouldn't have chemistry as we know it, with definite substances and fixed rules. It is not immediately obvious what makes atomic systems behave so differently. In both cases we have a massive central body attracting several small ones. The forces in play, gravitational or electrical, are broadly similar-both decrease as the square of the distance. But there are three factors which make the physical outcome very different, giving us stereotyped atoms but individualized solar systems: 1. Whereas planets differ from one another (as do stars), all electrons have exactly the same properties (as do all nuclei of a given element, or more precisely a given isotope). 2. Atoms obey the rules of quantum mechanics. 3. Atoms are starved for energy. The first item in this explanation begs the question, of course. We're trying to explain why atoms can be the same as each other, and we start off by asserting that some other things, electrons, are all the same as each other! We'll come back to that later. But having the same parts doesn't guarantee the same outcome, by any means. Even if all planets were the same as one another, and all stars were the same as one another, there would still be many possible designs for solar systems, and they'd all be subject to change. We've seen how quantum mechanics brings discreteness, and fixed patterns, into the description of continuous objects that obey dynamical equations. It's the story you'll recall, that unfolds in figures 24 (page 172), 25 (page 174), and 26 (page 187), and plate CC. To close the loop, we need to understand why the electrons in atoms are usually found in just one among their infinite variety of patterns. That's where our third item comes in. The pattern with lowest energy-the so-called ground state-is the one we generally find, because atoms are starved for energy. Why are atoms starved for energy? Ultimately, it is because the Universe is big, cold, and expanding. Atoms can pass from one pattern to another by emitting light, and losing energy, or absorbing light, and gaining energy. If emission and absorption were balanced, many patterns would be in play. That's what would happen in a hot, closed system. Light emitted at one time would be absorbed later, and a balanced equilibrium would set in. But in a big, cold, expanding Universe, emitted light leaks into vast interstellar spaces, carrying away energy that is not returned. In this way we find that dynamical equations, which by themselves cannot impose structure, do so through jujitsu (gentle skill), focusing the power of other principles. They guide the constraining powers of quantum mechanics and cosmology. Cosmology explains their poverty of energy, and quantum mechanics shows how poverty of energy imposes structure.

Given that media has become fast-paced, readers now want books that show the action and don’t just tell you what is happening. Modern readers don’t want three pages of descriptions of a farmhouse. They want to hear the door’s creak quiet the chirping of crickets out in the cornfield, they want to feel the cool air drift through the house, then they want to see the shadow of a man, gun drawn, standing over the bed of his disloyal lover.

Our deepest description of physical reality, in quantum theory and in the four Core Theories of forces (gravitation, electromagnetism, strong and weak forces), bring in concepts that call to mind yin and yang. Niels Bohr, an influential founder of quantum theory, saw strong parallels between his concept of complementarity and the unified duality of yin-yang. He designed a coat of arms for himself, in which the yin-yang figures centrally (see figure 42, page 324). Our Core Theories center on the interplay between lightlike space filling fluids (yang) and substances (yin) they both direct and respond to.

1. Starting with your most important dream in any given area, write a clear and precise description of that dream. This description should be at least a sentence or two, but no more than a single page. If possible, try to draw or find a picture that provides you with an image or symbol of what fulfilling this dream might look like. 2. Create a “Goals Page” for that specific dream. To do this, state the dream at the top of the page. Then make a list of the specific, intermediate “goals” that need to be achieved to fulfill that dream. This step converts your dreams into specific goals. 3. Create a page for each goal and label those pages “Goals to Steps.” On each page, list the intermediate goal you want to achieve, then list the steps that need to be taken to achieve that goal. 4. Next, take any complex step in your list of steps that requires the completion of more than one task, and create a “Steps to Tasks” page. List the specific tasks that need to be completed to take that step. 5. The final step in this process is to assign completion dates to each task and step. Once you’ve done that, you are ready to begin. Now you can work on achieving each goal one task or step at a time. Complete each step, one by one, until you have achieved your dream. This process will likely

1. Starting with your most important dream in any given area, write a clear and precise description of that dream. This description should be at least a sentence or two, but no more than a single page. If possible, try to draw or find a picture that provides you with an image or symbol of what fulfilling this dream might look like. 2. Create a “Goals Page” for that specific dream. To do this, state the dream at the top of the page. Then make a list of the specific, intermediate “goals” that need to be achieved to fulfill that dream. This step converts your dreams into specific goals. 3. Create a page for each goal and label those pages “Goals to Steps.” On each page, list the intermediate goal you want to achieve, then list the steps that need to be taken to achieve that goal. 4. Next, take any complex step in your list of steps that requires the completion of more than one task, and create a “Steps to Tasks” page. List the specific tasks that need to be completed to take that step. 5. The final step in this process is to assign completion dates to each task and step. Once you’ve done that, you are ready to begin. Now you can work on achieving each goal one task or step at a time. Complete each step, one by one, until you have achieved your dream. This process will likely reveal tasks or steps that you cannot complete on your own, due to lack of know-how or limited resources. Don’t panic. As you’ll see in Chapter 6, partnering is the single most powerful strategy that you will employ in the pursuit of your dreams, and you can become an expert at it!

I typed my Valet’s name into the social networking site. Curiosity got the better of me. With trembling fingers, I scoured the search engine. A few seconds after typing Andy's name, a number of corresponding profiles appeared on the screen next to some portraiture, while others on the list had each individual person's descriptions. I ventured down the list, looking at the profiles and photographs which might match the description of my soul mate. Throughout the exercise I felt the urge to withdraw, yet my fingers continued scrolling down the page. My search for Andrew Samson Finckenstein had begun.

I don't judge a scene or a line of dialog by whether or not it advances the plot, for example. Imagine an edit of Tarantino's Pulp Fiction wherein only dialog that advances the plot was allowed to remain. I don't obsess over the balance of conflict and interaction. I don't generally fret over the possibility that something I do may cause some reader to experience a "disconnect" (what an odious metaphor). I don't think in dramatic arcs. I don't spend a lot of time wondering if the plot is getting lost in description and conversation. To me, this all seems like a wealth of tedious confusion being introduced into an act that ought to be instinctive, natural, intuitive. I want to say, stop thinking about all that stuff and just write the story you have to tell. Let the story show you how it needs you to write it. I don't try to imagine how the reader will react to X or if maybe A, B, and C should have happened by page R. It's not that I don't want the story to be read. I desire readers as much as anyone. But I desire readers who want to read what I'm writing, not readers who approach fiction with so many expectations that they're constantly second-guessing and critiquing the author's every move, book in one hand, some workshop checklist in the other, and a stopwatch on the desk before them. If writing or reading like this seems to work for you, fine. I mean, I've always said that when you find something that works, stick with it. But, for me, it seems as though such an anal approach to creating any art would bleed from it any spark of enjoyment on the part of the artist (not to mention the audience). It also feels like an attempt to side-step the nasty issue of talent, as if we can all write equally well if we only follow the rules, because, you know, good writing is really 99% craft, not inexplicable, inconvenient, unquantifiable talent.

Something, which the police called a bomb, had exploded in his shed. Investigations were begun, and the efforts of the authorities were soon to be categorized by the appropriate officals as "feverish", for bombs began to go off all over the place. The police collected fragments of the exploded bombs, and the press, anxious to help the police in their work, published impressive pictures of the fragments as well as a drawing of a reconstructed bomb together with a very detailed description of how it had been made.The police had done a really first-rate job. Even my brother and myself, both of us extremely untalented men in technical matters, could easily grasp how the bomb makers had gone to work. A large quantity of ordinary black gunpowder, such as is the be found in the cartridges sold for shoutguns, was encased in plasticine; in it was embedded an explosive cap, of the type used in hand grenades during the war, at the end of a thin wire; the other end of the wire was joined to the battery of a pocket flashlight -- obtainable at any village store -- and thence to the alarm mechanism of an ordinary alarm clock. The whole contratation was packed into a soapbox. Of course my brother did his duty as a journalist.He published the police report, together with the illustrations, on page one. It was not my brother's doing that this issue of the paper had a most spectacular success and that for weeks men were still buying it; no. the credit for that must go to the police; they had done their bit to ensure that the peasantry of Schleswig-Holstein would have a healthy occupation during the long winter evenings. Instead of just sitting and indulging in stupid thoughts, or doing crossword puzzles, or assembling to hear inflamatory speeches, the peasantery was henceforth quetly and busily engaged in procuring soapboxes and alarm clock and flashlight batteries. And then the bombs really began to go of.... Nobody ever asked me what I was actually doing in Schleswig=Holstein, save perhaps Dr. Hirschfeldt, a high official in the Prussian Ministry of the Interior, who had recently taken to frequenting Salinger's salon. Occasionally, and casually, he would glance at ne with his green eyes an honour me with a question, such as: "And what are the peasants up to in the north?" To which I would usually only reply: "Thank you for your interest. According to the statistics, the standard of living is going up -- in particular, there has been in increased demand for alarm clocks.

The first “Zigzag files” were released to the UK National Archives in 2001. These declassified archives contain more than seventeen hundred pages of documents relating to Chapman’s case: transcripts of interrogations, detailed wireless intercepts, reports, descriptions, diagrams, internal memos, minutes, letters, and photographs. The files are extraordinarily detailed, describing not only events and people but also the minutiae of a spy’s life, his changing moods and feelings, his hopes, fears, and contradictions

Cory Doctorow’s matchless description of the internet as ‘an ecosystem of interruption technologies’.

The book is written by “Lord Timothy Dexter, First in the East, First in the West, and the Greatest Philosopher in the Western World.” If you ever write a memoir, please make up a fun little egotistical description of yourself for your title page. Be bold about it. The book details Timothy’s life in his own somewhat incoherent way. It was written entirely without punctuation. When it was pointed out that the greatest philosopher in the Western world would probably use at least some punctuation (since it was, thank God, no longer the sixteenth century), in the second edition (there were ultimately eight printings) Dexter added a page of punctuation at the end, so readers could insert the marks wherever they liked or, as he claimed, “I put in A Nuf here and they may pepper and salt it as they plese.” If I was really committed to following Dexter’s teaching, I’d have written this chapter without punctuation and just presented you with this page.

Description, which had seemed like background in novels, static and inert as a butterfly pinned to the pages of my notebook, proved to be a dynamic engine that stoked voice and, even more, propelled the occasional narrative arc.

You don’t how those holy-moly webpages pop-up at the first SERPs and why your pages cry in the corner You have no know-how of detailed keyword research and how to target long tail keywords that can rank according to your niche You don’t understand a shred of how this Google thing works and what does it Penguin, Alligator, Frog updates mean and how Google crawls down the codes to index the content at those shiny first SERPs You know the basic Search Engine Optimization but don’t get what the hell are these backlinks and how to get them (What is web 2.0 by the way?) You don’t grasp the idea of Topic Cluster and how to build a fantastically linked internal colony on your website or blog that not only helps you rank your specific keywords but the whole related content on your web You don’t know how to create delicious content that can feed both Google and readers Heading, Alt-images, meta-descriptions, taglines and keyword management, sitemap monitoring and whole techy stuff scares you You know the SEO but want to consults with some best SEO service providers for better results

Amount of Homework in Elementary and Secondary School Many newcomers are often surprised at how little homework students are assigned on a daily basis. This is because in BC, the teachers see more value in the quality of the work, rather than the quantity. In addition, the teachers must follow the guidelines set by the BC Ministry of Education about the amount of homework to be given to elementary and secondary students. The guidelines are as follows: Elementary School From Kindergarten to Grade 3: no homework is given From Grade 4 to Grade 7: ½ hour per night of homework is given Some examples of homework given are: Complete work given in class, read a book for a specified time, write a journal entry and work with classmates on a class project. Secondary School Grades 8 to 12: 1 to 2 hours per night, however students learning English will take longer. Some examples of homework given are: Gather information from various sources, think or reflect on a given topic and write about it, read chapters of a book or work with classmates on a group or class project. For more detailed descriptions of the homework assigned to students, please see the homework brochures on the Multilanguage parent information brochures page on the VSB website.

From our present standpoint, however, the ideal of an immanent analysis of the text, of a dismantling or deconstruction of its parts and a description of its functioning and malfunctioning, amounts less to a wholesale nullification of all interpretive activity than to a demand for the construction of some new and more adequate immanent or antitranscendent hermeneutic model, which it will be the task or the following pages to propose

Copyright and Disclaimer Title Page Book Description Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10

The trenches', wrote Robert Kee fifty years later, 'were the concentration camps of the First World War'; and though the analogy is what an academic reviewer would call unhistorical, there is something Treblinka-like about almost all accounts of July 1st, about those long docile lines of young men, shoddily uniformed, heavily burdened, numbered about their necks, plodding forward across a featureless landscape to their own extermination inside the barbed wire. Accounts of the Somme produce in readers and audiences much the same emotions as do descriptions of the running of Auschwitz - guilty fascination, incredulity, horror, disgust, pity and anger - and not only from the pacific and tender-hearted; not only from the military historian, on whom, as he recounts the extinction of this brave effort or that, falls an awful lethargy, his typewriter keys tapping leadenly on the paper to drive the lines of print, like the waves of a Kitchener battalioon failing to take its objective, more and more slowly towards the foot of the page; but also from professional soldiers [...] Why did the commanders not do something about it? Why did they let the attack go on? why did they not stop one battalion following in the wake of another to join it in death?

Table of Contents Copyright and Disclaimer Title Page Book Description Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19

The Mantle of Science For a decade or so, A.A. grew modestly. But, lacking scientific confirmation, it remained a relatively small sectarian movement, occasionally receiving a boost in popular magazines. The great surge in the popularity of the A.A. disease concept came when it received what seemed to be impeccable scientific support. Two landmark articles by E. M. Jellinek, published in 1946 and 1952, proposed a scientific understanding of alcoholism that seemed to confirm major elements of the A.A. view.12 Jellinek, then a research professor in applied physiology at Yale University, was a distinguished biostatistician and one of the early leaders in the field of alcohol studies. In his first paper he presented some eighty pages of elaborately detailed description, statistics, and charts that depicted what he considered to be a typical or average alcoholic career. Jellinek cautioned his readers about the limited nature of his data, and he explicitly acknowledged differences among individual drinkers. But from the data's "suggestive" value, he proceeded to develop a vividly detailed hypothesis.

I first began to worry about this during the summer of 1989, when it began to be clear that string theory would not quickly lead to a unique theory of everything. Henry Tye, a string theorist from Cornell University, had told me of his computer program to produce new string theories. When you run Tye’s program, you input a rough description of a universe you would like to describe. You tell it the dimension of spacetime, and something about how the world should look. It outputs all the string theories it can construct that lead to the world you requested, one per page.

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Description of reading Lord of the Flies for school: It is only 208 pages, I have already read it, and it is not very interesting. It is by William Golding who won an award for showing that boys are mean and badly behaved, even somewhere nice like the beach. This seems like something anyone in the entire world who has ever met a boy could tell you, but they gave William Golding a Nobel Prize for it.

Two's description of reading Lord of the Flies for school: It is only 208 pages, I have already read it, and it is not very interesting. It is by William Golding who won an award for showing that boys are mean and badly behaved, even somewhere nice like the beach. This seems like something anyone in the entire world who has ever met a boy could tell you, but they gave William Golding a Nobel Prize for it.

For one, the lomo saltado was so delicious I thought I might forget my own name. It was beef tenderloin stir-fried so that the sugars in the marinade caramelized on the outside, making it crispy and chewy and as tender as the name in the middle, on a big blue platter piled high with roasted tomatoes, various salsas and chiles, and crispy fries. The idea was to wrap pieces of beef and the toppings in the scallion pancakes that came along with it. What resulted were flavor bombs, savory and spicy and fatty and crispy, all accentuated by the sweet, tangy pop of tomato. Flakes of scallion pancakes drifted from my lips down to my plate as my teeth crunched through each bite. "I can't even handle how good this is," I said, then swallowed because I couldn't wait to say it. The other two dishes we'd ordered were pretty great, too----a whole branzino marinated and charred so that we picked it clean off its spindly bones and ate it with greens and roasted peppers; a half chicken roasted with aji amarillo chile paste and served over shiitake mushrooms and a lime crema---but the lomo saltado was the true star of the table. I could already picture how it was going to look on my page. The golden-brown fries glistening with oil. The beef shaded from light pink in the center to deep brown on the edges. The ruby red tomatoes nestled among them. And the scallion pancakes serving as a lacy backdrop.