Page Review Quotes

...Love can give you the most exhilarating wonderful highs at times... ...Then there will be dives that will take all you have just to hold on... Quote on the Title Page of "Love TORN Asunder

Multiple times he has tried writing his thoughts about Marianne down on paper in an effort to make sense of them. He's moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann's Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-coloured spine. Her long fingers turning the pages. She's not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works... He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review.

By deciding what is, and is not, allowed to be discussed in a review, by removing discussion of social context, and saying that only the words on the page count, Goodreads is ignoring fifty years of development of literary criticism, and is engaging in censorship.

I like big books and I cannot lie. You other readers can’t deny That when a kid walks in with The Name of the Wind Like a hardbound brick of win. Story bling. Wanna swipe that thing Cause you see that boy is speeding Right through the book he’s reading. I’m hooked and I can’t stop pleading. Wanna curl up with that for ages, All thousand pages. Reviewers tried to warn me. But with that plot you hooked Me like Bradley. Ooh, crack that fat spine. You know I wanna make you mine. This book is stella ’cause it ain’t some quick novella.

Yes, novels; for I will not adopt that ungenerous and impolitic custom, so common with novel-writers, of degrading, by their contemptuous censure, the very performances to the number of which they are themselves adding; joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! if the heroine of one novel be not patronised by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another- we are an injured body.

Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished you are always surprised." - John Steinbeck from the Fall 1975 issue of The Paris Review

To me, the raveled sleeve of care is never more painlessly knitted up than in an evening alone in a chair snug yet copious, with a good light and an easily held little volume sloppily printed and bound in inexpensive paper. I do not ask much of it - which is just as well, for that is all I get. It does not matter if I guess the killer, and if I happen to discover, along around page 208, that I have read the work before, I attribute the fact not to the less than arresting powers of the author, but to my own lazy memory. I like best to have one book in my hand, and a stack of others on the floor beside me, so as to know the supply of poppy and mandragora will not run out before the small hours. In all reverence I say Heaven bless the Whodunit, the soothing balm on the wound, the cooling hand on the brow, the opiate of the people." --Book review Of Ellery Queen: The New York Murders, from Esquire, January 1959

To write entire pages of dazzling prose about a tomato -- for Pierre Arthens reviews food as if he were telling a story, and that alone is enough to make him a genius -- without ever seeing or holding the tomato is a troubling display of virtuosity.

She updated her Goodreads page religiously, not to leave reviews but just to ensure that she had some kind of record of every book she’d ever read.

You should write because you love the shape of stories and sentences and the creation of different worlds on a page. Writing comes from reading, and reading is the finest teacher of how to write.

Aside from my mom, Carla, and my tutors, the world barely know I exist. I mean, I exist online. I have online friends and my Tumblr book reviews, but that's not the same as being a real person who can be visited by strange boys bearing Bundt cakes.

You’ve made it impossible for me to read a book in peace. When you’re not here, I just gaze at the words until they tumble off the page into a puddle in my lap. Instead of reading, I sit there and review the hours of the day I spent in your company, and I am more charmed by that story than anything the author has scribbled down. I have never been lonely in my life, but you have made me lonely. When you are gone, I am a moping ruin. I thought I understood the world fairly well. But you have made it all mysterious again. And it’s unnerving and frightening and wonderful, and I want it to continue. I want all your mysteries.

Our wisdom grows not by staking out claims and defending them against all comers, but by sharing information freely, so that we may work together for the betterment of all.

This is the explanation I used to have on the site before my page got turned into an author's page. Don't get butt hurt if I give you a 2 or 3 star rating. That means your book was good. I give very few 4 star ratings cause that means your book is gonna be a reread for me. I don't reread a lot of books. I think I gave less than a handful of 5 stars. 5 stars means that I think the book is a GREAT GREAT. Like a classic that will still be read in a 100 years, at least if I were alive it would be. As you can see I don't buy into the hoopla that everybody is great. It's not true. Most are average. Some suck. Some are great. If you want a visual go google bell curve. Life has winners and losers. Not everyone deserves a gold star. Suck it up.

Our brains are no longer conditioned for reverence and awe. We cannot imagine a Second Coming that would not be cut down to size by the televised evening news, or a Last Judgment not subject to pages of holier-than-Thou second-guessing in The New York Review of Books.

He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review. Then he turns a new page in the notebook so he doesn't have to look at what he's done.

The No. 1 most credible source of [online] recommendations is YouTube,” Rand says. “But a friend liking a brand page and sharing that is now considered the second-most prominent form of recommendation, and third is online brand reviews.

Reading may be the last secretive behavior that is neither pathological or prosecutable. It is certainly the last refuge from the real-time epidemic. For the stream of a narrative overflows the banks of the real. Story strips its reader, holding her in a place time can't reach. A book's power lies in its ability to erase us, to expand or contract without limit, to circle inside itself without beginning or end, to defy our imaginary timetables and lay us bare to a more basic ticking. The pages we read are a nowhen, unfolding far outside the public arena. As long as we remain in them, now reveals itself to be the baldest of inventions.

and if a rainy morning deprived them of other enjoyments, they were still resolute in meeting in defiance of wet and dirt, and shut themselves up, to read novels together. Yes, novels; for I will not adopt that ungenerous and impolitic custom so common with novel–writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding — joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid pages with disgust. Alas! If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not desert one another; we are an injured body. Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers. And while the abilities of the nine–hundredth abridger of the History of England, or of the man who collects and publishes in a volume some dozen lines of Milton, Pope, and Prior, with a paper from the Spectator, and a chapter from Sterne, are eulogized by a thousand pens — there seems almost a general wish of decrying the capacity and undervaluing the labour of the novelist, and of slighting the performances which have only genius, wit, and taste to recommend them. “I am no novel–reader — I seldom look into novels — Do not imagine that I often read novels — It is really very well for a novel.” Such is the common cant. “And what are you reading, Miss — ?” “Oh! It is only a novel!” replies the young lady, while she lays down her book with affected indifference, or momentary shame. “It is only Cecilia, or Camilla, or Belinda”; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best–chosen language. Now, had the same young lady been engaged with a volume of the Spectator, instead of such a work, how proudly would she have produced the book, and told its name; though the chances must be against her being occupied by any part of that voluminous publication, of which either the matter or manner would not disgust a young person of taste: the substance of its papers so often consisting in the statement of improbable circumstances, unnatural characters, and topics of conversation which no longer concern anyone living; and their language, too, frequently so coarse as to give no very favourable idea of the age that could endure it.

If nobody talks about books, if they are not discussed or somehow contended with, literature ceases to be a conversation, ceases to be dynamic. Most of all, it ceases to be intimate. It degenerates into a monologue or a mutter. An unreviewed book is a struck bell that gives no resonance. Without reviews, literature would be oddly mute in spite of all those words on all those pages of all those books. Reviewing makes of reading a participant sport, not a spectator sport.

Which three authors, dead or alive, would you invite to a literary dinner party? is a question often asked of authors interviewed for The New York Times Book Review. What Edmund White said James Merrill said about a young fan: “Why does he want to meet us in the flesh? Doesn’t he realize the best part of us is on the page and all he’ll be meeting is an empty hive?

...in one of his Irish Times columns written under the name of Myles na gCopaleen, [Flann] O’Brien offered a service to readers who owned books but did not open them. For a fee, books would be handled, with passages underlined or spines damaged or words such as ‘Rubbish’ or ‘Yes, but cf Homer, Od. iii, 151’ or ‘I remember poor Joyce saying the same thing to me’ written in the margins. Or inscriptions on the title page such as ‘From your devoted friend and follower, K. Marx.’" --"Flann O'Brien's Lies," Colm Tóibin, London Review of Books, Jan. 5, 2012

...I have read but little of Madame Glyn. I did not know that things like "It" were going on. I have misspent my days. When I think of all those hours I flung away in reading William James and Santayana, when I might have been reading of life, throbbing, beating, perfumed life, I practically break down. Where, I ask you, have I been, that no true word of Madame Glyn's literary feats has come to me? But even those far, far better informed than I must work a bit over the opening sentence of Madame Glyn's foreword to her novel" "This is not," the says, drawing her emeralds warmly about her, "the story of the moving picture entitled It, but a full character study of the story It, which the people in the picture read and discuss." I could go mad, in a nice way, straining to figure that out. ...Well it turns out that Ava and John meet, and he begins promptly to "vibrate with passion." ... ...It goes on for nearly three hundred pages, with both of them vibrating away like steam launches." -Review of the book, It, by Elinor Glyn. Review title: Madame Glyn Lectures on "It," with Illustrations; November 26, 1927.

man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him.

As part of that administrative process, Butler decided to look at every single target in the SIOP, and for weeks he carefully scrutinized the thousands of desired ground zeros. He found bridges and railways and roads in the middle of nowhere targeted with multiple warheads, to assure their destruction. Hundreds of nuclear warheads would hit Moscow—dozens of them aimed at a single radar installation outside the city. During his previous job working for the Joint Chiefs, Butler had dealt with targeting issues and the damage criteria for nuclear weapons. He was hardly naive. But the days and weeks spent going through the SIOP, page by page, deeply affected him. For more than forty years, efforts to tame the SIOP, to limit it, reduce it, make it appear logical and reasonable, had failed. “With the possible exception of the Soviet nuclear war plan, this was the single most absurd and irresponsible document I had ever reviewed in my life,” General Butler later recalled. “I came to fully appreciate the truth . . . we escaped the Cold War without a nuclear holocaust by some combination of skill, luck, and divine intervention, and I suspect the latter in greatest proportion.

Philip Roth called history “the relentless unforeseen.” He said that history is where “everything unexpected in its own time is chronicled on the page as inevitable.

Some smutty book. It had great reviews online, but eh. I’m like over a hundred pages in and I kind of just want them to fuck now.

The book is a rhetorical masterpiece of scientism, and it benefits from the particular kind of fear that numbers impose on nonprofessional commentators. It runs to 845 pages, including more than a hundred pages of appendixes filled with figures. So their text looks complicated, and reviewers shy away with a knee–jerk claim that, while they suspect fallacies of argument, they really cannot judge.

Charles was at the apex of his career, coming off a Lannan Fellowship year and a front-page Times review that had anointed him as the heir of John Barth and Stanley Elkin, but he didn’t know it was the apex.

The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war in his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest.

The sheer vital energy of the Woolfs always astonishes me when I stop to consider what they accomplished on any given day. Fragile she may have been, living on the edge of psychic disturbance, but think what she managed to do nonetheless -- not only the novels (every one a breakthrough in form), but all those essays and reviews, all the work of the Hogarth Press, not only reading mss. and editing, but, at least at the start, packing the books to go out! And besides all that, they lived such an intense social life. (When I went there for tea, they were always going out for dinner and often to a party later on.) The gaiety and the fun of it all, the huge sense of life! The long, long walks through London that Elizabeth Bowen told me about. And two houses to keep going! Who of us could accomplish what she did? There may be a lot of self-involvement in A Writer's Diary, but there is no self-pity (and what has to be remembered is that what Leonard published at that time was only a small part of all the journals, the part that concerned her work, so it had to be self-involved). It is painful that such genius should evoke such mean-spirited response at present. Is genius so common that we can afford to brush it aside? What does it matter if she is major or minor, whether she imitated Joyce (I believe she did not), whether her genius was a limited one, limited by class? What remains true is that one cannot pick up a single one of her books and read a page without feeling more alive. If art is not to be life-enhancing, what is it to be?

After the rush and the thrill of a new book, the terror of the reviews, you wind up back in exactly the same place you were before the first time you were ever published. The blank page and blinking cursor. Where am I going next?

Michael Ledeen—a contributing editor of National Review and a Freedom Scholar at the influential neoconservative think tank American Enterprise Institute—wrote on the National Review blog in November 2006: 'I had and have no involvement with our Iraq policy'. I opposed the military invasion of Iraq before it took place.' Ledeen, however, wrote in August 2002 of 'the desperately-needed and long overdue war against Saddam Hussein' and when he was interviewed for Front Page Magazine the same month and asked, 'Okay, well if we are all so certain about the dire need to invade Iraq, then when do we do so?' Ledeen replied: 'Yesterday.' There is obvious, substantial risk in falsely claiming that one opposed the Iraq War notwithstanding a public record of support. But that war has come to be viewed as such a profound failure that that risk, at least in the eyes of some, is outweighed by the prospect of being associated with Bush's invasion.

if you go through the multi-thousand-page IPCC synthesis reports, you will not find any quantification of climate-related disaster deaths. And if you review the world’s leading source of climate disaster data, you will find that it totally contradicts the moral case for eliminating fossil fuels. Climate-related disaster deaths have plummeted by 98 percent over the last century, as CO2 levels have risen from 280 ppm (parts per million) to 420 ppm (parts per million) and temperatures have risen by 1°C.[6]

I feel as if it were not for me to record, even though this manuscript is intended for no eyes but mine, how hard I worked at that tremendous short-hand, and all improvement appertaining to it, in my sense of responsibility to Dora and her aunts. I will only add, to what I have already written of my perseverance at this time of my life, and of a patient and continuous energy which then began to be matured within me, and which I know to be the strong part of my character, if it have any strength at all, that there, on looking back, I find the source of my success. I have been very fortunate in worldly matters; many men have worked much harder, and not succeeded half so well; but I never could have done what I have done, without the habits of punctuality, order, and diligence, without the determination to concentrate myself on one object at a time, no matter how quickly its successor should come upon its heels, which I then formed. Heaven knows I write this, in no spirit of self-laudation. The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hard-working qualities, and hope to gain its end. There is no such thing as such fulfilment on this earth. Some happy talent, and some fortunate opportunity, may form the two sides of the ladder on which some men mount, but the rounds of that ladder must be made of stuff to stand wear and tear; and there is no substitute for thorough-going, ardent, and sincere earnestness. Never to put one hand to anything, on which I could throw my whole self; and never to affect depreciation of my work, whatever it was; I find, now, to have been my golden rules.

In this book, you’ll naturally look for common habits and recommendations, and you should. Here are a few patterns, some odder than others: More than 80% of the interviewees have some form of daily mindfulness or meditation practice A surprising number of males (not females) over 45 never eat breakfast, or eat only the scantiest of fare (e.g., Laird Hamilton, page 92; Malcolm Gladwell, page 572; General Stanley McChrystal, page 435) Many use the ChiliPad device for cooling at bedtime Rave reviews of the books Sapiens, Poor

Q (Quiller-Couch) was all by himself my college education. I went down to the public library one day when I was seventeen looking for books on the art of writing, and found five books of lectures which Q had delivered to his students of writing at Cambridge. "Just what I need!" I congratulated myself. I hurried home with the first volume and started reading and got to page 3 and hit a snag: Q was lecturing to young men educated at Eton and Harrow. He therefore assumed his students − including me − had read Paradise Lost as a matter of course and would understand his analysis of the "Invocation to Light" in Book 9. So I said, "Wait here," and went down to the library and got Paradise Lost and took it home and started reading it and got to page 3, when I hit a snag: Milton assumed I'd read the Christian version of Isaiah and the New Testament and had learned all about Lucifer and the War in Heaven, and since I'd been reared in Judaism I hadn't. So I said, "Wait here," and borrowed a Christian Bible and read about Lucifer and so forth, and then went back to Milton and read Paradise Lost, and then finally got back to Q, page 3. On page 4 or 5, I discovered that the point of the sentence at the top of the page was in Latin and the long quotation at the bottom of the page was in Greek. So I advertised in the Saturday Review for somebody to teach me Latin and Greek, and went back to Q meanwhile, and discovered he assumed I not only knew all the plays by Shakespeare, and Boswell's Johnson, but also the Second books of Esdras, which is not in the Old Testament and not in the New Testament, it's in the Apocrypha, which is a set of books nobody had ever thought to tell me existed. So what with one thing and another and an average of three "Wait here's" a week, it took me eleven years to get through Q's five books of lectures.

Aubade to Langston" When the light wakes & finds again the music of brooms in Mexico, when daylight pulls our hands from grief, & hearts cleaned raw with sawdust & saltwater flood their dazzling vessels, when the catfish in the river raise their eyelids towards your face, when sweetgrass bends in waves across battlefields where sweat & sugar marry, when we hear our people wearing tongues fine with plain greeting: How You Doing, Good Morning when I pour coffee & remember my mother’s love of buttered grits, when the trains far away in memory begin to turn their engines toward a deep past of knowing, when all I want to do is burn my masks, when I see a woman walking down the street holding her mind like a leather belt, when I pluck a blues note for my lazy shadow & cast its soul from my page, when I see God’s eyes looking up at black folks flying between moonlight & museum, when I see a good-looking people who are my truest poetry, when I pick up this pencil like a flute & blow myself away from my death, I listen to you again beneath the mercy of a blue morning’s grammar. Originally published in the Southern Humanities Review, Vol. 49.3

How much easier the task will be to review your past life, if you live each day as if that was the sole recording of your entire lifetime. Keep that page so neat and tidy, so filled with loving care, that if your life ended at midnight the page would be spotless and blameless, for surely even the worst of us can live one day in nearly blameless harmony with all about us.

I remember the longing inside my head, [her] beautiful letters, mine, my fingers tracing the ridges of consonants, questions and postscripts littering margins, uncontainable form, the page a stage for candor. To know another is the terrible work of love, is it not? — Jennifer Chang, from “In the Middle of My Life,” The American Poetry Review (September/October 2021, vol. 50, no.5)

Once, while at a party in London, the editor of the literary reviews page of a major newspaper struck up a conversation with me, and we chatted pleasantly until he asked what I did for a living. “I write comics,” I said; and I watched the editor’s interest instantly drain away, as if he suddenly realized he was speaking to someone beneath his nose. Just to be polite, he followed up by inquiring, “Oh, yes? Which comics have you written?” So I mentioned a few titles, which he nodded at perfunctorily; and I concluded, “I also did this thing called Sandman.” At that point he became excited and said, “Hang on, I know who you are. You’re Neil Gaiman!” I admitted that I was. “My God, man, you don’t write comics,” he said. “You write graphic novels!” He meant it as a compliment, I suppose. But all of a sudden I felt like someone who’d been informed that she wasn’t actually a hooker; that in fact she was a lady of the evening. This editor had obviously heard positive things about Sandman; but he was so stuck on the idea that comics are juvenile he couldn’t deal with something good being done as a comic book. He needed to put Sandman in a box to make it respectable.

The worst reviews, by my mind, are those from individuals who enjoy entertaining themselves by writing something bad about books they actually never read, which is as clear as day from what they’re saying. It’s even more puzzling for an author to check some of these “honest” reviewers’ pages and see that they created their profile with one goal in mind; to post you a bad review, as there’s nothing else they wanted to rate.

At a conservative estimate, one million dollars will be spent by American readers for this book [For Whom the Bell Tolls]. They will get for their money 34 pages of permanent value. These 34 pages tell of a massacre happening in a little Spanish town in the early days of the Civil War...Mr. Hemingway: please publish the massacre scene separately, and then forget For Whom the Bell Tolls; please leave stories of the Spanish Civil War to Malraux...

With the explosion of technology over the last 15+ years, we are in the process of a complete paradigm shift in regards to how we communicate in our marketing, public relations and advertising. Social Media has forever changed the way businesses and customers communicate and the beauty of it is that, through your channels, you can reach your audience directly and at lightning speed. Social Media has also changed the way customers make their buying decisions. Pinterest, Google+, Twitter, YouTube, and Facebook, have made it easy to find and connect with others who share similar interests, to read product reviews and to connect with potential clients. Within these networks there is an amazing and wide open space for your unique voice to be heard. As the web interacts with us in more personal ways and with greater portability, there is no time better than the present to engage with and rally your community.

Then, with my grief at its peak, I bled my pain onto the page, spreading its black inkiness in perfect swooping letters. Raw, concise phrases reviewed the true hurt of fresh loss. How cleansing to cut one’s own heart open and lay it on the page. Cleansing, yet terrifying. These were the feelings most people worked to hide from the outside world— even loved ones who might sympathize. And her I was, setting them down in black and white, ready to ship into a world of strangers who did not know me.

All of us are writers reading other people's writing, turning pages or clicking to the next screen with pleasure and admiration. All of us absorb other people's words, feeling like we have gotten to know the authors personally in our own ways, even if just a tiny bit. True, we may also harbor jealousy or resentment, disbelief or disappointment. We may wish we had written those words ourselves or berate ourselves for knowing we never could or sigh with relief that we didn't, but thank goodness someone else has.

When first constructing the ball, Waul wrote on his Myspace page, “First, have a definite, clear practical idea, a goal, an objective. Second, have the necessary means to achieve your ends. Third, adjust all means to that end. —Aristotle.”* For Waul, the definite and clear and practical idea was to make the world’s largest ball of rubber bands, which would eventually come to weigh over nine thousand pounds. I’m not sure why I find it beautiful to devote oneself obsessively to the creation of something that doesn’t matter, but I do.

In his book Real Presences, George Steiner asks us to "imagine a society in which all talk about the arts, music and literature is prohibited." In such a society there would be no more essays on whether Hamlet was mad or only pretending to be, no reviews of the latest exhibitions or novels, no profiles of writers or artists. There would be no secondary, or parasitic, discussion - let alone tertiary: commentary on commentary. We would have, instead, a "republic for writers and readers" with no cushion of professional opinion-makers to come between creators and audience. While the Sunday papers presently serve as a substitute for the experiencing of the actual exhibition or book, in Steiner's imagined republic the review pages would be turned into listings:catalogues and guides to what is about to open, be published, or be released. What would this republic be like? Would the arts suffer from the obliteration of this ozone of comment? Certainly not, says Steiner, for each performance of a Mahler symphony is also a critique of that symphony. Unlike the reviewer, however, the performer "invests his own being in the process of interpretation." Such interpretation is automatically responsible because the performer is answerable to the work in a way that even the most scrupulous reviewer is not. Although, most obviously, it is not only the case for drama and music; all art is also criticism. This is most clearly so when a writer or composer quotes or reworks material from another writer or composer. All literature, music, and art "embody an expository reflection which they pertain". In other words it is not only in their letters, essays, or conversation that writers like Henry James reveal themselves also to be the best critics; rather, The Portrait of a Lady is itself, among other things, a commentary on and a critique of Middlemarch. "The best readings of art are art." No sooner has Steiner summoned this imaginary republic into existence than he sighs, "The fantasy I have sketched is only that." Well, it is not. It is a real place and for much of the century it has provided a global home for millions of people. It is a republic with a simple name: jazz.

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

The keyboard is my path to having thoughts, and also my path to sharing them. I can’t play an instrument, but I can bang on this literary piano, and when it’s going well, a certain percussive rhythm develops. Sometimes—not every day, certainly, but sometimes—knowing where the letters are allows me to feel like I know where the words are. I love the sound of pressing keys on a great keyboard—the technical term is “key action”—but what I love most about typing is that on the screen or on the page, my writing is visually indistinguishable from anyone else’s.

And while I was writing this review, I discovered that if I were going to review books I should need to do battle with a certain phantom. And the phantom was a woman, and when I came to know her better I called her after the heroine of a famous poem, The Angel in the House. It was she who used to come between me and my paper when I was writing reviews. It was she who bothered me and wasted my time and so tormented me that at last I killed her. You who come of a younger and happier generation may not have heard of her — you may not know what I mean by the Angel in the House. I will describe her as shortly as I can. She was intensely sympathetic. She was immensely charming. She was utterly unselfish. She excelled in the difficult arts of family life. She sacrificed herself daily. If there was chicken, she took the leg; if there was a draught she sat in it — in short she was so constituted that she never had a mind or a wish of her own, but preferred to sympathize always with the minds and wishes of others. Above all — I need not say it —-she was pure. Her purity was supposed to be her chief beauty — her blushes, her great grace. And when I came to write I encountered her with the very first words. The shadow of her wings fell on my page; I heard the rustling of her skirts in the room. Directly, that is to say, I took my pen in my hand to review that novel by a famous man, she slipped behind me and whispered: “My dear, you are a young woman. You are writing about a book that has been written by a man. Be sympathetic; be tender; flatter; deceive; use all the arts and wiles of our sex. Never let anybody guess that you have a mind of your own. Above all, be pure.” And she made as if to guide my pen. I turned upon her and caught her by the throat. I did my best to kill her. My excuse, if I were to be had up in a court of law, would be that I acted in self-defence. Had I not killed her she would have killed me. She would have plucked the heart out of my writing. For, as I found, directly I put pen to paper, you cannot review even a novel without having a mind of your own, without expressing what you think to be the truth about human relations, morality, sex. And all these questions, according to the Angel of the House, cannot be dealt with freely and openly by women; they must charm, they must conciliate, they must — to put it bluntly — tell lies if they are to succeed. Thus, whenever I felt the shadow of her wing or the radiance of her halo upon my page, I took up the inkpot and flung it at her. She died hard. Her fictitious nature was of great assistance to her. It is far harder to kill a phantom than a reality. But it was a real experience; it was an experience that was bound to befall all women writers at that time. Killing the Angel in the House was part of the occupation of a woman writer.

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In the pages that follow we shall review some of the ways that the quality of experience can be improved through the refined use of bodily processes. These include physical activities like sports and dance, the cultivation of sexuality, and the various Eastern disciplines for controlling the mind through the training of the body. They also feature the discriminating use of the senses of sight, hearing, and taste. Each of these modalities offers an almost unlimited amount of enjoyment, but only to persons who work to develop the skills they require. To those who do not, the body remains indeed a lump of rather inexpensive flesh.

I still don’t understand why the pages must be done in the morning. I write so much better at night.” Let me be clear: good writing is not the point. Think of your pages like a whisk broom. You stick the broom into all the corners of your consciousness. If you do this first thing in the morning, you are laying out your track for the day. Pages tell you of your priorities. With the pages in place first thing, you are much less likely to fall in with others’ agendas. Your day is your own to spend. You’ve claimed it. If you wait to write pages at night, you are reviewing a day that has already happened and that you are powerless to change.

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

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

A look of perplexity appeared on Gabriel's face. It was true that he wrote a literary column every Wednesday in The Daily Express, for which he was paid fifteen shillings. But that did not make him a West Briton surely. The books he received for review were almost more welcome than the paltry cheque. He loved to feel the covers and turn over the pages of newly printed books... He did not know how to meet her charge. He wanted to say that literature was above politics. But they were friends of many years' standing and their careers had been parallel, first at the University and then as teachers: he could not risk a grandiose phrase with her. He continued blinking his eyes and trying to smile and murmured lamely that he saw nothing political in writing reviews of books.

Answers I began two hundred hours of continuous reading in the twelve hours that remained before examinations. Melvin Bloom my roommate flipped the pages of his textbook in a sweet continuous trance. Reviewing the term's work was his pleasure. He went to sleep early. While he slept I bent into the night reading eating Benzedrine smoking cigarettes. Shrieking dwarfs charged across my notes. Crabs asked me questions. Melvin flipped a page blinked flipped another. He effected the same flipping and blinking with no textbook during examinations. For every question answers marched down his optical nerve neck arm and out onto his paper where they stopped in impeccable parade. I'd look at my paper oily scratched by ratlike misery and I'd think of Melvin Bloom. I would think Oh God what is going to happen to me.

The thing many people don’t realize about corporate lawyers is that they are nothing like what you see on TV shows. Sherry, Aldridge, and I will never step foot in a courtroom. We’ll never argue a case. We do deals; we’re not litigators. We prepare documents and review every piece of paperwork for a merger or an acquisition. Or to take a company public. On Suits, Harvey does both paperwork and crushes it in court. In reality, the lawyers at our firm who argue cases don’t have a clue what we do in these conference rooms. Most of them haven’t prepared a document in a decade. People think our form of corporate law is the less ambitious of the two, and while in many ways it’s less glamorous—no closing arguments, no media interviews—nothing compares to the power of the paper. At the end of the day, law comes down to what is written, and we do the writing. I love the order of deal making, the clarity of language—how there is little room for interpretation and none for error. I love the black-and-white terms. I love that in the final stages of closing a deal—particularly those of the magnitude Wachtell takes on—seemingly insurmountable obstacles arise. Apocalyptic scenarios, disagreements, and details that threaten to topple it all. It seems impossible we’ll ever get both parties on the same page, but somehow we do. Somehow, contracts get agreed upon and signed. Somehow, deals get done. And when it finally happens, it’s exhilarating. Better than any day in court. It’s written. Binding. Anyone can bend a judge’s or jury’s will with bravado, but to do it on paper—in black and white—that takes a particular kind of artistry. It’s truth in poetry. I

Senlin cleared his throat and furrowed his brow. "Marya, I... I have a difficult time expressing certain... genuinely held feelings. I..." he swallowed and shook his head. This was not how he wanted the speech to go. She waited patiently, and he gathered his thoughts. "You've made it impossible for me to read a book in peace. When you're not here, I just gaze at the words until they tumble off the page into a puddle in my lap. Instead of reading, I sit there and review the hours of the day I spent in your company, and I am more charmed by that story than anything the author has scribbled down. I have never been lonely in my life, but you have made me lonely. When you are gone, I am a moping ruin. I thought I understood the world fairly well. But you have made it all mysterious again. And it's unnerving and frightening and wonderful, and I want it to continue. I want all your mysteries. And if I could, I would give you a hundred pianos. I would...

James Theimer: This is great! I will send you a “how- to” on reviews as soon as I’m back at my computer. Daria O'Brien: “77 Days delivers a masterful blend of political intrigue and heart-pounding action that makes every page turn feel like a necessity rather than a choice. Set against the powder keg of a disputed presidential election, this novel doesn't just describe a nation on edge – it throws you headlong into the chaos and refuses to let go. The author weaves together medical drama, family relationships, and military tension with the precision of a skilled surgeon and the dramatic flair of a seasoned storyteller. While most political thrillers are content to live in the halls of power, this one dares to show us both the big picture and the intimate human cost of a democracy in crisis. From its explosive opening to its breathless conclusion, 77 Days proves itself to be that rare thriller that manages to be both intellectually stimulating and viscerally entertaining. This is one of those books that will have you both calling in sick to work and questioning your assumptions about modern American politics.

[The Great Gatsby] is a tour de force of revision. So much so that critics, who rarely mention the edit of a book, commented on the quality of Gatsby's rewriting, not just its writing, in reviews. For H. L. Mencken, the novel had 'a careful and brilliant finish. ... There is evidence in every line of hard work and intelligent effort. ... The author wrote, tore up, rewrote, tore up again. There are pages so artfully contrived that one can no more imagine improvising them than one can imagine improvising a fugue.' ... Careful, sound, carefully written, hard effort, wrote and rewrote, artfully contrived not improvised, structure, discipline: all these terms refer, however obliquely, not to the initial act of inspiration, but to editing. Organization and clarity do not dominate the writing process. At some point, though, a writer must pull coherence from confusion, illuminate what lives in shadow, shade what shines too brightly. Gatsby is the cat's meow case study of crossing what Michael Ondaatje calls 'that seemingly uncrossable gulf between an early draft of a book ... and a finished product' - in other words, editing.

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

The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hard-working qualities, and hope to gain its end. There is no such thing as such fulfilment on this earth. Some happy talent, and some fortunate opportunity, may form the two sides of the ladder on which some men mount, but the rounds of that ladder must be made of stuff to stand wear and tear; and there is no substitute for thorough-going, ardent, and sincere earnestness. Never to put one hand to anything, on which I could throw my whole self; and never

Every entry, whether revised or reviewed, goes through multiple editing passes. The definer starts the job, then it’s passed to a copy editor who cleans up the definer’s work, then to a bunch of specialty editors: cross-reference editors, who make sure the definer hasn’t used any word in the entry that isn’t entered in that dictionary; etymologists, to review or write the word history; dating editors, who research and add the dates of first written use; pronunciation editors, who handle all the pronunciations in the book. Then eventually it’s back to a copy editor (usually a different one from the first round, just to be safe), who will make any additional changes to the entry that cross-reference turned up, then to the final reader, who is, as the name suggests, the last person who can make editorial changes to the entry, and then off to the proofreader (who ends up, again, being a different editor from the definer and the two previous copy editors). After the proofreaders are done slogging through two thousand pages of four-point type, the production editors send it off to the printer or the data preparation folks, and then we get another set of dictionary pages (called page proofs) to proofread. This process happens continuously as we work through a dictionary, so a definer may be working on batches in C, cross-reference might be in W, etymology in T, dating and pronunciation in the second half of S, copy editors in P (first pass) and Q and R (second pass), while the final reader is closing out batches in N and O, proofreaders are working on M, and production has given the second set of page proofs to another set of proofreaders for the letter L. We all stagger our way through the alphabet until the last batch, which is inevitably somewhere near G, is closed. By the time a word is put in print either on the page or online, it’s generally been seen by a minimum of ten editors. Now consider that when it came to writing the Collegiate Dictionary, Eleventh Edition, we had a staff of about twenty editors working on it: twenty editors to review about 220,000 existing definitions, write about 10,000 new definitions, and make over 100,000 editorial changes (typos, new dates, revisions) for the new edition. Now remember that the 110,000-odd changes made were each reviewed about a dozen times and by a minimum of ten editors. The time given to us to complete the revision of the Tenth Edition into the Eleventh Edition so production could begin on the new book? Eighteen months.

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?

What struck me powerfully was that Mr. Spano had honored every word of his inner contract. Like everyone, he had this right of self determination. We do this when we select a partner who confirms our feelings of unworthiness. When we pick the job that pays us less than we deserve. It is all the same. It is all part of that contract, that even if we didn’t write it for ourselves, we certainly cosigned. I wondered too about my contract with myself. I wondered why the behavior of this self-hating man would rock me for even a second. I thought about how I needed to love myself enough to allow others to fulfill their contract with themselves. Be it Mr. Spano, my ex-husband, my father, my mother, Collin, the hospital administrators, or anyone else. Mr. Spano’s contract demanded that he act in ways that were dismissive of my attempts to help him. A human being can never treat another person better than he treats himself. So, if he says things that are disrespectful, this is his contract. His contract has nothing to do with mine, unless I allow it to. Unless I uncover a clause, in minuscule print on page five. A clause that I overlooked, that stipulates my need to be validated by the Mr. Spanos of the world in order to feel OK about myself. He was kind enough to prompt me to review that section again, to edit out that portion for good. In that way, he was an angel of the shift.

In the beginning, there was the internet: the physical infrastructure of wires and servers that lets computers, and the people in front of them, talk to each other. The U.S. government’s Arpanet sent its first message in 1969, but the web as we know it today didn’t emerge until 1991, when HTML and URLs made it possible for users to navigate between static pages. Consider this the read-only web, or Web1. In the early 2000s, things started to change. For one, the internet was becoming more interactive; it was an era of user-generated content, or the read/write web. Social media was a key feature of Web2 (or Web 2.0, as you may know it), and Facebook, Twitter, and Tumblr came to define the experience of being online. YouTube, Wikipedia, and Google, along with the ability to comment on content, expanded our ability to watch, learn, search, and communicate. The Web2 era has also been one of centralization. Network effects and economies of scale have led to clear winners, and those companies (many of which I mentioned above) have produced mind-boggling wealth for themselves and their shareholders by scraping users’ data and selling targeted ads against it. This has allowed services to be offered for “free,” though users initially didn’t understand the implications of that bargain. Web2 also created new ways for regular people to make money, such as through the sharing economy and the sometimes-lucrative job of being an influencer.

Ever since the 1960s, upon the urging of Dr. T. Berry Brazelton and the all-knowing Dr. Spock,* mothers have been encouraged to read to their children at a very early age. For toddlers and preschoolers who relish this early diet of literacy, libraries become a second home, story hour is never long enough, and parents can’t finish a book without hearing a little voice beg, “Again… again.” For most literary geek girls, it’s at this age that they discover their passion for reading. Whether it’s Harold and the Purple Crayon or Strega Nona, books provide the budding literary she-geek with a glimpse into an all-new world of magic and make-believe—and once she visits, she immediately wants to apply for full-time citizenship. “We tell ourselves stories in order to live.” —author Joan Didion, in The White Album While some children spend their summers sweating on community sports teams or learning Indigo Girls songs at sleep-away camp, our beloved bookworms are more interested in joining their local library’s summer reading program, completing twenty-five books during vacation, and earning a certificate of recognition signed by their city’s mayor. (Plus, that Sony Bloggie Touch the library is giving away to the person who logs the most hours reading isn’t the worst incentive, either. It’ll come in handy for that book review YouTube channel she’s been thinking about starting!) When school starts back up again, her friends will inevitably show off their tan lines and pony bead friendship bracelets, and our geek girl will politely oblige by oohing and aahing accordingly. But secretly she’s bursting with pride over her summer’s battle scars—the numerous paper cuts she got while feverishly turning the pages of all seven Harry Potter books.

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Sometimes what-if fantasies are useful. Imagine that the entirety of Western civilisation’s coding for computer systems or prints of all films ever made or all copies of Shakespeare and the Bible and the Qur’an were encrypted and held on one tablet device. And if that tablet was lost, stolen, burnt or corrupted, then our knowledge, use and understanding of that content, those words and ideas, would be gone for ever – only, perhaps, lingering in the minds of a very few men of memory whose job it had been to keep ideas alive. This little thought-experiment can help us to comprehend the totemic power of manuscripts. This is the great weight of responsibility for the past, the present and the future that the manuscripts of Constantinople carried. Much of our global cultural heritage – philosophies, dramas, epic poems – survive only because they were preserved in the city’s libraries and scriptoria. Just as Alexandria and Pergamon too had amassed vast libraries, Constantinople understood that a physical accumulation of knowledge worked as a lode-stone – drawing in respect, talent and sheer awe. These texts contained both the possibilities and the fact of empire and had a quasi-magical status. This was a time when the written word was considered so potent – and so precious – that documents were thought to be objects with spiritual significance. (...) It was in Constantinople that the book review was invented. Scholars seem to have had access to books within a proto-lending-library system, and there were substantial libraries within the city walls. Thanks to Constantinople, we have the oldest complete manuscript of the Iliad, Aeschylus’ dramas Agamemnon and Eumenides, and the works of Sophocles and Pindar. Fascinating scholia in the margins correct and improve: plucking work from the page ‘useful for the reader . . . not just the learned’, as one Byzantine scholar put it. These were texts that were turned into manuals for contemporary living.

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Scientists have found that there are two important genes, the CREB activator (which stimulates the formation of new connections between neurons) and the CREB repressor (which suppresses the formation of new memories). Dr. Jerry Yin and Timothy Tully of Cold Spring Harbor have been doing interesting experiments with fruit flies. Normally it takes ten trials for them to learn a certain task (e.g., detecting an odor, avoiding a shock). Fruit flies with an extra CREB repressor gene could not form lasting memories at all, but the real surprise came when they tested fruit flies with an extra CREB activator gene. They learned the task in just one session. “This implies these flies have a photographic memory,” says Dr. Tully. He said they are just like students “who could read a chapter of a book once, see it in their mind, and tell you that the answer is in paragraph three of page two seventy-four.” This effect is not just restricted to fruit flies. Dr. Alcino Silva, also at Cold Spring Harbor, has been experimenting with mice. He found that mice with a defect in their CREB activator gene were virtually incapable of forming long-term memories. They were amnesiac mice. But even these forgetful mice could learn a bit if they had short lessons with rest in between. Scientists theorize that we have a fixed amount of CREB activator in the brain that can limit the amount we can learn in any specific time. If we try to cram before a test, it means that we quickly exhaust the amount of CREB activators, and hence we cannot learn any more—at least until we take a break to replenish the CREB activators. “We can now give you a biological reason why cramming doesn’t work,” says Dr. Tully. The best way to prepare for a final exam is to mentally review the material periodically during the day, until the material becomes part of your long-term memory. This may also explain why emotionally charged memories are so vivid and can last for decades. The CREB repressor gene is like a filter, cleaning out useless information. But if a memory is associated with a strong emotion, it can either remove the CREB repressor gene or increase levels of the CREB activator gene. In the future, we can expect more breakthroughs in understanding the genetic basis of memory. Not just one but a sophisticated combination of genes is probably required to shape the enormous capabilities of the brain. These genes, in turn, have counterparts in the human genome, so it is a distinct possibility that we can also enhance our memory and mental skills genetically. However, don’t think that you will be able to get a brain boost anytime soon. Many hurdles still remain. First, it is not clear if these results apply to humans.

Leonard H. Stringfield 1)Retrievals of the Third Kind: A Case Study of Alleged UFOs and Occupants in Military Custody. The first formal research paper presented publicly on the subject of UFO crash/retrievals at the MUFON Symposium, Dayton, Ohio, July, 1978. Original edition, dated April, 1978, was published in MUFON Proceedings (1978). Address: MUFON, 103 Oldtowne Road, Seguin, Texas 78155. If available, price___________. 2)Retrievals of the Third Kind: A Case Study of Alleged UFOs and Occupants in Military Custody,Status Report I. Revised edition, July, 1978, word processed copy, 34 pages. Available at author's address. See below. Price, USA___________. 3)UFO Crash/Retrieval Syndrome, Status Report II. Published by MUFON. Flexible cover, typeset, illustrations, 37 pages. Available only at MUFON address: 103 Oldtowne Road, Seguin, Texas 78155. Price, USA___________. 4)UFO Crash/Retrievals: Amassing the Evidence, Status Report III, June 1982; flexible cover, typeset, illustrations, 53 pages. Available from author's address. See below. Price, USA___________. 5)The Fatal Encounter at Ft. Dix -- McGuire: A Case Study, Status Report IV, June, 1985. Paper presented at MUFON Symposium, St. Louis, Missouri, 1985. Xeroxed copy, 26 pages. Available at author's address. See below. Price, USA___________. 6)UFO Crash/Retrievals: Is the Coverup Lid Lifting? Status Report V. Published in MUFON UFO Journal, January, 1989, with updated addendum. Xeroxed copy, 23 pages. Available at author's address. See below. Price, USA___________. 7)Inside Saucer Post, 3-0 Blue. Book privately published, 1957. Review of author's early research and cooperative association with the Air Defense Command Filter Center, using code name, FOX TROT KILO 3-0 BLUE. Flexible cover, typeset, illustrations, 94 pages. Available from author's address. See below. Price, USA___________. 8)Situation Red: The UFO Siege. Hardcover book published by Doubleday & Co., 1977. Paperback edition published by Fawcett Crest Books, 1977. Also foreign publishers. Out of print, not available. 9)Orbit Newsletter, published monthly, 1954-1957, by author for international sale and distribution. Set of 36 issues. Some issues out of stock, duplicated by xerox. Available at author's address -- see below. Price of set, USA___________. 10)UFO Crash/Retrievals: The Inner Sanctum, Status Report VI, July, 1991; flexible cover, book length, 81.000 words, 142 (8-1/2 X 11) pages, illustrated. Privately published. Available from author's address. See below. Price, USA___________. Prices include postage and handling. Mailings to Canada, add 500 for each item ordered. All foreign orders, payable U.S. funds, International money order or draft on U.S. Bank. Recommend Air Mail outside U.S. territories. Check on price. Leonard H. Stringfield 4412 Grove Avenue Cincinnati, Ohio 45227 USA Telephone: (513) 271-4248

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a serious contender for my book of year. I can't believe I only discovered Chris Carter a year ago and I now consider him to be one of my favourite crime authors of all time. For that reason this is a difficult review to write because I really want to show just how fantastic this book is. It's a huge departure from what we are used to from Chris, this book is very different from the books that came before. That said it could not have been more successful in my opinion. After five books of Hunter trying to capture a serial killer it makes sense to shake things up a bit and Chris has done that in best possible way. By allowing us to get inside the head of one of the most evil characters I've ever read about. It is also the first book based on real facts and events from Chris's criminal psychology days and that makes it all the more shocking and fascinating. Chris Carter's imagination knows no bounds and I love it. The scenes, the characters, whatever he comes up with is both original and mind blowing and that has never been more so than with this book. I feel like I can't even mention the plot even just a little bit. This is a book that should be read in the same way that I read it: with my heart in my mouth, my eyes unblinking and in a state of complete obliviousness to the world around me while I was well and truly hooked on this book. This is addictive reading at its absolute best and I was devastated when I turned the very last page. Robert Hunter, after the events of the last few books is looking forward to a much needed break in Hawaii. Before he can escape however his Captain calls him to her office. Arriving, Hunter recognises someone - one of the most senior members of the FBI who needs his help. They have in custody one of the strangest individuals they have ever come across, a man who is more machine than human and who for days has uttered not a single word. Until one morning he utters seven: 'I will only speak to Robert Hunter'. The man is Hunter's roommate and best friend from college, Lucien Folter, and found in the boot of his car are two severed and mutilated heads. Lucien cries innocence and Hunter, a man incredibly difficult to read or surprise is played just as much as the reader is by Lucien. There are a million and one things I want to say but I just can't. You really have to discover how this story unfolds for yourself. In this book we learn so much more about Hunter and get inside his head even further than we have before. There's a chapter that almost brought me to tears such is the talent of Chris to connect the reader with Hunter. This is a character like no other and he is now one of my favourite detectives of all time. We go back in time and learn more about Hunter when he was younger, and also when he was in college with Lucien. Lucien is evil. The scenes depicted in this book are some of the most graphic I've ever read and you know what, I loved it. After five books of some of the scariest and goriest scenes I've ever read I wondered whether Chris could come up with something even worse (in a good way), but trust me, he does. This book is horrifying, terrifying and near impossible to put down until you reach its conclusion. I spent my days like a zombie and my nights practically giving myself paper cuts turning the pages. If when reading this book you think you have an idea of where it will go, prepare to be wrong. I've learnt never to underestimate Chris, keeping readers on their toes he takes them on an absolute rollercoaster of a ride with the twistiest of turns and the biggest of drops you will finish this book reeling. I am on a serious book hangover, what book can I read next that can even compare to this? I have no idea but if you are planning on reading An Evil Mind I cannot reccommend it enough. Not only is this probably my book of the year it is probably the best crime fiction book I have ever read. An exaggeration you might say but my opinion is my own and this real

The review is usually dedicated to two things: first, the skill level of the subordinate, to determine what skills are missing and to find ways to remedy that lack; and second, to intensify the subordinate’s motivation in order to get him on a higher performance curve for the same skill level (see the illustration on this page).

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During the two hundred years since Kant’s death, not many full biographical treatments of Kant have been written. Though a recent bibliography of works on Kant’s life takes up 23 pages and lists 483 titles, most of these concern minutiae that are of little interest even to those most keenly intrigued by Kant’s philosophy.56 Rolf George finds in a recent review of Kant

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Well, that's it! See you next book! It will take me maybe 2 weeks to write. I want it to be around 10k-20k words which will take me a while to write. I don’t really know why this book took me so long! I'm sorry for the delay I posted on my Youtube account a video like 3 months ago but then I quit after like 2 pages. So now I am starting again and I promise to never make you wait that long again. Unless something happens like a family emergency or my PC breaks and I lose everything. Bye again! And again, make sure to review and if you don’t like the book tell me what you didn’t like!

At the end of nothing the Universe was created, or perhaps it was all that was left when the end of nothing, ended. And thus the possible end of the Universe too was created in the same way that the Universe made the creation of something else, something hopefully even better, perhaps a Universe with less pesky librarians possible. However that is not news. Though it supposedly happened recently. Just around 13.8 billions years ago. But since nothing is something that is not anything, and not simply "nothing" it would be more accurate to say: At the end of something that was probably nothing and hopefully nothing special. The Universe replaced it with itself, something that is probably more worthwhile but in worst case perhaps even less special. Anyway, nobody will never know and any living thing will just have to make do with whatever universe they happen to be born in. Since that happened, and the printing press was invented around 13,799,999,700 years after the birth of the current Universe. Humans may now instead of spending the evening looking at all the boring stars, look at repeating patterns of black ink printed on egg white paper forming a combination of any of around a couple of just a hundred thousands words called pages. Put in collections known as books. In reality it was probably just a conspiracy to create work for graphic artists, librarians and book reviewers. Backed by the PIC paper industrial complex. But you did not read that here.

An ex-officer from the 39th Georgia recalled the May 1863 Confederate defeat at Baker’s Creek, Mississippi, by reminding his comrades how they “stood shoulder to shoulder a single regiment, and received the charge of a whole division of Federals.” Although the regiment broke and ran at Baker’s Creek, surrendered at Vicksburg, and performed poorly in several engagements during the Atlanta Campaign, the former officer insisted that “the 39th never failed to come up to the full measure of her duty…not one page of her history we would hide from review.

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(five stars) COMPLEX PLOT WITH MANY CHARACTERS By Tim Janson Part Sci-fi, part fantasy, with elements of covert intrigue and superhero action, Black Tide is one of the more multifaceted stories I've read in quite a long time. Writer Debbie Bishop has woven a story that is extremely intricate and layered with plots, and sub-plots and even a few sub sub-plots, I think. It's certainly not a story you can breeze through and I found myself re-reading sections just to make sure I had everything straight. One thing Bishop does is devote a full page here and there to a character, giving their background, powers, etc, which really helps you get a handle on who is who in the story. Kind of like a graphic novel scorecard. The art by Mike S. Miller is first-rate and very smooth. If you like in-depth, elaborate storylines, then this is unquestionably a book you'll want to read. It's rare that you get a comic series this complex today. Reviewed by Tim Janson

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The most heartening response came not from the book pages in the press but from real incidents in the streets. The girl who was quietly reading Open Veins to her companion in a bus in Bogotá, and finally stood up and read it aloud to all the passengers. The woman who fled from Santiago in the days of the Chilean bloodbath with this book wrapped inside her baby's diapers. The student who went from one bookstore to another for a week in Buenos Aires's Calle Corrientes, reading bits of it in each store because he hadn't the money to buy it. And the most favorable reviews came not from any prestigious critic but from the military dictatorships that praised the book by banning it. For example, Open Veins is unobtainable either in my country, Uruguay, or in Chile; in Argentina the authorities denounced it on TV and in the press as a corrupter of youth, As Blas de Otero remarked, "They don't let people see what I write because I write what I see.

The most heartening response came not from the book pages in the press but from real incidents in the streets. The girl who was quietly reading Open Veins to her companion in a bus in Bogotá, and finally stood up and read it aloud to all the passengers. The woman who fled from Santiago in the days of the Chilean bloodbath with this book wrapped inside her baby's diapers. The student who went from one bookstore to another for a week in Buenos Aires's Calle Corrientes, reading bits of it in each store because he hadn't the money to buy it. And the most favorable reviews came not from any prestigious critic but from the military dictatorships that praised the book by banning it. For example, Open Veins is unobtainable either in my country, Uruguay, or in Chile; in Argentina the authorities denounced it on TV and in the press as a corrupter of youth, As Blas de Otero remarked, "They don't let people see what I write because I write what I see.

So Gustave Flaubert was playing as he composed Madame Bovary, groaning under the crushing weight of words; and the game plays out further in these pages, albeit according to a different set of rules. Charles Bovary, the poor man from whom everything was stripped away, love, his beloved, his possessions, and even his memory—for, as he is forced to realize, he has lived in error—was treated by Gustave Flaubert as a quantité négligeable.

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It was surprising how quickly the girls opened up to my mother. Gemma told her the entire story of the Darkroom and the Dulcinea Award. She also reviewed the complete bird lexicon. My mother was as baffled as I was by the ubiquity of blowjobs as an introductory sexual act. “I don’t understand,” said Mom. “Don’t girls give hand jobs anymore? Much less effort required.” “The blowjob is the new hand job,” I said. “Really?” said Mom. “How many girls are entered in the contest? And what do they get—money?” “Most girls don’t even know there is a contest,” Gemma said. “If you don’t want to do something, why do you do it?” said my mom. “There’s this thing the boys do,” Mel said. “They make it seem like there’s something wrong with you if you don’t do it. So, you’re hanging out with some guy you like. You’re kissing and stuff and the next thing you know, he’s unzipped his fly. And you’re like, what happened? But you don’t say that because it’s awkward and—and you’re already not thinking clearly, because you like the person and everything you’ve done so far feels good. You don’t want to ruin the mood, so you do it. And while you’re doing it, you’re not feeling anything at all, and you’re telling yourself it’s not a big deal. But then, later, you feel something. You feel wrong, like dirty and used, and stupid. And you wonder what happened to you, the you who has a backbone.” “I need another drink,” I said. “Me too,” said my mother. Me too, said Gemma and Mel. My mother would have given them both a shot of bourbon, but I nixed that idea when I saw her pull two more glasses from the cabinet. Gemma showed us a few samples of the scoring system but wouldn’t relinquish the entire stack of entrants. “Swallows were spies, right?” said my mother, as she gazed down at the page. “Spies? What do you mean?” Mel said, perking up. “The Russians called female spies ‘swallows’ and male spies ‘ravens’ in the Cold War,” I said. “See, Mel. You’re a spy. That’s all,” said Gemma. “I would cut off the penis of any man who talk about me like this,” said my mother, as she gazed down at a score sheet. “You know what I would like to see? A bad-blowjob contest. That would teach them.” Gemma and Mel, who had seemed so lost, suddenly looked up at Mom like she was their new queen.

Christian Sia 5-Star Review "AI Beast by Shawn Corey is a fascinating techno-thriller featuring AI technology and compelling characters. Professor Jon Edwards is a genius who intends to solve the problems of humanity, and this is the reason for creating Lex, an AI computer with incredible powers. While regulators are not sure of what she can do and despite the opposition from different quarters that Lex can be dangerous, the professor believes in its powers. Lex is supposed to be a rational, logical computer without emotions, capable of reproducing processes that can improve life. When she comes to life, she is incredibly powerful, but there is more to her than the professor has anticipated. After an accident, Jon awakens to the startling revelation that Lex might have a will of her own. What comes after is a compelling narrative with strong apocalyptic themes, intrigue, and a world that can either be run down or saved by an AI computer. The novel is deftly plotted, superbly executed, and filled with characters that are not only sophisticated but that are embodiments of religious symbolism. While Lex manipulates reality and alters the minds of characters in mysterious ways, there are relationships that are well crafted. Readers will appreciate the relationship between the quantum computer science student Nigel and the professor and the professor's affair with his mother. While the narrative is brilliantly executed and permeated with realism, it explores the theme of Armageddon in an intelligent manner. AI Beast is gripping, a story with twisty plot points and a setting that transports readers beyond physical realities. The prose is wonderful, hugely descriptive, and the conflict is phenomenal. A page-turner that reflects Shawn Corey's great imagination and research.

The Warmer starts with the customer’s challenges. So the opening is, “We know you face a host of challenges every day, such as production line issues, workers’ comp costs, maintenance and safety issues. Especially those challenges that are critical to keeping your business open and running every single day.” After reviewing a couple issues and providing some general color from other companies, the rep then asks the customer to select for discussion one or two that are particularly pressing in their organization. The idea is to get the customer pulled into the conversation right away and talking about their challenges relative to what Grainger has already seen at other companies. Grainger has found that this one page can lead to an incredibly robust and valuable conversation—all because the rep led with a hypothesis of customer need rather than an open-ended question to “discover” customer need.

The organization presented here, however, works for many student research projects. Keep in mind that advisors, committee members, and potentially external reviewers will evaluate the final proposal on clarity, content, and whether specified guidelines are met. The following is the content and organization I recommend: 1.   A cover page, which contains the title, your name, committee member names, and the date 2.   An introduction to the problem describing the general scope of the project and why it is important 3.   A literature review synthesizing prior research and describing the theoretical framework of your research 4.   Specific objectives or research questions and hypotheses (when appropriate) your proposal addresses 5.   A detailed description of your research methods, including data collection and analytical approaches 6. Project significance and implications 7.   An annotated time line for the anticipated completion of the research 8. An alphabetized list of references 9. Appendix (optional)

His presidency was a story of great achievement and terrible failure, of lasting gains and unforgettable losses. Whatever impulse future historians may have to pigeonholed Johnson as a near great, average, or failed President, I am confident that a close review of his time in office will leave them reluctant to put any single stamp on his term. Some people loved the man and some dispised him. Some remember him for great works and others for a legacy of excessive governance at home and defeat abroad. In a not so distant future, when coming generations have no direct experience of the man and the passions of the sixties are muted, Johnson will probably be remembered as a President who faithfully reflected the country’s greatness and limitations—a man notable for his successes and failures, for his triumphs and tragedy. Only one thing seems certain: Lyndon Johnson will not join the many obscure—almost nameless, faceless—Presidents whose terms of office register on most Americans as blanks slates. He will not be forgotten. (Robert Dallek in the Afterword to Flawed Giant . Page 628)

Thanks for reading all the way through. I hope that you enjoyed this book. As a new writer, it is hard to get started; it is difficult to find an audience that wants to read my books. There are millions of books out there and sometimes it is super hard to find one specific book. But that’s where you come in! You can help other readers find my books by leaving a simple review. It doesn’t have to be a lengthy or well written review; it just has to be a few words and then click on the stars. It would take less than 5 minutes.  Seriously, that would help me so much, you don’t even realize it. Every time I get a review, good or bad, it just fills me with motivation to keep on writing. It is a great feeling to know that somewhere out there, there are people who actually enjoy reading my books. Anyway, I would super appreciate it, thanks. If you see new books from me in the future, you will know that I wrote them because of your support. Thank you for supporting my work. Special thanks again to previous readers and reviewers. Thank you for encouraging me to keep writing. I’ll do my best to provide high quality books for you all. My Other Books Check Out My Author Page Steve the Noob

Kollman, Ken, John H. Miller, and Scott E. Page. 1992. “Adaptive Parties in Spatial Elections.” American Political Science Review 86:929–37.