Paper Craft Quotes

Writing is easy. You only need to stare at a blank piece of paper until drops of blood form on your forehead.

I prefer the pen. There is something elemental about the glide and flow of nib and ink on paper.

I write to find strength. I write to become the person that hides inside me. I write to light the way through the darkness for others. I write to be seen and heard. I write to be near those I love. I write by accident, promptings, purposefully and anywhere there is paper. I write because my heart speaks a different language that someone needs to hear. I write past the embarrassment of exposure. I write because hypocrisy doesn’t need answers, rather it needs questions to heal. I write myself out of nightmares. I write because I am nostalgic, romantic and demand happy endings. I write to remember. I write knowing conversations don’t always take place. I write because speaking can’t be reread. I write to sooth a mind that races. I write because you can play on the page like a child left alone in the sand. I write because my emotions belong to the moon; high tide, low tide. I write knowing I will fall on my words, but no one will say it was for very long. I write because I want to paint the world the way I see love should be. I write to provide a legacy. I write to make sense out of senselessness. I write knowing I will be killed by my own words, stabbed by critics, crucified by both misunderstanding and understanding. I write for the haters, the lovers, the lonely, the brokenhearted and the dreamers. I write because one day someone will tell me that my emotions were not a waste of time. I write because God loves stories. I write because one day I will be gone, but what I believed and felt will live on.

I'm convinced that fear is at the root of most bad writing. If one is writing for one's own pleasure, that fear may be mild — timidity is the word I've used here. If, however, one is working under deadline — a school paper, a newspaper article, the SAT writing sample — that fear may be intense.

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dress in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight, the clock begins once more to fold in upon itself. The face lightens and the cloud returns. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

Truth is always stranger than fiction. We craft fiction to match our sense of how things ought to be, but truth cannot be crafted. Truth is, and truth has a way of astonishing us to our knees. Reminding us, that the universe does not exist to fulfill our expectations. Because we are imperfect beings who are self-blinded to the truth of the world’s stunning complexity, we shave reality to paper thin theories and ideologies that we can easily grasp – and we call them truths. But the truth of a sea in all it’s immensity cannot be embodied in one tidewashed pebble.

From earliest childhood I was charmed by the materials of my craft, by pencils and paper and, later, by the typewriter and the entire apparatus of printing. To condense from one's memories and fantasies and small discoveries dark marks on paper which become handsomely reproducible many times over still seems to me, after nearly 30 years concerned with the making of books, a magical act, and a delightful technical process. To distribute oneself thus, as a kind of confetti shower falling upon the heads and shoulders of mankind out of bookstores and the pages of magazines is surely a great privilege and a defiance of the usual earthbound laws whereby human beings make themselves known to one another.

In university courses we do exercises. Term papers, quizzes, final examinations are not meant for publication. We move through a course on Dostoevsky or Poe as we move through a mildly good cocktail party, picking up the good bits of food or conversation, bearing with the rest, going home when it comes to seem the reasonable thing to do. Art, at those moments when it feels most like art -- when we feel most alive, most alert, most triumphant -- is less like a cocktail party than a tank full of sharks.

Do you need someone to make you a paper badge with the word WRITER on it before you can believe you are one? God, I hope not.

Even when it isn't going well, knitting can be deeply spiritual. Knitting sets goals that you can meet. Sometimes when I work on something complicated or difficult - ripping out my work and starting over, porong over tomes of knitting expertise, screeching "I don't get it!" white practically weeping with frusteation - my husband looks at me and says, "I don't know why you think you like knitting." I just stare at him. I don't like knitting. I LOVE knitting. I don't know what could have possible led him to think that I'm not enjoying myself. The cursing? The crying? The forteen sheets of shredded graph paper? Knittong is like a marriage (I tell him) and you don't just trash the whole thing because there are bad moments.

The course of action for which you argue in your papers, not to mention your private life, would make Craftsmen and Craftswomen no better than the tyrant deities we overthrew in that damn war.” “Language, Elayne.” “My apologies,” she said after another sip of vodka. “One gets carried away when one feels one’s dinner companion has made an inexcusable moral error.” *

Below the bows of the Arrawa a child’s coffin moved onto the night stream. Its paper flowers were shaken loose by the wash of a landing craft carrying sailors from the American cruiser. The flowers formed a wavering garland around the coffin as it began its long journey to the estuary of the Yangtze, only to be swept back by the incoming tide among the quays and mud flats, driven once again to the shores of this terrible city (279).

But once your basic story is on paper, you need to think about what it means and enrich your following drafts with your conclusions.

One day you’ll wake up and you’ll realise that you’re OK again.

I had worked for a newspaper of sorts, word got around, and I became editor of our local school newspaper, The Drum. I don't recall being given any choice in this matter; I think I was simply appointed. My second-in-command, Danny Emond, had even less interest in the paper than I did. Danny just liked the idea that Room 4, where we did our work, was near the girls' bathroom. "Someday I'll just go crazy and hack my way in there, Steve," he told me on more than one occasion. "Hack, hack, hack." Once he added, perhaps in an effort to justify himself: "The prettiest girls in school pull up their skirts in there." This struck me as so fundamentally stupid it might actually be wise, like a Zen Koan or an early story by John Updike.

I’m convinced that fear is at the root of most bad writing. If one is writing for one’s own pleasure, that fear may be mild—timidity is the word I’ve used here. If, however, one is working under deadline—a school paper, a newspaper article, the SAT writing sample—that fear may be intense.

I write because the security of your love allows me to develop my craft without concerning myself with trivialities — as if your love could be any more complete. But I write, in the first place, because of you, my muse. I write for your green eyes to glance at my humble words and for the pleasure of hearing you utter them.

The dining-room was in the good taste of the period. It was very severe. There was a high dado of white wood and a green paper on which were etchings by Whistler in neat black frames. The green curtains with their peacock design, hung in straight lines, and the green carpet, in the pattern of which pale rabbits frolicked among leafy trees, suggested the influence of William Morris. There was blue delft on the chimneypiece. At that time there must have been five hundred dining-rooms in London decorated in exactly the same manner. It was chaste, artistic, and dull.

Daisies are what boho dreams are made of. They bring to mind sun-soaked wild flower fields, spontaneous wanderings in the country air the simple joys of bundling found blooms and foliage into a worn basket. I can almost smell the sunshine when I look at these happy flowers and feel the urge to wear a flower crown and spin around barefoot! Daisies are the perfect addition to any laid back and rustic decor or shabby chic event!

There is a difference between details and clutter. Clutter is the books on your shelf that you’re never going to read, the stacked-up papers that have been untouched for months, the endless flotsam and jetsam in your car, your closet, your garage, your kitchen, your bedroom, and your office. Clutter is all those clothes that you haven’t worn in years filling all those shelves and drawers. Clutter is all those possessions you’ve got piled in the garage just in case you might need them someday. Even though it’s been seven years since you first made those piles and haven’t looked in them since. Details are those pictures that remind you why you do what you do. Details are those books that are filled with underlining and notes. Or the books that you actually will read. Details are those few items of clothing that you actually do wear. Details are those objects you use regularly that help you do better whatever it is you do. Details are the tools of your craft. Details remind you who you are, where you’ve been, and what your path is.

In my mind, no other flower can compete with the perfection and the fragrance of the Peony. The silky petals, delicate shape, romantic shades and graceful foliage make this flower my all time favorite and I’m not alone. Brides plan their wedding dates around peony season. Flower enthusiasts plant them all through their gardens. Florists go crazy over all the different shades available from white, to coral, yellow to reds and every imaginable pink!  Sadly, this bloom can only be enjoyed in nature for a very short time each year. That’s the reason their paper counterparts have become such a hit!

Early next morning the craft hit the beach again and resumed loading pulpwood. It was an awesome sight, this tentacle of empire reaching out into so remote and quiet a spot; and it was a fearsome sound, the throbbing engines of an old, dead war furnishing the paper for new conquests in the magazine field.

I'm often asked by my colleagues, of certain funny or strange words, "Is this a real word?" Of course it is - you just used it. It was crafted using characters that create a sound we both recognize and a meaning we both understand. It is not a hologram; we can write it on a piece of paper and hold it close to us for as long as we'd like. It will not dissolve into thin air. We are simply never going to live in a world in which new words aren't regularly emerging and shifting in use.

I’m convinced that fear is at the root of most bad writing. If one is writing for one’s own pleasure, that fear may be mild—timidity is the word I’ve used here. If, however, one is working under deadline—a school paper, a newspaper article, the SAT writing sample—that fear may be intense. Dumbo got airborne with the help of a magic feather; you may feel the urge to grasp a passive verb or one of those nasty adverbs for the same reason. Just remember before you do that Dumbo didn’t need the feather; the magic was in him.

The paper is my savior, the pen my blood, to words that shed my world.

Just don’t end up with the tail wagging the dog; remember that you are writing a novel, not a research paper. The story always comes first.

Gradually I fell back into the old habit of being surrounded by books, papers, journals, and diaries.

When I first discovered the world of paper flower crafts, I was immediately excited and quickly consumed with all the possibilities.

Paper flowers make just about any heart smile…and that- is the best gift of all!

From school desks with inkwells and scratchy nibs on paper to sweaty finger prints on a tablet... technology progression yes... style?

When you sell a man a book you don’t sell him just 12 ounces of paper and ink and glue—you sell him a whole new life.

Yet many of us proles also care about the language, in our humble way, and care passionately about the art and craft of telling stories on paper.

Life is too short to say no to paper flowers

If the Peony flower is not number one in your heart…I’m sure it’s not too far down your list of favorite blooms!

Sometimes people grow up together and sometimes they grow apart. You just have to try to make the best of it.

She had learned how to make the bandages during the second month of her apprenticeship after accidentally walking in on Emery in the privy while he was trimming his hair over the sink. Her embarrassment at seeing the privy occupied, as well as seeing Emery shirtless, had startled her so greatly that she hadn’t taken the time to remove her fingers from the doorframe before slamming the door closed, all while shouting a profuse apology. She had nearly broken her right middle finger in the process, and Emery had crafted one of these bandages to hasten its healing.

You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasion—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

The color white is a blank canvas, just waiting to be written on. Compared to other more stimulating colors it is a refreshing change, a soothing and calm visual experience for the mind, which allows for imagination growth and creativity.

Remember... Keystrokes are hammer taps. Get words on paper. Don’t worry about connections, character or plot. Work for an hour. Promise yourself an hour. Do nothing else but move your fingers. Make coarse shapes. Follow any emotion that pops up but never impose emotion, never fake it, and don’t make up your mind or your heart ahead of time. Understand you don’t know what you’re doing. That’s why you’re here. Rough it out. Anything goes. You can decide later what any piece of text looks like, what it might mean. Don’t stop. Don’t question. Don’t quit. Don’t stop to read what you wrote. Move your fingers. You mind will have no other option but to keep up. Remember that writer’s block is merely the cold marble waiting for the chisel to heat up.

My take on all these things is pretty simple. It's all on the table, every bit of it, and you should use anything that improves the quality of your wiring and doesn't get in the way of your story. If you like an alliterative phrases-the knights of nowhere battling the nabobs of nullity-by all means throw it in and see how it looks on paper. If it seems to work, it can stay. If it doesn't (and to me this one sounds pretty bad, like Spiro Agnew crossed with Robert Jordan), well that delete key is on your machine for a good reason.

Write what is important to you, regardless of fashion or marketability or anything like that – all those things are so far out of your control that you may as well not think about them. Of course, this may mean you’ll never be published but that’s a risk we all take every single time we set hands to keyboard or pen to paper. For me, if I can sit back at the end of a project and say, ‘yes, I stayed honest, I said what I wanted to say, and I made it sing to the best of my ability’, then I’m happy enough. Of course, if anyone wants to buy the damned thing off me when I’m done, that’s jam I won’t refuse.

As central expressions of patriotism, these changes guaranteed that religious sentiment would be not just a theme pressed by a transitory administration but rather a lasting trait of the nation. The addition of “one nation under God” to the Pledge of Allegiance ensured that the new fusion of piety and patriotism that conservatives had crafted over the past two decades would be instilled in the next generation of children and beyond. From then on, their interpretation of America’s fundamental nature would have a seemingly permanent place in the national imagination. And with “In God We Trust” appearing on postage stamps and paper currency, the daily interactions citizens made through the state—sending mail, swapping money—were similarly sacralized. The addition of the religious motto to paper currency was particularly important, as it formally confirmed a role for capitalism in that larger love of God and country. Since then, every act of buying and selling in America has occurred through a currency that proudly praises God.

Sometimes when one cannot stand the story or novel one is working on, it helps to write something else—a different story or novel, or essays venting one's favorite peeves, or exercises aimed at passing the time and incidentally polishing up one's craft. The best way in the world for breaking a writer's block is to write a lot. Jabbering away on paper, one gets tricked into feeling interested, all at once, in something one is saying, and behold, the magic waters are flowing again. Often it helps to work on a journal, since that allows the writer to write about those things that most interest him, yet frees him of the pressure of achievement and encourages him to develop a more natural, more personal style.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it’s beautiful? Simplify, simplify.

Every day the same things came up; the work was never done, and the tedium of it began to weigh on me. Part of what made English a difficult subject for Korean students was the lack of a more active principle in their learning. They were accustomed to receiving, recording, and memorizing. That's the Confucian mode. As a student, you're not supposed to question a teacher; you should avoid asking for explanations because that might reveal a lack of knowledge, which can be seen as an insult to the teacher's efforts. You don't have an open, free exchange with teachers as we often have here in the West. And further, under this design, a student doesn't do much in the way of improvisation or interpretation. This approach might work well for some pursuits, may even be preferred--indeed, I was often amazed by the way Koreans learned crafts and skills, everything from basketball to calligraphy, for example, by methodically studying and reproducing a defined set of steps (a BBC report explained how the North Korean leader Kim Jong Il had his minions rigorously study the pizza-making techniques used by Italian chefs so that he could get a good pie at home, even as thousands of his subjects starved)--but foreign-language learning, the actual speaking component most of all, has to be more spontaneous and less rigid. We all saw this played out before our eyes and quickly discerned the problem. A student cannot hope to sit in a class and have a language handed over to him on sheets of paper.

Look for the clutter in your writing and prune it ruthlessly. Be grateful for everything you can throw away. Reexamine each sentence you put on paper. Is every word doing new work? Can any thought be expressed with more economy? Is anything pompous or pretentious or faddish? Are you hanging on to something useless just because you think it's beautiful?...Simplify, simplify.

Dramatic conquests often lead to startling serendipities: the most momentous Muslim acquisition at Talas was not territory or silk, but a commodity at once prosaic and precious. Among the Chinese prisoners taken at Talas were papermakers, who soon spread their wondrous craft into the Islamic world, and then to Europe, changing forever human culture and the course of history.

This world isn’t dead, but it might as well be, dragging its corpse from cáfe to ballroom to alt-rock concerts, unable to do anything but keep itself awake, nothing more.” “Don’t be bummed you can’t do what you were doing before,” Matthew said encouragingly. He ripped out a blank page of the journal. “Hannah bought an extra pen—would it make you feel better to draw a li’l something’?!” “The world prepares to burn and we entertain ourselves with trinkets and crafts while pissing into bottles in the dark.” But Bryde sat up stiffly and accepted the scratch paper. “See, this is a perfectly cool time,” Matthew said soothingly. “I was not made for a perfectly cool time,” Bryde said. He had drawn something that looked either like a tornado or like something had been trying to take the pen while he wrote.

We’re encouraged to feel sympathetic only towards the people who have traditionally held power in society – men, white people, straight people, the upper classes – for graciously giving away a tiny bit of their privilege, scraps of opportunity for the rest of us to share. We’re told that equality on paper, equality in a court of law, is enough in a society whose laws have always been applied unfairly and pursued unequally. Most of all we’re told that this is enough. There can be no better world than the one we’re living in now. We learn that equality, social opportunity and personal and sexual freedom are luxuries that society can’t afford. But it’s not true. Liberty cannot be crafted in a court of law alone. This isn’t the sexual revolution we were told was over and done with. This isn’t where feminism finished. This is where it starts. 

I cut our paper dinner with a pair of scissors borrowed from the front desk of the hotel. I cooked with a spice rack box of crayons – sixteen colors. I seasoned the pumpkin pie with orange crayon, and basted the turkey's crisp skin in brown. I was remorseless with my sketchbook abattoir, playing the part of carnivore just as surely as I was play-acting the role of wife. I may as well have been a wax figure in a dollhouse eating the wax-scented food.

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

The pressure to explain is always on, and a lot of your creative energy, it seems to me, is therefore going in the wrong direction. You find yourself constantly questioning your prose and your purpose when what you should probably be doing is writing as fast as the Ginger-bread Man runs, getting that first draft down on paper while the shape of the fossil is still bright and clear in your mind. Too many writing classes make Wait a minute, explain what you meant by that a kind of bylaw.

He singled out aspects of Quality such as unity, vividness, authority, economy, sensitivity, clarity, emphasis, flow, suspense, brilliance, precision, proportion, depth and so on; kept each of these as poorly defined as Quality itself, but demonstrated them by the same class reading techniques. He showed how the aspect of Quality called unity, the hanging-togetherness of a story, could be improved with a technique called an outline. The authority of an argument could be jacked up with a technique called footnotes, which gives authoritative reference. Outlines and footnotes are standard things taught in all freshman composition classes, but now as devices for improving Quality they had a purpose. And if a student turned in a bunch of dumb references or a sloppy outline that showed he was just fulfilling an assignment by rote, he could be told that while his paper may have fulfilled the letter of the assignment it obviously didn’t fulfill the goal of Quality, and was therefore worthless.

Azazel is also listed as one of the Watchers, angelic creatures from the Book of Enoch, a text no longer canonical under any large Christian faith. These Watchers were not expelled from Paradise, but were punished by god for having children with humans, and teaching them science, technology, and other crafts. Azazel in particular taught humans how to make weapons, as well as ornaments and cosmetics. Other Watchers taught them how to write and make paper, how to read signs and predict the weather, and how to study the heavens with astrology.

A Zentangle® Art Kit To make your own little art kit you will need: Zentangle squares cut from black and white paper A Micron 01 and 05 Pen A Sakura White Gel Pen A White Pencil A Soft Lead Pencil A Box to house all your treasures. All you have to do is gather your materials and put them in a box. You can decorate the box as you like. Maybe you would like to draw Zentangles all over it. I like to carry my kit in my purse and so a box is quite cumbersome. I use a small plastic pouch. It very easily houses all my Zentangle squares, pencils and pens.

Robert Frost at Eighty" I think there are poems greater and stranger than any I have known. I would like to find them. They are not on the greying paper of old books or chanted on obscure lips. They are not in the language of mermaids or the sharp-tongued adjectives of vanishing. They run like torn threads along paving stones. They are cracked as the skull of an old man. They stir in the mirror at fifty, at eighty. My ear keeps trying to hear them but the seafront is cold. The tide moves in. They migrate like crows at a cricket ground. They knock at the door when I am out. I have done with craft. How can I front ghosts with cleverness, the slick glide of paradox and rhyme that transforms prejudice to brittle gems of seeming wisdom? Though I bury all I own or hold close though my skin outlives the trees though the lines fall shattering the stone I cannot catch them. They have the lilting accent of a house I saw but never entered. They are the sounds a child hears – the water, the afternoon, the sky. I watch them now trickling through the open mirror. Sometimes, but almost never we touch what we desire.

Painters make their art from brushes, canvas, and hues. Sculptors work in clay and bronze, stone, and plaster. Writers use pens and paper—lately they use computers. Musicians have their instruments. But what does an actor use to create his art? Some would say nothing, but this isn’t true. In fact, the actor has the most complicated instrument of all—himself! His experiences, his imagination, his sensitivity. His physical body and his observations. Everything that makes up the sum total of a person’s humanity is part of the actor’s instrument. As Eleonora Duse once said, ‘All that I have to offer as an artist is the revelation of my soul.

The great ones, however, never get lost in those distractions. Biggie in particular was legendary for his ability to stay focused. There could be all sorts of things going on—drinks being passed, blunts being rolled, people trying to holler at him about various projects—but he’d just sit in a chair with his eyes closed, seemingly oblivious to all the chaos around him. That was his way of connecting to the stillness inside of him, so that when it was time to get behind the microphone, he wasn’t caught up in worrying about how his last record did or how this one might be received once it was released. No, when it was time to make a song, he was always able to connect with both the music he was hearing in his headphones and the poetry that was filling up his heart. The same way today artists like Jay Z or Lil Wayne are able to create entire songs without ever putting a word down on paper. Through being able to connect completely with the music, they are able to operate from that “zone” that the great ones are able to access. That might not sound like a big deal, but I’ve seen so many artists get sidetracked by those distractions. And when it’s time for them to get in the recording booth and execute their craft, their mind is somewhere else. Sure, they’re rapping along to the beat, but they’re not connected to it.

The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As though the clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actual paper pages that turn. There is a silver dragon that curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress, awaiting an absent prince. Teapots that pour into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the clock chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the clouds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream. A

The papers always referred to the strikers as foreign; as Chinamen, Indians, Arabs, and Africans. (Never mind Professor Craft.) They were never Oxfordians, they were never Englishmen, they were travellers from abroad who had taken advantage of Oxford’s good graces, and who now held the nation hostage. Babel had become synonymous with foreign, and this was very strange, because before this, the Royal Institute of Translation had always been regarded as a national treasure, a quintessentially English institution. But then England, and the English language, had always been more indebted to the poor, the lowly, and the foreign than it cared to admit. The word vernacular came from the Latin verna, meaning ‘house slave’; this emphasized the nativeness, the domesticity of the vernacular language. But the root verna also indicated the lowly origins of the language spoken by the powerful; the terms and phrases invented by slaves, labourers, beggars, and criminals – the vulgar cants, as it were – had infiltrated English until they became proper. And the English vernacular could not properly be called domestic either, because English etymology had roots all over the world. Almanacs and algebra came from Arabic; pyjamas from Sanskrit, ketchup from Chinese, and paddies from Malay. It was only when elite England’s way of life was threatened that the true English, whoever they were, attempted to excise all that had made them.

There was no reason whatever to make a wholesale choice between handicraft and machine production: between a single contemporary part of the technological pool and all the other past accumulations. But there was a genuine reason to maintain as many diverse units in this pool as possible, in order to increase the range of both human choices and technological inventiveness. Many of the machines of the nineteenth century, as Kropotkin pointed out, were admirable auxiliaries to handicraft processes, once they could be scaled, like the efficient small electric motor, to the small workshop and the personally controlled operation. William Morris and his colleagues, who almost single-handed salvaged and restored one ancient craft after another, by personally mastering the arts of dyeing, weaving, embroidering, printing, glass-painting, paper-making, book-binding, showed superior technological insight to those who scoffed at their romanticism.

Your wanderer is a phantom from the boy's shore. Mark you, he does not go; he sends his narrator; he plays tricks with time because there are two journeys in every odyssey, one on worried water, the other crouched and motionless, without noise. For both, the 'I' is a mast; a desk is a raft for one, foaming with paper, and dipping the beak of a pen in its foam, while an actual craft carries the other to cities where people speak a different language, or look at him differently, while the sun rises from the other direction with its unsettling shadows, but the right journey is motionless; as the sea moves round an island that appears to be moving, Jove moves round the heart with encircling salt, and the slowly travelling hand knows it returns to the port from which it must start. Therefore, this is what this island has meant to you, why my bust spoke, why the sea-swift was sent to you: to circle yourself and your island with this art.

Sometime in early 1926, after reading a paper by the young German physicist Werner Heisenberg, he realized that there was emerging a wholly new way of thinking about how electrons behaved. About the same time, an Austrian physicist, Erwin Schrödinger, published a radical new theory about the structure of the atom. Schrödinger proposed that electrons behaved more precisely as a wave curving around the nucleus of the atom. Like Heisenberg, he crafted a mathematical portrait of his fluid atom and called it quantum mechanics. After reading both papers, Oppenheimer suspected that there had to be a connection between Schrödinger’s wave mechanics and Heisenberg’s matrix mechanics. They were, in fact, two versions of the same theory. Here was an egg, and not merely another cackle. Quantum mechanics now became the hot topic at the Kapitza Club, an informal physics discussion group named for its founder, Peter Kapitza, a young Russian physicist. “In a rudimentary way,” recalled Oppenheimer, “I began to get pretty interested.

Pack what you need for the divination,” he said. Relieved that he believed me capable, I walked to his desk. A detailed map of Hereswith was spread over the wood, river rocks pinning down the four corners. It was a map I had memorized with its crooked, winding streets. Above the desk, shelves lined the walls, burdened with leather-bound spell books, stacks of paper, jars brimming with crushed flowers and salt crystals and swan quills, ornate ink pots, cast-iron spoons with jewels embedded in the handles, silver bowls nestled into each other, a potted fern whose wilting leaves dangled like unrequited love. I gathered what I needed: a bowl that shone like a full moon, pink salt, dried gardenias, a spoon with an emerald chip, a pitcher full of water, a swan quill, a silver inkwell that was crafted as an octopus, its tentacles holding a vial of walnut ink. I charmed them all beneath my breath with a shrinking cantrip—a spell my mother had taught me—until the objects could sit cradled in my palm, and I slipped them into my pocket, where the remedies waited. The objects clinked like musical notes when they met, weightless as air.

That we never allowed," answered Somel quietly. "Allowed?" I queried. "Allowed a mother to rear her own children?" "Certainly not," said Somel, "unless she was fit for that supreme task." This was rather a blow to my previous convictions. "But I thought motherhood was for each of you--" "Motherhood--yes, that is, maternity, to bear a child. But education is our highest art, only allowed to our highest artists." "Education?" I was puzzled again. "I don't mean education. I mean by motherhood not only child-bearing, but the care of babies." "The care of babies involves education, and is entrusted only to the most fit," she repeated. "Then you separate mother and child!" I cried in cold horror, something of Terry's feeling creeping over me, that there must be something wrong among these many virtues. "Not usually," she patiently explained. "You see, almost every woman values her maternity above everything else. Each girl holds it close and dear, an exquisite joy, a crowning honor, the most intimate, most personal, most precious thing. That is, the child-rearing has come to be with us a culture so profoundly studied, practiced with such subtlety and skill, that the more we love our children the less we are willing to trust that process to unskilled hands--even our own." "But a mother's love--" I ventured. She studied my face, trying to work out a means of clear explanation. "You told us about your dentists," she said, at length, "those quaintly specialized persons who spend their lives filling little holes in other persons' teeth--even in children's teeth sometimes." "Yes?" I said, not getting her drift. "Does mother-love urge mothers--with you--to fill their own children's teeth? Or to wish to?" "Why no--of course not," I protested. "But that is a highly specialized craft. Surely the care of babies is open to any woman --any mother!" "We do not think so," she gently replied. "Those of us who are the most highly competent fulfill that office; and a majority of our girls eagerly try for it--I assure you we have the very best." "But the poor mother--bereaved of her baby--" "Oh no!" she earnestly assured me. "Not in the least bereaved. It is her baby still--it is with her--she has not lost it. But she is not the only one to care for it. There are others whom she knows to be wiser. She knows it because she has studied as they did, practiced as they did, and honors their real superiority. For the child's sake, she is glad to have for it this highest care.

It takes the better part of those months for Herr Thiessen to complete the clock. He works on little else, though the sum of money involved makes the arrangement more than manageable. Weeks are spent on the design and the mechanics. He hires an assistant to complete some of the basic woodwork, but he takes care of all the details himself. Herr Thiessen loves details and he loves a challenge. He balances the entire design on that one specific word Mr. Barris used. Dreamlike. The finished clock is resplendent. At first glance it is simply a clock, a rather large black clock with a white face and a silver pendulum. Well crafted, obviously, with intricately carved woodwork edges and a perfectly painted face, but just a clock. But that is before it is wound. Before it begins to tick, the pendulum swinging steadily and evenly. Then, then it becomes something else. The changes are slow. First, the color changes in the face, shifts from white to grey, and then there are clouds that float across it, disappearing when they reach the opposite side. Meanwhile, bits of the body of the clock expand and contract, like pieces of a puzzle. As thought clock is falling apart, slowly and gracefully. All of this takes hours. The face of the clock becomes a darker grey, and then black, with twinkling stars where the numbers had been previously. The body of the clock, which has been methodically turning itself inside out and expanding, is now entirely subtle shades of white and grey. And it is not just pieces, it is figures and objects, perfectly carved flowers and planets and tiny books with actually paper pages that turn. There is a silver dragon curls around part of the now visible clockwork, a tiny princess in a carved tower who paces in distress awaiting an absent prince. Teapots that our into teacups and minuscule curls of steam that rise from them as the seconds tick. Wrapped presents open. Small cats chase small dogs. An entire game of chess is played. At the center, where a cuckoo bird would live in a more traditional timepiece, is the juggler. Dressed in harlequin style with a grey mask, he juggles shiny silver balls that correspond to each hour. As the hour chimes, another ball joins the rest until at midnight he juggles twelve balls in a complex pattern. After midnight the clock begins once more to fold in upon itself. The face lightens and the colds return. The number of juggled balls decreases until the juggler himself vanishes. By noon it is a clock again, and no longer a dream.

We shall smell it. Just as a sharp axe can split a log into tiny splinters, our nose will fragment every detail of this perfume, Amor and Psyche. And then it will be only too apparent that this ostensibly magical sent was created by the most ordinary, familiar methods. We, Baldini, perfumer, shall catch Pélissier, the vinegar man, at his tricks. We shall rip the mask from his ugly face and show the innovator just what the old craft is capable of. We'll scrupulously imitate his mixture, his fashionable perfume. It will be born anew in our hands, so perfectly copied that the humbug himself won't be able to tell it from his own. No! That's not enough! We shall improve it! We'll show up his mistakes and rinse them away and then rub his nose in it. You're a bungler, Pélissier! An old stinker is what you are! An upstart in the craft of perfumery, and nothing more. And now to work, Baldini! Sharpen your nose and smell without sentimentality! Dissect the scent by the rules of the art! You must have the formula by this evening! And he made a dive for his desk, grabbing paper, ink and a fresh handkerchief, laid it all out properly, and began his analysis. The procedure was this: to dip the handkerchief in perfume, pass it rapidly under his nose, and extract from the fleeting cloud of scent one or another of its ingredients without being significantly distracted by the complex blending of its other parts; then, holding the handkerchief at the end of his outstretched arm, to jot down the name of the ingredient he had discovered, and repeat the process at once, letting the handkerchief flit by his nose, snatching at the next fragment of sent, and so on...

lived in the house. There were aunts, uncles, cousins, grandparents, and friends. A grill was set up on the patio, and delicious smells wafted from platters of burgers on picnic tables in the yard. It was the perfect sort of day for Munchy to get her fill of people blood. Who would have thought that giving a person one tiny bite could result in such a delightful snack? Munchy was aware that most people thought she was a pest. They tried to swat her whenever she got near, but Munchy was fast and an expert at dodging humans’ flailing fingers. I don’t want to hurt anyone, Munchy thought. But a mosquito bite just takes a second, and then I fly off to find the next person. Satisfied at last, Munchy buzzed back to the garden where she lived with her best friends Wiggly Worm, Rattles Snake, and Snarky Snail. “I’m full!” she announced. “I don’t think I’ll eat for a week!” “There’s some kind of celebration going on over there,” remarked Wiggly, who was playing in the dirt. “I know!” smiled Munchy. “The family has so many guests over—so many guests with delicious blood.” Snarky made a face. “I think it’s the Fourth of July or something—but, Munchy, do you really have to do that to people? Mosquito bites make them awfully uncomfortable.” “Only for a second,” Munchy replied. “It’s just an itty-bitty sting.” “No, it isn’t,” protested Snarky, who ventured into the backyard more than any of his friends. “Mosquito bites are itchy and uncomfortable for a long time—sometimes several days. I’ve seen those two little kids scratching and complaining about bites you’ve given them.” “I think that’s true,” agreed Rattles, who also went into the yard more often, now that the humans knew he was a friendly rattlesnake. “Oh, no,” murmured Munchy. Mosquito bites hadn’t seemed like a big deal before—but they did now. She didn’t want to be responsible for making people feel itchy all the time! With a sigh, Munchy said, “I guess I’ve got to quit. From now on, I’ll stick to sugar-water shakes at the Garden Town soda fountain—but it isn’t going to be easy!” With some help from her friends, Munchy was able to stop biting people once and for all. And, when the other mosquitoes that lived in the garden heard about her new lifestyle, they decided to give it a shot, as well. In no time, the backyard was practically a mosquito-safe zone! The kids and their friends could now play in the yard for hours with no worries about being bitten. They had no more itchy skin and no more discomfort. Munchy felt like she had done a wonderful thing. And no one ever tried to swat her away again! Just for Fun Activity Make itty-bitty bugs using circles of Fun Foam for bodies, tissue paper cut-outs for wings, googly eyes (you can find them at craft stores), and shortened pipe cleaners for long, skinny noses and legs. Have fun!

Association of dissimilar ideas “I had earlier devised an arrangement for beam steering on the two-mile accelerator which reduced the amount of hardware necessary by a factor of two…. Two weeks ago it was pointed out to me that this scheme would steer the beam into the wall and therefore was unacceptable. During the session, I looked at the schematic and asked myself how could we retain the factor of two but avoid steering into the wall. Again a flash of inspiration, in which I thought of the word ‘alternate.’ I followed this to its logical conclusion, which was to alternate polarities sector by sector so the steering bias would not add but cancel. I was extremely impressed with this solution and the way it came to me.” “Most of the insights come by association.” “It was the last idea that I thought was remarkable because of the way in which it developed. This idea was the result of a fantasy that occurred during Wagner…. [The participant had earlier listened to Wagner’s ‘Ride of the Valkyries.’] I put down a line which seemed to embody this…. I later made the handle which my sketches suggested and it had exactly the quality I was looking for…. I was very amused at the ease with which all of this was done.” 10. Heightened motivation to obtain closure “Had tremendous desire to obtain an elegant solution (the most for the least).” “All known constraints about the problem were simultaneously imposed as I hunted for possible solutions. It was like an analog computer whose output could not deviate from what was desired and whose input was continually perturbed with the inclination toward achieving the output.” “It was almost an awareness of the ‘degree of perfection’ of whatever I was doing.” “In what seemed like ten minutes, I had completed the problem, having what I considered (and still consider) a classic solution.” 11. Visualizing the completed solution “I looked at the paper I was to draw on. I was completely blank. I knew that I would work with a property three hundred feet square. I drew the property lines (at a scale of one inch to forty feet), and I looked at the outlines. I was blank…. Suddenly I saw the finished project. [The project was a shopping center specializing in arts and crafts.] I did some quick calculations …it would fit on the property and not only that …it would meet the cost and income requirements …it would park enough cars …it met all the requirements. It was contemporary architecture with the richness of a cultural heritage …it used history and experience but did not copy it.” “I visualized the result I wanted and subsequently brought the variables into play which could bring that result about. I had great visual (mental) perceptibility; I could imagine what was wanted, needed, or not possible with almost no effort. I was amazed at my idealism, my visual perception, and the rapidity with which I could operate.

Seibel: I was looking at one of your papers from the 70s about your Fortran profiler. In the preamble you were very enthusiastic about how that tool changed your programming from figuring out what you were going to write, writing it, and debugging it, to figuring out what you were going to write, writing a really simple version, profiling it, then optimizing it.

WHAT MAKES A GOOD TEACHERS – As a Student and Teacher I realised Teaching continues to undefinable profession which has a great impact on many of people, our students they are more honest not prejudiced against any one, I was interacting with many of my students they say they do not remember what really we taught with seriousness that at the end of the day, it’s not about the lesson plan. It’s not about the fancy stuff, colourful Power points we teachers make — the crafts we do, the stories we read, the papers we value. No, that’s not really it. That’s not what matters most.. They won’t remember how organized your bulletin boards are. How straight and neat are the desk rows. Certainly they remember our selfless actions As Medical teachers we can contribute best of empathy to suffering of humanity. Our kindness. Our empathy our care and concern. They’ll remember that you took the time to listen to their problems. If we look with wisdom never forget our Students are the future care takers of the Profession, when they say Good bye when leaving the department or college I say Be KIND TO SOME ONE EVERY DAY THAT IS WHAT OUR TEACHERS TOLD AND I AM PROUD TO LIVE IN THE SYSTEM WITH MANY TURBULANCES. BE ATEACHER TO LIFE JUST NOT YOUR SPECALITY? Dr.T.V.Rao MD

I summon worlds into existence employing nothing but ink and paper.

I write into an old book that smells of dust and whose pages are floppy with damp. Sometimes the ink splodges onto the paper, other times it will barely leave the nib of my pen.

MYTH-1: Handmade items are costly! The items are modest yet the commitment of the craftsmen behind the items we offer is costly The vast majority of the cycles engaged with making the item are finished by the creator – the plan, however, the choice of the materials, the working out of how to cause the materials to go together, gathering the item, capturing the item, advertising the item, planning the bundling, and posting, conveying, or action selling. In spite of this, the items that the fasten organization offers you are truly sensible. Haven't viewed our list? here you go! (click here) Have you ever discovered such wonderful hand-made items at such modest rates?? I GUESS NOT! MYTH-2: HAND-MADE PRODUCTS ARE NOT STYLISH On the off chance that you believe that way, I have an inquiry for you – did your grandmother convey such a shopping pack when went out to get for food supplies or did she have such telephone and individual embellishment sacks? Certainly not. The crafted works are not, at this point unfashionable or old-fashioned. Actually, they are intended for pioneers. Simply being an aspect of the pattern and following it has neither rhyme nor reason. Be the person who sets it MYTH-3: HANDMADE GOODS ARE OF POOR QUALITY I can't envision how individuals have such misguided judgment. The machine-made merchandise is to some degree bargained with quality. In any case, with regards to hand made items, they are taken well consideration of by the craftsmen as referenced above, there is no trade-off with the quality. They are made of cotton and jute which are solid and strong. They are lightweight and simple to deal with. MYTH-4: THEY ARE SAME OLD PATTERNS You can't quit lecturing about the handcrafted items which are extremely extraordinary as it will never be equivalent to some other the explanation being that they are delivered by the hands of a craftsman and not a machine. The sack so made is a result of devotion, love, energy, and the enthusiasm to serve the client. Individuals love block prints due to the strong and straightforward plans that can be made, yet that effortlessness finds a way to accomplish. The strategy is brilliant for pictures with only a couple of tones and fewer subtleties however can be hard to use for pictures with bunches of little content, or extremely fine subtleties that will, in general, sever the square with such a large number of employments. One of the benefits of square printing is that it very well may be done on a surface of practically any size and surface. I print on texture, paper, canvas, wood, and different materials, and you don't need to stress over fitting it through a printer or a press. MYTH-5: HANDMADE PRODUCTS ARE NOT LONG LASTING Recollect the last cowhide sack you had? Which lost its covering not long after getting wet in a downpour or subsequent to utilizing it for 3-4 times. That is not the situation with hand-made cotton packs. They are launderable which makes it look clean with each utilization. No problem with the upkeep.

Vittoria was watching him. “Do you believe in God, Mr. Langdon?” The question startled him. The earnestness in Vittoria’s voice was even more disarming than the inquiry. Do I believe in God? He had hoped for a lighter topic of conversation to pass the trip. A spiritual conundrum, Langdon thought. That’s what my friends call me. Although he studied religion for years, Langdon was not a religious man. He respected the power of faith, the benevolence of churches, the strength religion gave so many people . . . and yet, for him, the intellectual suspension of disbelief that was imperative if one were truly going to “believe” had always proved too big an obstacle for his academic mind. “I want to believe,” he heard himself say. Vittoria’s reply carried no judgment or challenge. “So why don’t you?” He chuckled. “Well, it’s not that easy. Having faith requires leaps of faith, cerebral acceptance of miracles—immaculate conceptions and divine interventions. And then there are the codes of conduct. The Bible, the Koran, Buddhist scripture . . . they all carry similar requirements—and similar penalties. They claim that if I don’t live by a specific code I will go to hell. I can’t imagine a God who would rule that way.” “I hope you don’t let your students dodge questions that shamelessly.” The comment caught him off guard. “What?” “Mr. Langdon, I did not ask if you believe what man says about God. I asked if you believed in God. There is a difference. Holy scripture is stories . . . legends and history of man’s quest to understand his own need for meaning. I am not asking you to pass judgment on literature. I am asking if you believe in God. When you lie out under the stars, do you sense the divine? Do you feel in your gut that you are staring up at the work of God’s hand?” Langdon took a long moment to consider it. “I’m prying,” Vittoria apologized. “No, I just . . .” “Certainly you must debate issues of faith with your classes.” “Endlessly.” “And you play devil’s advocate, I imagine. Always fueling the debate.” Langdon smiled. “You must be a teacher too.” “No, but I learned from a master. My father could argue two sides of a Möbius Strip.” Langdon laughed, picturing the artful crafting of a Möbius Strip—a twisted ring of paper, which technically possessed only one side. Langdon had first seen the single-sided shape in the artwork of M. C. Escher.

From the start, EIG would marry a well-crafted political strategy with white papers, data, talking points, and graphics, the tools most often wielded by agile DC think tanks.

All of us, in our daily speech to others, are not only trying to communicate information but to get something off our minds and into the consciousness of the listeners. When we write, we put down on paper what we think, know, or believe we know and pay little attention to the effect on the reader. That is discourteous in life and unsuccessful in writing. We practice our craft to service the reader, not our psyches.

Skeptical Empiricism and the a-Platonic School The Platonic Approach Interested in what lies outside the Platonic fold Focuses on the inside of the Platonic fold Respect for those who have the guts to say “I don’t know” “You keep criticizing these models. These models are all we have.” Fat Tony Dr. John Thinks of Black Swans as a dominant source of randomness Thinks of ordinary fluctuations as a dominant source of randomness, with jumps as an afterthought Bottom-up Top-down Would ordinarily not wear suits (except to funerals) Wears dark suits, white shirts; speaks in a boring tone Prefers to be broadly right Precisely wrong Minimal theory, considers theorizing as a disease to resist Everything needs to fit some grand, general socioeconomic model and “the rigor of economic theory;” frowns on the “descriptive” Does not believe that we can easily compute probabilities Built their entire apparatus on the assumptions that we can compute probabilities Model: Sextus Empiricus and the school of evidence-based, minimum-theory empirical medicine Model: Laplacian mechanics, the world and the economy like a clock Develops intuitions from practice, goes from observations to books Relies on scientific papers, goes from books to practice Not inspired by any science, uses messy mathematics and computational methods Inspired by physics, relies on abstract mathematics Ideas based on skepticism, on the unread books in the library Ideas based on beliefs, on what they think they know Assumes Extremistan as a starting point Assumes Mediocristan as a starting point Sophisticated craft Poor science Seeks to be approximately right across a broad set of eventualities Seeks to be perfectly right in a narrow model, under precise assumptions

The Five Tribes not only physically displaced other Indian nations in Indian Territory; they erased the history of southern Plains people and drafted a new history of Indian Territory. For example, in 1955, the Chickasaws built their council house, a sixteen-by-twenty-five-foot log house. Here, the Chickasaws rewrote their constitution and took their first actions as a sovereign legislature, under the first Chickasaw governor, Cyrus Harris. Although the log house was quickly replaced (within the next year or so) by a brick iteration, the log house serves a particular purpose in the pantheon of Chickasaw public history. In 1911, the Wapanucka Press, an Oklahoma-based newspaper, interviewed someone (presumably a representative of the Chickasaw Nation) about the story of the log house’s origins. The paper reported, ‘Slaves of the Chickasaws toiled in the dense oak forests cutting down the finest trees and hewing them into shape…Thick undergrowth was cleared from a knoll…paths were cut from bottom meadows.’ Rough-hewn and surrounded by overgrown foliage, the log house is meant to evoke the idea that the Chickasaws encountered a ‘wilderness’ in early Indian Territory. The reader is meant to believe that, as civilizers, the Chickasaws shaped this wilderness into the modern space that it became. This idea of ‘civilization’ is based on Euro-American colonizer’ ideas of advanced societies. The Cherokee Nation alleges on its website that ‘upon earliest contact with European explorers in the 1500s, Cherokee Nation was identified as one of the most advanced among Native American tribes.’ Although the Cherokees were asserting their longevity as a people and their pride in their culture, here they use a European measurement of their merit. In the nineteenth century, the Five Tribes succeeded at crafting a perception of difference. The western Indians certainly saw them as settlers. The special agent to the Comanches reported that they were angry that tribes such as the Creeks and Choctaws ‘have extended their occupation and improvements to the country heretofore used by themselves as a hunting ground,’ expressing that they saw the Five tribes as unlawful settlers, just like whites, and themselves as the dispossessed indigenous peoples of the region.

Cate felt stifled at Google, purposeless. Yes, there were the perks, but the longer she worked there, the more she sensed that the free yoga workshops and stock options and yogurt bars were only there to distract her from an uncomfortable truth- namely, that her job was to create solutions for problems that didn’t actually exist. Every morning when she read the paper, she learned that another glacier had melted, or that another racist cop had gotten away with murder, and then she would go off to craft arguments for why it was acceptable to harvest housewives’ private data. The realization ate away at her: the world was in crisis, and this is what was doing about it.

Voice is the je ne sais quoi of spirited writing. It separates brochure from brilliance, memo from memoir, a ship’s log from The Old Man and the Sea.…The writer leaves us with a sense that we are listening to a skilled raconteur rather than passing our eyes over ink on paper.

The next night he pulled away then advanced in a performative way. I thought he was soothing a muscle kink, but he did it again. It was some kind of physical system, shying away from himself then moving into me again. He said, “I’m doing what you asked.” He thought that’s what it meant to be tender, retreat and advance, retreat and advance. I craft emoji-rich responses to brunch invitations, remember paper towels, who likes artichokes, then remember deeper: I deliver hellos, concoct opportunities for his intelligence to shine. I am a Post-it.

My pen keeps on penning words on these blank sheets of paper. Then words dance and create their own magic...

People call her a "rescue dog" and thats a perfect description, because she came into my life and rescued me. Emotionally at least.

Newspapers back then still wielded a powerful influence over public opinion, especially their editorial and op-ed pages. I looked up the fifty top newspapers in the United States. Our ten consulates covered the areas in which they were published and distributed. If each consulate submitted an op-ed article to their local papers every few months, we could produce a critical mass of op-eds to influence the senators, members of Congress and other decision makers who read those pages. I set up a small cottage industry in the embassy to prepare and distribute the op-eds. Sharply crafted by writers I recruited, they were signed by Israel’s consuls. I allowed the consuls to insert changes to suit their particular audiences. If they submitted good op-eds on their own, I encouraged that, too. Soon we blanketed the key opinion markets of the United States with a steady stream of pro-Israeli op-eds debunking the vilifications leveled against us. Nothing on this scale had been done in America since my father published his ads during World War II. We started hearing the arguments and ideas we were seeding in print on television. When others repeat your ideas as their own, you are getting traction.

God, I mouthed the words, give me strength. That’s what I learned from George. Jews don’t pray to be delivered; they pray for strength. I had to stay tough.

In his paper, Dr Davis referred to the infamous 1980 Cash-Landrum UFO case, covered earlier in this book, where the Landrum family reported a massive diamond-shaped UFO hovering over their car in the road near Dayton, Texas. As well as the trio reporting terrible burns from what experts declared was ionising radiation, one of the weirdest claims in the Cash-Landrum sighting was that they said they saw 23 helicopters, including massive CH-47 Chinooks, closely following the object. The US military denied any of its choppers were in the air nearby that night, and 23 of them in one place does sound implausible. Dr Davis’s paper gave an explanation – that the helicopters were ‘mimicry techniques employed for the manipulation of human consciousness to induce the various manifestations of “absurd” interactions or scenery associated with the UFO encounter. This in combination with the mimicry of man-made aircrafts’ (helicopters) aggregate features were prominent in the Cash-Landrum UFO case’. There is no explanation for how Dr Davis reached this conclusion. No known science describes the capacity to manipulate human consciousness to induce hallucinations as described. Modern science would say it was science fiction. However, an answer may lie in extraordinary PowerPoint slides we know now were prepared for a briefing of senior officials at the US Department of Defence, detailed online by The Mind Sublime. The individual behind that site told me he found the intriguing PowerPoint slides in early August 2018 while he was trawling through former US Deputy Assistant Secretary of Defence Christopher Mellon’s personal website.4 (This was shortly after The New York Times had revealed the existence of the previously secret Pentagon UAP investigation program.) The Mind Sublime researcher screenshotted his discovery to prove the slides came from Mellon’s website, and, importantly, because the document was stated to be a PowerPoint for a briefing of the Deputy Secretary of the Department of Defence. Perhaps it was these slides that prompted Senator Harry Reid to ask the Department of Defence for Special Access Program protection for the investigation – because what the slides said was momentous. If the unredacted slides accurately reflect the Defence Department’s knowledge of the UAP phenomenon, they are explosive. They reveal how the Pentagon’s UAP investigation unit advised the Defence Department not only that the mysterious craft were a ‘game changer’ but that the US military was powerless against them.5 One of the slides, headed ‘AATIP Preliminary Assessments’, shows that Elizondo’s Advanced Aerospace Threat Identification Program privately advised the Defence Department that ‘Preliminary evidence indicates that the United States is incapable of defending itself towards some of those technologies . . . The nature of these technologies and the fact that the United States has no countermeasures is considered Highly Sensitive’.6 The document, prepared for the Deputy Secretary of the Department of Defence, pushed for further investigation ‘in order to determine the full scope of the threat and their capabilities to be either exploited or defeated’.

People call her a “rescue dog,” and that’s a perfect description, because she came into my life and rescued me. Emotionally at least.

It’s not about how good the teacher is. It’s about how good the student feels.

Animals bring out the best and worst in people. They don’t judge. They only love. They are really clear about who they like and who they don’t like. They can’t pretend. Pets cut right through deceptions we throw up to protect ourselves.

For the next year, you are my project. I’m going to turn you into a woman who can stand on her own two feet.

That’s what a real friend does, she tells you what you don’t want to hear, even risking your friendship, because you are important to her.

We all have lives of value, no matter how different our journeys. From the variation in their pages, each of the girls seemed well on her way to a highly individualistic and exciting life.

How many men can honestly say a woman has walked their heart?” he asked. “But I can. And if you’ll have me, I’d like you to stay there.” Tears welled in Ceony’s eyes. She didn’t blink them away. Emery reached into his pocket and pulled from it a loop of white and violet paper about the width of his fist, made of dozens of tiny, crisscrossing links. Not a spell, just something crafted to be beautiful. From it hung a gold ring that glimmered rose in the sunlight. A diamond carved in the shape of a raindrop sat at its center, flanked on either side by a small emerald. The paper magician slipped the ring off the paper loop and turned it in his hands. Dropping to one knee, he said, “Ceony Maya Twill, will you marry me?” THE

Find comprehensive information about the leather journals crafted by the experts with only the finest leather and paper. At Top 10 Leather Journals we have the best collection of the top 10 journals in one place.

My aversion to crafting goes way back to an incident in kindergarten during which, upon gluing something like the fortieth Cheerio to the inside of a giant O-shaped construction paper cutout, I was suddenly struck by the futility of human existence.

Write to make a difference. Write because you have something to say to us all. In dramatic writing, fiction, and nonfiction, this means knowing exactly what your work is about and being able to tell the publisher in ten words or less. The writing must demonstrate its premise in a convincing, persuasive way. Keep your audience in mind, their needs and their desires. Journalists do this by focusing on the 5 W’s (Who, What, When, Where, Why) because they know what their readers look for. Convey emotion, break out of your academic inhibitions and psychological barriers. William Faulkner hints at this when he says, “Writing is a craft consisting of pen, paper, and whiskey.” The purpose of the whiskey is to rid the author of inhibitions.

On paper, the people now choose the party nominees for president. And yet, the process seems to have come full circle. [back to party bosses choosing] Voters theoretically get to pick the candidates, but in practice they rarely get the opportunity. In most cases, the contest is over in a few weeks after a burst of activity in a handful of states. How did the reform movement [late 60s, early 70s] get so far away from the plan? The answer is that there was no single plan, nor a single entity hat could craft a system to meet the original intent of the reformers. [To democratize the process]

Imagine the cocktail party raconteur who captivates his listeners with some adventure story while taking dramatic sips from a gin martini. Chances are he is not a writer. This seems counter-intuitive. After all, writers create characters that are so darn interesting. A good writer can hold you spellbound through a two-hundred page story. Why aren’t all writers scintillating, life-of-the-party types in person? Some are. But many are not. Part of the answer is that writers are not required to think on their feet. Spur-of-the-moment wittiness is a necessary quality for improv actors, talk-show hosts, and politicians. But writers don’t think or work in real time. They create at their own pace, spending hours or days on clever dialogue, or crafting a scene in which they get to micro-manage every detail. Real life doesn’t work like that. And that’s okay. There is really only one place where a writer needs to be absolutely charming and irresistible; not at cocktail parties, not on television, not in front of a live audience -- but on paper.