Paragraph Generator With Quotes

Some people said there was a secret society trained precisely for that purpose, toiling away generation after generation, poring over the book and copying it down, harvesting knowledge like sheaves of wheat, as if they could survive on sentences and supple paragraphs alone. For years they hoarded the words and the magic, growing stronger on it every day. But books are curious objects. They have the power to trap, transport, and even transform you if you are lucky. But in the end, books—even magic ones—are only objects pieced together from paper and glue and thread. That was the fundamental truth the readers forgot. How vulnerable the book really was.

Writers do not always deliberately choose to write about a particular subject or develop select themes; rather the topic and the resultant work product frequently effuse from their pores. I work in an aimless fashion, similar to how a rudderless vessel steers no deliberate course. When the muse grabs us by the throat and makes us speak for it, we cannot question the wisdom behind the message generated by isolated sentences and paragraphs, elect to decipher sequestered ideas, or equivocate with the emotive utterings made while standing alone in the coldness of the night. All we can do is hold a lantern up to the self and take dictation. Later when our muse slumbers, we can evaluate the written scribbling for the resultant collective punch.

is difficult, from a present-day standpoint, to appreciate the intoxicating effect of Hegel’s thought on a generation of educated Prussians. It was not a question of Hegel’s pedagogical charisma – he was notorious for standing hunched over the lectern reading out his text in a halting and scarcely audible mumble. According to an account by his student Hotho, who attended Hegel’s lectures at the University of Berlin, ‘his features hung pale and loose upon him as if he were already dead.’ ‘He sat there morosely with his head wearily bowed down in front of him, constantly leafing back and forth through his compendious notes, even as he continued to speak.’ Another student, the future Hegel-biographer Karl Rosenkranz, recalled laborious paragraphs punctuated by constant coughing and snuff-taking.

The essence of Roosevelt’s leadership, I soon became convinced, lay in his enterprising use of the “bully pulpit,” a phrase he himself coined to describe the national platform the presidency provides to shape public sentiment and mobilize action. Early in Roosevelt’s tenure, Lyman Abbott, editor of The Outlook, joined a small group of friends in the president’s library to offer advice and criticism on a draft of his upcoming message to Congress. “He had just finished a paragraph of a distinctly ethical character,” Abbott recalled, “when he suddenly stopped, swung round in his swivel chair, and said, ‘I suppose my critics will call that preaching, but I have got such a bully pulpit.’ ” From this bully pulpit, Roosevelt would focus the charge of a national movement to apply an ethical framework, through government action, to the untrammeled growth of modern America. Roosevelt understood from the outset that this task hinged upon the need to develop powerfully reciprocal relationships with members of the national press. He called them by their first names, invited them to meals, took questions during his midday shave, welcomed their company at day’s end while he signed correspondence, and designated, for the first time, a special room for them in the West Wing. He brought them aboard his private railroad car during his regular swings around the country. At every village station, he reached the hearts of the gathered crowds with homespun language, aphorisms, and direct moral appeals. Accompanying reporters then extended the reach of Roosevelt’s words in national publications. Such extraordinary rapport with the press did not stem from calculation alone. Long before and after he was president, Roosevelt was an author and historian. From an early age, he read as he breathed. He knew and revered writers, and his relationship with journalists was authentically collegial. In a sense, he was one of them. While exploring Roosevelt’s relationship with the press, I was especially drawn to the remarkably rich connections he developed with a team of journalists—including Ida Tarbell, Ray Stannard Baker, Lincoln Steffens, and William Allen White—all working at McClure’s magazine, the most influential contemporary progressive publication. The restless enthusiasm and manic energy of their publisher and editor, S. S. McClure, infused the magazine with “a spark of genius,” even as he suffered from periodic nervous breakdowns. “The story is the thing,” Sam McClure responded when asked to account for the methodology behind his publication. He wanted his writers to begin their research without preconceived notions, to carry their readers through their own process of discovery. As they educated themselves about the social and economic inequities rampant in the wake of teeming industrialization, so they educated the entire country. Together, these investigative journalists, who would later appropriate Roosevelt’s derogatory term “muckraker” as “a badge of honor,” produced a series of exposés that uncovered the invisible web of corruption linking politics to business. McClure’s formula—giving his writers the time and resources they needed to produce extended, intensively researched articles—was soon adopted by rival magazines, creating what many considered a golden age of journalism. Collectively, this generation of gifted writers ushered in a new mode of investigative reporting that provided the necessary conditions to make a genuine bully pulpit of the American presidency. “It is hardly an exaggeration to say that the progressive mind was characteristically a journalistic mind,” the historian Richard Hofstadter observed, “and that its characteristic contribution was that of the socially responsible reporter-reformer.

In the 1950s kids lost their innocence.They were liberated from their parents by well-paying jobs, cars, and lyrics in music that gave rise to a new term—the generation gap. In the 1960s, kids lost their authority. It was the decade of protest—church, state, and parents were all called into question and found wanting.Their authority was rejected, yet nothing ever replaced it. In the 1970s, kids lost their love. It was the decade of me-ism dominated by hyphenated words beginning with self. Self-image, Self-esteem, Self-assertion . . . It made for a lonely world. Kids learned everything there was to know about sex and forgot everything there was to know about love, and no one had the nerve to tell them there was a difference. In the 1980s, kids lost their hope. Stripped of innocence, authority, and love and plagued by the horror of a nuclear nightmare, large and growing numbers of this generation stopped believing in the future. To bring it up to date, I have added two more paragraphs: In the 1990s kids lost their power to reason. Less and less were they taught the very basics of language, truth, and logic and they grew up with the irrationality of a postmodern world. In the new millennium, kids woke up and found out that somewhere in the midst of all this change, they had lost their imagination. Violence and perversion entertained them till none could talk of killing innocents since none was innocent anymore.

The next day, it was still raining when Lee issued his final order to his troops, known simply as General Orders Number 9. After four years of arduous service, marked by unsurpassed courage and fortitude, the Army of Northern Virginia has been compelled to yield to overwhelming numbers and resources. I need not tell the brave survivors of so many hard fought battles, who have remained steadfast to the last, that I have consented to the result from no distrust of them. But feeling that valor and devotion could accomplish nothing that would compensate for the loss that must have attended the continuance of the contest, I determined to avoid the useless sacrifice of those whose past services have endeared them to their countrymen. By the terms of the agreement officers and men can return to their homes and remain until exchanged. You will take with you the satisfaction that proceeds from the consciousness of duty faithfully performed, and I earnestly pray that a Merciful God will extended to you His blessing and protection. With an increasing admiration of your constancy and devotion to your country, and a grateful remembrance of your kind and generous considerations for myself, I bid you all an affectionate farewell. For generations, General Orders Number 9 would be recited in the South with the same pride as the Gettysburg Address was learned in the North. It is marked less by its soaring prose—the language is in fact rather prosaic—but by what it does say, bringing his men affectionate words of closure, and, just as importantly, what it doesn’t say. Nowhere does it exhort his men to continue the struggle; nowhere does it challenge the legitimacy of the Union government that had forced their surrender; nowhere does it fan the flames of discontent. In fact, Lee pointedly struck out a draft paragraph that could have been construed to do just that.

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

Empirical logic achieved a signal triumph in the Old Testament, where survivals from the early proto-logical stage are very few and far between. With it man reached a point where his best judgments about his relation to God, his fellow men and the world, were in most respects not appreciably inferior to ours. In fundamental ethical and spiritual matters we have not progressed at all beyond the empirico-logical world of the Old Testament or the unrivalled fusion of proto-logical intuition, 64 [see Coomaraswamy, Review of Religion, 1942, p. 138, paragraph 3] empirico-logical wisdom and logical deduction which we find in the New Testament. In fact a very large section of modern religion, literature and art actually represents a pronounced retrogression when compared with the Old Testament. For example, astrology, spiritism and kindred divagations, which have become religion to tens of millions of Europeans and Americans, are only the outgrowth of proto-logical interpretation of nature, fed by empirico-logical data and covered with a spurious shell of Aristotelian logic and scientific induction. Plastic and graphic art has swung violently away from logical perspective and perceptual accuracy, and has plunged into primordial depths of conceptual drawing and intuitive imagery. While it cannot be denied that this swing from classical art to conceptual and impressionistic art has yielded some valuable results, it is also true that it represents a very extreme retrogression into the proto-logical past. Much of the poetry, drama and fiction which has been written during the past half-century is also a reversion from classical and logical standards of morality and beauty into primitive savagery or pathological abnormality. Some of it has reached such paralogical levels of sophistication that it has lost all power to furnish any standards at all to a generation which has deliberately tried to abandon its entire heritage from the past. All systematic attempts to discredit inherited sexual morality, to substitute dream-states for reflection, and to replace logical writing by jargon, are retreats into the jungle from which man emerged through long and painful millennia of disillusionment. With the same brains and affective reactions as those which our ancestors possessed two thousand years ago, increasing sophistication has not been able to teach us any sounder fundamental principles of life than were known at that time. . . . Unless we can continue along the pathway of personal morality and spiritual growth which was marked out for civilized man by the founders of the Judaeo-Christian tradition, more than two thousand years ago, our superior skill in modifying and even in transforming the material world about us can lead only to repeated disasters, each more terrible than its predecessor. (Archaeology and the Religion of Israel, 5th Ed. New York: Doubleday Anchor, 31-33.)

19 For horrible is the end of the unrighteous generation.

We analyzed the ten tech companies worth over a billion dollars that went public in 2014 and 2015, and the average company spent a jaw-dropping $0.72 on sales and marketing for every $1.00 of sales during the three-year hypergrowth period before going public. As a matter of fact, one of the companies, Box, spent $1.59 for every $1.00 in sales! You’re probably wondering, how does a company like Box justify spending more money on sales and marketing than they generate in sales? The answer is “customer lifetime value.” Once Box mathematically proved that they could acquire a customer for less than the lifetime value (LTV) of that customer, they raised a war chest of investment capital and didn’t care if they spent more on sales and marketing than they generated in annual sales, because they knew that they would generate a big return in the long run. You probably don’t have access to a massive war chest of investment capital, but that doesn’t mean you are unable to invest more resources on growth. Instead of benchmarking your growth investment against customer lifetime value, benchmark against your bottom-line profits. Here is a list of financial scenarios and corresponding actions: If you desire growth and have a profitable business, operate at a break-even point and reinvest the profit, or a portion of the profit, back into growth. If you are running a break-even or unprofitable business, spend some time going through your expenditures looking for redundancies or unnecessary expenses. If you cannot find any opportunities to save money, prepare yourself to take a temporary pay cut (you can time this around your tax refund or right after your busy period if your business has seasonality). If you are unable to take a temporary pay cut, prepare yourself to work some extra hours (start by batching activities so you can spend a day per week working from home, and use the time you save when not having a work commute to invest in growth). If you are unable to take a temporary pay cut AND unable to work any extra hours, then read the paragraph below.

the second paragraph of the Declaration that is very much an expression of Jefferson’s imagination. It envisions a perfect world, at last bereft of kings, priests, and even government itself. In this never-never land, free individuals interact harmoniously, all forms of political coercion are unnecessary because they have been voluntarily internalized, people pursue their own different versions of happiness without colliding, and some semblance of social equality reigns supreme. As Lincoln recognized, it is an ideal world that can never be reached on this earth, only approached. And each generation had an obligation to move America an increment closer to the full promise, as Lincoln most famously did. The American Dream, then, is the Jeffersonian Dream writ large, embedded in language composed during one of the most crowded and congested moments in American history by an idealistic young man who desperately wished to be somewhere else.

Soon after that, Eno briefly joined a group called the Scratch Orchestra, led by the late British avant-garde composer Cornelius Cardew. There was one Cardew piece that would be a formative experience for Eno—a piece known as “Paragraph 7,” part of a larger Cardew masterwork called The Great Learning. Explaining “Paragraph 7” could easily take up a book of its own. “Paragraph 7”’s score is designed to be performed by a group of singers, and it can be done by anyone, trained or untrained. The words are from a text by Confucius, broken up into 24 short chunks, each of which has a number. There are only a few simple rules. The number tells the singer how many times to repeat that chunk of text; an additional number tells each singer how many times to repeat it loudly or softly. Each singer chooses a note with which to sing each chunk—any note—with the caveats to not hit the same note twice in a row, and to try to match notes with a note sung by someone else in the group. Each note is held “for the length of a breath,” and each singer goes through the text at his own pace. Despite the seeming vagueness of the score’s few instructions, the piece sounds very similar—and very beautiful—each time it is performed. It starts out in discord, but rapidly and predictably resolves into a tranquil pool of sound. “Paragraph 7,” and 1960s tape loop pieces like Steve Reich’s “It’s Gonna Rain,” sparked Eno’s fascination with music that wasn’t obsessively organized from the start, but instead grew and mutated in intriguing ways from a limited set of initial constraints. “Paragraph 7” also reinforced Eno’s interest in music compositions that seemed to have the capacity to regulate themselves; the idea of a self-regulating system was at the very heart of cybernetics. Another appealing facet of “Paragraph 7” for Eno was that it was both process and product—an elegant and endlessly beguiling process that yielded a lush, calming result. Some of Cage’s pieces, and other process-driven pieces by other avant-gardists, embraced process to the point of extreme fetishism, and the resulting product could be jarring or painful to listen to. “Paragraph 7,” meanwhile, was easier on the ears—a shimmering cloud of sonics. In an essay titled “Generating and Organizing Variety in the Arts,” published in Studio International in 1976, a 28-year-old Eno connected his interest in “Paragraph 7” to his interest in cybernetics. He attempted to analyze how the design of the score’s few instructions naturally reduced the “variety” of possible inputs, leading to a remarkably consistent output. In the essay, Eno also wrote about algorithms—a cutting-edge concept for an electronic-music composer to be writing about, in an era when typewriters, not computers, were still en vogue. (In 1976, on the other side of the Atlantic, Steve Jobs and Steve Wozniak were busy building a primitive personal computer in a garage that they called the Apple I.) Eno also talked about the related concept of a “heuristic,” using managerial-cybernetics champion Stafford Beer’s definition. “To use Beer’s example: If you wish to tell someone how to reach the top of a mountain that is shrouded in mist, the heuristic ‘keep going up’ will get him there,” Eno wrote. Eno connected Beer’s concept of a “heuristic” to music. Brecht’s Fluxus scores, for instance, could be described as heuristics.

A lonely time ago, a space was hovering in the mist formed by the winds of thought. The space had no other purpose. One day, it realized it could do more than only hover, so decided to fly swiftly through the mist to find a purpose. After an immeasurable amount of time, the space landed between some vowels. Although they didn’t mind associating with the space, the new partners remained lost in a misty void and felt incoherent and incomplete. For many years they aimlessly floated through the darkness. Then one day, they lightly touched several confused consonants that were hovering upon a lazy breeze passing nearby. Without warning, commas and periods began dripping from the sky. The space, the vowels, the consonants, the commas, and the periods delightfully joined together and soon gave birth to a healthy, well-formed sentence. It grew up to became a handsome, properly indented paragraph. Then the mist evaporated and gracefully waved goodbye to its former guests. Fully developed chapters eagerly sprouted from the sentences and gently caressed all the characters that had joined together. As the chapters aged, a book lovingly wrapped around them, providing shelter from dangerous erasers, wet and fiery storms, and anything else that might disrupt their cohesion. A quickly-passing thought transformed into a title and rested upon the face of the book. The title found comfort upon its new bed and happily decided to remain. Suddenly a strong wind grabbed the book and carried it from the void and into the hands of a smiling child. There was much time spent within the book, and the book was spent within time. It endured many storms and many thoughts. Sadly, after hundreds of years, the book dissolved into a mist. Its characters were thoughtlessly scattered into a void. In the void, a lonely time later, there was a space. The Beginning

She thought she had walked round it, all those years ago . . . And then she must have been young, almost a girl; and that girl was dead; had vanished. The sleeping street seemed for a moment the grave; and the pigeons were crooning a requiem, for her past; for one of the selves that had been hers; for one of the many million human beings who had walked, who had suffered, who had thought so intensely. And now a new moment was coming into being: made of that past, made of those million lives, made of the dust of generation after generation . . ." "Anyhow," she told herself, finishing this paragraph, "if I die tomorrow, the line is there.

you can ask it to create an outline (which you can later use to generate the whole blog - I’ll show this in the next example) Prompt: Write a 7-paragraph outline for a blog post with the title "The Legalities of Drone Flying: Understanding FAA Regulations and Best Practices

The task of generating and organizing words into sentences and then sequencing those sentences into paragraphs on a blank page is one that places much greater demands on EFs than do reading and math.

For example, in his log entry for October 12, 1492, Columbus wrote, “I warned my men to take nothing from the people without giving something in exchange”36—a passage left out by both Koning and Zinn. But Zinn’s most crucial omissions are in the passage from Columbus’s log that he quotes in the very first paragraph of his People’s History. There he uses ellipses to cover up the fact that he has left out enough of Columbus’s words to deceive his readers about what the discoverer of America actually meant. The omission right before “They would make fine servants” is particularly dishonest. Here’s the nub of what Zinn left out: “I saw some who bore marks of wounds on their bodies, and I made signs to them to ask how this came about, and they indicated to me that people came from other islands, which are near, and wished to capture them, and they defended themselves. And I believed and still believe that they come here from the mainland to take them for slaves.