Peak Character Quotes

Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also—if this isn't too grand a word—our tragedy.

When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate. Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader. That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations. Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies? Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge. The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.

Here is nearly every story you see or hear in a nutshell: A CHARACTER who wants something encounters a PROBLEM before they can get it. At the peak of their despair, a GUIDE steps into their lives, gives them a PLAN, and CALLS THEM TO ACTION. That action helps them avoid FAILURE and ends in a SUCCESS.

Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later [...]. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it?

Life has its sunshine and its rain, sir... its days and its nights... its peaks and its valleys...

With what characters she had filled this lost stage of emptiness! It was here that she would see the people of her imagination, the fierce figures of her making, as they strolled from corner to corner, brooded like monsters or flew through the air like seraphs with burning wings, or danced, or fought, or laughed, or cried. This was her attic of make-believe, where she would watch her mind's companions advancing or retreating across the dusty floor.

Gormenghast. Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet beats away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs... And darkness winds between the characters. - Gormenghast

Does character develop over time? In novels, of course it does:otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that the character peaks a little later ;between twenty and thirty, say. And after that we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also if this isn't too grand a word--our tragedy.

Well, I like him. There’s a darkness to him. But does he make it all the way through?” She shrugged. “It’s entirely up to him.” “What do you mean?” He smiled quizzically at her. “Characters talk to you. Transform. Make choices,” she replied. “Choices,” he echoed. “Of who they become.

[C]onvenience is one of the two dirty words of American cooking, reflecting the part of our national character that is easily bored; the other is 'gourmet.' Convenience foods demonstrate our supposed disdain for the routine and the mundane: 'I don't have time to cook.' The gourmet phase, which peaked in the eighties, when food was seen as art, showed our ability to obsess about aspects of daily life that most other cultures take for granted. You might only cook once a week, but wow, what a meal.

There was a prevailing belief that those who wore their religious devotion on their sleeves-who made their faith a visible part of their daily persona-were often compensating for something, using religiosity as a veneer to mask their true character or to gain social favour

Sow an action and you reap a habit, sow a habit and you reap a character, sow a character and you reap a destiny.

Edith’s father had always told her that if you wanted to measure the character of a man, then watch how he dealt with his servants.

Does character develop over time? In novels, of course it does: otherwise there wouldn’t be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that’s something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we’re just stuck with what we’ve got. We’re on our own. If so, that would explain a lot of lives, wouldn’t it? And also—if this isn’t too grand a word—our tragedy.

Though I did not have the statistics, just observing the number of women on the streets during peak hours dressed for work, it was obvious that a greater percentage of women in Vanni went to work outside the home. There were also more women in civilian clothes riding motorbikes on Vanni roads compared to the rest of the island. Women, both LTTE members as well as civilians, occupied the public space in large numbers. They were very visible on the roads and in the LTTE institutions. This gave Vanni a uniquely pro-woman character, which was absent elsewhere on the island. ... It was a unique kind of feminism, created by connecting the majority of women living all over Vanni, from all walks of life, for public action regarding women and children in need of help

The path I've been led down is one of senseless catastrophe, a classic Hollywood tale of the man who plummets to rock bottom just moments before he would have crested the peak. [...] I'm living out this queer tragedy as they write it for me - just one more tormented, half-in-the closet gay character whose dark descent can serve as a cautionary tale AND move tickets. But that's certainly not the only queer genre convention out there, no by a long shot. And while tragedies are important stories to tell, our appetite can be satiated with more than just suffering. If the story is good, it will find an audience. Whether it's a tragedy or a triumph doesn't matter.

Does character develop over time? In novels, of course it does: otherwise there wouldn’t be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that’s something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we’re just stuck with what we’ve got.

It was a long head. It was a wedge, a sliver, a grotesque slice in which it seemed the features had been forced to stake their claims, and it appeared that they had done so in a great hurry and with no attempt to form any kind of symmetrical pattern for their mutual advantage. The nose had evidently been first upon the scene and had spread itself down the entire length of the wedge, beginning among the grey stubble of the hair and ending among the grey stubble of the beard, and spreading on both sides with a ruthless disregard for the eyes and mouth which found precarious purchase. The mouth was forced by the lie of the terrain left to it, to slant at an angle which gave to its right-hand side an expression of grim amusement and to its left, which dipped downwards across the chin, a remorseless twist. It was forced by not only the unfriendly monopoly of the nose, but also by the tapering character of the head to be a short mouth; but it obvious by its very nature that, under normal conditions, it would have covered twice the area. The eyes in whose expression might be read the unending grudge they bore against the nose were as small as marbles and peered out between the grey grass of the hair. This head, set at a long incline upon a neck as wry as a turtle's cut across the narrow vertical black strip of the window. Steerpike watched it turn upon the neck slowly. It would not have surprised him if it had dropped off, so toylike was its angle. As he watched, fascinated, the mouth opened and a voice as strange and deep as the echo of a lugubrious ocean stole out into the morning. Never was a face so belied by its voice. The accent was of so weird a lilt that at first Steerpike could not recognize more than one sentence in three, but he had quickly attuned himself to the original cadence and as the words fell into place Steerpike realised he was staring at a poet.

The following is one of the oldest sermon illustrations used in the Christian church. It also tests one’s understanding of the Christian life. There once lived an ugly, hunchback dwarf. No one ever invited him to a party. No one showed him love or even attention. He became disillusioned with life and decided to climb a mountain and throw himself from its peak into the abyss. When he ascended the mountain, he met a beautiful girl. He talked to her and discovered that she was climbing the mountain for the same purpose. Her suffering was at the other extreme. She had everyone’s attention and love, but the one she loved had forsaken her for another girl, one with riches. She felt life had no meaning for her any longer, so they decided to make the ascent together. While they climbed, they met a man who introduced himself as a police officer in search of a very dangerous bandit who had robbed and murdered many people. The king had promised a large reward to the person who captured him. The police officer was very confident: “I will catch him because I know he has a feature by which he can be recognized. He has six fingers on his right hand. The police have been looking for him for years. For the last two or three, nothing has been heard from him, but he must pay for a multitude of past crimes.” The three climbed the mountain. Near its peak was a monastery. Its abbot, although he had become a monk only recently, had quickly attained great renown for saintliness. When they entered the monastery, he came to meet them. You could see the glory of God in his face. As the girl bowed to kiss his right hand, she saw he had six fingers. With this, the story ends. Those who hear this story are perplexed. It can’t finish like this! What happened to the dwarf, the girl, the policeman? Was the criminal caught? The story’s beauty is that it does finish here. Something beautiful has happened: A criminal hunted because of his many robberies and murders has become a great saint, renowned for his godly life. All the rest is of no further interest. The great miracle has been performed. Christ has been born in the heart of a man of very low character.

Does character develop over time? In novels, of course it does: otherwise there wouldn't be much of a story. But in life? I sometimes wonder. Our attitudes and opinions change, we develop new habits and eccentricities; but that's something different, more like decoration. Perhaps character resembles intelligence, except that character peaks a little later: between twenty and thirty, say. And after that, we're just stuck with what we've got. We're on our own. If so, that would explain a lot of lives, wouldn't it? And also if this isn't too grand a word-our tragedy. "The question of accumulation," Adrian had written. You put money on a horse, it wins, and your winnings go on to the next horse in the next race, and so on. Your winnings accumulate. But do your losses? Not at the racetrack-there, you just lose your original stake. But in life? Perhaps here different rules apply. You bet on a relationship, it fails; you go on to the next relationship, it fails too: and maybe what you lose is not two simple minus sums but the multiple of what you staked. That's what it feels like, anyway. Life isn't just addition and subtraction. There's also the accumulation, the multiplication, of loss, of failure.

What I have observed of the pond is no less true in ethics. Such a rule of the two diameters not only guides us toward the sun in the system and the heart in man, but draws lines through the length and breadth of the aggregate of a man’s particular daily behaviors and waves of life into his coves and inlets, and where they intersect will be the height and depth of his character. Perhaps we only need to know how his shores trend, and his adjacent country or circumstances, to infer his depth and concealed bottom. If he is surrounded by mountainous circumstances, an Achillean shore, whose peaks overshadow and are reflected in his bosom, they suggest a corresponding depth to him. But a low and smooth shore proves him shallow on that side. Also there is a bar across the entrance of our every cove, or particular inclination; each is a harbor for a season, in which we are detained and partially landlocked. These inclinations are not whimsical usually, but their form, size, and direction are determined by the promontories of the shore, the ancient axes of elevation. When this bar is gradually increased by storms, tides, or currents, or there is a subsidence of waters…It becomes an individual lake, cut off from the ocean, wherein the thought secures its own conditions, changes, perhaps, from salt to fresh, becomes a sweet sea, dead sea, or a marsh.

Ere long, however, the daemon was wrestling with him once more; he was seized by that “terrible spirit of unrest” which drove him “like the deluge, to the mountain peaks”. Shadows of gloom and discontent crept into his letters. He began to complain of his “dependent position”, and the forces at work within him soon became obvious. He could not endure regular occupation, could not bear to participate in the daily round of ordinary people. No existence other than that of a poet was acceptable. In this first crisis he probably failed to understand that the trouble sprang from the daemonism within him, from the jealous exclusiveness of the spirit that possessed him, making mundane relationships impossible. He still rationalised the immanent inflammability of his impulses by discovering objective causes for them. He spoke of his pupil’s stubbornness, of defects in the lad’s character which he, as tutor, was impotent to remedy. Hölderlin’s incapacity to meet the demands of everyday life was in this matter all too plain. The boy of nine had a stronger will than the man of twenty-five. The tutor resigned his post. Charlotte von Kalb, who was anything but obtuse, grasped the underlying truth. Wishing to console Johann Christian Friedrich’s mother, she wrote to the latter: “His spirit cannot stoop to these petty labours … or perhaps it would be more accurate to say that he takes them too much to heart.

Good friendship, in Buddhism, means considerably more than associating with people that one finds amenable and who share one's interests. It means in effect seeking out wise companions to whom one can look for guidance and instruction. The task of the noble friend is not only to provide companionship in the treading of the way. The truly wise and compassionate friend is one who, with understanding and sympathy of heart, is ready to criticize and admonish, to point out one's faults, to exhort and encourage, perceiving that the final end of such friendship is growth in the Dhamma. The Buddha succinctly expresses the proper response of a disciple to such a good friend in a verse of the Dhammapada: 'If one finds a person who points out one's faults and who reproves one, one should follow such a wise and sagacious counselor as one would a guide to hidden treasure' If we associate closely with those who are addicted to the pursuit of sense pleasures, power, riches and fame, we should not imagine that we will remain immune from those addictions: in time our own minds will gradually incline to these same ends. If we associate closely with those who, while not given up to moral recklessness, live their lives comfortably adjusted to mundane routines, we too will remain stuck in the ruts of the commonplace. If we aspire for the highest — for the peaks of transcendent wisdom and liberation — then we must enter into association with those who represent the highest. Even if we are not so fortunate as to find companions who have already scaled the heights, we can well count ourselves blessed if we cross paths with a few spiritual friends who share our ideals and who make earnest efforts to nurture the noble qualities of the Dhamma in their hearts. When we raise the question how to recognize good friends, how to distinguish good advisors from bad advisors, the Buddha offers us crystal-clear advice. In the Shorter Discourse on a Full-Moon Night (MN 110) he explains the difference between the companionship of the bad person and the companionship of the good person. The bad person chooses as friends and companions those who are without faith, whose conduct is marked by an absence of shame and moral dread, who have no knowledge of spiritual teachings, who are lazy and unmindful, and who are devoid of wisdom. As a consequence of choosing such bad friends as his advisors, the bad person plans and acts for his own harm, for the harm of others, and the harm of both, and he meets with sorrow and misery. In contrast, the Buddha continues, the good person chooses as friends and companions those who have faith, who exhibit a sense of shame and moral dread, who are learned in the Dhamma, energetic in cultivation of the mind, mindful, and possessed of wisdom. Resorting to such good friends, looking to them as mentors and guides, the good person pursues these same qualities as his own ideals and absorbs them into his character. Thus, while drawing ever closer to deliverance himself, he becomes in turn a beacon light for others. Such a one is able to offer those who still wander in the dark an inspiring model to emulate, and a wise friend to turn to for guidance and advice.

Tim Tigner began his career in Soviet Counterintelligence with the US Army Special Forces, the Green Berets. That was back in the Cold War days when, “We learned Russian so you didn't have to,” something he did at the Presidio of Monterey alongside Recon Marines and Navy SEALs. With the fall of the Berlin Wall, Tim switched from espionage to arbitrage. Armed with a Wharton MBA rather than a Colt M16, he moved to Moscow in the midst of Perestroika. There, he led prominent multinational medical companies, worked with cosmonauts on the MIR Space Station (from Earth, alas), chaired the Association of International Pharmaceutical Manufacturers, and helped write Russia’s first law on healthcare. Moving to Brussels during the formation of the EU, Tim ran Europe, Middle East, and Africa for a Johnson & Johnson company and traveled like a character in a Robert Ludlum novel. He eventually landed in Silicon Valley, where he launched new medical technologies as a startup CEO. In his free time, Tim has climbed the peaks of Mount Olympus, hang glided from the cliffs of Rio de Janeiro, and ballooned over Belgium. He earned scuba certification in Turkey, learned to ski in Slovenia, and ran the Serengeti with a Maasai warrior. He acted on stage in Portugal, taught negotiations in Germany, and chaired a healthcare conference in Holland. Tim studied psychology in France, radiology in England, and philosophy in Greece. He has enjoyed ballet at the Bolshoi, the opera on Lake Como, and the symphony in Vienna. He’s been a marathoner, paratrooper, triathlete, and yogi.  Intent on combining his creativity with his experience, Tim began writing thrillers in 1996 from an apartment overlooking Moscow’s Gorky Park. Decades later, his passion for creative writing continues to grow every day. His home office now overlooks a vineyard in Northern California, where he lives with his wife Elena and their two daughters. Tim grew up in the Midwest, and graduated from Hanover College with a BA in Philosophy and Mathematics. After military service and work as a financial analyst and foreign-exchange trader, he earned an MBA in Finance and an MA in International Studies from the University of Pennsylvania’s Wharton and Lauder Schools.  Thank you for taking the time to read about the author. Tim is most grateful for his loyal fans, and loves to correspond with readers like you. You are welcome to reach him directly at tim@timtigner.com.

Their eyes met. For a split second she caught a glimpse of heat in his eyes. Then Jake banked the flame and broke out of her embrace. Marnie felt a hot blush rise from her toes to her nose. It took a moment for her eyes to focus and her brain to function. Bewildered, she looked up to find him watching her. His heavy-lidded eyes held a strange desperation as he reached back and unhooked the vice of her ankles from around his wiast. Her legs dropped. Her heels thumped against the cabinet. Beneath his hawklike gaze she felt stripped bare and vulnerable. He studied her face, seeming to see more than her features. He seemed to delve into her mind, to touch things deep and frightening—parts of herself Marnie was still exploring. The muscles in his jaw knotted and unknotted. After a moment he stepped back and casually, but with difficulty, adjusted his jeans Heat flooded her cheeks. Legs splayed, nipples peaked to his clinical gaze, she’d never experienced such acute embarrassment in her life. Her breath hitched as she jumped off the counter, tugging her top down and her pants up. At a loss for hers, she half laughed. “I have absolutely no idea what to say.” Which was a reasonable start, she guessed. It was rare for her to be speechless. But then, this was a day of firsts. “I told you you weren’t my type.” The brass button on his jeans closed like the clasp of a miser’s purse. Other than a faint flush on the ridge of his cheekbones and what looked like a painful erection, he seemed totally unaffected by what had just happened. She stared at him. “Not your t—What do you call what just happened?” Marnie was confused. It was out of character for her to be sexually aggressive. But now that she’d done it, she wasn’t sorry. “What part of ‘I don’t want you’ didn’t you understand?” He’d wanted her. He might lie about it, but his body had been honest. He was as hard as petrified wood. “Then what”—she pointed—“is that?” He ignored the bulge in his jeans. “Just because I have it doesn’t mean I intend to use it.” Marnie stepped forward and touched his arm. He jerked away from her as if she’d used a cattle prod. “Was it something I said?” she asked quietly, dropping her hand to her side. “Look, I have a tendency to sort of speak without running the words through my brain first. But I know I didn’t give out mixed signals just now. I wanted to make love with you. It was very good. No, darn it, it was excellent. So if you have some sort of medical condition, let’s talk about i—” He moved backward, almost tripping over Duchess sprawled on the floor. The dog rose to hover anxiously between them. Jake’s eyes turned as he said, “I do not have a medical condition.” Marnie backed up—mentally as well as physically. Her hip bumped the counter. “Good.” He scowled and swore under his breath. “That is good, isn’t it?” she asked tentatively.

The purpose of this experiment as George Kelly put it is “…to realize here and now that our innermost personality is something we create as we go along rather than something we discover lurking in our insides or imposed upon [us] from without.” (George Kelly, Fixed-Role Therapy) As we attempt this experiment we will slip out of character from time to time, but the important thing is to return to acting as our second self as quickly as possible. To help us at these crucial moments we may find it useful to devise a ritual which symbolizes and facilitates our transformation into our second self. Todd Herman, author of the Alter Ego Effect and a peak performance coach, cautions that this technique will only work if the ritualized actions we select are performed exclusively when we need to activate the transition into our second self. One example of a ritual that Herman recommends is to carry around a box of Tic Tacs and to pop one each time we need to get back into character.

RECOMMENDED READING Brooks, David. The Road to Character. New York: Random House, 2015. Brown, Peter C., Henry L. Roediger III, and Mark A. McDaniel. Make It Stick: The Science of Successful Learning. Cambridge, MA: Belknap Press, 2014. Damon, William. The Path to Purpose: How Young People Find Their Calling in Life. New York: Free Press, 2009. Deci, Edward L. with Richard Flaste. Why We Do What We Do: Understanding Self-Motivation. New York: Penguin Group, 1995. Duhigg, Charles. The Power of Habit: Why We Do What We Do in Life and Business. New York: Random House, 2012. Dweck, Carol. Mindset: The New Psychology of Success. New York: Random House, 2006. Emmons, Robert A. Thanks!: How the New Science of Gratitude Can Make You Happier. New York: Houghton Mifflin Harcourt, 2007. Ericsson, Anders and Robert Pool. Peak: Secrets from the New Science of Expertise. New York: Houghton Mifflin Harcourt, 2016. Heckman, James J., John Eric Humphries, and Tim Kautz (eds.). The Myth of Achievement Tests: The GED and the Role of Character in American Life. Chicago: University of Chicago Press, 2014. Kaufman, Scott Barry and Carolyn Gregoire. Wired to Create: Unraveling the Mysteries of the Creative Mind. New York: Perigee, 2015. Lewis, Sarah. The Rise: Creativity, the Gift of Failure, and the Search for Mastery. New York: Simon and Schuster, 2014. Matthews, Michael D. Head Strong: How Psychology is Revolutionizing War. New York: Oxford University Press, 2013. McMahon, Darrin M. Divine Fury: A History of Genius. New York: Basic Books, 2013. Mischel, Walter. The Marshmallow Test: Mastering Self-Control. New York: Little, Brown, 2014. Oettingen, Gabriele. Rethinking Positive Thinking: Inside the New Science of Motivation. New York: Penguin Group, 2014. Pink, Daniel H. Drive: The Surprising Truth About What Motivates Us. New York: Riverhead Books, 2009. Renninger, K. Ann and Suzanne E. Hidi. The Power of Interest for Motivation and Engagement. New York: Routledge, 2015. Seligman, Martin E. P. Learned Optimism: How To Change Your Mind and Your Life. New York: Alfred A. Knopf, 1991. Steinberg, Laurence. Age of Opportunity: Lessons from the New Science of Adolescence. New York: Houghton Mifflin Harcourt, 2014. Tetlock, Philip E. and Dan Gardner. Superforecasting: The Art and Science of Prediction. New York: Crown, 2015. Tough, Paul. How Children Succeed: Grit, Curiosity, and the Hidden Power of Character. New York: Houghton Mifflin Harcourt, 2012. Willingham, Daniel T. Why Don’t Students Like School: A Cognitive Scientist Answers Questions About How the Mind Works and What It Means for the Classroom. San Francisco: Jossey-Bass, 2009.

The floor of the quadrangle was of a pale whitish-yellow brick, a pleasant mellow colour, soothing to the eye. The bricks had been laid so that their narrow surfaces faced upwards, a device which must have called for twice as many as would otherwise have been necessary. But what gave the floor of the quadrangle its peculiar character was the herring-bone pattern which the artificers had followed many hundred years ago. Blurred, and worn as the yellow bricks had become, yet there was a vitality about the surface of the quadrangle, as though the notion of the man who had once, long ago, given orders that the bricks were to be laid in such and such a way, was still alive. The bricks had breath in them. To walk across this quadrangle was to walk across an idea.

character strengths and virtues. You will see the six virtues in bold, and then the character strengths associated with them. As you recall this peak experience, write in your journal the top five or six strengths you were using at that time.

Step 1: Look at the list of character strengths you were using when you had your peak experience. Try to recall what it felt like to be operating on all cylinders.

It's time the world knew what was really discovered at Delphi." says Dr Moses Frank, in The Elena Text. But who is Moses Frank and what was he referring to? The Elena Text is a controversial and provocative thriller set in the world of antiquities and archaeology, based around the untold story of what was really discovered at Delphi in Greece - but has remained a closely-guarded secret since the 1930s. In Moses Frank we have a character who single-handedly defines the extremities of recent times, the stateless survivor, against all the odds, the refugee turned millionaire, the entrepreneur who creates his own rules, a charming and educated artist with a first class degree from the university of life, a thinker but an unashamed money-maker and pleasure-seeker. Moses Frank is a man who can be forgiven almost anything because he is so hugely admired as a dealer, a canny sleuth who has tracked down the world’s greatest missing antiquities. But despite all his gifts and talents, Moses Frank is also a man bristling with self-doubt - searching endlessly for the finest examples of human art, the sensual peaks of female beauty and some thin slivers of meaning in his terribly successful life. I believe Frank is a rich, unpredictable and multi-facetted lead character who will continue to fascinate readers in volumes 2 and 3 of THE MOSES FRANK TRILOGY.

Because God is trustworthy, you need not let worry steal your joy for one more day. With God as your leader, even when confusion is at its peak, there can always be a certainty in your uncertainty. To be certain of God’s character and His goodness to us means that we can look uncertainty in the eye and even flourish in it. Worry can be transformed into excited anticipation of what is to come." (Life Hacks, p.35)

It was good for me to be afflicted. (Psalm 119:71) It is a remarkable occurrence of nature that the most brilliant colors of plants are found on the highest mountains, in places that are the most exposed to the fiercest weather. The brightest lichens and mosses, as well as the most beautiful wildflowers, abound high upon the windswept, storm-ravaged peaks. One of the finest arrays of living color I have ever seen was just above the great Saint Bernard Hospice near the ten-thousand-foot summit of Mont Cenis in the French Alps. The entire face of one expansive rock was covered with a strikingly vivid yellow lichen, which shone in the sunshine like a golden wall protecting an enchanted castle. Amid the loneliness and barrenness of that high altitude and exposed to the fiercest winds of the sky, this lichen exhibited glorious color it has never displayed in the shelter of the valley. As I write these words, I have two specimens of the same type of lichen before me. One is from this Saint Bernard area, and the other is from the wall of a Scottish castle, which is surrounded by sycamore trees. The difference in their form and coloring is quite striking. The one grown amid the fierce storms of the mountain peak has a lovely yellow color of a primrose, a smooth texture, and a definite form and shape. But the one cultivated amid the warm air and the soft showers of the lowland valley has a dull, rusty color, a rough texture, and an indistinct and broken shape. Isn’t it the same with a Christian who is afflicted, storm-tossed, and without comfort? Until the storms and difficulties allowed by God’s providence beat upon a believer again and again, his character appears flawed and blurred. Yet the trials actually clear away the clouds and shadows, perfect the form of his character, and bestow brightness and blessing to his life. Amidst my list of blessings infinite Stands this the foremost, that my heart has bled; For all I bless You, most for the severe. Hugh Macmillan

Personal truths are spoken at moments of peak emotion.

Percy is, indeed, a bold and engaging character, and I think that in Percy we can detect something of the artistic dilemmas Peake himself was confronting at the time. Percy is a natural actor, but happens also to be painfully shy, and so adopts the persona of the wild artist – October Trellis – after faking his own suicide, in order to woo Sally Devius. To bury oneself in a false identity, albeit to attain the object of one’s dreams, is indeed a kind of suicide or death. Peake’s pursuit of theatrical success, likewise, was at the cost of the fundamental fidelity of the artist to his own imagination. Ultimately, Peake and Percy rip away “the little civilized twigs” and arrive at “the original branch/ Naked and unadorned”, succeeding in winning Sally as well as remaining true to his real identity. Sadly, financial success eluded Peake, and in The Wit to Woo, when it is considered artistically, his powerful, individual imagination is muted, and is only in evidence once we look beneath the play’s more conventional façade.

Percy is, indeed, a bold and engaging character, and I think that in Percy we can detect something of the artistic dilemmas Peake himself was confronting at the time. Percy is a natural actor, but happens also to be painfully shy, and so adopts the persona of the wild artist – October Trellis – after faking his own suicide, in order to woo Sally Devius. To bury oneself in a false identity, albeit to attain the object of one’s dreams, is indeed a kind of suicide or death. Peake’s pursuit of theatrical success, likewise, was at the cost of the fundamental fidelity of the artist to his own imagination. Ultimately, Peake and Percy rip away “the little civilized twigs” and arrive at “the original branch/ Naked and unadorned”, succeeding in winning Sally as well as remaining true to his real identity. Sadly, financial success eluded Peake, and in The Wit to Woo, when it is considered artistically, his powerful, individual imagination is muted, and is only in evidence once we look beneath the play’s more conventional façade.

My mission is to become a person of true character and integrity, contributing to my country and attaining a state of peak health and mental serenity. I will have a superb family and professional life while I build lasting wealth. I will be courteous to all and live my life with tremendous zest and joy.

A CHARACTER who wants something encounters a PROBLEM before they can get it. At the peak of their despair, a GUIDE steps into their lives, gives them a PLAN, and CALLS THEM TO ACTION. That action helps them avoid FAILURE and ends in a SUCCESS.

Story in a Nutshell Here is nearly every story you see or hear in a nutshell: A CHARACTER who wants something encounters a PROBLEM before they can get it. At the peak of their despair, a GUIDE steps into their lives, gives them a PLAN, and CALLS THEM TO ACTION. That action helps them avoid FAILURE and ends in a SUCCESS.

The months since their marriage had demonstrated that the couple share a common character flaw – they both have a tendency to cascade downwards from their peaks of generous self-confidence into miserable moments of self-pitying victimhood. They see the world as hostile and start behaving in self-destructive ways that make that hostility come to pass.

I don't want to be rewarded with a trophy when I don't achieve my goal. I don't want to be protected from that pain. If I get a trophy when I fail, then I'm going to believe that I performed at the peak of my ability. And that may prevent me from getting better. This is basic psychology. Rewarding behavior only regenerates the behavior. Rewarding habitual failure breeds a character of failure. What kind of attitude are we encouraging when we give everyone a trophy? We're encouraging an attitude of self-congratulation that leads to apathy, where accomplishments are meaningless and hard work is beside the point.

The dark mahogany front door contained an oval, etched glass window in the top half. A peaked overhang was trimmed with white gingerbread, and a small porch extended to the right, allowing room for a small table and chair. Sweets & Treats

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A moving story of shattered dreams in which Barbara March achieved international stardom adored for her dramatic soprano voice of unique beauty and passion. At the peak of her considerable powers adverse circumstances closed that chapter in her life and living with this regret haunted her deeply and emotionally throughout her life As her thoughts centred on the tragic death of her husband Edward feeling somewhat saddened as she approached her sixtieth birthday. Still glamourous and beautiful she decides to go on a cruise and another phase in her life was beginning and what that might hold for her she could only imagine and that was where she befriends Lord Marcus Logan the laird of Glen Haven Castle on the cruise ship Queen Elizabeth 2nd and in the weeks to come on-board ship the emotional attraction was established and strong. Her life was not over a new chapter had begun, a year later they were married. It soon becomes apparent to Marcus that in the shadows of Barbara's life going back into the past and having to recall the loss of her career had hurt her deeply and emotionally, that chapter was one subject on which she found it painful to cope with and she avoided it whenever she could. Glen Haven will take you on an enchanting journey with dear friends with heart-warming thoughts of all times and a great deal of nostalgia, you will never want to lose the stories spell or bid farewell to its wonderful characters. All that I could say of the story to any purpose I have endeavoured to say it.

The Unbidden An unbidden grace seizes me, compelling me to be what I know I ought to be. To let it in I know I must let go. This is the grace of aspiration, The gravitas of one hundred New Year’s resolutions, with peaks of love, death and transience jagged as the Teton’s crown. With a nervous laughter I imagine it as the frazzled smile on a cartoon character. There is altitude in grace; I’m anointed sherpa of my landscape. Fumeroles of memory erupt through my soul, pointing to a underground river of propinquity. Time and space fuse, the desperation of the disparate is vanquished. In the mindscape of grace, everything flows in two directions. Memories ripple forward and are joined by new events cascading backwards. My sherpa calls this swirling cauldron life, the manufacturer of all meaning. Without the epiphany of the unbidden, we are without compass and forever lost.

The opportunities available to actors who achieved the peak of their fame as nameless characters in 1990s softcore horror porn films must be limited.

Lillian Randolph, who had also played a maid on The Billie Burke Show and eventually took the lead on Beulah, was at her peak as Birdie, playing the role all the way. Birdie was perhaps the most endearing in radio’s long parade of Negro maids, cooks, and housekeepers. She had genuine warmth, an infectious laugh, and a heart as big as the great man’s midsection. She also had a feisty side, being fully capable of deflating Gildersleeve’s ego. She spoke her mind, did it respectfully while making certain that her voice was heard, and remained a sympathetic character to both races in mid-1940s America.

Before I climbed Everest, I saved up to make an attempt on a peak called Ama Dablam, one of the classic and more technically difficult climbs in the higher Himalayas. For many of the weeks I was there, I climbed alone, plugged into my headphones and utterly absorbed in each step, each grip. I was in tune with myself. I was in tune with the mountain. It was just the mountain and me. During those times, I really had the chance to push my own boundaries a little. I found myself probing, being willing to push the risk envelope a bit. I started to reach a little further for each hold, finely balanced on my crampons, taking a few extra risks - and I made swift, efficient progress. I was exploring my climbing limits and loving it. When I reached the summit and watched in awe as the distant peak of Everest came into view, ten miles to the north, I knew I had the skills to scale that mountain, too. William Blake said: Great things are done when men and mountains meet. This is not done by jostling in the street. He was right. We need time and space and adversity to really get to know ourselves. And you don’t always find that in the grind, when your head is down and you are living someone else’s dreams. Wherever you are in your life, it is possible to find your own challenge and space. You don’t have to go to the jungle or the Himalayas - it is much more a state of mind than a physical location. Mountains of the mind are around us all everywhere. And it is when we test ourselves that we begin to know ourselves.

ABOUT THE AUTHOR Tim Tigner began his career in Soviet Counterintelligence with the US Army Special Forces, the Green Berets. That was back in the Cold War days when, “We learned Russian so you didn't have to,” something he did at the Presidio of Monterey alongside Recon Marines and Navy SEALs. With the fall of the Berlin Wall, Tim switched from espionage to arbitrage. Armed with a Wharton MBA rather than a Colt M16, he moved to Moscow in the midst of Perestroika. There, he led prominent multinational medical companies, worked with cosmonauts on the MIR Space Station (from Earth, alas), chaired the Association of International Pharmaceutical Manufacturers, and helped write Russia’s first law on healthcare. Moving to Brussels during the formation of the EU, Tim ran Europe, Middle East and Africa for a Johnson & Johnson company and traveled like a character in a Robert Ludlum novel. He eventually landed in Silicon Valley, where he launched new medical technologies as a startup CEO. In his free time, Tim has climbed the peaks of Mount Olympus, hang glided from the cliffs of Rio de Janeiro, and ballooned over Belgium. He earned scuba certification in Turkey, learned to ski in Slovenia, and ran the Serengeti with a Maasai warrior. He acted on stage in Portugal, taught negotiations in Germany, and chaired a healthcare conference in Holland. Tim studied psychology in France, radiology in England, and philosophy in Greece. He has enjoyed ballet at the Bolshoi, the opera on Lake Como, and the symphony in Vienna. He’s been a marathoner, paratrooper, triathlete, and yogi.

cards. On each card was a scene, a character note, or a detail from my research.

He made me write my research notes on three-by-five cards. On each card was a scene, a character note, or a detail from my research.

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People outside the industry pruriently ask how he gets through sex scenes, nudity, baring it physically. They miss the point. Sure, that takes some courage. But, man, it’s ALL like that. Try crying in front of sixty-three people, most of whom are there to do jobs like lighting your face so the tears are in focus while the snot and spit fall behind — or surrounding you with mics to make sure the sound of your sobbing, disconsolate self falling apart is picked up cleanly, so you won’t have to dub over it in post six months later. That crew of people, expertly watching you turn feral with the grief that’s causing your character to make monumentally bad decisions leading to the epiphany that finally turns it around in the third act. Could anything be more naked, more intimate than tearing your soul inside out in service to the story? It’s tantric. Visceral.

The main character, a musician named Nicholas Brady, experiences being visited at night by a figure standing next to his bed and gazing down benevolently. “He had the impression that the figure, himself, had come back from the future, perhaps from a point vastly far ahead, to make certain that he, his prior self, was doing okay at a critical time in his life. The impression was distinct and strong and he could not rid himself of it.”4 In his classic 1954 book about a profound experience using mescaline, The Doors of Perception, Aldous Huxley speculated that the brain served as a kind of filter or reducing valve for a more expanded, potentially omniscient consciousness he called Mind at Large.5 Increased understanding of the brain, altered states, and sleep states since that time has made it possible to push the kinds of questions Huxley asked about that reducing valve, and the special situations that may open or widen it, as well as the precognitive nature of some perceptual distortions and hallucinations, such as those that Dick chronicled and drew upon for his fiction. Expanding on Huxley’s insights, the writer Anthony Peake speculates that so-called REM intrusions in semi-awake states on the edge of sleep—as well as waking hallucinations experienced most commonly by people with neurological disorders and mental illness—reflect openings to our vaster consciousness, an inner guide he calls the Daemon.6 The Daemon, he notes, is often precognitive (among other things). What I am calling the Long Self is analogous to Peake’s Daemon, but I am placing greater emphasis on the biographical dimensions of this expanded sense of who we are. What precognitive dreams and dream-like phenomena suggest to me is the possibility that what Huxley called Mind at Large, and what mystics and shamans have often described as other realities and spirit worlds, may (at least partly) be our own transfigured lives, our biographies as they still lay untraversed and unlived ahead of us, including all the people and situations and emotions we have yet to encounter and experience. The reducing valve, in other words, might be a temporal thing, reducing our Long Self to something manageable by the mind in the moment, reflecting and refracting our entire biography through the present moment of conscious awareness. People who experience visitations by guardian protectors in dreams or waking visions may be unlikely to interpret these experiences as encounters with their future selves. It’s not an intuitive idea. They may interpret them instead in spiritual terms, as divine messengers. The Jungian tradition in psychotherapy, on the other hand, interprets them as split-off parts of the self. The Jungian analyst and writer Donald Kalsched describes an inner self-care system through which patients traumatized in childhood cordon off and protect a portion of the self from harm.7 That sequestered “regressed self”8 may reappear in dreams throughout life

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Peake was drafted into the Royal Artillery at the end of July 1940, just as he was starting on a story that was to grow under his pen into the three novels about Titus Groan. Given the circumstances, he wrote in notebooks that he could carry with him, rather than on loose sheets of paper that would easily go astray. Right from the start he made sketches as he went along, sometimes in the margins, sometimes on whole pages. Occasionally the text continues over a drawing. Some of these sketches depict the characters of the book; seeing them helped Peake to imagine what sort of things they would say. He rather hoped that Titus Groan might be illustrated with finished versions of these sketches, but the publisher turned down the idea... Other pictures in the manuscripts range from finished pen drawings to abstract doodles. Some are quick portraits and sketches of scenes around him as he wrote, but most of them are from his imagination.

Fundamentally Peake's imagination was, without question, a romantic one, but, perhaps paradoxically, it is his humanity, his less idiosyncratic gifts (including the gift of farce), that distinguish him from other great visionary novelists such as Wyndham Lewis, Yevgeny Zamyatin or John Cooper Powys. In the Titus Groan books especially, with their ornate language, long soliloquies, bursts of nonsense verse, vivid descriptions, weird anecdotes, comic extravagances, we continue to interested in the characters and their stories. Peake's control of his subject matter, his skill at handling such a large cast, is demonstrated on every page of Titus Groan and Gormenghast , which are essentially a unity. The plot marches, with all the remorseless inevitability of a novel by Victor Hugo or Joseph Conrad, towards an unpredictable resolution. These abilities and his genuine love of people, his concern for others, his relish for life, make Peake, in my opinion, the greatest imaginative writer of his age. Neither J.R.R. Tolkien nor T.H. White, for instance, has Peake's monumental complexity or originality, his moral and formal integrity. Perhaps this is why Peake was so often praised by writers most identified with naturalistic novels of character, such as Elizabeth Bowen or Angus Wilson, who also appreciated the moral qualities of Peake's novels.

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