Pencil Holder Quotes

I looked at the ornaments on the desk. Everything standard and all copper. A copper lamp, pen set and pencil tray, a glass and copper ashtray with a copper elephant on the rim, a copper letter opener, a copper thermos bottle on a copper tray, copper corners on the blotter holder. There was a spray of almost copper-colored sweet peas in a copper vase. It seemed like a lot of copper.

Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

A pencil holder and a brightly colored pad of sticky notes should flank every phone in your home. These pads are not just for message taking; they are reminder notes conveniently located so you can catch your thoughts as they occur, and then quickly stick them to the surface (computer screen, exit to home, paper calendar) that will remind you to attend to that task or bring along that item when you leave the house.

Since I was still feeling stupidly bright and chipper, I did not stop for a cup of the lethal coffee that might, after all, kill the buzz—or even me. Instead I went directly to my desk, where I found Deborah waiting for me, slumped into my chair and looking like the poster girl for the National Brooding Outrage Foundation. Her left arm was still in a sling, but her cast had lost its clean and bright patina, and she had leaned it against my desk blotter and knocked over my pencil holder. But nobody is perfect, and it was such a happy morning, so I let it go.

A great way to open a conversation—even a business conversation—is to notice an item that relates somehow to the person you’re speaking with. It could be a drawing on the office wall, a desktop pencil holder made by a child, a squash racquet leaning in the corner of the room. Make a comment that shows interest, admiration, or warmth. Or ask a question of a similar kind. “That’s a beautiful picture. Who’s the artist?” Or “What a thoughtful gift. Is that from one of your children?” Or “Squash? Isn’t that a hard game to learn?” There’s nothing profound about any of those remarks. But every one of them shows a basic, personal interest in the other person, and it connects in a positive, tasteful way.

My own collection of mascara wands, eyebrow pencils, lip, lid and blusher brushes were stored on the lavender vanity top in an antique sun-purpled Victorian glass spoon holder.

What if he walked into Miss Applebaum’s class the first day after Christmas vacation and she had all her gifts lined up on her desk—a new coffee mug, a paperweight, a pencil holder, a vase . . . And what if she thanked each person out loud and showed the gift to the class? What if, at the very end, she said, “And then, from Wally Hatford, I received this very strange present . . .” and held up his underpants for all the class to see? Underpants with a happy face drawn on the seat? Wally didn’t think he could stand it. He even tried calling his teacher to explain, but there was no Applebaum listed in the phone book. Maybe she didn’t live in Buckman. Or maybe she was unlisted so that boys who went around giving their teachers underpants couldn’t bother them over school vacations.

making me feel alive. I switch on the kitchen radio and “Keep Hope Alive” fills the small open space. The Crystal Method reminds me of early high school. I turn it up as loud as I can and plop down on the couch. Leaning my head back on the cushion I close my eyes, take a deep breath, and smile, letting the electronic pull of the music lift me up. Hope creeps back into my soul. When it ends I stand and stride with purpose to the fridge and pause. I grab the sharpie in the pencil holder and cross out number one on my list.  Done. * * * * * “That was odd, what the hell?” Ben hollers two seats over to me. “Yeah seriously, what’d you do to her hand?” John asks. “I have no idea.” I shrug, still slightly stunned. When she sat next to me I couldn't tear my