Playful Mood Quotes

What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood's a thing for cattle or making love or playing the baliset. It's not for fighting.

Mother, who has an absolute belief that it is not the cards that one is dealt in life, it is how one plays them, is, by far, the highest card I was dealt.

From the complications of loving you I think there is no end or return. No answer, no coming out of it. Which is the only way to love, isn’t it? This isn’t a play ground, this is earth, our heaven, for a while. Therefore I have given precedence to all my sudden, sullen, dark moods that hold you in the center of my world. And I say to my body: grow thinner still. And I say to my fingers, type me a pretty song. And I say to my heart: rave on.

Flirtation doesn't have to go somewhere; it certainly doesn't need to end up in bed. I like to think of it as a little friendlier than a handshake, a little less intimate than a kiss. It's a way of saying hi, you look great, have a wonderful day. A tasteful flirtation, played out people who understand the rules, leave everyone feeling good and can perk up the bluest mood.

Got any mood music?” “If you press Play on the stereo you’re going to hear Miley Cyrus.” “I don’t know who that is.” “Count your blessings.

To understand a child we have to watch him at play, study him in his different moods; we cannot project upon him our own prejudices, hopes and fears, or mould him to fit the pattern of our desires. If we are constantly judging the child according to our personal likes and dislikes, we are bound to create barriers and hindrances in our relationship with him and in his relationships with the world. Unfortunately, most of us desire to shape the child in a way that is gratifying to our own vanities and idiosyncrasies; we find varying degrees of comfort and satisfaction in exclusive ownership and domination.

My life is not possible to tell. I change every day, change my patterns, my concepts, my interpretations. I am a series of moods and sensations. I play a thousand roles. I weep when I find others play them for me. My real self is unknown. My work is merely an essence of this vast and deep adventure.

Come here, let me share a bit of wisdom with you. Have you given much thought to our mortal condition? Probably not. Why would you? Well, listen. All mortals owe a debt to death. There's no one alive who can say if he will be tomorrow. Our fate moves invisibly! A mystery. No one can teach it, no one can grasp it. Accept this! Cheer up! Have a drink! But don't forget Aphrodite--that's one sweet goddess. You can let the rest go. Am I making sense? I think so. How about a drink. Put on a garland. I'm sure the happy splash of wine will cure your mood. We're all mortal you know. Think mortal. Because my theory is, there's no such thing as life, it's just catastrophe.

I shrug, trapped. I don’t want to lose him. In spite of all his demands, his need to control, his scary vices. I have never felt as alive as I do now. It’s a thrill to be sitting here beside him. He’s so unpredictable, sexy, smart, and funny. But his moods… oh – and he wants to hurt me. He says he’ll think about my reservations, but it still scares me. I close my eyes. What can I say? Deep down I would just like more, more affection, more playful Christian, more… love.

This fellow is wise enough to play the fool; And to do that well craves a kind of wit: He must observe their mood on whom he jests, The quality of persons, and the time, And, like the haggard, check at every feather That comes before his eye. This is a practise As full of labour as a wise man's art For folly that he wisely shows is fit; But wise men, folly-fall'n, quite taint their wit.

I left you sweet and smiling in this goddamed bed and I don’t see you or hear your voice for four days? Then I walk into your office and you give me attitude and tell me to kiss your ass because you’re in a pissy mood about some shit you refuse to share? No. You gotta know, darlin’, that shit don’t play with me.

Seems," madam? Nay, it is; I know not "seems." 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.

Why couldn't I have just made it home without seeing them? I wasn't in the mood to play good freaking Samaritan to Beau and his trashy girlfriend.

And when the sun goes down and the mood comes upon me, I'll watch the play of the colors on the water, yield to the fleetly dissolving images, and turn into pure feeling, all soft and nice....

Let's play it safe. I’m not in the mood to run right now and I know fighting is suicide. Last thing I want to do is make my enemies happy by dying. (Syn)

I’ve always been a slow learner in some areas of my life.mostly the areas known as myself. Or maybe I should say ‘selves.’because the fact is, I’ve never, even as a child, felt I’m only one self, only one person. I’ve always felt I’m quite a few more than one. For example, there’s my jokey self, there’s my morose and fed-up self,there’s my lewd and disgusting self. There’s my clever-clogs self, and my fading-violet-who-cant-make-up-her-mind-about-anything self. There’s my untidy-clothes-everywhere-all-over-my-room self, and my manically tidy self when I want my room to be minimalist and Zen to the nth degree. There’s my confidant, arrogant self and my polite and reasonable and good listener self. There’s my self-righteous self and my wickedly bad self, my flaky self and my bsentimental self. There are selfs I like and selfs I don’t like.there’s my little-girl selfnwhonlikes to play silly games and there’s my old-woman self when I’m quite sure I’m eighty and edging towards geriatric. The self I show in action at any moment depends on where I am, who I’m with, the circumstances of the situation and the mood I’m in.

Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared

The symphony orchestra had played poorly, so the conductor was in a bad mood. That night he beat his wife--because the music hadn't been beautiful enough.

Music’s the soundtrack of my life and has been since I was a teenager. There’s always music. If I’m not playing it, I’m listening to it. With my writing…sometimes it inspires a story, sometimes it highlights something I’m working on, sometimes it simply helps me stay in the narrative mood.

In ten minutes they will have arrived on campus. George will have to be George; the George they have named and will recognise. So now he consciously applies himself to thinking their thoughts, getting into their mood. With the skill of a veteran, he rapidly puts on the psychological makeup for this role he must play.

Cling not to one mood, And deemed not thou art right, all others wrong. For whoso thinks that wisdom dwells with him, That he alone can speak or think alright, Such oracles are empty breath when tried. The wisest man will let himself be swayed By other's wisdom and relax in time.

- Dude, it's Jocelyn, I (Jordan) say looking over my shoulder nervously [...] - This isn't Jocelyn, B.J says sighing. It's Jordan. Dude, try to play a better trick than that. You sound nothing like her. Plus your number came up on my caller ID. PS: maybe I'm just in a very good mood, but I keep laughing while reading this book, there are plenty of scenes that make me smile, and this is one of them.. it's just hilarious how silly and funny these characters are ;))

To a Vase "How do I break thee? Let me count the ways. I break thee if thou art at any height My paw can reach, when, smarting from some slight, I sulk, or have one of my crazy days. I break thee with an accidental graze Or twitch of tail, if I should take a fright. I break thee out of pure and simple spite The way I broke the jar of mayonnaise. I break thee if a bug upon thee sits. I break thee if I'm in a playful mood, And then I wrestle with the shiny bits. I break thee if I do not like my food. And if someone they shards together fits, I'll break thee once again when thou art glued.

Mood?” Halleck’s voice betrayed his outrage even through the shield’s filtering. “What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood’s a thing for cattle or making love or playing the baliset. It’s not for fighting.

You know, you really don't have to kill anyone over this. I'll get an annulment. It will be like never happened" His eyes came to her, briefly meeting her gaze before dropping to her mouth. "You'll have to make that a divorce instead" "No you don't understand. An annulment will be much easier to obtain" His gaze locked with hers now. Cassie became slightly breathless with the intensity of his stare. "Not after tonight, it won't." He said in his mesmerizing drawl. "Why?" She barely got the word out. "Because i'm in the mood to play husband" "You're what?" He started toward her. She was too stunned to move, so he was there and reaching for her before she had time to think about running. "We're having a wedding night," he said as he lifted her off her feet.--

Alice?” She spun toward the door, her skirts whirling softly. “Yes?” she forced out. “Do you know what I am holding in my hand?” “No.” “Care to guess?” “A pitchfork?” she asked in a stilted attempt at levity, hoping to invoke his earlier, playful mood. “No, my dear,” he answered drily. “A key to your room.” “What?”she breathed, aghast. “I should hate to have to use it.” “You have a key to this room?” “Mm-hmm.” She took a step toward the door, panic rising up in her throat. “You’re bluffing!” “Do you wish me to prove it?

The music was so mournful and emotional that it seemed like the only suitable thing to play.

What sort of diary should I like mine to be? Something loose-knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful, that comes into my mind. I should like it to resemble some deep old desk or capacious hold-all, in which one flings a mass of odds and ends without looking them through. I should like to come back, after a year or two, and find that the collection had sorted itself and refined itself and coalesced, as such deposits so mysteriously do, into a mould, transparent enough to reflect the light of our life, and yet steady, tranquil compounds with the aloofness of a work of art. The main requisite, I think, on reading my old volumes, is not to play the part of a censor, but to write as the mood comes or of anything whatever; since I was curious to find how I went for things put in haphazard, and found the significance to lie where I never saw it at the time.

The music was linked with almost everything I had done, none of the records came without a memory. Everything that had happened in the last five years rose like steam from a cup when I played a record, not in the form of thoughts or reasoning, but as moods, openings, space. Some general, others specific. If my memories were stacked in a heap on the back of my life’s trailer, music was the rope that held them together and kept it, my life, in position.

A strange mood has seized the almost-educated young. They're on the march, angry at times, but mostly needful, longing for authority's blessing, its validation of their chosen identities. The decline of the West in new guise perhaps. Or the exaltation and liberation of the self. A social-media site famously proposes seventy-one gender options – neutrois, two spirit, bigender…any colour you like, Mr Ford. Biology is not destiny after all, and there's cause for celebration. A shrimp is neither limiting nor stable. I declare my undeniable feeling for who I am. If I turn out to be white, I may identify as black. And vice versa. I may announce myself as disabled, or disabled in context. If my identity is that of a believer, I'm easily wounded, my flesh torn to bleeding by any questioning of my faith. Offended, I enter a state of grace. Should inconvenient opinions hover near me like fallen angels or evil djinn (a mile being too near), I'll be in need of the special campus safe room equipped with Play-Doh and looped footage of gambolling puppies. Ah, the intellectual life! I may need advance warning if upsetting books or ideas threaten my very being by coming too close, breathing on my face, my brain, like unwholesome drugs.

Lines Written In Early Spring I heard a thousand blended notes, While in a grove I sate reclined, In that sweet mood when pleasant thoughts Bring sad thoughts to the mind. To her fair works did Nature link The human soul that through me ran; And much it grieved my heart to think What man has made of man. Through primrose tufts, in that green bower, The periwinkle trailed its wreaths; And 'tis my faith that every flower Enjoys the air it breathes. The birds around me hopped and played, Their thoughts I cannot measure:-- But the least motion which they made It seemed a thrill of pleasure. The budding twigs spread out their fan, To catch the breezy air; And I must think, do all I can, That there was pleasure there. If this belief from heaven be sent, If such be Nature's holy plan, Have I not reason to lament What man has made of man?

The radio played “Groove Is in the Heart,” which is a radio’s way of saying it couldn’t care less about the mood of a scene.

Two kisses in one kiss was all it took, a comfort, a warmth, perhaps temporary, perhaps false, but reassuring nonetheless, and mine, and theirs, ours, all three of us giggling, insane giggles and laughter with still more kisses on the way, and I remember a brief instant then, out of the blue, when I suddenly glimpsed my own father, a rare but oddly peaceful recollection, as if he actually approved of my play in the way he himself had always laughed and played, great updrafts of light, burning off distant plateaus of bistre & sage, throwing him up like an angel, high above the red earth, deep into the sparkling blank, the tender sky that never once let him down, preserving his attachment to youth, propriety and kindness, his plane almost, but never quite, outracing his whoops of joy, trailing him in his sudden turn to the wind, followed then by a near vertical climb up to the angles of the sun, and I was barely eight and still with him and yes, that was the thought that flickered madly through me, a brief instant of communion, possessing me with warmth and ageless ease, causing me to smile again and relax as if memory alone could lift the heart like the wind lifts a wing, and so I renewed my kisses with even greater enthusiasm, caressing and in turn devouring their dark lips, dark with wine and fleeting love, an ancient memory love had promised but finally never gave, until there were too many kisses to count or remember, and the memory of love proved not love at all and needed a replacement, which our bodies found, and then the giggles subsided, and the laughter dimmed, and darkness enfolded all of us and we gave away our childhood for nothing and we died and condoms littered the floor and Christina threw up in the sink and Amber chuckled a little and kissed me a little more, but in a way that told me it was time to leave.

It was better to meet friends at their houses, their mother, Aurora, explained, because Dad had a lot of breakable things around the farm. One of the breakable things: Aurora Lynch. Golden-haired Aurora was the obvious queen of a place like the Barns, a gentle and joyous ruler of a peaceful and secret country. She was a patron of her sons’ fanciful arts (although Declan, the eldest, was rarely fanciful), and she was a tireless playmate in her sons’ games of make-believe (although Declan, the eldest, was rarely playful). She loved Niall, of course – everyone loved larger-than-life Niall, the braggart poet, the musician king – but unlike everyone else, she preferred him in his silent moods. She loved the truth, and it was difficult to love both the truth and Niall Lynch when the latter was speaking.

Suppose I tell you to fuck off." "I will no longer be in a playful mood," it purred. "I will come for you. I will kill your blood, your friends, your beasts. I will kill the flowers in your home and the trees in your tiny fields. I will visit such death upon whatever is yours that your very name will be remembered only in curses andtales of terror

The dark organ music filled the Department of Post-Mortem Communications. Moist assumed it was all part of the ambience, although the mood would have been more precisely obtained if the tune it was playing did not appear to be Cantate and Fugue for someone Who Has Trouble with the Pedals.

I guess I’m not in the mood for it today,” Paul said. “Mood?” Halleck’s voice betrayed his outrage even through the shield’s filtering. “What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood’s a thing for cattle or making love or playing the baliset. It’s not for fighting.

The Dave Matthews Band’s “Crash into Me” played over the montage, not that the lyrics had anything to do with the images the song was played over but it was “haunting”, it was “moody”, it was “summing things up”, it gave the footage an “emotional resonance” that I guess we were incapable of capturing ourselves. At first my feelings were basically so what? But then I suggested other music: “Hurt” by Nine Inch Nails, but I was told that the rights were sky-high and that the song was “too ominous” for this sequence; Nada Surf’s “Popular” had “too many minor chords”, it didn’t fit the “mood of the piece,” it was – again – “too ominous.” When I told them I seriously did not think things could get any more fucking ominous than they already were, I was told, “Things get very much more ominous, Victor,” and then I was left alone.

She turned around and said, "Is there anything I can do?" It was the only thing she could have said that he couldn't answer with anger, which frustrated Janner even more. If she had asked what was wrong, he would have hurled a perfectly sassy reply right back at her. If she had told him to cheer up, he would have grouched something about how cheery he'd be if he had played with puppies all day. If she had tried to be silly to cheer him up, he would have barked that he was sorry he wasn't in the mood for games. But "Is there anything I can do?" poured cool water on his fire. It told him that she cared. It told him that she saw he needed something, even if she didn't know what. It told him that she hurt with him.

I’m trying to pull myself out of my gloomy mood by blasting Taylor Swift’s entire discography on the drive to the restaurant, but even my Spotify seems to be against me today, playing entirely too much evermore and not nearly enough Red. It’s like the universe wants me to cry today.

Music is one of the most efficient mood elevators we have. People in nursing homes, whether ambulatory or even bedridden, whether lucid or not, would be provided with great pleasure by your playing. Maybe they could even dream, return to the best times in their lives, when they were loved.

Captain Blood, Robin Hood, Don Juan -Flynn had played them all. Sometimes if the mood struck him, he'd even played them well.

Amanda! Where are you?” Michael called. Laughing, she stood on tiptoe. “Over here,” she called back and then ran down the row to hide. “All right,” he said, laughing. “Where did you go?” She whistled at him from her hiding place. She and Ruthie had played hide-and-seek in the rows the day before, and she was in a joyous mood today, ready to tease Michael. “What do I get if I find you?” “What have you got in mind?” “Oh, a little of this and that.

There was no control except the "mood of his power... and it is for this reason it is good you never heard him play someplace where the weather for instance could change the next series of notes-- then you should never have heard him at all. He was never recorded. He stayed away while others moved into wax history, electronic history, those who said later that Boldon broke the path. It was just as important to watch him stretch and wheel around the last notes or to watch nerves jumping under the sweat of his head.

Keep an eye out for her, she tends to disappear intermittently, leaving no note for one to know, as to where she is going and if she'll be showing up for supper that day, or in the dark, wander away. But soon she will map her way back to your lap timidly, in need for a warm, caring body to conform. She likes to play with things, but often her mood swings. To hurt is not her intention, all she wants is your attention, and if you give your love to her, she’ll not smile but perhaps purr.

What is particularly amusing about cocker spaniels is their swaying gait when they are in a playful mood: it’s as if they had tiny little springs screwed to their paws that cause them to bounce upward—but gently, without jolting. This also affects their paws and ears like the rolling of a ship, so cocker spaniels, like jaunty little vessels plying dry land, lend a nautical touch to the urban landscape: utterly enchanting.

Even when in the deepest distress, the actor ultimately cannot cease to think of the impression he and the whole scenic effect is making, even for example at the burial of his own child; he will weep over his own distress and the ways in which it expresses itself, as his own audience. The hypocrite who always plays one and the same role finally ceases to be a hypocrite; for example priests, who as young men are usually conscious or unconscious hypocrites, finally become natural and then really are priests without any affectation; or if the father fails to get that far then perhaps the son does so, employing his father's start and inheriting his habits. If someone obstinately and for a long time wants to appear something it is int he end hard for him to be anything else. The profession of almost every man, even that of the artist, begins with hypocrisy, with an imitation from without, with a copying of what is most effective. He who is always wearing a mask of a friendly countenance must finally acquire a power over benevolent moods without which the impression of friendliness cannot be obtained - and finally these acquire power over him, he is benevolent.

Land and sea. We may think of them as opposites; as complements. But there is a difference in how we think of them; the sea, and the land. If we are walking around in a forest, a meadow or a town, we see our surroundings as being made up of individual elements. There are many different kinds of trees in varying sizes, those buildings, these streets. The meadow, the flowers, the bushes. Our gaze lingers on details, and if we are standing in a forest in the autumn, we become tongue-tied if we try to describe the richness around us. All this exists on land. But the sea. The sea is something completely different. The sea is one. We may note the shifting moods of the sea. What the sea looks like when the wind is blowing, how the sea plays with the light, how it rises and falls. But still it is always the sea we are talking about. We have given different parts of the sea different names for navigation and identification, but if we are standing before the sea, there is only one whole. The Sea. If we are taken so far out in a small boat that no land is visible in any direction, we may catch sight of the sea. It is not a pleasant experience. The sea is a god, an unseeing, unhearing deity that does not even know we exist. We mean less than a grain of sand on an elephant's back, and if the sea wants us, it will take us. That's just the way it is. The sea knows no limits, makes no concessions. It has given us everything and it can take everything away from us. To other gods we send our prayer: Protect us from the sea.

Royce traveled wrapped in his cloak with the weight of the rain collapsing the hood around his head—not a good sign for Thranic and Bernie. Until then, Royce had played the part of the good little sailor, but with the reemergence of the hood, and the loss of his white kerchief, Hadrian knew that role had ended. They had not spoken much since the attack. Not surprisingly, Royce was in no mood for idle discussion. Hadrian guessed that by now his friend had imagined killing Thranic a dozen times, with a few Bernies thrown in here and there for variety. Hadrian had seen Royce wounded before and was familiar with the cocooning—only what would emerge from that cloak and hood would not be a butterfly.

If we are here for any good purpose at all (other than collating texts, running rivers, and learning the stars), I suppose it is to entertain the rest of nature. A gang of sexy primate clowns. All the little critters creep in close to listen when the human beings are in a good mood and willing to play some tunes.

The words you say may have a huge effect on other people, but they also affect you too. The words that come out of your mouth go into your ears as well as anyone else listening. Those words sink into your personality and play a part on your mood.

She attended the French performance, but the play's content now had a connection to her life. She read a book and the book invariably had lines with sparks from her mind, the fire of her emotions flickered here and there, and words spoken the night before were written down, as if the author had overheard how her heart beat. The forest held the same trees, but their sound had taken on special meaning; she had established a vibrant consonance with them. The birds did not simply twitter and chirp but were saying something to each other. Everything around her spoke and responded to her mood; a flower would blossom and she seemed to hear its breathing. pp. 256-257

I love people who play guitars on roofs!" said Rose, hopping along the pavement in one of her sudden happy moods. "Don't you?" "Never knew anyone else who did it!" "Don't you like Tom?" "Of course I do. But I don't know about all the other guitar-on-roof players! They might be really awful people, with just that one good thing about them. Playing guitars on roofs... or bagpipes... Or drums... Sarah would like that, and Saffy could have the bagpipes! Caddy could have a harp.... What about Mum?" "One of those gourds filled with beans!" said Rose at once. "And Daddy could have a grand piano. On a flat roof. With a balcony and pink flowers in pots around the edge! And I'll have a very loud trumpet! What about you?" "I'll just listen," said Indigo.

Seen with the terrestrially sullied eye, we are in a situation of travelers in a train that has met with an accident in a tunnel, and this at a place where the light of the beginning can no longer be seen, and the light of the end is so very small a glimmer that the gaze must continually search for it and is always losing it again, and, furthermore, both the beginning and the end are not even certainties. Round about us, however, in the confusion of our senses, or in the supersensitiveness of our senses, we have nothing but monstrosities and a kaleidoscopic play of things that is either delightful or exhausting according to the mood and injury of each individual. What shall I do? or: Why should I do it? are not questions to be asked in such places.

And it came to me that these trees had been hardly smaller when I was yet unborn, and had stood as they stood now when I was a child playing among the cypresses and peaceful tombs of our necropolis, and that they would stand yet, drinking in the light of the dying sun, even as now, when I had been dead as long as those who rested there. I saw how little it weighed on the scale of things whether I lived or died, though my life was precious to me. And of those two thoughts I forged a mood by which I stood ready to grasp each smallest chance to live, yet in which I cared not too much whether I saved myself or not. By that mood, as I think, I did live; it has been so good a friend to me that I have endeavored to wear it ever since, succeeding not always, but often.

One of the reasons why I liked living in Manhattan was that the city would share your mood the moment you walked out the door. If you were in a hurry, everything else was too, even the pigeons. You shared the same speed and sense of urgency to get wherever you were going. When you had time to kill, it was happy to give you things to look at and do that easily took up whole days. I didn't agree with people who said Manhattan was a cold, indifferent town. Sure it was gruff, but it was also playful and sometimes very funny.

I wished he would not always treat me as a child, rather spoilt, rather irresponsible, someone to be petted from time to time when the mood came upon him, but more often forgotten, more often patted on the shoulder and told to run away and play. I wished something would happen to make me look wiser, more mature. Was it always going to be like this? He way ahead of me, with his own moods that I did not share, his secret troubles that I did not know? Would we never be together, he a man and I a woman, standing shoulder to shoulder, hand in hand with no gulf between us? I did not want to be a child. I wanted to be his wife, his mother. I wanted to be old.

Joy and anger, sorrow and happiness, caution and remorse Come upon us by turns, with ever changing mood. They come like music from hollows, like wood when played by the wind, or how mushrooms grow from the damp. Daily and nightly they alternate within but we cannot tell whence they spring. Without these emotions I should not be. Without me, they would have no instrument

It should worry you to walk around naked…with so little to show.” – Tristan “I’m in no mood to watch you two play mine’s bigger.” – Evalle “It’s not necessary. I already know which one’s bigger.” – Tristan “Must be true what they say about the strides they’re making with implants.” – Storm

We are not to work on the Sabbath because it takes us out of the play of joy. It is as bizarre as making love to your spouse, but getting out of bed during the process to cut your lawn or wash dishes. Such an offense would do far more than spoil the mood; it would be a direct assault on the integrity of joy, announcing that a mundane chore is more pleasurable than sexual joy with your spouse.

“Shut up!” I say, laughing hysterically. Alice transforms back to an inanimate jade piece as I toss her. My aim is off and she plops into Morpheus’s tea, splattering him and the chessboard. With a graceful sweep of his hand, he retracts his magic. Tea drizzles down his face as his inky eyes turn up to mine, alight with something both dangerous and daring, shifting moods faster than I can blink. “Careful, plum.” It’s his deep cockney accent now. He wipes his face with a napkin. “Don’t start something you have no intention of finishing.” “Oh, I’ll finish it,” I say—spurred by the dark confidence fluttering at the edge of my psyche. The side of me that knows I’m his match in every way. “And you know I’ll win.” I rise from my chair to scope out the room for weapons, vaguely aware of the prisms of glittery light reflected off my skin onto the surroundings. “I know I’ll let you win,” Morpheus says, standing up. “I won’t even put up a fight.” His white-toothed smile spans to something forebodingly provocative, as though mimicking the spread of his wings. “Well, perhaps a small one, just for sport.”

For a time, the word Weltpolitik seemed to capture the mood of the German middle classes and the national-minded quality press. The word resonated because it bundled together so many contemporary aspirations. Weltpolitik meant the quest to expand foreign markets (at a time of declining export growth); it meant escaping from the constraints of the continental alliance system to operate on a broader world arena. It expressed the appetite for genuinely national projects that would help knit together the disparate regions of the German Empire and reflected the almost universal conviction that Germany, a late arrival at the imperial feast, would have to play catch-up if it wished to earn the respect of the other great powers. Yet, while it connoted all these things, Weltpolitik never acquired a stable or precise meaning. Even Bernhard von Bulow, widely credited with establishing Weltpolitik as the guiding principle of German foreign policy, never produced a definitive account of what it was. His contradictory utterances on the subject suggest that it was little more than the old policy of the "free hand" with a larger navy and more menacing mood music. "We are supposed to be pursuing Weltpolitik," the former chief of the General Staff General Alfred von Waldersee noted grumpily in his diary in January 1900. "If only I knew what that was supposed to be.

Strolling, keeping step, his stout polished well-made boots setting themselves down firmly beside her thin-soled black suede, they put off as long as they could the end of their moment together, and kept up as well as they could their small talk that flew back and forth over little grooves worn in the thin upper suface of the brain, things you could say and hear clink reassuringly at once without disturbing the radiance which played and darted about the simple and lovely miracle of being two persons named Adam and Miranda, twenty-four years old each, alive and on earth at the same moment: 'Are you in the mood for dancing, Miranda?' and 'I'm always in the mood for dancing, Adam!' but there were things in the way, the day that ended with dancing was a long way to go.

Kalkbrenner has made me an offer; that I should study with him for three years, and he will make something really - really out of me. I answered that I know how much I lack; but that I cannot exploit him, and three years is too much. But he has convinced me that I can play admirably when I am in the mood, and badly when I am not; a thing which never happens to him. After close examination he told me that I have no school; that I am on an excellent road, but can slip off the track. That after his death, or when he finally stops playing, there will be no representative of the great piano-forte school. That even if I wish it, I cannot build up a new school without knowing the old one; in a word : that I am not a perfected machine, and that this hampers the flow of my thoughts. That I have a mark in composition; that it would be a pity not to become what I have the promise of being...

I knew it all, the whole drab compass of marital disillusion; we had been through it together, the Army and I, from the first importunate courtship until now, when nothing remained to us except the chill bonds of law and duty and custom. I had played every scene in the domestic tragedy, had found the early tiffs become more frequent, the tears less affecting, the reconciliations less sweet, till they engendered a mood of aloofness and cool criticism, and the growing conviction that it was not myself but the loved one who was at fault. I caught the false notes in her voice and learned to listen for them apprehensively; I recognized the blank, resentful stare of incomprehension in her eyes, and the selfish, hard set of the corners of her mouth. I learned her, as one must learn a woman one has kept house with, day in, day out, for three and a half years; I learned her slatternly ways, the routine and mechanism of her charm, her jealousy and self-seeking, and her nervous trick with the fingers when she was lying. She was stripped of all enchantment now and I knew her for an uncongenial stranger to whom I had bound myself indissolubly in a moment of folly.

An Earthlike organ keyboard sits in the center of my area, oriented such that the operator faces the kids. The organ has quite a few more options than a typical keyboard found on Earth. I can apply inflection, tone, mood, and all the other little intricacies of spoken language. I settle into the comfortable chair, crack my knuckles, and start the class. “All right, all right,” I play. “Everyone settle down and get in your seats.” They scamper to their assigned desks and sit quietly, ready for the lesson to begin. “Who here can tell me the speed of light?” Twelve kids raise their claws.

Dad laughed, and despite two thousand volts of frustration tingling and twitching through my body, I laughed too. Everything about him that morning seemed relaxed and brighter than it had in months. He’d always been a moody guy. No one was funnier or more fun to play with than he was when in the right mood and you could feel the barometric pressure drop when he wasn’t.

They way I walk now you’d have a hard time recognising me, on these streets where I once imagined walking with you. Hand in hand, like we always did, and it never mattered where we were going because it was all just fine. I was always fine. But they rest restlessly in my pockets now, in a new town, on these new streets, and it’s heavy to stay standing for my body is half the size when you’re gone and these buildings are tall and old and beautiful and I wonder what secrets they hold. How to stand so proud after so many years because I’m still young but I feel worn and I get through the days on too much caffeine and mood altering chemicals to stay awake long enough to make the poetry come alive. I fall asleep on the floor with the music still playing when my neighbour leaves for the office and I’m jealous. I wonder what it’s like to go outside and know where to go, know where you want to end up and just simply go there. I’ve been making lists of things I want to do, where to go and who to be, now that you’re gone, and it’s nice and all, it’s just … I’d rather write it with you, and go there with you. Be things with you. There were days when I still put on make up in case you’d come back, but I wear the same clothes and shower in the rain, eat when I can and sleep when I can, which is rare and not often, so if you’d see me now on these streets where I once imagined walking with you you’d have a hard time recognising me. It takes a lot to run away.

A wise man will know what game to play to-day, and play it. We must not be governed by rigid rules, as by the almanac, but let the season rule us. The moods and thoughts of man are revolving just as steadily and incessantly as nature's. Nothing must be postponed. Take time by the forelock. Now or never! You must live in the present, launch yourself on every wave, find your eternity in each moment. Fools stand on their island opportunities and look toward another land. There is no other land; there is no other life but this, or the like of this. Where the good husbandman is, there is the good soil. Take any other course, and life will be a succession of regrets. Let us see vessels sailing prosperously before the wind, and not simply stranded barks. There is no world for the penitent and regretful.

Thornton Wilder’s one-act play “The Angel That Troubled the Waters,” based on John 5:1-4, dramatizes the power of the pool of Bethesda to heal whenever an angel stirred its waters. A physician comes periodically to the pool hoping to be the first in line and longing to be healed of his melancholy. The angel finally appears but blocks the physician just as he is ready to step into the water. The angel tells the physician to draw back, for this moment is not for him. The physician pleads for help in a broken voice, but the angel insists that healing is not intended for him. The dialogue continues—and then comes the prophetic word from the angel: “Without your wounds where would your power be? It is your melancholy that makes your low voice tremble into the hearts of men and women. The very angels themselves cannot persuade the wretched and blundering children on earth as can one human being broken on the wheels of living. In Love’s service, only wounded soldiers can serve. Physician, draw back.” Later, the man who enters the pool first and is healed rejoices in his good fortune and turning to the physician says: “Please come with me. It is only an hour to my home. My son is lost in dark thoughts. I do not understand him and only you have ever lifted his mood. Only an hour.… There is also my daughter: since her child died, she sits in the shadow. She will not listen to us but she will listen to you.”13 Christians who remain in hiding continue to live the lie. We deny the reality of our sin. In a futile attempt to erase our past, we deprive the community of our healing gift. If we conceal our wounds out of fear and shame, our inner darkness can neither be illuminated nor become a light for others. We cling to our bad feelings and beat ourselves with the past when what we should do is let go. As Dietrich Bonhoeffer said, guilt is an idol. But when we dare to live as forgiven men and women, we join the wounded healers and draw closer to Jesus.

I wanted English to be an instrument on which many kinds of music could be played. I wanted writing that could be lavish, subtle, evocative, that could describe mists and moods and hopes and not just facts and solid objects. I wanted to map how the world is connected by patterns and intuitions and resemblances. I wanted to trace the lost patterns that came before the world is broken and find the new ones we could make out of the shards.

It always gave Wolf a peculiar thrill thus to tighten his grip upon his stick, thus to wrap himself more closely in his faded overcoat. Objects of this kind played a queer part in his secret life-illusion. His stick was like a plough-handle, a ship's runner, a gun, a spade, a sword, a spear. His threadbare overcoat was like a medieval jerkin, like a monk's habit, like a classic toga! It gave him a primeval delight merely to move one foot in front of the other, merely to prod the ground with his stick, merely to feel the flapping of his coat about his knees, when this mood predominated. It always associated itself with his consciousness of the historic continuity---so incredibly charged with marvels of dreamy fancy---of human beings moving to and fro across the earth. It associated itself, too, with his deep, obstinate quarrel with modern inventions, with modern machinery....

Okay, so we have a ghost-spy.” “A ghost-spy who can do magic,” Jenna added. I nodded. “Even better. Which means that maybe the playing field is leveled after all.” Jenna squeezed my hand, and I was actually feeling kind of optimistic as we approached the greenhouse. I mean, I wasn’t going to start skipping or anything (mostly because I was afraid I’d slip in all the muck), but all in all, I felt worlds better. Through the glass walls of the greenhouse, I could see most of the other students standing in a circle, and I was in a good enough mood to joke to Jenna, “Ooh, wonder if we’re gonna play Duck, Duck, Demon.

Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared. Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact, he would be brought to his knees by love or by luck. When that happened he knew that he too would be branded with the deadly question-mark he recognized so often in others, the promise to pay before you have lost: the acceptance of fallibility.

The masses of people are carried along, obedient to their environment; the wills and desires of others stronger than themselves; the effects of inherited tendencies; the suggestions of those about them; and other outward causes; which tend to move them about on the chess-board of life like mere pawns. By rising above these influencing causes, the advanced Hermetists seek a higher plane of mental action, and by dominating their moods, emotions, impulses and feelings, they create for themselves new characters, qualities and powers, by which they overcome their ordinary environment, and thus become practically players instead of mere Pawns. Such people help to play the game of life understandingly, instead of being moved about this way and that way by stronger influences and powers and wills. They use the Principle of Cause and Effect, instead of being used by it. Of course, even the highest are subject to the Principle as it manifests on the higher planes, but on the lower planes of activity, they are Masters instead of Slaves.

I consider a tree. I can look on it as a picture: stiff column in a shock of light, or splash of green shot with the delicate blue and silver of the background. I can perceive it as movement: flowing veins on clinging, pressing pith, suck of the roots, breathing of the leaves, ceaseless commerce with earth and air—and the obscure growth itself. I can classify it in a species and study it as a type in its structure and mode of life. I can subdue its actual presence and form so sternly that I recognise it only as an expression of law — of the laws in accordance with which a constant opposition of forces is continually adjusted, or of those in accordance with which the component substances mingle and separate. I can dissipate it and perpetuate it in number, in pure numerical relation. In all this the tree remains my object, occupies space and time, and has its nature and constitution. It can, however, also come about, if I have both will and grace, that in considering the tree I become bound up in relation to it. The tree is now no longer It. I have been seized by the power of exclusiveness. To effect this it is not necessary for me to give up any of the ways in which I consider the tree. There is nothing from which I would have to turn my eyes away in order to see, and no knowledge that I would have to forget. Rather is everything, picture and movement, species and type, law and number, indivisibly united in this event. Everything belonging to the tree is in this: its form and structure, its colours and chemical composition, its intercourse with the elements and with the stars, are all present in a single whole. The tree is no impression, no play of my imagination, no value depending on my mood; but it is bodied over against me and has to do with me, as I with it — only in a different way. Let no attempt be made to sap the strength from the meaning of the relation: relation is mutual.

Now you’re just being selfish,” Dominic said to Jaime, shaking his head. “You have that body for the rest of your life. I only want it for one night.” Not in the mood to hear his packmate making moves—no matter how playful—on the female he intended to claim, Dante growled. “Dominic, no. Not to Jaime.” “But—” “No.” Dominic sighed in resignation. “Okay, fine.” Noticing that Trey seemed to find the whole thing extremely amusing, Dante raised a brow at him. “It’s funny now that he’s not saying this shit to Taryn?” Trey smiled. “Of course.” “I’ve always got some stored up for my gorgeous Alpha female,” said Dominic with an impish grin. Instantly Trey’s smile fell from his face. “Dom, don’t do it.” Dominic held his hands up, pleading innocence. “I was just going to ask her if she went to Boy Scouts…because she has my heart all tied in knots.” Taryn groaned and chuckled at the same time.

He was savoring for the first time the ineffable subtleties of feminine refinement. Never had he encountered this grace of language, this quiet taste in dress, these relaxed, dove like postures. He marveled at the sublimity of her soul and at the lace on her petticoat. With her ever-changing moods, by turns brooding and gay, chattering and silent, fiery and casual, she aroused in him a thousand desires, awakening instincts or memories. She was the amoureuse of all the novels, the heroine of all the plays, the vague "she" of all the poetry books.

Taking us by and large, we're a queer lot We women who write poetry. And when you think How few of us there've been, it's queerer still. I wonder what it is that makes us do it, Singles us out to scribble down, man-wise, The fragments of ourselves. Why are we Already mother-creatures, double-bearing, With matrices in body and in brain? I rather think that there is just the reason We are so sparse a kind of human being; The strength of forty thousand Atlases Is needed for our every-day concerns. There's Sapho, now I wonder what was Sapho. I know a single slender thing about her: That, loving, she was like a burning birch-tree All tall and glittering fire, and that she wrote Like the same fire caught up to Heaven and held there, A frozen blaze before it broke and fell. Ah, me! I wish I could have talked to Sapho, Surprised her reticences by flinging mine Into the wind. This tossing off of garments Which cloud the soul is none too easy doing With us to-day. But still I think with Sapho One might accomplish it, were she in the mood to bare her loveliness of words and tell The reasons, as she possibly conceived them of why they are so lovely. Just to know How she came at them, just watch The crisp sea sunshine playing on her hair, And listen, thinking all the while 'twas she Who spoke and that we two were sisters Of a strange, isolated little family. And she is Sapho -- Sapho -- not Miss or Mrs., A leaping fire we call so for convenience....

Adulthood is hell. In the face of such a trenchant position, “moralists” today will utter vague, opprobrious grumblings while waiting for a chance to strike with their obscene intimations. Perhaps Lovecraft actually could not become an adult; what is certain is that he did not want to. And given the values that govern the adult world, how can you argue with him? The reality principle, the pleasure principle, competitiveness, permanent challenges, sex and status—hardly reasons to rejoice. Lovecraft, for his part, knew he had nothing to do with this world. And at each turn he played a losing hand. In theory and in practice. He lost his childhood; he also lost his faith. The world sickened him and he saw no reason to believe that by looking at things better they might appear differently. He saw religions as so many sugar-coated illusions made obsolete by the progress of science. At times, when in an exceptionally good mood, he would speak of the enchanted circle of religious belief, but it was a circle from which he felt banished, anyway.

Isaac stopped her at the bottom of the stairs with a crooked smile. “I would wish you sweet dreams, but how could they be memorable at all if I won’t be in them?” Her mood lightened and she punched him in the arm. “I’ll have you know that I was capable of conjuring up perfectly good dreams all on my own before I met you.” “Perhaps,” he admitted. His smile went from playful to absolutely devastating in a heartbeat. He leaned in until he filled up her entire vision, her whole sphere of consciousness, and made her stomach flip over and over until she was dizzy with him. “But remember that only I can make those dreams a reality.

The bookshop of Kipps is on the left-hand side of the Hythe High Street coming from Folkestone, between the yard of the livery stable and the shop-window full of old silver and such like things—it is quite easy to find—and there you may see him for yourself and speak to him and buy this book of him if you like. He has it in stock, I know. Very delicately I've seen to that. His name is not Kipps, of course, you must understand that, but everything else is exactly as I have told you. You can talk to him about books, about politics, about going to Boulogne, about life, and the ups and downs of life. Perhaps he will quote you Buggins—from whom, by the bye, one can now buy everything a gentleman's wardrobe should contain at the little shop in Rendezvous Street, Folkestone. If you are fortunate to find Kipps in a good mood he may even let you know how he inherited a fortune "once." "Run froo it," he'll say with a not unhappy smile. "Got another afterwards—speckylating in plays. Needn't keep this shop if I didn't like. But it's something to do."... Or he may be even more intimate. "I seen some things," he said to me once. "Raver! Life! Why! once I—I 'loped! I did—reely!" (Of course you will not tell Kipps that he is "Kipps," or that I have put him in this book. He does not know. And you know, one never knows how people are going to take that sort of thing. I am an old and trusted customer now, and for many amiable reasons I should prefer that things remained exactly on their present footing.)

Today the Director opened his remarks by telling us what we must always do when the author, the director, and the others who are working on a production, leave out things we need to know. We must have, first of all, an unbroken series of supposed circumstances in the midst of which our exercise is played. Secondly we must have a solid line of inner visions bound up with those circumstances, so that they will be illustrated for us. During every moment we are on the stage, during every moment of the development of the action of the play, we must be aware either of the external circumstances which surround us (the whole material setting of the production), or of an inner chain of circumstances which we ourselves have imagined in order to illustrate our parts. Out of these moments will be formed an unbroken series of images, something like a moving picture. As long as we are acting creatively, this film will unroll and be thrown on the screen of our inner vision, making vivid the circumstances among which we are moving. Moreover, these inner images create a corresponding mood, and arouse emotions, while holding us within the limits of the play.

And then there are those you stop counting the years with because they are here to stay. They are here. And they aren't going anywhere. Nothing will make them flinch. Nothing will make them think twice. They know you at your worst, the worst you didn't even know you had. They know the sound of your mood swings, the color of your anger, how you curse when you curse, how you shout when you throw a tantrum. They know when you're avoiding a subject. They know when you're lying. They know when you're jealous. They know your vices by heart and they celebrate them. They celebrate you-- vices included. They know your lost dreams and how life fucked you over. They know the battles you lost. And they think your fabulous when you think you're just an unlucky mediocre person who once thought will make it big in life. They know the last time you were happy. They see the unspoken sadness in your eyes. They know the words behind your silence. They know the photographs playing in your mind when you're looking afar. They know YOU, the naked YOU, the raw YOU, not the embellished YOU people see, not the YOU that will be read in biographies or in elegies once you're dead, not the YOU that introduces you to others. They love you from the bottom of their heart. They are your family regardless of their blood. They are your squad. They are your people. And no matter how many times you make them open the door, they can't walk out. They just can't. Because, just sometimes, when people say forever, they mean it. They do.

He could tell when the bullying, the relentless sarcasm, the constant, all-encompassing vigilance had become too exhausting. When one of his people was fed up with staying awake at night anticipating his likes and dislikes, was sick of charting his mood swings, was tired of feeling demeaned and beaten down after being asked, for instance, to clean out the grease trap, was ready to burst into tears and quit, then suddenly Bigfoot would appear with court side seats for a play-off game, a restaurant warm-up jacket (given out only to Most Honored Veterans), or a present for the wife or girlfriend — something thoughtful like a Movado watch. He always waited until the last possible second, when you were ready to shave your head, climb a tower and start gunning down strangers, when you were ready to strip off your clothes and run barking into the street, to scream to the world that you'd never never never again work for that manipulative, Machiavellian psychopath. And he'd get you back on the team, often with a gesture as simple and inexpensive as a baseball cap or a T-shirt. The timing was what did it, that he knew. He knew just when to apply that well-timed pat on the back, the strangled and difficult-for-him 'Thank you for your good work' appreciation of your labors.

Coward,” Prudence shouted from the top of the steps. Sebastian saw several people stop and turn to stare in shock at the sight of the Countess of Angelstone yelling after her husband like a fishwife. Sebastian could not resist turning around, too. Prudence was standing in the doorway, glaring furiously. Even as he watched, she stamped one small foot in exasperation. Directly behind her loomed Flowers with an unholy grin on his normally dour face. It occurred to Sebastian that he had never seen Flowers smile like that. Sebastian’s spirits lightened abruptly. He found himself grinning, too, in spite of his bedeviled mood. In addition to a host of other endearing wifely virtues, Prudence could play the shrew. Fresh confirmation of what he already knew, Sebastian decided. Life with her would never be dull.

To understand a child we have to watch him at play, study him in his different moods; we cannot project upon him our own prejudices, hopes and fears, or mould him to fit the pattern of our desires. If we are constantly judging the child according to our personal likes and dislikes, we are bound to create barriers and hindrances in our relationship with him and in his relationships with the world. Unfortunately, most of us desire to shape the child in a way that is gratifying to our own vanities and idiosyncrasies; we find varying degrees of comfort and satisfaction in exclusive ownership and domination. Surely, this process is not relationship, but mere imposition, and it is therefore essential to understand the difficult and complex desire to dominate. It takes many subtle forms; and in its self-righteous aspect, it is very obstinate. The desire to "serve" with the unconscious longing to dominate is difficult to understand. Can there be love where there is possessiveness? Can we be in communion with those whom we seek to control? To dominate is to use another for self-gratification, and where there is the use of another there is no love. When there is love there is consideration, not only for the children but for every human being. Unless we are deeply touched by the problem, we will never find the right way of education. Mere technical training inevitably makes for ruthlessness, and to educate our children we must be sensitive to the whole movement of life. What we think, what we do, what we say matters infinitely, because it creates the environment, and the environment either helps or hinders the child. Obviously, then, those of us who are deeply interested in this problem will have to begin to understand ourselves and thereby help to transform society; we will make it our direct responsability to bring about a new approach to education. If we love our children, will we not find a way of putting an end to war? But if we are merely using the word "love" without substance, then the whole complex problem of human misery will remain. The way out of this problem lies through ourselves. We must begin to understand our relationship with our fellow men, with nature, with ideas and with things, for without that understanding there is no hope, there is no way out of conflict and suffering. The bringing up of a child requires intelligent observation and care. Experts and their knowledge can never replace the parents' love, but most parents corrupt that love by their own fears and ambitions, which condition and distort the outlook of the child. So few of us are concerned with love, but we are vastly taken up with the appearance of love. The present educational and social structure does not help the individual towards freedom and integration; and if the parents are at all in earnest and desire that the child shall grow to his fullest integral capacity, they must begin to alter the influence of the home and set about creating schools with the right kind of educators. The influence of the home and that of the school must not be in any way contradictory, so both parents and teachers must re-educate themselves. The contradiction which so often exists between the private life of the individual and his life as a member of the group creates an endless battle within himself and in his relationships. This conflict is encouraged and sustained through the wrong kind of education, and both governments and organized religions add to the confusion by their contradictory doctrines. The child is divided within himself from the very start, which results in personal and social disasters.

Jeremy Bentham startled the world many years ago by stating in effect that if the amount of pleasure obtained from each be equal there is nothing to choose between poetry and push-pin. Since few people now know what push-pin is, I may explain that it is a child's game in which one player tries to push his pin across that of another player, and if he succeeds and then is able by pressing down on the two pins with the ball of his thumb to lift them off the table he wins possession of his opponent's pin. [...] The indignant retort to Bentham's statement was that spiritual pleasures are obviously higher than physical pleasures. But who say so? Those who prefer spiritual pleasures. They are in a miserable minority, as they acknowledge when they declare that the gift of aesthetic appreciation is a very rare one. The vast majority of men are, as we know, both by necessity and choice preoccupied with material considerations. Their pleasures are material. They look askance at those who spent their lives in the pursuit of art. That is why they have attached a depreciatory sense to the word aesthete, which means merely one who has a special appreciation of beauty. How are we going to show that they are wrong? How are we going to show that there is something to choose between poetry and push-pin? I surmise that Bentham chose push-pin for its pleasant alliteration with poetry. Let us speak of lawn tennis. It is a popular game which many of us can play with pleasure. It needs skill and judgement, a good eye and a cool head. If I get the same amount of pleasure out of playing it as you get by looking at Titian's 'Entombment of Christ' in the Louvre, by listening to Beethoven's 'Eroica' or by reading Eliot's 'Ash Wednesday', how are you going to prove that your pleasure is better and more refined than mine? Only, I should say, by manifesting that this gift you have of aesthetic appreciation has a moral effect on your character.

But creativity, she doesn’t fit in a box. She’s a wild, fluid, uncontrollable energy that spreads out sensuously from a curious, wide open mind in large expanses of aimless time on dreamy liminal train journeys or in subtle moments between waking and sleep. She can’t be pushed, or coughed up, or beaten into submission by a brutal and unmerciful regime. She needs light, and breath, and space and then, maybe, if the mood takes her, she’ll unfurl her wings and let her colors run into the atmosphere. And this energy, this wild, fun, unpredictable magic that I’d played with so happily as a child, that had flowed through me like it was my very life force up until this point; I didn’t understand it anymore. Creativity was this swirling wild mysterious language, but now I lived in a colorless angular world that promised me a certainty I valued above all else. And where before, I was just scribbling, writing, moving for the mere joy of it, now I tried to commodify my creativity. I tried to squeeze it out and make it do something worthwhile, be special, be important, be good. I could no longer see the point of art if it wasn’t good. But that’s the tricky thing about art, it’s never strictly good or bad, it’s just expression, or excretion. It couldn’t be measure by scales or charts, or contained in small manageable segments in the day. It was always, by its very nature, so imperfect. And the imperfections drove me mad. The anxiety and frustration with my creative endeavors turned into an actual fear of blank pages and pallets of paint. There was too much potential and too much room to fail so day by day, I chose perfection over creativity. I chose no more creativity, and no more mistakes. There are things that eating disorders takes from you that are more important, much greater and more profound a loss, and much much more difficult to recover and restore completely than body fat. And that reckless urge to create, just for the pure, senseless joy of it, would become the one I missed the most.

What, in fact, do we know about the peak experience? Well, to begin with, we know one thing that puts us several steps ahead of the most penetrating thinkers of the 19th century: that P.E’.s are not a matter of pure good luck or grace. They don’t come and go as they please, leaving ‘this dim, vast vale of tears vacant and desolate’. Like rainbows, peak experiences are governed by definite laws. They are ‘intentional’. And that statement suddenly gains in significance when we remember Thorndike’s discovery that the effect of positive stimuli is far more powerful and far reaching than that of negative stimuli. His first statement of the law of effect was simply that situations that elicit positive reactions tend to produce continuance of positive reactions, while situations that elicit negative or avoidance reactions tend to produce continuance of these. It was later that he came to realise that positive reactions build-up stronger response patterns than negative ones. In other words, positive responses are more intentional than negative ones. Which is another way of saying that if you want a positive reaction (or a peak experience), your best chance of obtaining it is by putting yourself into an active, purposive frame of mind. The opposite of the peak experience—sudden depression, fatigue, even the ‘panic fear’ that swept William James to the edge of insanity—is the outcome of passivity. This cannot be overemphasised. Depression—or neurosis—need not have a positive cause (childhood traumas, etc.). It is the natural outcome of negative passivity. The peak experience is the outcome of an intentional attitude. ‘Feedback’ from my activities depends upon the degree of deliberately calculated purpose I put into them, not upon some occult law connected with the activity itself. . . . A healthy, perfectly adjusted human being would slide smoothly into gear, perform whatever has to be done with perfect economy of energy, then recover lost energy in a state of serene relaxation. Most human beings are not healthy or well adjusted. Their activity is full of strain and nervous tension, and their relaxation hovers on the edge of anxiety. They fail to put enough effort—enough seriousness—into their activity, and they fail to withdraw enough effort from their relaxation. Moods of serenity descend upon them—if at all—by chance; perhaps after some crisis, or in peaceful surroundings with pleasant associations. Their main trouble is that they have no idea of what can be achieved by a certain kind of mental effort. And this is perhaps the place to point out that although mystical contemplation is as old as religion, it is only in the past two centuries that it has played a major role in European culture. It was the group of writers we call the romantics who discovered that a man contemplating a waterfall or a mountain peak can suddenly feel ‘godlike’, as if the soul had expanded. The world is seen from a ‘bird’s eye view’ instead of a worm’s eye view: there is a sense of power, detachment, serenity. The romantics—Blake, Wordsworth, Byron, Goethe, Schiller—were the first to raise the question of whether there are ‘higher ceilings of human nature’. But, lacking the concepts for analysing the problem, they left it unsolved. And the romantics in general accepted that the ‘godlike moments’ cannot be sustained, and certainly cannot be re-created at will. This produced the climate of despair that has continued down to our own time. (The major writers of the 20th century—Proust, Eliot, Joyce, Musil—are direct descendants of the romantics, as Edmund Wilson pointed out in Axel’s Castle.) Thus it can be seen that Maslow’s importance extends far beyond the field of psychology. William James had asserted that ‘mystical’ experiences are not mystical at all, but are a perfectly normal potential of human consciousness; but there is no mention of such experiences in Principles of Psychology (or only in passing).

Even yet I do not know why the ocean holds such a fascination for me. But then, perhaps none of us can solve those things—they exist in defiance of all explanation. There are men, and wise men, who do not like the sea and its lapping surf on yellow shores; and they think us strange who love the mystery of the ancient and unending deep. Yet for me there is a haunting and inscrutable glamour in all the ocean's moods. It is in the melancholy silver foam beneath the moon's waxen corpse; it hovers over the silent and eternal waves that beat on naked shores; it is there when all is lifeless save for unknown shapes that glide through sombre depths. And when I behold the awesome billows surging in endless strength, there comes upon me an ecstasy akin to fear; so that I must abase myself before this mightiness, that I may not hate the clotted waters and their overwhelming beauty. Vast and lonely is the ocean, and even as all things came from it, so shall they return thereto. In the shrouded depths of time none shall reign upon the earth, nor shall any motion be, save in the eternal waters. And these shall beat on dark shores in thunderous foam, though none shall remain in that dying world to watch the cold light of the enfeebled moon playing on the swirling tides and coarse-grained sand. On the deep's margin shall rest only a stagnant foam, gathering about the shells and bones of perished shapes that dwelt within the waters. Silent, flabby things will toss and roll along empty shores, their sluggish life extinct. Then all shall be dark, for at last even the white moon on the distant waves shall wink out. Nothing shall be left, neither above nor below the sombre waters. And until that last millennium, and beyond the perishing of all other things, the sea will thunder and toss throughout the dismal night.

least.” “I don’t remember you complaining.” “Yes, well, I’d only been fantasizing about it for ages.” “See, there’s a thing,” Alex points out. “You just told me that. You can tell me other stuff.” “It’s hardly the same.” He rolls over onto his stomach, considers, and very deliberately says, “Baby.” It’s become a thing: baby. He knows it’s become a thing. He’s slipped up and accidentally said it a few times, and each time, Henry positively melts and Alex pretends not to notice, but he’s not above playing dirty here. There’s a slow hiss of an exhale across the line, like air escaping through a crack in a window. “It’s, ah. It’s not the best time,” he says. “How did you put it? Nutso family stuff.” Alex purses his lips, bites down on his cheek. There it is. He’s wondered when Henry would finally start talking about the royal family. He makes oblique references to Philip being wound so tight as to double as an atomic clock, or to his grandmother’s disapproval, and he mentions Bea as often as Alex mentions June, but Alex knows there’s more to it than that. He couldn’t tell you when he started noticing, though, just like he doesn’t know when he started ticking off the days of Henry’s moods. “Ah,” he says. “I see.” “I don’t suppose you keep up with any British tabloids, do you?” “Not if I can help it.” Henry offers the bitterest of laughs. “Well, the Daily Mail has always had a bit of an affinity for airing our dirty laundry. They, er, they gave my sister this nickname years ago. ‘The Powder Princess.’” A ding of recognition. “Because of the…” “Yes, the cocaine, Alex.” “Okay, that does sound familiar.” Henry sighs. “Well, someone’s managed to bypass security to spray paint ‘Powder Princess’ on the side of her car.” “Shit,” Alex says. “And she’s not taking it well?” “Bea?” Henry laughs, a little more genuinely this time. “No, she doesn’t usually care about those things. She’s fine. More shaken up that someone got past security than anything.

The people cast themselves down by the fuming boards while servants cut the roast, mixed jars of wine and water, and all the gods flew past like the night-breaths of spring. The chattering female flocks sat down by farther tables, their fresh prismatic garments gleaming in the moon as though a crowd of haughty peacocks played in moonlight. The queen’s throne softly spread with white furs of fox gaped desolate and bare, for Penelope felt ashamed to come before her guests after so much murder. Though all the guests were ravenous, they still refrained, turning their eyes upon their silent watchful lord till he should spill wine in libation for the Immortals. The king then filled a brimming cup, stood up and raised it high till in the moon the embossed adornments gleamed: Athena, dwarfed and slender, wrought in purest gold, pursued around the cup with double-pointed spear dark lowering herds of angry gods and hairy demons; she smiled and the sad tenderness of her lean face, and her embittered fearless glance, seemed almost human. Star-eyed Odysseus raised Athena’s goblet high and greeted all, but spoke in a beclouded mood: “In all my wandering voyages and torturous strife, the earth, the seas, the winds fought me with frenzied rage; I was in danger often, both through joy and grief, of losing priceless goodness, man’s most worthy face. I raised my arms to the high heavens and cried for help, but on my head gods hurled their lightning bolts, and laughed. I then clasped Mother Earth, but she changed many shapes, and whether as earthquake, beast, or woman, rushed to eat me; then like a child I gave my hopes to the sea in trust, piled on my ship my stubbornness, my cares, my virtues, the poor remaining plunder of god-fighting man, and then set sail; but suddenly a wild storm burst, and when I raised my eyes, the sea was strewn with wreckage. As I swam on, alone between sea and sky, with but my crooked heart for dog and company, I heard my mind, upon the crumpling battlements about my head, yelling with flailing crimson spear. Earth, sea, and sky rushed backward; I remained alone with a horned bow slung down my shoulder, shorn of gods and hopes, a free man standing in the wilderness. Old comrades, O young men, my island’s newest sprouts, I drink not to the gods but to man’s dauntless mind.” All shuddered, for the daring toast seemed sacrilege, and suddenly the hungry people shrank in spirit; They did not fully understand the impious words but saw flames lick like red curls about his savage head. The smell of roast was overpowering, choice meats steamed, and his bold speech was soon forgotten in hunger’s pangs; all fell to eating ravenously till their brains reeled. Under his lowering eyebrows Odysseus watched them sharply: "This is my people, a mess of bellies and stinking breath! These are my own minds, hands, and thighs, my loins and necks!" He muttered in his thorny beard, held back his hunger far from the feast and licked none of the steaming food.

A so-called busy man may declare the day to be endless, or may mourn how the hours crawl slowly toward dinner time, but this is no evidence that this man’s life is long. For when the busy man finally has some time to himself he’s left to stew in boundless boredom with nothing to do and with no clue how to fill his day. Restlessly these types seek new ways to be at leisure and the time between play needles them to no end. Their excitement peaks at the announcement of a gladiator bout or some other such spectacle and they long to skip the days that lie between now and the grand day of extravagant entertainment. Their impatient waiting for something they desire gives them the illusion that time is passing by slowly. Yet their days on Earth remain finite, even as they fritter away time bobbing from one pleasure to another. For these wasters, uneventful afternoons of no play are long and hateful. Yet a single night out drinking with a harlot seems to fly by in no time! This strange perception of the passage of time depending on one’s mood and company has provided material for the poets. We have heard tales of how when Jupiter was with a lover the night he spent in her pleasant company seemed to pass twice as long. But doesn’t using the story concerning a god as an example of how to make time pass longer merely encourage more human vice? Can a night that costs a man so much really be regretted by that same man for being so short? They waste the day in anticipation of the night, then spend the night worrying about the coming dawn.

It’s a long story,” he said, taking a sip of Mr. Braeburn’s whiskey, “so I will tell only a very condensed version of it. “Mrs. Marsden and I grew up on adjacent properties in the Cotswold. But the Cotswold, as fair as it is, plays almost no part in this tale. Because it was not in the green, unpolluted countryside that we fell in love, but in gray, sooty London. Love at first sight, of course, a hunger of the soul that could not be denied.” Bryony trembled somewhere inside. This was not their story, but her story, the determined spinster felled by the magnificence and charm of the gorgeous young thing. He glanced at her. “You were the moon of my existence; your moods dictated the tides of my heart.” The tides of her own heart surged at his words, even though his words were nothing but lies. “I don’t believe I had moods,” she said severely. “No, of course not. ‘Thou art more lovely and more temperate’—and the tides of my heart only rose ever higher to crash against the levee of my self-possession. For I loved you most intemperately, my dear Mrs. Marsden.” Beside her Mrs. Braeburn blushed, her eyes bright. Bryony was furious at Leo, for his facile words, and even more so at herself, for the painful pleasure that trickled into her drop by drop. “Our wedding was the happiest hour of my life, that we would belong to each other always. The church was filled with hyacinths and camellias, and the crowd overflowed to the steps, for the whole world wanted to see who had at last captured your lofty heart. “But alas, I had not truly captured your lofty heart, had I? I but held it for a moment. And soon there was trouble in Paradise. One day, you said to me, ‘My hair has turned white. It is a sign I must wander far and away. Find me then, if you can. Then and only then will I be yours again.’” Her heart pounded again. How did he know that she had indeed taken her hair turning white as a sign that the time had come for her to leave? No, he did not know. He’d made it up out of whole cloth. But even Mr. Braeburn was spellbound by this ridiculous tale. She had forgotten how hypnotic Leo could be, when he wished to beguile a crowd. “And so I have searched. From the poles to the tropics, from the shores of China to the shores of Nova Scotia. Our wedding photograph in hand, I have asked crowds pale, red, brown, and black, ‘I seek an English lady doctor, my lost beloved. Have you seen her?’” He looked into her eyes, and she could not look away, as mesmerized as the hapless Braeburns. “And now I have found you at last.” He raised his glass. “To the beginning of the rest of our lives.

The eccentric passion of Shankly was underlined for me by my England team-mate Roger Hunt's version of the classic tale of the Liverpool manager's pre-game talk before playing Manchester United. The story has probably been told a thousand times in and out of football, and each time you hear it there are different details, but when Roger told it the occasion was still fresh in his mind and I've always believed it to be the definitive account. It was later on the same day, as Roger and I travelled together to report for England duty, after we had played our bruising match at Anfield. Ian St John had scored the winner, then squared up to Denis Law, with Nobby finally sealing the mood of the afternoon by giving the Kop the 'V' sign. After settling down in our railway carriage, Roger said, 'You may have lost today, but you would have been pleased with yourself before the game. Shanks mentioned you in the team talk. When he says anything positive about the opposition, normally he never singles out players.' According to Roger, Shankly burst into the dressing room in his usual aggressive style and said, 'We're playing Manchester United this afternoon, and really it's an insult that we have to let them on to our field because we are superior to them in every department, but they are in the league so I suppose we have to play them. In goal Dunne is hopeless- he never knows where he is going. At right back Brennan is a straw- any wind will blow him over. Foulkes the centre half kicks the ball anywhere. On the left Tony Dunne is fast but he only has one foot. Crerand couldn't beat a tortoise. It's true David Herd has got a fantastic shot, but if Ronnie Yeats can point him in the right direction he's likely to score for us. So there you are, Manchester United, useless...' Apparently it was at this point the Liverpool winger Ian Callaghan, who was never known to whisper a single word on such occasions, asked, 'What about Best, Law and Charlton, boss?' Shankly paused, narrowed his eyes, and said, 'What are you saying to me, Callaghan? I hope you're not saying we cannot play three men.

Everyone has had the experience of suddenly feeling intense physiological and psychological shifts internally at trading glances with another person; such shifts can be exquisitely pleasurable or unpleasant. How one person gazes at another can alter the other’s electrical brain patterns, as registered by EEGS, and may also cause physiological changes in the body. The newborn is highly susceptible to such influences, with a direct effect on the maturation of brain structures. The effects of maternal moods on the electrical circuitry of the infant’s brain were demonstrated by a study at the University of Washington, Seattle. Positive emotions are associated with increased electrical activity in the left hemisphere. It is known that depression in adults is associated with decreased electrical activity in the circuitry of the left hemisphere. With this in mind, the Seattle study compared the EEGS of two groups of infants: one group whose mothers had symptoms of postpartum depression, the other whose mothers did not. “During playful interactions with the mothers designed to elicit positive emotion,” the researchers reported, “infants of non-depressed mothers showed greater left than right frontal brain activation.” The infants of depressed mothers “failed to show differential hemispheric activation,” meaning that the left-side brain activity one would anticipate from positive, joyful infant-mother exchanges did not occur — despite the mothers’ best efforts. Significantly, these effects were noted only in the frontal areas of the brain, where the centers for the self-regulation of emotion are located. In addition to EEG changes, infants of depressed mothers exhibit decreased activity levels, gaze aversion, less positive emotion and greater irritability. Maternal depression is associated with diminished infant attention spans. Summarizing a number of British studies, Dale F. Hay, a researcher at the University of Cambridge, suggests “that the experience of the mother’s depression in the first months of life may disrupt naturally occurring social processes that entrain and regulate the infant’s developing capacities for attention.

She let her bad mood seethe into the silence of the carriage. Finally, she couldn’t bear the vicious cycle of her thoughts, the way they kept returning to Irex and her stupid decision to humiliate him at Bite and Sting. “Well?” she asked Arin. He sat across from her in the carriage, but didn’t lift his eyes to meet hers. He studied his hands. “Well, what?” “What do you think?” “About?” “About the party. About anything. About the bargain we made that you could at least pretend to uphold.” “You want to gossip about the party.” He seemed tired. “I want you to speak to me.” He looked at her then. She found that she had clenched her silk skirts in a fist. She let go. “For example, I know you overheard about Senator Andrax. Do you think he merits torture? Death?” “He deserves what he gets,” he said, and went quiet again. Kestrel gave up. She sank into her anger. “That isn’t what’s bothering you.” Arin sounded reluctant, almost incredulous, as if he couldn’t believe the words coming from his mouth. Kestrel waited. He said, “That man is an ass.” It was clear whom he meant. It was clear that no slave should ever say that of any Valorian. But it was magic to hear the words out loud. Kestrel breathed a laugh. “And I am a fool.” She pressed chilly hands to her forehead. “I knew what he’s like. I should have never played Bite and Sting with him. Or I should have let him win.” The corner of Arin’s mouth twitched. “I enjoyed watching him lose.” There was silence, and Kestrel, though she felt comforted, knew that Arin’s understanding of the afternoon had been fairly complete. He had waited beyond the laran trees, listening to her and Irex. Would he have continued to do nothing, had something else happened? “Do you know how to play Bite and Sting?” she asked. “Maybe.” “Either you do or you don’t.” “Whether I know or don’t doesn’t matter.” She made an impatient noise. “Because?” His teeth flashed in the late, shifting light. “Because you would not want to play against me.

cause of cavities, even more damaging than sugar consumption, bad diet, or poor hygiene. (This belief had been echoed by other dentists for a hundred years, and was endorsed by Catlin too.) Burhenne also found that mouthbreathing was both a cause of and a contributor to snoring and sleep apnea. He recommended his patients tape their mouths shut at night. “The health benefits of nose breathing are undeniable,” he told me. One of the many benefits is that the sinuses release a huge boost of nitric oxide, a molecule that plays an essential role in increasing circulation and delivering oxygen into cells. Immune function, weight, circulation, mood, and sexual function can all be heavily influenced by the amount of nitric oxide in the body. (The popular erectile dysfunction drug sildenafil, known by the commercial name Viagra, works by releasing nitric oxide into the bloodstream, which opens the capillaries in the genitals and elsewhere.) Nasal breathing alone can boost nitric oxide sixfold, which is one of the reasons we can absorb about 18 percent more oxygen than by just breathing through the mouth. Mouth taping, Burhenne said, helped a five-year-old patient of his overcome ADHD, a condition directly attributed to breathing difficulties during sleep. It helped Burhenne and his wife cure their own snoring and breathing problems. Hundreds of other patients reported similar benefits. The whole thing seemed a little sketchy until Ann Kearney, a doctor of speech-language pathology at the Stanford Voice and Swallowing Center, told me the same. Kearney helped rehabilitate patients who had swallowing and breathing disorders. She swore by mouth taping. Kearney herself had spent years as a mouthbreather due to chronic congestion. She visited an ear, nose, and throat specialist and discovered that her nasal cavities were blocked with tissue. The specialist advised that the only way to open her nose was through surgery or medications. She tried mouth taping instead. “The first night, I lasted five minutes before I ripped it off,” she told me. On the second night, she was able to tolerate the tape for ten minutes. A couple of days later, she slept through the night. Within six weeks, her nose opened up. “It’s a classic example of use it or lose it,” Kearney said. To prove her claim, she examined the noses of 50 patients who had undergone laryngectomies, a procedure in which a breathing hole is cut into the throat. Within two months to two years, every patient was suffering from complete nasal obstruction. Like other parts of the body, the nasal cavity responds to whatever inputs it receives. When the nose is denied regular use, it will atrophy. This is what happened to Kearney and many of her patients, and to so much of the general population. Snoring and sleep apnea often follow.

Lady Cameron,” he said, playing his role with elan as he nodded toward Ian. “You recall our friend Lord Thornton, Marquess of Kensington, I hope?” The radiant smile Elizabeth bestowed on Ian was not at all what the dowager had insisted ought to be “polite but impartial.” It wasn’t quite like any smile she’d ever given him. “Of course I remember you, my lord,” Elizabeth said to Ian, graciously offering him her hand. “I believe this waltz is mine,” he said for the benefit of Elizabeth’s avidly interested admirers. He waited until they were near the dancers, then he tried to sound more pleasant. “You seem to be enjoying yourself tonight.” “I am,” she said idly, but when she looked up at his face she saw the coolness in his eyes; with her new understanding of her own feelings, she understood his more easily. A soft, knowing smile touched her lips as the musicians struck up a waltz; it stayed in her heart as Ian’s arm slid around her waist, and his left hand closed around her fingers, engulfing them. Overhead a hundred thousand candles burned in crystal chandeliers, but Elizabeth was back in a moonlit arbor long ago. Then as now, Ian moved to the music with effortless ease. That lovely waltz had begun something that had ended wrong, terribly wrong. Now, as she danced in his arms, she could make this waltz end much differently, and she knew it; the knowledge filled her with pride and a twinge of nervousness. She waited, expecting him to say something tender, as he had the last time. “Belhaven’s been devouring you with his eyes all night,” Ian said instead. “So have half the men in this ballroom. For a country that prides itself on its delicate manners, they sure as hell don’t extend to admiring beautiful women.” That, Elizabeth thought with a startled inner smile, was not the opening she’d been waiting for. With his current mood, Elizabeth realized, she was going to have to make her own opening. Lifting her eyes to his enigmatic golden ones, she said quietly, “Ian, have you ever wanted something very badly-something that was within your grasp-and yet you were afraid to reach out for it?” Surprised by her grave question and her use of his name, Ian tried to ignore the jealousy that had been eating at him all night. “No,” he said, scrupulously keeping the curtness from his voice as he gazed down at her alluring face. “Why do you ask? Is there something you want?” Her gaze fell from his, and she nodded at his frilled white shirtfront. “What is it you want?” “You.” Ian’s breath froze in his chest, and he stared down at her lustrous hair. “What did you just say?” She raised her eyes to his. “I said I want you, only I’m afraid that I-“ Ian’s heart slammed into his chest, and his fingers dug reflexively into her back, starting to pull her to him. “Elizabeth,” he said in a strained voice, glancing a little wildly at their avidly curious audience and resisting the impossible impulse to take her out onto the balcony, “why in God’s name would you say a thing like that to me when we’re in the middle of a damned dance floor in a crowded ballroom?” Her radiant smile widened. “I thought it seemed like exactly the right place,” she told him, watching his eyes darken with desire. “Because it’s safer?” Ian asked in disbelief, meaning safer from his ardent reaction. “No, because this is how it all began two years ago. We were in the arbor, and a waltz was playing,” she reminded him needlessly. “And you came up behind me and said, ‘Dance with me, Elizabeth.’ And-and I did,” she said, her voice trailing off at the odd expression darkening his eyes. “Remember?” she added shakily when he said absolutely nothing. His gaze held hers, and his voice was tender and rough. “Love me, Elizabeth.” Elizabeth felt a tremor run through her entire body, but she looked at him without flinching. “I do.