Poole Character Quotes

Texts between Dr. Stayner & Livie(with a little help from Kacey) Dr. Stayner: Tell me you did one out-of-character thing last night Livie: I drank enough Jell-O shots to fill a small pool, and then proceeded to break out every terrible dance move known to mankind. I am now the proud owner of a tattoo and if I didn’t have a video to prove otherwise, I’d believe I had it done in a back alley with hepatitis-laced needles. Satisfied? Dr. Stayner: That’s a good start. Did you talk to a guy? Kacey(answering for Livie): Not only did I talk to a guy but I’ve now seen two penises, including the one attached to the naked man in my room this morning when I woke up. I have pictures. Would you like to see one? Dr. Stayner: Glad you’re making friends. Talk to you on Saturday

The wise man believes profoundly in silence, the sign of a perfect equilibrium. Silence is the absolute poise or balance of body, mind, and spirit. The man who preserves his selfhood ever calm and unshaken by the storms of existence - not a leaf, as it were, astir on the tree, not a ripple upon the surface of the shinning pool - his, in the mind of the unlettered sage, is the ideal attitude and conduct of life. Silence is the cornerstone of character.

You have been reading Byron. You have been marking the passages that seem to approve of your own character. I find marks against all those sentences which seem to express a sardonic yet passionate nature; a moth-like impetuosity dashing itself against hard glass. You thought, as you drew your pencil there, "I too throw off my cloak like that. I too snap my fingers in the face of destiny". Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table - it is running among your books and papers. Now you mop it up, clumsily, with your pocket-handkerchief. You then stuff your handkerchief back into your pocket - that is not Byron; that is you; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.

Happy the writer who, passing by characters that are boring, disgusting, shocking in their mournful reality, approaches characters that manifest the lofty dignity of man, who from the great pool of daily whirling images has chosen only the rare exceptions, who has never once betrayed the exalted turning of his lyre, nor descended from his height to his poor, insignificant brethren, and, without touching the ground, has given the whole of himself to his elevated images so far removed from it. Twice enviable is his beautiful lot: he is among them as in his own family; and meanwhile his fame spreads loud and far. With entrancing smoke he has clouded people's eyes; he has flattered them wondrously, concealing what is mournful in life, showing them a beautiful man. Everything rushes after him, applauding, and flies off following his triumphal chariot. Great world poet they name him, soaring high above all other geniuses in the world, as the eagle soars above the other high fliers. At the mere mention of his name, young ardent hearts are filled with trembling, responsive tears shine in all eyes...No one equals him in power--he is God! But such is not the lot, and other is the destiny of the writer who has dared to call forth all that is before our eyes every moment and which our indifferent eyes do not see--all the stupendous mire of trivia in which our life in entangled, the whole depth of cold, fragmented, everyday characters that swarm over our often bitter and boring earthly path, and with the firm strength of his implacable chisel dares to present them roundly and vividly before the eyes of all people! It is not for him to win people's applause, not for him to behold the grateful tears and unanimous rapture of the souls he has stirred; no sixteen-year-old girl will come flying to meet him with her head in a whirl and heroic enthusiasm; it is not for him to forget himself in the sweet enchantment of sounds he himself has evoked; it is not for him, finally, to escape contemporary judgment, hypocritically callous contemporary judgment, which will call insignificant and mean the creations he has fostered, will allot him a contemptible corner in the ranks of writers who insult mankind, will ascribe to him the quality of the heroes he has portrayed, will deny him heart, and soul, and the divine flame of talent. For contemporary judgment does not recognize that equally wondrous are the glasses that observe the sun and those that look at the movement of inconspicuous insect; for contemporary judgment does not recognize that much depth of soul is needed to light up the picture drawn from contemptible life and elevate it into a pearl of creation; for contemporary judgment does not recognize that lofty ecstatic laughter is worthy to stand beside the lofty lyrical impulse, and that a whole abyss separates it from the antics of the street-fair clown! This contemporary judgment does not recognize; and will turn it all into a reproach and abuse of the unrecognized writer; with no sharing, no response, no sympathy, like a familyless wayfarer, he will be left alone in the middle of the road. Grim is his path, and bitterly he will feel his solitude.

Emotion doesn't travel in a straight line. Like water, our feelings trickle down through cracks and crevices, seeking out the little pockets of neediness and neglect, the hairline fractures in our character usually hidden from public view. Beware the dark pool at the bottom of our hearts. In its icy, black depths dwell strange and twisted creatures it is best not to disturb.

From the vast, invisible ocean of moonlight overhead fell, here and here, a slender, broken stream that seemed to plash against the intercepting branches and trickle to earth, forming small white pools among the clumps of laurel. But these leaks were few and served only to accentuate the blackness of his environment, which his imagination found it easy to people with all manner of unfamiliar shapes, menacing, uncanny, or merely grotesque. He to whom the portentous conspiracy of night and solitude and silence in the heart of a great forest is not an unknown experience needs not to be told what another world it all is - how even the most commonplace and familiar objects take on another character. The trees group themselves differently; they draw closer together, as if in fear. The very silence has another quality than the silence of the day. And it is full of half-heard whispers, whispers that startle - ghosts of sounds long dead. There are living sounds, too, such as are never heard under other conditions: notes of strange night birds, the cries of small animals in sudden encounters with stealthy foes, or in their dreams, a rustling in the dead leaves - it may be the leap of a wood rat, it may be the footstep of a panther. What caused the breaking of that twig? What the low, alarmed twittering in that bushful of birds? There are sounds without a name, forms without substance, translations in space of objects which have not been seen to move, movements wherein nothing is observed to change its place. Ah, children of the sunlight and the gaslight, how little you know of the world in which you live! ("A Tough Tussle")

Of course it's a trap With her, it always is one Trappy McTrapface Britomartis jumped from the ledge and landed in a kneeling position, her skirts spread around her in a pool of netting. (She loves those dramatic entrances. She is such an anime-character wannabe.)

The passion has never left me. I live as two people - myself, Dan Fante, and Bruno Dante or Mickey Di Salvo, or whoever I say I am in one of my books. I can tap that Bruno character any time I need to. He lives inside me like a quiet, simmering pool of magma. Years ago I stopped feeding him with booze and he was kind enough to stop trying to kill me. That's our truce.

I didn’t want to swim in the lovely, clear pools of his eyes unless I’d been invited to

Before I start a film or a play, I try to build a world in my mind. An imaginative world which the character lives in; and I create that with novels, with painting, with music, with films. I try and understand tone. Tone is so important. Is this a thriller, is this a Gothic romance, is this an action film, is this a love story? Then, once I understand that, I just jump into it. This might be like an incomplete way of describing it, but it's like I build a swimming pool, then I just dive in. Do you know what I mean?

She had changed the subject so quickly that I completely forgot to congratulate her. But, then again, I wasn’t quite sure congratulations were appropriate for a baby who would be born to my sister and her husband. I looked up “congratulate” in the dictionary: it said, “to wish someone joy.” “That doesn’t mean much,” I muttered, tracing my finger over a line of characters that held no promise of joy themselves.

You have a finite amount of willpower that becomes depleted as you use it. Your will, in other words, is not a manifestation of your character that you can deploy without limit; it’s instead like a muscle that tires. This is why the subjects in the Hofmann and Baumeister study had such a hard time fighting desires—over time these distractions drained their finite pool of willpower until they could no longer resist. The same will happen to you, regardless of your intentions—unless, that is, you’re smart about your habits.

I once read a theory about ‘positive thinking’ that seems to be true or, at least, made a sufficient impression on me to remember it. I have always been distrustful of positive thinking, believing it to be as fixed and unyielding as negative thinking. Yet it is the advice most often offered to depressives. That it does not work seems not to occur to those who offer it up like some benevolent panacea. Perhaps it works for them or perhaps they are a product of some positive thinking gene pool. Who knows? Anywhere, here is the theory that helped me. I hope that it will help you too. Imagine you are driving a car, and you are heading straight for a brick wall. If you stay in habitual or rigid thinking (the kind of thinking that says, ‘this is the way I always do things’) and do not change the direction in the way you are headed, you will drive you car into the brick wall. Now imagine you are driving that same car towards that same brick wall. Now use positive thinking to imagine that wall is, in fact, a tunnel. It is not, of course, you simply hope or wish that it is a tunnel but it is the same old, intractable brick. You still drive your car into the wall. You are in the same car, facing the same wall except that you use creative or constructive thinking. You see the wall as an obstacle set dead ahead and see that it is solid and immoveable. You use your thinking to change direction and drive your car around it. Understanding that our thinking is not always helpful sounds so obvious and simple. So does changing our thinking, yet both are formidably difficult to do, perhaps because, most of the time, we never question it. We go right ahead and do what we have always done, in the same way we have always done it. We crash into relationships, mess up jobs, ruin friendships and all because we believe that our way is the right way. There is a saying: ‘I’d rather be right than happy.’ And here is another: ‘My way or no way.’ I see that wall as a symbol for an obstacle (or obstacles, there may be many) in our emotional make-up. If we go on behaving in the same way, we will crash. If we pretend that those obstacles in our character don’t exist, or are something else entirely, we will still crash. But if we acknowledge them and behave in a different way, we will come to a better and safer place. Or at least we will, until we meet the next obstacle.

In short, there is still life in the tradition which the Middle Ages inaugurated. But the maintenance of that life depends, in part, on knowing that the knightly character is art not nature—something that needs to be achieved, not something that can be relied upon to happen. And this knowledge is specially necessary as we grow more democratic. In previous centuries the vestiges of chivalry were kept alive by a specialized class, from whom they spread to other classes partly by imitation and partly by coercion. Now, it seems, the people must either be chivalrous on its own resources, or else choose between the two remaining alternatives of brutality and softness. This is, indeed, part of the general problem of a classless society, which is too seldom mentioned. Will its ethos be a synthesis of what was best in all the classes, or a mere “pool” with the sediment of all and the virtues of none? But that is too large a subject for the fag-end of an article. My theme is chivalry. I have tried to show that this old tradition is practical and vital. The ideal embodied in Launcelot is “escapism” in a sense never dreamed of by those who use that word; it offers the only possible escape from a world divided between wolves who do not understand, and sheep who cannot defend, the things which make life desirable. There was, to be sure, a rumour in the last century that wolves would gradually become extinct by some natural process; but this seems to have been an exaggeration.

The age of clear answers was over. So was the age of characters and plots. Despite her journal sketches, she no longer really believed in characters. They were quiant devices that belonged to the nineteenth century. The very concept of character was founded on errors that modern psychology had exposed. Plots too were like rusted machinery whose wheels would no longer turn. A modern novelist could no more write characters and plots than a modern composer could a Mozart symphony. It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer's morning, the sensations of a child standing at a window, the curve and dip of a swallow's flight over a pool of water. The novel of the future would be unlike anything in the past.

Remarks on My Character Waving a flag I retreat a long way beyond any denial, all the way over the scorched earth, and come into an arching grove of evasions, onto those easy paths, one leading to another and covered ever deeper with shade: I'll never dare the sun again, that I can promise. It is time to practice the shrug: "Don't count on me." Or practice the question that drags its broken wing over the ground and leads into the swamp where vines trip anyone in a hurry, and a final dark pool waits for you to stare at yourself while shadows move closer over your shoulder. That's my natural place; I can live where the blurred faces peer back at me. I like the way they blend, and no one is ever sure itself or likely to settle in unless you scare off the others. Afraid but so deep no one can follow, I steal away there, holding my arms like a tree.

man’s quest to grasp a full understanding of God’s character being like a boy following a trickling brook as it flowed downstream. Step by step, as he followed each babble and turn, he learned more and more about the little brook. Soon, the brook he knew well widened into a fast-moving creek with deepening pools, and eventually flowed into a mighty river. As he walked the bank he grew to know the river well. Day by day he understood it better. Until one day he looked up and the river became an ocean.

The sound of the trumpets died away and Orlando stood stark naked. No human being since the world began, has ever looked more ravishing. His form combined in one the strength of a man and a woman’s grace. As he stood there, silver trumpets prolonged their note, as if reluctant to leave the lovely sight which their blast had called forth; and Chastity, Purity, and Modesty, inspired, no doubt, by Curiosity, peeped in at the door and threw a garment like a towel at the naked form which, unfortunately, fell short by several inches. Orlando looked at himself up and down in a long looking-glass, without showing any signs of discompose, and went presumably, to his bath. We many take advantage of this pause in the narrative to make certain statements. Orlando had become a woman - there is no denying it. But in every other respect, Orlando remained precisely as he had been. The change in sex, though it altered their future, did nothing whatever to alter their identity. Their faces remained, as their portraits prove, practically the same. His memory - but in the future we must, for convention’s sake, say ‘her’ for ‘his’, and ‘she’ for ‘he’ - her memory then, went back through all the events of her past life without encountering any obstacle. Some slight haziness there may have been, as if a few dark spots had fallen into the clear pool of memory; certain things had become a little dimmed; but that was all. The change seemed to have been accomplished painlessly and completely and in such a way that Orlando herself showed no surprise at it. Many people, taking this into account, and holding that such a change in sex is against nature, have been at great pains to prove (1) that Orlando has always been a woman, (2) that Orlando is at this moment a man. Let biologists and psychologists determine. It is enough for us to state the simple fact; Orlando was a man till the age of thirty; when he became a woman and has remained so ever since.

Of the Poet’s Youth" When the man behind the counter said, “You pay by the orifice,” what could we do but purchase them all? Ah, Sandy, vou were clearly the deluxe doll, modish and pert in your plastic nurse whites, official hostess to our halcyon days, where you bobbed in the doorway of our dishabille apartment, a block downwind from the stockyards. Holding court on the corroded balcony, K. and I passed hash brownies, collecting change for the building’s monthly pool to predict which balcony would fall off next. That’s when K. was fucking M. and M. was fucking J., and even B. and I threw down once on the glass-speckled lawn, adrift in the headlights of his El Camino. Those were immortal times, Sandy! Coke wasn’t addictive yet, condoms prevented herpes and men were only a form of practice for the Russian novel we foolishly hoped our lives would become. Now it’s a Friday night, sixteen years from there. Don’t the best characters know better than to live too long? My estranged husband house-sits for a spoiled cockatoo while saving to buy his own place. My lover’s gone back to his gin and the farm-team fiancée he keeps in New York. What else to do but read Frank O’Hara to my tired three-year-old? When I put him to bed, he mutters “more sorry” as he turns into sleep. Tonight, I find you in a box I once marked “The Past.” Well, therapy’s good for some things, Sandy, but who’d want to forgive a girl like that? Frank says Destroy yourself if you don’t know! Deflated, you’re simply the smile that surrounds a hole. I don’t know anything.

He took a trip ... up to ... Elliott's house, his mansion rather. Awful place, twelve bedrooms and swimming pool and media hall and five car garage, but cheap and shoddy all the same, like the one next door and next door to that. A row of Ikea houses, such wealthy mediocrity. His very own son. His big, bald son. Who could believe it. The bigness, the baldness, the stupidity. In a house designed to bore the daylight out of visitors, no character at all, all blonde wood and fluorescent lighting and clean white machinery. Not to mention his brand new wife, number three, a clean white machine herself. Up from the cookie cutter and into Elliott's life, she might as well have jumped out of the microwave, her skin orange, her teeth pearly white. A trophy wife. But why the word "trophy"? Something to shoot on a safari.

It was just a simple meeting of the eyes. There was nothing to it. She had done so with countless people. And she had stared at his eyes before, back at the cinema. But there was something different at that exact time, in that exact situation, with exactly the same person. It was like being struck by lightning. Sudden, electric, paralyzing. And she knew he felt it too. For some inexplicable reason, they both found themselves unable to look away, powerless to deny the pull. Hypnotized by each other’s brown irises, without knowing nor caring who wielded the magic wand of trance which put them into some kind of conscious stupor. While the world and everything in it faded in the background and the noises outside were hushed, Alex was achingly aware of herself. Of how drawn she was to the deep, swirling pools of dark honey staring into her soul, magnetic and mystic at the same time. Of how every nerve and every cell of her body were ablaze, tongues of flame flittering over them, singeing her with a torturous warmth. Of the blaring sound of her pulse pounding heavily beneath the onslaught of his sensual thumb. It was a scintillating torment she didn’t want to end.

There are hundreds of examples of highly functioning commons around the world today. Some have been around for centuries, others have risen in response to economic and environmental crises, and still others have been inspired by the distributive bias of digital networks. From the seed-sharing commons of India to the Potato Park of Peru, indigenous populations have been maintaining their lands and managing biodiversity through a highly articulated set of rules about sharing and preservation. From informal rationing of parking spaces in Boston to Richard Stallman’s General Public License (GPL) for software, new commons are serving to reinstate the value of land and labor, as well as the ability of people to manage them better than markets can. In the 1990s, Elinor Ostrom, the American political scientist most responsible for reviving serious thought about commoning, studied what specifically makes a commons successful. She concluded that a commons must have an evolving set of rules about access and usage and that it must have a way of punishing transgressions. It must also respect the particular character of the resource being managed and the people who have worked with that resource the longest. Managing a fixed supply of minerals is different from managing a replenishing supply of timber. Finally, size and place matter. It’s easier for a town to manage its water supply than for the planet to establish water-sharing rules.78 In short, a commons must be bound by people, place, and rules. Contrary to prevailing wisdom, it’s not an anything-goes race to the bottom. It is simply a recognition of boundaries and limits. It’s pooled, multifaceted investment in pursuit of sustainable production. It is also an affront to the limitless expansion sought by pure capital. If anything, the notion of a commons’ becoming “enclosed” by privatization is a misnomer: privatizing a commons breaks the boundaries that protected its land and labor from pure market forces. For instance, the open-source seed-sharing networks of India promote biodiversity and fertilizer-free practices among farmers who can’t afford Western pesticides.79 They have sustained themselves over many generations by developing and adhering to a complex set of rules about how seed species are preserved, as well as how to mix crops on soil to recycle its nutrients over centuries of growing. Today, they are in battle with corporations claiming patents on these heirloom seeds and indigenous plants. So it’s not the seed commons that have been enclosed by the market at all; rather, the many-generations-old boundaries have been penetrated and dissolved by disingenuously argued free-market principles.

If a man jumped as high as a louse (lice), he would jump over a football field. In Ancient Egypt, the average life expectancy was 19 years, but for those who survived childhood, the average life expectancy was 30 years for women and 34 years for men. The volume of the moon is equivalent to the volume of the water in the Pacific Ocean. After the 9/11 incident, the Queen of England authorized the guards to break their vow and sing America’s national anthem for Americans living in London. In 1985, lifeguards of New Orleans threw a pool party to celebrate zero drownings, however, a man drowned in that party. Men and women have different dreams. 70 percent of characters in men’s dreams are other men, whereas in women its 50 percent men and 50 percent women. Men also act more aggressively in dreams than women. A polar bear has a black skin. 2.84 percent of deaths are caused by intentional injuries (suicides, violence, war) while 3.15 percent are caused by diarrhea. On average people are more afraid of spiders than they are afraid of death. A bumblebee has hairs on its eyes, helping it collect the pollen. Mickey Mouse’s creator, Walt Disney feared mice. Citarum river in Indonesia is the dirtiest and most polluted river in the world. When George R R Martin saw Breaking Bad’s episode called “Ozymandias”, he called Walter White and said that he’d write up a character more monstrous than him. Maria Sharapova’s grunt is the loudest in the Tennis game and is often criticized for being a distraction. In Mandarin Chinese, the word for “kangaroo” translates literally to “bag rat”. The first product to have a barcode was a chewing gum Wrigley. Chambarakat dam in Iraq is considered the most dangerous dam in the world as it is built upon uneven base of gypsum that can cause more than 500,000 casualties, if broken. Matt Urban was an American Lieutenant Colonel who was nicknamed “The Ghost” by Germans because he always used to come back from wounds that would kill normal people.

Elephanta caves, Mumbai-- I entered a world made of shadows and sudden brightness. The play of the light, the vastness of the space and its irregular form, the figures carved on the walls: all of it gave the place a sacred character, sacred in the deepest meaning of the word. In the shadows were the powerful reliefs and statues, many of them mutilated by the fanaticism of the Portuguese and the Muslims, but all of them majestic, solid, made of a solar material. Corporeal beauty, turned into living stone. Divinities of the earth, sexual incarnations of the most abstract thought, gods that were simultaneously intellectual and carnal, terrible and peaceful. ............................................................................ Gothic architecture is the music turned to stone; one could say that Hindu architecture is sculpted dance. The Absolute, the principle in whose matrix all contradictions dissolve (Brahma), is “neither this nor this nor this.” It is the way in which the great temples at Ellora, Ajanta, Karli, and other sites were built, carved out of mountains. In Islamic architecture, nothing is sculptural—exactly the opposite of the Hindu. The Red Fort, on the bank of the wide Jamuna River, is as powerful as a fort and as graceful as a palace. It is difficult to think of another tower that combines the height, solidity, and slender elegance of the Qutab Minar. The reddish stone, contrasting with the transparency of the air and the blue of the sky, gives the monument a vertical dynamism, like a huge rocket aimed at the stars. The mausoleum is like a poem made not of words but of trees, pools, avenues of sand and flowers: strict meters that cross and recross in angles that are obvious but no less surprising rhymes. Everything has been transformed into a construction made of cubes, hemispheres, and arcs: the universe reduced to its essential geometric elements. The abolition of time turned into space, space turned into a collection of shapes that are simultaneously solid and light, creations of another space, made of air. There is nothing terrifying in these tombs: they give the sensation of infinity and pacify the soul. The simplicity and harmony of their forms satisfy one of the most profound necessities of the spirit: the longing for order, the love of proportion. At the same time they arouse our fantasies. These monuments and gardens incite us to dream and to fly. They are magic carpets. Compare Ellora with the Taj Mahal, or the frescoes of Ajanta with Mughal miniatures. These are not distinct artistic styles, but rather two different visions of the world.

Important Personal Development Tips For Everyone Many people may appear to have it all together, but the exterior only shows just what is visible. Inside may still need development. If you are lacking confidence, self-assurance, self-discipline, willpower, and/or happiness, keep reading. This article focuses on tips to heighten your personal development and help you achieve a greater self-worth. You are about to be well on our way to a greater, more satisfied self. Learning a new skill is a great way to stretch yourself and improve the quality of your character. What's more, perfecting a hobby, technical skill or artistic form may be challenging at first, but if you master it, you will gain a sense of accomplishment, purpose and enjoyment. What's more, you add to your pool of leisure activities and make yourself a more rounded human being. A great self help tip is to try stopping yourself whenever you're thinking negative thoughts. We all have the ability to rewire our thinking patterns. By stopping yourself when you think a negative thought, you'll be more aware of your thoughts and you'll find yourself feeling much better. Personal development is hard work, so remember to recharge your personal battery. Take time to be with yourself. Exercising is an excellent way to clear your mind of the stress of day to day life, and allows you to practice self-discipline. You'll feel better about yourself and build greater endurance to get through your day! Exercising regularly is important. Regular exercise not only gets your body healthy and strong but it can also boost your self confidence. People who work out feel a sense of accomplishment afterward and thus tend to be happier afterward. Working out does not mean that you have to work out for hours in the gym. It is as easy as taking a walk. Treatment Prepare yourself for the inevitable day when someone chooses to bully you or try to put you down. There is a good chance that you certainly do not deserve this kind of treatment, but it happens to everyone. Think about how you could respond to their jabs in a rational, polite, and reasonable way that will avoid conflict but will let that person know that he or she is out of line. This will help you to rise above the hurt that always accompanies this type of negative interaction. Feeling better already? Great! Remember, even though you may appear to have it all together does not mean that you truly do. The tips previously mentioned in this article focus on helping you personally develop your inner self. Once you reach that high level of personal development, you will feel like a new person! For more detail visit opustreatment.com

To view Schrodinger's wave as something real is to give it too much weight-it doesn't help us to understand the theory; on the contrary, it leads to greater confusion. Except for special cases, the Schrodinger's wave is not in physical space, and this divests it of all its intuitive character. But the main reason why Schrodinger's wave is a bad image of reality is the fact that when a particle collides with something else, it is always at a point: it is never spread out in space like a wave. If we conceive an electron as a wave, we get in trouble explaining how this wave instantly concentrates to a point at each collision. Schrodinger's wave is not a useful representation of reality: it is an aid to calculation that permits us to predict with some degree of precision where the electron will reappear. The reality of the electron is not a wave: it is how it manifests itself in interactions, like the man who appeared in the pools of lamplight, while the young Heisenberg wandered pensively in the Copenhagen night.

Your will, in other words, is not a manifestation of your character that you can deploy without limit; it’s instead like a muscle that tires. This is why the subjects in the Hofmann and Baumeister study had such a hard time fighting desires—over time these distractions drained their finite pool of willpower until they could no longer resist. The same will happen to you, regardless of your intentions—unless, that is, you’re smart about your habits.

As he sat down, a man in the next booth cleared his throat violently. Then he said, 'Honesty is my God. Frankly, I wouldn't have lied to Hitler.' There was a kind of female moan of assent. Sophie peered over the back of the booth and saw a woman, her head resting over the back of the booth and saw a woman, her head resting on one hand as though it had come loose from her neck. 'How do you know what Otto feels? What is it you want him to do? You and he have been fighting for years, haven't you? Like smiling people in a swimming pool, kicking each other under water.

And now that mulch of dead imaginings beneath the feet of Temperance ladies, union-affiliated Vaudevillians and maimed men home from Europe has contaminated the groundwater of the upstart country's nightmares. Immigrants in their illimitable difference come to seem a separate species, taciturn and fish-eyed as though risen from the ocean waves that bore them in their transport, monstrous in their self-contained communities with bitter scents and indecipherable ululations, names, unsettlingly unpronounceable ensconced at isolated farms where beaten track is naught save idle rumour stagnant families nurse grievance, dreadful secrets and deformity in solitude; pools of declined humanity entirely unconnected to society by any tributary where ancestral prejudice or misconception may become the plaint of generations. Fabled and forbidden works of Arab alchemy are handed down across years cruel and volatile, trafficked between austere and colonial homes by charitable fellowships with ancient affectations or conveyed by fevered sea-captains, fugitive Huguenots or elderly hysterics formally accused of witchcraft. Young America, a sapling power grown suddenly so tall upon its diet of nickelodeons and motorcars, has sunk unwitting roots into an underworld of grotesque notions and archaic creeds, their feaful pull discernible below the weed-cracked sidewalk. Buried and forgotten, ominous philosophies await their day with hideous patience. Well! I think that's pretty darned good for a first attempt. A little over-wrought, perhaps, and I'm not sure about the style - I can't decide if its too modern of it's too old fashioned, but perhaps that's a good sign. Of course, I guess I'll have to introduce a plot and characters at some point, but I'll wrestle with that minor nuisance when I get to it. Perhaps I could contrive to have some hobo, maybe literally a hoe-boy or travelling itinerant farm labourer who's wandering from place to place around New England in the search for work; somebody who might reasonably become involved with all the various characters I'm hoping to investigate. Being a labourer, while it would lend a feasibility to any action or exertion that I wanted in the story, wouldn't mean that my protagonist was lacking in intelligence of education: this is often economically a far from certain country for a lot of people, and there's plenty of smart fellows - maybe even an aspiring writer like myself - who've found themselves leaving their homes and families to mooch around from farm to farm in hope of some hay-baling or fruit-picking that's unlikely to materialise. Perhaps a character like that, a rugged man who is sufficiently well read to justifiably allow me a few literary flourishes (and I can't help thinking that I'll probably end up casting some imagined variant of Tom Malone) would be the kind of of sympathetic hero and the kind of voice I'm looking for. Meanwhile I yawned a moment or two back, and while I'm not yet quite exhausted to the point where I can guarantee a deep and dreamless sleep, perhaps another six or seven vague ideas for stories might just do the soporific job.

With her strong GPA and merely quite good scores, busy athletic schedule, and character-building volunteer efforts, Portia Nathan’s application would have left this room with a fatal designation of Academic 3/Non-Academic 4, meaning that in the real world her scholastic skills were solid, but in Princeton’s supercharged applicant pool they were unremarkable, and that although she had been busy within her school community, she had not been a leader within that community (NonAc 3) or distinguished herself at the state level (NonAc 2), let alone accomplished something on a national or international scale (NonAc 1). NonAc 1’s, of course, were rather thin on the ground, even in Princeton’s applicant pool. They were Olympic athletes, authors of legitimately published books, Siemens prizewinners, working film or Broadway actors, International Tchaikovsky Competition violinists, and, yes, national judo champions, and they tended to be easy admits, provided they were strong students, which they usually were.

The capacity to deny oneself gratification cannot be confused with the denial of gratification imposed on us. The masses do not know the difference and therefore never cultivate a will of their own. They are subject to the pressures of the outside world, its punishments and validations. They confuse their own needs with what others tell them to need, and their personality is nullified in the process. That's what it means to be a sheep. And yet this is not as obvious as it seems. It may mean to work from home in a warm country while your neighbors party in the swimming pool. It also means having an entire beach to yourself while they are at work. Both situations demand that you question your sanity and challenge your character as a person. The masses will never do that. They are too weak.

He wished he could go back to the days when the novel first came to him, when it was still pouring from some untapped pool inside him. It had felt like finding a new lover- the obsession, the infatuation, his thoughts on nothing else, his characters infiltrating his dreams, his heart weightless with every new discovery, every sentence, ever scene. At times, Boris has felt it was the only thing keeping him alive

I want to suggest to you certain very simple, practical steps that you can take in your life if you are confronted by the bitter pool to change that bitter pool into sweet. First of all, recognise that the bitter pool is in God’s programme. God led you there, He knows all about it, and He has the remedy. Second, let God deal with any defects in your character that have been exposed by the bitter pool. If you have grumbled when you should have prayed, bear in mind there is something in you that must be dealt with by the Holy Spirit.

I’ve been told again and again, at school after school, that career service offices have little or nothing to say to students who are interested in something other than the big four of law, medicine, finance, and consulting. At the recruitment fairs, the last two dominate the field. And some schools go even further. Stanford offers companies special access to its students for a fee of ten thousand dollars—and it is hard to believe that Stanford is the only one. Selling your students to the highest bidder: it doesn’t get more cynical than that. But though the process isn’t often that direct, that’s basically the way the system works. As a friend of mine, a third-generation Yalie, once remarked, the purpose of Yale College is to manufacture Yale alumni. David Foster Wallace (Amherst ’85), has a character put it like this: The college itself turned out to have a lot of moral hypocrisy about it, e.g., congratulating itself on its diversity and the leftist piety of its politics while in reality going about the business of preparing elite kids to enter elite professions and make a great deal of money, thus increasing the pool of prosperous alumni donors.

Ma'am, I've a very serious question to ask you: Did you murder your husband?" I fluffed up the boa and adopted a terrible mid-Atlantic accent. "I'm sorry, Officer, I can't recall how my husband died. It must've been the pool boy! I'll have to get a new one." He arched an eyebrow as he stood by the stove, where he slowly heated a large saucepan, half a dozen lemons on the counter beside him. "Pool boy or husband?" "I'm not sure, what're your credentials?" He flicked his gaze down the length of me. "I've a pretty healthy résumé," he replied in that soft, low Southern drawl of his. "And plenty of references." I tsked. "For your character, I hope.

BY 1928, WALTER BRENNAN HAD APPEARED IN DOZENS OF UNCREDited roles as a customer in a store, a lunch counterman, a lumberjack, a yacht crewman, a cashier, a gangster, a pool hall shark, a ranch foreman, a train conductor, a clown, and a musician. If you watch any of these films, don’t blink—you may miss him. At this point, we are talking about a career that can be telescoped into a few minutes or so of film.

Walter liked to say that when he proposed to Ruth, he asked how much money she had. She had one hundred dollars, only twenty-five dollars less than he had in savings. He suggested they pool their resources—which meant, among other things, they would go fifty-fifty on the wedding ring. But Ruth had no need to be romanced. She was sold on Walter Brennan and never doubted he would make a success of himself.

Night fishing accentuates the atmosphere of a lake. It is as if, once darkness falls, the character of the pool announces, “I am here.

As their uncle, Earl Spencer, says their characters are very different from the public image. “The press have always written up William as the terror and Harry as a rather quiet second son. In fact William is a very self-possessed, intelligent and mature boy and quite shy. He is quite formal and stiff, sounding older than his years when he answers the phone.” It is Harry who is the mischievous imp of the family. Harry’s puckish character manifested itself to his uncle during the return flight from Necker, the Caribbean island owned by Virgin airline boss Richard Branson. He recalls: “Harry was presented with his breakfast. He had his headphones on and a computer game in front of him but he was determined to eat his croissant. It took him about five minutes to manoeuvre all his electronic gear, his knife, his croissant and his butter. When he eventually managed to get a mouthful there was a look of such complete satisfaction on his face. It was a really wonderful moment.” His godparent Carolyn Bartholomew says, without an ounce of prejudice, that Harry is “the most affectionate, demonstrative and huggable little boy” while William is very much like his mother, “intuitive, switched on and highly perceptive.” At first she thought the future king was a “little terror.” “He was naughty and had tantrums,” she recalls. “But when I had my two children I realized that they are all like that at some point. In fact William is kind-hearted, very much like Diana. He would give you his last Rolo sweet. In fact he did on one occasion. He was longing for this sweet, he only had one left and he gave it to me.” Further evidence of his generous heart occurred when he gathered together all his pocket money, which only amounted to a few pence, and solemnly handed it over to her. But he is no angel as Carolyn saw when she visited Highgrove. Diana had just finished a swim in the open air pool and had changed into a white toweling dressing gown as she waited for William to follow her. Instead he splashed about as though he were drowning and slowly sank to the bottom. His mother, not knowing whether it was a fake or not, struggled to get out of her robe. Then, realizing the urgency, she dived in still in her dressing gown. At that moment he resurfaced, shouting and laughing at the success of his ruse. Diana was not amused. Generally William is a youngster who displays qualities of responsibility and thoughtfulness beyond his years and enjoys a close rapport with his younger brother whom friends believe will make an admirable adviser behind the scenes when William eventually becomes king. Diana feels that it is a sign that in some way they will share the burdens of monarchy in the years to come. Her approach is conditioned by her firmly held belief that she will never become queen and that her husband will never become King Charles III.

Then Bert said, “Eddie, I don’t think there’s a pool player living that shoots better straight pool than I saw you shoot last week at Bennington’s.” He pushed the rest of the potato chip past his thin lips, into the pretty teeth. “You got a talent.” This was pleasant to hear, even in its context. Eddie had hardly been aware of how impoverished his vanity was. But he tried to make his tone of voice wry. “So I got a talent,” he said. “Then what beat me?” Bert pulled another potato chip from the bag, offered him one, and then said, his voice now offhand, casual, “Character.

Twitter Is Twitter the ultimate Mythos medium? Writing too hard for you? Analysis too hard for you? No need to worry. Now you can say it all in 140 characters, roughly reflecting the size of your vocabulary, knowledge and brain. Twitter is successful because 140 characters corresponds to the typical size of a meme: a single idea that can shoot off into the Darwinian meme pool and be naturally selected by all the jostling Mythos meme machines (Twitterati, or Twits, to you and me). Don’t you just love it? This is dumbing down with go-faster stripes and turbo engines. Maybe we can reach the ultimate Tweet: zero characters and a complete flatline of human mental activity.

3. MIGRATE YOUR DNA New products require new capabilities. Equally, new products can result from the unique character and living expansion of your firm. No two species are identical. Neither are two ventures. The mix of founders and early employees is unique. Nobody will ever do things quite the way you do. The more different you can make your firm, the better. Intelligently, of course, ★ hire and promote people who have similar attitudes to the target market; ★ hire people who get on well with each other and go the extra mile for customers and colleagues; ★ hire people who have a high ratio of smarts to cost - younger or from neglected talent pools; ★ hire risk-takers, experimenters, explorers, oddballs, and those with a restless spirit; ★ train on the job; team novices with senior role models; concentrate on the few things customers like most, that can be done with least effort and cost; ★ make your venture bright, quirky, colourful, distinctive, fun and highly commercial - thrilling customers at a high profit for the firm. Encourage smart experiments at every level, in every way, at every time. Make it a way of life in your firm. Then, sooner or later, your star will emerge. LEK did not start by migrating its product. First we migrated its DNA, then we created products we were uniquely able to sell. This goes against the grain, but it works!

And now that mulch of dead imaginings beneath the feet of Temperance ladies, union-affiliated Vaudevillians and maimed men home from Europe has contaminated the groundwater of the upstart country's nightmares. Immigrants in their illimitable difference come to seem a separate species, taciturn and fish-eyed as though risen from the ocean waves that bore them in their transport, monstrous in their self-contained communities with bitter scents and indecipherable ululations, names, unsettlingly unpronounceable ensconced at isolated farms where beaten track is naught save idle rumour stagnant families nurse grievance, dreadful secrets and deformity in solitude; pools of declined humanity entirely unconnected to society by any tributary where ancestral prejudice or misconception may become the plaint of generations. Fabled and forbidden works of Arab alchemy are handed down across years cruel and volatile, trafficked between austere and colonial homes by charitable fellowships with ancient affectations or conveyed by fevered sea-captains, fugitive Huguenots or elderly hysterics formally accused of witchcraft. Young America, a sapling power grown suddenly so tall upon its diet of nickelodeons and motorcars, has sunk unwitting roots into an underworld of grotesque notions and archaic creeds, their feaful pull discernible below the weed-cracked sidewalk. Buried and forgotten, ominous philosophies await their day with hideous patience. Well! I think that's pretty darned good for a first attempt. A little over-wrought, perhaps, and I'm not sure about the style - I can't decide if its too modern of it's too old-fashioned, but perhaps that's a good sign. Of course, I guess I'll have to introduce a plot and characters at some point, but I'll wrestle with that minor nuisance when I get to it. Perhaps I could contrive to have some hobo, maybe literally a hoe-boy or travelling itinerant farm labourer who's wandering from place to place around New England in the search for work; somebody who might reasonably become involved with all the various characters I'm hoping to investigate. Being a labourer, while it would lend a feasibility to any action or exertion that I wanted in the story, wouldn't mean that my protagonist was lacking in intelligence or education: this is often economically a far from certain country for a lot of people, and there's plenty of smart fellows - maybe even an aspiring writer like myself - who've found themselves leaving their homes and families to mooch around from farm to farm in hope of some hay-baling or fruit-picking that's unlikely to materialise. Perhaps a character like that, a rugged man who is sufficiently well read to justifiably allow me a few literary flourishes (and I can't help thinking that I'll probably end up casting some imagined variant of Tom Malone) would be the kind of of sympathetic hero and the kind of voice I'm looking for. Meanwhile I yawned a moment or two back, and while I'm not yet quite exhausted to the point where I can guarantee a deep and dreamless sleep, perhaps another six or seven vague ideas for stories might just do the soporific job.

The more complex your biodiversity, the larger your cast of characters, the more opportunities for plants and other creatures to collaborate on providing maximum benefit to all. It’s like anything else: The larger your selection pool, the more likely your successes. True wealth is not measured in material possessions but by the abundance of options and choices.

the roughest aspects of your character do not fully define who you are. The outer shell may be thick and prone to harmful or defensive behavior, but underneath there is a vast pool of loving clarity waiting for you to access it. If you do the work, the brightness of your true human nature will reveal itself.

Emotion doesn’t travel in a straight line. Like water, our feelings trickle down through cracks and crevices, seeking out the little pockets of neediness and neglect, the hairline fractures in our character usually hidden from public view. Beware the dark pool at the bottom of our hearts. In its icy, black depths dwell strange and twisted creatures it is best not to disturb.

Know How to use Sandstone Pool Coping Today, Sandstone pavers and tiles are one of Australia’s most trending natural stones. You can choose from a selection of colours and textures. While some homeowners love the appearance of light blue and grey Sandstone pavers, others prefer the more organic character of tan and brown Sandstone pavers.

Dallas. The scriptwriters have each of the actresses in the soap opera play the death scene in the swimming pool: they do not know which of them is to die, and hence disappear from the series. The 'soap' becomes their destiny. If they should die in reality, a way is devised for writing them out of the script. If they are sacrificed in the script, their stardom inevitably comes to an end in real life too, since they are identified with the characters they play. It is the same as in a ceremony: outside the ritual, you count for nothing, but the ritual is flexible enough to make use of all the chance happenings of life. Dallas 's secret lies in its closeness to tribal and initiatory stereotypes. That is why there is never any laughter in it: no wit, no humour, no comic episodes, no happy coincidences. It is a closed world in which everything leads inevitably to fatality, perfidy, sentimental incest or magical cannibalism. Such is the tribal law, of which J.R. is the emblem, which gives rise to the desperate efforts on the part of the women to escape from this archaic trap. In its artless cruelty, Dallas is superior to any 'intelligent' critique that can be made of it. That is why intellectual snobbery meets its match here. In a dream I saw the face of servitude. It is the face of a woman with heavy lidded, blue, expressionless eyes. The crescent shapes of her breasts are asymmetrical. She always has a smile for the poorest as she crawls off daintily towards infinity. Boredom is like a pitiless zooming in on the epidermis of time. Every instant is dilated and magnified like the pores of the face.

In our post-1950s, inseparable-from-TV association pool, brand loyalty really is synecdochic of character.

Now I’m no art critic, but in a time seen as a bridge between the late middle ages and the early renaissance, where the church played such a substantial part in the day to day running of people's lives, Bosch’s Garden of Earthly Delights, which is painted on oak with a square middle panel flanked by two doors that close over the centre like shutters, is rather racy. When the outer shutters are folded over they show a grisaille painting of the earth during creation. But it’s the three scenes of the inner triptych that fascinate me. If you’re unfamiliar with the painting, I’ll do my best to describe it for you. Apologies in advance if I miss anything out. It’s regular sort of stuff, you know, naked women being fondled by demons, a bloke being kissed by a pig dressed as a nun, another bloke being eaten by some kind of story book character while loads of blackbirds fly out of his arse, a couple locked in a glass sphere and – let’s not beat about the Bosch here – locked in each other’s embrace as well. There are loads of people feeding each other fruit, doing handstands, hatching out of eggs, climbing up ladders to get inside the bodies of other people and looking at demon’s arses. There’s a couple getting caught shagging by giant birds, and a white bloke and a black Rastafarian with ‘locks (400 years before the Rastafari movement was founded) about to have a snog. You’ve got God giving Eve to a very puny-looking, limp-dicked Adam, and there’s a bunch of people sitting around a table inside the body of another bloke while an old woman fills up on wine from a decent-sized barrel while a kind of giant metal face pukes out loads of naked blokes who go running into a trumpet and another bloke being fed a cherry by a giant bird while a white bloke shows a black lady something in the sky. It’s all going on! There's loads of those ‘living dead’ mateys walking about, and a bloke carrying giant grapes past a topless girl with, it has to be said, pretty decent tits. She’s balancing a giant dice on her head while doing something strange to another bloke’s arse while a rabbit in clothes walks past. You can’t see what she’s doing because there’s a table in the way but beside them is a serpent-type creature with just one massive boob and a pretty pert nipple. One huge tit the size of his chest! Of all things, he’s holding a backgammon board up in the air. I’d say Bosch was a tit man, wouldn’t you? But there’s more. There’s a crowd of naked girls – black & white - in a water pool, all balancing cherries on their heads; read into that what you will. There are just LOADS of naked women in this water pool, including one of the black girls who’s balancing a peacock on her head. There are dozens of nudists riding horses around them in a circle. Some are sharing the same horse, so I must admit that in places it appears to be a little intimate. And now what have we got! There’s a couple cavorting inside a giant shell which is being carried on the back of another bloke. Why doesn’t he just put it down and climb in and have a threes-up? There are people with wings, creatures reading books and just more and more nudists. There’s a naked woman lying back, and this other bloke with his face extremely close to her nether regions! What on earth does the blighter think he’s playing at? There’s loads of grey half men-half fish, some balancing red balls on their heads like seals, and another fellow doing a handstand underwater while holding onto his nuts. You’ve got a ball in a river with people climbing all over it, while a bloke inside the ball is touching a lady in what appears to be a very inappropriate manner! There’s a kind of platypus-type fish reading a book underground and Theresa May triggering Article 50 of Brexit (just kidding about the Theresa May bit).

MRS. POOLE: I would have done just the same as Alice, if I hadn’t remembered my training. A good servant never gives way to emotion, my father used to tell me when he was alive, bless his soul. You girls going so far away, and not knowing when you’d be back! MARY: But we did get back safely in the end, Mrs. Poole. MRS. POOLE: Eventually! But the worry I had along the way . . . CATHERINE: Can you please do your best to not give away the plot? Like the fact that Mary eventually made it safely home . . . I won’t say whether or not the others did! MARY: Oh please. If we hadn’t made it back, we wouldn’t be writing this book. The important thing is, what happened to us on the way? CATHERINE: It’s unbelievable, what authors have to put up with from their own characters. Remind me why I agreed to do this? MARY: Excuse me. We are not your characters, but fellow members of the Athena Club. And as to why you agreed . . . we need money, remember? CATHERINE: Oh, right.

I repeat, in case you missed it, that there is no greater teacher in this world than misery. It gives you character and respectability if you take from it all that it has to offer. A real friend would point out all your faults, but how many true friends do we have in this world? One if we’re lucky. But misery is a friend that we can always count on. It teaches self-control and helps us to distinguish between right, wrong and necessary. It helps us to contemplate the meaning of life, and if we are unable to find that meaning, it helps us to deal with it. The best advice that I could give you, Ballard, is to not be afraid to befriend misery, because it will haunt and torment you until you do.

Can I discover how to live so that life ceases to be problematic, so that one lives in the eternal and not in grip of the falsities of time? Can I expunge selfishness from my gene pool? Can I mine from my central chord the ability to demonstrate empathy, supply a compress of sympathy, and extend charity for people in need of assistance? Can I concentrate all my cognitive material to express grace and thankfulness for the world? Must I shed the tattered shirt of yesteryear in order to advance to the next stage in life? When the pigmented henna of the naked self is exposed, do I see the resin of my elemental character more clearly? Stripped of the restrictive pig iron of disappointment, I realize that the mystique of the future trumps the perspicuity of my blemished past. Letting go of the past and torching a wagonload of personal guilt is freeing. Once disburdened from a repressive sense of a remorseful and shamefaced self, I am free to prowl about uninhibited and nurture a mantle of renewed optimism for the brilliant seasons to come.

I was thinking of something upsetting, and you took it away, didn’t you?” There was a hint of a smile in her voice. He allowed her freedom, watched her sink beneath the foaming water, surface a few feet away. Her large eyes were moving over him with definite laughter. “You know, Mikhail, I’m beginning to think my very first assessment of your character was correct. You’re arrogant and bossy.” He swam toward her with lazy, easy strokes. “But I am sexy.” She backpedaled, sent a spray of water at him with the flat of her hand. “Stay away from me. Every time you get near me, something crazy happens.” “Now might be a good time to take you to task for placing your life in danger. You should never have followed the assassins from the inn. You knew I was unable to hear if you called for help.” He kept swimming toward her, as relentless as a shark. Raven took the coward’s way out and waded out of the pool, flinging herself into the next large one. The water was cold on her heated skin. She pointed a finger at him, her soft mouth curving. “I told you I was going to try to help you. In any case, if you dare to lecture me, I’ll have no choice but to go into just how unethical it was to bind me to you without my consent. Tell me--if I hadn’t followed the assassins and Jacob hadn’t stabbed me, I would have remained human, wouldn’t I?” Mikhail rose out of the pool, water streaming off his body. Raven’s breath caught in her throat. He looked magnificent, so masculine and powerful. In one fluid leap, he launched himself into the air, jackknifed, and cut cleanly into the deep pool. She found her heart beating frantically, her blood singing for him. He came up behind her, his hands spanning her waist, dragging her close, his powerful legs keeping them afloat. “You would still be human,” he agreed, his voice a black magic spell that could send heat coiling through her, despite the cold water. “If I had stayed human, how could you have remained with me as a lifemate?” She pushed her rounded bottom against the cradle of his hips, enjoying the sudden excitement as his body swelled and hardened in response to the pressure. She laid her head back on his shoulder. “I would have chosen to grow old with you and die when you died.

Raven stirred in his arms, stretched languidly. “I was thinking of something upsetting, and you took it away, didn’t you?” There was a hint of a smile in her voice. He allowed her freedom, watched her sink beneath the foaming water, surface a few feet away. Her large eyes were moving over him with definite laughter. “You know, Mikhail, I’m beginning to think my very first assessment of your character was correct. You’re arrogant and bossy.” He swam toward her with lazy, easy strokes. “But I am sexy.” She backpedaled, sent a spray of water at him with the flat of her hand. “Stay away from me. Every time you get near me, something crazy happens.” “Now might be a good time to take you to task for placing your life in danger. You should never have followed the assassins from the inn. You knew I was unable to hear if you called for help.” He kept swimming toward her, as relentless as a shark. Raven took the coward’s way out and waded out of the pool, flinging herself into the next large one. The water was cold on her heated skin. She pointed a finger at him, her soft mouth curving. “I told you I was going to try to help you. In any case, if you dare to lecture me, I’ll have no choice but to go into just how unethical it was to bind me to you without my consent.

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

I've tried to change, tried to make friends by being cheerful all the time. Seems to have failed. Can't force it, I guess. [...] The truth was, he was tired of maintaining a phony character and trying to adapt himself to other people day after day.