Positive Art Quotes

The desire for more positive experience is itself a negative experience. And, paradoxically, the acceptance of one’s negative experience is itself a positive experience. (p.9)

Life is like a game of chess. To win you have to make a move. Knowing which move to make comes with IN-SIGHT and knowledge, and by learning the lessons that are acculated along the way. We become each and every piece within the game called life!

The desire for more positive experience is itself a negative experience. And, paradoxically, the acceptance of one’s negative experience is itself a positive experience.

Life is like a sandwich! Birth as one slice, and death as the other. What you put in-between the slices is up to you. Is your sandwich tasty or sour? Allan Rufus.org

There are roads which must not be followed, armies which must not be attacked, towns which must not be besieged, positions which must not be contested, commands of the sovereign which must not be obeyed.

Life is a bowl of cherries. Some cherries are rotten while others are good; its your job to throw out the rotten ones and forget about them while you enjoy eating the ones that are good! There are two kinds of people: those who choose to throw out the good cherries and wallow in all the rotten ones, and those who choose to throw out all the rotten ones and savor all the good ones.

Move not unless you see an advantage; use not your troops unless there is something to be gained; fight not unless the position is critical.

it is only when you have mastered the art of loving yourself that you can truly love others. it's only when you have opened your own heart that you can touch the hearts of others. when you feel centered and alive, you are in much better position to be a better person.

Modern man has transformed himself into a commodity; he experiences his life energy as an investment with which he should make the highest profit, considering his position and the situation on the personality market. He is alienated from himself, from his fellow men and from nature. His main aim is profitable exchange of his skills, knowledge, and of himself, his "personality package" with others who are equally intent on a fair and profitable exchange. Life has no goal except the one to move, no principle except the one of fair exchange, no satisfaction except the one to consume.p97.

To be inspired is great, but to inspire is an honor.

Wanting positive experience is a negative experience; accepting negative experience is a positive experience.

Art is not a study of positive reality, it is the seeking for ideal truth.

Hard work does not go unnoticed, and someday the rewards will follow

Because here’s the thing that’s wrong with all of the “How to Be Happy” shit that’s been shared eight million times on Facebook in the past few years—here’s what nobody realizes about all of this crap: The desire for more positive experience is itself a negative experience. And, paradoxically, the acceptance of one’s negative experience is itself a positive experience. This is a total mind-fuck. So I’ll give you a minute to unpretzel your brain and maybe read that again: Wanting positive experience is a negative experience; accepting negative experience is a positive experience. It’s what the philosopher Alan Watts used to refer to as “the backwards law”—the idea that the more you pursue feeling better all the time, the less satisfied you become, as pursuing something only reinforces the fact that you lack it in the first place. The

You can ensure the safety of your defense if you only hold positions that cannot be attacked.

Whether in an advantageous position or a disadvantageous one, the opposite state should be always present to your mind.

You can't make positive discoveries that make your life better if you never try anything new.

Self satisfaction alone cannot determine if a desire or action is positive or negative. The demarcation between a positive and a negative desire or action is not whether it gives you a immediate feeling of satisfaction, but whether it ultimately results in positive or negative consequences.

I’m a modern man, a man for the millennium. Digital and smoke free. A diversified multi-cultural, post-modern deconstruction that is anatomically and ecologically incorrect. I’ve been up linked and downloaded, I’ve been inputted and outsourced, I know the upside of downsizing, I know the downside of upgrading. I’m a high-tech low-life. A cutting edge, state-of-the-art bi-coastal multi-tasker and I can give you a gigabyte in a nanosecond! I’m new wave, but I’m old school and my inner child is outward bound. I’m a hot-wired, heat seeking, warm-hearted cool customer, voice activated and bio-degradable. I interface with my database, my database is in cyberspace, so I’m interactive, I’m hyperactive and from time to time I’m radioactive. Behind the eight ball, ahead of the curve, ridin the wave, dodgin the bullet and pushin the envelope. I’m on-point, on-task, on-message and off drugs. I’ve got no need for coke and speed. I've got no urge to binge and purge. I’m in-the-moment, on-the-edge, over-the-top and under-the-radar. A high-concept, low-profile, medium-range ballistic missionary. A street-wise smart bomb. A top-gun bottom feeder. I wear power ties, I tell power lies, I take power naps and run victory laps. I’m a totally ongoing big-foot, slam-dunk, rainmaker with a pro-active outreach. A raging workaholic. A working rageaholic. Out of rehab and in denial! I’ve got a personal trainer, a personal shopper, a personal assistant and a personal agenda. You can’t shut me up. You can’t dumb me down because I’m tireless and I’m wireless, I’m an alpha male on beta-blockers. I’m a non-believer and an over-achiever, laid-back but fashion-forward. Up-front, down-home, low-rent, high-maintenance. Super-sized, long-lasting, high-definition, fast-acting, oven-ready and built-to-last! I’m a hands-on, foot-loose, knee-jerk head case pretty maturely post-traumatic and I’ve got a love-child that sends me hate mail. But, I’m feeling, I’m caring, I’m healing, I’m sharing-- a supportive, bonding, nurturing primary care-giver. My output is down, but my income is up. I took a short position on the long bond and my revenue stream has its own cash-flow. I read junk mail, I eat junk food, I buy junk bonds and I watch trash sports! I’m gender specific, capital intensive, user-friendly and lactose intolerant. I like rough sex. I like tough love. I use the “F” word in my emails and the software on my hard-drive is hardcore--no soft porn. I bought a microwave at a mini-mall; I bought a mini-van at a mega-store. I eat fast-food in the slow lane. I’m toll-free, bite-sized, ready-to-wear and I come in all sizes. A fully-equipped, factory-authorized, hospital-tested, clinically-proven, scientifically- formulated medical miracle. I’ve been pre-wash, pre-cooked, pre-heated, pre-screened, pre-approved, pre-packaged, post-dated, freeze-dried, double-wrapped, vacuum-packed and, I have an unlimited broadband capacity. I’m a rude dude, but I’m the real deal. Lean and mean! Cocked, locked and ready-to-rock. Rough, tough and hard to bluff. I take it slow, I go with the flow, I ride with the tide. I’ve got glide in my stride. Drivin and movin, sailin and spinin, jiving and groovin, wailin and winnin. I don’t snooze, so I don’t lose. I keep the pedal to the metal and the rubber on the road. I party hearty and lunch time is crunch time. I’m hangin in, there ain’t no doubt and I’m hangin tough, over and out!

Art is a house that tries to be haunted.

We can't make death fun, but we can make learning about it fun. Death is science and history, art and literature. It bridges every culture and unites the whole of humanity!

I can't believe they even bothered filling that faculty position again. They might as well rename the class Defense Against the Dark Arts. I mean, seriously, who would answer an ad for this job?

Unless we take that first step into the unknown, we will never know our own potential!

The most incredible architecture Is the architecture of Self, which is ever changing, evolving, revolving and has unlimited beauty and light inside which radiates outwards for everyone to see and feel. With every in breathe you are adding to your life and every out breathe you are releasing what is not contributing to your life. Every breathe is a re-birth.

Our culture today is obsessively focused on unrealistically positive expectations: Be happier. Be healthier. Be the best, better than the rest. Be smarter, faster, richer, sexier, more popular, more productive, more envied, and more admired. Be perfect and amazing and crap out twelve-karat-gold nuggets before breakfast each morning while kissing your selfie-ready spouse and two and a half kids goodbye. Then fly your helicopter to your wonderfully fulfilling job, where you spend your days doing incredibly meaningful work that’s likely to save the planet one day. But

The soil of our mind contains many seeds, positive and negative. We are the gardeners who identify, water, and cultivate the best seeds.

Because here’s something that’s weird but true: we don’t actually know what a positive or negative experience is. Some of the most difficult and stressful moments of our lives also end up being the most formative and motivating. Some of the best and most gratifying experiences of our lives are also the most distracting and demotivating. Don’t trust your conception of positive/negative experiences. All that we know for certain is what hurts in the moment and what doesn’t. And that’s not worth much. Just

Note and Quote to Self – What you think, say and do! Your life mainly consists of 3 things! What you think, What you say and What you do! So always be very conscious of what you are co-creating!

The male frog in mating season," said Crake, "makes as much noise as it can. The females are attracted to the male frog with the biggest, deepest voice because it suggests a more powerful frog, one with superior genes. Small male frogs—it's been documented—discover if they position themselves in empty drainpipes, the pipe acts as a voice amplifier and the small frog appears much larger than it really is." So?" So that's what art is for the artist, an empty drainpipe. An amplifier. A stab at getting laid.

NOTE TO SELF – BOOMERANG EFFECT My words, thoughts and deeds have a boomerang effect. So be-careful what you send out!

You can be sure of succeeding in your attacks if you only attack places which are undefended.You can ensure the safety of your defense if you only hold positions that cannot be attacked.

Quotes and notes to self – Find your inner peace! Don’t be caught up in your outer world. Pay greater attention to your inner world

Time eventually positions most photographs, even the most amateurish, at the level of art.

...no one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfilment.

I think that in many cases people tend to expect the other person to respond to them in a positive way first, rather than taking the initiative themselves to create that possibility. I feel that's wrong, it leads to problems and can act as a barrier that just serves to promote a feeling of isolation from others.

The writer's role is to menace the public's conscience. He must have a position, a point of view. He must see the arts as a vehicle of social criticism and he must focus on the issues of his time.

negative emotions are a call to action. When you feel them, it’s because you’re supposed to do something. Positive emotions, on the other hand, are rewards for taking the proper action. When you feel them, life seems simple and there is nothing else to do but enjoy it.

negative emotions are a call to action. When you feel them, it’s because you’re supposed to do something. Positive emotions, on the other hand, are rewards for taking the proper action.

Most people see the problem of love primarily as that of being loved , rather than that of loving , of one's capacity to love. Hence the problem to them is how to be loved, how to be lovable. In pursuit of this aim they follow several paths. One, which is especially used by men, is to be successful, to be as powerful and rich as the social margin of one's position permits. Another, used especially by women, is to make oneself attractive, by cultivating one's body, dress, etc. .... Many of the ways to make oneself lovable are the same as those used to make oneself successful, to 'win friends and influence people'. As a matter of fact, what most people in our culture mean by being lovable is essentially a mixture between being popular and having sex appeal.

This is the time for every artist in every genre to do what he or she does loudly and consistently. It doesn't matter to me what your position is. You've got to keep asserting the complexity and the originality of life, and the multiplicity of it, and the facets of it. This is about being a complex human being in the world, not about finding a villain. This is no time for anything else than the best that you've got.

I can disagree with your opinion, it turns out, but I can’t disagree with your experience. And once I have a sense of your experience, you and I are in relationship, acknowledging the complexity in each other’s position, listening less guardedly. The difference in our opinions will probably remain intact, but it no longer defines what is possible between us.

Nietzsche was the one who did the job for me. At a certain moment in his life,the idea came to him of what he called 'the love of your fate.' Whatever your fate is, whatever the hell happens, you say, 'This is what I need.' It may look like a wreck, but go at it as though it were an opportunity, a challenge. If you bring love to that moment--not discouragement--you will find the strength is there. Any disaster you can survive is an improvement in your character, your stature, and your life. What a privilege! This is when the spontaneity of your own nature will have a chance to flow. Then, when looking back at your life, you will see that the moments which seemed to be great failures followed by wreckage were the incidents that shaped the life you have now. You’ll see that this is really true. Nothing can happen to you that is not positive. Even though it looks and feels at the moment like a negative crisis, it is not. The crisis throws you back, and when you are required to exhibit strength, it comes.

Enlightenment is the Goal - Love is the Game - Taking steps are the rules! - Allan Rufus

Note to Self – Thoughts design my energy! My thoughts WILL design the energy that moves me!

The beauty of art is that it comes from the heart.

There are roads which must not be followed, armies which must be not attacked, towns which must not be besieged, positions which must not be contested, commands of the sovereign which must not be obeyed.

The financial statements are just a starting point. By asking the right questions and actively engaging with the data, board members can gain a deeper understanding of the company's financial health and position themselves to make sound decisions that will ensure the company's long-term success.

We’re capable of much more than mediocrity, much more than merely getting by in this world.

Sometimes when I meet old friends, it reminds me how quickly time passes. And it makes me wonder if we've utilized our time properly or not. Proper utilization of time is so important. While we have this body, and especially this amazing human brain, I think every minute is something precious. Our day-to-day existence is very much alive with hope, although there is no guarantee of our future. There is no guarantee that tomorrow at this time we will be here. But we are working for that purely on the basis of hope. So, we need to make the best use of our time. I believe that the proper utilization of time is this: if you can, serve other people, other sentient beings. If not, at least refrain from harming them. I think that is the whole basis of my philosophy. So, let us reflect what is truly of value in life, what gives meaning to our lives, and set our priorities on the basis of that. The purpose of our life needs to be positive. We weren't born with the purpose of causing trouble, harming others. For our life to be of value, I think we must develop basic good human qualities—warmth, kindness, compassion. Then our life becomes meaningful and more peaceful—happier.

I'm grateful to my readers. Readers who buy and support authors, especially career authors, are the patrons who fund art, genius, innovation, and creativity. Out of all the books published, there will emerge the next Plato, Socrates, Einstein, Da Vinci, Shakespeare, Benjamin Franklin, Edison, Churchill, Tolstoy, and Tolkien. My readers help with my creative process because they help create the positive and supportive environment that allows me to keep writing the books and series my readers love. Thank You!" - Kailin Gow, Strong.

You can be sure of succeeding in your attacks if you only attack places which are undefended.You can ensure the safety of your defence if you only hold positions that cannot be attacked.

Individuals often turn to poetry, not only to glean strength and perspective from the words of others, but to give birth to their own poetic voices and to hold history accountable for the catastrophes rearranging their lives.

Dreams. They start in your beautiful mind. Think of beautiful things and it will manifest into actions because your body will listen to you. Like it always does.

Poetry empowers the simplest of lives to confront the most extreme sorrows with courage, and motivates the mightiest of offices to humbly heed lessons in compassion.

So many people think that they are not gifted because they don’t have an obvious talent that people can recognize because it doesn’t fall under the creative arts category—writing, dancing, music, acting, art or singing. Sadly, they let their real talents go undeveloped, while they chase after fame. I am grateful for the people with obscure unremarked talents because they make our lives easier---inventors, organizers, planners, peacemakers, communicators, activists, scientists, and so forth. However, there is one gift that trumps all other talents—being an excellent parent. If you can successfully raise a child in this day in age to have integrity then you have left a legacy that future generations will benefit from.

I am still a victim of chess. It has all the beauty of art - and much more. It cannot be commercialized. Chess is much purer than art in its social position. (On giving up art to play chess)

Painting is concerned with all the 10 attributes of sight; which are: Darkness and Light, Solidity and Color, Form and Position, Distance and Propinquity, Motion and Rest.

The second he slipped inside of me, all I'd doubted, questioned, or feared evaporated, leaving me with one single, definite truth--I'd fallen in love with him in an all-consuming blaze that would blind me if I wasn't careful. We fit together like poorly cut puzzle pieces, but when the edges joined and were positioned just right, our scattered images came together to create a solid, deliberate piece of art, completely crystal clear and in focus. I was a goner.

Much has been said of the aesthetic values of chanoyu- the love of the subdued and austere- most commonly characterized by the term, wabi. Wabi originally suggested an atmosphere of desolation, both in the sense of solitariness and in the sense of the poverty of things. In the long history of various Japanese arts, the sense of wabi gradually came to take on a positive meaning to be recognized for its profound religious sense. ...the related term, sabi,... It was mid-winter, and the water's surface was covered with the withered leaves of the of the lotuses. Suddenly I realized that the flowers had not simply dried up, but that they embodied, in their decomposition, the fullness of life that would emerge again in their natural beauty.

The position of the artist is humble. He is essentially a channel. Piet Mondrian The Artist's Way A Spiritual Path to Greater Creativity by Julia Cameron

If pursuing the positive is a negative, then pursuing the negative generates the positive. The pain you pursue in the gym results in better all-around health and energy. The failures in business are what lead to a better understanding of what’s necessary to be successful. Being open with your insecurities paradoxically makes you more confident and charismatic around others. The pain of honest confrontation is what generates the greatest trust and respect in your relationships. Suffering through your fears and anxieties is what allows you to build courage and perseverance. Seriously,

Hence the skillful fighter puts himself into a position which makes defeat impossible, and does not miss the moment for defeating the enemy.

No truly happy person feels the need to stand in front of a mirror and recite that she's happy. She just is.

We each are artists of the self, creating a collage -- a new and original work of art -- out of scraps and fragments of identifications. The people with whom we identify are, positively or negatively, always important to us. Our feelings toward them are, in some way, always intense.

Art, literature, and philosophy are attempts to found the world anew on a human freedom: that of the creator; to foster such an aim, one must first unequivocally posit oneself as a freedom. The restrictions that education and custom impose on a woman limit her grasp of the universe...Indeed, for one to become a creator, it is not enough to be cultivated, that is, to make going to shows and meeting people part of one's life; culture must be apprehended through the free movement of a transcendence; the spirit with all its riches must project itself in an empty sky that is its to fill; but if a thousand fine bonds tie it to the earth, its surge is broken. The girl today can certainly go out alone, stroll in the Tuileries; but I have already said how hostile the street is: eyes everywhere, hands waiting: if she wanders absentmindedly, her thoughts elsewhere, if she lights a cigarette in a cafe, if she goes to the cinema alone, an unpleasant incident can quickly occur; she must inspire respect by the way she dresses and behaves: this concern rivets her to the ground and self. "Her wings are clipped." At eighteen, T.E. Lawrence went on a grand tour through France by bicycle; a young girl would never be permitted to take on such an adventure...Yet such experiences have an inestimable impact: this is how an individual in the headiness of freedom and discovery learns to look at the entire world as his fief...[The girl] may feel alone within the world: she never stands up in front of it, unique and sovereign.

Some things are in our control, while others are not. We control our opinion, choice, desire, aversion, and, in a word, everything of our own doing. We don’t control our body, property, reputation, position, and, in a word, everything not of our own doing.

76. David Hume – Treatise on Human Nature; Essays Moral and Political; An Enquiry Concerning Human Understanding 77. Jean-Jacques Rousseau – On the Origin of Inequality; On the Political Economy; Emile – or, On Education, The Social Contract 78. Laurence Sterne – Tristram Shandy; A Sentimental Journey through France and Italy 79. Adam Smith – The Theory of Moral Sentiments; The Wealth of Nations 80. Immanuel Kant – Critique of Pure Reason; Fundamental Principles of the Metaphysics of Morals; Critique of Practical Reason; The Science of Right; Critique of Judgment; Perpetual Peace 81. Edward Gibbon – The Decline and Fall of the Roman Empire; Autobiography 82. James Boswell – Journal; Life of Samuel Johnson, Ll.D. 83. Antoine Laurent Lavoisier – Traité Élémentaire de Chimie (Elements of Chemistry) 84. Alexander Hamilton, John Jay, and James Madison – Federalist Papers 85. Jeremy Bentham – Introduction to the Principles of Morals and Legislation; Theory of Fictions 86. Johann Wolfgang von Goethe – Faust; Poetry and Truth 87. Jean Baptiste Joseph Fourier – Analytical Theory of Heat 88. Georg Wilhelm Friedrich Hegel – Phenomenology of Spirit; Philosophy of Right; Lectures on the Philosophy of History 89. William Wordsworth – Poems 90. Samuel Taylor Coleridge – Poems; Biographia Literaria 91. Jane Austen – Pride and Prejudice; Emma 92. Carl von Clausewitz – On War 93. Stendhal – The Red and the Black; The Charterhouse of Parma; On Love 94. Lord Byron – Don Juan 95. Arthur Schopenhauer – Studies in Pessimism 96. Michael Faraday – Chemical History of a Candle; Experimental Researches in Electricity 97. Charles Lyell – Principles of Geology 98. Auguste Comte – The Positive Philosophy 99. Honoré de Balzac – Père Goriot; Eugenie Grandet 100. Ralph Waldo Emerson – Representative Men; Essays; Journal 101. Nathaniel Hawthorne – The Scarlet Letter 102. Alexis de Tocqueville – Democracy in America 103. John Stuart Mill – A System of Logic; On Liberty; Representative Government; Utilitarianism; The Subjection of Women; Autobiography 104. Charles Darwin – The Origin of Species; The Descent of Man; Autobiography 105. Charles Dickens – Pickwick Papers; David Copperfield; Hard Times 106. Claude Bernard – Introduction to the Study of Experimental Medicine 107. Henry David Thoreau – Civil Disobedience; Walden 108. Karl Marx – Capital; Communist Manifesto 109. George Eliot – Adam Bede; Middlemarch 110. Herman Melville – Moby-Dick; Billy Budd 111. Fyodor Dostoevsky – Crime and Punishment; The Idiot; The Brothers Karamazov 112. Gustave Flaubert – Madame Bovary; Three Stories 113. Henrik Ibsen – Plays 114. Leo Tolstoy – War and Peace; Anna Karenina; What is Art?; Twenty-Three Tales 115. Mark Twain – The Adventures of Huckleberry Finn; The Mysterious Stranger 116. William James – The Principles of Psychology; The Varieties of Religious Experience; Pragmatism; Essays in Radical Empiricism 117. Henry James – The American; The Ambassadors 118. Friedrich Wilhelm Nietzsche – Thus Spoke Zarathustra; Beyond Good and Evil; The Genealogy of Morals;The Will to Power 119. Jules Henri Poincaré – Science and Hypothesis; Science and Method 120. Sigmund Freud – The Interpretation of Dreams; Introductory Lectures on Psychoanalysis; Civilization and Its Discontents; New Introductory Lectures on Psychoanalysis 121. George Bernard Shaw – Plays and Prefaces

Grit, persistence, adaptability, financial literacy, interview skills, human relationships, conversation, communication, managing technology, navigating conflicts, preparing healthy food, physical fitness, resilience, self-regulation, time management, basic psychology and mental health practices, arts, and music—all of these would help students and also make school seem much more relevant. Our fixation on college readiness leads our high school curricula toward purely academic subjects and away from life skills. The purpose of education should be to enable a citizen to live a good, positive, socially productive life independent of work.

The work of art still has something in common with enchantment: it posits its own, self-enclosed area, which is withdrawn from the context of profane existence, and in which special laws apply. Just as in the ceremony the magician first of all marked out the limits of the area where the sacred powers were to come into play, so every work of art describes its own circumference which closes it off from actuality.

All art is a work in progress. It’s helpful to see the piece we’re working on as an experiment. One in which we can’t predict the outcome. Whatever the result, we will receive useful information that will benefit the next experiment. If you start from the position that there is no right or wrong, no good or bad, and creativity is just free play with no rules, it’s easier to submerge yourself joyfully in the process of making things. We’re not playing to win, we’re playing to play. And ultimately, playing is fun. Perfectionism gets in the way of fun. A more skillful goal might be to find comfort in the process. To make and put out successive works with ease.

So let us reflect on what is truly of value in life, what gives meaning to our lives, and set our priorities on the basis of that. The purpose of our life needs to be positive. We weren't born with the purpose of causing trouble, harming others. For our life to be of value, I think we must develop basic good human qualities-warmth, kindness, compassion. Then our life becomes meaningful and more peaceful-happier.

Just as in the second part of a verse bad poets seek a thought to fit their rhyme, so in the second half of their lives people tend to become more anxious about finding actions, positions, relationships that fit those of their earlier lives, so that everything harmonizes quite well on the surface: but their lives are no longer ruled by a strong thought, and instead, in its place, comes the intention of finding a rhyme.

The hours tick by as I lie in bed. Memories keep surfacing, tormenting me into unbelievable sadness. I can't bring myself to move. I can't fight the memories that keep filling my thoughts. I stay curled in the fetal position as each memory plays out. I can't stop them from coming. I can't make them go away. Nothing can distract me. I can't block the memories, so they continue to come.

Young men starting in life should avoid running into debt. There is scarcely anything that drags a person down like debt. It is a slavish position to get ill, yet we find many a young man, hardly out of his "teens," running in debt. He meets a chum and says, "Look at this: I have got trusted for a new suit of clothes." He seems to look upon the clothes as so much given to him; well, it frequently is so, but, if he succeeds in paying and then gets trusted again, he is adopting a habit which will keep him in poverty through life. Debt robs a man of his self-respect, and makes him almost despise himself.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!

If human nature were not base, but thoroughly honourable, we should in every debate have no other aim than the discovery of truth; we should not in the least care whether the truth proved to be in favour of the opinion which we had begun by expressing, or of the opinion of our adversary. That we should regard as a matter of no moment, or, at any rate, of very secondary consequence; but, as things are, it is the main concern. Our innate vanity, which is particularly sensitive in reference to our intellectual powers, will not suffer us to allow that our first position was wrong and our adversary’s right. The way out of this difficulty would be simply to take the trouble always to form a correct judgment. For this a man would have to think before he spoke. But, with most men, innate vanity is accompanied by loquacity and innate dishonesty. They speak before they think; and even though they may afterwards perceive that they are wrong, and that what they assert is false, they want it to seem thecontrary. The interest in truth, which may be presumed to have been their only motive when they stated the proposition alleged to be true, now gives way to the interests of vanity: and so, for the sake of vanity, what is true must seem false, and what is false must seem true.

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time.

You can start training yourself in this Stoic practice of objective representation right now by writing down a description of an upsetting or problematic event in plain language. Phrase things as accurately as possible and view them from a more philosophical perspective, with studied indifference. Once you’ve mastered this art, take it a step further by following the example of Paconius Agrippinus and look for positive opportunities. Write how you could exercise strength of character and cope wisely with the situation. Ask yourself how someone you admire might cope with the same situation or what that person might advise you to do. Treat the event like a sparring partner in the gym, giving you an opportunity to strengthen your emotional resilience and coping skills. You might want to read your script aloud and review it several times or compose several versions until you’re satisfied it’s helped you change how you feel about events.

What - what - what are you doing?" he demanded. "I am almost six hundred years old," Magnus claimed, and Ragnor snorted, since Magnus changed his age to suit himself every few weeks. Magnus swept on. "It does seem about time to learn a musical instrument." He flourished his new prize, a little stringed instrument that looked like a cousin of the lute that the lute was embarrassed to be related to. "It's called a charango. I am planning to become a charanguista!" "I wouldn't call that an instrument of music," Ragnor observed sourly. "An instrument of torture, perhaps." Magnus cradled the charango in his arms as if it were an easily offended baby. "It's a beautiful and very unique instrument! The sound box is made from an armadillo. Well, a dried armadillo shell." "That explains the sound you're making," said Ragnor. "Like a lost, hungry armadillo." "You are just jealous," Magnus remarked calmly. "Because you do not have the soul of a true artiste like myself." "Oh, I am positively green with envy," Ragnor snapped. "Come now, Ragnor. That's not fair," said Magnus. "You know I love it when you make jokes about your complexion." Magnus refused to be affected by Ragnor's cruel judgments. He regarded his fellow warlock with a lofty stare of superb indifference, raised his charango, and began to play again his defiant, beautiful tune. They both heard the staccato thump of frantically running feet from within the house, the swish of skirts, and then Catarina came rushing out into the courtyard. Her white hair was falling loose about her shoulders, and her face was the picture of alarm. "Magnus, Ragnor, I heard a cat making a most unearthly noise," she exclaimed. "From the sound of it, the poor creature must be direly sick. You have to help me find it!" Ragnor immediately collapsed with hysterical laughter on his windowsill. Magnus stared at Catarina for a moment, until he saw her lips twitch. "You are conspiring against me and my art," he declared. "You are a pack of conspirators." He began to play again. Catarina stopped him by putting a hand on his arm. "No, but seriously, Magnus," she said. "That noise is appalling." Magnus sighed. "Every warlock's a critic." "Why are you doing this?" "I have already explained myself to Ragnor. I wish to become proficient with a musical instrument. I have decided to devote myself to the art of the charanguista, and I wish to hear no more petty objections." "If we are all making lists of things we wish to hear no more . . . ," Ragnor murmured. Catarina, however, was smiling. "I see," she said. "Madam, you do not see." "I do. I see it all most clearly," Catarina assured him. "What is her name?" "I resent your implication," Magnus said. "There is no woman in the case. I am married to my music!" "Oh, all right," Catarina said. "What's his name, then?" His name was Imasu Morales, and he was gorgeous.

The acceptance of woman as object of the desiring male gaze in the visual arts is so universal that for a woman to question or draw attention to this fact is to invite derision, to reveal herself as one who does not understand the sophisticated strategies of high culture and takes art "too literally," and is therefore unable to respond to aesthetic discourses. This is of course maintained within a world - a cultural and academic world - which is dominated by male power and, often unconscious, patriarchal attitudes. In Utopia - that is to say, in a world in which the power structure was such that both men and women equally could be represented clothed or unclothed in a variety of poses and positions without any subconscious implications of dominance or submission - in a world of total and, so to speak, unconscious equality, the female nude would not be problematic. In our world, it is.

We quickly became friends with other art faculty members such as the ceramist Jim Leedy and his wife Jean and art historian/artist Bill Kortlander and his wife Betty. I also began taking classes in Southeast Asian history with John Cady, who had resigned from his position at the U.S.[CB4] [mo5]  State Department because he thought it would be a huge mistake to get involved in a “land war in Southeast Asia.” In 1966, his warnings were starting to become all too obvious as the Vietnam war grew and protests against it emerged. Dr. Cady was in the thick of the protests and was even being shadowed by the F.B.I. After I finished my BFA in art in 1966, I began work on a master’s degree in history at Dr. Cady’s urging. He and his wife became frequent guests at our parties

But I think that this apparent desire to be a victim cloaks an opposing dread: that Americans are in truth profoundly, neurotically terrified of being victims, ever, in any way. This fear is conceivably one reason we initiated the particularly vicious and gratuitous Iraq war―because Americans can't tolerate feeling like victims, even briefly. I think it is the reason that every boob with a hangnail has been clogging the courts and haunting talk shows across the land for the last twenty years, telling his/her "story" and trying to get redress. Whatever the suffering is, it's not to be endured, for God's sake, not felt and never, ever accepted. It's to be triumphed over. And because some things cannot be triumphed over unless they are first accepted and endured, because, indeed, some things cannot be triumphed over at all, the "story" must be told again and again in endless pursuit of a happy ending. To be human is finally to be a loser, for we are all fated to lose our carefully constructed sense of self, our physical strength, our health, our precious dignity, and finally our lives. A refusal to tolerate this reality is a refusal to tolerate life, and art based on the empowering message and positive image is just such a refusal.

In this country [England], writers write to entertain, they raise questions of individual existence...but for a Nigerian writer in my position you can't go into that. Literature has to be combative. You cannot have art for art's sake. This art must do something to transform the lives of a community, of a nation. And for that reason, literature has a different purpose altogether in that sort of society...The stories that I tell must have a different sort of purpose from the artist in the Western world...and art, in that instance, becomes so meaningful both to the artist and to the consumers of that art, because you do not just depend on them to read your books, you even have to live a life that they can emulate.

There is a simple test to define path dependence of beliefs (economists have a manifestation of it called the endowment effect). Say you own a painting you bought for $20,000, and owing to rosy conditions in the art market, it is now worth $40,000. If you owned no painting, would you still acquire it at the current price? If you would not, then you are said to be married to your position. There is no rational reason to keep a painting you would not buy at its current market rate—only an emotional investment. Many people get married to their ideas all the way to the grave. Beliefs are said to be path dependent if the sequence of ideas is such that the first one dominates.

The most fulfilling human projects appeared inseparable from a degree of torment, the sources of our greatest joys lying awkwardly close to those of our greatest pains… Why? Because no one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfillment. Nietzsche was striving to correct the belief that fulfillment must come easily or not at all, a belief ruinous in its effects, for it leads us to withdraw prematurely from challenges that might have been overcome if only we had been prepared for the savagery legitimately demanded by almost everything valuable.

What is the point. That is what must be borne in mind. Sometimes the point is really who wants what. Sometimes the point is what is right or kind. Sometimes the point is a momentum, a fact, a quality, a voice, an imitation, a thing that is said or unsaid. Sometimes it's who's at fault, or what will happen if you do not move at once. The point changes and goes out. You cannot be forever watching for the point, or you lose the simplest thing: being a major character in your own life. But if you are, for any length of time, custodian of the point-- in art, in court, in politics, in lives, in rooms-- it turns out there are rear-guard actions everywhere. To see a thing clearly, and when your vision of it dims, or when it goes to someone else, if you have a gentle nature, keep your silence, that is lovely. Otherwise, now and then, a small foray is worthwhile. Just so that being always, complacently, thoroughly wrong does not become the safest position of them all. The point has never quite been entrusted to me.

The act of making music, clothes, art, or even food has a very different, and possibly more beneficial effect on us than simply consuming those things. And yet for a very long time, the attitude of the state toward teaching and funding the arts has been in direct opposition to fostering creativity among the general population. It can often seem that those in power don’t want us to enjoy making things for ourselves—they’d prefer to establish a cultural hierarchy that devalues our amateur efforts and encourages consumption rather than creation. This might sound like I believe there is some vast conspiracy at work, which I don’t, but the situation we find ourselves in is effectively the same as if there were one. The way we are taught about music, and the way it’s socially and economically positioned, affect whether it’s integrated (or not) into our lives, and even what kind of music might come into existence in the future. Capitalism tends toward the creation of passive consumers, and in many ways this tendency is counterproductive.

Throw your soldiers into positions whence there is no escape, and they will prefer death to flight. If they will face death, there is nothing they may not achieve. Officers and men alike will put forth their uttermost strength. Soldiers in desperate straits lose the sense of fear. If there is no place of refuge, they will stand firm. If they are in the heart of a hostile country, they will show a stubborn front. If there is no help for it, they will fight hard. Thus, without waiting to be marshaled, the soldiers will be constantly on the alert, and without waiting to be asked, they will do your will; without restrictions, they will be faithful; without giving orders, they can be trusted. Prohibit the taking of omens, and do away with superstitious doubts. Then, until death itself comes, no calamity need be feared.

I also believe that man’s continued domestication (if you care to use that silly euphemism) of dogs is motivated by fear: fear that dogs, left to evolve on their own, would, in fact, develop thumbs and smaller tongues, and therefore would be superior to men, who are slow and cumbersome, standing erect as they do. This is why dogs must live under the constant supervision of people.... From what Denny has told me about the government and its inner workings, it is my belief that this despicable plan was hatched in a back room of none other than the White House, probably by an evil adviser to a president of questionable moral and intellectual fortitude, and probably with the correct assessment—unfortunately, made from a position of paranoia rather than of spiritual insight—that all dogs are progressively inclined regarding social issues.

...The efficacy of psychedelics with regard to art has to do with their ability to render language weightless, as fluid and ephemeral as those famous "bubble letters" of the sixties. Psychedelics, I think, disconnect both the signifier and the signified from their purported referents in the phenomenal world - simultaneously bestowing upon us a visceral insight into the cultural mechanics of language, and a terrifying inference of the tumultuous nature that swirls beyond it. In my own experience, it always seemed as if language were a tablecloth positioned neatly upon the table until some celestial busboy suddenly shook it out, fluttering and floating it, and letting it fall back upon the world in not quite the same position as before - thereby giving me a vertiginous glimpse into the abyss that divides the world from our knowing of it. And it is into this abyss that the horror vacui of psychedelic art deploys itself like an incandescent bridge. Because it is one thing to believe, on theoretical evidence, that we live in a prison-house of language. It is quite another to know it, to actually peek into the slippery emptiness as the Bastille explodes around you. Yet psychedelic art takes this apparent occasion for despair and celebrates our escape from linguistic control by flowing out, filling that rippling void with meaningful light, laughter, and a gorgeous profusion.

I mention all this to make the point that if you were designing an organism to look after life in our lonely cosmos, to monitor where it is going and keep a record of where it has been, you wouldn't choose human beings for the job. But here's an extremely salient point: we have been chosen, by fate or Providence or whatever you wish to call it. It's an unnerving thought that we may be living the universe's supreme achievement and its worst nightmare simultaneously. Because we are so remarkably careless about looking after things, both when alive and when not, we have no idea-- really none at all-- about how many things have died off permanently, or may soon, or may never, and what role we have played in any part of the process. In 1979, in the book The Sinking Ark, the author Norman Myers suggested that human activities were causing about two extinctions a week on the planet. By the early 1990s he had raised the figure to about some six hundred per week. (That's extinctions of all types-- plants, insects, and so on as well as animals.) Others have put the figure ever higher-- to well over a thousand a week. A United Nations report of 1995, on the other hand, put the total number of known extinctions in the last four hundred years at slightly under 500 for animals and slightly over 650 for plants-- while allowing that this was "almost certainly an underestimate," particularly with regard to tropical species. A few interpreters think most extinction figures are grossly inflated. The fact is, we don't know. Don't have any idea. We don't know when we started doing many of the things we've done. We don't know what we are doing right now or how our present actions will affect the future. What we do know is that there is only one planet to do it on, and only one species of being capable of making a considered difference. Edward O. Wilson expressed it with unimprovable brevity in The Diversity of Life: "One planet, one experiment." If this book has a lesson, it is that we are awfully lucky to be here-- and by "we" i mean every living thing. To attain any kind of life in this universe of ours appears to be quite an achievement. As humans we are doubly lucky, of course: We enjoy not only the privilege of existence but also the singular ability to appreciate it and even, in a multitude of ways, to make it better. It is a talent we have only barely begun to grasp. We have arrived at this position of eminence in a stunningly short time. Behaviorally modern human beings-- that is, people who can speak and make art and organize complex activities-- have existed for only about 0.0001 percent of Earth's history. But surviving for even that little while has required a nearly endless string of good fortune. We really are at the beginning of it all. The trick, of course, is to make sure we never find the end. And that, almost certainly, will require a good deal more than lucky breaks.

there was a sort of embarrassment about storytelling that struck home powerfully about one hundred years ago, at the beginning of modernism. We see a similar reaction in painting and in music. It's a preoccupation suddenly with the surface rather than the depth. So you get, for example, Picasso and Braque making all kinds of experiments with the actual surface of the painting. That becomes the interesting thing, much more interesting than the thing depicted, which is just an old newspaper, a glass of wine, something like that. In music, the Second Viennese School becomes very interested in what happens when the surface, the diatonic structure of the keys breaks down, and we look at the notes themselves in a sort of tone row, instead of concentrating on things like tunes, which are sort of further in, if you like. That happened, of course, in literature, too, with such great works as James Joyce's Ulysses, which is all about, really, how it's told. Not so much about what happens, which is a pretty banal event in a banal man's life. It's about how it's told. The surface suddenly became passionately interesting to artists in every field about a hundred years ago. In the field of literature, story retreated. The books we talked about just now, Middlemarch, Bleak House, Vanity Fair -- their authors were the great storytellers as well as the great artists. After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's..." So there was a great split that took place. Story retreated, as it were, into genre fiction-into crime fiction, into science fiction, into romantic fiction-whereas the high-art literary people went another way. Children's books held onto the story, because children are rarely interested in surfaces in that sort of way. They're interested in what-happened and what-happened next. I found it a great discipline, when I was writing The Golden Compass and other books, to think that there were some children in the audience. I put it like that because I don't say I write for children. I find it hard to understand how some writers can say with great confidence, "Oh, I write for fourth grade children" or "I write for boys of 12 or 13." How do they know? I don't know. I would rather consider myself in the rather romantic position of the old storyteller in the marketplace: you sit down on your little bit of carpet with your hat upturned in front of you, and you start to tell a story. Your interest really is not in excluding people and saying to some of them, "No, you can't come, because it's just for so-and-so." My interest as a storyteller is to have as big an audience as possible. That will include children, I hope, and it will include adults, I hope. If dogs and horses want to stop and listen, they're welcome as well.

It could be said that a liberal education has the nature of a bequest, in that it looks upon the student as the potential heir of a cultural birthright, whereas a practical education has the nature of a commodity to be exchanged for position, status, wealth, etc., in the future. A liberal education rests on the assumption that nature and human nature do not change very much or very fast and that one therefore needs to understand the past. The practical educators assume that human society itself is the only significant context, that change is therefore fundamental, constant, and necessary, that the future will be wholly unlike the past, that the past is outmoded, irrelevant, and an encumbrance upon the future -- the present being only a time for dividing past from future, for getting ready. But these definitions, based on division and opposition, are too simple. It is easy, accepting the viewpoint of either side, to find fault with the other. But the wrong is on neither side; it is in their division... Without the balance of historic value, practical education gives us that most absurd of standards: "relevance," based upon the suppositional needs of a theoretical future. But liberal education, divorced from practicality, gives something no less absurd: the specialist professor of one or another of the liberal arts, the custodian of an inheritance he has learned much about, but nothing from.

Until a man is twenty-five, he still thinks, every so often, that under the right circumstances he could be the baddest motherfucker in the world. If I moved to a martial-arts monastery in China and studied real hard for ten years. if my family was wiped out by Colombian drug dealers and I swore myself to revenge. If I got a fatal disease, had one year to live, devoted it to wiping out street crime. If I just dropped out and devoted my life to being bad. Hiro used to feel that way, too, but then he ran into Raven. In a way, this is liberating. He no longer has to worry about trying to be the baddest motherfucker in the world. The position is taken. The crowning touch, the one thing that really puts true world-class badmotherfuckerdom totally out of reach, of course, is the hydrogen bomb. If it wasn't for the hydrogen bomb, a man could still aspire. Maybe find Raven's Achilles' heel. Sneak up, get a drop, slip a mickey, pull a fast one. But Raven's nuclear umbrella kind of puts the world title out of reach. Which is okay. Sometimes it's all right just to be a little bad. To know your limitations. Make do with what you've got.

It is a special blessing to belong among those who can and may devote their best energies to the contemplation and exploration of objective and timeless things. How happy and grateful I am for having been granted this blessing, which bestows upon one a large measure of independence from one's personal fate and from the attitude of one's contemporaries. Yet this independence must not inure us to the awareness of the duties that constantly bind us to the past, present and future of humankind at large. Our situation on this earth seems strange. Every one of us appears here, involuntarily and uninvited, for a short stay, without knowing the why and the wherefore. In our daily lives we feel only that man is here for the sake of others, for those whom we love and for many other beings whose fate is connected with our own. I am often troubled by the thought that my life is based to such a large extent on the work of my fellow human beings, and I am aware of my great indebtedness to them. I do not believe in free will. Schopenhauer's words: 'Man can do what he wants, but he cannot will what he wills,' accompany me in all situations throughout my life and reconcile me with the actions of others, even if they are rather painful to me. This awareness of the lack of free will keeps me from taking myself and my fellow men too seriously as acting and deciding individuals, and from losing my temper. I have never coveted affluence and luxury and even despise them a good deal. My passion for social justice has often brought me into conflict with people, as has my aversion to any obligation and dependence I did not regard as absolutely necessary. [Part 2] I have a high regard for the individual and an insuperable distaste for violence and fanaticism. All these motives have made me a passionate pacifist and antimilitarist. I am against any chauvinism, even in the guise of mere patriotism. Privileges based on position and property have always seemed to me unjust and pernicious, as does any exaggerated personality cult. I am an adherent of the ideal of democracy, although I know well the weaknesses of the democratic form of government. Social equality and economic protection of the individual have always seemed to me the important communal aims of the state. Although I am a typical loner in daily life, my consciousness of belonging to the invisible community of those who strive for truth, beauty, and justice keeps me from feeling isolated. The most beautiful and deepest experience a man can have is the sense of the mysterious. It is the underlying principle of religion as well as of all serious endeavour in art and science. He who never had this experience seems to me, if not dead, then at least blind. To sense that behind anything that can be experienced there is a something that our minds cannot grasp, whose beauty and sublimity reaches us only indirectly: this is religiousness. In this sense I am religious. To me it suffices to wonder at these secrets and to attempt humbly to grasp with my mind a mere image of the lofty structure of all there is.

Oh, those lapses, darling. So many of us walk around letting fly with “errors.” We could do better, but we’re so slovenly, so rushed amid the hurly-burly of modern life, so imprinted by the “let it all hang out” ethos of the sixties, that we don’t bother to observe the “rules” of “correct” grammar. To a linguist, if I may share, these “rules” occupy the exact same place as the notion of astrology, alchemy, and medicine being based on the four humors. The “rules” make no logical sense in terms of the history of our language, or what languages around the world are like. Nota bene: linguists savor articulateness in speech and fine composition in writing as much as anyone else. Our position is not—I repeat, not—that we should chuck standards of graceful composition. All of us are agreed that there is usefulness in a standard variety of a language, whose artful and effective usage requires tutelage. No argument there. The argument is about what constitutes artful and effective usage. Quite a few notions that get around out there have nothing to do with grace or clarity, and are just based on misconceptions about how languages work. Yet, in my experience, to try to get these things across to laymen often results in the person’s verging on anger. There is a sense that these “rules” just must be right, and that linguists’ purported expertise on language must be somehow flawed on this score. We are, it is said, permissive—perhaps along the lines of the notorious leftist tilt among academics, or maybe as an outgrowth of the roots of linguistics in anthropology, which teaches that all cultures are equal. In any case, we are wrong. Maybe we have a point here and there, but only that.

Why we write. Because art blows life into the lifeless, death into the deathless. Because art's lie is preferable, in truth, to life's beautiful terror. Because as time does not pass (nothing, as Beckett tells us, passes) it passes the time. Because Death, our mirthless master, is somehow amused by epitaphs. Because epitaphs well struck give Death, our vorcious master, heartburn. Because fiction imitates life's beauty, thereby inventing the beauty life lacks. Because fiction is the best position, at once exotic and familiar, for fucking the world. Because fiction, mediating paradox, celebrates it. Because fiction, mothered by love, loves love as a mother might her unloving child. Because fiction speaks, hopelessly, beautifully, as the world speaks. Because God, created in the storyteller's image, can be destroyed only by its maker. Because in its perversity, art harmonizes the disharmonious, and because in its profanity, fiction sanctifies life. Because, in its terrible isolation, writing is a path to brotherhood. Because in the beginning was the gesture and in the end the come, as well in between what we have are words. Because of all arts, only fiction can unmake the myths that unman men. Because of its endearing futility, its outrageous pretentions. Because the pen, though short, casts a long shadow upon (it must be said) no surface. Because the world is reinvented every day and this is how it is done. Because there is nothing new under the sun except its expression. Because truth, that illusive joker, hides himself in fictions and must therefore be sought there. Because writing, in all spaces unimaginable vastness, is still the greatest adventure of all. And because, alas, what else?

With the best of intentions, the generation before mine worked diligently to prepare their children to make an intelligent case for Christianity. We were constantly reminded of the superiority of our own worldview and the shortcomings of all others. We learned that as Christians, we alone had access to absolute truth and could win any argument. The appropriate Bible verses were picked out for us, the opposing positions summarized for us, and the best responses articulated for us, so that we wouldn’t have to struggle through two thousand years of theological deliberations and debates but could get right to the bottom line on the important stuff: the deity of Christ, the nature of the Trinity, the role and interpretation of Scripture, and the fundamentals of Christianity. As a result, many of us entered the world with both an unparalleled level of conviction and a crippling lack of curiosity. So ready with the answers, we didn’t know what the questions were anymore. So prepared to defend the faith, we missed the thrill of discovering it for ourselves. So convinced we had God right, it never occurred to us that we might be wrong. In short, we never learned to doubt. Doubt is a difficult animal to master because it requires that we learn the difference between doubting God and doubting what we believe about God. The former has the potential to destroy faith; the latter has the power to enrich and refine it. The former is a vice; the latter a virtue. Where would we be if the apostle Peter had not doubted the necessity of food laws, or if Martin Luther had not doubted the notion that salvation can be purchased? What if Galileo had simply accepted church-instituted cosmology paradigms, or William Wilberforce the condition of slavery? We do an injustice to the intricacies and shadings of Christian history when we gloss over the struggles, when we read Paul’s epistles or Saint Augustine’s Confessions without acknowledging the difficult questions that these believers asked and the agony with which they often asked them. If I’ve learned anything over the past five years, it’s that doubt is the mechanism by which faith evolves. It helps us cast off false fundamentals so that we can recover what has been lost or embrace what is new. It is a refining fire, a hot flame that keeps our faith alive and moving and bubbling about, where certainty would only freeze it on the spot. I would argue that healthy doubt (questioning one’s beliefs) is perhaps the best defense against unhealthy doubt (questioning God). When we know how to make a distinction between our ideas about God and God himself, our faith remains safe when one of those ideas is seriously challenged. When we recognize that our theology is not the moon but rather a finger pointing at the moon, we enjoy the freedom of questioning it from time to time. We can say, as Tennyson said, Our little systems have their day; They have their day and cease to be; They are but broken lights of thee, And thou, O Lord, art more than they.15 I sometimes wonder if I might have spent fewer nights in angry, resentful prayer if only I’d known that my little systems — my theology, my presuppositions, my beliefs, even my fundamentals — were but broken lights of a holy, transcendent God. I wish I had known to question them, not him. What my generation is learning the hard way is that faith is not about defending conquered ground but about discovering new territory. Faith isn’t about being right, or settling down, or refusing to change. Faith is a journey, and every generation contributes its own sketches to the map. I’ve got miles and miles to go on this journey, but I think I can see Jesus up ahead.

Among this bewildering multiplicity of ideals which shall we choose? The answer is that we shall choose none. For it is clear that each one of these contradictory ideals is the fruit of particular social circumstances. To some extent, of course, this is true of every thought and aspiration that has ever been formulated. Some thoughts and aspirations, however, are manifestly less dependent on particular social circumstances than others. And here a significant fact emerges: all the ideals of human behaviour formulated by those who have been most successful in freeing themselves from the prejudices of their time and place are singularly alike. Liberation from prevailing conventions of thought, feeling and behaviour is accomplished most effectively by the practice of disinterested virtues and through direct insight into the real nature of ultimate reality. (Such insight is a gift, inherent in the individual; but, though inherent, it cannot manifest itself completely except where certain conditions are fulfilled. The principal pre-condition of insight is, precisely, the practice of disinterested virtues.) To some extent critical intellect is also a liberating force. But the way in which intellect is used depends upon the will. Where the will is not disinterested, the intellect tends to be used (outside the non-human fields of technology, science or pure mathematics) merely as an instrument for the rationalization of passion and prejudice, the justification of self-interest. That is why so few even of die acutest philosophers have succeeded in liberating themselves completely from the narrow prison of their age and country. It is seldom indeed that they achieve as much freedom as the mystics and the founders of religion. The most nearly free men have always been those who combined virtue with insight. Now, among these freest of human beings there has been, for the last eighty or ninety generations, substantial agreement in regard to the ideal individual. The enslaved have held up for admiration now this model of a man, now that; but at all times and in all places, the free have spoken with only one voice. It is difficult to find a single word that will adequately describe the ideal man of the free philosophers, the mystics, the founders of religions. 'Non-attached* is perhaps the best. The ideal man is the non-attached man. Non-attached to his bodily sensations and lusts. Non-attached to his craving for power and possessions. Non-attached to the objects of these various desires. Non-attached to his anger and hatred; non-attached to his exclusive loves. Non-attached to wealth, fame, social position. Non-attached even to science, art, speculation, philanthropy. Yes, non-attached even to these. For, like patriotism, in Nurse Cavel's phrase, 'they are not enough, Non-attachment to self and to what are called 'the things of this world' has always been associated in the teachings of the philosophers and the founders of religions with attachment to an ultimate reality greater and more significant than the self. Greater and more significant than even the best things that this world has to offer. Of the nature of this ultimate reality I shall speak in the last chapters of this book. All that I need do in this place is to point out that the ethic of non-attachment has always been correlated with cosmologies that affirm the existence of a spiritual reality underlying the phenomenal world and imparting to it whatever value or significance it possesses.

Things I've Learned in 18 Years of Life   1) True love is not something found, rather [sic] something encountered. You can’t go out and look for it. The person you marry and the person you love could easily be two different people. So have a beautiful life while waiting for God to bring along your once-in-a-lifetime love. Don't allow yourself to settle for anything less than them. Stop worrying about who you're going to marry because God's already on the front porch watching your grandchildren play.   2) God WILL give you more than you can handle, so you can learn to lean on him in times of need. He won't tempt you more than you can handle, though. So don't lose hope. Hope anchors the soul.   3) Remember who you are and where you came from. Remember that you are not from this earth. You are a child of heaven, you're invaluable, you are beautiful. Carry yourself that way.   4) Don't put your faith in humanity, humanity is inherently flawed. We are all imperfect people created and loved by a perfect God. Perfect. So put your faith in Him.   5) I fail daily, and that is why I succeed.   6) Time passes, and nothing and everything changes. Don't live life half asleep. Don't drag your soul through the days. Feel everything you do. Be there physically and mentally. Do things that make you feel this way as well.   7) Live for beauty. We all need beauty, get it where you can find it. Clothing, paintings, sculptures, music, tattoos, nature, literature, makeup. It's all art and it's what makes us human. Same as feeling the things we do. Stay human.   8) If someone makes you think, keep them. If someone makes you feel, keep them.   9) There is nothing the human brain cannot do. You can change anything about yourself that you want to. Fight for it. It's all a mental game.   10) God didn’t break our chains for us to be bound again. Alcohol, drugs, depression, addiction, toxic relationships, monotony and repetition, they bind us. Break those chains. Destroy your past and give yourself new life like God has given you.   11) This is your life. Your struggle, your happiness, your sorrow, and your success. You do not need to justify yourself to anyone. You owe no one an explanation for the choices that you make and the position you are in. In the same vein, respect yourself by not comparing your journey to anyone else's.   12) There is no wrong way to feel.   13) Knowledge is everywhere, keep your eyes open. Look at how diverse and wonderful this world is. Are you going to miss out on beautiful people, places, experiences, and ideas because you are close-minded? I sure hope not.   14) Selfless actions always benefit you more than the recipient.   15) There is really no room for regret in this life. Everything happens for a reason. If you can't find that reason, accept there is one and move on.   16) There is room, however, for guilt. Resolve everything when it first comes up. That's not only having integrity, but also taking care of your emotional well-being.   17) If the question is ‘Am I strong enough for this?’ The answer is always, ‘Yes, but not on your own.’   18) Mental health and sanity above all.   19) We love because He first loved us. The capacity to love is the ultimate gift, the ultimate passion, euphoria, and satisfaction. We have all of that because He first loved us. If you think about it in those terms, it is easy to love Him. Just by thinking of how much He loves us.   20) From destruction comes creation. Beauty will rise from the ashes.   21) Many things can cause depression. Such as knowing you aren't becoming the person you have the potential to become. Choose happiness and change. The sooner the better, and the easier.   22) Half of happiness is as simple as eating right and exercising. You are one big chemical reaction. So are your emotions. Give your body the right reactants to work with and you'll be satisfied with the products.