Posters Sayings Quotes

We are each of an unsocial, taciturn disposition, unwilling to speak, unless we expect to say something that will amaze the whole room, and be handed down to posterity with all the eclat of a proverb.

It’s about the dream of second chances,” he says finally. He hasn’t raised his eyes from the paper on his desk and I feel him looking at me without looking when he uses his grandfather’s words. “The narrator doesn’t respect the beauty of life and the world around her, so it crushes her into the ground and once she’s dead, she realizes everything she took for granted and didn’t see right in front of her while she was alive. She’s begging for another chance to live again so she can appreciate it this time.” “And does she get that chance?” she asks Josh while I desperately focus on the poster of literary terms on the wall and wait for absolution. When it comes, I barely hear it. “She does.

MAN: Do you have black and white film posters? BOOKSELLER: Yes, we do. They’re over here. MAN: Do you have any posters of Adolf Hitler? BOOKSELLER: Pardon? MAN: Adolf Hitler. BOOKSELLER: Well, he wasn’t a film star, was he. MAN: Yes, he was. He was American. Jewish, I think...

She laughs and looks out the window and I think for a minute that she's going to start to cry. I'm standing by the door and I look over at the Elvis Costello poster, at his eyes, watching her, watching us, and I try to get her away from it, so I tell her to come over here, sit down, and she thinks I want to hug her or something and she comes over to me and puts her arms around my back and says something like 'I think we've all lost some sort of feeling.

She sighed. Loudly. "Physical appearance is not what is important." Yeah right. Tell that to any girl who hasn't bothered to put on a presentable shirt or fix her hair because she's only running into the grocery store to get a quart of milk for her grandmother, and who does she see tending the 7-ITEMS-OR-LESS cash register but the guy of her dreams, except she can't even say hi—much less try to develop a meaningful relationship—since she looks like the poster child for the terminally geeky.

All of that art-for-art’s-sake stuff is BS,” she declares. “What are these people talking about? Are you really telling me that Shakespeare and Aeschylus weren’t writing about kings? All good art is political! There is none that isn’t. And the ones that try hard not to be political are political by saying, ‘We love the status quo.’ We’ve just dirtied the word ‘politics,’ made it sound like it’s unpatriotic or something.” Morrison laughs derisively. “That all started in the period of state art, when you had the communists and fascists running around doing this poster stuff, and the reaction was ‘No, no, no; there’s only aesthetics.’ My point is that is has to be both: beautiful and political at the same time. I’m not interested in art that is not in the world. And it’s not just the narrative, it’s not just the story; it’s the language and the structure and what’s going on behind it. Anybody can make up a story.

If conversion to Christianity makes no improvement in a man's outward actions – if he continues to be just a snobbish or spiteful or envious or ambitious as he was before – then I think we must suspect that his 'conversion' was largely imaginary; and after one's original conversion, every time one thinks one has made an advance, that is the test to apply. Fine feelings, new insights, greater interest in 'religion' mean nothing unless they make our actual behavior better; just as in an illness 'feeling better' is not much good if the thermometer shows that your temperature is still going up. In that sense the outer world is quite right to judge Christianity by its results. Christ told us to judge by results. A tree is known by its fruit; or, as we say, the proof of the pudding is in the eating. When we Christians behave badly, or fail to behave well, we are making Christianity unbelievable to the outside world. The war-time posters told us that Careless Talk costs Lives. It is equally true that Careless Lives cost Talk. Our careless lives set the outer world taking; and we give them grounds for talking in a way that throws doubt on the truth of Christianity itself.

I blame the Internet. Its inconsiderate inclusion of everything.Success is transparent and accessible, hanging down where it can tease but not touch us. We talk into these scratchy microphones and take extra photographs but I still feel like there are just SO MANY PEOPLE. Every day, 1,035.6 books are published; sixty-six million people update their status each morning. At night, aimlessly scrolling, I remind myself of elementary school murals. One person can make a difference! But the people asking me what I want to be when I grow up don't want me to make a poster anymore. They want me to fill out forms and hand them rectangular cards that say HELLO THIS IS WHAT I DO.

Nothing says "you're a loser" more than owning a motivational poster about being a winner.

The struggle of the artist against the art-ideology, against the creative impulse and even against his own work also shows itself in his attitude towards success and fame; these two phenomena are but an extension, socially, of the process which began subjectively with the vocation and creation of the personal ego to be an artist. In this entire creative process, which begins with self-nomination as artist and ends in the fame of posterity, two fundamental tendencies — one might almost say, two personalities of the individual — are in continual conflict throughout: one wants to eternalize itself in artistic creation, the other in ordinary life — in brief, immortal man vs. the immortal soul of man.

Many people believe that right and wrong are fixed absolutes. That is incorrect, they change over time. The job of the historian is primarily to find the historical truth, to look at what the sources say and present them, objectively and dispassionately. If historians were to stand in judgment on human folly, our work would seem to posterity like fossils – the remnants of the orthodoxy of their time.

You keep seeing your picture on posters that you are missing but you're not. That'd be weird, right? Or say you look down at the sidewalk and earthworms are spelling your name. Or you open a peanut bag and the 'hello' is written in your writing on the inside of the shell. Would that weird ya?

Think of the great poetry, the music and dance and ritual that spring forth from our aspiring to a life beyond death. Maybe these things are justification enough for our hopes and dreams, although I wouldn't say that to a dying man.

Every cell of my body says, ‘Oh god yes! Crime? I can do some crime!’ I want this ship like I’ve never wanted anything in my life. I had a poster of the first-ever Breakbolt model on my bedroom wall when I was nine. It’s like a manifestation of every dream I’ve ever had, everything I’ve ever wanted for myself: a piloting license, a beautiful ship under me, and stars out the viewport. Child Nax says, ‘Do it, do the crime!

The crowd loves her—including the guy with the sign that says Marry Me, Holly. She can’t fucking marry you, douchebag. She’s already married to me. Right then, I realize I’m jealous. For the first time in my life, I’m fucking jealous. And it’s of a teenage boy holding a piece of hot pink fucking poster board.

If I were to say that the so-called philosophy of this fellow Hegel is a colossal piece of mystification which will yet provide posterity with an inexhaustible theme for laughter at our times, that it is a pseudo-philosophy paralyzing all mental powers, stifling all real thinking, and, by the most outrageous misuse of language, putting in its place the hollowest, most senseless, thoughtless, and, as is confirmed by its success, most stupefying verbiage, I should be quite right.

You will not remember much from school. School is designed to teach you how to respond and listen to authority figures in the event of an emergency. Like if there's a bomb in a mall or a fire in an office. It can, apparently, take you more than a decade to learn this. These are not the best days of your life. They are still ahead of you. You will fall in love and have your heart broken in many different, new and interesting ways in college or university (if you go) and you will actually learn things, as at this point, people will believe you have a good chance of obeying authority and surviving, in the event of an emergency. If, in your chosen career path, there are award shows that give out more than ten awards in one night or you have to pay someone to actually take the award home to put on your mantlepiece, then those awards are more than likely designed to make young people in their 20's work very late, for free, for other people. Those people will do their best to convince you that they have value. They don't. Only the things you do have real, lasting value, not the things you get for the things you do. You will, at some point, realise that no trophy loves you as much as you love it, that it cannot pay your bills (even if it increases your salary slightly) and that it won't hold your hand tightly as you say your last words on your deathbed. Only people who love you can do that. If you make art to feel better, make sure it eventually makes you feel better. If it doesn't, stop making it. You will love someone differently, as time passes. If you always expect to feel the same kind of love you felt when you first met someone, you will always be looking for new people to love. Love doesn't fade. It just changes as it grows. It would be boring if it didn't. There is no truly "right" way of writing, painting, being or thinking, only things which have happened before. People who tell you differently are assholes, petrified of change, who should be violently ignored. No philosophy, mantra or piece of advice will hold true for every conceivable situation. "The early bird catches the worm" does not apply to minefields. Perfection only exists in poetry and movies, everyone fights occasionally and no sane person is ever completely sure of anything. Nothing is wrong with any of this. Wisdom does not come from age, wisdom comes from doing things. Be very, very careful of people who call themselves wise, artists, poets or gurus. If you eat well, exercise often and drink enough water, you have a good chance of living a long and happy life. The only time you can really be happy, is right now. There is no other moment that exists that is more important than this one. Do not sacrifice this moment in the hopes of a better one. It is easy to remember all these things when they are being said, it is much harder to remember them when you are stuck in traffic or lying in bed worrying about the next day. If you want to move people, simply tell them the truth. Today, it is rarer than it's ever been. (People will write things like this on posters (some of the words will be bigger than others) or speak them softly over music as art (pause for effect). The reason this happens is because as a society, we need to self-medicate against apathy and the slow, gradual death that can happen to anyone, should they confuse life with actually living.)

My father wrote beautifully,” Esmé interrupted. “I’m saving a number of his letters for posterity.” I said that sounded like a very good idea. I happened to be looking at her enormous-faced, chrono-graphic-looking wristwatch again. I asked if it had belonged to her father. She looked down at her wrist solemnly. “Yes, it did,” she said. “He gave it to me just before Charles and I were evacuated.” Self-consciously, she took her hand off the table, saying, “Purely as a momento, of course.” She guided the conversation in a different direction. “I’d be extremely flattered if you’d write a story exclusively for me sometime. I’m an avid reader.” I told her I certainly would, if I could. I said that I wasn’t terribly prolific. “It doesn’t have to be terribly prolific! Just so that isn’t childish and silly.” She reflected. “I prefer stories about squalor.” “About what?” I said, leaning forward. “Squalor. I’m extremely interested in squalor.

You know that saying, ‘Act now, apologize later?’ I’m pretty much the poster boy.

I often wonder what Einstein would have done in my position. At Peterson, I kept an Einstein poster in my room, the one that says 'Imagination is more important than knowledge.' Einstein was smart, maybe even as smart as Laserator, but he played it way too safe. Then again, nobody ever threw a grappling hook at Einstein. I like to think he would have enjoyed my work, if he could have seen it. But no one sees anything I do, not until it's hovering over Chicago.

POCKET-SIZED FEMINISM The only other girl at the party is ranting about feminism. The audience: a sea of rape jokes and snapbacks and styrofoam cups and me. They gawk at her mouth like it is a drain clogged with too many opinions. I shoot her an empathetic glance and say nothing. This house is for wallpaper women. What good is wallpaper that speaks? I want to stand up, but if I do, whose coffee table silence will these boys rest their feet on? I want to stand up, but if I do, what if someone takes my spot? I want to stand up, but if I do, what if everyone notices I’ve been sitting this whole time? I am guilty of keeping my feminism in my pocket until it is convenient not to, like at poetry slams or my women’s studies class. There are days I want people to like me more than I want to change the world. There are days I forget we had to invent nail polish to change color in drugged drinks and apps to virtually walk us home at night and mace disguised as lipstick. Once, I told a boy I was powerful and he told me to mind my own business. Once, a boy accused me of practicing misandry. You think you can take over the world? And I said No, I just want to see it. I just need to know it is there for someone. Once, my dad informed me sexism is dead and reminded me to always carry pepper spray in the same breath. We accept this state of constant fear as just another part of being a girl. We text each other when we get home safe and it does not occur to us that our guy friends do not have to do the same. You could saw a woman in half and it would be called a magic trick. That’s why you invited us here, isn’t it? Because there is no show without a beautiful assistant? We are surrounded by boys who hang up our naked posters and fantasize about choking us and watch movies we get murdered in. We are the daughters of men who warned us about the news and the missing girls on the milk carton and the sharp edge of the world. They begged us to be careful. To be safe. Then told our brothers to go out and play.

Apparently, anxious people high on neuroticism are using the self-affirmations and inspirational messages of posters to regulate their tendency to worry about things and become blue. The posters are a visual form of self-medication.

I stare past her at the inspirational kitten posters. There's one of a soaking-wet kitten climbing out of a toilet with the caption "it could be worse!" "Just tell me whatever it is you're thinking," Mrs. Paulsen says. "Whatever is going through your mind right now." "I hope they didn't actually drop a cat in the toilet to get that picture," I choke out. "...Pardon?" "Nothing. Sorry.

Dumas Malone says it perfectly: “Jefferson’s vision extended farther and comprehended more than that of anybody else in public life, and, thinking of himself as working for posterity, he was more concerned that things should be well started than that they be quickly finished.

The Constitution says: "We, the people of the United States, in order to form a more perfect union, establish justice, insure domestic tranquility, provide for the common defence, promote the general welfare, and secure the blessings of liberty to ourselves and our posterity do ordain and establish this Constitution for the United States of America." The meaning of this is simply We, the people of the United States, acting freely and voluntarily as individuals, consent and agree that we will cooperate with each other in sustaining such a government as is provided for in this Constitution. The necessity for the consent of "the people" is implied in this declaration. The whole authority of the Constitution rests upon it. If they did not consent, it was of no validity. Of course it had no validity, except as between those who actually consented. No one's consent could be presumed against him, without his actual consent being given, any more than in the case of any other contract to pay money, or render service. And to make it binding upon any one, his signature, or other positive evidence of consent, was as necessary as in the case of any other-contract. If the instrument meant to say that any of "the people of the United States" would be bound by it, who did not consent, it was a usurpation and a lie. The most that can be inferred from the form, "We, the people," is, that the instrument offered membership to all "the people of the United States;" leaving it for them to accept or refuse it, at their pleasure.

The director J. D. Walsh says good stories should be like the poster for Transformers. There’s a huge evil robot on the left side of the poster and a huge, big army on the right side of the poster. And in the middle, at the bottom, there’s just a small family trapped in the middle. Big stories need human stakes.

Remember, Thursday, that scientific thought -- indeed, any mode of thought, whether it be religious or philosophical or anything else -- is just like the fashions that we wear -- only much longer lived. It's a little like a boy band." "Scientific thought a boy band? How do you figure that?" "Well, every now and then a boy band comes along. We like it, buy the records, posters, parade them on TV, idolise them right up until --" ... "-- the next boy band?" I suggested. "Precisely. Aristotle was a boy band. A very good one but only number six or seven. He was the best boy band until Isaac Newton, but even Newton was transplanted by an even newer boy band. Same haircuts -- but different moves." "Einstein, right?" "Right. Do you see what I'm saying?" "I think so." "Good. So try and think of maybe thirty or forty boy bands past Einstein. To where we would regard Einstein as someone who glimpsed a truth, played one good chord on seven forgettable albums." "Where is this going, Dad?" "I'm nearly there. Imagine a boy band so good that you never needed another boy band ever again. Can you imagine that?

Baby, let me tell you what's going to happen. In a few years, there are going to be beautiful posters of Malcolm X, and his photographs will be everywhere. The same people who don't give a damn now will lie and say they always supported him.

In the school library there’s an old Book Week poster that says ‘Get Lost in a Book.’ Well, we do that. We lose ourselves in books for hours and hours—books about all kinds of people and tons of different places. Then we come back, and we bring things with us. When we get lost like that, I think we find all kinds of cool stuff.

One of my favorite posters says, “Life is a test. It is only a test. Had this been a real life you would have been instructed where to go and what to do.” Whenever I think of this humorous bit of wisdom, it reminds me to not take my life so seriously.

Figure, movement. Everything happens, says Pascal, from figure and movement. To say in this case that everything happens from movement, for every figure is no more than the lingering trace of a movement that has already ceased. Thus the letters that I am forming now, for example, are only the pen's lingering trace of the movement of my hand.

And so many of the indies have partnered with Google to sell ebooks right from their own websites. These stores are embracing the “new technology” instead of hiding from it, because they realize it’s about the story, not the ink on paper. If you want ebooks, your local indie can sell you ebooks. If your local independent is hanging up posters saying that ebooks will kill everything, you should tag that bookstore as a favorite in your GPS doohickey. You’ll get great deals, because that store will have a going-out-of-business sale soon. Yes, even though you try to save it with a letter-writing campaign.

The 2-Man seniorest males’ bedroom has a bunch of old AA bumper-stickers on it and a calligraphic poster saying EVERYTHING I’VE EVER LET GO OF HAS CLAW MARKS ON IT, and the answer to Gately’s knock is a moan,

This is the list you carry in your pocket, of the things you plan to say to Kay, when you find him, if you find him: 1. I’m sorry that I forgot to water your ferns while you were away that time. 2. When you said that I reminded you of your mother, was that a good thing? 3. I never really liked your friends all that much. 4. None of my friends ever really liked you. 5. Do you remember when the cat ran away, and I cried and cried and made you put up posters, and she never came back? I wasn’t crying because she didn’t come back. I was crying because I’d taken her to the woods, and I was scared she’d come back and tell you what I’d done, but I guess a wolf got her, or something. She never liked me anyway. 6. I never liked your mother. 7. After you left, I didn’t water your plants on purpose. They’re all dead. 8. Goodbye. 9. Were you ever really in love with me? 10. Was I good in bed, or just average? 11. What exactly did you mean, when you said that it was fine that I had put on a little weight, that you thought I was even more beautiful, that I should go ahead and eat as much as I wanted, but when I weighed myself on the bathroom scale, I was exactly the same weight as before, I hadn’t gained a single pound? 12. So all those times, I’m being honest here, every single time, and anyway I don’t care if you don’t believe me, I faked every orgasm you ever thought I had. Women can do that, you know. You never made me come, not even once. 13. So maybe I’m an idiot, but I used to be in love with you. 14. I slept with some guy, I didn’t mean to, it just kind of happened. Is that how it was with you? Not that I’m making any apologies, or that I’d accept yours, I just want to know. 15. My feet hurt, and it’s all your fault. 16. I mean it this time, goodbye.

Caroline nodded. "I understand that. The bayou is a huge part of your life and the local lifestyle. And people might come in here because of the bayou, but they don't fall in love with it and come back because of that. They fall in love and come back because they feel like a part of the family. Because they feel welcome and accepted here. That's what all of this represents." She gestured to encompass all of the photographs they had hanging on the wall. "I think these photographs are key. The posters and sports banners are great, but these photographs need to stay for sure.

Percy's enjoying work, then? said Harry, sitting down on one of the beds and watching the Chudley Cannons zooming in and out of the posters on the ceiling. 'Enjoying it?' said Ron darkly. 'I don't reckon he'd come home if Dad didn't make him. He's obsessed. Just don't get him onto the subject of his boss. "According to Mr Crouch" ... "as I was saying to Mr Crouch" ... "Mr Crouch is of the opinion" ... "Mr Crouch was telling" ... They'll announcing their engagement any day now.

All those posters and PSAs and health class presentations on body image and the way you can burst blood vessels in your face and rupture your esophagus if you can’t stop ramming those sno balls down your throat every night, knowing they’ll have to come back up again, you sad weak girl. Because of all this, Coach surely can’t tell a girl, a sensitive, body-conscious teenage girl, to get rid of the tender little tuck around her waist, can she? She can. Coach can say anything. And there’s Emily, keening over the toilet bowl after practice, begging me to kick her in the gut so she can expel the rest, all that cookie dough and cool ranch, the smell making me roil. Emily, a girl made entirely of donut sticks, cheese powder, and haribo. I kick, I do. She would do the same for me.

posters that say ‘don’t rape’ will prevent precisely zero rapes, because rape is already illegal, and would-be rapists know that. We can scream ‘don’t rape’ until we’re blue in the face, and it won’t make a blind bit of difference. It has to be possible to say simultaneously that rape is reprehensible and that it is OK – in fact, essential – to offer advice that could help to reduce its incidence.

Not your fault,” Lorenzo says. But it is. And my fault didn’t start when I signed Morgan’s contract on Thursday. My fault started two decades ago, the first time I didn’t vote, the umpteen times I told Jackie I was too busy to go on one of her marches or make posters or call my congressmen.

some people had told me racism was a thing of he past, they'd told me not to get involved. But that was nuts. They were nuts. And more to the point---they's all been white people. Well guess what? I'm white too ---and that's exactly why I'm marching. I had to. Because racism was alive and real as shit. It was everywhere and all mixed up in everything, and the only people who aids it wasn't, and the only people was said, "Don't talk about it" were white. Well, stop lying. That's what I wanted to tell those people. Stop lying. Stop Denying. That's why I'm marching. Nothing was going to change unless we did something about it. We! White people! We had to stand up and say something about it goo, because otherwise it was just like what those posters in the crowd outside school said: OUR SILENCE IS ANOTHER KIND OF VIOLENCE.

I once read that if the folds in the cerebral cortex were smoothed out it would cover a card table. That seemed quite unbelievable but it did make me wonder just how big the cortex would be if you ironed it out. I thought it might just about cover a family-sized pizza: not bad, but no card-table. I was astonished to realize that nobody seems to know the answer. A quick search yielded the following estimates for the smoothed out dimensions of the cerebral cortex of the human brain. An article in Bioscience in November 1987 by Julie Ann Miller claimed the cortex was a "quarter-metre square." That is napkin-sized, about ten inches by ten inches. Scientific American magazine in September 1992 upped the ante considerably with an estimated of 1 1/2 square metres; thats a square of brain forty inches on each side, getting close to the card-table estimate. A psychologist at the University of Toronto figured it would cover the floor of his living room (I haven't seen his living room), but the prize winning estimate so far is from the British magazine New Scientist's poster of the brain published in 1993 which claimed that the cerebral cortex, if flattened out, would cover a tennis court. How can there be such disagreement? How can so many experts not know how big the cortex is? I don't know, but I'm on the hunt for an expert who will say the cortex, when fully spread out, will cover a football field. A Canadian football field.

The gym where I work out in Tokyo has a poster that says, “Muscles are hard to get and easy to lose. Fat is easy to get and hard to lose.” A painful reality, but a reality all the same.

Only God was able to create a free creature, and freedom could only arise by the act of creation. Freedom is not the result or product of evolution. Freedom and product are disparate ideas. God does not produce or construct. He creates. We used to say the same for artists, for the artist who constructs does not create a personality but rather a poster of man. A personality cannot be constructed. Maybe sooner or later, during this century or after a million years of continued civilization, man will succeed in constructing an imitation of himself, a kind of robot or monster, something similar to its constructor. This human-looking monster may look very much like man, but one thing is certain: it will never have freedom. Without a divine touch, the result of evolution would not have been man, but rather a developed animal, a super-animal, a creature with a human body and intelligence but without a heart and personality.

That unique Moscow mix of tackiness and menace. One time I see a poster advertising a new property development that captures the tone nicely. Got up in the style of Nazi propaganda, it shows two Germanic-looking youths against a glorious alpine mountain over the slogan "Life is Getting Better". It would be wrong to say the ad is humorous, but it's not quite serious either. It's sort of both. It's saying this is the society we live in (a dictatorship), but we're just playing at it (we can make jokes about it), but playing in a serious way (we're making money playing it and won't let anyone subvert its rules).

Some of our religious people saw Osama bin Laden as a hero. In the bazaar you could buy posters of him on a white horse and boxes of sweets with his picture on them. These clerics said 9/11 was revenge on the Americans for what they had been doing to other people around the world, but they ignored the fact that the people in the World Trade Center were innocent and had nothing to do with American policy and that the Holy Quran clearly says it is wrong to kill.

They tell you to do your thing but they don't mean it. They don't want you to do your own thing, not unless it happens to be their thing, too. It's a laugh, Goober, a fake. Don't disturb the universe, Goober, no matter what the posters say.

One boy lost the treasured lunchbox note from his mother saying 'good luck'. He cried, alone in his room, then threw a toy car at his father's framed Coltrane poster. It smashed. He felt better. The father dutifully swept up all the glass and understood.

And truly, God does   not make known his will to us, that the knowledge of it may perish with   us; but that we may be his witnesses to posterity and that they may   deliver the knowledge received through us, from hand to hand, (as we   say,) to their descendants.

for I have always seen a great similarity in the turn of our minds.—We are each of an unsocial, taciturn disposition, unwilling to speak, unless we expect to say something that will amaze the whole room, and be handed down to posterity with all the eclat of a proverb.

I slowly dug a stand-up foxhole up to my neck using my helmet. I don’t think any of us slept that night. It was the first time in my tour when I wasn’t sure I would make it. I’m not ashamed to say I did a lot of thinking about home and a lot of praying to the man upstairs.

It's not a remarkable note except for one thing. The typeface Tony used to print it is the exact typeface Kubrick used for the posters and title sequences of 'Eyes Wide Shut' and '2001'. 'It's Futura Extra Bold,' explains Tony. 'It was Stanley's favorite typeface. It's sans serif. He liked Helvetica and Univers too. Clean and elegant.' 'Is this the kind of thing you and Kubrick used to talk about?' I asked. 'God, yes,' says Tony. 'Sometimes late into the night. I was always trying to persuade him to turn away from them. But he was wedded to his sans serifs.

CHRISTMAS GREETINGS From Ray Bradbury Imagine that you have been dead for a year, ten years, one hundred years, a thousand years. The grave and night have taken and kept you in that silence and dark which says nothing and so reveals absolutely zero. In the middle of all this darkness and being alone and bereft of sense, let us imagine that God comes to your still soul and lonely body and says: I will give you one minute of ife. I will restore you to your body and senses for sixty seconds. Out of all the minutes in your life, choose one, I will put you in that minute, and you will be alive again after a hundred, a thousand years of darkness. Which is it? Think. Speak. Which do you choose? And the answer is: Any minute. Any minute at all! Oh, God, Sweet Christ, oh mystery, give me any minute in all my life. And the further answer is: When I lived I didn't know that every minute was special, precious a gift, a miracle, an incredible thing, an impossible work, an amazing dream. But not, Like Ebenezer Scrooge on Christmas Morn, with snow in the air and the promise of rebirth given, I know what I should have known in my dumb shambles: That all is a lark, and it is a beauty beyond tears, and also a terror. But I dance about, I become a child, I am the boy who runs for the great bird in the window and I am the man who sends the boy running for that bird, and I am the life that blows in the snowing wind along that street, and the bells that sound and say: live, love, for too soon will your name which is shaped in the snow melt, of your soul which is inscribed like a breath of vapor on a cold glass pane fade. Run, run, lad, run, down the middle of Christmas at the center of life.

Success is transparent and accessible, hanging down where it can tease but not touch us. We talk into these scratchy microphones and take extra photographs but I still feel like there are just SO MANY PEOPLE. Every day, 1,035.6 books are published; sixty-six million people update their status each morning. At night, aimlessly scrolling, I remind myself of elementary school murals. One person can make a difference! But the people asking me what I want to be when I grow up don’t want me to make a poster anymore. They want me to fill out forms and hand them rectangular cards that say HELLO THIS IS WHAT I DO.

I was marching. I kept saying it as I scanned the crowd for Jill, pumping myself up, because some people had told me racism was a thing of the past, they's told me not to get involved. But that was nuts. They were nuts. And more to the point - they'd all been white people. Well, guess what? I'm white too - and that's exactly why I was marching. I had to. Because racism was alive and real as shit. It was everywhere and all mixed up in everything, and the only people who said it wasn't, and the only people who said "Don't talk about it" were white. Well, stop lying. That's what I wanted to tell those people. Stop lying. Stop denying. That's why I was marching. Nothing was going to change unless we did something about it. We! White people! We had to stand up and say something about it too, because otherwise it was just like what one of those posters in the crowd outside school said: OUR SILENCE IS ANOTHER KIND OF VIOLENCE

Betty once had self-image problems, but she overcame them. A Morninglight poster decorates her wall. Much-read pamphlets sit in her bathroom. Philip Marquard's audio book on self-actualisation plays in her earphones. Fresh signatures fill the forms on her clipboard. Bottles of Morninglight dietary supplements and nutrient pills fill her medicine cabinet. By her bed is an autographed picture of Philip Marquard, the one she secretly kisses before going to sleep. Every night she dreams of freeing herself from her mortal shell and ascending into the cosmos to soar with the whale-mollusc gods. There are new recruits chained to Betty's walls. She has their signatures. They tested as having self-image problems, as she once had. Smiling, she tells them they are all beautiful. She opens them with a knife, shows them the beauty inside. "Look!" she says, tears streaming. "We are all made of stars!" Then she practises eating stars, waiting for enlightenment to take hold.

So what is it really like? What happens when people die?" Noor asks Alice Bhatti, who after finishing her shift has changed into a loose maxi and is lying down on a wheelie stretcher, her forearm covering her eyes. A half-torn poster on the wall behind the stretcher says : Bhai, your blood will bring a revolution. Someone has scrawled under it with a marker: And that revolution will bring more blood. Someone has added Insha'allah in an attempt to introduce divine intervention into the proceedings. Some more down-to-earth soul has tried to give this revolution a direction, and drawn an arrow underneath and scribbled, Bhai, the Blood Bank is in Block C.

Andrea Meyer: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It's like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it's maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It's choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it's a handmade work of filmmaking - that I really believe. And I call that cine-writing.

Listen Peter,’ he said seriously. ‘What I'm about to say is extremely important, not only for your own good, but for the good of everybody. You've certainly seen the war posters about careless talk costing lives.’ I nodded. ‘What you've just said is an example of careless talk. It's very dangerous. It could even cost your own life.

He pulled a Tupperware container out of the fridge and set it next to the carton of eggs. “Why do I get the feeling you weren’t there to catch a Cubs game?” She ignored his question. “Are those prechopped peppers in that Tupperware container?” Troy cracked an egg into a bowl. “Yeah.” “I’m not sleeping with you.” “Jesus,” he choked out. “How did we arrive here from prechopped peppers?” Ruby pushed back her chair and stood, the poster child for nervous energy. “You must cook for girls pretty often to chop up peppers in advance, that’s all I’m saying. So if there are strings attached to that omelet, I don’t want it. No matter how good it tastes, the answer is no.

But what can we do?’ Otto Quangel says, unnerved by this onslaught. ‘There are so few of us, and all those millions for him, and now, after the victory against France, there will be even more. We can do nothing!’ ‘We can do plenty!’ she whispers. ‘We can vandalize the machines, we can work badly, work slowly, we can tear down their posters and put up others where we tell people the truth about how they are being cheated and lied to.’ She drops her voice further: ‘But the main thing is that we remain different from them, that we never allow ourselves to be made into them, or start thinking as they do. Even if they conquer the whole world, we must refuse to become Nazis.

There are two ways to turn devils into angels: First, acknowledge things about them that you genuinely appreciate. Uncle Morty took you to the beach when you were a kid. Your mom still sends you money on your birthday. Your ex-wife is a good mother to your children. There must be something you sincerely appreciate about this person. Shift your attention from the mean and nasty things they have said or done to the kind and helpful things they have said or done—even if there are just a few or even only one. You have defined this person by their iniquities. You can just as easily—actually, more easily—define them by their redeeming qualities. It’s your movie. Change the script. Perhaps you are still arguing that the person who has hurt you has no redeeming qualities whatsoever. She is evil incarnate, Rosemary’s baby conceived with Satan himself, poster child for the dark side of the Force, destined to wreak havoc and horror in the lives of everyone she touches. A nastier bitch never walked the earth. Got it. Let’s say all of this is true—the person who troubles you is a no-good, cheating, lying SOB. Now here’s the second devil-transformer. Consider: How has this person helped you to grow? What spiritual muscles have you developed that you would not have built if this person had been nicer to you? Have you learned to hold your power and self-esteem in the presence of attempted insult? Do you now speak your truth more quickly and directly? Are you now asking for what you want instead of passively deferring? Are you setting healthier boundaries? Have you deepened in patience and compassion? Do you make more self-honoring choices? There are many benefits you might have gained, or still might gain, from someone who challenges you.

I think of published poets that you could know of...I think [Rainer Maria Rilke] probably has the most great published poems of any poet [...] but Rilke himself was an asshole. If you look at his biography, he was probably misogynist; he was a liar, a cheat; he was a terrible father; he was selfish; he put people down; he had no consideration for anyone [...] yet, he transcends that in his greatest poems. There's that ineffable, spiritual quality - that he himself couldn't reach! But somewhere underneath that reptilian exterior, that asshole exterior of Rainer Maria Rilke, there was some good that came through – like these little sunbursts coming through clouds – that had that moment. And he'd write the Duino Elegies, he'd write the New Poems, and somewhere, that came through. And that's an amazing thing: you can have a lot of great people who are great individuals, who are loving and caring – and they can't do that. And that's not to say that their lives are meaningless, but they will never be able to affect anyone past the propinquity of their existence. They are never going to be able to affect someone in China; they are never going to be able to affect someone in 2132 the way Rilke can. And that specialness needs to be acknowledged; that specialness needs to be upheld; it needs to be rewarded, and people need to say, 'Goddamn – that's a good thing! It's a good thing that people make art!

I can’t say for certain what the future will hold, but at the risk of sounding like a cheesy motivational poster, know this: life ebbs and flows, and there’s always room for change. Humans have the capacity for growth until they leave this earth, so never feel like it’s too late for you to take another road if you’re unhappy with the one you’re traveling.

And the son bursting into his father's house, killing him, and at the same time not killing him, this is not even a novel, not a poem, it is a sphinx posing riddles, which it, of course, will not solve itself. If he killed him, he killed him; how can it be that he killed him and yet did not kill him--who can understand that? Then it is announced to us that our tribune is the tribune of truth and sensible ideas, and so from this tribune of 'sensible ideas' an axiom resounds, accompanied by an oath, that to call the murder of a father parricide is simply a prejudice! But if parricide is a prejudice, and if every child ought to ask his father, 'Father, why should I love you?'--what will become of us, what will become of the foundations of society, where will the family end up? Parricide--don't you see, it's just the 'brimstone' of some Moscow merchant's wife? The most precious, the most sacred precepts concerning the purpose and future of the Russian courts are presented perversely and frivolously, only to achieve a certain end, to achieve the acquittal of that which cannot be acquitted. 'Oh, overwhelm him with mercy,' the defense attorney exclaims, and that is just what the criminal wants, and tomorrow everyone will see how overwhelmed he is! And is the defense attorney not being too modest in asking only for the defendant's acquittal? Why does he not ask that a fund be established in the parricide's name, in order to immortalize his deed for posterity and the younger generation? The Gospel and religion are corrected: it's all mysticism, he says, and ours is the only true Christianity, tested by the analysis of reason and sensible ideas. And so a false image of Christ is held up to us! With what measure ye mete, it shall be measured to you,' the defense attorney exclaims, and concludes then and there that Christ commanded us to measure with the same measure as it is measured to us--and that from the tribune of truth and sensible ideas! We glance into the Gospel only on the eve of our speeches, in order to make a brilliant display of our familiarity with what is, after all, a rather original work, which may prove useful and serve for a certain effect, in good measure, all in good measure! Yet Christ tells us precisely not to do so, to beware of doing so, because that is what the wicked world does, whereas we must forgive and turn our cheek, and not measure with the same measure as our offenders measure to us. This is what our God taught us, and not that it is a prejudice to forbid children to kill their own fathers. And let us not, from the rostrum of truth and sensible ideas, correct the Gospel of our God, whom the defense attorney deems worthy of being called merely 'the crucified lover of mankind,' in opposition to the whole of Orthodox Russia, which calls out to him: 'For thou art our God...!

December 22nd STAKE YOUR OWN CLAIM “For it’s disgraceful for an old person, or one in sight of old age, to have only the knowledge carried in their notebooks. Zeno said this . . . what do you say? Cleanthes said that . . . what do you say? How long will you be compelled by the claims of another? Take charge and stake your own claim—something posterity will carry in its notebook.” —SENECA, MORAL LETTERS, 33.7

If we analyse the classes of life, we readily find that there are three cardinal classes which are radically distinct in function. A short analysis will disclose to us that, though minerals have various activities, they are not "living." The plants have a very definite and well known function-the transformation of solar energy into organic chemical energy. They are a class of life which appropriates one kind of energy, converts it into another kind and stores it up; in that sense they are a kind of storage battery for the solar energy; and so I define THE PLANTS AS THE CHEMISTRY-BINDING class of life. The animals use the highly dynamic products of the chemistry-binding class-the plants-as food, and those products-the results of plant-transformation-undergo in animals a further transformation into yet higher forms; and the animals are correspondingly a more dynamic class of life; their energy is kinetic; they have a remarkable freedom and power which the plants do not possess-I mean the freedom and faculty to move about in space; and so I define ANIMALS AS THE SPACE-BINDING CLASS OF LIFE. And now what shall we say of human beings? What is to be our definition of Man? Like the animals, human beings do indeed possess the space-binding capacity but, over and above that, human beings possess a most remarkable capacity which is entirely peculiar to them-I mean the capacity to summarise, digest and appropriate the labors and experiences of the past; I mean the capacity to use the fruits of past labors and experiences as intellectual or spiritual capital for developments in the present; I mean the capacity to employ as instruments of increasing power the accumulated achievements of the all-precious lives of the past generations spent in trial and error, trial and success; I mean the capacity of human beings to conduct their lives in the ever increasing light of inherited wisdom; I mean the capacity in virtue of which man is at once the heritor of the by-gone ages and the trustee of posterity. And because humanity is just this magnificent natural agency by which the past lives in the present and the present for the future, I define HUMANITY, in the universal tongue of mathematics and mechanics, to be the TIME-BINDING CLASS OF LIFE.

The central fact of biblical history, the birth of the Messiah, more than any other, presupposes the design of Providence in the selecting and uniting of successive producers, and the real, paramount interest of the biblical narratives is concentrated on the various and wondrous fates, by which are arranged the births and combinations of the 'fathers of God.' But in all this complicated system of means, having determined in the order of historical phenomena the birth of the Messiah, there was no room for love in the proper meaning of the word. Love is, of course, encountered in the Bible, but only as an independent fact and not as an instrument in the process of the genealogy of Christ. The sacred book does not say that Abram took Sarai to wife by force of an ardent love, and in any case Providence must have waited until this love had grown completely cool for the centenarian progenitors to produce a child of faith, not of love. Isaac married Rebekah not for love but in accordance with an earlier formed resolution and the design of his father. Jacob loved Rachel, but this love turned out to be unnecessary for the origin of the Messiah. He was indeed to be born of a son of Jacob - Judah - but the latter was the offspring, not of Rachel but of the unloved wife, Leah. For the production in the given generation of the ancestor of the Messiah, what was necessary was the union of Jacob precisely with Leah; but to attain this union Providence did not awaken in Jacob any powerful passion of love for the future mother of the 'father of God' - Judah. Not infringing the liberty of Jacob's heartfelt feeling, the higher power permitted him to love Rachel, but for his necessary union with Leah it made use of means of quite a different kind: the mercenary cunning of a third person - devoted to his own domestic and economic interests - Laban. Judah himself, for the production of the remote ancestors of the Messiah, besides his legitimate posterity, had in his old age to marry his daughter-in-law Tamar. Seeing that such a union was not at all in the natural order of things, and indeed could not take place under ordinary conditions, that end was attained by means of an extremely strange occurrence very seductive to superficial readers of the Bible. Nor in such an occurrence could there be any talk of love. It was not love which combined the priestly harlot Rahab with the Hebrew stranger; she yielded herself to him at first in the course of her profession, and afterwards the casual bond was strengthened by her faith in the power of the new God and in the desire for his patronage for herself and her family. It was not love which united David's great-grandfather, the aged Boaz, with the youthful Moabitess Ruth, and Solomon was begotten not from genuine, profound love, but only from the casual, sinful caprice of a sovereign who was growing old.

A man will commit almost any wrong,—he will heap up an immense pile of wickedness, as hard as granite, and which will weigh as heavily upon his soul, to eternal ages,—only to build a great, gloomy, dark-chambered mansion, for him to die in, and for his posterity to be miserable in. He lays his own dead corpse beneath the underpinning, as one may say, and hangs his frowning picture on the wall, and, after thus converting himself into an evil destiny, expects his remotest great-grandchildren to be happy there!

Provided that a writer of almanacs has already gained enough authority for people to bother to read his books, examining his words for implications and shades of meaning, he can be made to say anything whatever – like Sybils. There are so many ways of taking anything, that it is hard for a clever mind not to find in almost any subject something or other which appears to serve his point, directly or indirectly. [C] That explains why an opaque, ambiguous style has been so long in vogue. All an author needs to do is to attract the concern and attention of posterity. (He may achieve that not so much by merit as by some chance interest in his subject-matter.) Then, whether out of subtlety or stupidity, he can contradict himself or express himself obscurely: no matter! Numerous minds will get out their sieves, sifting and forcing any number of ideas through them, some of them relevant, some off the point, some flat contradictory to his intentions, but all of them doing him honour. He will grow rich out of his students’ resources – like dons being paid their midsummer fees at the Lendit fair.

that a statesman should devote his life to studying “the science of politics, in order to acquire in advance all the knowledge that it may be necessary for him to use at some future time”; that authority in a state must always be divided; and that of the three known forms of government—monarchy, aristocracy and people—the best is a mixture of all three, for each one taken on its own can lead to disaster: kings can be capricious, aristocrats self-interested, and “an unbridled multitude enjoying unwonted power more terrifying than a conflagration or a raging sea.” Often today I reread On the Republic, and always I am moved, especially by the passage at the end of book six, when Scipio describes how his grandfather appears to him in a dream and takes him up into the heavens to show him the smallness of the earth in comparison to the grandeur of the Milky Way, where the spirits of dead statesmen dwell as stars. The description was inspired by the vast, clear night skies above the Bay of Naples: I gazed in every direction and all appeared wonderfully beautiful. There were stars which we never see from earth, and they were all larger than we have ever imagined. The starry spheres were much greater than the earth; indeed the earth itself seemed to me so small that I was scornful of our empire, which covers only a single point, as it were, upon its surface. “If only you will look on high,” the old man tells Scipio, “and contemplate this eternal home and resting place, you will no longer bother with the gossip of the common herd or put your trust in human reward for your exploits. Nor will any man’s reputation endure very long, for what men say dies with them and is blotted out with the forgetfulness of posterity.

You're the center of my world- and that scares me because I don't want to lose myself in you. I know I'm never going to tell you any of these things because, well, because there are things that I just need to keep. The men who are dying of AIDS have a poster that says SILENCE = DEATH. I think I know what that means. But for a guy like me, silence can be a place where I am free of words. Do you understand that, Dante? Before I met you, I didn't think anything about words. They were invisible to me. But now that words are visible, I think that they're much too strong for me.

But as all are of the same original stock, a golden parent will sometimes have a silver son, or a silver parent a golden son. And God proclaims as a first principle to the rulers, and above all else, that there is nothing which they should so anxiously guard, or of which they are to be such good guardians, as of the purity of the race. They should observe what elements mingle in their offspring; for if the son of a golden or silver parent has an admixture of brass and iron, then nature orders a transposition of ranks, and the eye of the ruler must not be pitiful towards the child because he has to descend in the scale and become a husbandman or artisan, just as there may be sons of artisans who having an admixture of gold or silver in them are raised to honour, and become guardians or auxiliaries. For an oracle says that when a man of brass or iron guards the State, it will be destroyed. Such is the tale; is there any possibility of making our citizens believe in it? Not in the present generation, he replied; there is no way of accomplishing this; but their sons may be made to believe in the tale, and their sons' sons, and posterity after them. I

And then she walked into the room. Like calling this place a “house” was inadequate, saying she “walked” also seemed far too tame. Accurate, yes. I mean, she didn’t do anything extraordinary. Not really. She didn’t glide into the drawing room or ride in on a white horse or anything like that. But she might as well have. She made an entrance and she made it just by entering. I didn’t say “wow” out loud, but I almost did. We both quickly stood, not because we were being gentlemen, but because something about her entrance demanded it. There, in the flesh, was the talk of the town, the movie poster come to life, Angelica Wyatt. “You

Exhibit D: The Cots (or, If You Give a Librarian a Closet) If you give a librarian a closet, she will probably fill it with junk. If she fills it with junk, some of the junk will be books in need of repair. If some of the junk is books, and the closet is off of a back room anyway, she will hide more books there, books that she thinks are crap like the Stormy Sisters series, but which her boss thinks the library should keep. If she hides crappy books there, she will be in no rush to clean the closet, since she would then be out a hiding place. If she goes ten months without cleaning it, she will go to great lengths to hide the mess from her alcoholic and temperamental boss. If she wants to hide the mess from her boss, she will stuff the front of the closet with cots that were once used for nap hour of the short-lived library day care, circa 1996. If she stuffs the closet with cots… the closet will fester unopened for months. If the closet festers unopened for months, the librarian will probably decorate the closet door with cartoons and posters in an effort to distract her fellow librarians from the thought of ever opening the closet. If a librarian decorates a closet door, she will use such items as a Conan the Librarian cartoon, a large stocker that says “the world is quiet here,” a poster of If You Give a Mouse a Cookie, a CPR chart, and a bookstore café napkin signed by Michael Chabon. If she uses these items, her boss will ask, “What the hell does this mean, ‘The world is quiet here’? Is it political?” And her boss will also ask, “you’re not filing Michael Chabon in the children’s section, are you?” but her boss, distracted by these items, will never think to open the door. If her boss never opens the door, she will forget she has given the librarian a closet and will, by the end of the year, offer the librarian a second closet. If she gives the librarian a second closet, the librarian will probably fill it with junk.

Louis XIV was a very proud and self-confident man. He had such and such mistresses, and such and such ministers, and he governed France badly. The heirs of Louis XIV were also weak men, and also governed France badly. They also had such and such favourites and such and such mistresses. Besides which, certain persons were at this time writing books. By the end of the eighteenth century there gathered in Paris two dozen or so persons who started saying that all men were free and equal. Because of this in the whole of France people began to slaughter and drown each other. These people killed the king and a good many others. At this time there was a man of genius in France – Napoleon. He conquered everyone everywhere, i.e. killed a great many people because he was a great genius; and, for some reason, he went off to kill Africans, and killed them so well, and was so clever and cunning, that, having arrived in France, he ordered everyone to obey him, which they did. Having made himself Emperor he again went to kill masses of people in Italy, Austria and Prussia. And there too he killed a great many. Now in Russia there was the Emperor Alexander, who decided to reestablish order in Europe, and therefore fought wars with Napoleon. But in the year ’07 he suddenly made friends with him, and in the year ’11 quarrelled with him again, and they both again began to kill a great many people. And Napoleon brought six hundred thousand men to Russia and conquered Moscow. But then he suddenly ran away from Moscow, and then the Emperor Alexander, aided by the advice of Stein and others, united Europe to raise an army against the disturber of her peace. All Napoleon’s allies suddenly became his enemies; and this army marched against Napoleon, who had gathered new forces. The allies conquered Napoleon, entered Paris, forced Napoleon to renounce the throne, and sent him to the island of Elba, without, however, depriving him of the title of Emperor, and showing him all respect, in spite of the fact that five years before, and a year after, everyone considered him a brigand and beyond the law. Thereupon Louis XVIII, who until then had been an object of mere ridicule to both Frenchmen and the allies, began to reign. As for Napoleon, after shedding tears before the Old Guard, he gave up his throne, and went into exile. Then astute statesmen and diplomats, in particular Talleyrand, who had managed to sit down before anyone else in the famous armchair1 and thereby to extend the frontiers of France, talked in Vienna, and by means of such talk made peoples happy or unhappy. Suddenly the diplomats and monarchs almost came to blows. They were almost ready to order their troops once again to kill each other; but at this moment Napoleon arrived in France with a battalion, and the French, who hated him, all immediately submitted to him. But this annoyed the allied monarchs very much and they again went to war with the French. And the genius Napoleon was defeated and taken to the island of St Helena, having suddenly been discovered to be an outlaw. Whereupon the exile, parted from his dear ones and his beloved France, died a slow death on a rock, and bequeathed his great deeds to posterity. As for Europe, a reaction occurred there, and all the princes began to treat their peoples badly once again.

Shockers take six months of training and still occasionally kill their users. Why did you implant them in the first place?” “Because you kidnapped me.” “That’s the stupidest thing I’ve ever heard.” “Mr. Rogan.” My voice frosted over. “What I put into my body is my business.” Okay, that didn’t sound right. I gave up and marched out the doors into the sunlight. That was so dumb. Sure, try your magic sex touch on me, what could happen? My whole body was still keyed up, wrapped up in want and anticipation. I had completely embarrassed myself. If I could fall through the floor, I would. “Nevada,” he said behind me. His voice rolled over me, tinted with command and enticing, promising things I really wanted. You’re a professional. Act like one. I gathered all of my will and made myself sound calm. “Yes?” He caught up with me. “We need to talk about this.” “There is nothing to discuss,” I told him. “My body had an involuntary response to your magic.” I nodded at the poster for Crash and Burn II on the wall of the mall, with Leif Magnusson flexing with two guns while wrapped in flames. “If Leif showed up in the middle of this parking lot, my body would have an involuntary response to his presence as well. It doesn’t mean I would act on it.” Mad Rogan gave Leif a dismissive glance and turned back to me. “They say admitting that you have a problem is the first step toward recovery.” He was changing his tactics. Not going to work. “You know what my problem is? My problem is a homicidal pyrokinetic Prime whom I have to bring back to his narcissistic family.” We crossed the road to the long parking lot. Grassy dividers punctuated by small trees sectioned the lot into lanes, and Mad Rogan had parked toward the end of the lane, by the exit ramp. “One school of thought says the best way to handle an issue like this is exposure therapy,” Mad Rogan said. “For example, if you’re terrified of snakes, repeated handling of them will cure it.” Aha. “I’m not handling your snake.” He grinned. “Baby, you couldn’t handle my snake.” It finally sank in. Mad Rogan, the Huracan, had just made a pass at me. After he casually almost strangled a woman in public. I texted to Bern, “Need pickup at Galeria IV.” Getting into Rogan’s car was out of the question.

this reaction. This was on college campuses, exactly the kind of environment where I had expected curiosity, lively debate, and, yes, the thrill and energy of like-minded activists. Instead almost every campus audience I encountered bristled with anger and protest. I was accustomed to radical Muslim students from my experience as an activist and a politician in Holland. Any time I made a public speech, they would swarm to it in order to shout at me and rant in broken Dutch, in sentences so fractured you wondered how they qualified as students at all. On college campuses in the United States and Canada, by contrast, young and highly articulate people from the Muslim student associations would simply take over the debate. They would send e-mails of protest to the organizers beforehand, such as one (sent by a divinity student at Harvard) that protested that I did not “address anything of substance that actually affects Muslim women’s lives” and that I merely wanted to “trash” Islam. They would stick up posters and hand out pamphlets at the auditorium. Before I’d even stopped speaking they’d be lining up for the microphone, elbowing away all non-Muslims. They spoke in perfect English; they were mostly very well-mannered; and they appeared far better assimilated than their European immigrant counterparts. There were far fewer bearded young men in robes short enough to show their ankles, aping the tradition that says the Prophet’s companions dressed this way out of humility, and fewer girls in hideous black veils. In the United States a radical Muslim student might have a little goatee; a girl may wear a light, attractive headscarf. Their whole demeanor was far less threatening, but they were omnipresent. Some of them would begin by saying how sorry they were for all my terrible suffering, but they would then add that these so-called traumas of mine were aberrant, a “cultural thing,” nothing to do with Islam. In blaming Islam for the oppression of women, they said, I was vilifying them personally, as Muslims. I had failed to understand that Islam is a religion of peace, that the Prophet treated women very well. Several times I was informed that attacking Islam only serves the purpose of something called “colonial feminism,” which in itself was allegedly a pretext for the war on terror and the evil designs of the U.S. government. I was invited to one college to speak as part of a series of

A VALEDICTION: OF THE BOOK I'll tell thee now (dear love) what thou shalt do To anger destiny, as she doth us; How I shall stay, though she eloign me thus, And how posterity shall know it too; How thine may out-endure Sibyl's glory, and obscure Her who from Pindar could allure, And her, through whose help Lucan is not lame, And her, whose book (they say) Homer did find, and name. Study our manuscripts, those myriads Of letters, which have past 'twixt thee and me; Thence write our annals, and in them will be To all whom love's subliming fire invades, Rule and example found; There the faith of any ground No schismatic will dare to wound, That sees, how Love this grace to us affords, To make, to keep, to use, to be these his records. This book, as long-lived as the elements, Or as the world's form, this all-graved tome In cypher writ, or new made idiom; We for Love's clergy only are instruments; When this book is made thus, Should again the ravenous Vandals and Goths invade us, Learning were safe; in this our universe, Schools might learn sciences, spheres music, angels verse. Here Love's divines—since all divinity Is love or wonder—may find all they seek, Whether abstract spiritual love they like, Their souls exhaled with what they do not see; Or, loth so to amuse Faith's infirmity, they choose Something which they may see and use; For, though mind be the heaven, where love doth sit, Beauty a convenient type may be to figure it. Here more than in their books may lawyers find, Both by what titles mistresses are ours, And how prerogative these states devours, Transferred from Love himself, to womankind; Who, though from heart and eyes, They exact great subsidies, Forsake him who on them relies; And for the cause, honour, or conscience give; Chimeras vain as they or their prerogative. Here statesmen, (or of them, they which can read) May of their occupation find the grounds; Love, and their art, alike it deadly wounds, If to consider what 'tis, one proceed. In both they do excel Who the present govern well, Whose weakness none doth, or dares tell; In this thy book, such will there something see, As in the Bible some can find out alchemy. Thus vent thy thoughts; abroad I'll study thee, As he removes far off, that great heights takes; How great love is, presence best trial makes, But absence tries how long this love will be; To take a latitude Sun, or stars, are fitliest viewed At their brightest, but to conclude Of longitudes, what other way have we, But to mark when and where the dark eclipses be?

All right, you said. You had an idea about the questions: you’d be asked to give a good account of yourself, and to admit to your misdeeds, such as they were. You thought you were ready. You hadn’t been perfect, but then, perfection wouldn’t be expected. Surely not, or who would ever get in? Here are the questions, he said. What is your favourite colour? Did you love your cat? Did you ever find a coin on the pavement? Were you happy? Suddenly it’s the present tense. The first question baffles you. Do you have a favourite colour or not? You can’t remember. Everything you’ve been meaning to say in your own defence has gone right out of your head. Now a wind has begun to blow: ripped posters whirl along the street, open mouths, hands, eyes. Perhaps you should open the rucksack. You never had a cat. What do coins have to do with it? There must be some mistake.

It was the first time that I had ever been in a town where the working class was in the saddle. Practically every building of any size had been seized by the workers and was draped with red flags and with the red and black flag of the Anarchists; every wall was scrawled with the hammer and sickle and with the initials of the revolutionary parties; almost every church had been gutted and its images burnt. Churches here and there were being systematically demolished by gangs of workmen. Every shop and cafe had an inscription saying that it had been collectivized; even the bootblacks had been collectivized and their boxes painted red and black. Waiters and shop-walkers looked you in the face and treated you as an equal. Servile and even ceremonial forms of speech had temporarily disappeared. Nobody said 'Señor' or 'Don' or even 'Usted'; everyone called everyone else 'Comrade' or 'Thou', and said 'Salud!' instead of 'Buenos días'. Tipping had been forbidden by law since the time of Primo de Rivera; almost my first experience was receiving a lecture from a hotel manager for trying to tip a lift-boy. There were no private motor-cars, they had all been commandeered, and the trams and taxis and much of the other transport were painted red and black. The revolutionary posters were everywhere, flaming from the walls in clean reds and blues that made the few remaining advertisements look like daubs of mud. Down the Ramblas, the wide central artery of the town where crowds of people streamed constantly to and from, the loud-speakers were bellowing revolutionary songs all day and far into the night. And it was the aspect of the crowds that was the queerest thing of all. In outward appearance it was a town in which the wealthy classes had practically ceased to exist. Except for a small number of women and foreigners there were no 'well-dressed' people at all. Practically everyone wore rough working-class clothes, or blue overalls or some variant of militia uniform. All this was queer and moving. There was much in this that I did not understand, in some ways I did not even like it, but I recognized it immediately as a state of affairs worth fighting for...so far as one could judge the people were contented and hopeful. There was no unemployment, and the price of living was still extremely low; you saw very few conspicuously destitute people, and no beggars except the gypsies. Above all, there was a belief in the revolution and the future, a feeling of having suddenly emerged into an era of equality and freedom. Human beings were trying to behave as human beings and not as cogs in the capitalist machine.

When we were recording the Ozzmosis album we did a batch of it in New York. There was this occult bookstore...and they had everything in there on Wicca, Catholicism, Satanism, the whole nine yards. I was getting some Aleister Crowley stuff because Jimmy Page owned the castle (Crowley's former home) and the other guys were into him. ...I go to get his poster they had in there, I go "How much for this poster?" and the guy looks at me deadpan and goes "$6.66." I put seven bucks down and say "Keep the goddamn change. I can't take it, dude." So I hang the poster up and the boss man (Ozzy) walks in and he goes "Zakk, who's the guy upon the wall?" . I'm crying laughing and he goes "Zakk, who the fuck is he?!" I said "Ozz, you don't know who that is?" He goes "I don't fucking know, who is it?!" I said "Ozz! It's Aleister Crowley, bro!" He goes "Oh is that what that bald-headed cunt looks like?

To anyone who had been there since the beginning it probably seemed even in December or January that the revolutionary period was ending; but when one came straight from England the aspect of Barcelona was something startling and overwhelming. It was the first time that I had ever been in a town where the working class was in the saddle. Practically every building of any size had been seized by the workers and was draped with red flags or with the red and black flag of the Anarchists; every wall was scrawled with the hammer and sickle and with the initials of the revolutionary parties; almost every church had been gutted and its images burnt. Churches here and there were being systematically demolished by gangs of workman. Every shop and cafe had an inscription saying that it had been collectivised; even the bootblacks had been collectivized and their boxes painted red and black. Waiters and shop-walkers looked you in the face and treated you as an equal. Servile and even ceremonial forms of speech had temporarily disappeared. Nobody said 'Sen~or' or 'Don' ort even 'Usted'; everyone called everyone else 'Comrade' or 'Thou', and said 'Salud!' instead of 'Buenos dias'. Tipping had been forbidden by law since the time of Primo de Rivera; almost my first experience was receiving a lecture from a hotel manager for trying to tip a lift-boy. There were no private motor-cars, they had all been commandeered, and the trams and taxis and much of the other transport were painted red and black. The revolutionary posters were everywhere, flaming from the walls in clean reds and blues that made the few remaining advertisements look like daubs of mud. Down the Ramblas, the wide central artery of the town where crowds of people streamed constantly to and fro, the loud-speakers were bellowing revolutionary songs all day and far into the night. And it was the aspect of the crowds that was the queerest thing of all. In outward appearance it was a town in which the wealthy classes had practically ceased to exist. Except for a small number of women and foreigners there were no 'well-dressed' people at all. Practically everyone wore rough working-class clothes, or blue overalls or some variant of militia uniform. All this was queer and moving. There was much in this that I did not understand, in some ways I did not not even like it, but I recognized it immediately as a state of affairs worth fighting for. Also, I believed that things were as they appeared, that this was really a workers' State and that the entire bourgeoisie had either fled, been killed or voluntarily come over to the workers' side; I did not realise that great numbers of well-to-do bourgeois were simply lying low and disguising themselves as proletarians for the time being.

I think this ‘When does life begin’ argument is kind of cute, but it’s dead end. If we let it go long enough somebody will get punched in the nose, or Brittain will have a coronary incident. No offense, Sally, but most of the right-to-lifers I know—and I know a lot of them because they call at our house pretty regularly to say how much they hate my dad—get all wrapped up with life in the womb, and life after death, for that matter, but they don’t give a rip about life after birth. All you have to do is look around to see we’ve got big trouble in that area. People are starving to death all over the world. Their lives are spent trying to get something into their bellies, which they never get, and then they die. And to tell you the truth, the people who seem willing to fight to the death, or who are at least willing to carry a poster in front of the Deaconess clinic, are politically against giving them anything. The second they’re born, they’re on their own.

Trina, I never expected to fall in love again. I thought I got my shot, and I was okay with that, because I had my girls. I didn’t realize anything was missing. Then came you.” Ms. Rothschild’s hands are covering her mouth. She has tears in her eyes. “I want to spend the rest of my life with you, Trina.” Ms. Rothschild starts choking on her candy, and Daddy leaps up off his knee and starts pounding her on the back. She’s coughing like crazy. From his tree Peter whispers, “Should I go do the Heimlich on her? I know how to do it.” “Peter, my dad’s a doctor!” I whisper back. “He’s got it.” As her coughing subsides, she stands up straight and wipes her eyes. “Wait. Were you asking me to marry you?” “I was trying to,” Daddy says. “Are you all right?” “Yes!” She claps her hands to her cheeks. “Yes, you’re all right, or yes, you’ll marry me?” Daddy asks her, and he’s only half kidding. “Yes, I’ll marry you!” she screams, and Daddy reaches for her, and they kiss. “This feels private,” I whisper to Kitty. “It’s all part of the show,” she whispers back. Daddy hands Ms. Rothschild the ring box. I can’t quite make out what he says next, but whatever it was, it makes her double over laughing. “What’s he saying?” Kitty asks me, just as Peter says, “What did he say?” “I can’t hear! Both of you be quiet! You’re ruining the video!” Which is when Ms. Rothschild looks over in our direction. Shoot. We all pop back behind our respective trees, and then I hear Daddy’s wry voice call out, “You can come out, guys. She said yes!” We run out from behind the trees; Kitty launches herself into Ms. Rothschild’s arms. They fall over onto the grass, and Ms. Rothschild is laughing breathlessly, her laughter echoing through the woods. I hug Daddy, and meanwhile Peter’s still playing videographer, recording the moment for posterity like the good boyfriend he is. “Are you happy?” I ask, looking up at my dad. His eyes brimming with tears, he nods and hugs me tighter. And just like that, our little family grows bigger.

To sit indoors was silly. I postponed the search for Savchenko and Ludmila till the next day and went wandering about Paris. The men wore bowlers, the women huge hats with feathers. On the café terraces lovers kissed unconcernedly - I stopped looking away. Students walked along the boulevard St. Michel. They walked in the middle of the street, holding up traffic, but no one dispersed them. At first I thought it was a demonstration - but no, they were simply enjoying themselves. Roasted chestnuts were being sold. Rain began to fall. The grass in the Luxembourg gardens was a tender green. In December! I was very hot in my lined coat. (I had left my boots and fur cap at the hotel.) There were bright posters everywhere. All the time I felt as though I were at the theatre. I have lived in Paris off and on for many years. Various events, snatches of conversation have become confused in my memory. But I remember well my first day there: the city electrified my. The most astonishing thing is that is has remained unchanged; Moscow is unrecognizable, but Paris is still as it was. When I come to Paris now, I feel inexpressibly sad - the city is the same, it is I who have changed. It is painful for me to walk along the familiar streets - they are the streets of my youth. Of course, the fiacres, the omnibuses, the steam-car disappeared long ago; you rarely see a café with red velvet or leather settees; only a few pissoirs are left - the rest have gone into hiding underground. But these, after all, are minor details. People still live out in the streets, lovers kiss wherever they please, no one takes any notice of anyone. The old houses haven't changed - what's another half a century to them; at their age it makes no difference. Say what you will, the world has changed, and so the Parisians, too, must be thinking of many things of which they had no inkling in the old days: the atom bomb, mass-production methods, Communism. But with their new thoughts they still remain Parisians, and I am sure that if an eighteen-year-old Soviet lad comes to Paris today he will raise his hands in astonishment, as I did in 1908: "A theatre!

Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.

Those groans men use passing a woman on the street or on the steps of the subway to tell her she is a female and their flesh knows it, are they a sort of tune, an ugly enough song, sung by a bird with a slit tongue but meant for music? Or are they the muffled roaring of deafmutes trapped in a building that is slowly filling with smoke? Perhaps both. Such men most often look as if groan were all they could do, yet a woman, in spite of herself, knows it's a tribute: if she were lacking all grace they'd pass her in silence: so it's not only to say she's a warm hole. It's a word in grief-language, nothing to do with primitive, not an ur-language; language stricken, sickened, cast down in decrepitude. She wants to throw the tribute away, dis- gusted, and can't, it goes on buzzing in her ear, it changes the pace of her walk, the torn posters in echoing corridors spell it out, it quakes and gnashes as the train comes in. Her pulse sullenly had picked up speed, but the cars slow down and jar to a stop while her understanding keeps on translating: 'Life after life after life goes by without poetry, without seemliness, without love.

God requires integrity and holiness of life; he indicated by the symbol how this could be attained, that is, by cutting off in man whatever is born of the flesh, for his whole nature had become vicious. He therefore reminded Abraham by the external sign, that he was spiritually to cut off the corruption of the flesh; and to this Moses has also alluded in De 10:16. And to show that it was not the work of man, but of God, he commanded tender infants to be circumcised, who, on account of their age, could not have performed such a command. Moses has indeed expressly mentioned spiritual circumcision as the work of divine power, as you will find in De 30:6, where he says, “The Lord will circumcise thine heart:” and the Prophets afterwards declared the same thing much more clearly. As there are two points in baptism now, so there were formerly in circumcision; for it was a symbol of a new life, and also of the remission of sins. But the fact as to Abraham himself, that righteousness preceded circumcision, is not always the case in sacraments, as it is evident from the case of Isaac and his posterity: but God intended to give such an instance once at the beginning, that no one might ascribe salvation to external signs.

It is fatally easy, under the conditions of the modern world, for a writer of genius to conceive of himself as a Messiah. Other writers, indeed, may have had profound insights before him; but we readily believe that everything is relative to its period of society, and that these insights have now lost their validity; a new generation is a new world, so there is always a chance, if not of delivering a wholly new gospel, of delivering one as good as new. Or the messiahship may take the form of revealing for the first time the gospel of some dead sage, which no one has understood before; which owing to the backward and confused state of men's minds has lain unknown to this very moment; or it may even go back to the lost Atlantis and the ineffable wisdom of primitive peoples. A writer who is fired with such a conviction is likely to have some devoted disciples; but for posterity he is liable to become, what he will be for the majority of his contemporaries, merely one among many entertainers. And the pity is that the man may have had something to say of the greatest importance: but to announce, as your own discovery, some truth long known to mankind, is to secure immediate attention at the price of ultimate neglect.

Speech at the annual rally of young officer cadets at the Berlin Sportpalast December 18, 1940 If somebody characterizes the morale of a company as bad, then the company leader is responsible for this. If somebody characterizes the morale of a regiment as bad, then the regiment’s commander is responsible for this. A leader is always responsible for his followers. He passes his own spirit on to his followers. If he shows signs of weakness, then his followers will also become weak. If he shows signs of resistance and valor, then his followers will resist and will be valiant. If he shows signs of heroism, then his followers will die heroically. If he shows signs of cowardly capitulation, then his followers will capitulate. The leader of any organization is not only the bearer of its shield. He also fashions its character, its valor. And, in turn, in this sense, he is also responsible for its defeatism. You must hence pass on the faith and insights which you possess to your followers. They must believe in you. And you must always and at all times be the banner, the living banner, behind which they march, an example in all things to the soldier. If this idea continues to suffuse the entire Wehrmacht to the extent which we are already witnessing today to our great joy and pride-then this Wehrmacht will be invincible. And then this age in which we live will not only be a great age for all of us now, but it will also be regarded as an age of enlightenment by future generations. Just as we think with shame of the years 1918, 1919, 1920, 1921, and so on, so posterity will think with pride and joy of the age we are fashioning at present. Then, we will have done our duty. A man cannot expect more from life. Everyone will die sooner or later. Thus, there is only one question: how did he live his life? Did he live decently? Did he live courageously? Did he live faithfully and did he fulfill his duties? Or did he live like a drone among his Volk? Did he live as one of those who go with the flow of lethargy or apathy? That is the question. And if there is one reason for living, then it is to be able to say in one’s old age: “For my part, I did my duty. I always was indifferent to what the others did.” When one day you look back to this age, I wish that you will be able to do one thing: to look back with a feeling of pride: “Back then, when the Greater German Reich was fighting for its destiny, I was a soldier. I was an officer back then and I did my duty for this eternal Germany!

I’m tired of thinking about Agatha. Well, not about her, but about my loss of her. Today I went through some old boxes of mine and found some journal entries I wrote in the second grade. One was about the loss of a girl, the S name on my list, so I’ll copy and paste it for posterity: Today was a bad day. Stephany broke up with me for Tommy. I don’t like that slimy Tommy. Tommy is a turtle. I used to like turtles but now I like warm blooded creetures. Maybe Stephany is a reptile disguised as a human jerkface. I won’t cry because I am a soldier. Soldiers do not dispense tears. Soldiers kill their enemies. Tommy is my enemy. But the code of the moose says a warrior must eat what he kills. Does this mean I should have eaten my neighbors cat? I will not cry today or ever. I am fearless like my dad. My dad is a superhero. He is courageous and invisible. I haven’t seen him in four years. When I see him next he’ll probably tell me I am taller. Maybe I will tell him he is shorter. And fatter and balder. Maybe he will appear again and I can be normal. I would very much like to not wear wooden shoes anymore. Cats tongues are rough like sandpaper. Cats must never lick my shoes. Nobody licked my shoes the way Stephany did. I will miss her and her early-onset male pattern baldness.

I stood next to Breeze in a small quartz room. A sea lantern served as the only light source, bathing the room in its pale blue light. Against the center of one wall stood a mysterious object. It was three meters tall, three meters wide, and flat, like a banner. However, instead of dyed wool was a surface like the calmest pool of water. Breeze reached out with her right hand. Her fingers touched those of her reflection. After she lowered her arm, we continued staring at ourselves in silence. In awe. It was the first time we'd seen ourselves this way. But more than that were our outfits. Our clothes were made of spider silk, a type of cloth crafted using spider string. Puddles, the owner of the Clothing Castle, had worked with the humans for days to craft perfect recreations of Earth fashion. Then, to make us look even more majestic, our cloaks had been modified to fall over our shoulders. Poster children. Symbols of hope. Villagetown's biggest stars. That's what we've become. Some say it's sweet: a budding romance between two young heroes fighting valiantly against all odds. I'd say that's an exaggeration. Although Breeze and I are close, we haven't had much time for anything beyond battle or preparing for the next. I guess the mayor wants to change that, though. The people need something to believe in, he says. I suppose that's why he whisked us away in

The other strikingly modern feature of the type of poet which Euripides now introduced into the history of literature is his apparently voluntary refusal to take any part whatever in public life. Euripides was not a soldier as Aeschylus was, nor a priestly dignitary as Sophocles was, but, on the other hand, he is the very first poet who is reported to have possessed a library, and he appears to be also the first poet to lead the life of a scholar in complete retirement from the world. If the bust of him, with its tousled hair, its tired eyes and the embittered lines round the mouth, is a true portrait, and if we are right in seeing in it a discrepancy between body and spirit, and the expression of a restless and dissatisfied life, then we may say that Euripides was the first unhappy poet, the first whose poetry brought him suffering. The notion of genius in the modern sense is not merely completely strange to the ancient world; its poets and artists have nothing of the genius about them. The rational and craftsmanlike elements in art are far more important for them than the irrational and intuitive. Plato’s doctrine of enthusiasm emphasized, indeed, that poets owed their work to divine inspiration and not to mere technical ability, but this idea by no means leads to the exaltation of the poet; it only increases the gulf between him and his work, and makes of him a mere instrument of the divine purpose. It is, however, of the essence of the modern notion of genius that there is no gulf between the artist and his work, or, if such a gulf is admitted, that the genius is far greater than any of his works and can never be adequately expressed in them. So genius connotes for us a tragic loneliness and inability to make itself fully understood. But the ancient world knows nothing of this or of the other tragic feature of the modern artist—his lack of recognition by his own contemporaries and his despairing appeals to a remote posterity. There is not a trace of all this—at least before Euripides. Euripides’ lack of success was mainly due to the fact that there was nothing in classical times that could be called an educated middle class. The old aristocracy took no pleasure in his plays, owing to their different outlook on life, and the new bourgeois public could not enjoy them either, owing to its lack of education. With his philosophical radicalism, Euripides is a unique pheno menon, even among the poets of his age, for these are in general as conservative in their outlook as were those of the classical age —in spite of a naturalism of style which was derived from the urban and commercial society they lived in, and which had reached a point at which it was really incompatible with political conservatism. As politicians and partisans these poets hold to their conservative doctrines, but as artists they are swept along in the progressive stream of their times. This inner contradiction in their work is a completely new phenomenon in the social history of art.

The reason for which a work of genius is not easily admired from the first is that the man who has created it is extraordinary, that few other men resemble him. It was Beethoven’s Quartets themselves (the Twelfth, Thirteenth, Fourteenth and Fifteenth) that devoted half a century to forming, fashioning and enlarging a public for Beethoven’s Quartets, marking in this way, like every great work of art, an advance if not in artistic merit at least in intellectual society, largely composed to-day of what was not to be found when the work first appeared, that is to say of persons capable of enjoying it. What artists call posterity is the posterity of the work of art. It is essential that the work (leaving out of account, for brevity’s sake, the contingency that several men of genius may at the same time be working along parallel lines to create a more instructed public in the future, a public from which other men of genius shall reap the benefit) shall create its own posterity. For if the work were held in reserve, were revealed only to posterity, that audience, for that particular work, would be not posterity but a group of contemporaries who were merely living half-a-century later in time. And so it is essential that the artist (and this is what Vinteuil had done), if he wishes his work to be free to follow its own course, shall launch it, wherever he may find sufficient depth, confidently outward bound towards the future. And yet this interval of time, the true perspective in which to behold a work of art, if leaving it out of account is the mistake made by bad judges, taking it into account is at times a dangerous precaution of the good. No doubt one can easily imagine, by an illusion similar to that which makes everything on the horizon appear equidistant, that all the revolutions which have hitherto occurred in painting or in music did at least shew respect for certain rules, whereas that which immediately confronts us, be it impressionism, a striving after discord, an exclusive use of the Chinese scale, cubism, futurism or what you will, differs outrageously from all that have occurred before. Simply because those that have occurred before we are apt to regard as a whole, forgetting that a long process of assimilation has melted them into a continuous substance, varied of course but, taking it as a whole, homogeneous, in which Hugo blends with Molière. Let us try to imagine the shocking incoherence that we should find, if we did not take into account the future, and the changes that it must bring about, in a horoscope of our own riper years, drawn and presented to us in our youth. Only horoscopes are not always accurate, and the necessity, when judging a work of art, of including the temporal factor in the sum total of its beauty introduces, to our way of thinking, something as hazardous, and consequently as barren of interest, as every prophecy the non-fulfillment of which will not at all imply any inadequacy on the prophet’s part, for the power to summon possibilities into existence or to exclude them from it is not necessarily within the competence of genius; one may have had genius and yet not have believed in the future of railways or of flight, or, although a brilliant psychologist, in the infidelity of a mistress or of a friend whose treachery persons far less gifted would have foreseen.

The one person who didn’t seem enthusiastic about giving a speech in Berlin was Obama. When Favreau and I talked to him about it, he didn’t offer much beyond suggesting we use Berlin’s story to talk about what we were proposing in our own foreign policy. Chancellor Angela Merkel rejected a request from the campaign for the speech to take place at the Brandenburg Gate, where Reagan had called on Gorbachev to tear down the wall, saying that the venue should be reserved for an actual president. When he learned about this, Obama was embarrassed and annoyed. “I never said I wanted to give a speech in front of the Brandenburg Gate,” he snapped. It spoke to a larger dynamic in the campaign: While Obama was often blamed for the cult of personality growing up around him—arty posters, celebrity anthems, and lavish settings for his events—he was rarely responsible for it, and worried that we were raising expectations too high in a world that has a way of resisting change. “Before he left for Afghanistan, he read a draft of the speech and told us he was satisfied with it—“You could put this speech on the teleprompter and I’d be fine,” he said—but I was hoping for more than that. I was hoping for edits that would elevate the speech and make it more than a summation of our worldview. The shift to a foreign audience hadn’t been hard, as Obama’s message about working across races “and religions, his preference for diplomacy over war, his embrace of the science of climate change, and his recognition that the world needed to confront issues beyond terrorism were going to be well received in Germany. I kept looking for the phrase or two that might elevate that message, summarizing it in a way that could convey the same sense of common mission that Kennedy and Reagan had evoked.

That’s Cervella.” Vero’s hand picks at something in her hair, as she glares down at a disassembled bike. “This one’s his favourite. Do you bike?” Ligaya nods as she remembers the fat-tire red bike. Pedro’s. He let her borrow it to visit family in the next village. She touches her thighs as she remembers the feeling of freedom, covering such distance by the strength of her own legs, not minding at all when she had to ride home in the pouring rain, her sweat and the rainwater indistinguishable on her cheeks. Again, she feels the uncomfortable vertigo of her body being in one place and her mind in another, the two so far apart. But Vero does not wait for an answer. She pulls Ligaya—not roughly—her fingertips soft on the exposed skin of Ligaya’s wrist. But Ligaya is unaccustomed to touch. Nobody touched her at the Poons. She breathes deeply and counts the bikes. She must not flinch, wills herself not to pull away; she cannot afford to give offense. Vero twirls her around and points at a poster above the workbench. “That! Read it!” But Ligaya does not have to read it. Vero reads it for her. Since the bike makes little demand on material or energy resources, contributes little to pollution, makes a positive contribution to health and causes little death, or injury, it can be regarded as the most benevolent of machines. —Stuart S. Wilson She pauses as if she might expect a response this time. She gestures at the room stuffed with bikes until it seems the very walls and ceiling are made of bikes, the scent of rubber tires replacing oxygen. “Ridiculous, right? The bike will save the world, he says. Yes, but you just need one, I say. One bike. That I can see. That I can even admire. I’m sure Stuart buddy here couldn’t even imagine this … this … biketrocity. And that he should be to blame?!

We have therefore to inquire what there is about Machiavelli to impress the mind of Europe so prodigiously and so curiously, and why the European mind felt it necessary to deform his doctrine so absurdly. There are certainly contributing causes. The reputation of Italy as the home of fantastic, wanton and diabolical crime filled the French, and still more the English, imagination as they are now filled by the glories of Chicago or Los Angeles, and predisposed imagination toward the creation of a mythical representative for this criminality. But still more the growth of Protestantism — and France, as well as England, was then largely a Protestant country — created a disposition against a man who accepted in his own fashion the orthodox view of original sin. Calvin, whose view of humanity was far more extreme, and certainly more false, than that of Machiavelli, was never treated to such opprobrium; but when the inevitable reaction against Calvinism came out of Calvinism, and from Geneva, in the doctrine of Rousseau, that too was hostile to Machiavelli. For Machiavelli is a doctor of the mean, and the mean is always insupportable to partisans of the extreme. A fanatic can be tolerated. The failure of a fanaticism such as Savonarola's ensures its toleration by posterity, and even approving patronage. But Machiavelli was no fanatic; he merely told the truth about humanity. The world of human motives which he depicts is true — that is to say, it is humanity without the addition of superhuman Grace. It is therefore tolerable only to persons who have also a definite religious belief; to the effort of the last three centuries to supply religious belief by belief in Humanity the creed of Machiavelli is insupportable. Lord Morley voices the usual modern hostile admiration of Machiavelli when he intimates that Machiavelli saw very clearly what he did see, but that he saw only half of the truth about human nature. What Machiavelli did not see about human nature is the myth of human goodness which for liberal thought replaces the belief in Divine Grace.

THE INSTRUCTION OF PTAHHOTEP Epilogue Part I If you listen to my sayings. All your affairs will go forward; In their truth resides their value, Their memory goes on in the speeds of men, Because of the worth of their precepts; If every word is carried on. They will not perish in this land. If advice ıs given for the good, The great will speak accordingly; It is teaching a man to speak to posterity, He who hears it becomes a master-hearer; It is good to speak to posterity, It will listen to it. If a good example is set by him who leads, He will be beneficent for ever, His wisdom being for all time. The wise feeds his ba with what endures, So that it is happy with, him on earth. The wise is known by his wisdom, The great by his good actions; His heart matches his tongue. His lips are straight when he speaks; He has eyes that see, His ears are made to hear what will profit his son. Acting with truth he is free of falsehood. Useful is hearing to a son who hears; If hearing enters the hearer, The hearer becomes a listener. Hearing well is speaking well. Useful is hearing to one who hears, Hearing is better than all else, It creates good will. How good for a son to grasp his father’s words, He will reach old age through them. He who hears is beloved of god, He whom god hates does not hear. The heart makes of its owner a hearer or non-hearer, Man’s heart is his life-prosperity-health! The hearer is one who hears what is said. He who loves to hear is one who does what is said. How good for a son to listen to his father. How happy is he to whom it is said: “The son, he pleases as a master of hearing.” The hearer of whom this is said, He is well-endowed And honored by his father; His remembrance is in the mouth of the living. Those on earth and those who will be. If a man’s son accepts his father's words. No plan of his will go wrong. Teach your son to be a hearer, One who will be valued by the nobles; One who guides his speech by what he was told, One regarded as a hearer. This son excels, his deeds stand out. While failure follows him who hears not. The wise wakes early to his lasting gain, While the foot is hard pressed.

The purpose of this critique of pure speculative reason consists in the attempt to change the old procedure of metaphysics, and to bring about a complete revolution after the example set by geometers and investigators of nature. This critique is a treatise on the method, not a system of the science itself; but nevertheless it marks out the whole plan of this science, both with regard to its limits and with regard to its inner organization. For it is peculiar to pure speculative reason that it is able, indeed bound, to measure its own powers according to the different ways in which it chooses its objects for thought, and to enumerate exhaustively the different ways of choosing its problems, thus tracing a complete outline of a system of metaphysics. This is due to the fact that, with regard to the first point, nothing can be attributed to objects in *a priori* knowledge, except what the thinking subject takes from within itself; while, with regard to the second point, pure reason, as far as its principles of knowledge are concerned, forms a separate and independent unity, in which, as in an organized body, every member exists for the sake of all the others, and all the others exist for the sake of the one, so that no principle can be safely applied in *one* relation unless it has been carefully examined in *all* its relations to the whole use of pure reason. Hence, too, metaphysics has this singular advantage, an advantage which cannot be shared by any other rational science which has to deal with objects (for *logic* deals only with the form of thought in general), that if by means of this critique it has been set upon the secure course of a science, it can exhaustively grasp the entire field of knowledge pertaining to it, and can thus finish its work and leave it to posterity as a capital that can never be added to, because it has to deal only with principles and with the limitations of their use, as determined by these principles themselves. And this completeness becomes indeed an obligation if metaphysics is to be a fundamental science, of which we must be able to say, *nil actum reputants, si quid superesset agendum* [to think that nothing was done for as long as something remained to be done]." ―from_Critique of Pure Reason_. Preface to the Second Edition. Translated, edited, and with an Introduction by Marcus Weigelt, based on the translation by Max Müller, pp. 21-22

It is foolish to be in thrall to fame and fortune, engaged in painful striving all your life with never a moment of peace and tranquillity. Great wealth will drive you to neglect your own well-being in pursuit of it. It is asking for harm and tempting trouble. Though you leave behind at your death a mountain of gold high enough to prop up the North Star itself, it will only cause problems for those who come after you. Nor is there any point in all those pleasures that delight the eyes of fools. Big carriages, fat horses, glittering gold and jewels – any man of sensibility would view such things as gross stupidity. Toss your gold away in the mountains; hurl your jewels into the deep. Only a complete fool is led astray by avarice. Everyone would like to leave their name unburied for posterity – but the high-born and exalted are not necessarily fine people, surely. A dull, stupid person can be born into a good house, attain high status thanks to opportunity and live in the height of luxury, while many wonderfully wise and saintly men choose to remain in lowly positions, and end their days without ever having met with good fortune. A fierce craving for high status and position is next in folly to the lust for fortune. We long to leave a name for our exceptional wisdom and sensibility – but when you really think about it, desire for a good reputation is merely revelling in the praise of others. Neither those who praise us nor those who denigrate will remain in the world for long, and others who hear their opinions will be gone in short order as well. Just who should we feel ashamed before, then? Whose is the recognition we should crave? Fame in fact attracts abuse and slander. No, there is nothing to be gained from leaving a lasting name. The lust for fame is the third folly. Let me now say a few words, however, to those who dedicate themselves to the search for knowledge and the desire for understanding. Knowledge leads to deception; talent and ability only serve to increase earthly desires. Knowledge acquired by listening to others or through study is not true knowledge. So what then should we call knowledge? Right and wrong are simply part of a single continuum. What should we call good? One who is truly wise has no knowledge or virtue, nor honour nor fame. Who then will know of him, and speak of him to others? This is not because he hides his virtue and pretends foolishness – he is beyond all distinctions such as wise and foolish, gain and loss. I have been speaking of what it is to cling to one’s delusions and seek after fame and fortune. All things of this phenomenal world are mere illusion. They are worth neither discussing nor desiring.