Preface For Life Quotes

THE QUR’AN BEGINS WITH A MYSTERY. AFTER A SHORT SEVEN-VERSE preface, the Qur’an’s grand opening chapter launches not with a word, but with . . . three enigmatic Arabic letters: Alif Lam Mim

Death, like fiction, is brutal in its symmetry. Take this story and strip it down -all the way back- until you are left with two points. Two dots on a vast, blank canvas, separeted by a sea of white. Here, we have come to the first point, where the batj is drawn and the hand is reachinh for the razor blade. I will meet you at the next, by the axle of a screaming wheel, the revolution of a clock, the closing of an orbit.

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

Henry's recollections of the past, in contrast to Proust, are done while in movement. He may remember his first wife while making love to a whore, or he may remember his very first love while walking the streets, traveling to see a friend; and life does not stop while he remembers. Analysis in movement. No static vivisection. Henry's daily and continuous flow of life, his sexual activity, his talks with everyone, his cafe life, his conversations with people in the street, which I once considered an interruption to writing, I now believe to be a quality which distinguishes him from other writers. He never writes in cold blood: he is always writing in white heat. It is what I do with the journal, carrying it everywhere, writing on cafe tables while waiting for a friend, on the train, on the bus, in waiting rooms at the station, while my hair is washed, at the Sorbonne when the lectures get tedious, on journeys, trips, almost while people are talking. It is while cooking, gardening, walking, or love-making that I remember my childhood, and not while reading Freud's 'Preface to a Little Girl's Journal.

NOT to my contemporaries, not to my compatriots but to mankind I commit my now completed work in the confidence that it will not be without value for them, even if this should be late recognised, as is commonly the lot of what is good. For it cannot have been for the passing generation, engrossed with the delusion of the moment, that my mind, almost against my will, has uninterruptedly stuck to its work through the course of a long life. preface to the second edition of "the world as will and representation

Between ourselves and our real natures we interpose that wax figure of idealizations and selections which we call our character. We extend this into all our thinking. Between us and the realities of social life we build up a mass of generalizations, abstract ideas, ancient glories, and personal wishes. They simplify and soften experience. It is so much easier to talk of poverty than to think of the poor, to argue the rights of capital than to see its results. Pretty soon we come to think of the theories and abstract ideas as things in themselves. We worry about their fate and forget their original content.

It's tempting to start each sentence with an apology or disclaimer. To preface everything with "In my life I've found" so that people can't yell at me for being wrong (I often am) or misinformed (sure) or overly emotional (HOW DARE YOU). ... That's one of the frightening things about writing a book that no one ever tells you. You have to pin down your thoughts and opinions and then they exist on a page, ungrowing, forever.

The wild-often dismissed as savage and chaotic by "civilized" thinkers, is actually impartially, relentlessly, and beautifully formal and free. Its expression-the richness of plant and animal life on the globe including us, the rainstorms, windstorms, and calm spring mornings-is the real world, to which we belong.

For a multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and unfitting it for all voluntary exertion to reduce it to a state of almost savage torpor... To this tendency of life and manners the literature and theatrical exhibitions of the country have conformed themselves.

Amida's unimpeded light is the sun of wisdom that destroys the mind of darkness. (Preface in Teaching, Practice, Faith, Enlightenment)

The cases described in this section (The Fear of Being) may seem extreme, but I have become convinced that they are not as uncommon as one would think. Beneath the seemingly rational exterior of our lives is a fear of insanity. We dare not question the values by which we live or rebel against the roles we play for fear of putting our sanity into doubt. We are like the inmates of a mental institution who must accept its inhumanity and insensitivity as caring and knowledgeableness if they hope to be regarded as sane enough to leave. The question who is sane and who is crazy was the theme of the novel One Flew Over The Cuckoo's Nest. The question, what is sanity? was clearly asked in the play Equus. The idea that much of what we do is insane and that if we want to be sane, we must let ourselves go crazy has been strongly advanced by R.D. Laing. In the preface to the Pelican edition of his book The Divided Self, Laing writes: "In the context of our present pervasive madness that we call normality, sanity, freedom, all of our frames of reference are ambiguous and equivocal." And in the same preface: "Thus I would wish to emphasize that our 'normal' 'adjusted' state is too often the abdication of ecstasy, the betrayal of our true potentialities; that many of us are only too successful in acquiring a false self to adapt to false realities." Wilhelm Reich had a somewhat similar view of present-day human behavior. Thus Reich says, "Homo normalis blocks off entirely the perception of basic orgonotic functioning by means of rigid armoring; in the schizophrenic, on the other hand, the armoring practically breaks down and thus the biosystem is flooded with deep experiences from the biophysical core with which it cannot cope." The "deep experiences" to which Reich refers are the pleasurable streaming sensations associated with intense excitation that is mainly sexual in nature. The schizophrenic cannot cope with these sensations because his body is too contracted to tolerate the charge. Unable to "block" the excitation or reduce it as a neurotic can, and unable to "stand" the charge, the schizophrenic is literally "driven crazy." But the neurotic does not escape so easily either. He avoids insanity by blocking the excitation, that is, by reducing it to a point where there is no danger of explosion, or bursting. In effect the neurotic undergoes a psychological castration. However, the potential for explosive release is still present in his body, although it is rigidly guarded as if it were a bomb. The neurotic is on guard against himself, terrified to let go of his defenses and allow his feelings free expression. Having become, as Reich calls him, "homo normalis," having bartered his freedom and ecstasy for the security of being "well adjusted," he sees the alternative as "crazy." And in a sense he is right. Without going "crazy," without becoming "mad," so mad that he could kill, it is impossible to give up the defenses that protect him in the same way that a mental institution protects its inmates from self-destruction and the destruction of others.

Wise Blood has reached the age of ten and is still alive. My critical powers are just sufficient to determine this, and I am gratified to be able to say it. The book was written with zest and, if possible, it should be read that way. It is a comic novel about a Christian malgré lui, and as such, very serious, for all comic novels that are any good must be about matters of life and death. Wise Blood was written by an author congenitally innocent of theory, but one with certain preoccupations. That belief in Christ is to some a matter of life and death has been a stumbling block for some readers who would prefer to think it a matter of no great consequence. For them, Hazel Motes's integrity lies in his trying with such vigor to get rid of the ragged figure who moves from tree to tree in the back of his mind. For the author, Hazel's integrity lies in his not being able to do so. Does one's integrity ever lie in what he is not able to do? I think that usually it does, for free will does not mean one will, but many wills conflicting in one man. Freedom cannot be conceived simply. It is a mystery and one which a novel, even a comic novel, can only be asked to deepen. (Preface to second edition, 1962)

On this perfect day, when everything is ripening and not only the grape turns brown, the eye of the sun just fell upon my life: I looked back, I looked forward, and never saw so many and such good things at once. It was not for nothing that I buried my forty-fourth year today; I had the right to bury it; whatever was life in it has been saved, is immortal. The first book of the Revaluation of All Values, the Songs of Zarathustra, the Twilight of the Idols, my attempt to philosophize with a hammer—all presents of this year, indeed of its last quarter! How could I fail to be grateful to my whole life?—and so I tell my life to myself.

HOW TO CLIMB THE TREE OF LIFE, THROW ROCKS AT YOURSELF, AND GET DOWN AGAIN WITHOUT BREAKING YOUR BONES OR YOUR SPIRIT A PREFACE WITH A TITLE NOT MUCH LONGER THAN THE BOOK

...I’m never exactly a slave to facts at the best of times. But does it matter? Who owns memories after all?

Her locks an ancient lady gave Her loving husband's life to save; And men — they honored so the dame — Upon some stars bestowed her name. But to our modern married fair, Who'd give their lords to save their hair, No stellar recognition's given. There are not stars enough in heaven.

What appears most disquieting to me in isolation is the dilemma of how to use time. There is either too much or too little of it; we either live inside painfully contracting horizons, or feel ourselves isolated in the vastness of space. I seem to have lived with the palm of my hand balanced on the tip of a knife, writing what in theory I would call the Preface to a Future Book. And the relation of time to creation should always appear like that, a ratio that describes the fullness of energy brought to a particular stage of one's life, so that each work is a preface to a stage at which one has still to arrive, the logical extension of which is death. I live for the blaze of metaphor that unites incongruities. The red wine-stain on my page is like an intoxicant to the dance of words. It is a little ritual I undertake, this sprinkling of wine-spots on paper.

Your life is a Book; it may be a volume of larger or smaller size; and conversion is but the title-page or the preface. The Book itself remains to be written; and your years and weeks and days are its chapters and leaves and lines. It is a Book written for eternity; see that it be written well. It is a Book for the inspection of enemies as well as friends; be careful of every word. It is a Book written under the eye of God; let it be done reverently; without levity, yet without constraint or terror. Let

If you learn how to work and grow, you will find that your life cannot be destroyed by the outside world. If you have to work eight hours a day, give three or one that belongs to you without money. This "Who Are You?" has to be reinforced.

Shakespeare is above all writers, at least above all modern writers, the poet of nature; the poet that holds up to his readers a faithful mirrour of manners and of life. His characters are not modified by the customs of particular places, unpractised by the rest of the world; by the peculiarities of studies or professions, which can operate but upon small numbers; or by the accidents of transient fashions or temporary opinions: they are the genuine progeny of common humanity, such as the world will always supply, and observation will always find. His persons act and speak by the influence of those general passions and principles by which all minds are agitated, and the whole system of life is continued in motion. In the writings of other poets a character is too often an individual; in those of Shakespeare it is commonly a species.

IT is alledged, that Memory fails in Old Age. That it does so, I freely grant; but then it is principally, where it has not been properly exercised; or with those who naturally have no Strength of Brain: For such as have, will pretty well retain it.

Even in human life we have seen the passion to dominate, almost to digest, one's fellow, to make his whole intellectual and emotional life merely an extension of one's own—to hate one's hatreds and resent one's grievances and indulge one's egotism through him as well as through oneself. His own little store of passion must of course be suppressed to make room for ours. If he resists this suppression he is being very selfish.

We cannot judge either of the feelings or of the characters of men with perfect accuracy from their actions or their appearance in public; it is from their careless conversations, their half finished sentences, that we may hope with the greatest probability of success to discover their real characters.

Only those who will risk going too far can possibly find out how far one can go.” T.S. ELIOT, from the preface to Transit of Venus: Poems by Harry Crosby (1931)

Fortunate, most fortunate occurrence! — fortunate for the millions of his manacled brethren, yet panting for deliverance from their awful thralldom! — fortunate for the cause of negro emancipation, and of universal liberty! — fortunate for the land of his birth, which he has already done so much to save and bless! — fortunate for a large circle of friends and acquaintances, whose sympathy and affection he has strongly secured by the many sufferings he has endured, by his virtuous traits of character, by his ever-abiding remembrance of those who are in bonds, as being bound with them! — fortunate for the multitudes, in various parts of our republic, whose minds he has enlightened on the subject of slavery, and who have been melted to tears by his pathos, or roused to virtuous indignation by his stirring eloquence against the enslavers of men! — fortunate for himself, as it at once brought him into the field of public usefulness, "gave the world assurance of a MAN," quickened the slumbering energies of his soul, and consecrated him to the great work of breaking the rod of the oppressor, and letting the oppressed go free!

Simply stated, it is flat-out wrong to say God does not put His laws into our hearts as believers and that commandments and rules are contrary to life in the Spirit. Rather, by the Spirit and by the new birth, it is our nature to keep these laws and commandments as they are expressed throughout the New Testament books. That’s why Paul prefaced his moral exhortations to the Thessalonians with the words, “For you know what instructions we gave you through the Lord Jesus” (1 Thess. 4:2), using a Greek word (paraggelia) that basically means “a charge, command, or order.

PREFACE A New Look at the Legacy of Albert Einstein Genius. Absent-minded professor. The father of relativity. The mythical figure of Albert Einstein—hair flaming in the wind, sockless, wearing an oversized sweatshirt, puffing on his pipe, oblivious to his surroundings—is etched indelibly on our minds. “A pop icon on a par with Elvis Presley and Marilyn Monroe, he stares enigmatically from postcards, magazine covers, T-shirts, and larger-than-life posters. A Beverly Hills agent markets his image for television commercials. He would have hated it all,” writes biographer Denis Brian. Einstein is among the greatest scientists of all time, a towering figure who ranks alongside Isaac Newton for his contributions. Not surprisingly, Time magazine voted him the Person of the Century. Many historians have placed him among the hundred most influential people of the last thousand years.

One of the most often posed questions I receive from clients and readers is: “Why is there so much evil in the world? Why is there so much violence and hate?” The answer is simple. Because we’ve forgotten who we are and why we are here on this planet. That answer may sound like the preface to some airy-fairy metaphysical book, but it’s not. Understanding who we are is essential to living a balanced life. I am talking, of course, about the human soul.

If the changes that we fear be thus irresistible, what remains but to acquiesce with silence, as in the other insurmountable distresses of humanity? It remains that we retard what we cannot repel, that we palliate what we cannot cure. Life may be lengthened by care, though death cannot be ultimately defeated: tongues, like governments, have a natural tendency to degeneration; we have long preserved our constitution, let us make some struggles for our language.

For me personally, The Organic Creative Process helped me to discover what kind of actor I want to be; but this is a process that goes beyond acting. It actually revealed to me what I want to do in my life and that I have to work hard to make it real.

Some will no doubt find this acontecimiento del vivir of no special consequence. . . . For me, it is merely the poetic/political of a road well travelled; a humble,creative and retrospective recording to share with the world.—Preface of Sorts, 12/08/81, 6:00 a.m.

Let me offer this apology. Please excuse this self-indulgent preface. I know what I am doing. I am presenting a series of reasons as to why you should lower your expectations, so that you can be blown away by my sneaky insights about life and work. I am a grown woman. I know my own tricks!

To represent a bad thing in its least offensive light is, doubtless, the most agreeable course for a writer of fiction to pursue; but is it the most honest, or the safest? Is it better to reveal the snares and pitfalls of life to the young and thoughtless traveller, or to cover them with branches and flowers?

The Cardinal Archbishop of Buenos Aires was altogether more robust. He went out of his way to preface his position by insisting that there is no connection between celibacy and paedophilia. ‘There are psychological perversions that existed prior to choosing a life of celibacy,’ he said. ‘If a priest is a paedophile, he is so before he becomes a priest.

Alan said he'd known what to expect from de St Jorre from the kick-off, since in his preface this cretin speaks of banned books being burnt in the same way heretics were burnt by religious tyrants. Alan was quick to denounce the cruel inhumanity of liberal fuckwits who wantonly blurred the lines between human life and products of a literary culture that had yet to escape its commodity form.

Livy’s worldview was moral and romantic, and most thinking people of his age shared it. In the preface to his magnum opus, he stated that writing history was a way of escaping the troubles of the modern world: “Of late years wealth has made us greedy, and self-indulgence has brought us, through every kind of sensual excess, to be, if I may so put it, in love with death both individual and collective.

This therefore is the praise of Shakespeare, that his drama is the mirrour of life; that he who has mazed his imagination, in following the phantoms which other writers raise up before him, may here be cured of his delirious extasies, by reading human sentiments in human language; by scenes from which a hermit may estimate the transactions of the world, and a confessor predict the progress of the passions.

.. Read these leaves in the open air every season of every year of your life, re examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body (Leaves of Grass preface)

In the preface to my first collection of essays, Prepared for the Worst, in 1988, I annexed a thought of Nadine Gordimer’s, to the effect that a serious person should try and write posthumously. By that I took her to mean that one should compose as if the usual constraints — of fashion, commerce, self-censorship, public and perhaps especially intellectual opinion — did not operate. Impossible perhaps to live up to, this admonition and aspiration did possess some muscle, as well as some warning of how it can decay. Then, about a year ago, I was informed by a doctor that I might have as little as another year to live. In consequence, some of my recent articles were written with the full consciousness that they may be my very last. Sobering in one way and exhilarating in another, this practice can obviously never become perfected. But it has given me a more vivid idea of what makes life worth living, and defending.

After an eventful journey - it was even life-threatening because of flooding in Como, which I only reached late at night - I arrived in Turin on the afternoon of the 21st, my proven place, my residence from then on. I took the same apartment that I had in the spring, via Carlo Alberto 6, III, across from the enormous Palazzo Carignano where Vittore Emanuele was born, with a view of the Piazza Carlo Alberto and the hills beyond. I went back to work without delay: only the last quarter of the work was left to be done. Great victory on 30 September; the conclusion of the Revaluation; the leisure of a god walking along the river Po. That same day, I wrote the Preface to Twilight of the Idols: I had corrected the manuscript for it in September, as my recuperation. - I never experienced an autumn like this before, I never thought anything like this could happen on earth, - a Claude Lorrain projected out to infinity, every day having the same tremendous perfection.

but those who dislike ritual in general—ritual in any and every department of life—may be asked most earnestly to reconsider the question. It is a pattern imposed on the mere flux of our feelings by reason and will, which renders pleasures less fugitive and griefs more endurable, which hands over to the power of wise custom the task (to which the individual and his moods are so inadequate) of being festive or sober, gay or reverent, when we choose to be, and not at the bidding of chance.

The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. The critic is he who can translate into another manner or a new material his impression of beautiful things. The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming. This is a fault. Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in a glass. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass. The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an im- perfect medium. No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an un- pardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the Type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really Mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely. All art is quite useless.

Leta walked to the door and opened it with a ready smile for Colby Lane. And found herself looking straight into the eye of a man she hadn’t seen face-to-face in thirty-six years. Matt Holden matched her face against his memories of a young, slight, beautiful woman whose eyes loved him every time they looked at him. His heart spun like a cartwheel in his chest. “Cecily said it was Colby,” Leta said unsteadily. “Strange. She phoned me and asked if I was free this evening.” His broad shoulders shrugged and he smiled faintly. “I’m free every evening.” “That doesn’t sound like the life of a playboy widower,” Leta said caustically. “My wife was a vampire,” he said. “She sucked me dry of life and hope. Her drinking wore me down. Her death was a relief for both of us. Do I get to come in?” he added, glancing down the hall. “I’m going to collect dust if I stand out here much longer, and I’m hungry. A sack of McDonald’s hamburgers and fries doesn’t do a lot for me.” “I hear it’s a presidential favorite,” Cecily mused, joining them. “Come in, Senator Holden.” “It was Matt before,” he pointed out. “Or are you trying to butter me up for a bigger donation to the museum?” She shrugged. “Pick a reason.” He looked at Leta, who was uncomfortable. “Well, at least you can’t hang up on me here. You’ll be glad to know that our son isn’t speaking to me. He isn’t speaking to you, either, or so he said,” he added. “I suppose he won’t talk to you?” he added to Cecily. “He said goodbye very finally, after telling me that I was an idiot to think he’d change his mind and want to marry me just because he turned out to have mixed blood,” she said, not relating the shocking intimacy that had prefaced his remarks. “I’ll punch him for that,” Matt said darkly. “Ex-special forces,” Leta spoke up with a faint attempt at humor, nodding toward Matt. “He was in uniform when we went on our first date.” “You wore a white cotton dress with a tiered skirt,” he recalled, “and let your hair down. Hair…” He turned back to Cecily and grimaced. “Good God, what did you do that for?” “Tate likes long hair, that’s what I did it for,” she said, venom in her whole look. “I can’t wait for him to see it, even if I have to settle for sending him a photo!” “I hope you never get mad at me,” Matt said. “Fat chance.

The median age of adults is rising rapidly in most countries as birth rates fall and life expectancies increase. For the United States, the year 1989 marked a major turning point: for the first time, there were more adults over the age of forty than below.5 The “psychological center of gravity” for society as a whole shifted into midlife and beyond.6 This silent passage marked a gradual but significant transformation of the zeitgeist toward midlife values such as caring and compassion, a greater desire for meaning and purpose, and concern for one’s community and legacy.

It is a marvel whence this perfect flower derives its loneliness and perfume, springing as it does from the black mud over which the river sleeps, and where lurk the slimy eel, and speckled frog, and the mud turtle, whom continual washing cannot cleanse. It is the very same black mud out of which the yellow lily sucks its obscene life and noisome odor. Thus, we see, too, in the world that some persons assimilate only what is ugly and evil from the same moral circumstances which supply good and beautiful results -- the fragrance of celestial flowers -- to the daily life of others.

That this is a practice contrary to the rules of criticism will be readily allowed; but there is always an appeal open from criticism to nature. The end of writing is to instruct; the end of poetry is to instruct by pleasing. That the mingled drama may convey all the instruction of tragedy or comedy cannot be denied, because it includes both in its alterations of exhibition, and approaches nearer than either to the appearance of life, by shewing how great machinations and slender designs may promote or obviate one another, and the high and the low co-operate in the general system by unavoidable concatenation.

121. George Bernard Shaw – Plays and Prefaces 122. Max Planck – Origin and Development of the Quantum Theory; Where Is Science Going?; Scientific Autobiography 123. Henri Bergson – Time and Free Will; Matter and Memory; Creative Evolution; The Two Sources of Morality and Religion 124. John Dewey – How We Think; Democracy and Education; Experience and Nature; Logic; the Theory of Inquiry 125. Alfred North Whitehead – An Introduction to Mathematics; Science and the Modern World; The Aims of Education and Other Essays; Adventures of Ideas 126. George Santayana – The Life of Reason; Skepticism and Animal Faith; Persons and Places 127. Vladimir Lenin – The State and Revo

Melancholy is that a scrambled egg can't be unscrambled--entropy increases--experience is subject to the arrow of time. And the infinite sadness of my life consists in that I only recognize the beauty of simple arrangements from the relative vantage of the scrambled; memory, not experience, is my only access to it. Anxiety is the progression toward equilibrium. Despair is the inescapability. Insanity is the rationalizing of it all. Sanity is the irrational acceptance of it all. Indifference is just detached therapy. And progression--activity / toil / tasks / success / failure--just coping distraction and procrastination, just ill-placed deferment--my preferred route. And crisis--

Although much has been written of the exploits of Canadians who answered the call to arms in World Wars I and II, nothing has been written about the young men who flocked to join the Cold War. Thanks to Canada's menacing presence, Russia has never invaded Germany. The author menaced Russia, as a fighter pilot based in NATO Europe during the 1950s. Much of the material herein is derived from his diaries of that period. Some names have been changed to protect the guilty. Accounts have been embellished. No harm or libel is intended. The harm is to the author's self-image. The diaries reveal that he was brash and intolerant. He considers it one of life's miracles that his friends put up with him.

Fiction, more than any other written form, explains and expands life. Biology, of course, also explains life; so do biography and biochemistry and biophysics and biomechanics and biopsychology. But all the biosciences yield to biofiction. Novels tell us the most truth about life: what it is, how we live it, what it might be for, how we enjoy and value it, how it goes wrong, and how we lose it. Novels speak to and from the mind, the heart, the eye, the genitals, the skin; the conscious and the subconscious. What it is to be an individual, what it means to be part of a society. What it means to be alone. Alone, and yet in company: that is the paradoxical position of the reader. Alone in the company of a writer who speaks in the silence of your mind.

You will have noticed that my interpretation of The Trial as the account of a man who, at a certain point in his life, suddenly asks himself why he exists, and then considers various possible justifications for his existence until he is finally obliged to admit honestly to himself that there is no justification, corresponds to what I have said in the Preface to the Notes: Every man, at every moment of his life, is engaged in a perfectly definite concrete situation in a world that he normally takes for granted. But it occasionally happens that he starts to think. He becomes aware, obscurely, that he is in perpetual contradiction with himself and with the world in which he exists. The Trial describes what happens to a man when he starts to think: sooner or later he condemns himself as unjustified, and then despair begins (K.'s execution, the execution of hope, is the beginning of despair—henceforth he is a dead man, like Connolly and Camus and so many other intelligent Europeans, and do what he may he can never quite forget it). It is only at this point that the Buddha's Teaching begins to be intelligible. But it must be remembered that for Connolly and the others, death at the end of this life is the final death, and the hell of despair in which they live will come to an end in a few years' time—why, then, should they give up their distractions, when, if things get too bad, a bullet through their brain is enough? It is only when one understands that death at the end of this life is not the final end, that to follow the Buddha's Teaching is seen to be not a mere matter of choice but a matter of necessity. Europe does not know what it really means to despair.

Nathaniel Hawthorne, a friend of Margaret Fuller’s in Concord who followed her path to the Continent several years after her death, undertook an experiment in fictional form when he put aside writing stories in favor of longer narratives. He preferred to call his books “Romances,” not novels. “When a writer calls his work a Romance,” Hawthorne explained in his preface to The House of the Seven Gables, “he wishes to claim a certain latitude, both as to its fashion and material, which he would not have felt himself entitled to assume had he professed to be writing a Novel.” The novelist, in Hawthorne’s terms, aims to achieve “a very minute fidelity” to experience, whereas the author of a romance may “bring out or mellow the lights and deepen and enrich the shadows of the picture” while still maintaining strict allegiance to “the truth of the human heart.

What then? Are we only to buy the books that we read? The question has merely to be thus bluntly put, and it answers itself. All impassioned bookmen, except a few who devote their whole lives to reading, have rows of books on their shelves which they have never read, and which they never will read. I know that I have hundreds such. My eye rests on the works of Berkeley in three volumes, with a preface by the Right Honourable Arthur James Balfour. I cannot conceive the circumstances under which I shall ever read Berkeley; but I do not regret having bought him in a good edition, and I would buy him again if I had him not; for when I look at him some of his virtue passes into me; I am the better for him. A certain aroma of philosophy informs my soul, and I am less crude than I should otherwise be. This is not fancy, but fact. […..] "Taking Berkeley simply as an instance, I will utilise him a little further. I ought to have read Berkeley, you say; just as I ought to have read Spenser, Ben Jonson, George Eliot, Victor Hugo. Not at all. There is no ‘ought’ about it. If the mass of obtainable first-class literature were, as it was perhaps a century ago, not too large to be assimilated by a man of ordinary limited leisure _in_ his leisure and during the first half of his life, then possibly there might be an ‘ought’ about it. But the mass has grown unmanageable, even by those robust professional readers who can ‘grapple with whole libraries.’ And I am not a professional reader. I am a writer, just as I might be a hotel-keeper, a solicitor, a doctor, a grocer, or an earthenware manufacturer. I read in my scanty spare time, and I don’t read in all my spare time, either. I have other distractions. I read what I feel inclined to read, and I am conscious of no duty to finish a book that I don’t care to finish. I read in my leisure, not from a sense of duty, not to improve myself, but solely because it gives me pleasure to read. Sometimes it takes me a month to get through one book. I expect my case is quite an average case. But am I going to fetter my buying to my reading? Not exactly! I want to have lots of books on my shelves because I know they are good, because I know they would amuse me, because I like to look at them, and because one day I might have a caprice to read them. (Berkeley, even thy turn may come!) In short, I want them because I want them. And shall I be deterred from possessing them by the fear of some sequestered and singular person, some person who has read vastly but who doesn’t know the difference between a J.S. Muria cigar and an R.P. Muria, strolling in and bullying me with the dreadful query: ‘_Sir, do you read your books?_

In terms of literary history, the publication of Lyrical Ballads in 1798 is seen as a landmark. The volume contains many of the best-known Romantic poems. The second edition in 1800 contained a Preface in which Wordsworth discusses the theories of poetry which were to be so influential on many of his and Coleridge's contemporaries. The Preface represents a poetic manifesto which is very much in the spirit of the age. The movement towards greater freedom and democracy in political and social affairs is paralleled by poetry which sought to overturn the existing regime and establish a new, more 'democratic' poetic order. To do this, the writers used 'the real language of men' (Preface to Lyrical Ballads) and even, in the case of Byron and Shelley, got directly involved in political activities themselves. The Romantic age in literature is often contrasted with the Classical or Augustan age which preceded it. The comparison is valuable, for it is not simply two different attitudes to literature which are being compared but two different ways of seeing and experiencing life. The Classical or Augustan age of the early and mid-eighteenth century stressed the importance of reason and order. Strong feelings and flights of the imagination had to be controlled (although they were obviously found widely, especially in poetry). The swift improvements in medicine, economics, science and engineering, together with rapid developments in both agricultural and industrial technology, suggested human progress on a grand scale. At the centre of these advances towards a perfect society was mankind, and it must have seemed that everything was within man's grasp if his baser, bestial instincts could be controlled. The Classical temperament trusts reason, intellect, and the head. The Romantic temperament prefers feelings, intuition, and the heart.

After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication.

PUBLISHERS WEEKLY REVIEW Collagist Fabe adds flair to Jane Austen’s Pride and Prejudice with 39 original illustrations that accompany the unabridged text. Fabe’s collages overlay bright, watercolor-washed scenes with retro cut-paper figures and objects sampled from fashion magazines from the 1930s to the ’50s. Accompanying each tableau is a quote from the Pride and Prejudice passage that inspired it. Like Austen’s book, Fabe’s work explores arcane customs of beauty and courtship, pageantry and social artifice: in one collage, a housewife holds a tray of drinks while a man sits happily with a sandwich in hand in the distance. While tinged with irony and more than a dash of social commentary, the collages nevertheless have a spirit of glee and evidence deep reverence for the novel. As Fabe describes in a preface, Austen “was a little bit mean—the way real people are mean—so there are both heroes and nincompoops. Family is both beloved and annoying. That is Austen’s genius, her ability to describe people in all their frailty and humor.” This is a sweet and visually appealing homage. (BookLife) “While tinged with irony and more than a dash of social commentary, the collages nevertheless have a spirit of glee and evidence deep reverence for the novel. As Fabe describes in a preface, Austen “was a little bit mean—the way real people are mean—so there are both heroes and nincompoops.” #publishersweeklyreview #booklife #elliefabe #janeausten #prideandprejudice #cincinnatiartist

It must be clear to those who look below the surface of things that far-reaching changes in our fundamental ideas and attitudes are setting in, and that the world of to-morrow will be a very different one from that which carried us into the abyss in 1914. In this connection a grave duty arises also for our science and philosophy. The higher thought of our day should not exhaust itself in fine-spun technicalities of speculation or research, but should regard itself as dedicated to service and should make its distinctive contribution towards the upbuilding of a new constructive world-view. We are passing through one of the great transition epochs of history; we are threatened with reaction on the one hand and with disintegration on the other. The old beacon lights are growing dimmer, and the torch of new ideas has to be kindled for our guidance. The word is largely with our intellectual leaders. In the last resort a civilisation vi PREFACE TO SECOND EDITION depends on its general ideas; it is nothing but a spiritual structure of the dominant ideas expressing themselves in institutions and the subtle atmosphere of culture. If the soul of our civilisation is to be saved we shall have to find new and fuller expression for the great saving unities—the unity of reality in all its range, the unity of life in all its forms, the unity of ideas throughout human civilisation, and the unity of man's spirit with the mystery of the Cosmos in religious faith and aspiration. Holism is in its own way a groping towards the new light and to new points of view. And I cannot help feeling that if the full extent of its implications is realised, both science and philosophy

The power behind words and voices is substantial to life! I dedicated this book to all of you readers before you even read it, to understand- the book of misunderstandings for the misunderstood. To have a voice, when you were made not have one or told not to have one. Maybe if you are like me, trying to get your voice back this is the story you need. Nonetheless, let us not fail to remember all the voices, which will never speak again, for being rejected and misunderstood.' 'Yes, be that voice with this book, this book is for you, to speak up, and be heard.' 'Why?' 'So, there are no more lost and forgotten voices of life. This book is a stepping stone to abolish bullying altogether, along with your help; we can take that step forward, and forget about the past!' 'At this time, I would like you all to take a moment of silence, to remember someone, that is no longer with us. So, they are not forgotten.' Preface: 'To understand, you must read between the lines of a story just like mine. My wronging if you do not read this book, is you'll find out fast that life is going to suck, and then you make the discovery, that you are going to die alone, and the hex- I have will now be on you.' 'At least that is what I thought; I thought I read, my story before it was written, and this note was the last thing that I was going to write. However, I never realized that there was so much more to life, which I did not appreciate. I came near a stone's throw away from the end. Yet I got additional unplanned lifespans. Yet, was the second chance what I needed?' 'Nevertheless, there were things that I concerned my mind with, which was not substantial to my existence.' 'If anything- learn from me. Try to do the virtuous things I did and not the mistakes I made. Though it is up to you to decide what was good or bad, it is what you feel and believe is morally right in your mind.' 'Yeah- I never really put any thought into what was going to happen to me someday, and the others that are part of my surroundings.' 'However, life goes on, and the existence of what was stands for nothing but- a memory of what you can and cannot have. If you are someone like me, but all I ever wanted was someone that appreciates me. They say life is free or is it. Do I want it- No- not really!' 'The existence of life…!' 'Is what I do not want to have anymore. There must be a way out of all this misery that I live in today? 'They say dying is easy, as well as lasting, and living is difficult and uncertain.' While- I am going to find out!' 'I guess life is all about what you want, need, and love.' 'Likewise, existing in life comes down to what you cannot have in it.' 'All I have to say is don't let anyone or anything pin you down, and make you less than whom you are. Always be whom you were meant to be, regardless of what they say… because who in the hell are they!' 'My story- is somewhat graphic at times, just like looking into a black and white photo of the past in a scrapbook. All the color in it washes away over time, one way or another. Besides all that is left is still frames that keep on fading, and distorting.' 'On the morning I was scheduled to die, I saw my life as if I had lived it to its whole. Oh, the captivating angel beamed lovingly as she roamed forward help me hang myself, a part of me felt death, and other parts of my mind, body, and soul felt as if it would never dye.

In the preface to his little book of miscellaneous essays called Guesses at Truth, the nineteenth-century cleric Julius Hare wrote, ‘I here present you with a few suggestions … little more than glimmerings, I had almost said dreams, of thought … If I am addressing one of that numerous class who read to be told what to think, let me advise you to meddle with this book no further. You wish to buy a house ready furnished; do not come to look for it in a stone quarry. But if you are building up your opinions for yourself, and only want to be provided with the materials, you may meet with many things in these pages to suit you.

It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good;

Discernment is not once-and-for-all decision making at critical points in one's life (Should I take this job? Whom should I marry? Where should I live and work? ),but a lifelong commitment to "remember God" (memoria Dei), know who you are, and pay close attention to what the Spirit is saying today.

It was with this book, according to Lins do Rego, that “the Northeast discovered itself as a fatherland (o Nordeste se descobriu como patria).” In its preface, Freyre affirmed that it was “an investigation into northeastern life; the life of five states whose individual destinies have merged into one and whose roots have thoroughly intertwined over the last hundred years.” This hundred years was also, coincidentally, the age of the Diário de Pernambuco as well as of Recife’s law school.

Once, there was nothing but shadows. An entire world made only of darkness, absent of all light. One day, so it is said, a star exploded to set the darkness aflame and with the light came life. Creatures of all shapes and sizes came into existence, with names like angel, demon, faery, and dragon. They existed together peacefully, these new creatures of The Shadowlands. Until, eventually, they did not…

Q. What is the sixth commandment? A. The sixth commandment is, “Thou shalt not kill” (Exo 20:13). Q. What is required in the sixth commandment? A. The sixth commandment requireth all lawful endeavours to preserve our own life (Eph 5:28-29) and the life of others (1Ki 18:4).

Although the gospel be the only outward means of revealing Christ and saving grace, and is, as such, abundantly sufficient thereunto; yet that men who are dead in trespasses may be born again, quickened or regenerated, there is moreover necessary an effectual insuperable hwork of the Holy Spirit upon the whole soul, for the producing in them a new spiritual life; without which no other means will effect i their conversion unto God. (h Psa 110:3; 1Co 2:14; Eph 1:19-20; i Joh 6:44; 2Co 4:4,6)

Although temporary believers, and other unregenerate men, may vainly deceive themselves with false hopes and carnal presumptions of being in the favour of God and state of salvation, awhich hope of theirs shall perish; yet such as truly believe in the Lord Jesus, and love him in sincerity, endeavouring to walk in all good conscience before him, may in this life be certainly assured b that they are in the state of grace, and may rejoice in the hope of the glory of God, which hope shall never make them cashamed

Q. What is faith in Jesus Christ? A. Faith in Jesus Christ is a saving grace (Heb 10:39) whereby we receive and rest upon Him alone for salvation, as He is offered to us in the gospel (Joh 1:12; Isa 26:3-4; Phi 3:9; Gal 2:16).39 Q. What is repentance unto life? A. Repentance unto life is a saving grace (Act 11:28) whereby a sinner, out of a true sense of his sin (Act 2:37-38) and apprehension of the mercy of God in Christ (Joe 2:12; Jer 3:22), doth, with grief and hatred of his sin, turn from it unto God (Jer 31:18-19; Eze 36:31), with full purpose of and endeavour after new obedience (2Co 7:11; Isa 1:16-17).40 Q.

By chance – but it is not by chance – I open the preface to the Veda of my friend and master and ask whoever will listen to me: What would you save from a house in flames? A precious, irreplaceable manuscript containing a message of salvation for the human race or a small number of people threatened by that fire? The dilemma is real and not only for the writer: how can one only be an ‘intellectual, interested in the truth, or only a ‘spiritual person’ engaged in goodness, when people desperately beg for food and justice? How can one follow a contemplative, philosophical or even religious path when the world requires action, commitment and politics? Vice versa, how can one act to make a better world or an indispensable revolution when what one needs is a serene intuition and a just evaluation? It should be clear to all who share life on our planet that the house in flames is not a fact that involves only one individual. Why was I created? Why, having been saved, do I still exist? How must I live and what can I do? My reader said: If I am not ready to save the manuscript from the fire, if I don’t take my intellectual vocation seriously, placing it before everything else – even at the risk of appearing inhuman –, then I am also incapable of helping people in a more serious and immediate manner. Vice versa, if I am not attentive and ready to save people from a outbreak of fire, which means, if I don’t consider my spiritual calling with total honesty, sacrificing all the rest for it, even my own life, then I will be incapable of saving the manuscript. If I let myself be involved in the solid problems of my times and if I don’t open my home to all of the winds of the world, then whatever I produce from an ivory tower will be sterile and cursed. Also, if I don’t close the doors and windows in order to concentrate on this work, I will not be able to offer anything of value to my neighbour. I hear each book on my shelves shouting in silence: In truth, the manuscript can come out of the flames charred and people burned, but the intensity of one preoccupation has helped me with the other. The dilemma is not to choose the monastery or the disco, Harvard or Chanakyapuri (the Vatican or the Quirinal), tradition or progress, politics or academia, the Church or the State, justice or truth. In a word, reality is not a matter of ‘either...or’, it is not a matter of choosing between spirit and matter, contemplation and action, written message and living persons, East and West, theory and approach or even between divine and human.1 My sense and destiny are inscribed in these words. I am a library, thus I exist in the world and thanks to men who have written, printed, bought and guarded my texts, I exist for them and in their world. I exist also because a man has existed. 1

The phrase “men of science” was used by the scientists themselves, all men. C. P. Snow, remembered today as the author of The Two Cultures (1959), was also the author of the “Lewis Eliot” series of novels on Cambridge college life and its academic (and other) politics in the 1930s and later. He offered the perfect caricature of this behavior in the character of Crawford, who would often preface any opinion he offered to his colleagues with the authoritative phrase, “Speaking as a man of science . . .

The period of 1938–1945 saw Lewis emerge from the cloistered obscurity of academia to become a major religious, cultural, and literary figure. Without ceasing to publish works of academic merit, such as his Preface to “Paradise Lost,” he had established himself as a public intellectual who commanded the media, and was on the road to international celebrity.

The third Preface for Easter tells us that Jesus is ‘still our priest, our advocate who always pleads our cause. Christ is the victim who dies no more, the Lamb once slain who lives forever.’ The original Latin is more paradoxical: Jesus is ‘agnus qui vivit semper occisus’; the lamb who lives forever slain.’ If the risen Lord did not still have his wounds, then he would not have much to do with us now. The resurrection might promise us some future healing and eternal life, but it would leave us now alone in our present hurting. But because of Easter Day we already share in the victory. He still shares our wounds and we share his victory of death. We too are now wounded and healed. When Brian Pierce OP first went to Peruvian Andes, he was surprised by the ubiquitous images of the crucified Christ, covered with blood. It seemed as if the faith of these indigenous people stopped prior to the resurrection and they were left only with images of defeat. But he learned that he was wrong. These crosses are signs of how the risen Christ is now sharing their crucifixion. We can have courage and risk getting hurt. Charles Peguy, the French writer, told the story of a man who died and went to heaven. When he met the recording angel he was asked, ‘Show me your wounds.’ And he replied, ‘Wounds? I have not got any.’ And the angel said, ‘Did you never think that anything was worth fighting for?

Finally, there is the group of mainly humanist intellectuals who constitute a movement known as Afropessimism.63 Reacting against the Pollyannaish postracial rhetoric at the turn of the century, they insist not just on the persistence of racism in America, but on the fact that race remains the critical divide in the nation, the living lineaments of slavery whose “afterlife” continues to define black Americans as socially dead, permanently excluded from the taken-for-granted civic culture and social life of white-defined America.

: blacks are now incorporated and play major roles in its mainstream culture, national political life, and military, the election of Barack Obama to the presidency being only the culmination of this top-down process of disalienation. However, at the local, personal, and institutional levels, I believe that the lineaments of the culture of slavery still haunt African-American life in important ways, especially among the disconnected young people and working poor in its ghettos, prisons, and rural poverty belts, its influence perpetuated through both white racism, institutional and personal, and the slavery-generated, self-destructive tragedy of fragile institutions and fraught gender relations, themselves reinforced by postindustrial economic evisceration.70

In his letter to Melanchthon, Luther mentioned his father's comment made when young Martin, newly ordained, performed his first mass. Martin had explained his own vow. His father had replied, "Let's hope it's not a trick of Satan." These words took root in his heart, Luther wrote, and he never heard his father speak afterward without thinking of them .31 In token of this recollection, Luther dedicated his judgment on Monastic Vows to Hans and prefaced it with a long "letter" addressed to his father.31 In it he recalled how he had entered the monastery against his father's will and how Hans had resolved to "chain me up with an honorable and opulent marriage." Again he told the story of Hans's disappointment and wrath, his own efforts to stand against his father, and Hans's crushing rejoinder, "And have you not heard that you should obey your parents ?"36 As Luther saw things, they had all worked out to the good. Satan had been the source of his vow, but God had used Satan's evil for his own purposes. By becoming a monk and living a monastic life without reproach for many years, Luther declared himself fit to denounce monasticism free from the reproach of enemies that he did not know what he was talking about. In the attention Satan gave him, Luther had, paradoxically, proof of his divine calling.

There are other worlds beyond this world. There is other life beyond this life.” Attributed to Charles Fort Preface :: The Leviathan Tower The heat shimmered beyond the car window and the vehicles that surrounded Morishita Anri’s Toyota Yaris wavered in the heat.

Kaleidoscope Yoga: The universal heart and the individual self. We, as humanity, make up together a mosaic of beautiful colors and shapes that can harmoniously play together in endless combinations. We are an ever-changing play of shape and form. A kaleidoscope consists of a tube (or container), mirrors, pieces of glass (or beads or precious stones), sunlight, and someone to turn it and observe and enjoy the forms. Metaphorically, perhaps the sun represents the divine light, or spark of life, within all of us. The mirrors represent our ability to serve as mirrors for one another and each other’s alignment, reflecting sides of ourselves that we may not have been aware of. The tube (or container) is the practice of community yoga. We, as human beings, are the glass, the beads, the precious stones. The facilitator is the person turning the Kaleidoscope, initiating the changing patterns. And the resulting beauty of the shapes? Well, that’s for everyone to enjoy... Coming into a practice and an energy field of community yoga over and over, is a practice of returning, again and again, to the present moment, to the person in front of you, to the people around you, to your body, to others’ bodies, to your energy, to others’ energy, to your breath, to others’ breath. [...] community yoga practice can help us, in a very real, practical, grounded, felt, somatic way, to identify and be in harmony with all that is around us, which includes all of our fellow human beings.
 We are all multiple selves. We are all infinite. We are all universal selves. We are all unique expressions of the universal heart and universal energy. We are all the universal self. We are all one another. And we are all also unique specific individuals. And to the extent that we practice this, somatically, we become more and more comfortable and fluid with this larger, more cosmic, more inter-related reality. We see and feel and breathe ourselves, more and more, as the open movement of energy, as open somatic possibility. As energy and breath. This is one of the many benefits of a community yoga practice. Kaleidoscope shows us, in a very practical way, how to allow universal patterns of wisdom and interconnectedness to filter through us. [...] One of the most interesting paradoxes I have encountered during my involvement with the community yoga project (and it is one that I have felt again and again, too many times to count) is the paradox that many of the most infinite, universal forms have come to me in a place of absolute solitude, silence, deep aloneness or meditation. And, similarly, conversely and complimentarily, (best not to get stuck on the words) I have often found myself in the midst of a huge crowd or group of people of seamlessly flowing forms, and felt simultaneously, in addition to the group energy, the group shape, and the group awareness, myself as a very cleanly and clearly defined, very particular, individual self. These moments and discoveries and journeys of group awareness, in addition to the sense of cosmic expansion, have also clarified more strongly my sense of a very specific, rooted, personal self. The more deeply I dive into the universal heart, the more clearly I see my own place in it. And the more deeply I tune in and connect with my own true personal self, the more open and available I am to a larger, more universal self. We are both, universal heart and universal self. Individual heart and individual self. We are, or have the capacity for, or however you choose to put it, simultaneous layers of awareness. Learning to feel and navigate and mediate between these different kinds and layers of awareness is one of the great joys of Kaleidoscope Community Yoga, and of life in general. Come join us, and see what that feels like, in your body, again and again. From the Preface of Kaleidoscope Community Yoga: The Art of Connecting: The First 108 Poses

Day 336  Life is a book with no preface, neither it has a last cover page. We write the book, we set the pace. Not all the stories are written on single page. Sometimes we don’t find enough space to reflect on our own grace. Throw away old stress, fall asleep with a smile on ur graceful face. Abhishek Singh

Consequently, the 20th century witnessed the start of significant grassroots movements to protect workers and limit work hours. Still, the term “work-life balance” wasn’t coined until the mid-1980s when more than half of all married women joined the workforce. To paraphrase Ralph E. Gomory’s preface in the 2005 book Being Together, Working Apart: Dual-Career Families and the Work-Life Balance, we went from a family unit with a breadwinner and a homemaker to one with two breadwinners and no homemaker. Anyone with a pulse knows who got stuck with the extra work in the beginning. However, by the ’90s “work-life balance” had quickly become a common watchword for men too. A LexisNexis survey of the top 100 newspapers and magazines around the world shows a dramatic

You will have noticed that my interpretation of The Trial as the account of a man who, at a certain point in his life, suddenly asks himself why he exists, and then considers various possible justifications for his existence until he is finally obliged to admit honestly to himself that there is no justification, corresponds to what I have said in the Preface to the Notes: Every man, at every moment of his life, is engaged in a perfectly definite concrete situation in a world that he normally takes for granted. But it occasionally happens that he starts to think. He becomes aware, obscurely, that he is in perpetual contradiction with himself and with the world in which he exists. The Trial describes what happens to a man when he starts to think: sooner or later he condemns himself as unjustified, and then despair begins (K.'s execution, the execution of hope, is the beginning of despair—henceforth he is a dead man, like Connolly and Camus and so many other intelligent Europeans, and do what he may he can never quite forget it). It is only at this point that the Buddha's Teaching begins to be intelligible. But it must be remembered that for Connolly and the others, death at the end of this life is the final death, and the hell of despair in which they live will come to an end in a few years' time—why, then, should they give up their distractions, when, if things get too bad, a bullet through their brain is enough? It is only when one understands that death at the end of this life is not the final end, that to follow the Buddha's Teaching is seen to be not a mere matter of choice but a matter of necessity. Europe does not know what it really means to despair.

seeking to meet our needs for security and significance. But God calls us back in many ways. We can become aware of the inability of finding any lasting satisfaction in the things of this world (the first temptation Jesus faced in the wilderness), and of the need and failure to make ourselves secure, and of our futile effort to establish our significance (the second and third temptations Jesus faced in the wilderness). The order of the world moves some of us to think about its source; and other things we have mentioned much earlier in the preface can move us to think of God, so that we are open to the proclamation of the gospel of Christ. If we repent-turn around (the Greek word for "repentance" is metanoia, which means turning around in life and reorienting one's entire outlook

April 24 The Warning against Wantoning Notwithstanding in this rejoice not, that the spirits are subject unto you. Luke 10:20 As Christian workers, worldliness is not our snare, sin is not our snare, but spiritual wantoning is, viz.: taking the pattern and print of the religious age we live in, making eyes at spiritual success. Never court anything other than the approval of God, go “without the camp, bearing His reproach.” Jesus told the disciples not to rejoice in successful service, and yet this seems to be the one thing in which most of us do rejoice. We have the commercial view—so many souls saved and sanctified, thank God, now it is all right. Our work begins where God’s grace has laid the foundation; we are not to save souls, but to disciple them. Salvation and sanctification are the work of God’s sovereign grace; our work as His disciples is to disciple lives until they are wholly yielded to God. One life wholly devoted to God is of more value to God than one hundred lives simply awakened by His Spirit. As workers for God we must reproduce our own kind spiritually, and that will be God’s witness to us as workers. God brings us to a standard of life by His grace, and we are responsible for reproducing that standard in others. Unless the worker lives a life hidden with Christ in God, he is apt to become an irritating dictator instead of an indwelling disciple. Many of us are dictators, we dictate to people and to meetings. Jesus never dictates to us in that way. Whenever Our Lord talked about discipleship, He always prefaced it with an “IF,” never with an emphatic assertion—“You must.” Discipleship carries an option with it.

Preface Never in my wildest dreams did I think I would be writing a cookbook. I never liked helping in the kitchen when I was growing up. We were often assigned chores and I always opted for washing the dishes. I hardly ever cut vegetables, never cooked rice and I detested beating eggs. I remember Tia Bestra, who would patiently show me that the whites should be separated from the yolks. She would first beat the egg whites in a shallow bowl with a fork until it was so foamy. I was always amazed but at the same time I felt it was too much effort wasted, after all we were only making an omelet. Then came the time when I had to learn how to, at least, make the sauteed vegetables Josh and I enjoyed. When I asked mother about this, I remember her saying, "Gisahin mo ang sibuyas at kamatis..." (Saute the onions and tomatoes...) but I quickly stopped her to tell her that I did not know what gisahin meant. Visibly annoyed with me and with a hint of sarcasm in her voice, she very slowly said, "Get the fry pan, put some oil in it, heat it..." and again I quickly glanced up from the notes I was taking to tell her that she was going too fast and what size fry pan was I to use and how much oil do I put in it. Realizing how neglected my education in the kitchen had been, she immediately started my cooking lessons. I carefully wrote things down, but words like sankutcha, ligisin, and my ceaseless interruptions were just too much for both of us. Out of desperation, I sent my maid over to my mother's house to learn how to cook all of the dishes that Josh and I enjoyed. I congratulated myself thinking it was one of my most brilliant decisions, but good things always come to an end. In 1978, Josh, our two sons Alan and Adam, and I left our country. We left our life of Riley. With no more maids or help of any kind, I had to learn how to cook if

Ars longa, vita brevis is a Latin translation of an aphorism coming originally from Greek. It roughly translates to "skillfulness takes time and life is short". The aphorism quotes the first two lines of the Aphorisms by the ancient Greek physician Hippocrates: "Ὁ βίος βραχύς, ἡ δὲ τέχνη μακρή". The familiar Latin translation ars longa, vita brevis reverses the order of the original lines, but can express the same principle. Translations The original text, a standard Latin translation, and an English translation from the Greek follow. Greek: Ho bíos brakhús, hē dè tékhnē makrḗ, ho dè kairòs oxús, hē dè peîra sphalerḗ, hē dè krísis khalepḗ. Latin: Vīta brevis, ars longa, occāsiō praeceps, experīmentum perīculōsum, iūdicium difficile. English: Life is short, and craft long, opportunity fleeting, experimentations perilous, and judgment difficult. Interpretation Despite the common usage of the Latin version, Ars longa, vita brevis, the usage caveat is about the Greek original that contains the word tékhnē (technique and craft ) that is translated as the Latin ars (art) as in the usage The Art of War. The authorship of the aphorism is ascribed to the physician Hippocrates, as the preface of his medical text: “The physician must not only be prepared to do what is right himself, but also to make the patient, the attendants, and externals cooperate”. Similar sayings The late-medieval author Chaucer (c. 1343–1400) observed "The lyf so short, the craft so long to lerne" ("The life so short, the craft so long to learn", the first line of the Parlement of Foules). The first-century CE rabbi Tarfon is quoted as saying "The day is short, the labor vast, the workers are lazy, the reward great, the Master urgent." (Avot 2:15)

Russian is spoken by almost half a billion people on the planet, of which about half are native speakers. And Russia has been closely watched by the world for many decades, due to the unprecedented events there.” (- Angelika Regossi, “In English as in Russian”. Preface) “With this book, I offer you easy, not hard, learning – for easy life and work. One thousand everyday Russian words which are the same as English – you can learn in the morning during coffee time while waiting for the bus or airplane, or something else.” (- Angelika Regossi, “In English as in Russian”. Preface) “Will Russia restore the Empire or fall apart? Only history will show. But for now – yes, I am sure that it is worth to understand about 75% of what Russians are talking about, by quickly learning one thousand words.” (- Angelika Regossi, “In English as in Russian”. Preface)

Russian is spoken by almost half a billion people on the planet, of which about half are native speakers. And Russia has been closely watched by the world for many decades, due to the unprecedented events there.” (- Angelika Regossi, “In English as in Russian”. Preface) “With this book, I offer you easy, not hard, learning – for easy life and work. One thousand everyday Russian words which are the same as English – you can learn in the morning during coffee time while waiting for the bus or airplane, or something else.” (- Angelika Regossi, “In English as in Russian”. Preface) “Will Russia restore the Empire or fall apart? Only history will show. But for now – yes, I am sure that it is worth to understand about 75% of what Russians are talking about, by quickly learning one thousand words.” (- Angelika Regossi, “In English as in Russian”. Preface)

Some want to turn the clock back, harkening back to some golden age of nostalgia, when women, children, the lower class, parishioners, and people of other races and creeds knew their place; not back to the 1950s, but further back: to Dickensian times and to (corporate) feudal fiefdom. They want to wind the clock back to a time before the hard-won battles for civil rights, social reforms, and worker representation. A time long, long before the “woke virus”, “illegal immigrants”, and gender identity, when life was more conservative and white lives mattered; though with a new, fundamentalist, Christian nationalist (or Islamist, or ultra-Zionist, or even atheist) and isolationist twist. And some will go to any lengths – and I do mean any desperate, violent, draconian lengths – to bring this vile and unholy vision about. [From Preface]

Environments are not passive wrappings but active processes. In his splendid work Preface to Plato (Harvard University Press, 1963), Eric Havelock contrasts the oral and written cultures of the Greeks. By Plato’s time the written word had created a new environment that had begun to detribalize man. Previously the Greeks had grown up by benefit of the process of the tribal encyclopedia. They had memorized the poets. The poets provided specific operational wisdom for all the contingencies of life — Ann Landers in verse. With the advent of individual detribalized man, a new education was needed. Plato devised such a new program for literate men. It was based on the Ideas.

Allison Coudert has argued that Leibniz was almost certainly influenced by Jewish Kabbalah, with its own esoteric use of combinatorial procedures for exploring the mysteries of the Godhead through gematria and other arithmosophical theurgies.7 Despite the arcane sources of his inspiration, however, Leibniz was not alone among mainstream early modern philosophers in the quest for a “science of sciences,” nor was he alone among moderns in his quest for secret knowledge, as evidenced, for example, by Newton's vast writings on alchemy. Even Descartes, who argued for a rigid distinction between mind and matter, had insisted on their practical unity at the level of “the living.” As Deleuze puts it in his preface to Malfatti's work, “Beyond a psychology disincarnated in thought, and a physiology mineralized in matter,” even Descartes believed in the possibility of a unified field “where life is defined as knowledge of life, and knowledge as life of knowledge” (MSP, 143). This is the unity, Deleuze asserts, to which Malfatti's account of mathesis as a “true medicine” aspires. Deleuze explicitly refers to mathesis universalis at several key points in Difference and Repetition, particularly in connection with what he calls the “esoteric” history of the calculus (DR, 170). As Christian Kerslake has argued, Deleuze's reference here is not merely to obscure or unusual interpretations of mathematics, but to the decisive significance of Josef Hoëné-Wronski, a Polish French émigré who had elaborated a “messianism” of esoteric knowledge based on the idea that the calculus represented access to the total range of cosmic periodicities and rhythmic imbrications.8 The full implications

Additionally, he liked to make his readers smile. Still in the preface, he writes that he avoided “academic technicalia,” to which he adds a footnote. The footnote reads: Semper ubi, sub ubi, which translated means, “Always where, under where.” In English it sounds like, “Always wear underwear.

And from this kind of thought has emerged a new conclusion: which is that it is not only childish of a writer to want readers to see what he sees, to understand the shape and aim of a novel as he sees it - his wanting this means that he has not understood a most fundamental point. Which is that the book is alive and potent and fructifying and able to promote thought and discussion only when its plan and shape and intention are not understood, because that moment of seeing that shape and plan and intention is also the moment when there isn't anything more to be got out of it. And when a book's pattern and the shape of its inner life is as plain to the reader as it is to the author - then perhaps it is time to throw the book aside, as having had its day, and start again on something new. (Preface form 1971 edition)

On our unnamed alien hero’s home world, Vonnadoria, mathematics has transformed his people, giving them the ability to create a utopian society where knowledge is limitless and immortality attainable. But when Cambridge professor Andrew Martin cracks the Riemann hypothesis, opening a door to the same technology that the alien’s planet possesses, the narrator is sent to Earth to erase all evidence of the solution and kill anyone who had seen the proof. He struggles to pass undetected long enough to gain access to Martin’s research. But as he takes up the role of Professor Martin in order to blend in with the humans, he begins to see a kind of hope and redemption in the humans’ imperfections, and he questions his marching orders. Mathematics or not, he becomes increasingly convinced that Martin’s family deserves to live, forcing him to confront the possibility of forgoing everything he has ever known and become a human. TOPICS AND QUESTIONS FOR DISCUSSION 1. In the preface, our narrator explains his purpose and asks his people back home to set aside prejudice in the name of understanding. How is this plea to his fictional reader also directed at us, the actual readers? What prejudices must we set aside to understand our alien hero? 2. Our hero’s entrance into human life is . . . rocky, at best. How did his initial impressions of human life—noses, clothes, rain, and Cosmopolitan—shape the rest of his journey? Which of his first disconcerting realizations did you find the most surprising? 3. Starting with the possibility that the purpose of humanity is to “pursue the enlightenment of orgasm,” our hero is constantly seeking the solution to the meaning of human life. What does he

Most importantly, I have learned that life is short and that we are simply passing through here. We cannot stay. It is therefore essential that we find guides whom we can trust and who can help us discover and realize our higher purposes in life before it is too late.

O tempo não passa de memórias sendo escritas.

Hence the frequently cited metaphor of the history of life on Earth, in which human civilization occupies only the final ‘second’ of the ‘day’ during which life has so far existed, is misleading. In reality, a substantial proportion of all evolution on our planet to date has occurred in human brains. And it has barely begun. The whole of biological evolution was but a preface to the main story of evolution, the evolution of memes.

As Seligman would write ten years later in the preface to Ambedkar’s published PhD, ‘The value of Mr. Ambedkar’s contribution to this discussion lies in the objective recitation of the facts and the impartial analysis …’9

Pressures and forces are ever in opposition,’ the Edur was saying as he rotated the spitted hare over the flames. ‘And the striving is ever towards a balance. This is beyond the gods, of course—it is the current of existence—but no, beyond even that, for existence itself is opposed by oblivion. It is a struggle that encompasses all, that defines every island in the Abyss. Or so I now believe. Life is answered by death. Dark by light. Overwhelming success by catastrophic failure. Horrific curse by breathtaking blessing. It seems the inclination of all people to lose sight of that truth, particularly when blinded by triumph upon triumph. See before me, if you will, this small fire. A modest victory…but if I feed it, my own eager delight is answered, until this entire plain is aflame, then the forest, then the world itself. Thus, an assertion of wisdom here…in the quenching of these flames once this meat is cooked. After all, igniting this entire world will also kill everything in it, if not in flames then in subsequent starvation. Do you see my point, Monok Ochem?’ ‘I do not, Trull Sengar. This prefaces nothing.’ Onrack spoke. ‘You are wrong, Monok Ochem. It prefaces… everything

Etext created by Eve Sobol, South Bend, Indiana THE BURGESS ANIMAL BOOK FOR CHILDREN Thornton W. Burgess TO THE CAUSE OF WILD LIFE IN AMERICA, ESPECIALLY THE MAMMALS MANY OF WHICH ARE SERIOUSLY THREATENED WITH EXTINCTION, THIS BOOK IS DEDICATED. PREFACE The cordial reception given the Burgess Bird Book for Children, together with numerous letters to the author asking for information on the habits and characteristics of many of the mammals of America, led to

I still sometimes encounter readers from the South who speak to me of the book's impact on them when it first fell into their hands in an Istanbul shantytown, a Greek port, the slums of Madrid, Damascus or Bombay. In these different places the book had an intimate address. It was no longer a sociological (or even political at the first degree) treatise but, rather, a little book of life stories, a sequence of lived moments — such as one finds in a family photo album. [From the Preface]

Q. Is any man able perfectly to keep the commandments of God? A. No mere man since the Fall is able in this life perfectly to keep the commandments of God (Ecc 7:20; 1Jo 1:8, 10; Gal 5:17), but doth daily break them in thought, word, or deed (Gen 4:5; 7:21; Rom 3:9-21; Jam 3:2-13).

The Preface states, "This little book is a compact introduction to the study of rational belief. It is meant to afford a coherent view of a broad philosophical terrain, providing points of entry to such areas of philosophy as theory of knowledge, methodology of science, and philosophy of language." Quoting page 8: We will broach many of the criteria by which reasonable belief may be discriminated from unreasonable belief. But not only are the criteria not foolproof; they do not always even point in a unique direction. When we meet the Virtues for assessing hypotheses we will find that they require us to look at candidates for belief in multiple ways, to weigh together a variety of considerations. Decisions in science, as in life, can be difficult. There is no simple touchstone for responsible belief.