Remote Work Quotes

It was a movie about American bombers in World War II and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France, a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers , and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans though and some of the bombers were in bad repair. Over France though, German fighters came up again, made everything and everybody as good as new. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so they would never hurt anybody ever again.

Behind every man now alive stand thirty ghosts, for that is the ratio by which the dead outnumber the living. Since the dawn of time, roughly a hundred billion human beings have walked the planet Earth. Now this is an interesting number, for by a curious coincidence there are approximately a hundred billion stars in our local universe, the Milky Way. So for every man who has ever lived, in this Universe there shines a star. But every one of those stars is a sun, often far more brilliant and glorious than the small, nearby star we call the Sun. And many--perhaps most--of those alien suns have planets circling them. So almost certainly there is enough land in the sky to give every member of the human species, back to the first ape-man, his own private, world-sized heaven--or hell. How many of those potential heavens and hells are now inhabited, and by what manner of creatures, we have no way of guessing; the very nearest is a million times farther away than Mars or Venus, those still remote goals of the next generation. But the barriers of distance are crumbling; one day we shall meet our equals, or our masters, among the stars. Men have been slow to face this prospect; some still hope that it may never become reality. Increasing numbers, however are asking; 'Why have such meetings not occurred already, since we ourselves are about to venture into space?' Why not, indeed? Here is one possible answer to that very reasonable question. But please remember: this is only a work of fiction. The truth, as always, will be far stranger.

Listen closely. There’s a remote possibility that you might learn something: First, I don’t give a damn if my work is commercial or not…I’m the writer. If what I write is good, then people will read it. That’s why literature exists. An author puts his heart and guts on the page. For your information, a good novel can change the world. Keep that in mind before you attempt to sit down at a typewriter. Never waste time on something you don’t believe in yourself.

The great radio telescopes of the world are constructed in remote locations for the same reason Paul Gauguin sailed to Tahiti: For them to work well they must be far from civilization.

The great thing about remote or dead masters is that they can't refuse you as an apprentice. You can learn whatever you want from them. They left their lesson plans in their work.

That’s why hiring consultants doesn’t work. Part-time employees don’t work. Even working remotely should be avoided, because misalignment can creep in whenever colleagues aren’t together full-time, in the same place, every day. If you’re deciding whether to bring someone on board, the decision is binary. Ken Kesey was right: you’re either on the bus or off the bus.

When I asked my shrink if I was a control freak, he finished saying “Absolutely” before I finished saying “freak.” I told him that I once worked with a woman who carried a remote control in her purse. Whenever she got worried or angry, she took it out and stroked it like a gerbil. My shrink said that if I keep comparing myself to severe neurotics, I’ll think that anything is permissible.

you can’t let your employees work from home out of fear they’ll slack off without your supervision, you’re a babysitter, not a manager. Remote work is very likely the least of your problems.

Austerity means to eliminate the comforts and cushions in your life that you have learned to snuggle into and lose wakefulness. Take away anything that dulls your edge. No newspapers or magazines. No TV. No candy, cookies, or sweets. No sex. No cuddling. No reading of anything at all while you eat or sit on the toilet. Reduce working time to a necessary minimum. No movies. No conversation that isn't about truth, love, or the divine. If you take on these disciplines for a few weeks, as well as any other disciplines that may particularly cut through your unique habits of dullness, then your life will be stripped of routine distraction. All that will be left is the edge you have been avoiding by means of your daily routine. You will have to face the basic discomfort and dissatisfaction that is the hidden texture of your life. You will be alive with the challenge of living your truth, rather than hiding form it. Unadorned suffering is the bedmate of masculine growth. Only by staying intimate with your personal suffering can you feel through it to its source. By putting all your attention into work, TV, sex, and reading, your suffering remains unpenetrated, and the source remains hidden. Your life becomes structured entirely by your favorite means of sidestepping the suffering you rarely allow yourself to feel. And when you do touch the surface of your suffering, perhaps in the form of boredom, you quickly pick up a magazine or the remote control. Instead, feel your suffering, rest with it, embrace it, make love with it. Feel your suffering so deeply and thoroughly that you penetrate it, and realize its fearful foundation. Almost everything you do, you do because you are afraid to die. And yet dying is exactly what you are doing, from the moment you are born. Two hours of absorption in a good Super Bowl telecast may distract you temporarily, but the fact remains. You were born as a sacrifice. And you can either participate in the sacrifice, dissolving in the giving of your gift, or you can resist it, which is your suffering. By eliminating the safety net of comforts in your life, you have the opportunity to free fall in this moment between birth and death, right through the hole of your fear, into the unthreatenable openness which is the source of your gifts. The superior man lives as this spontaneous sacrifice of love.

In other words, the unique value of the 'authentic' work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty.

But it so happens that everything on this planet is, ultimately, irrational; there is not, and cannot be, any reason for the causal connexion of things, if only because our use of the word "reason" already implies the idea of causal connexion. But, even if we avoid this fundamental difficulty, Hume said that causal connexion was not merely unprovable, but unthinkable; and, in shallower waters still, one cannot assign a true reason why water should flow down hill, or sugar taste sweet in the mouth. Attempts to explain these simple matters always progress into a learned lucidity, and on further analysis retire to a remote stronghold where every thing is irrational and unthinkable. If you cut off a man's head, he dies. Why? Because it kills him. That is really the whole answer. Learned excursions into anatomy and physiology only beg the question; it does not explain why the heart is necessary to life to say that it is a vital organ. Yet that is exactly what is done, the trick that is played on every inquiring mind. Why cannot I see in the dark? Because light is necessary to sight. No confusion of that issue by talk of rods and cones, and optical centres, and foci, and lenses, and vibrations is very different to Edwin Arthwait's treatment of the long-suffering English language. Knowledge is really confined to experience. The laws of Nature are, as Kant said, the laws of our minds, and, as Huxley said, the generalization of observed facts. It is, therefore, no argument against ceremonial magic to say that it is "absurd" to try to raise a thunderstorm by beating a drum; it is not even fair to say that you have tried the experiment, found it would not work, and so perceived it to be "impossible." You might as well claim that, as you had taken paint and canvas, and not produced a Rembrandt, it was evident that the pictures attributed to his painting were really produced in quite a different way. You do not see why the skull of a parricide should help you to raise a dead man, as you do not see why the mercury in a thermometer should rise and fall, though you elaborately pretend that you do; and you could not raise a dead man by the aid of the skull of a parricide, just as you could not play the violin like Kreisler; though in the latter case you might modestly add that you thought you could learn. This is not the special pleading of a professed magician; it boils down to the advice not to judge subjects of which you are perfectly ignorant, and is to be found, stated in clearer and lovelier language, in the Essays of Thomas Henry Huxley.

When we hear the ancient bells growling on a Sunday morning we ask ourselves: Is it really possible! This, for a jew, crucified two thousand years ago, who said he was God's son? The proof of such a claim is lacking. Certainly the Christian religion is an antiquity projected into our times from remote prehistory; and the fact that the claim is believed - whereas one is otherwise so strict in examining pretensions - is perhaps the most ancient piece of this heritage. A god who begets children with a mortal woman; a sage who bids men work no more, have no more courts, but look for the signs of the impending end of the world; a justice that accepts the innocent as a vicarious sacrifice; someone who orders his disciples to drink his blood; prayers for miraculous interventions; sins perpetrated against a god, atoned for by a god; fear of a beyond to which death is the portal; the form of the cross as a symbol in a time that no longer knows the function and ignominy of the cross -- how ghoulishly all this touches us, as if from the tomb of a primeval past! Can one believe that such things are still believed?

Like chess masters and firefighters, premodern villagers relied on things being the same tomorrow as they were yesterday. They were extremely well prepared for what they had experienced before, and extremely poorly equipped for everything else. Their very thinking was highly specialized in a manner that the modern world has been telling us is increasingly obsolete. They were perfectly capable of learning from experience, but failed at learning without experience. And that is what a rapidly changing, wicked world demands—conceptual reasoning skills that can connect new ideas and work across contexts. Faced with any problem they had not directly experienced before, the remote villagers were completely lost. That is not an option for us. The more constrained and repetitive a challenge, the more likely it will be automated, while great rewards will accrue to those who can take conceptual knowledge from one problem or domain and apply it in an entirely new one.

The great thing about dead or remote masters is that they can’t refuse you as an apprentice. You can learn whatever you want from them. They left their lesson plans in their work.

And mage and sailor are not so far apart; both work with the powers of sky and sea, and bend great winds to the uses of their hands, bringing near what was remote.

Termite, you're young, and I'm not sure if you're going to understand what I'm about to say, but here's the nugget: Without the heart, nothing else matters. She could be the Goddess of Love, you could have all the mind-blowing sex you could physically handle, but when the shooting is over, and you're starting to think about getting a bite to eat, smoking a cigarette, or what you do with her now, you're just lying in bed with a woman who means little more to you than the remote control for your TV. Love is not tool; neither is a woman's heart. What I'm talking about, you won't find in that magazine." "How would you know? You just said you've only loved one woman. I think you need to test-drive a few cars before you buy one." "You can buy that lie if you want, but if you're working for a bank, you don't study the counterfeit to know the real thing. You study the real thing to know the counterfeit." Reese talking to Termite, pg. 109-110

Ma was heavy, but not fat; thick with child-bearing and work. She wore a loose Mother Hubbard of gray cloth in which there had once been colored flowers, but the color was washed out now, so that the small flowered pattern was only a little lighter gray than the background. The dress came down to her ankles, and he strong, broad, bare feet moved quickly and deftly over the floor. Her thin, steel-gray hair was gathered in a sparse wispy knot at the back of her head. Strong, freckled arms were bare to the elbow, and her hands were chubby and delicate, like those of a plump little girl. She looked out into the sunshine. Her full face was not soft; it was controlled, kindly. Her hazel eyes seemed to have experienced all possible tragedy and to have mounted pain and suffering like steps into a high calm and a superhuman understanding. She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt and fear, she had practiced denying them in herself. And since, when a joyful thing happened, they looked to see whether joy was on her, it was her habit to build up laughter out of inadequate materials. But better than joy was calm. Imperturbability could be depended upon. And from her great and humble position in the family she had taken dignity and a clean calm beauty. From her position as healer, her hands had grown sure and cool and quiet; from her position as arbiter she had become as remote and faultless in judgment as a goddess. She seemed to know that if she swayed the family shook, and if she ever really deeply wavered or despaired the family would fall, the family will to function would be gone.

Prayer is based on the remote possibility that someone is actually listening; but so is a lot of conversation. If the former seems far-fetched, consider the latter: even if someone is listening to your story, and really hearing, that person will disappear from existence in the blink of a cosmic eye, so why bother to tell this perhaps illusory and possibly un-listening person something he or she is unlikely to truly understand, just before the two of you blip back out of existence? We like to talk to people who answer us, intelligently if possible, but we do talk without needing response or expecting comprehension. Sometimes, the event is the word, the act of speaking. Once we pull that apart a bit, the action of talking becomes more important than the question of whether the talking is working-because we know, going in, that the talking is not working. That said, one might as well pray.

written works do not produce fast reactions as pictures and sculptures and music do. it takes no effort to see or hear. but to read - to grasp what the writer has done - requires commitment. engagement. as is the case with most art, the relationship between the maker and the audience is remote in time and space. the writer is nowhere to be seen when the reader takes up the book, or even dead. but most often, books go unread...thus the writer, knowing this as writers do, is even more alone...yet writers write. and knowing what they know makes their isolation almost a sacrament.

I argue that it is not Woolf's remoteness that puts people off but her nearness that terrifies them. Her language is not a woolly blanket it is a sharp sword. The Waves, which is the most difficult of her works, is a strong-honed edge through the cloudiness most of us call life. It is uncomfortable to have the thick padded stuff ripped away. There is no warm blanket to be had out of Virginia Woolf; there is wind and sun and you naked. It is not remoteness of feeling in Woolf, it is excess; the unbearable quiver of nerves and the heart pounding. It is exposure. And it is exactness.

Speaking of libraries: A big open-stack academic or public library is no small pleasure to work in. You're, say, trying to do a piece on something in Nevada, and you go down to C Floor, deep in the earth, and out to what a miner would call a remote working face. You find 10995.497S just where the card catalog and the online computer thought it would be, but that is only the initial nick. The book you knew about has led you to others you did not know about. To the ceiling the shelves are loaded with books about Nevada. You pull them down, one at a time, and sit on the floor and look them over until you are sitting on a pile five feet high, at which point you are late home for dinner and you get up and walk away. It's an incomparable boon to research, all that; but it is also a reason why there are almost no large open-stack libraries left in the world.

When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were the shipped to specialists in remote areas. It was their business to put them into the ground, to hide them cleverly, so that they would never hurt anybody ever again.

Some people think 1963's a long time ago; when a dead American in the jungle was an event, a grim thrilling novelty. It was spookwar then, adventure; not exactly soldiers, not even advisors yet, but Irregulars, working in remote places with little direct authority, acting out their fantasies with more freedom than most men ever know.

I find it difficult now to recall and understand the dreams which then filled my imagination. Even when I can recall them, I find it hard to believe that my dreams were just like that: they were so strange and so remote from life.

If a student works rigorously, no topic is truly foolish, and the student can draw useful conclusions even from a remote or peripheral topic.

Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. Arbus had neither Warhol's narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality. It is unlikey that Warhol, who comes from a working-class family, ever felt any ambivalence toward success which afflicted the children of the Jewish upper middle classes in the 1960s. To someone raised as a Catholic, like Warhol (and virtually everyone in his gang), a fascination with evil comes much more genuinely than it does to someone from a Jewish background. Compared with Warhol, Arbus seems strikingly vulnerable, innocent--and certainly more pessimistic. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. Although much of Arbus's material is the same as that depicted in, say, Warhol's Chelsea Girls (1966)...For Arbus, both freaks and Middle America were equally exotic: a boy marching in a pro-war parade and a Levittown housewife were as alien as a dwarf or a transvestite; lower-middle-class suburbia was as remote as Times Square, lunatic asylums, and gay bars. Arbus's work expressed her turn against what was public (as she experienced it), conventional, safe, reassuring--and boring--in favor of what was private, hidden, ugly, dangerous, and fascinating. These contrasts, now, seem almost quaint. What is safe no long monopolizes public imagery. The freakish is no longer a private zone, difficult of access. People who are bizarre, in sexual disgrace, emotionally vacant are seen daily on the newsstands, on TV, in the subways. Hobbesian man roams the streets, quite visible, with glitter in his hair.

When a company sets out to participate, rather than win, it will inevitably fail to make the tough choices and the significant investments that would make winning even a remote possibility.

Billy looked at the clock on the gas stove. He had an hour to kill before the saucer came. He went into the living room, swinging the bottle like a dinner bell, turned on the television. He came slightly unstuck in time, saw the late movie backwards, then forwards again. It was a movie about American bombers in the Second World War and the gallant men who flew them. Seen backwards by Billy, the story went like this: American planes, full of holes and wounded men and corpses took off backwards from an airfield in England. Over France a few German fighter planes flew at them backwards, sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground, and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors, exerted a miraculous magnetism which shrunk the fires, gathered them into cylindrical steel containers, and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own, which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans, though, and some of the bombers were in bad repair. Over France, though, German fighters came up again, made everything and everybody as good as new. When the bombers got back to their base, the steel cylinders were taken from the racks and shipped back to the United States of America, where factories were operating night and day, dismantling the cylinders, separating the dangerous contents into minerals. Touchingly, it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground., to hide them cleverly, so they would never hurt anybody ever again. The American fliers turned in their uniforms, became high school kids. And Hitler turned into a baby, Billy Pilgrim supposed. That wasn't in the movie. Billy was extrapolating. Everybody turned into a baby, and all humanity, without exception, conspired biologically to produce two perfect people named Adam and Eve, he supposed.

If you want to see philosophy in action, pay a visit to a robo-rat laboratory. A robo-rat is a run-ofthe-mill rat with a twist: scientists have implanted electrodes into the sensory and reward areas in the rat’s brain. This enables the scientists to manoeuvre the rat by remote control. After short training sessions, researchers have managed not only to make the rats turn left or right, but also to climb ladders, sniff around garbage piles, and do things that rats normally dislike, such as jumping from great heights. Armies and corporations show keen interest in the robo-rats, hoping they could prove useful in many tasks and situations. For example, robo-rats could help detect survivors trapped under collapsed buildings, locate bombs and booby traps, and map underground tunnels and caves. Animal-welfare activists have voiced concern about the suffering such experiments inflict on the rats. Professor Sanjiv Talwar of the State University of New York, one of the leading robo-rat researchers, has dismissed these concerns, arguing that the rats actually enjoy the experiments. After all, explains Talwar, the rats ‘work for pleasure’ and when the electrodes stimulate the reward centre in their brain, ‘the rat feels Nirvana’. To the best of our understanding, the rat doesn’t feel that somebody else controls her, and she doesn’t feel that she is being coerced to do something against her will. When Professor Talwar presses the remote control, the rat wants to move to the left, which is why she moves to the left. When the professor presses another switch, the rat wants to climb a ladder, which is why she climbs the ladder. After all, the rat’s desires are nothing but a pattern of firing neurons. What does it matter whether the neurons are firing because they are stimulated by other neurons, or because they are stimulated by transplanted electrodes connected to Professor Talwar’s remote control? If you asked the rat about it, she might well have told you, ‘Sure I have free will! Look, I want to turn left – and I turn left. I want to climb a ladder – and I climb a ladder. Doesn’t that prove that I have free will?

Meaningful work, creative work, thoughtful work, important work—this type of effort takes stretches of uninterrupted time to get into the zone. But in the modern office such long stretches just can’t be found. Instead, it’s just one interruption after another.

That’s the great irony of letting passionate people work from home. A manager’s natural instinct is to worry about his workers not getting enough work done, but the real threat is that too much will likely get done. And because the manager isn’t sitting across from his worker anymore, he can’t look in the person’s eyes and see burnout.

When we are in love with a woman we simply project on to her a state of our own soul; that consequently the important thing is not the worth of the women but the profundity of the state; and that the emotions which a perfectly ordinary girl arouses in us can enable us to bring to the surface of our consciousness some of the innermost parts of our being, more personal, more remote, more quintessential that any that might might be evoked by the pleasure we derive from the conversation of a great man or even from the admiring contemplation of his work.

I only know myself as a human entity; the scene, so to speak, of thoughts and affections; and I'm sensible of a certain doubleness by which I can stand as remote from myself as another. However intense my experience, I am conscious of the presence and criticism of a part of me, which, as it were, is not a part of me, but spectator, sharing no experience, but taking note of it; and that is no more I than it is you. When the play, it may be the tragedy, of life is over, the spectator goes his way. It was a kind of fiction, a work of the imagination only..

And that is also the way the human mind works — by the compounding of old ideas into new structures that become new ideas that can themselves be used in compounds, and round and round endlessly, growing ever more remote from the basic earthbound imagery that is each language’s soil.

• Starting with trust and giving employees great autonomy and flexibility allows people to feel independent and empowered while still feeling like a part of something bigger. This leads to happy, loyal employees with a rich quality of life, which in turn leads to an amazing culture.

Parts are not to be examined till the whole has been surveyed; there is a kind of intellectual remoteness necessary for the comprehension of any great work in its full design and its true proportions; a close approach shews the smaller niceties, but the beauty of the whole is discerned no longer.

make an agreement to exercise mutual control over each other. The unspoken pact between them is, “It’s my job to make you happy, and your job to make me happy. And the best way to get you to work on my life is to act miserable. The more miserable I am, the more you will have to try to make me feel better.” Powerless people use various tactics, such as getting upset, withdrawing, nagging, ridiculing, pouting, crying, or getting angry, to pressure, manipulate, and punish one another into keeping this pact. However, this ongoing power play does nothing to make them happy and mitigate their anxiety in the long term. In fact, their anxiety only escalates by continually affirming that they are not actually powerful. Any sense of love and safety they feel by gaining or surrendering control is tenuous and fleeting. A relational bond built on mutual control simply cannot produce anything remotely like safety, love, or trust. It can only produce more fear, pain, distrust, punishment, and misery. And when taken to an extreme, it produces things like domestic violence.

When someone wants to demonstrate a new feature they’re working on at 37signals, often the easiest way is to record a screencast and narrate the experience. A screencast is basically just a recording of your screen that others can play back later as a movie. It can be used in several ways, including for presenting the latest sales figures or elaborating on a new marketing strategy.

I've never written a book, except my first, without at some point considering that I might die before it was completed. This is all part of the superstition, the folklore, the mania of the business, the fetishistic fuss.....Dying in the middle of a wo(rd), or three-fifths of the way through a nov(el). My friend the nov(el)ist Brian Moore used to fear this as well, though for an extra reason: "Because some bastard will come along and finish it for you." Here is a novelist's would-you-rather. Would you rather die in the middle of a book, and have some bastard finish it for you, or leave behind a work in progress that not a single bastard in the whole world was remotely interested in finishing?

Bowman was aware of some changes in his behavior patterns; it would have been absurd to expect anything else in the circumstances. He could no longer tolerate silence; except when he was sleeping, or talking over the circuit to Earth, he kept the ship's sound system running at almost painful loudness. / At first, needing the companionship of the human voice, he had listened to classical plays--especially the works of Shaw, Ibsen, and Shakespeare--or poetry readings from Discovery's enormous library of recorded sounds. The problems they dealt with, however, seemed so remote, or so easily resolved with a little common sense, that after a while he lost patience with them. / So he switched to opera--usually in Italian or German, so that he was not distracted even by the minimal intellectual content that most operas contained. This phase lasted for two weeks before he realized that the sound of all these superbly trained voices was only exacerbating his loneliness. But what finally ended this cycle was Verdi's Requiem Mass, which he had never heard performed on Earth. The "Dies Irae," roaring with ominous appropriateness through the empty ship, left him completely shattered; and when the trumpets of Doomsday echoed from the heavens, he could endure no more. / Thereafter, he played only instrumental music. He started with the romantic composers, but shed them one by one as their emotional outpourings became too oppressive. Sibelius, Tchaikovsky, Berlioz, lasted a few weeks, Beethoven rather longer. He finally found peace, as so many others had done, in the abstract architecture of Bach, occasionally ornamented with Mozart. / And so Discovery drove on toward Saturn, as often as not pulsating with the cool music of the harpsichord, the frozen thoughts of a brain that had been dust for twice a hundred years.

And I, too, am the same… only there is no love in my heart, or desire for love, no interest in work, not contentment in myself. And how remote and impossible my old religious enthusiasms seem now… and my former abounding life! What once seemed so plain and right – that happiness lay in living for others – is unintelligible now. Why live for others, when life has not attractions even for oneself?

Those who spend sufficient time on the mystical quest, and with sufficient keenness and guidance, find it infinitely inspiring because it links them—however remotely weakly and momentarily—with an infinite power, an infinite wisdom, an infinite goodness.

It so happens that the work which is likely to be our most durable monument, and to convey some knowledge of us to the most remote posterity, is a work of bare utility; not a shrine, not a fortress, not a palace, but a bridge. —MONTGOMERY SCHUYLER IN HARPER’S WEEKLY, MAY 24, 1883

When he thought of the old man he could see him suddenly in a field in the spring, trying to move a gray boulder. He always knew instinctively the ones you could move, even though the greater part was buried in the earth, and he expected you to move the rock and not discuss it. A hard and silent man, an honest man, a noble man. Little humor but sometimes the door opened and you saw the warmth within a long way off, a certain sadness, a slow, remote, unfathomable quality as if the man wanted to be closer to the world but did not know how. Once Chamberlain had a speech memorized from Shakespeare and gave it proudly, the old man listening but not looking, and Chamberlain remembered it still: 'What a piece of work is man...in action how like an angel!' And the old man, grinning, had scratched his head and then said stiffly, 'Well, boy, if he's an angel, he's sure a murderin' angel.' And Chamberlain had gone on to school to make an oration on the subject: Man, the Killer Angel. And when the old man heard about it he was very proud, and Chamberlain felt very good remembering it. The old man was proud of his son, the colonel.

The Amy of today was abrasive enough to want to hurt, sometimes. I speak specifically of the Amy of today, who was only remotely like the woman I fell in love with. It had been an awful fairy-tale reverse transformation. Over just a few years, the old Amy, the girl of the big laugh and the east ways, literally shed herself, a pile of skin and soul on the floor, and out stepped this new, brittle, bitter Amy. My wife was no longer my wife but a razor-wire knot daring me to unloop her, and I was not up to the job with my thick, numb, nervous fingers. Country fingers. Flyover fingers untrained in the intricate, dangerous work of solving Amy. When I'd hold up the bloody stumps, she'd sigh and turn to her secret mental notebook on which she tallied all my deficiencies, forever noting disappointments, frailties, shortcomings. My old Amy, damn, she was fun. She was fun. She made me laugh. I'd forgotten that. And she laughed, From the bottom of her throat, from right behind that small finger-shaped hollow, which is the best place to laugh from. She released her grievances like handfuls of birdseed: They are there, and they are gone.

however many ways there may be of being alive, it is certain that there are vastly more ways of being dead, or rather not alive. You may throw cells together at random, over and over again for a billion years, and not once will you get a conglomeration that flies or swims or burrows or runs, or does anything, even badly, that could remotely be construed as working to keep itself alive.

Put it on record --I am an Arab And the number of my card is fifty thousand I have eight children And the ninth is due after summer. What's there to be angry about? Put it on record. --I am an Arab Working with comrades of toil in a quarry. I have eight childern For them I wrest the loaf of bread, The clothes and exercise books From the rocks And beg for no alms at your doors, --Lower not myself at your doorstep. --What's there to be angry about? Put it on record. --I am an Arab. I am a name without a tide, Patient in a country where everything Lives in a whirlpool of anger. --My roots --Took hold before the birth of time --Before the burgeoning of the ages, --Before cypess and olive trees, --Before the proliferation of weeds. My father is from the family of the plough --Not from highborn nobles. And my grandfather was a peasant --Without line or genealogy. My house is a watchman's hut --Made of sticks and reeds. Does my status satisfy you? --I am a name without a surname. Put it on Record. --I am an Arab. Color of hair: jet black. Color of eyes: brown. My distinguishing features: --On my head the 'iqal cords over a keffiyeh --Scratching him who touches it. My address: --I'm from a village, remote, forgotten, --Its streets without name --And all its men in the fields and quarry. --What's there to be angry about? Put it on record. --I am an Arab. You stole my forefathers' vineyards --And land I used to till, --I and all my childern, --And you left us and all my grandchildren --Nothing but these rocks. --Will your government be taking them too --As is being said? So! --Put it on record at the top of page one: --I don't hate people, --I trespass on no one's property. And yet, if I were to become starved --I shall eat the flesh of my usurper. --Beware, beware of my starvation. --And of my anger!

Well -- there are two kinds of loneliness, aren't there? There's the loneliness of absolute solitude -- the physical fact of living alone, working alone, as I have always done. This need not be painful. For many writers it's necessary. Others need a female staff of family servants to type their bloody books and keep the their egos afloat. Being alone for most of the day means that you listen to different rhythms, which are not determined by other people. I think it's better so. But there is another kind of loneliness which is terrible to endure....And that is the loneliness of seeing a different world from that of the people around you. Their lives remain remote from yours. You can see the gulf and they can't. You live among them. They walk on earth. You walk on glass. They reassure themselves with conformity, with carefully constructed resemblances. You are masked, aware of your absolute difference.

daughter of the servants.” “Gee, you must have been lonely, Judge, having nobody to play with.” “I played with Sam Westing—chess. Hour after hour I sat staring down at that chessboard. He lectured me, he insulted me, and he won every game.” The judge thought of their last game: She had been so excited about taking his queen, only to have the master checkmate her in the next move. Sam Westing had deliberately sacrificed his queen and she had fallen for it. “Stupid child, you can’t have a brain in that frizzy head to make a move like that.” Those were the last words he ever said to her. The judge continued: “I was sent to boarding school when I was twelve. My parents visited me at school when they could, but I never set foot in the Westing house again, not until two weeks ago.” “Your folks must have really worked hard,” Sandy said. “An education like that costs a fortune.” “Sam Westing paid for my education. He saw that I was accepted into the best schools, probably arranged for my first job, perhaps more, I don’t know.” “That’s the first decent thing I’ve heard about the old man.” “Hardly decent, Mr. McSouthers. It was to Sam Westing’s advantage to have a judge in his debt. Needless to say, I have excused myself from every case remotely connected with

Well, now,” Mrs. Havisham said, all but purring as she leaned forward, ample cleavage on display. “You’ve grown up, haven’t you? Tell me, Gustavo. What are your thoughts on having an experienced lover?” “Not many,” Gus said. “In fact, none at all. Also? I came out when I was thirteen. You were there. As was the whole town. Pastor Tommy announced it at the Fall Harvest Festival. On stage. Into a microphone. There was apple pie afterward.” “Still?” she said with an exaggerated pout. “Yes,” Gus said, deadpan as he could make it. “Still. Funny how that works.” “Well, if you change your mind, you know where to find me,” she said, dragging a pink fingernail down his arm. “My door is always open. Like my body.” “That’s not even remotely healthy,” Gus said with a sniff. “Maybe that’s why I need your protein,” she said with a wink. “Nope,” Gus said. “Nope, nope, nope.” “You sure about that?” “Maybe you should close that door. And your legs.

Somewhere deep in the background I always knew that I was two persons. One was the son of my parents, who went to school and was less intelligent, attentive, hard-working, decent, and clean than many other boys. The other was grown up—old, in fact—skeptical, mistrustful, remote from the world of men, but close to nature, the earth, the sun, the moon, the weather, all living creatures, and above all close to the night, to dreams, and to whatever “God” worked directly in him.

Now as you plumb out into the universe and explore it astronomically, it gets very strange. You begin to see things in the depths that at first sight seem utterly remote. How could they have anything to do with us. They are so far off and so unlikely. And in the same way, when you start probing into the inner workings of the human body you come across all kinds of funny little monsters and wiggly things that bear no resemblance to what we recognize as the human image. Look at a spermatozoon under a microscope. That little tadpole! And how can that have any connection with a grown human being. It’s so unlike, you see. It’s foreign feeling. And you get the creeps, a foreign feeling, about yourself...But what we will always find out in the end when we meet the very strange thing, there will one day be the dawning recognition: Why that’s me.

In short order, I became America’s foremost “irregardless” apologist. I recorded a short video for Merriam-Webster’s website refuting the notion that “irregardless” wasn’t a word; I took to Twitter and Facebook and booed naysayers who set “irregardless” up as the straw man for the demise of English. I continued to find evidence of the emphatic “irregardless” in all sorts of places—even in the oral arguments of a Supreme Court case. One incredulous e-mail response to my video continued to claim “irregardless” wasn’t a real word. “It’s a made-up word that made it into the dictionary through constant use!” the correspondent said, and I cackled gleefully before responding. Of course “irregardless” is a made-up word that was entered into the dictionary through constant use; that’s pretty much how this racket works. All words are made-up: Do you think we find them fully formed on the ocean floor, or mine for them in some remote part of Wales? I began telling correspondents that “irregardless” was much more complex than people thought, and it deserved a little respectful respite, even if it still was not part of Standard English. My mother was duly horrified. “Oh, Kory,” she tutted. “So much for that college education.” —

Something quite remote from anything the builders intended has come out of their work, and out of the fierce little human tragedy in which I played; something none of us thought about at the time: a small red flame -- a beaten-copper lamp of deplorable design, relit before the beaten-copper doors of a tabernacle; the flame which the old knights saw from their tombs, which they saw put out; that flame burns again for other soldiers, far from home, farther, in heart, than Acre or Jerusalem. It could not have been lit but for the builders and the tragedians, and there I found it this morning, burning anew among the old stones.

My refusal to remove the book from the library was backed by a majority of the Board of Governors. I wrote back to Mr Malfoy, explaining my decision: So-called pure-blood families maintain their alleged purity by disowning, banishing or lying about Muggles or Muggle-borns on their family trees. They then attempt to foist their hypocrisy upon the rest of us by asking us to ban works dealing with the truths they deny. There is not a witch or wizard in existence whose blood has not mingled with that of Muggles, and I should therefore consider it both illogical and immoral to remove works dealing with the subject from our students' store of knowledge.(4) This exchange marked the beginning of Mr Malfoy's long campaign to have me removed from my post as Headmaster of Hogwarts, and of mine to have him removed from his position as Lord Voldemort's Favourite Death Eater. (4)My response prompted several further letters from Mr Malfoy, but as they consisted mainly of opprobrious remarks on my sanity, parentage and hygiene, their relevance to this commentary is remote.

As a member of the avant-garde who is capable of perceiving the conspiracy before it is fully obvious to an as yet unaroused public, the paranoid is a militant leader. He does not see social conflict as something to be mediated and compromised, in the manner of the working politician. Since what is at stake is always a conflict between absolute good and absolute evil, what is necessary is not compromise but the will to fight things out to a finish. Since the enemy is thought of as being totally evil and totally unappeasable, he must be totally eliminated–if not from the world, at least from the theatre of operations to which the paranoid directs his attention. This demand for total triumph leads to the formulation of hopelessly unrealistic goals, and since these goals are not even remotely attainable, failure constantly heightens the paranoid’s sense of frustration. Even partial success leaves him with the same feeling of powerlessness with which he began, and this in turn only strengthens his awareness of the vast and terrifying quality of the enemy he opposes.

They were posted to a country neither knew much about beyond the space it occupied on the map of East Africa between Kenya and Rwanda. After four years working in the remote Usambara Mountains, they moved to Moshi, which means “smoke” in Swahili, where the family was billeted by their Lutheran missionary society in a Greek gun dealer’s sprawling cinder-block home, which had been seized by the authorities. And with the sort of serendipity that so often rewards impetuousness, the entire family fell fiercely in love with the country that would be renamed Tanzania after independence in 1961. “The older I get, the more I appreciate my childhood. It was paradise,” Mortenson says

The psychologist Daniel Wegner has this beautiful concept called transactive memory, which is the observation that we don’t just store information in our minds or in specific places. We also store memories and understanding in the minds of the people we love. You don’t need to remember your child’s emotional relationship to her teacher because you know your wife will; you don’t have to remember how to work the remote because you know your daughter will. That’s transactive memory. Little bits of ourselves reside in other people’s minds. Wegner has a heartbreaking riff about what one member of a couple will often say when the other one dies—that some part of him or her died along with the partner. That, Wegner says, is literally true. When your partner dies, everything that you have stored in that person’s brain is gone.

Publicity is effective precisely because it feeds upon the real. Clothes, food, cars, cosmetics, baths, sunshine are real things to be enjoyed in themselves. Publicity begins by working on a natural appetite for pleasure. But it cannot offer the real object of pleasure and there is no convincing substitute for a pleasure in that pleasure's own terms. The more convincingly publicity conveys the pleasure of bathing in a warm, distant sea, the more the spectator-buyer will become aware that he is hundreds of miles away from that sea and the more remote the chance of bathing in it will seem to him. This is why publicity can never really afford to be about the product or opportunity it is proposing to the buyer who is not yet enjoying it. Publicity is never a celebration of a pleasure-in-itself. Publicity is always about the future buyer. It offers him an image of himself made glamorous by the product or opportunity it is trying to sell. The image then makes him envious of himself as he might be. Yet what makes this self-which-he-might-be enviable? The envy of others. Publicity is about social relations, not objects. Its promise is not of pleasure, but of happiness : happiness as judged from the outside by others. The happiness of being envied is glamour. Being envied is a solitary form of reassurance. It depends precisely upon not sharing your experience with those who envy you. You are observed with interest but you do not observe with interest - if you do, you will become less enviable. ... ... The spectator-buyer is meant to envy herself as she will become if she buys the product. She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself. One could put this another way : the publicity images steals her love of herself as she is, and offers it back to her for the price of the product. (P. 128)

When I reflect, my dear cousin,' said she, 'on the miserable death of Justine Moritz, I no longer see the world and its works as they before appeared to me. Before, I looked upon the accounts of vice and injustice, that I read in books or heard from others as tales of ancient days or imaginary evils; at least they were remote, and more familiar to reason than to the imagination; but now misery has come home, and men appear to me as monsters thirsting for each other's blood.

To become what one is, one must not have the faintest notion what one is. From this point of view even the blunders of life have their own meaning and value—the occasional side roads and wrong roads, the delays, “modesties,” seriousness wasted on tasks that are remote from the task. All this can express a great prudence, even the supreme prudence: where "nosce te ipsum" would be the recipe for ruin, forgetting oneself, misunderstanding oneself, making oneself smaller, narrower, mediocre, become reason itself. Morally speaking: neighbor love, living for others, and other things can be a protective measure for preserving the hardest self-concern. This is the exception where, against my wont and conviction, I side with the “selfless” drives: here they work in the service of self-love, of self-discipline.

In attempting to say who Jesus is, the best we can do is to utter words provoked by the collective attempts to do so over the centuries-- a choral work we cannot possibly translate back into a few phrases, any more than we can assume that a concert is adequately described by its listing in the program, or that a painting is interchangeable with its title. Reading the program or the museum's catalogue, we have no notion of what actually was performed or displayed. We can extend the metaphor: a literal reading of the Bible amounts to little more than what we learn from a concert program, or even the score. It is the symphonic whole that bears the meaning that nothing less can remotely capture.

Every human being is an incalculable force, bearing within him something of the future. To the end of time, our daily words and actions will bear fruit, either good or bad; nothing that we have once given of ourselves will perish, but our words and works, handed on from one to another, will continue to do good or harm to remote generations. This is why life is a sacred thing, and we ought not to pass through it thoughtlessly, but to appreciate its value and use it so that, when we are gone, the sum total of good in the world may be greater.

It is the very character of domestic life to present the world as an enclosed owned space, and, although mankind adapts itself on the whole to this condition, both biologically and culturally, yet there remains a glimmer of the opposite tendency inside even the lowliest. He can’t help but experience this new state of things in late civilizations except with dread, the dread suspicion...an uncanny suspicion..... that the world is artificial. He begins to sense that this hothouse he lives in is the malevolent creation of a demiurge that likes to observe our sufferings, that He and his minions feed on them. In the remote future, should the evil of human innovation continue unchecked, we really will live in the world the Gnostics feared, and that spark of vital life and energy that is the gift of nature to all youthful peoples born from its womb, that spark will remain entrapped in “matter wrongly configured,” matter entirely foreign to its inborn desires and workings, but fashioned instead for the benefit of something else.

Q: Assume everything about your musical tastes was reversed overnight. Everything you once loved, you now hate; everything you once hated, you now love. For example, if your favorite band has always been R.E.M., they will suddenly sound awful to you; they will become the band you dislike the most. By the same token, if you’ve never been remotely interested in the work of Yes and Jethro Tull, those two groups will instantly seem fascinating. If you generally dislike jazz today, you’ll generally like jazz tomorrow. If you currently consider the first album by Veruca Salt to be slightly above average, you will abruptly find it to be slightly below average. Everything will become its opposite, but everything will remain in balance (and the rest of your personality will remain unchanged). So—in all likelihood—you won’t love music any less (or any more) than you do right now. There will still be artists you love and who make you happy; they will merely be all the artists you currently find unlistenable. Now, I concede that this transformation would make you unhappy. But explain why.

I’ve learned, from working with translators over the years, that the original novel is, in a way, a translation itself. It is not, of course, translated into another language but it is a translation from the images in the author’s mind to that which he is able to put down on paper. Here’s a secret. Many novelists, if they are pressed and if they are being honest, will admit that the finished book is a rather rough translation of the book they’d intended to write. It’s one of the heartbreaks of writing fiction. You have, for months or years, been walking around with the idea of a novel in your mind, and in your mind it’s transcendent, it’s brilliantly comic and howlingly tragic, it contains everything you know, and everything you can imagine, about human life on the planet earth. It is vast and mysterious and awe-inspiring. It is a cathedral made of fire. But even if the book in question turns out fairly well, it’s never the book that you’d hoped to write. It’s smaller than the book you’d hoped to write. It is an object, a collection of sentences, and it does not remotely resemble a cathedral made of fire. It feels, in short, like a rather inept translation of a mythical great work. The translator, then, is simply moving the book another step along the translation continuum. The translator is translating a translation.

I suspect that it refers to that friend of our childhood, the prince of the old folk tale; the young man who travels for seven miles and comes to seven gates guarded by seven dragons, and passes through all sorts of perils, which are marked at once by moral heroism and mathematical symmetry. It is he who is to be exhibited in as a despot and oppressor; as a despot of elfland and an oppressor of seven-headed dragons. As he is rather a remote as well as a romantic figure, it may be a little difficult for historians to discover what were his true colours. His true colours, so far as I am concerned, are silver and gold and crimson, and all the colours of the rainbow.

While my library contains the works of travel writers, I have mostly searched for those who speak about their own place in the world. But the world is changing and many people have no place to call home. Some of the most important kinds of travel writing now are stories of flight, written by people who belong to the millions of asylum seekers in the world. These are stories that are almost too hard to tell, but which, once read, will never be forgotten. Some of these stories had to be smuggled out of detention centres, or were caught covertly on smuggled mobiles in snatches of calls on weak connections from remote and distant prisons. Why is this writing important? Behrouz Boochani, a Kurdish journalist and human rights campaigner who has been detained on Manus Island for over three years with no hope for release yet in sight, puts it plainly in a message to the world in the anthology Behind the Wire. It is, he wrote, ‘because we need to change our imagination’.

American planes full of holes and wounded men and corpses took off backwards from an airfield in England. Over France a few German fighter planes flew at them backwards sucked bullets and shell fragments from some of the planes and crewmen. They did the same for wrecked American bombers on the ground and those planes flew up backwards to join the formation. The formation flew backwards over a German city that was in flames. The bombers opened their bomb bay doors exerted a miraculous magnetism which shrunk the fires gathered them into cylindrical steel containers and lifted the containers into the bellies of the planes. The containers were stored neatly in racks. The Germans below had miraculous devices of their own which were long steel tubes. They used them to suck more fragments from the crewmen and planes. But there were still a few wounded Americans though and some of the bombers were in bad repair. Over France though German fighters came up again made everything and everybody as good as new. When the bombers got back to their base the steel cylinders were taken from the racks and shipped back to the United States of America where factories were operating night and day dismantling the cylinders separating the dangerous contents into minerals. Touchingly it was mainly women who did this work. The minerals were then shipped to specialists in remote areas. It was their business to put them into the ground to hide them cleverly so they would never hurt anybody ever again.

Pre-Raphaelites they called themselves; not that they imitated the early Italian masters at all, but that in their work, as opposed to the facile abstractions of Raphael, they found a stronger realism of imagination, a more careful realism of technique, a vision at once more fervent and more vivid, an individuality more intimate and more intense. For it is not enough that a work of art should conform to the aesthetic demands of its age: there must be also about it, if it is to affect us with any permanent delight, the impress of a distinct individuality, an individuality remote from that of ordinary men, and coming near to us only by virtue of a certain newness and wonder in the work, and through channels whose very strangeness makes us more ready to give them welcome.

Homer's Hymn to the Moon Published by Mrs. Shelley, "Poetical Works", 1839, 2nd edition; dated 1818. Daughters of Jove, whose voice is melody, Muses, who know and rule all minstrelsy Sing the wide-winged Moon! Around the earth, From her immortal head in Heaven shot forth, Far light is scattered—boundless glory springs; Where'er she spreads her many-beaming wings The lampless air glows round her golden crown. But when the Moon divine from Heaven is gone Under the sea, her beams within abide, Till, bathing her bright limbs in Ocean's tide, Clothing her form in garments glittering far, And having yoked to her immortal car The beam-invested steeds whose necks on high Curve back, she drives to a remoter sky A western Crescent, borne impetuously. Then is made full the circle of her light, And as she grows, her beams more bright and bright Are poured from Heaven, where she is hovering then, A wonder and a sign to mortal men. The Son of Saturn with this glorious Power Mingled in love and sleep—to whom she bore Pandeia, a bright maid of beauty rare Among the Gods, whose lives eternal are. Hail Queen, great Moon, white-armed Divinity, Fair-haired and favourable! thus with thee My song beginning, by its music sweet Shall make immortal many a glorious feat Of demigods, with lovely lips, so well Which minstrels, servants of the Muses, tell.

I wanted peace and quiet, tranquillity, but was too much aboil inside. Somewhere beneath the load of the emotion-freezing ice which my life had conditioned my brain to produce, a spot of black anger glowed and threw off a hot red light of such intensity that had Lord Kelvin known of its existence, he would have had to revise his measurements. A remote explosion had occurred somewhere, perhaps back at Emerson's or that night in Bledsoe's office, and it had caused the ice cap to melt and shift the slightest bit. But that bit, that fraction, was irrevocable. Coming to New York had perhaps been an unconscious attempt to keep the old freezing unit going, but it hadn't worked; hot water had gotten into its coils. Only a drop, perhaps, but that drop was the first wave of the deluge. One moment I believed, I was dedicated, willing to lie on the blazing coals, do anything to attain a position on the campus -- then snap! It was done with, finished, through. Now there was only the problem of forgetting it. If only all the contradictory voices shouting inside my head would calm down and sing a song in unison, whatever it was I wouldn't care as long as they sang without dissonance; yes, and avoided the uncertain extremes of the scale. But there was no relief. I was wild with resentment but too much under "self-control," that frozen virtue, that freezing vice. And the more resentful I became, the more my old urge to make speeches returned. While walking along the streets words would spill from my lips in a mumble over which I had little control. I became afraid of what I might do. All things were indeed awash in my mind. I longed for home.

His lips fell back against mine and in the blink of an eye, our bathing suits were shed. He fisted my hair and tilted my head off to the side, nibbling down my neck as he sucked marks against my skin. I felt my pussy heating for him. I felt my toes curling as he kissed down the valley of my breasts. He cupped them forcefully, massaging and tweaking my puckered peaks as I moaned and squealed and whimpered. “Teo,” I whispered. He growled. “Already so wet for me.” He slid two fingers inside of my body and my back arched dangerously. He crooked them against that pebbled spot as his thumb slid against my clit, and already I felt my ending approaching. I fisted the bed sheets as he pumped his dexterous fingers, tickling that sweet spot that made my eyes widen and my jaw unhinge with silent pleasure. An unearthly drone bubbled up the back of my throat as my orgasm crashed over me. But, nothing felt even remotely wonderful compared to the feeling of his cock sliding between my legs. “Holy fuck,” he growled. He pinned my wrists above my head and pounded against my body. My tits jumped for his viewing pleasure as he planted his knees into the mattress. My legs locked around him as I opened myself up for his assault. His thick dick, sliding against my walls as they clamped around him. My body, puckering at every movement and every sound he graced me with. All I knew was pleasure. All I understood was his presence. And the only name that came to mind as my second orgasm approached was his name. “Teo! Holy shit!” I exclaimed. He grunted. “Come for me. Squeeze that tight little pussy ar—ound—oh, shit.” He slowed his movements long enough to work me through an ecstasy that crashed so hard against my body that my vision tunneled. My body shook and tensed. Contracted and released. Then finally, my back collapsed to the bed. I felt physically spent until Teo’s dick slid from between my legs. And automatically, I missed him.

Are you falling asleep before midnight?" Cassie leaned over the edge of the couch to look at Jack. He was stretched out on the floor, his head resting against a pillow near the center of the couch, his eyes closed. She was now wide awake and headache free. He wasn't in so good a shape. "The new year is eighteen minutes away." "Come kiss me awake in seventeen minutes." She blinked at that lazy suggestion, gave a quick grin, and dropped Benji on his chest. He opened one eye to look up at her as he settled his hand lightly on the kitten. "That's a no?" She smiled. She was looking forward to dating him, but she was smart enough to know he'd value more what he had to work at. He sighed. "That was a no. How much longer am I going to be on the fence with you?" "Is that a rhetorical question or do you want an answer?" If this was the right relationship God had for her future, time taken now would improve it, not hurt it. She was ready to admit she was tired of being alone. He scratched Benji under the chin and the kitten curled up on his chest and batted a paw at his hand. "Rhetorical. I'd hate to get my hopes up." She leaned her chin against her hand, looking down at him. "I like you, Jack." "You just figured that out?" "I'll like you more when you catch my mouse." "The only way we are going to catch T.J. is to turn this place into a cheese factory and help her get so fat and slow that she can no longer run and hide." Or you could move your left hand about three inches to the right right and catch her." Jack opened one eye and glanced toward his left. The white mouse was sitting motionless beside the plate he had set down earlier. "Let her have the cheeseburger. You put mustard on it." "You're horrible." He smiled. "I'm serious." "So am I." Jack leaned over, caught Cassie's foot, and tumbled her to the floor. "Oops." "That wasn't fair. You scared my mouse." Jack set the kitten on the floor. "Benji, go get her mouse." The kitten took off after it. "You're teaching her to be a mouser." "Working on it. Come here. You owe me a kiss for the new year." "Do I?" She reached over to the bowl of chocolates on the table and unwrapped a kiss. She popped the chocolate kiss into his mouth. "I called your bluff." He smiled and rubbed his hand across her forearm braced against his chest. "That will last me until next year." She glanced at the muted television. "That's two minutes away." "Two minutes to put this year behind us." He slid one arm behind his head, adjusting the pillow. She patted his chest with her hand. "That shouldn't take long." She felt him laugh. "It ended up being a very good year," she offered. "Next year will be even better." "Really? Promise?" "Absolutely." He reached behind her ear and a gold coin reappeared. "What do you think? Heads you say yes when I ask you out, tails you say no?" She grinned at the idea. "Are you cheating again?" She took the coin. "This one isn't edible," she realized, disappointed. And then she turned it over. "A real two-headed coin?" "A rare find." He smiled. "Like you." "That sounds like a bit of honey." "I'm good at being mushy." "Oh, really?" He glanced over her shoulder. "Turn up the TV. There's the countdown." She grabbed for the remote and hit the wrong button. The TV came on full volume just as the fireworks went off. Benji went racing past them spooked by the noise to dive under the collar of the jacket Jack had tossed on the floor. The white mouse scurried to run into the jacket sleeve. "Tell me I didn't see what I think I just did." "I won't tell you," Jack agreed, amused. He watched the jacket move and raised an eyebrow. "Am I supposed to rescue the kitten or the mouse?

significantly in his work by psychologist Mary Ainsworth, a Canadian researcher who helped give shape to his ideas and test them. Together, they identified four elements of attachment: •We seek out, monitor, and try to maintain emotional and physical connection with our loved ones. Throughout life, we rely on them to be emotionally accessible, responsive, and engaged with us. •We reach out for our loved ones particularly when we are uncertain, threatened, anxious, or upset. Contact with them gives us a sense of having a safe haven, where we will find comfort and emotional support; this sense of safety teaches us how to regulate our own emotions and how to connect with and trust others. •We miss our loved ones and become extremely upset when they are physically or emotionally remote; this separation anxiety can become intense and incapacitating. Isolation is inherently traumatizing for human beings. •We depend on our loved ones to support us emotionally and be a secure base as we venture into the world and learn and explore. The more we sense that we are effectively connected, the more autonomous and separate we can be.

Mental discipline, prayer and remoteness from the world and its disturbing visions reduce temptation to a minimum, but they can never entirely abolish it. In medieval traditions, abbeys and convents were always considered to be expugnable centres of revolt against infernal dominion on earth. They became, accordingly, special targets. Satan, issuing orders at nightfall to his foul precurrers, was rumoured to dispatch to capital cities only one junior fiend. This solitary demon, the legend continues, sleeps at his post. There is no work for him; the battle was long ago won. But monasteries, those scattered danger points, become the chief objectives of nocturnal flight; the sky fills with the beat of sable wings as phalanx after phalanx streams to the attack, and the darkness crepitates with the splintering of a myriad lances against the masonry of asceticism.

Secondly, these missionaries would gradually, and without creating suspicion or exciting alarm, introduce a rudimentary cleanliness among the nobility, and from them it would work down to the people, if the priests could be kept quiet. This would undermine the Church. I mean would be a step toward that. Next, education—next, freedom—and then she would begin to crumble. It being my conviction that any Established Church is an established crime, an established slave-pen, I had no scruples, but was willing to assail it in any way or with any weapon that promised to hurt it. Why, in my own former day—in remote centuries not yet stirring in the womb of time—there were old Englishmen who imagined that they had been born in a free country: a “free” country with the Corporation Act and the Test still in force in it—timbers propped against men’s liberties and dishonored consciences to shore up an Established Anachronism with.

They all watched as Genya checked his pulse, his breathing. She shook her head. “Zoya,” said Sturmhond. His voice had the ring of command. Zoya sighed and pushed up her sleeves. “Unbutton his shirt.” “What are you doing?” Kaz asked as Genya undid Kuwei’s remaining buttons. His chest was narrow, his ribs visible, all of it spattered with the pig’s blood they’d encased in the wax bladder. “I’m either going to wake up his heart or cook him from the inside out,” said Zoya. “Stand back.” They did their best to obey in the cramped space. “What exactly does she mean by that?” Kaz asked Nina. “I’m not sure,” Nina admitted. Zoya had her hands out and her eyes closed. The air felt suddenly cool and moist. Inej inhaled deeply. “It smells like a storm.” Zoya opened her eyes and brought her hands together as if in prayer, rubbing her palms against each other briskly. Nina felt the pressure drop, tasted metal on her tongue. “I think … I think she’s summoning lightning.” “Is that safe?” asked Inej. “Not remotely,” said Sturmhond. “Has she at least done it before?” said Kaz. “For this purpose?” asked Sturmhond. “I’ve seen her do it twice. It worked splendidly. Once.” His voice was oddly familiar, and Nina had the sense they’d met before. “Ready?” Zoya asked. Genya shoved a thickly folded piece of fabric between Kuwei’s teeth and stepped back. With a shudder, Nina realized it was to keep him from biting his tongue. “I really hope she gets this right,” murmured Nina. “Not as much as Kuwei does,” said Kaz. “It’s tricky,” said Sturmhond. “Lightning doesn’t like a master. Zoya’s putting her own life at risk too.” “She didn’t strike me as the type,” Kaz said. “You’d be surprised,” Nina and Sturmhond replied in unison. Again, Nina had the eerie sensation that she knew him. She saw that Rotty had squeezed his eyes shut, unable to watch. Inej’s lips were moving in what Nina knew must be a prayer. A faint blue glow crackled between Zoya’s palms. She took a deep breath and slapped them down on Kuwei’s chest.

(What counts as that which is is the present, the actual, to which the necessary and the possible are at first merely related—the usual example from the history of the first beginning.) The sheltering is itself carried out in and as Da-sein. That happens, and gains and loses history, in the steadfast care-taking which in advance pertains to the event though scarcely has knowledge of the event. This care-taking, conceived not on the basis of everydayness but from the selfhood of Dasein, abides in various mutually requisite modes: the fabrication of implements, the instituting of machinations (technology), the creation of works, the acts that form states, and thoughtful sacrifice. In all of these, in each one differently, a pre-forming and co-forming of cognition and of essential knowledge as the grounding of truth. “Science” only a remote scion of a determinate permeation of implement-production, etc.; nothing autonomous and never to be brought into connection with the essential knowledge of the inventive thinking of being (philosophy).

You heard me. Let someone else send you to your blaze of glory. You're a speck, man. You're nothing. You're not worth the bullet or the mark on my soul for taking you out." You trying to piss me off again, Patrick?" He removed Campbell Rawson from his shoulder and held him aloft. I tilted my wrist so the cylinder fell into my palm, shrugged. "You're a joke, Gerry. I'm just calling it like I see it." That so?" Absolutely." I met his hard eyes with my own. "And you'll be replaced, just like everything else, in maybe a week, tops. Some other dumb, sick shit will come along and kill some people and he'll be all over the papers, and all over Hard Copy and you'll be yesterday's news. Your fifteen minutes are up, Gerry. And they've passed without impact." They'll remember this," Gerry said. "Believe me." Gerry clamped back on the trigger. When he met my finger, he looked at me and then clamped down so hard that my finger broke. I depressed the trigger on the one-shot and nothing happened. Gerry shrieked louder, and the razor came out of my flesh, then swung back immediately, and I clenched my eyes shut and depressed the trigger frantically three times. And Gerry's hand exploded. And so did mine. The razor hit the ice by my knee as I dropped the one shot and fire roared up the electrical tape and gasoline on Gerry's arm and caught the wisps of Danielle's hair. Gerry threw his head back and opened his mouth wide and bellowed in ecstasy. I grabbed the razor, could barely feel it because the nerves in my hand seemed to have stopped working. I slashed into the electric tape at the end of the shotgun barrel, and Danielle dropped away toward the ice and rolled her head into the frozen sand. My broken finger came back out of the shotgun and Gerry swung the barrels toward my head. The twin shotgun bores arced through the darkness like eyes without mercy or soul, and I raised my head to meet them, and Gerry's wail filled my ears as the fire licked at his neck. Good-bye, I thought. Everyone. It's been nice. Oscar's first two shots entered the back of Gerry's head and exited through the center of his forehead and a third punched into his back. The shotgun jerked upward in Gerry's flaming arm and then the shots came from the front, several at once, and Gerry spun like a marionette and pitched toward the ground. The shotgun boomed twice and punched holes through the ice in front of him as he fell. He landed on his knees and, for a moment, I wasn't sure if he was dead or not. His rusty hair was afire and his head lolled to the left as one eye disappeared in flames but the other shimmered at me through waves of heat, and an amused derision shone in the pupil. Patrick, the eye said through the gathering smoke, you still know nothing. Oscar rose up on the other side of Gerry's corpse, Campbell Rawson clutched tight to his massive chest as it rose and fell with great heaving breaths. The sight of it-something so soft and gentle in the arms of something so thick and mountaineous-made me laugh. Oscar came out of the darkness toward me, stepped around Gerry's burning body, and I felt the waves of heat rise toward me as the circle of gasoline around Gerry caught fire. Burn, I thought. Burn. God help me, but burn. Just after Oscar stepped over the outer edge of the circle, it erupted in yellow flame, and I found myself laughing harder as he looked at it, not remotely impressed. I felt cool lips smack against my ear, and by the time I looked her way, Danielle was already past me, rushing to take her child from Oscar. His huge shadow loomed over me as he approached, and I looked up at him and he held the look for a long moment. How you doing, Patrick?" he said and smiled broadly. And, behind him, Gerry burned on the ice. And everything was so goddamned funny for some reason, even though I knew it wasn't. I knew it wasn't. I did. But I was still laughing when they put me in the ambulance.

His voice grew more remote. She wondered if he was calling from his condominium, where he’d lost his best friend, or from Avalon, where he’d lost himself. “I like you, Billie. You’re a nice person. Good company. But tonight was a mistake.” She flung an arm over her eyes and swallowed the lump of tears that had lodged in her throat. “Oh? Which part? The part where you introduced me to your family and exposed yourself as coming from a perfectly average, wholesome background? Or the part where you touched me and turned me inside-out while swaying in a hammock in the rich, beautiful woods—one of the most searing sexual experiences of my life? Which part do you regret, Adrian?” “All of it. I can’t have those things with you. You know what I am.” “Yes, Adrian, I know what you are. A gentle man. A likable one. Smart. Cultured. Sexy. I know what you are.” “But the other part—” “What about the other part? You hide behind the other part.” She yanked the pillow out from beneath her head and winged it across the bedroom, furious suddenly. “Did you call to tell me I’m not going to see you anymore? Because if that’s the case, hurry up and say it. Then hang up and go back to work, and don’t worry one bit about me. I’ve been on my own a long time, and I’m tougher than you think. I won’t cling to any man who’d rather be a-a—” She stumbled, bit back the ugly words rushing to her lips. “A what?” he countered softly. “A whore? A gigolo? Go ahead and say it, Billie. If you’re going to waste your time caring about me, then you’d better get used to the idea, because I can’t change. I won’t. Not for you or anyone.” She bit back a sound of pure derision. “How about for you? Think you could walk the straight and narrow for yourself?” He didn’t reply. He didn’t have to. Billie already knew the answer. “You’re afraid.” She sat up among the sheets as cold realization washed through her. “Afraid to live without women clambering to pay top dollar for you. All that money…it’s a measure of your value, right? It’s your self-esteem. What would happen if you were paid in love instead of cash? Would the world end? My God, Adrian. You’re running scared.” The half-whispered accusation seemed to permeate his impassivity. “I was fine before you.” His voice came low and furious. Finally, finally. True emotion. “Damn it, Billie. I want my life back.” “Then hang up and don’t call me again, because I’m not going to pay you for sex, Adrian. What I offer is a worthless currency in your world.

After deliberating my options for a split second, I rolled my chair over to watch him tattoo the guy he had hunched over, working on an old pirate ship right smack on the middle of the man’s brawny shoulder. I didn’t say a word as I watched him, not wanting to distract him from the man who had been all too excited to request Slim’s work an hour before. But my friend Slim had other thoughts. His green eyes flashed up at me. “What was that about?” "Huh?" I played stupid. Slim pulled the gun off the customer’s skin, dabbing at the beaded blood before continuing with a shake of his head. "Since when are you guys BFFs?" I’d learned over the last month how chatty all the guys were, well, specifically Slim and Blake. If I answered his question just remotely weird, I’d bet my first born Slim would jump to some kind of crazy conclusion that I wanted no part of. So I went with the truth. “I heard him fart last night. It kind of broke the ice.” The little whistle he let out told me that was good enough. He snorted and raised an eyebrow before getting back to work. “That’ll do it.

For example, missionary linguists are working on modified Roman alphabets for hundreds of New Guinea and Native American languages. Government linguists devised the modified Roman alphabet adopted in 1928 by Turkey for writing Turkish, as well as the modified Cyrillic alphabets designed for many tribal languages of Russia. In a few cases, we also know something about the individuals who designed writing systems by blueprint copying in the remote past. For instance, the Cyrillic alphabet itself (the one still used today in Russia) is descended from an adaptation of Greek and Hebrew letters devised by Saint Cyril, a Greek missionary to the Slavs in the ninth century A.D. The first preserved texts for any Germanic language (the language family that includes English) are in the Gothic alphabet created by Bishop Ulfilas, a missionary living with the Visigoths in what is now Bulgaria in the fourth century A.D. Like Saint Cyril’s invention, Ulfilas’s alphabet was a mishmash of letters borrowed from different sources: about 20 Greek letters, about five Roman letters, and two letters either taken from the runic alphabet or invented by Ulfilas himself. Much

But the biggest news that month was the departure from Apple, yet again, of its cofounder, Steve Wozniak. Wozniak was then quietly working as a midlevel engineer in the Apple II division, serving as a humble mascot of the roots of the company and staying as far away from management and corporate politics as he could. He felt, with justification, that Jobs was not appreciative of the Apple II, which remained the cash cow of the company and accounted for 70% of its sales at Christmas 1984. “People in the Apple II group were being treated as very unimportant by the rest of the company,” he later said. “This was despite the fact that the Apple II was by far the largest-selling product in our company for ages, and would be for years to come.” He even roused himself to do something out of character; he picked up the phone one day and called Sculley, berating him for lavishing so much attention on Jobs and the Macintosh division. Frustrated, Wozniak decided to leave quietly to start a new company that would make a universal remote control device he had invented. It would control your television, stereo, and other electronic devices with a simple set of buttons that you could easily program. He informed the head of engineering at the Apple II division, but he didn’t feel he was important enough to go out of channels and tell Jobs or Markkula. So Jobs first heard about it when the news leaked in the Wall Street Journal. In his earnest way, Wozniak had openly answered the reporter’s questions when he called. Yes, he said, he felt that Apple had been giving short shrift to the Apple II division. “Apple’s direction has been horrendously wrong for five years,” he said.

[ Dr. Lois Jolyon West was cleared at Top Secret for his work on MKULTRA. ] Dr. Michael Persinger [235], another FSMF Board Member, is the author of a paper entitled “Elicitation of 'Childhood Memories' in Hypnosis-Like Settings Is Associated With Complex Partial Epileptic-Like Signs For Women But Not for Men: the False Memory Syndrome.” In the paper Perceptual and Motor Skills,In the paper, Dr. Persinger writes: On the day of the experiment each subject (not more than two were tested per day) was asked to sit quietly in an acoustic chamber and was told that the procedure was an experiment in relaxation. The subject wore goggles and a modified motorcycle helmet through which 10-milligauss (1 microTesla) magnetic fields were applied through the temporal plane. Except for a weak red (photographic developing) light, the room was dark. Dr. Persinger's research on the ability of magnetic fields to facilitate the creation of false memories and altered states of consciousness is apparently funded by the Defense Intelligence Agency through the project cryptonym SLEEPING BEAUTY. Freedom of Information Act requests concerning SLEEPING BEAUTY with a number of different intelligence agencies including the CIA and DEA has yielded denial that such a program exists. Certainly, such work would be of direct interest to BLUEBIRD, ARTICHOKE, MKULTRA and other non-lethal weapons programs. Schnabel [280] lists Dr. Persinger as an Interview Source in his book on remote viewing operations conducted under Stargate, Grill Flame and other cryptonyms at Fort Meade and on contract to the Stanford Research Institute. Schnabel states (p. 220) that, “As one of the Pentagon's top scientists, Vorona was privy to some of the strangest, most secret research projects ever conceived. Grill Flame was just one. Another was code-named Sleeping Beauty; it was a Defense Department study of remote microwave mind-influencing techniques ... [...] It appears from Schnabel's well-documented investigations that Sleeping Beauty is a real, but still classified mind control program. Schnabel [280] lists Dr. West as an Interview Source and says that West was a, “Member of medical oversight board for Science Applications International Corp. remote-viewing research in early 1990s.

Young has a personal relationship with electricity. In Europe, where the electrical current is sixty cycles, not fifty, he can pinpoint the fluctuation --- by degrees. It dumbfounded Cragg. "He'll say, 'Larry, there's a hundred volts coming out of the wall, isn't there?' I'll go measure it, and yeah, sure --- he can hear the difference." Shakey's innovations are everywhere. Intent on controlling amp volume from his guitar instead of the amp, Young had a remote device designed called the Whizzer. Guitarists marvel at the stomp box that lies onstage at Young's feet: a byzantine gang of effects that can be utilized without any degradation to the original signal. Just constructing the box's angular red wooden housing to Young's extreme specifications had craftsmen pulling their hair out. Cradled in a stand in front of the amps is the fuse for the dynamite, Young's trademark ax--Old Black, a '53 Gold Top Les Paul some knot-head daubed with black paint eons ago. Old Black's features include a Bigsby wang bar, which pulls strings and bends notes, and Firebird picking so sensitive you can talk through it. It's a demonic instrument. "Old black doesn't sound like any other guitar," said Cragg, shaking his head. For Cragg, Old Black is a nightmare. Young won't permit the ancient frets to be changed, likes his strings old and used, and the Bigsby causes the guitar to go out of tune constantly. "At Sound check, everything will work great. Neil picks up the guitar, and for some reason that's when things go wrong.

I really doubt my parents are going to let me stay the night in a remote cabin with a bunch of boys.” “Oh, please, Snow White, Mike’s dad’ll be there. He’s actually kinda funny…you know, in a weird dad kind of way. Don’t worry, your purity will remain intact. Scout’s honor.” She made some sort of gesture with her fingers that Violet assumed was supposed to be an oath, but since Chelsea had never actually been a Girl Scout, it ended up looking more like a peace sign. Or something. Violet maintained her dubious expression. But Chelsea wasn’t about to be discouraged, and she tried to be the voice of reason. “Come on, I think Jay’s checking to see if he can get the time off work. The least you can do is ask your parents. If they say no, then no harm, no foul, right? If they say yes, then we’ll have a kick-ass time. We’ll go hiking in the snow and hang out in front of the fireplace in the evening. We’ll sleep in sleeping bags and maybe even roast some marshmallows. It’ll be like we’re camping.” She beamed a superfake smile at Violet and clasped her hands together like she was begging. “Do it for me. Ple-eease.” Jules came back with their milk shake. It was strawberry, and Chelsea flashed Violet an I-told-you-so grin. Violet finished her tea, mulling over the idea of spending the weekend in a snowy cabin with Jay and Chelsea. Away from town. Away from whoever was leaving her dead animals and creepy notes. It did sound fun, and Violet did love the snow. And the woods. And Jay. She could at least ask. Like Chelsea said, No harm, no foul.

Only the middle distance and what may be called the remoter foreground are strictly human. When we look very near or very far, man either vanishes altogether or loses his primacy. The astronomer looks even further afield than the Sung painter and sees even less of human life. At the other end of the scale the physicist, the chemist, the physiologist pursue the close-up – the cellular close-up, the molecular, the atomic and subatomic. Of that which, at twenty feet, even at arm’s length, looked and sounded like a human being no trace remains. Something analogous happens to the myopic artist and the happy lover. In the nuptial embrace personality is melted down; the individual (it is the recurrent theme of Lawrence’s poems and novels) ceases to be himself and becomes a part of the vast impersonal universe. And so it is with the artist who chooses to use his eyes at the near point. In his work humanity loses its importance, even disappears completely. Instead of men and women playing their fantastic tricks before high heaven, we are asked to consider the lilies, to meditate on the unearthly beauty of ‘mere things,’ when isolated from their utilitarian context and rendered as they are, in and for themselves. Alternatively (or, at an earlier stage of artistic development, exclusively), the nonhuman world of the near-point is rendered in patterns. These patterns are abstracted for the most part from leaves and flowers – the rose, the lotus, the acanthus, palm, papyrus – and are elaborated, with recurrences and variations, into something transportingly reminisce

To the enormous majority of persons who risk themselves in literature, not even the smallest measure of success can fall. They had better take to some other profession as quickly as may be, they are only making a sure thing of disappointment, only crowding the narrow gates of fortune and fame. Yet there are others to whom success, though easily within their reach, does not seem a thing to be grasped at. Of two such, the pathetic story may be read, in the Memoir of A Scotch Probationer, Mr. Thomas Davidson, who died young, an unplaced Minister of the United Presbyterian Church, in 1869. He died young, unaccepted by the world, unheard of, uncomplaining, soon after writing his latest song on the first grey hairs of the lady whom he loved. And she, Miss Alison Dunlop, died also, a year ago, leaving a little work newly published, Anent Old Edinburgh, in which is briefly told the story of her life. There can hardly be a true tale more brave and honourable, for those two were eminently qualified to shine, with a clear and modest radiance, in letters. Both had a touch of poetry, Mr. Davidson left a few genuine poems, both had humour, knowledge, patience, industry, and literary conscientiousness. No success came to them, they did not even seek it, though it was easily within the reach of their powers. Yet none can call them failures, leaving, as they did, the fragrance of honourable and uncomplaining lives, and such brief records of these as to delight, and console and encourage us all. They bequeath to us the spectacle of a real triumph far beyond the petty gains of money or of applause, the spectacle of lives made happy by literature, unvexed by notoriety, unfretted by envy. What we call success could never have yielded them so much, for the ways of authorship are dusty and stony, and the stones are only too handy for throwing at the few that, deservedly or undeservedly, make a name, and therewith about one-tenth of the wealth which is ungrudged to physicians, or barristers, or stock-brokers, or dentists, or electricians. If literature and occupation with letters were not its own reward, truly they who seem to succeed might envy those who fail. It is not wealth that they win, as fortunate men in other professions count wealth; it is not rank nor fashion that come to their call nor come to call on them. Their success is to be let dwell with their own fancies, or with the imaginations of others far greater than themselves; their success is this living in fantasy, a little remote from the hubbub and the contests of the world. At the best they will be vexed by curious eyes and idle tongues, at the best they will die not rich in this world’s goods, yet not unconsoled by the friendships which they win among men and women whose faces they will never see. They may well be content, and thrice content, with their lot, yet it is not a lot which should provoke envy, nor be coveted by ambition.

The fields, the lakes, the forests, and the streams, ocean, and all the living things that dwell within the daedal earth; lightning, and rain, earthquake, and fiery flood, and hurricane, the torpor of the year when feeble dreams visit the hidden buds, or dreamless sleep holds every future leaf and flower; the bound with which from that detested trance they leap; the works and ways of man, their death and birth, and that of him and all that his may be; all things that move and breathe with toil and sound are born and die; revolve, subside, and swell. Power dwells apart in its tranquillity, remote, serene, and inaccessible: and this, the naked countenance of earth, on which I gaze, even these primeval mountains teach the adverting mind. The glaciers creep like snakes that watch their prey, from their far fountains, slow rolling on; there, many a precipice frost and the sun in scorn of mortal power have pil'd: dome, pyramid, and pinnacle, a city of death, distinct with many a tower and wall impregnable of beaming ice. Yet not a city, but a flood of ruin is there, that from the boundaries of the sky rolls its perpetual stream; vast pines are strewing its destin'd path, or in the mangled soil branchless and shatter'd stand; the rocks, drawn down from yon remotest waste, have overthrown the limits of the dead and living world, never to be reclaim'd. The dwelling-place of insects, beasts, and birds, becomes its spoil; their food and their retreat for ever gone, so much of life and joy is lost. The race of man flies far in dread; his work and dwelling vanish, like smoke before the tempest's stream, and their place is not known. Below, vast caves shine in the rushing torrents' restless gleam, which from those secret chasms in tumult welling meet in the vale, and one majestic river, the breath and blood of distant lands, for ever rolls its loud waters to the ocean-waves, breathes its swift vapours to the circling air.

Security is a big and serious deal, but it’s also largely a solved problem. That’s why the average person is quite willing to do their banking online and why nobody is afraid of entering their credit card number on Amazon. At 37signals, we’ve devised a simple security checklist all employees must follow: 1. All computers must use hard drive encryption, like the built-in FileVault feature in Apple’s OS X operating system. This ensures that a lost laptop is merely an inconvenience and an insurance claim, not a company-wide emergency and a scramble to change passwords and worry about what documents might be leaked. 2. Disable automatic login, require a password when waking from sleep, and set the computer to automatically lock after ten inactive minutes. 3. Turn on encryption for all sites you visit, especially critical services like Gmail. These days all sites use something called HTTPS or SSL. Look for the little lock icon in front of the Internet address. (We forced all 37signals products onto SSL a few years back to help with this.) 4. Make sure all smartphones and tablets use lock codes and can be wiped remotely. On the iPhone, you can do this through the “Find iPhone” application. This rule is easily forgotten as we tend to think of these tools as something for the home, but inevitably you’ll check your work email or log into Basecamp using your tablet. A smartphone or tablet needs to be treated with as much respect as your laptop. 5. Use a unique, generated, long-form password for each site you visit, kept by password-managing software, such as 1Password.§ We’re sorry to say, “secretmonkey” is not going to fool anyone. And even if you manage to remember UM6vDjwidQE9C28Z, it’s no good if it’s used on every site and one of them is hacked. (It happens all the time!) 6. Turn on two-factor authentication when using Gmail, so you can’t log in without having access to your cell phone for a login code (this means that someone who gets hold of your login and password also needs to get hold of your phone to login). And keep in mind: if your email security fails, all other online services will fail too, since an intruder can use the “password reset” from any other site to have a new password sent to the email account they now have access to. Creating security protocols and algorithms is the computer equivalent of rocket science, but taking advantage of them isn’t. Take the time to learn the basics and they’ll cease being scary voodoo that you can’t trust. These days, security for your devices is just simple good sense, like putting on your seat belt.

You're fixing everything I set down." He nods at my hands, which are readjusting the elephant. "It wasn't polite of me to come in and start touching your things." "Oh,it's okay," I say quickly, letting go of the figurine. "You can touch anything of mine you want." He freezes. A funny look runs across his face before I realize what I've said. I didn't mean it like that. Not that that/i> would be so bad. But I like Toph,and St. Clair has a girlfriend. And even if the situation were different, Mer still has dibs. I'd never do that to her after how nice she was my first day.And my second. And every other day this week. Besides,he's just an attractive boy. Nothing to get worked up over. I mean, the streets of Europe are filled with beautiful guys, right? Guys with grooming regimens and proper haircuts and stylish coats.Not that I've seen anyone even remotely as good-looking as Monsieur Etienne St.Clair.But still. He turns his face away from mine. Is it my imagination or does he look embarrassed? But why would he be embarrassed? I'm the one with the idiotic mouth. "Is that your boyfriend?" He points to my laptop's wallpaper, a photo of my coworkers and me goofing around. It was taken before the midnight release of the lastest fantasy-novel-to-film adaptation. Most of us were dressed like elves or wizards. "The one with his eyes closed?" "WHAT?" He thinks I'd date a guy like Hercules Hercules is an assistant manager. He's ten years older than me and,yes, that's his real name. And even though he's sweet and knows more about Japanese horror films than anyone,he also has a ponytail. A ponytail. "Anna,I'm kidding.This one. Sideburns." He points to Toph,the reason I love the picture so much.Our heads are turned into each other, and we're wearing secret smiles,as if sharing a private joke. "Oh.Uh...no.Not really.I mean, Toph was my almost-boyfriend.I moved away before..." I trail off, uncomfortable. "Before much could happen.

A slave, Marcus Cato said, should be working when he is not sleeping. It does not matter whether his work in itself is good in itself—for slaves, at least. This sentiment still survives, and it has piled up mountains of useless drudgery. I believe that this instinct to perpetuate useless work is, at bottom, simply fear of the mob. The mob (the thought runs) are such low animals that they would be dangerous if they had leisure; it is safer to keep them too busy to think. A rich man who happens to be intellectually honest, if he is questioned about the improvement of working conditions, usually says something like this: "We know that poverty is unpleasant; in fact, since it is so remote, we rather enjoy harrowing ourselves with the thought of its unpleasantness. But don’t expect us to do anything about it. We are sorry fort you lower classes, just as we are sorry for a cat with the mange, of your condition. We feel that you are much safer as you are. The present state of affairs suits us, and we are not going to take the risk of setting you free, even by an extra hour a day. So, dear brothers, since evidently you must sweat to pay for our trips to Italy, sweat and be damned to you.” This is particularly the attitude of intelligent, cultivated people; one can read the substance if it in a hundred essays. Very few cultivated people have less than (say) four hundred pounds a year, and naturally they side with the rich, because they imagine that any liberty conceded to the poor is a threat to their own liberty. foreseeing some dismal Marxian Utopia as the alternative, the educated man prefers to keep things as they are. Possibly he does not like his fellow-rich very much, but he supposes that even the vulgarest of them are less inimical to his pleasures, more his kind of people, than the poor, and that he had better stand by them. It is this fear of a supposedly dangerous mob that makes nearly all intelligent people conservative in their opinions. Fear of the mob is a superstitious fear. It is based on the idea that there is some mysterious, fundamental difference between rich and poor, as though they were two different races, like negroes and white men. But in reality there is no such difference. The mass of the rich and the poor are differentiated by their incomes and nothings else, and the average millionaire is only the average dishwasher dressed in a new suit. Change places, and handy dandy, which is the justice, which is the thief? Everyone who has mixed on equal terms with the poor knows this quite well. But the trouble is that intelligent, cultivated people, the very people who might be expected to have liberal opinions, never do mix with the poor. For what do the majority of educated people know about poverty? In my copy of Villon’s poems the editor has actually thought it necessary to explain the line “Ne pain ne voyent qu'aux fenestres” by a footnote; so remote is even hunger from the educated man’s experience. From this ignorance a superstitious fear of the mob results quite naturally. The educated man pictures a horde of submen, wanting only a day’s liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. “Anything,” he thinks, “any injustice, sooner than let that mob loose.

The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode. This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains. Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.

Hymn to Mercury : Continued 11. ... Seized with a sudden fancy for fresh meat, He in his sacred crib deposited The hollow lyre, and from the cavern sweet Rushed with great leaps up to the mountain's head, Revolving in his mind some subtle feat Of thievish craft, such as a swindler might Devise in the lone season of dun night. 12. Lo! the great Sun under the ocean's bed has Driven steeds and chariot—the child meanwhile strode O'er the Pierian mountains clothed in shadows, Where the immortal oxen of the God Are pastured in the flowering unmown meadows, And safely stalled in a remote abode.— The archer Argicide, elate and proud, Drove fifty from the herd, lowing aloud. 13. He drove them wandering o'er the sandy way, But, being ever mindful of his craft, Backward and forward drove he them astray, So that the tracks which seemed before, were aft; His sandals then he threw to the ocean spray, And for each foot he wrought a kind of raft Of tamarisk, and tamarisk-like sprigs, And bound them in a lump with withy twigs. 14. And on his feet he tied these sandals light, The trail of whose wide leaves might not betray His track; and then, a self-sufficing wight, Like a man hastening on some distant way, He from Pieria's mountain bent his flight; But an old man perceived the infant pass Down green Onchestus heaped like beds with grass. 15. The old man stood dressing his sunny vine: 'Halloo! old fellow with the crooked shoulder! You grub those stumps? before they will bear wine Methinks even you must grow a little older: Attend, I pray, to this advice of mine, As you would 'scape what might appal a bolder— Seeing, see not—and hearing, hear not—and— If you have understanding—understand.' 16. So saying, Hermes roused the oxen vast; O'er shadowy mountain and resounding dell, And flower-paven plains, great Hermes passed; Till the black night divine, which favouring fell Around his steps, grew gray, and morning fast Wakened the world to work, and from her cell Sea-strewn, the Pallantean Moon sublime Into her watch-tower just began to climb. 17. Now to Alpheus he had driven all The broad-foreheaded oxen of the Sun; They came unwearied to the lofty stall And to the water-troughs which ever run Through the fresh fields—and when with rushgrass tall, Lotus and all sweet herbage, every one Had pastured been, the great God made them move Towards the stall in a collected drove. 18. A mighty pile of wood the God then heaped, And having soon conceived the mystery Of fire, from two smooth laurel branches stripped The bark, and rubbed them in his palms;—on high Suddenly forth the burning vapour leaped And the divine child saw delightedly.— Mercury first found out for human weal Tinder-box, matches, fire-irons, flint and steel. 19. And fine dry logs and roots innumerous He gathered in a delve upon the ground— And kindled them—and instantaneous The strength of the fierce flame was breathed around: And whilst the might of glorious Vulcan thus Wrapped the great pile with glare and roaring sound, Hermes dragged forth two heifers, lowing loud, Close to the fire—such might was in the God. 20. And on the earth upon their backs he threw The panting beasts, and rolled them o'er and o'er, And bored their lives out. Without more ado He cut up fat and flesh, and down before The fire, on spits of wood he placed the two, Toasting their flesh and ribs, and all the gore Pursed in the bowels; and while this was done He stretched their hides over a craggy stone.

Qualities such as honesty, determination, and a cheerful acceptance of stress, which can all be identified through probing questionnaires and interviews, may be more important to the company in the long run than one's college grade-point average or years of "related experience." Every business is only as good as the people it brings into the organization. The corporate trainer should feel his job is the most important in the company, because it is. Exalt seniority-publicly, shamelessly, and with enough fanfare to raise goosebumps on the flesh of the most cynical spectator. And, after the ceremony, there should be some sort of permanent display so that employees passing by are continuously reminded of their own achievements and the achievements of others. The manager must freely share his expertise-not only about company procedures and products and services but also with regard to the supervisory skills he has worked so hard to acquire. If his attitude is, "Let them go out and get their own MBAs," the personnel under his authority will never have the full benefit of his experience. Without it, they will perform at a lower standard than is possible, jeopardizing the manager's own success. Should a CEO proclaim that there is no higher calling than being an employee of his organization? Perhaps not-for fear of being misunderstood-but it's certainly all right to think it. In fact, a CEO who does not feel this way should look for another company to manage-one that actually does contribute toward a better life for all. Every corporate leader should communicate to his workforce that its efforts are important and that employees should be very proud of what they do-for the company, for themselves, and, literally, for the world. If any employee is embarrassed to tell his friends what he does for a living, there has been a failure of leadership at his workplace. Loyalty is not demanded; it is created. Why can't a CEO put out his own suggested reading list to reinforce the corporate vision and core values? An attractive display at every employee lounge of books to be freely borrowed, or purchased, will generate interest and participation. Of course, the program has to be purely voluntary, but many employees will wish to be conversant with the material others are talking about. The books will be another point of contact between individuals, who might find themselves conversing on topics other than the weekend football games. By simply distributing the list and displaying the books prominently, the CEO will set into motion a chain of events that can greatly benefit the workplace. For a very cost-effective investment, management will have yet another way to strengthen the corporate message. The very existence of many companies hangs not on the decisions of their visionary CEOs and energetic managers but on the behavior of its receptionists, retail clerks, delivery drivers, and service personnel. The manager must put himself and his people through progressively challenging courage-building experiences. He must make these a mandatory group experience, and he must lead the way. People who have confronted the fear of public speaking, and have learned to master it, find that their new confidence manifests itself in every other facet of the professional and personal lives. Managers who hold weekly meetings in which everyone takes on progressively more difficult speaking or presentation assignments will see personalities revolutionized before their eyes. Command from a forward position, which means from the thick of it. No soldier will ever be inspired to advance into a hail of bullets by orders phoned in on the radio from the safety of a remote command post; he is inspired to follow the officer in front of him. It is much more effective to get your personnel to follow you than to push them forward from behind a desk. The more important the mission, the more important it is to be at the front.

Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us. The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair.

On undetached people who are full of self-will.4 People say: ‘O Lord, I wish that I stood as well with God and that I had as much devotion and peace with God as other people, and that I could be like them or could be as poor as they are.’ Or they say: ‘It never works for me unless I am in this or that particular place and do this or that particular thing. I must go to somewhere remote or live in a hermitage or a monastery.’ Truly, it is you who are the cause of this yourself, and nothing else. It is your own self-will, even if you don’t know it or this doesn’t seem to you to be the case. The lack of peace that you feel can only come from your own self-will, whether you are aware of this or not. Whatever we think – that we should avoid certain things and seek out others, whether these be places or people, particular forms of devotion, this group of people or this kind of activity – these are not to blame for the fact that you are held back by devotional practices and by things; rather it is you as you exist in these things who hold yourself back, for you do not stand in the proper relation to them. Start with yourself therefore and take leave of yourself. Truly, if you do not depart from yourself, then wherever you take refuge, you will find obstacles and unrest, wherever it may be. Those who seek peace in external things, whether in places or devotional practices, people or works, in withdrawal from the world or poverty or self-abasement: however great these things may be or whatever their character, they are still nothing at all and cannot be the source of peace. Those who seek in this way, seek wrongly, and the farther they range, the less they find what they are looking for. They proceed like someone who has lost their way: the farther they go, the more lost they become. But what then should they do? First of all, they should renounce themselves, and then they will have renounced all things. Truly, if someone were to renounce a kingdom or the whole world while still holding on to themselves, then they would have renounced nothing at all. And indeed, if someone renounces themselves, then whatever they might keep, whether it be a kingdom or honour or whatever it may be, they will still have renounced all things. St Peter said, ‘See, Lord, we have left everything’ (Matt. 19:27), when he had left nothing more than a mere net and his little boat, and a saint5 comments that whoever willingly renounces what is small, renounces not only this but also everything which worldly people can possess or indeed even desire. Whoever renounces their own will and their own self, renounces all things as surely as if all things were in that person’s possession to do with as they pleased, for what you do not wish to desire, you have given over and given up to God. Therefore our Lord said, ‘Blessed are the poor in spirit’ (Matt. 5:3), which is to say those who are poor in will. Let no one be in any doubt about this: if there were a better way, then our Lord would have told us, who said, ‘If anyone would follow me, he must first deny himself’ (Matt 16:24). This is the point which counts. Examine yourself, and wherever you find yourself, then take leave of yourself. This is the best way of all.

The biggest fear for homeschooled children is that they will be unable to relate to their peers, will not have friends, or that they will otherwise be unable to interact with people in a normal way. Consider this: How many of your daily interactions with people are solely with people of your own birth year?  We’re not considering interactions with people who are a year or two older or a year or two younger, but specifically people who were born within a few months of your birthday. In society, it would be very odd to section people at work by their birth year and allow you to interact only with persons your same age. This artificial constraint would limit your understanding of people and society across a broader range of ages. In traditional schools, children are placed in grades artificially constrained by the child’s birth date and an arbitrary cut-off day on a school calendar. Every student is taught the same thing as everyone else of the same age primarily because it is a convenient way to manage a large number of students. Students are not grouped that way because there is any inherent special socialization that occurs when grouping children in such a manner. Sectioning off children into narrow bands of same-age peers does not make them better able to interact with society at large. In fact, sectioning off children in this way does just the opposite—it restricts their ability to practice interacting with a wide variety of people. So why do we worry about homeschooled children’s socialization?  The erroneous assumption is that the child will be homeschooled and will be at home, schooling in the house, all day every day, with no interactions with other people. Unless a family is remotely located in a desolate place away from any form of civilization, social isolation is highly unlikely. Every homeschooling family I know involves their children in daily life—going to the grocery store or the bank, running errands, volunteering in the community, or participating in sports, arts, or community classes. Within the homeschooled community, sports, arts, drama, co-op classes, etc., are usually sectioned by elementary, pre-teen, and teen groupings. This allows students to interact with a wider range of children, and the interactions usually enhance a child’s ability to interact well with a wider age-range of students. Additionally, being out in the community provides many opportunities for children to interact with people of all ages. When homeschooling groups plan field trips, there are sometimes constraints on the age range, depending upon the destination, but many times the trip is open to children of all ages. As an example, when our group went on a field trip to the Federal Reserve Bank, all ages of children attended. The tour and information were of interest to all of the children in one way or another. After the tour, our group dined at a nearby food court. The parents sat together to chat and the children all sat with each other, with kids of all ages talking and having fun with each other. When interacting with society, exposure to a wider variety of people makes for better overall socialization. Many homeschooling groups also have park days, game days, or play days that allow all of the children in the homeschooled community to come together and play. Usually such social opportunities last for two, three, or four hours. Our group used to have Friday afternoon “Park Day.”  After our morning studies, we would pack a picnic lunch, drive to the park, and spend the rest of the afternoon letting the kids run and play. Older kids would organize games and play with younger kids, which let them practice great leadership skills. The younger kids truly looked up to and enjoyed being included in games with the older kids.

My dwelling was small, and I could hardly entertain an echo in it; but it seemed larger for being a single apartment and remote from neighbors. All the attractions of a house were concentrated in one room; it was kitchen, chamber, parlor, and keeping-room; and whatever satisfaction parent or child, master or servant, derive from living in a house, I enjoyed it all. Cato says, the master of a family (patremfamilias) must have in his rustic villa "cellam oleariam, vinariam, dolia multa, uti lubeat caritatem expectare, et rei, et virtuti, et gloriae erit," that is, "an oil and wine cellar, many casks, so that it may be pleasant to expect hard times; it will be for his advantage, and virtue, and glory." I had in my cellar a firkin of potatoes, about two quarts of peas with the weevil in them, and on my shelf a little rice, a jug of molasses, and of rye and Indian meal a peck each. I sometimes dream of a larger and more populous house, standing in a golden age, of enduring materials, and without gingerbread work, which shall still consist of only one room, a vast, rude, substantial, primitive hall, without ceiling or plastering, with bare rafters and purlins supporting a sort of lower heaven over one's head—useful to keep off rain and snow, where the king and queen posts stand out to receive your homage, when you have done reverence to the prostrate Saturn of an older dynasty on stepping over the sill; a cavernous house, wherein you must reach up a torch upon a pole to see the roof; where some may live in the fireplace, some in the recess of a window, and some on settles, some at one end of the hall, some at another, and some aloft on rafters with the spiders, if they choose; a house which you have got into when you have opened the outside door, and the ceremony is over; where the weary traveller may wash, and eat, and converse, and sleep, without further journey; such a shelter as you would be glad to reach in a tempestuous night, containing all the essentials of a house, and nothing for house-keeping; where you can see all the treasures of the house at one view, and everything hangs upon its peg, that a man should use; at once kitchen, pantry, parlor, chamber, storehouse, and garret; where you can see so necessary a thing, as a barrel or a ladder, so convenient a thing as a cupboard, and hear the pot boil, and pay your respects to the fire that cooks your dinner, and the oven that bakes your bread, and the necessary furniture and utensils are the chief ornaments; where the washing is not put out, nor the fire, nor the mistress, and perhaps you are sometimes requested to move from off the trap-door, when the cook would descend into the cellar, and so learn whether the ground is solid or hollow beneath you without stamping. A house whose inside is as open and manifest as a bird's nest, and you cannot go in at the front door and out at the back without seeing some of its inhabitants; where to be a guest is to be presented with the freedom of the house, and not to be carefully excluded from seven eighths of it, shut up in a particular cell, and told to make yourself at home there—in solitary confinement. Nowadays the host does not admit you to his hearth, but has got the mason to build one for yourself somewhere in his alley, and hospitality is the art of keeping you at the greatest distance. There is as much secrecy about the cooking as if he had a design to poison you. I am aware that I have been on many a man's premises, and might have been legally ordered off, but I am not aware that I have been in many men's houses. I might visit in my old clothes a king and queen who lived simply in such a house as I have described, if I were going their way; but backing out of a modern palace will be all that I shall desire to learn, if ever I am caught in one.