Round Character Quotes

I am not shy about admitting my modest talents. For example, I am happy to admit that I am better than average at clever remarks, and I also have a flair for getting people to like me. But to be perfectly fair to myself, I am ever-ready to confess my shortcomings, too, and a quick round of soul-searching forced me to admit that I had never been any good at all at breathing water. As I hung there from the seat belt, dazed and watching the water pour in and swirl around my head, this began to seem like a very large character flaw.

What is my life for and what am I going to do with it? I don't know and I'm afraid. I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones, and variations of mental and physical experience possible in my life. And I am horribly limited. Yet I am not a cretin: lame, blind and stupid. I am not a veteran, passing my legless, armless days in a wheelchair. I am not that mongoloidish old man shuffling out of the gates of the mental hospital. I have much to live for, yet unaccountably I am sick and sad. Perhaps you could trace my feeling back to my distaste at having to choose between alternatives. Perhaps that's why I want to be everyone - so no one can blame me for being I. So I won't have to take the responsibility for my own character development and philosophy. People are happy - - - if that means being content with your lot: feeling comfortable as the complacent round peg struggling in a round hole, with no awkward or painful edges - no space to wonder or question in. I am not content, because my lot is limiting, as are all others. People specialize; people become devoted to an idea; people "find themselves." But the very content that comes from finding yourself is overshadowed by the knowledge that by doing so you are admitting you are not only a grotesque, but a special kind of grotesque.

This is the oath of a Knight of King Arthur's Round Table and should be for all of us to take to heart. I will develop my life for the greater good. I will place character above riches, and concern for others above personal wealth, I will never boast, but cherish humility instead, I will speak the truth at all times, and forever keep my word, I will defend those who cannot defend themselves, I will honor and respect women, and refute sexism in all its guises, I will uphold justice by being fair to all, I will be faithful in love and loyal in friendship, I will abhor scandals and gossip-neither partake nor delight in them, I will be generous to the poor and to those who need help, I will forgive when asked, that my own mistakes will be forgiven, I will live my life with courtesy and honor from this day forward.

At an early age, you started hearing it: It's a virtue to be "well-rounded."... They might as well have said : Become as dull as you possibly can be.

I always figured nerves were for Jane Austen characters and helium-voiced girls who never buy their round; I would no more have turned shaky in a crisis than I would have carried smelling salts around in my reticule.

...you'd be surprised how many people violate this simple principle every day of their lives and try to fit square pegs into round holes, ignoring the clear reality that Things Are As They Are. We will let a selection from the writings of Chuang-tse illustrate: Hui-tse said to Chuang-tse, "I have a large tree which no carpenter can cut into lumber. Its branches and trunk are crooked and tough, covered with bumps and depressions. No builder would turn his head to look at it. Your teachings are the same - useless, without value. Therefore, no one pays attention to them." ... "You complain that your tree is not valuable as lumber. But you could make use of the shade it provides, rest under its sheltering branches, and stroll beneath it, admiring its character and appearance. Since it would not be endangered by an axe, what could threaten its existence? It is useless to you only because you want to make it into something else and do not use it in its proper way.

Our fantastic civilization has fallen out of touch with many aspects of nature, and with none more completely than with night. Primitive folk, gathered at a cave mouth round a fire, do not fear night; they fear, rather, the energies and creatures to whom night gives power; we of the age of the machines, having delivered ourselves of nocturnal enemies, now have a dislike of night itself. With lights and ever more lights, we drive the holiness and beauty of night back to the forests and the sea; the little villages, the crossroads even, will have none of it. Are modern folk, perhaps, afraid of night? Do they fear that vast serenity, the mystery of infinite space, the austerity of stars? Having made themselves at home in a civilization obsessed with power, which explains its whole world in terms of energy, do they fear at night for their dull acquiescence and the pattern of their beliefs? Be the answer what it will, to-day's civilization is full of people who have not the slightest notion of the character or the poetry of night, who have never even seen night. Yet to live thus, to know only artificial night, is as absurd and evil as to know only artificial day.

They make you settle for second best." That's what I like about the movies. There's always some minor character standing round to tell you the moral, just in case you're too dumb to figure it out for yourself. "You never get what you want.

For over twenty-five centuries we’ve been bearing the weight of superb and heterogeneous civilizations, all from outside, none made by ourselves, none that we could call our own. This violence of landscape, this cruelty of climate, this continual tension in everything, and even these monuments of the past, magnificent yet incomprehensible because not built by us and yet standing round us like lovely mute ghosts; all those rulers who landed by main force from every direction who were at once obeyed, soon detested, and always misunderstood, their only expressions works of art we couldn't understand and taxes which we understood only too well and which they spent elsewhere: all these things have formed our character, which is thus conditioned by events outside our control as well as by a terrifying insularity of mind.

It started when we were little kids. Free spirits, but already tormented by our own hands given to us by our parents. We got together and wrote on desks and slept in laundry rooms near snowy mountains and slipped through whatever cracks we could find, minds altered, we didn't falter in portraving hysterical and tragic characters in a smog filled universe. we loved the dirty city and the journeys away from it. We had not yet been or seen our friends, selves, chase tails round and round in downward spirals, leaving trail of irretrievable, vital life juice behind. Still, the brothersbloodcomradespartnerfamilycuzz was impenetrable and we lived inside it laughing with no clothes, and everything experimental 'till death was upon us. In our face, mortality.

You can't compare any book on earth to that which God has created. It has visionless humans as flat characters and those with vision as round characters. It has lucifer as the antagonist and himself as the protagonist. The setting is designed with living creatures and plants to give verisimilitude. It is the only book on earth that has no extremity

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

What is my life for and what am I going to do with it? I don't know and I'm afraid. I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones, and variations of mental and physical experience possible in my life. And I am horribly limited. Yet I am not a cretin: lame, blind and stupid. I am not a veteran, passing my legless, armless days in a wheelchair. I am not that mongoloidish old man shuffling out of the gates of the mental hospital. I have much to live for, yet unaccountably I am sick and sad. Perhaps you could trace my feeling back to my distaste at having to choose between alternatives. Perhaps that's why I want to be everyone - so no one can blame me for being I. So I won't have to take the responsibility for my own character development and philosophy. People are happy - - - if that means being content with your lot: feeling comfortable as the complacent round peg struggling in a round hole, with no awkward or painful edges - no space to wonder or question in. I am not content, because my lot is limiting, as are all others. People specialize; people become devoted to an idea; people "find themselves.

Good-nature, or what is often considered as such, is the most selfish of all the virtues: it is nine times out of ten mere indolence of disposition.

His favourite ploy was to push his leg round the corner of the table and withdraw it repeatedly just as the cat pawed at it. Oscar was justifiably irritated by this teasing but showed his character by lying in wait for Tristan one night and biting him smartly in the ankle before he could start his tricks.

In Chloe, a great city, the people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping. A girl comes along, twirling a parasol on her shoulder, and twirling slightly also her rounded hips. A woman in black comes along, showing her full age, her eyes restless beneath her veil, her lips trembling. At tattooed giant comes along; a young man with white hair; a female dwarf; two girls, twins, dressed in coral. Something runs among them, an exchange of glances link lines that connect one figure with another and draws arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene: a blind man with a cheetah on a leash, a courtesan with an ostrich-plume fan, an ephebe, a Fat Woman. And thus, when some people happen to find themselves together, taking shelter from the rain under an arcade, or crowding beneath an awning of the bazaar, or stopping to listen to the band in the square, meetings, seductions, copulations, orgies are consummated among them without a word exchanged, without a finger touching anything, almost without an eye raised. A voluptuous vibration constantly stirs Chloe, the most chaste of cities. If men and women began to live their ephemeral dreams, every phantom would become a person with whom to begin a story of pursuits, pretenses, misunderstandings, clashes, oppressions, and the carousel of fantasies would stop.

From now on, every ghost who enters the world of the dead will have to come with a story, the story of his or her life, and tell it to the harpies. It doesn't have to be a big adventure; it can just be a description of a day playing with the children, like Lyra's, or whatever it might happen to be. In exchange for this true story, the harpies will lead that ghost outside to dissolve into the Universe and be one with everything else. Of course, I stole that, as I stole everything else! I stole that from the Oresteia -- the bargain Aeschylus's characters make with the Furies that are following them about. "You will be the guardians of this place, and we will worship you and we will give you honor," they say. Then the Furies are satisfied, and they leave off their pursuit of Orestes. There's nothing new in stories. It goes round again and again and again. But that was something that I thought was a good way out for Lyra, and it did reassert the value of story. States it fully and clearly, brings it out. And also the value of realistic story. It's got to be true. And there's a moral consequence; for those who have eyes to see, they can see it: you have to live. You have to experience things to have a story to tell, and if you spend all your life playing video games, that will not do.

Under the current ‘tyranny of slenderness’ women are forbidden to become large or massive; they must take up as little space as possible. The very contours of a woman’s body takes on as she matures - the fuller breasts and rounded hips - have become distateful. The body by which a woman feels herself judged and which by rigorous discipline she must try to assume is the body of early adolescence, slight and unformed, a body lacking flesh or substance, a body in whose very contours the image of immaturity has been inscribed. The requirement that a woman maintain a smooth and hairless skin carries further the theme of inexperience, for an infantilized face must accompany her infantilized body, a face that never ages or furrows its brow in thought. The face of the ideally feminine woman must never display the marks of character, wisdom, and experience that we so admire in men.

I am the interpretation of the prophet I am the artist in the coffin I am the brave flag stained with blood I am the wounds overcome I am the dream refusing to sleep I am the bare-breasted voice of liberty I am the comic the insult and the laugh I am the right the middle and the left I am the poached eggs in the sky I am the Parisian streets at night I am the dance that swings till dawn I am the grass on the greener lawn I am the respectful neighbour and the graceful man I am the encouraging smile and the helping hand I am the straight back and the lifted chin I am the tender heart and the will to win I am the rainbow in rain I am the human who won’t die in vain I am Athena of Greek mythology I am the religion that praises equality I am the woman of stealth and affection I am the man of value and compassion I am the wild horse ploughing through I am the shoulder to lean onto I am the Muslim the Jew and the Christian I am the Dane the French and the Palestinian I am the straight the square and the round I am the white the black and the brown I am the free speech and the free press I am the freedom to express I will die for my right to be all the above here mentioned And should threat encounter I’ll pull my pencil

As I have earlier noted, the most important things in life and in business can’t be measured. The trite bromide 'If you can measure it, you can manage it' has been a hindrance in the building a great real-world organization, just as it has been a hindrance in evaluating the real-world economy. It is character, not numbers, that make the world go ‘round. How can we possibly measure the qualities of human existence that give our lives and careers meaning? How about grace, kindness, and integrity? What value do we put on passion, devotion, and trust? How much do cheerfulness, the lilt of a human voice, and a touch of pride add to our lives? Tell me, please, if you can, how to value friendship, cooperation, dedication, and spirit. Categorically, the firm that ignores the intangible qualities that the human beings who are our colleagues bring to their careers will never build a great workforce or a great organization.

History reveals a person’s deeds—their outward character but not themselves. There is a secret self that has its own life rounded by a dream—unpenetrated, unguessed.

After a while he became disagreeably affected by the sight of the roadway thronged with vehicles and of the pavement crowded with men and women. He was in a long, straight street, peopled by a mere fraction of an immense multitude; but all round him, on and on, even to the limits of the horizon hidden by the enormous piles of bricks, he felt the mass of mankind mighty in its numbers. They swarmed numerous like locusts, industrious like ants, thoughtless like a natural force, pushing on blind and orderly and absorbed, impervious to sentiment, to logic, to terror, too, perhaps. That was the form of doubt he feared most. Impervious to fear! Often while walking abroad, when he happened also to come out of himself, he had such moments of dreadful and sane mistrust of mankind. What if nothing could move them ? Such moments come to all men whose ambition aims at a direct grasp upon humanity -- to artists, politicians, thinkers, reformers, or saints. A despicable emotional state this, against which solitude fortifies a superior character.

Plenty of people were writing novels; in fact, if one did a survey in the street, half of Edinburgh was writing a novel, and this meant that there really weren't enough characters to go round. Unless, of course, one wrote about people who were themselves writing novels. And what would the novels that these fictional characters were writing be about? Well, they would be novels about people writing novels.

Before you go ahead with a flashback, ask yourself if you can make the same impact on your reader through conflict in the now of the novel. If the answer is no, then the flashback is necessary, but remember that within the flashback all the same principles of good dramatic storytelling which apply in the now of your story—fully rounded characters, a rising conflict, inner conflicts, and so on—continue to apply.

To use a distinction made by E. M. Forster when talking about people in novels, the world now went from flat characters to rounded characters—to the development of personalities whose actions could surprise. The fun began.

I was confused by this sudden glare of attention; it was as if the characters in a favorite painting, absorbed in their own concerns, had looked up out of the canvas and spoken to me. Only the day before Francis, in a swish of black cashmere and cigarette smoke, had brushed past me in a corridor. For a moment, as his arm touched mine, he was a creature of flesh and blood, but the next he was a hallucination again, a figment of the imagination stalking down the hallway as heedless of me as ghosts, in their shadowy rounds, are said to be heedless of the living.

Monsieur Lerebour was short, round and jovial, with the joviality of a shopkeeper who liked to do himself well. His wife, who was thin, self-willed and perpetually discontented, had still not succeeded in overcoming her husband's good humour.

-I taught you Hindi and everything That's basically the same as getting engaged for missionaries -And I really appreciate that It will be terribly useful in my career as an English governess -See? That There. that is exactly the kind of tone I mean One round of cholera in the tropics would sear that sarcasm right out of you -guess I really missed out -Guess so

Impatiently I waited for evening, when I might summon you to my presence. An unusual– to me– a perfectly new character, I suspected was yours; I desired to search it deeper, and know it better. You entered the room with a look and air at once shy and independent; you were quaintly dress– much as you are now. I made you talk; ere long I found you full of strange contrasts. Your garb and manner were restricted by rule; your air was often diffident, and altogether that of one refined by nature, but absolutely unused to society, and a good deal afraid of making herself disadvantageously conspicuous by some solecism or blunder; yet, when addressed, you lifted a keen, a daring, and a glowing eye to your interlocutor’s face; there was penetration and power in each glance you gave; when plied by close questions, you found ready and round answers. Very soon you seemed to get used to me – I believe you felt the existence of sympathy between you and your grim and cross master, Jane; for it was astonishing to see how quickly a certain pleasant ease tranquilized your manner; snarl as I would, you showed no surprise, fear, annoyance, or displeasure, at my moroseness; you watched me, and now and then smiled at me with a simple yet sagacious grace I cannot describe. I was at once content and stimulated with what I saw; I liked what I had seen, and wished to see more. Yet, for a long time, I treated you distantly, and sought your company rarely, I was an intellectual epicure, and wished to prolong the gratification of making this novel and piquant acquaintance; besides, I was for a while troubled with a haunting fear that if I handled the flower freely its bloom would fade – the sweet charm of freshness would leave it. I did not then know that it was no transitory blossom, but rather the radiant resemblance of one, cut in an indestructible gem. Moreover, I wished to see whether you would seek me if I shunned you – but you did not; you kept in the school-room as still as your own desk and easel; if by chance I met you, you passed me as soon, and with as little token of recognition, as was consistent with respect. Your habitual expression in those days, Jane, was a thoughtful look; not despondent, fro you were not sickly; but not buoyant, for you had little hope, and no actual pleasure. I wondered what you thought of me– or if you ever thought of me; to find this out, I resumed my notice of you. There was something glad in your glance, and genial in your manner, when you conversed; I saw you had a social heart; it was the silent school-room– it was the tedium of your life that made you mournful. I permitted myself the delight of being kind to you; kindness stirred emotion soon; your face became soft in expression, your tones gentle; I liked my name pronounced by your lips in a grateful, happy accent. I used to enjoy a chance meeting with you, Jane, at this time; there was a curious hesitation in your manner; you glanced at me with a slight trouble– a hovering doubt; you did not know what my caprice might be– whether I was going to play the master, and be stern– or the friend, and be benignant. I was now too fond of you often to stimulate the first whim; and, when I stretched my hand out cordially, such bloom, and light, and bliss, rose to your young, wistful features, I had much ado often to avoid straining you then and there to my heart.

There are two things to note about this: the first is that in every version of her story, Jocasta becomes a more complex, more rounded character with every word she says. In Oedipus Tyrannos, we get a fairly slender portrait of a woman whose life is entirely dictated by the decisions of men. In The Phoenician Women, we finally hear her talk about what that means and how it feels. And here, in the earlier fragment of the Lille Stesichorus, we have a strong political leader, negotiating with warring parties who happen to be her sons.

Now each man judges well the things he knows, and of these he is a good judge. And so the man who has been educated in a subject is a good judge of that subject, and the man who has received an all-round education is a good judge in general. Hence a young man is not a proper hearer of lectures on political science; for he is inexperienced in the actions that occur in life, but its discussions start from these and are about these; and, further, since he tends to follow his passions, his study will be vain and unprofitable, because the end aimed at is not knowledge but action. And it makes no difference whether he is young in years or youthful in character; the defect does not depend on time, but on his living, and pursuing each successive object, as passion directs. For to such persons, as to the incontinent, knowledge brings no profit; but to those who desire and act in accordance with a rational principle knowledge about such matters will be of great benefit.

Ah, Jo, instead of wishing that, thank God that 'Father and Mother were particular', and pity from your heart those who have no such guardians to hedge them round with principles which may seem like prison walls to impatient youth, but which will prove sure foundations to build character upon in womanhood.

In 'Eurydice', she gives us a glorious, bristling version of this character who was delighted to find herself in the Underworld: 'It suited me down to the ground.' She invites us to picture her face 'in the one place you'd think a girl would be safe/ from the kind of man/ who follows her round/ writing poems'.

We all travelled light, taking with us only what we considered to be the bare essentials of life. When we opened our luggage for Customs inspection, the contents of our bags were a fair indication of character and interests. Thus Margo’s luggage contained a multitude of diaphanous garments, three books on slimming, and a regiment of small bottles each containing some elixir guaranteed to cure acne. Leslie’s case held a couple of roll-top pullovers and a pair of trousers which were wrapped round two revolvers, an air-pistol, a book called Be Your Own Gunsmith, and a large bottle of oil that leaked. Larry was accompanied by two trunks of books and a brief-case containing his clothes. Mother’s luggage was sensibly divided between clothes and various volumes on cooking and gardening. I travelled with only those items that I thought necessary to relieve the tedium of a long journey: four books on natural history, a butterfly net, a dog, and a jam-jar full of caterpillars all in imminent danger of turning into chrysalids. Thus, by our standards fully equipped, we left the clammy shores of England.

Beside him, very close beside him, was a gorgeous woman. She had masses of deep auburn hair and great violet eyes. She was not plump, yet she gave the impression of soft, rounded curves and comfortable hollows. She had an air of Mona Lisa, the Lady of Shalott. All her movements were slow with a lazy, languid indolence

Let us educate the younger generation to be shy in and out of season: to edge behind the furniture: to say spasmodic and ill-digested things: to twist their feet round the protective feet of sofas and armchairs: to feel that their hands belong to someone else--that they are objects, which they long to put down on some table away from themselves. For shyness is the protective fluid within which our personalities are able to develop into natural shapes. Without this fluid the character becomes merely standardized or imitative: it is within the tender velvet sheath of shyness that the full flower of idiosyncrasy is nurtured: it is from this sheath alone that it can eventually unfold itself, coloured and undamaged. Let the shy understand, therefore, that their disability is not only an inconvenience, but also a privilege. Let them regard their shyness as a gift rather than as an affliction. Let them consider how intolerable are those of their contemporaries who are not also shy.

His skin was as soft as a ballad, booty round and just right, body built like a baseballer who lived on empanadas and chilaquiles.

The power of attaching an interest to the most trifling or painful pursuits, in which our whole attention and faculties are engaged, is one of the greatest happinesses of our nature. The common soldier mounts the breach with joy; the miser deliberately starves himself to death; the mathematician sets about extracting the cube-root with a feeling of enthusiasm; and the lawyer sheds tears of admiration over "Coke upon Littleton." It is the same through life. He who is not in some measure a pedant, though he maybe wise, cannot be a very happy man.

It was Christmas night in the Castle of the Forest Sauvage, and all around length. It hung on the boughs of the forest trees in rounded lumps, even better than apple-blossom, and occasionally slid off the roofs of the village when it saw the chance of falling on some amusing character and giving pleasure to all. The boys made snowballs with it, but never put stones in them to hurt each other, and the dogs, when they were taken out to scombre, bit it and rolled in it, and looked surprised but delighted when they vanished into the bigger drifts. There was skating on the moat, which roared with the gliding bones which they used for skates, while hot chestnuts and spiced mead were served on the bank to all and sundry. The owls hooted. The cooks put out plenty of crumbs for the small birds. The villagers brought out their red mufflers. Sir Ector’s face shone redder even than these. And reddest of all shone the cottage fires down the main street of an evening,

It is worth while to point out the differing characters of a system and a method, because parents let themselves be run away with often enough by some plausible ‘system,’ the object of which is to produce development in one direction—of the muscles, of the memory, of the reasoning faculty—were a complete all-round education. This easy satisfaction arises from the sluggishness of human nature, to which any definite scheme is more agreeable than the constant watchfulness, the unforeseen action, called for when the whole of a child’s existence is to be used as the means of his education.

The factory-bells had need to ring their loudest that morning to disperse the groups of workers who stood in the tardy daybreak, collected round the placards [wanted posters], devouring them with eager eyes. Not the least eager of the eyes assembled, were the eyes of those who could not read. These people, as they listened to the friendly voice that read aloud--there was always some such ready to help them--stared at the characters which meant so much with a vague awe and respect that would have been half ludicrous, if any aspect of public ignorance could ever be otherwise than threatening and full of evil.

The heroes of the Iliad, favourites of the gods, golden and predatory, had scorned the weak and downtrodden. So too, for all the honour that Julian paid them, had philosophers. The starving deserved no sympathy. Beggars were best rounded up and deported. Pity risked undermining a wise man’s self-control. Only fellow citizens of good character who, through no fault of their own, had fallen on evil days might conceivably merit assistance.

The first question sobbed out by his choking voice, oppressed with emotion, was-- "Where is she?" They led him to the room where his mother sat. They had told her of her son's acquittal, and now she was laughing, and crying, and talking, and giving way to all those feelings which she had restrained with such effort during the last few days. They brought her son to her, and she threw herself upon his neck, weeping there. He returned her embrace, but looked around, beyond. Excepting his mother, there was no one in the room but the friends who had entered with him. "Eh, lad!" she said, when she found voice to speak. "See what it is to have behaved thysel! I could put in a good word for thee, and the jury could na go and hang thee in the face of th' character I gave thee. Was na it a good thing they did na keep me from Liverpool? But I would come; I knew I could do thee good, bless thee, my lad. But thou'rt very white, and all of a tremble." He kissed her again and again, but looking round as if searching for some one he could not find, the first words he uttered were still-- "Where is she?

Usually, if you ask someone on the island where they come from, they say something like Round about Skarmouth or Back side of Thisby, the hard side or Stone's throw from Tholla. But not me. I remember being small, clutching my father's lined hand, and some wind-beaten old farmer who looked like he'd been dug out of the sod asking, "Where you from, girl?" I answered, in a voice too loud for my tiny freckled self, "The Connolly House." He said ,"What's that, now?" And I replied back, "Where we Connollys live. Because I'm one." And then -- I am still a bit embarrassed about this part of it, as it speaks to a black part of my character -- added, "And you're not.

What makes a man a good cricketer? Practice. What makes a man a good artist, a good sculptor, a good musician? Practice. What makes a man a good linguist, a good stenographer? Practice. What makes a man a good man? Practice. Nothing else. There is nothing capricious about religion. We do not get the soul in different ways, under different laws, from those in which we get the body and the mind. If a man does not exercise his arm he develops no biceps muscle; and if a man does not exercise his soul, he acquires no muscle in his soul, no strength of character, no vigor of moral fibre, no beauty of spiritual growth. Love is not a thing of enthusiastic emotion. It is a rich, strong, manly, vigorous expression of the whole round Christian character—the Christlike nature in its fullest development. And the constituents of this great character are only to be built up by CEASELESS PRACTICE.

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining-board, which I have padded with our dog's blanket and the tea-cosy. I can't say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring - I wrote my very best poem while sitting on the hen-house. Though even that isn't a very good poem. I have decided my best poetry is so bad that I mustn't write any more of it. Drips from the roof are plopping into the water-butt by the back door. The view through the windows above the sink is excessively drear. Beyond the dank garden in the courtyard are the ruined walls on the edge of the moat. Beyond the moat, the boggy ploughed fields stretch to the leaden sky. I tell myself that all the rain we have had lately is good for nature, and that at any moment spring will surge on us. I try to see leaves on the trees and the courtyard filled with sunlight. Unfortunately, the more my mind's eye sees green and gold, the more drained of all colour does the twilight seem. It is comforting to look away from the windows and towards the kitchen fire, near which my sister Rose is ironing - though she obviously can't see properly, and it will be a pity if she scorches her only nightgown. (I have two, but one is minus its behind.) Rose looks particularly fetching by firelight because she is a pinkish person; her skin has a pink glow and her hair is pinkish gold, very light and feathery. Although I am rather used to her I know she is a beauty. She is nearly twenty-one and very bitter with life. I am seventeen, look younger, feel older. I am no beauty but I have a neatish face. I have just remarked to Rose that our situation is really rather romantic - two girls in this strange and lonely house. She replied that she saw nothing romantic about being shut up in a crumbling ruin surrounded by a sea of mud. I must admit that our home is an unreasonable place to live in. Yet I love it. The house itself was built in the time of Charles II, but it was grafted on to a fourteenth-century castle that had been damaged by Cromwell. The whole of our east wall was part of the castle; there are two round towers in it. The gatehouse is intact and a stretch of the old walls at their full height joins it to the house. And Belmotte Tower, all that remains of an even older castle, still stands on its mound close by. But I won't attempt to describe our peculiar home fully until I can see more time ahead of me than I do now. I am writing this journal partly to practise my newly acquired speed-writing and partly to teach myself how to write a novel - I intend to capture all our characters and put in conversations. It ought to be good for my style to dash along without much thought, as up to now my stories have been very stiff and self-conscious. The only time father obliged me by reading one of them, he said I combined stateliness with a desperate effort to be funny. He told me to relax and let the words flow out of me.

With the hollowing out of community by the market system, with its loss of structure, articulation, and form, comes the concomitant hollowing out of personality itself. Just as the spiritual and institutional ties that linked human beings together into vibrant social relations are eroded by the mass market, so the sinews that make for subjectivity, character, and self-definition are divested of form and meaning. The isolated, seemingly autonomous ego that bourgeois society celebrated as the highest achievement of "modernity" turns out to be the mere husk of a once fairly rounded individual whose very completeness as an ego was responsible because he or she was rooted in a fairly rounded and complete community.

Bradley Headstone, in his decent black coat and waistcoat, and decent white shirt, and decent formal black tie, and decent pantaloons of pepper and salt, with his decent silver watch in his pocket and its decent hair-guard round his neck, looked a thoroughly decent young man of six-and-twenty. He was never seen in any other dress, and yet there was a certain stiffness in his manner of wearing this, as if there were a want of adaptation between him and it, recalling some mechanics in their holiday clothes. He had acquired mechanically a great store of teacher's knowledge. He could do mental arithmetic mechanically, sing at sight mechanically, blow various wind instruments mechanically, even play the great church organ mechanically. From his early childhood up, his mind had been a place of mechanical stowage. The arrangement of his wholesale warehouse, so that it might be always ready to meet the demands of retail dealers history here, geography there, astronomy to the right, political economy to the left—natural history, the physical sciences, figures, music, the lower mathematics, and what not, all in their several places—this care had imparted to his countenance a look of care; while the habit of questioning and being questioned had given him a suspicious manner, or a manner that would be better described as one of lying in wait. There was a kind of settled trouble in the face. It was the face belonging to a naturally slow or inattentive intellect that had toiled hard to get what it had won, and that had to hold it now that it was gotten. He always seemed to be uneasy lest anything should be missing from his mental warehouse, and taking stock to assure himself.

the Bechdel test. It’s a checklist used to see whether women are being represented as well-rounded characters in fiction or film. Essentially, to pass the test, two female characters have to have a conversation about something other than men.

I have said that in one respect my mind has changed during the last twenty or thirty years. Up to the age of thirty, or beyond it, poetry of many kinds, such as the works of Milton, Gray, Byron, Wordsworth, Coleridge, and Shelley, gave me great pleasure, and even as a schoolboy I took intense delight in Shakespeare, especially in the historical plays. I have also said that formerly pictures gave me considerable, and music very great delight. But now for many years I cannot endure to read a line of poetry: I have tried lately to read Shakespeare, and found it so intolerably dull that it nauseated me. I have also almost lost my taste for pictures or music. Music generally sets me thinking too energetically on what I have been at work on, instead of giving me pleasure. I retain some taste for fine scenery, but it does not cause me the exquisite delight which it formerly did. On the other hand, novels which are works of the imagination, though not of a very high order, have been for years a wonderful relief and pleasure to me, and I often bless all novelists. A surprising number have been read aloud to me, and I like all if moderately good, and if they do not end unhappily–against which a law ought to be passed. A novel, according to my taste, does not come into the first class unless it contains some person whom one can thoroughly love, and if a pretty woman all the better. This curious and lamentable loss of the higher aesthetic tastes is all the odder, as books on history, biographies, and travels (independently of any scientific facts which they may contain), and essays on all sorts of subjects interest me as much as ever they did. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive. A man with a mind more highly organised or better constituted than mine, would not, I suppose, have thus suffered; and if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.

Do not quarrel, therefore, with your lot in life. Do not complain of its never-ceasing cares, its petty environment, the vexations you have to stand, the small and sordid souls you have to live and work with. Above all, do not resent temptation; do not be perplexed because it seems to thicken round you more and more, and ceases neither for effort nor for agony nor prayer. That is your practice. That is the practice which God appoints you; and it is having its work in making you patient, and humble, and generous, and unselfish, and kind, and courteous. Do not grudge the hand that is moulding the still too shapeless image within you. It is growing more beautiful, though you see it not; and every touch of temptation may add to its perfection. Therefore keep in the midst of life. Do not isolate yourself. Be among men and among things, and among troubles, and difficulties, and obstacles. You remember Goethe's words: "Talent develops itself in solitude; character in the stream of life.

we as authors have been writing about people we aren't for forever. We find a way to empathise, we find a way in. Female characters are no different. All they are are characters. They are people too. Instead of asking yourself, "How do I write this female soldier?" ask yourself, "How do I write this soldier? Where is she from, how was she raised, does she have a sense of humour? Is she big and tall, is she short and petite? How does her size affect her ability to fight? What is her favourite weapon, her least favourite? Why? Is she more logical than emotional? The other way around? Was she an only child and spoiled, was she the eldest of six siblings and a surrogate mother? How does that upbringing affect how she interacts with her team? etc etc and so forth." Notice how the first question gets you some kind of broad, generalised answer, likely resulting in a stereotype, and how the second version asks lots and lots of smaller questions with the goal of creating someone well rounded. One would hope, really, that we as authors ask such detailed questions of all our characters, regardless of gender. So let me, at long last, actually answer the original question: "How do I write a female character?" Write her the way you would write any other character. Give her dimension, give her strength but please also don't forget to give her weaknesses (for a totally strong nothing can beat her kind of girl is not a person, she's again a type - the polar opposite yet exactly the same as the damsel in distress). Create a person.

I feel as if it were not for me to record, even though this manuscript is intended for no eyes but mine, how hard I worked at that tremendous short-hand, and all improvement appertaining to it, in my sense of responsibility to Dora and her aunts. I will only add, to what I have already written of my perseverance at this time of my life, and of a patient and continuous energy which then began to be matured within me, and which I know to be the strong part of my character, if it have any strength at all, that there, on looking back, I find the source of my success. I have been very fortunate in worldly matters; many men have worked much harder, and not succeeded half so well; but I never could have done what I have done, without the habits of punctuality, order, and diligence, without the determination to concentrate myself on one object at a time, no matter how quickly its successor should come upon its heels, which I then formed. Heaven knows I write this, in no spirit of self-laudation. The man who reviews his own life, as I do mine, in going on here, from page to page, had need to have been a good man indeed, if he would be spared the sharp consciousness of many talents neglected, many opportunities wasted, many erratic and perverted feelings constantly at war within his breast, and defeating him. I do not hold one natural gift, I dare say, that I have not abused. My meaning simply is, that whatever I have tried to do in life, I have tried with all my heart to do well; that whatever I have devoted myself to, I have devoted myself to completely; that in great aims and in small, I have always been thoroughly in earnest. I have never believed it possible that any natural or improved ability can claim immunity from the companionship of the steady, plain, hard-working qualities, and hope to gain its end. There is no such thing as such fulfilment on this earth. Some happy talent, and some fortunate opportunity, may form the two sides of the ladder on which some men mount, but the rounds of that ladder must be made of stuff to stand wear and tear; and there is no substitute for thorough-going, ardent, and sincere earnestness. Never to put one hand to anything, on which I could throw my whole self; and never to affect depreciation of my work, whatever it was; I find, now, to have been my golden rules.

Maybe this time you will get these characters. You did not destroy their undersea boat but you were faintly instrumental in its destruction. If you can round up the crew, it will be extremely useful. Then why don’t you care anything about anything? he asked himself. Why don’t you think of them as murderers and have the righteous feelings that you should have? Why do you just pound and pound on after it like a riderless horse that is still in the race? Because we are all murderers, he told himself. We all are on both sides, if we are any good, and no good will come of any of it. But you have to do it. Sure, he said. But I don’t have to be proud of it. I only have to do it well. I didn’t hire out to like it. You did not even hire out, he told himself. That makes it even worse.

Men and women alike possess the qualities which make a guardian; they differ only in their comparative strength or weakness. Obviously. And those women who have such qualities are to be selected as the companions and colleagues of men who have similar qualities and whom they resemble in capacity and in character? Very true. And ought not the same natures to have the same pursuits? They ought. Then, as we were saying before, there is nothing unnatural in assigning music and gymnastic to the wives of the guardians—to that point we come round again. Certainly not. The law which we then enacted was agreeable to nature, and therefore not an impossibility or mere aspiration; and the contrary practice, which prevails at present, is in reality a violation of nature. That appears to be true. We

By heaven, he is the most astonishing bird in Europe!" replied the other. "He IS the most wonderful creature! I wouldn't take ten thousand guineas for that bird. I have left an annuity for his sole support in case he should outlive me. He is, in sense and attachment, a phenomenon. And his father before him was one of the most astonishing birds that ever lived!" The subject of this laudation was a very little canary, who was so tame that he was brought down by Mr. Boythorn's man, on his forefinger, and after taking a gentle flight round the room, alighted on his master's head. To hear Mr. Boythorn presently expressing the most implacable and passionate sentiments, with this fragile mite of a creature quietly perched on his forehead, was to have a good illustration of his character, I thought.

When he wrote back, he pretended to be his old self, he lied his way into sanity. For fear of his psychiatrist who was also their censor, they could never be sensual, or even emotional. His was considered a modern, enlightened prison, despite its Victorian chill. He had been diagnosed, with clinical precision, as morbidly oversexed, and in need of help as well as correction. He was not to be stimulated. Some letters—both his and hers—were confiscated for some timid expression of affection. So they wrote about literature, and used characters as codes. All those books, those happy or tragic couples they had never met to discuss! Tristan and Isolde the Duke Orsino and Olivia (and Malvolio too), Troilus and Criseyde, Once, in despair, he referred to Prometheus, chained to a rock, his liver devoured daily by a vulture. Sometimes she was patient Griselde. Mention of “a quiet corner in a library” was a code for sexual ecstasy. They charted the daily round too, in boring, loving detail. He described the prison routine in every aspect, but he never told her of its stupidity. That was plain enough. He never told her that he feared he might go under. That too was clear. She never wrote that she loved him, though she would have if she thought it would get through. But he knew it. She told him she had cut herself off from her family. She would never speak to her parents, brother or sister again. He followed closely all her steps along the way toward her nurse’s qualification. When she wrote, “I went to the library today to get the anatomy book I told you about. I found a quiet corner and pretended to read,” he knew she was feeding on the same memories that consumed him “They sat down, looked at each other, smiled and looked away. Robbie and Cecilia had been making love for years—by post. In their coded exchanges they had drawn close, but how artificial that closeness seemed now as they embarked on their small talk, their helpless catechism of polite query and response. As the distance opened up between them, they understood how far they had run ahead of themselves in their letters. This moment had been imagined and desired for too long, and could not measure up. He had been out of the world, and lacked the confidence to step back and reach for the larger thought. I love you, and you saved my life. He asked about her lodgings. She told him. “And do you get along all right with your landlady?” He could think of nothing better, and feared the silence that might come down, and the awkwardness that would be a prelude to her telling him that it had been nice to meet up again. Now she must be getting back to work. Everything they had, rested on a few minutes in a library years ago. Was it too frail? She could easily slip back into being a kind of sister. Was she disappointed? He had lost weight. He had shrunk in every sense. Prison made him despise himself, while she looked as adorable as he remembered her, especially in a nurse’s uniform. But she was miserably nervous too, incapable of stepping around the inanities. Instead, she was trying to be lighthearted about her landlady’s temper. After a few more such exchanges, she really was looking at the little watch that hung above her left breast, and telling him that her lunch break would soon be over.

The writer is a kind of hawk; he goes round in the skies, constantly looking with his sharp eyes for the character that he can pick up with his claws. Sometimes he goes round hungry for a week, he cannot catch any characters; and sometimes characters rain on him like heavy rain.

Vitellius gave orders for depleting the strength of the legions and auxiliaries. Recruiting was forbidden, and discharges offered without restriction. This policy was disastrous for the country and unpopular among the soldiers, who found that their turn for work and danger came round all the more frequently, now that there were so few to share the duties. Besides, their efficiency was demoralized by luxury. Nothing was left of the old-fashioned discipline and the good rules of our ancestors, who preferred to base the security of Rome on character and not on money.

the language he used survives in the law, that we were savages living off the forest, and to leave our land to us was to leave it useless wilderness, that our character and religion is of so inferior a stamp that the superior genius of Europe must certainly claim ascendancy and on and on. I

Ah, Jo, instead of wishing that, thank God that "father and mother were particular," and pity from your heart those who have no such guardians to hedge them round with principles which may seem like prison-walls to impatient youth, but which will prove sure foundations to build character upon in womanhood.

in 1927 she became, and would forevermore remain, the “It Girl.” “It” was first a two-part article and then a novel by a flame-haired English novelist named Elinor Glyn, who was known for writing juicy romances in which the main characters did a lot of undulating (“she undulated round and all over him, twined about him like a serpent”) and for being the mistress for some years of Lord Curzon, former viceroy of India. “It,” as Glyn explained, “is that quality possessed by some few persons which draws all others with its magnetic life force. With it you win all men if you are a woman—and all women if you are a man.

She asked him to come in, if only for a minute, as it would seem so odd otherwise, and as if she had been out alone in the dark. He gave way, and followed her in. Immediately that the door was opened he found, in addition to her parents, several neighbours sitting round. They all spoke in a congratulatory manner, and took him seriously as Arabella's intended partner. They did not belong to his set or circle, and he felt out of place and embarrassed. He had not meant this: a mere afternoon of pleasant walking with Arabella, that was all he had meant. He did not stay longer than to speak to her stepmother, a simple, quiet woman without features or character; and bidding them all good night plunged with a sense of relief into the track over the down. But that sense was only temporary: Arabella reasserted her sway in his soul. He walked as if he felt himself to be another man from the Jude of yesterday. What were his books to him? what were his intentions, hitherto adhered to so strictly, as to not wasting a single minute of time day by day? 'Wasting!' It depended on your point of view to define that: he was just living for the first time: not wasting life. It was better to love a woman than to be a graduate, or a parson; ay, or a pope!

Pebbles of Perception The pebbles of perception; With poise and grace, accept what is, life’s sharp embrace. The pebbles of perception; Last to speak, seek better questions, to create, not critique. The pebbles of perception; Choose their response, and cherish the choice, of needs, not wants. The pebbles of perception; Seldom seek credit, self-aware, not self-absorbed, and never big-headed. The pebbles of perception; With enthusiastic wonder, forge their character, without going under. The pebbles of perception; Come what season, gently round out, the rocks of reason. And in the end; Soft sand beneath the feet of children playing.

These damsel in distress roles were very common in the 1940s. Superman had Lois Lane, Batman had Julie Madison, Captain Marvel had Beautia Sivana, the Flash had Joan Williams, and the Spirit had Ellen Dolan. These women weren’t particularly well-rounded characters. Instead, they were defined only through their male love interests, existing solely to be rescued,

The country remained the same, and was extremely uninteresting. The complete similarity of the productions throughout Patagonia is one of its most striking characters. The level plains of arid shingle support the same stunted and dwarf plants; and in the valleys the same thorn-bearing bushes grow. Everywhere we see the same birds and insects. Even the very banks of the river and of the clear streamlets which entered it, were scarcely enlivened by a brighter tint of green. The curse of sterility is on the land, and the water flowing over a bed of pebbles partakes of the same curse. Hence the number of waterfowl is very scanty; for there is nothing to support life in the stream of this barren river. (In regards to the steppes of Patagonia)

Margaret, the eldest of the four, was sixteen, and very pretty, being plump and fair, with large eyes, plenty of soft brown hair, a sweet mouth, and white hands, of which she was rather vain. Fifteen-year-old Jo was very tall, thin, and brown, and reminded one of a colt, for she never seemed to know what to do with her long limbs, which were very much in her way. She had a decided mouth, a comical nose, and sharp, gray eyes, which appeared to see everything, and were by turns fierce, funny, or thoughtful. Her long, thick hair was her one beauty, but it was usually bundled into a net, to be out of her way. Round shoulders had Jo, big hands and feet, a flyaway look to her clothes, and the uncomfortable appearance of a girl who was rapidly shooting up into a woman and didn't like it. Elizabeth, or Beth, as everyone called her, was a rosy, smooth-haired, bright-eyed girl of thirteen, with a shy manner, a timid voice, and a peaceful expression which was seldom disturbed. Her father called her 'Little Miss Tranquility', and the name suited her excellently, for she seemed to live in a happy world of her own, only venturing out to meet the few whom she trusted and loved. Amy, though the youngest, was a most important person, in her own opinion at least. A regular snow maiden, with blue eyes, and yellow hair curling on her shoulders, pale and slender, and always carrying herself like a young lady mindful of her manners. What the characters of the four sisters were we will leave to be found out.

Moments like this are what we train for year-round. It’s why we spend so much time developing character traits like commitment, grit, optimism, and humility. It’s the reason we practice embracing adversity and learning to regard it as a competitive advantage. Events like this are the reason behind our all-consuming focus on the process—why we learn to control the things we can and let the rest go.

unified self. Misleadingly identifying the Demiurge with the Anthropos, Jung says: The primordial image of the quaternity coalesces, for the Gnostics, with the figure of the demiurge or Anthropos. He is, as it were, the victim of his own creative act, for, when he descended into Physis, he was caught in her embrace. The image of the anima mundi or Original Man latent in the dark of matter expresses the presence of a transconscious centre which, because of its quaternary character and its roundness, must be regarded as a symbol of wholeness.76

I almost wish I hadn't any conscience; its so inconvenient. If I didn't care about doing right and didn't feel uncomfortable when doing wrong, I should get on capitally. I can't help wishing sometimes that Father and Mother hadn't been so particular about such things. Ah Joe, instead of wishing that, thank God that Father and Mother were particular and pity from your heart those who have no such guardians to hedge them round with principles that may seem like prison walls to impatient youth, but which will prove sure foundations to build character upon in womanhood.

Deep in the minds of most energetic persons lies some strong desire, some strong ambition, or some resolute hope, which unconsciously moulds, or, at least, influences their every act. No matter what their circumstances in life may be, or how much they may yield to those circumstances for a time, the one idea remains ever the same. This is, in fact, one of the secrets of how individual force of character comes out at times. The great idea, whatever it may be, sits enthroned in the mind, and round it gather subordinate wishes and resolves, as the feudal nobles round the King, and so goes on the chain down the whole gamut of man’s nature from the taming or suppression of his wildest passions down to the commonplace routine of his daily life. And yet we wonder at times to see, when occasion offers, with what astonishing rapidity certain individuals assert themselves, and how, when a strange circumstance arises, some new individual arises along with it, as though the man and the hour were predestined for each other. We need not wonder if we will but think that all along the man was ready, girt in his armour, resolved in his cause, and merely awaiting, although, perhaps, he knew it not, the opportunity to manifest himself.

The thing about Dostoevsky's characters is that they are alive. By which I don't just mean that they're successfully realized or developed or "rounded". The best of them live inside us, forever, once we've met them. Recall the proud and pathetic Raskolnikov, the naive Devushkin, the beautiful and damned Nastasya of The Idiot, the fawning Lebyedev and spiderish Ippolit of the same novel; C&P's ingenious maverick detective Porfiry Petrovich (without whom there would probably be no commercial crime fiction w/ eccentrically brilliant cops); Marmeladov, the hideous and pitiful sot; or the vain and noble roulette addict Aleksey Ivanovich of The Gambler; the gold-hearted prostitutes Sonya and Liza; the cynically innocent Aglaia; or the unbelievably repellent Smerdyakov, that living engine of slimy resentment in whom I personally see parts of myself I can barely stand to look at; or the idealized and all too-human Myshkin and Alyosha, the doomed human Christ and triumphant child-pilgrim, respectively. These and so many other FMD creatures are alive-retain what Frank calls their "immense vitality"-not because they're just skillfully drawn types or facets of human beings but because, acting withing plausible and morally compelling plots, they dramatize the profoundest parts of all humans, the parts most conflicted, most serious-the ones with the most at stake. Plus, without ever ceasing to be 3-D individuals, Dostoevsky's characters manage to embody whole ideologies and philosophies of life: Raskolnikov the rational egoism of the 1860's intelligentsia, Myshkin mystical Christian love, the Underground Man the influence of European positivism on the Russian character, Ippolit the individual will raging against death's inevitability, Aleksey the perversion of Slavophilic pride in the face of European decadence, and so on and so forth....

The founding of a science more or less on the notion of repetition brings in its train yet another delusion of a quantitative kind, the delusion that consists in thinking that the accumulation of a large number of facts can be of use by itself as ‘proof' of a theory; nevertheless, even a little reflection will make it evident that facts of the same kind are always indefinite in multitude, so that they can never all be taken into account, quite apart from the consideration that the same facts usually fit several different theories equally well. It will be said that the establishment of a greater number of facts does at least give more ‘probability' to a theory; but to say so is to admit that no certitude can be arrived at in that way, and that therefore the conclusions promulgated have nothing ‘exact' about them; it is also an admission of the wholly ‘empirical' character of modern science, although, by a strange irony, its partisans are pleased to accuse of ‘empiricism' the knowledge of the ancients, whereas exactly the opposite is the truth: for this ancient knowledge, of the true nature of which they have no idea whatever, started from principles and not from experimental observations, so that it can truly be said that profane science is built up exactly the opposite way round to traditional science.

The Top Spin would raise a glass to Rudi Koertzen, the popular veteran South African umpire who will stand in his 107th and final Test when Pakistan meet Australia at Headingley in July [2010]. But we're slightly worried about being misunderstood. A few years back, in a light-hearted series of profiles of the elite umpires for a newspaper supplement, we suggested Rudi was a 'sociable' character who enjoyed spending a no-more-than-inordinate amount of time at the '19th hole'. Cue a concerned phonecall from the ICC, who wanted to register Rudi's displeasure at the implication. Whoops. Presumably it will be orange juices all round when he finally hangs up the white coat.

Spiritual disciplines more easily introduced into daily activities ▪   School calendar formulated to dates that work best for our family’s needs ▪   Free time in our days for relaxation, family fun and bonding (instead of time spent driving from school to school) ▪   Strong parent-child bonds and sibling-to-sibling bonds more easily developed ▪   Removal from negative influences and peer pressure during the early impressionable years ▪   Difficult subjects discussed at the appropriate age for each individual child ▪   Difficult subject matter presented from a biblical worldview and within the context of our strong parent-child bond. ▪   Real world learning incorporated into lesson plans and practiced in daily routines ▪   Field trips and “outside the book” learning available as we see fit What We Hope to Give Our Kids: ▪   A close relationship with Christ and a complete picture of what it means to be a Christ-follower ▪   A strong moral character rooted in biblical integrity, perseverance and humility ▪   A direction and purpose for where God has called them in life ▪   A deep relationship and connection with us, their parents ▪   Rich, ever-growing relationships with their siblings ▪   Real-world knowledge in everything from how to cook and do laundry to how to resolve conflicts and work with those that are “different” from them ▪   A comprehensive, well-rounded education in the traditional school subjects

I know that everyone in this room, Bernie Fain included, thinks I'm some kind of a nut with my so-called fixation on this vampire thing. OK, maybe I'm wrong. Maybe he only thinks he is. But there are things here that can't be explained away by so-called common sense. Not even Bernie's report can explain some of them. 'I was at the hospital yesterday.' I looked directly at Butcher. 'Your own people fired maybe fifty or sixty rounds at him, some at point-blank range. How come this man never even slowed down? How come a man seventy years old can outrun police cars for more than fifteen blocks? How come when he gets clubbed on the head he doesn't bleed like other people? Look at these photos! There's a gash on his forehead... and whatever is trickling down from the cut is clear... it isn't blood. 'How come three great, big, burly hospital orderlies weighing an estimated total of nearly seven-hundred fifty pounds couldn't bring one, skinny one-hundred sixty pound man to his knees? How come an ex-boxer, a light-heavyweight not long out of the ring, couldn't even faze him with his best punch, a right hook that should have broken his jaw? 'Face it. Whether it's science, witchcraft or black magic, this character has got something going for him you don't know anything about. He doesn't seem to feel pain. Or get winded. And he doesn't seem to be very frightened by guns, or discouraged by your efforts to trap him. 'Look at these photos! Look at that face! That isn't fear there. It's hate. Pure hate! This man is evil incarnate. He is insane and he may be something even worse although you'd laugh at me because I have no scientific documentation to back me up. Hell, even Regenhaus and Mokurji have all but confirmed that he sucks blood. 'Whatever he is, he's been around a long time and this seems to be the closest any police force has come to putting the finger on him. If you want to go on operating the way you've been doing by treating him like an ordinary man, go ahead. But, I'll bet you any amount of money you come up empty handed again. If you try to catch him at night he'll get away just like he did last night. He'll...' 'Jesus Christ!' bellowed Butcher. 'This son of a bitch has diarrhea of the mouth. Can't one of you people shut him up?

Edward paced on under the painful and yet not altogether embittered feelings which separation and uncertainty produce in the mind of a youthful lover. I am not sure if the ladies understand the full value of the influence of absence, nor do I think it wise to teach it them, lest, like the Clelias and Mandanes of yore, they should resume the humour of sending their lovers into banishment. Distance, in truth, produces in idea the same effect as in real perspective. Objects are softened, and rounded, and rendered doubly graceful; the harsher and more ordinary points of character are mellowed down, and those by which it is remembered are the more striking outlines that mark sublimity, grace, or beauty. There are mists too in the mental as well as the natural horizon,

Here is a little boy,” said Bingo, indicating me to the strange lady, “who wets his bed every night. Do you know what I am going to do if you wet your bed again?” she added, turning to me. “I am going to get the Sixth Form to beat you.” The strange lady put on an air of being inexpressibly shocked, and exclaimed “I-should-think-so!” And here occurred one of those wild, almost lunatic misunderstandings which are part of the daily experience of childhood. The Sixth Form was a group of older boys who were selected as having “character” and were empowered to beat smaller boys. I had not yet learned of their existence, and I mis-heard the phrase “the Sixth Form” as “Mrs. Form.” I took it as referring to the strange lady—I thought, that is, that her name was Mrs. Form. It was an improbable name, but a child has 110 judgement in such matters. I imagined, therefore, that it was she who was to be deputed to beat me. It did Dot strike me as strange that this job should be turned over to a casual visitor in no way connected with the school. I merely assumed that “Mrs. Form” was a stern disciplinarian who enjoyed beating people (somehow her appearance seemed to bear this out) and I had an immediate terrifying vision of her arriving for the occasion in full riding kit and armed with a hunting whip. To this day I can feel myself almost swooning with shame as I stood, a very small, round-faced boy in short corduroy knickers, before the two women. I could not speak. I felt that I should die if “Mrs. Form” were to beat me. But my dominant feeling was not fear or even resentment: it was simply shame because one more person, and that a woman, had been told of my disgusting offence.

He seems so drugged up and slow. I miss his laughter, his impulsiveness, his wacky sense of humour, even his obsessive practicing. It makes me wonder who he actually is. If the old Flynn was ill – courtesy of a chemical imbalance in the brain – is this lithiumed Flynn the real MyCoy? Or perhaps both characters are just facets of a hidden, deeper soul that I have yet to meet. I just don’t know. Sometimes I fear that the drug-free Flynn searingly manic, then catastrophically depressed – is who he really is. But because in that form he is not acceptable to conventional society, he has to be drugged so that his emotions are tempered and his behavior controlled. Perhaps we are blindly living in an Orwellian society where individualism is feared and the biggest pressure is the one to conform. Perhaps Flynn is sane and the rest of the world is mad. The thoughts go round and round in my head.

The thing about Dostoevsky's characters is that they are alive. By which I don't just mean that they're successfully realized or developed or "rounded". The best of them live inside us, forever, once we've met them. Recall the proud and pathetic Raskolnikov, the naive Devushkin, the beautiful and damned Nastasya of The Idiot, the fawning Lebyedev and spiderish Ippolit of the same novel; C&P's ingenious maverick detective Porfiry Petrovich (without whom there would probably be no commercial crime fiction w/ eccentrically brilliant cops); Marmeladov, the hideous and pitiful sot; or the vain and noble roulette addict Aleksey Ivanovich of The Gambler; the gold-hearted prostitutes Sonya and Liza; the cynically innocent Aglaia; or the unbelievably repellent Smerdyakov, that living engine of slimy resentment in whom I personally see parts of myself I can barely stand to look at; or the idealized and all too-human Myshkin and Alyosha, the doomed human Christ and triumphant child-pilgrim, respectively. These and so many other FMD creatures are alive-retain what Frank calls their "immense vitality"-not because they're just skillfully drawn types or facets of human beings but because, acting within plausible and morally compelling plots, they dramatize the profoundest parts of all humans, the parts most conflicted, most serious-the ones with the most at stake. Plus, without ever ceasing to be 3-D individuals, Dostoevsky's characters manage to embody whole ideologies and philosophies of life: Raskolnikov the rational egoism of the 1860's intelligentsia, Myshkin mystical Christian love, the Underground Man the influence of European positivism on the Russian character, Ippolit the individual will raging against death's inevitability, Aleksey the perversion of Slavophilic pride in the face of European decadence, and so on and so forth....

If the weakness of mainstream fiction is its deliberate smallness, the weakness of sf is its puffed-up size, its gauzy immensities. SF often pays so much attention to cosmic ideas that the story's surface is vague. Too much sf suffers from a lack of tangible reality. Muzzy settings, generic characters concocted merely for the sake of the idea, improbable action plots tidily wrapped up at the end. Too much preaching, not enough concrete, credible detail. An sf writer can get published without mastering certain things that most mainstream writers can’t evade: evocative prose style, naturalistic dialogue, attention to detail. Refraining from editorializing, over-explaining, or pat resolutions. To us, the contents of The Best American Short Stories seem paltry and timebound. To them, the contents of Asimov’s are overblown and underrealized. It’s no wonder that sf never makes the Ravenel collection. SF is habitually strong in areas considered unessential to good mainstream fiction, and weak in those areas that are considered essential. It doesn't matter that to the sf reader most contemporary fiction is so interested in "how things really are" in tight focus that it missed "how things really are" in the big picture. SF’s different standards make it invisible to mainstream readers, not in the literal way of H.G. Wells's invisible man, but in the cultural way of Ralph Ellison's. It's not that they can’t see us, it's that they don't know what to make of what they see. What they don't know about sf, and worse still, what they think they do know, make it impossible for them to appreciate our virtues. We are like a Harlem poet attempting to find a seat at the Algonquin round table in 1925. Our clothes are outlandish . Our accent is uncouth. The subjects we are interested in are uninteresting or incomprehensible. Our history and culture are unknown. Our reasons for being there are inadmissible. The result is embarrassment, condescension, or silence.

A large brand will typically spend between 10 and 20 percent of their media buy on creative,” DeJulio explains. “So if they have a $500 million media budget, there’s somewhere between $50 to $100 million going toward creating content. For that money they’ll get seven to ten pieces of content, but not right away. If you’re going to spend $1 million on one piece of content, it’s going to take a long time—six months, nine months, a year—to fully develop. With this budget and timeline, brands have no margin to take chances creatively.” By contrast, the Tongal process: If a brand wants to crowdsource a commercial, the first step is to put up a purse—anywhere from $50,000 to $200,000. Then, Tongal breaks the project into three phases: ideation, production, and distribution, allowing creatives with different specialties (writing, directing, animating, acting, social media promotion, and so on) to focus on what they do best. In the first competition—the ideation phase—a client creates a brief describing its objective. Tongal members read the brief and submit their best ideas in 500 characters (about three tweets). Customers then pick a small number of ideas they like and pay a small portion of the purse to these winners. Next up is production, where directors select one of the winning concepts and submit their take. Another round of winners are selected and these folks are given the time and money to crank out their vision. But this phase is not just limited to these few winning directors. Tongal also allows anyone to submit a wild card video. Finally, sponsors select their favorite video (or videos), the winning directors get paid, and the winning videos get released to the world. Compared to the seven to ten pieces of content the traditional process produces, Tongal competitions generate an average of 422 concepts in the idea phase, followed by an average of 20 to 100 finished video pieces in the video production phase. That is a huge return for the invested dollars and time.

For if we will think of it, no Time need have gone to ruin, could it have found a man great enough, a man wise and good enough: wisdom to discern truly what the Time wanted, valor to lead it on the right road thither; these are the salvation of any Time. But I liken common languid Times, with their unbelief, distress, perplexity, with their languid doubting characters and embarrassed circumstances, impotently crumbling down into ever worse distress towards final ruin;—all this I liken to dry dead fuel, waiting for the lightning out of Heaven that shall kindle it. The great man, with his free force direct out of God's own hand, is the lightning. His word is the wise healing word which all can believe in. All blazes round him now, when he has once struck on it, into fire like his own... In all epochs of the world's history, we shall find the Great Man to have been the indispensable savior of his epoch;—the lightning, without which the fuel never would have burnt. The History of the World, I said already, was the Biography of Great Men

The nations whose chief support was in the chase, whose chief interest was in the battle, whose chief pleasure was in the banquet, would take small care respecting the shapes of leaves and flowers; and notice little in the forms of the forest trees which sheltered them, except the signs indicative of the wood which would make the toughest lance, the closest roof, or the clearest fire. The affectionate observation of the grace and outward character of vegetation is the sure sign of a more tranquil and gentle existence, sustained by the gifts, and gladdened by the splendour, of the earth. In that careful distinction of species, and richness of delicate and undisturbed organisation, which characterise the Gothic design, there is the history of rural and thoughtful life, influenced by habitual tenderness, and devoted to subtle inquiry; and every discriminating and delicate touch of the chisel, as it rounds the petal or guides the branch, is a prophecy of the development of the entire body of the natural sciences, beginning with that of medicine, of the recovery of literature, and the establishment of the most necessary principles of domestic wisdom and national peace.

She had plenty of leisure now, day in, day out, to survey her life as a tract of country traversed, and at last become a landscape instead of separate fields or separate years and days, so that it became a unity and she could see the whole view, and could even pick out a particular field and wander round it again in spirit, though seeing it all the while as it were from a height, fallen in its proper place, with the exact pattern drawn round it by the hedge, and the next field into which the gap in the hedge would lead. So, she thought, could she at last put circles on her life. Slowly she crossed that day, as one crosses a field by a little path through the grasses, with the sorrel and the buttercups waving on either side; she crossed it again slowly, from breakfast to bed-time, and each hour, as one hand of the clock passed over the other, regained for her its separate character: this was the hour, she thought, when I first came downstairs that day, swinging my hat by its ribbons; this was the hour when he persuaded me into the garden, and sat with me on the seat beside the lake, and told me it was not true that with one blow of its wing a swan could break the leg of a man.

He was smiling! That was it; her actual sunrise. It lit the candles of answers to every query of her life. . Having wings is one thing and flying another. Having eyes is one thing and dreaming another. Having a heart is one thing and falling in love, quite another. . Destiny is the root of all limitations and a dream is the seed for all liberations. . By the way, is it darkness that gives light an identity or is it the other way round? . If life is divided into two parts, then one part is definitely about living it and the other, about missing the moments lived. . How can I comfort anyone with words of hope when I am myself empty of it? . It might all sound bizarre to you because I am sharing my thoughts for her only today but believe me something happened from the first time I saw her. Something did happen. The air (or what was it?) told me she was mine though I was a little apprehensive to accept the fact then but now, I think I am in love. No, I know I am in love for the first time in my life. (Ritwika was just a crush). It’s crazy, I know. It’s only been few weeks that I first saw her. I haven’t even talked to her till now. But does that really matter? . What the fuck is it with first love? So many ifs and buts. Damn! . Seriously I do have something to tell God: It’s tough to be God, I know, but mind you it’s tougher to be human in this crazy fucking world of yours. . No one asked me or forced me not to hug happiness but I consciously chose to sleep with pain. . I am not happy so I can’t stand anyone who is. . But I am helpless…you are helpless…we are helpless…the world is helpless and even help is helpless. . It’s not about reaching the edge, it’s about the jump. A jump for onetime-the fall of a lifetime. . It was eight years ago but time doesn't heal all wounds. . Isn't it better to lie and encourage a significant construction than to speak the truth and witness destruction? . From today onwards Radhika is not only a part of my life but also a part of my heart, my mind, my soul, my will, my zeal, my happiness, my tears, my depression, my excitement, my interests, my decisions, my character and my identity. . The times that go away at the blink of an eye are actually the times which eventually get placed inside the safe of our most treasured memories. . Life is no movie where we need to necessarily get all things right by the end. . She is too sexy to forget.

The essence of Roosevelt’s leadership, I soon became convinced, lay in his enterprising use of the “bully pulpit,” a phrase he himself coined to describe the national platform the presidency provides to shape public sentiment and mobilize action. Early in Roosevelt’s tenure, Lyman Abbott, editor of The Outlook, joined a small group of friends in the president’s library to offer advice and criticism on a draft of his upcoming message to Congress. “He had just finished a paragraph of a distinctly ethical character,” Abbott recalled, “when he suddenly stopped, swung round in his swivel chair, and said, ‘I suppose my critics will call that preaching, but I have got such a bully pulpit.’ ” From this bully pulpit, Roosevelt would focus the charge of a national movement to apply an ethical framework, through government action, to the untrammeled growth of modern America. Roosevelt understood from the outset that this task hinged upon the need to develop powerfully reciprocal relationships with members of the national press. He called them by their first names, invited them to meals, took questions during his midday shave, welcomed their company at day’s end while he signed correspondence, and designated, for the first time, a special room for them in the West Wing. He brought them aboard his private railroad car during his regular swings around the country. At every village station, he reached the hearts of the gathered crowds with homespun language, aphorisms, and direct moral appeals. Accompanying reporters then extended the reach of Roosevelt’s words in national publications. Such extraordinary rapport with the press did not stem from calculation alone. Long before and after he was president, Roosevelt was an author and historian. From an early age, he read as he breathed. He knew and revered writers, and his relationship with journalists was authentically collegial. In a sense, he was one of them. While exploring Roosevelt’s relationship with the press, I was especially drawn to the remarkably rich connections he developed with a team of journalists—including Ida Tarbell, Ray Stannard Baker, Lincoln Steffens, and William Allen White—all working at McClure’s magazine, the most influential contemporary progressive publication. The restless enthusiasm and manic energy of their publisher and editor, S. S. McClure, infused the magazine with “a spark of genius,” even as he suffered from periodic nervous breakdowns. “The story is the thing,” Sam McClure responded when asked to account for the methodology behind his publication. He wanted his writers to begin their research without preconceived notions, to carry their readers through their own process of discovery. As they educated themselves about the social and economic inequities rampant in the wake of teeming industrialization, so they educated the entire country. Together, these investigative journalists, who would later appropriate Roosevelt’s derogatory term “muckraker” as “a badge of honor,” produced a series of exposés that uncovered the invisible web of corruption linking politics to business. McClure’s formula—giving his writers the time and resources they needed to produce extended, intensively researched articles—was soon adopted by rival magazines, creating what many considered a golden age of journalism. Collectively, this generation of gifted writers ushered in a new mode of investigative reporting that provided the necessary conditions to make a genuine bully pulpit of the American presidency. “It is hardly an exaggeration to say that the progressive mind was characteristically a journalistic mind,” the historian Richard Hofstadter observed, “and that its characteristic contribution was that of the socially responsible reporter-reformer.

Below us was a frozen lake. It was perfectly round, a great gleaming eye in which the moon and stars were mirrored. Lanterns glowing the same cold white as the aurora dangled from the lake's edge to a scattering of benches and merchant-stands, draped in bright awnings of opal and blue. Delicious smells floated on the wind---smoked fish; fire-roasted nuts and candies; spiced cakes. A winter fair.* * Outside of Russia, almost all known species of courtly fae, and many common fae also, are fond of fairs and markets; indeed, such gatherings appear in stories as the interstitial spaces between their worlds and ours, and thus it is not particularly surprising that they feature in so many encounters with the Folk. The character of such markets, however, varies widely, from sinister to benign. The following features are universal: 1) Dancing, which the mortal visitor may be invited to partake in; 2) A variety of vendors selling foods and goods which the visitor is unable to recall afterwards. More often than not, the markets take place at night. Numerous scholars have attempted to document these gatherings; the most widely referenced accounts are by Baltasar Lenz, who successfully visited two fairs in Bavaria before his disappearance in 1899.

the list was a smoke screen: ten applications would be made on the pretense of this being a meritocratic process. But the first-choice school would have opened a file on the child once his PSATs were posted. The result was already assured. For Anne, much of the work lay in managing these lists. How to carve, from the great shared dream of college destiny, a range to fairly suit each child? And how then to help bring round the parents, in their bafflement and their shame? More accurately, how to awaken these families from a fantasy that held colleges up bright and shining and implacably steady in character, to reveal each as just what it was—a living, breathing institution—struggling to serve young minds weaned on ambition and fear and heading into a job market that matched conscription to greed and made interns of all the rest? Take Middlebury: one thought immediately of all the blond kids with a green streak, the vegans, the skiers. Take the Ivies: the Euro kids wanted Brown. Jews, Yale or Penn. WASPs wanted Princeton. Cold athletes Dartmouth. Hot athletes, Stanford. Cornell was big and seemed possible but Ithaca was a high price to pay. Columbia for the city kids. Everyone wanted Harvard, if only to say they got in. Then the cult schools. Tufts, Georgetown, Duke. Big

Bow was originally billed as the “Brooklyn Bonfire,” then as the “Hottest Jazz Baby in Films,” but in 1927 she became, and would forevermore remain, the “It Girl.” “It” was first a two-part article and then a novel by a flame-haired English novelist named Elinor Glyn, who was known for writing juicy romances in which the main characters did a lot of undulating (“she undulated round and all over him, twined about him like a serpent”) and for being the mistress for some years of Lord Curzon, former viceroy of India. “It,” as Glyn explained, “is that quality possessed by some few persons which draws all others with its magnetic life force. With it you win all men if you are a woman—and all women if you are a man.” Asked by a reporter to name some notable possessors of “It,” Glyn cited Rudolph Valentino, John Gilbert, and Rex the Wonder Horse. Later she extended the list to include the doorman at the Ambassador Hotel in Los Angeles. It the novel was a story in which the two principal characters—Ava and Larry, both dripping with “It”—look at each other with “burning eyes” and “a fierce gleam” before getting together to “vibrate with passion.” As Dorothy Parker summed up the book in The New Yorker, “It goes on for nearly three hundred pages, with both of them vibrating away like steam-launches.

I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasies (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher of the tottering of his lofty reason upon her throne. The verses, which were entitled “The Haunted Palace,” ran very nearly, if not accurately, thus:— I. In the greenest of our valleys, By good angels tenanted, Once a fair and stately palace— Radiant palace—reared its head. In the monarch Thought’s dominion— It stood there! Never seraph spread a pinion Over fabric half so fair. II. Banners yellow, glorious, golden, On its roof did float and flow (This—all this—was in the olden Time long ago); And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A winged odor went away. III. Wanderers in that happy valley Through two luminous windows saw Spirits moving musically To a lute’s well-timed law; Round about a throne, where sitting (Porphyrogene!) In state his glory well befitting, The ruler of the realm was seen. IV. And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. V. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn, for never morrow Shall dawn upon him, desolate!) And, round about his home, the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. VI. And travellers now within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a rapid ghastly river, Through the pale door; A hideous throng rush out forever, And laugh—but smile no more.

Ere long, however, the daemon was wrestling with him once more; he was seized by that “terrible spirit of unrest” which drove him “like the deluge, to the mountain peaks”. Shadows of gloom and discontent crept into his letters. He began to complain of his “dependent position”, and the forces at work within him soon became obvious. He could not endure regular occupation, could not bear to participate in the daily round of ordinary people. No existence other than that of a poet was acceptable. In this first crisis he probably failed to understand that the trouble sprang from the daemonism within him, from the jealous exclusiveness of the spirit that possessed him, making mundane relationships impossible. He still rationalised the immanent inflammability of his impulses by discovering objective causes for them. He spoke of his pupil’s stubbornness, of defects in the lad’s character which he, as tutor, was impotent to remedy. Hölderlin’s incapacity to meet the demands of everyday life was in this matter all too plain. The boy of nine had a stronger will than the man of twenty-five. The tutor resigned his post. Charlotte von Kalb, who was anything but obtuse, grasped the underlying truth. Wishing to console Johann Christian Friedrich’s mother, she wrote to the latter: “His spirit cannot stoop to these petty labours … or perhaps it would be more accurate to say that he takes them too much to heart.

What is my life for and what am I going to do with it? I don’t know and I’m afraid. I can never read all the books I want; I can never be all the people I want and live all the lives I want. I can never train myself in all the skills I want. And why do I want? I want to live and feel all the shades, tones, and variations of mental and physical experience possible in my life. And I am horribly limited. Yet I am not a cretin: lame, blind and stupid. I am not a veteran, passing my legless, armless days in a wheelchair. I am not that mongoloidish old man shuffling out of the gates of the mental hospital. I have much to live for, yet unaccountably I am sick and sad. Perhaps you could trace my feeling back to my distaste at having to choose between alternatives. Perhaps that’s why I want to be everyone – so no one can blame me for being I. So I won’t have to take the responsibility for my own character development and philosophy. People are happy – – – if that means being content with your lot: feeling comfortable as the complacent round peg struggling in a round hole, with no awkward or painful edges – no space to wonder or question in. I am not content, because my lot is limiting, as are all others. People specialize; people become devoted to an idea; people “find themselves.” But the very content that comes from finding yourself is over-shadowed by the knowledge that by doing so you are admitting you are not only a grotesque, but a special kind of grotesque.

Carrying her over to his bed, he slowly laid her on it. She sank into the mattress with a dreamy murmur of a sigh. Though the protective impulse he had felt toward her earlier had returned full force, the soft and sensual moan from her lips filled him with a moment's blinding lust. Dear God. A tremor of hunger ran through him. His stare traveled over her lax face and down her white neck to her creamy chest. He swallowed hard, gazing at her breasts. Somehow, he became fixated on them again. Heart pounding, he moved slowly and with caution sat on the edge of the bed. Desire slammed through his veins, but he only meant to look. She was a harlot, she wouldn't care, as long as he had money, which he did, lots of it. Yet it amazed him that such beauty could be purchased for the taking. She was exquisite, with the dusky fringe of her lashes fanned above her cheeks in sleep. The thick and wavy cloud of her satiny brown hair flowed back from the pale oval of her face and spilled across his pillow. He marveled at the creamy shimmer of her complexion in the firelight, her flushed cheeks like delicate pink-tinted porcelain. His gaze traveled over her smooth forehead, the delicate twin arches of her light brown eyebrows, and her small, prettily formed nose. He would not have guessed her any common sort of wench. Then his attention strayed to her pink lips in ever-growing desire, a gathering smolder darkening his eyes. She had a very charming chin, slightly pronounced, and hinting at a firm stubbornness of character. He wanted to nibble its smooth rounded curve.

Little Nicky heads to the Badlands to see the show for himself. The Western Roads are outside his remit as a U.S. Treasury agent, but he knows the men he wants are its denizens. Standing on the corner of the Great Western and Edinburgh Roads, a sideshow, a carnival of the doped, the beaten, and the crazed. He walks round to the Avenue Haig strip and encounters the playground of Shanghai’s crackpots, cranks, gondoos, and lunatics. He’s accosted constantly: casino touts, hustling pimps, dope dealers; monkeys on chains, dancing dogs, kids turning tumbles, Chinese ‘look see’ boys offering to watch your car. Their numbers rise as the Japs turn the screws on Shanghai ever tighter. Half-crazy American missionaries try to sell him Bibles printed on rice paper—saving souls in the Badlands is one tough beat. The Chinese hawkers do no better with their porno cards of naked dyed blondes, Disney characters in lewd poses, and bare-arsed Chinese girls, all underage. Barkers for the strip shows and porno flicks up the alleyways guarantee genuine French celluloid of the filthiest kind. Beggars abound, near the dealers and bootleggers in the shadows, selling fake heroin pills and bootleg samogon Russian vodka, distilled in alleyways, that just might leave you blind. Off the Avenue Haig, Nicky, making sure of his gun in its shoulder holster, ventures up the side streets and narrow laneways that buzz with the purveyors of cure-all tonics, hawkers of appetite suppressants, male pick-me-ups promising endless virility. Everything is for sale—back-street abortions and unwanted baby girls alongside corn and callus removers, street barbers, and earwax pickers. The stalls of the letter writers for the illiterate are next to the sellers of pills to cure opium addiction. He sees desperate refugees offered spurious Nansen passports, dubious visas for neutral Macao, well-forged letters of transit for Brazil. He could have his fortune told twenty times over (gypsy tarot cards or Chinese bone chuckers? Your choice). He could eat his fill—grilled meat and rice stalls—or he could start a whole new life: end-of-the-worlders and Korean propagandists offer cheap land in Mongolia and Manchukuo.

Thanks to our discussion in the last chapter, we can also agree that character is a product of perseverance: “Suffering produces perseverance; perseverance, character; and character, hope” (Rom. 5:3–4). I don’t know how that idea strikes you, but it sounds a little backward to me. I would expect that a person with character would find it easier to persevere through difficult circumstances. That makes sense. But how does perseverance produce character? When I look at the world around me, it seems to me that most things actually decay over time rather than grow stronger. The longer we live in our home, the more I see spots that need a paint touch-up. The longer I drive my car, the more I find I need to take it in for tune-ups and repairs. And the longer I live, the more I realize my body isn’t what it used to be! But maybe this process of perseverance leading to character works differently. Surely God is the X-factor. When you add God to the equation, persistence over time builds up character and strength instead of taking it away. Consider, if you will, the snowball. Left by itself, it doesn’t amount to much. It’s just a little round chunk of white frozen water. Yet place that snowball at the top of a steep hill on a snowy day, and things begin to change. If you invest some time rolling that snowball across the ground so it picks up snow and grows into a larger ball, you begin to create something big and heavy. If you invest even more time and energy (this is where perseverance comes in), you might get that ball rolling down the hill. And the longer it rolls, the faster it goes, the bigger it gets. Now you’ve got something powerful. This is a force to be reckoned with. This is when people start running for cover. Your little snowball suddenly becomes a runaway freight train! I believe that equation of suffering, which produces perseverance, which produces character, works in a similar fashion. Our willingness to trust and rely on the Lord in a time of trouble invites His power to work in our lives. The more we trust and depend on Him, the easier it becomes. As the Lord says, “My yoke is easy and my burden is light” (Matt. 11:30). Pretty soon our perseverance enables the Lord to add character to our “snowball”—and the more we persevere, the stronger we grow. We find ourselves rolling downhill toward a godly life. It still might be a bumpy ride, but the size and momentum of our snowball just about guarantees that as long as we are pursuing God’s will for our lives, nothing will stop us.

Eighteen centuries have now passed away since God sent forth a few Jews from a remote corner of the earth, to do a work which according to man's judgment must have seemed impossible. He sent them forth at a time when the whole world was full of superstition, cruelty, lust, and sin. He sent them forth to proclaim that the established religions of the earth were false and useless, and must be forsaken. He sent them forth to persuade men to give up old habits and customs, and to live different lives. He sent them forth to do battle with the most grovelling idolatry, with the vilest and most disgusting immorality, with vested interests, with old associations, with a bigoted priesthood, with sneering philosophers, with an ignorant population, with bloody-minded emperors, with the whole influence of Rome. Never was there an enterprise to all appearance more Quixotic, and less likely to succeed! And how did He arm them for this battle? He gave them no carnal weapons. He gave them no worldly power to compel assent, and no worldly riches to bribe belief. He simply put the Holy Ghost into their hearts, and the Scriptures into their hands. He simply bade them to expound and explain, to enforce and to publish the doctrines of the Bible. The preacher of Christianity in the first century was not a man with a sword and an army, to frighten people, like Mahomet,—or a man with a license to be sensual, to allure people, like the priests of the shameful idols of Hindostan. No! he was nothing more than one holy man with one holy book. And how did these men of one book prosper? In a few generations they entirely changed the face of society by the doctrines of the Bible. They emptied the temples of the heathen gods. They famished idolatry, or left it high and dry like a stranded ship. They brought into the world a higher tone of morality between man and man. They raised the character and position of woman. They altered the standard of purity and decency. They put an end to many cruel and bloody customs, such as the gladiatorial fights.—There was no stopping the change. Persecution and opposition were useless. One victory after another was won. One bad thing after another melted away. Whether men liked it or not, they were insensibly affected by the movement of the new religion, and drawn within the whirlpool of its power. The earth shook, and their rotten refuges fell to the ground. The flood rose, and they found themselves obliged to rise with it. The tree of Christianity swelled and grew, and the chains they had cast round it to arrest its growth, snapped like tow. And all this was done by the doctrines of the Bible! Talk of victories indeed! What are the victories of Alexander, and Cæsar, and Marlborough, and Napoleon, and Wellington, compared with those I have just mentioned? For extent, for completeness, for results, for permanence, there are no victories like the victories of the Bible.

A few years ago, a couple of young men from my church came to our home for dinner. During the course of the dinner, the conversation turned from religion to various world mythologies and we began to play the game of ‘Name That Character.” To play this game, you pick a category such as famous actors, superheroes or historical characters. In turn, each person describes events in a famous character’s life while everyone else tries to guess who the character is. Strategically you try to describe the deeds of a character in such a way that it might fit any number of characters in that category. After three guesses, if no one knows who your character is, then you win. Choosing the category of Bible Characters, we played a couple of fairly easy rounds with the typical figures, then it was my turn. Now, knowing these well meaning young men had very little religious experience or understanding outside of their own religion, I posed a trick question. I said, “Now my character may seem obvious, but please wait until the end of my description to answer.” I took a long breath for dramatic effect, and began, “My character was the son of the King of Heaven and a mortal woman.” Immediately both young men smiled knowingly, but I raised a finger asking them to wait to give their responses. I continued, “While he was just a baby, a jealous rival attempted to kill him and he was forced into hiding for several years. As he grew older, he developed amazing powers. Among these were the ability to turn water into wine and to control the mental health of other people. He became a great leader and inspired an entire religious movement. Eventually he ascended into heaven and sat with his father as a ruler in heaven.” Certain they knew who I was describing, my two guests were eager to give the winning answer. However, I held them off and continued, “Now I know adding these last parts will seem like overkill, but I simply cannot describe this character without mentioning them. This person’s birthday is celebrated on December 25th and he is worshipped in a spring festival. He defied death, journeyed to the underworld to raise his loved ones from the dead and was resurrected. He was granted immortality by his Father, the king of the gods, and was worshipped as a savior god by entire cultures.” The two young men were practically climbing out of their seats, their faces beaming with the kind of smile only supreme confidence can produce. Deciding to end the charade I said, “I think we all know the answer, but to make it fair, on the count of three just yell out the answer. One. Two. Three.” “Jesus Christ” they both exclaimed in unison – was that your answer as well? Both young men sat back completely satisfied with their answer, confident it was the right one…, but I remained silent. Five seconds ticked away without a response, then ten. The confidence of my two young friends clearly began to drain away. It was about this time that my wife began to shake her head and smile to herself. Finally, one of them asked, “It is Jesus Christ, right? It has to be!” Shaking my head, I said, “Actually, I was describing the Greek god Dionysus.

I’m having my lunch when I hear a familiar hoarse shout, ‘Oy Tony!’ I whip round, damaging my neck further, to see Michael Gambon in the lunch queue. … Gambon tells me the story of Olivier auditioning him at the Old Vic in 1962. His audition speech was from Richard III. ‘See, Tone, I was thick as two short planks then and I didn’t know he’d had a rather notable success in the part. I was just shitting myself about meeting the Great Man. He sussed how green I was and started farting around.’ As reported by Gambon, their conversation went like this: Olivier: ‘What are you going to do for me?’ Gambon: ‘Richard the Third.’ Olivier: ‘Is that so. Which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘Yes, I understand that, but which part?’ Gambon: ‘Richard the Third.’ Olivier: ‘But which character? Catesby? Ratcliffe? Buckingham’s a good part …’ Gambon: ‘Oh I see, beg your pardon, no, Richard the Third.’ Olivier: ‘What, the King? Richard?’ Gambon: ‘ — the Third, yeah.’ Olivier: “You’ve got a fucking cheek, haven’t you?’ Gambon: ‘Beg your pardon?’ Olivier: ‘Never mind, which part are you going to do?’ Gambon: ‘Richard the Third.’ Olivier: ‘Don’t start that again. Which speech?’ Gambon: ‘Oh I see, beg your pardon, “Was every woman in this humour woo’d.”‘ Olivier: ‘Right. Whenever you’re ready.’ Gambon: ‘ “Was ever woman in this humour woo’d –” ‘ Olivier: ‘Wait. Stop. You’re too close. Go further away. I need to see the whole shape, get the full perspective.’ Gambon: ‘Oh I see, beg your pardon …’ Gambon continues, ‘So I go over to the far end of the room, Tone, thinking that I’ve already made an almighty tit of myself, so how do I save the day? Well I see this pillar and I decide to swing round it and start the speech with a sort of dramatic punch. But as I do this my ring catches on a screw and half my sodding hand gets left behind. I think to myself, “Now I mustn’t let this throw me since he’s already got me down as a bit of an arsehole”, so I plough on … “Was ever woman in this humour woo’d –”‘ Olivier: ‘Wait. Stop. What’s the blood?’ Gambon: ‘Nothing, nothing, just a little gash, I do beg your pardon …’ A nurse had to be called and he suffered the indignity of being given first aid with the greatest actor in the world passing the bandages. At last it was done. Gambon: ‘Shall I start again?’ Olivier: ‘No. I think I’ve got a fair idea how you’re going to do it. You’d better get along now. We’ll let you know.’ Gambon went back to the engineering factory in Islington where he was working. At four that afternoon he was bent over his lathe, working as best as he could with a heavily bandaged hand, when he was called to the phone. It was the Old Vic. ‘It’s not easy talking on the phone, Tone. One, there’s the noise of the machinery. Two, I have to keep my voice down ’cause I’m cockney at work and posh with theatre people. But they offer me a job, spear-carrying, starting immediately. I go back to my work-bench, heart beating in my chest, pack my tool-case, start to go. The foreman comes up, says, “Oy, where you off to?” “I’ve got bad news,” I say, “I’ve got to go.” He says, “Why are you taking your tool box?” I say, “I can’t tell you, it’s very bad news, might need it.” And I never went back there, Tone. Home on the bus, heart still thumping away. A whole new world ahead. We tend to forget what it felt like in the beginning.

Keynes was a voracious reader. He had what he called ‘one of the best of all gifts – the eye which can pick up the print effortlessly’. If one was to be a good reader, that is to read as easily as one breathed, practice was needed. ‘I read the newspapers because they’re mostly trash,’ he said in 1936. ‘Newspapers are good practice in learning how to skip; and, if he is not to lose his time, every serious reader must have this art.’ Travelling by train from New York to Washington in 1943, Keynes awed his fellow passengers by the speed with which he devoured newspapers and periodicals as well as discussing modern art, the desolate American landscape and the absence of birds compared with English countryside.54 ‘As a general rule,’ Keynes propounded as an undergraduate, ‘I hate books that end badly; I always want the characters to be happy.’ Thirty years later he deplored contemporary novels as ‘heavy-going’, with ‘such misunderstood, mishandled, misshapen, such muddled handling of human hopes’. Self-indulgent regrets, defeatism, railing against fate, gloom about future prospects: all these were anathema to Keynes in literature as in life. The modern classic he recommended in 1936 was Forster’s A Room with a View, which had been published nearly thirty years earlier. He was, however, grateful for the ‘perfect relaxation’ provided by those ‘unpretending, workmanlike, ingenious, abundant, delightful heaven-sent entertainers’, Agatha Christie, Edgar Wallace and P. G. Wodehouse. ‘There is a great purity in these writers, a remarkable absence of falsity and fudge, so that they live and move, serene, Olympian and aloof, free from any pretended contact with the realities of life.’ Keynes preferred memoirs as ‘more agreeable and amusing, so much more touching, bringing so much more of the pattern of life, than … the daydreams of a nervous wreck, which is the average modern novel’. He loved good theatre, settling into his seat at the first night of a production of Turgenev’s A Month in the Country with a blissful sigh and the words, ‘Ah! this is the loveliest play in all the world.’55 Rather as Keynes was a grabby eater, with table-manners that offended Norton and other Bloomsbury groupers, so he could be impatient to reach the end of books. In the inter-war period publishers used to have a ‘gathering’ of eight or sixteen pages at the back of their volumes to publicize their other books-in-print. He excised these advertisements while reading a book, so that as he turned a page he could always see how far he must go before finishing. A reader, said Keynes, should approach books ‘with all his senses; he should know their touch and their smell. He should learn how to take them in his hands, rustle their pages and reach in a few seconds a first intuitive impression of what they contain. He should … have touched many thousands, at least ten times as many as he reads. He should cast an eye over books as a shepherd over sheep, and judge them with the rapid, searching glance with which a cattle-dealer eyes cattle.’ Keynes in 1927 reproached his fellow countrymen for their low expenditure in bookshops. ‘How many people spend even £10 a year on books? How many spend 1 per cent of their incomes? To buy a book ought to be felt not as an extravagance, but as a good deed, a social duty which blesses him who does it.’ He wished to muster ‘a mighty army … of Bookworms, pledged to spend £10 a year on books, and, in the higher ranks of the Brotherhood, to buy a book a week’. Keynes was a votary of good bookshops, whether their stock was new or second-hand. ‘A bookshop is not like a railway booking-office which one approaches knowing what one wants. One should enter it vaguely, almost in a dream, and allow what is there freely to attract and influence the eye. To walk the rounds of the bookshops, dipping in as curiosity dictates, should be an afternoon’s entertainment.