Running Intervals Quotes

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It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread an not the interval between.
William Faulkner (As I Lay Dying)
marathon: (noun) A popular form of overpriced torture wherein participants wake up at ass-o-clock in the morning and stand in the freezing cold until it's time to run, at which point they miserably trot for a god-awful interval of time that could be better spent sleeping in and/or consuming large quantities of beer and cupcakes. See also: masochism, awfulness, "a bunch of bullshit", boob-chafing, cupcake deprivation therapy
Matthew Inman (The Terrible and Wonderful Reasons Why I Run Long Distances (Volume 5) (The Oatmeal))
Certain things existed out of time. It was ten years ago, it was this morning. In that way the accident was like his mother's death. It did not recede so much as hover, waxing and waning at different intervals but always there. It happened in the past and it was always happening. It happened every single minute of the day.
Ann Patchett (Run)
This day was only the first of man similar ones for the emancipated Mole, each of them longer and fuller of interest as the ripening summer moved onward. He learned to swim and to row, and entered into the joy of running water; and with his ear to the reed stems he caught, at intervals, something of what the wind went whispering so constantly among them.
Kenneth Grahame (The Wind in the Willows)
Its hurtful and wonderful how our jokes survive us. Since I left home on this journey, I've thought a lot about this-how a big part of any life is about the hows and whys of setting up machinery. it's building systems, devices, motors. Winding up the clockwork of direct debits, configuring newspaper deliveries and anniversaries and photographs and credit card repayments and anecdotes. Starting their engines, setting them in motion and sending them chugging off into the future to do their thing at a regular or irregular intervals. When a person leaves or dies or ends, they leave an afterimage; their outline in the devices they've set up around them. The image fades to the winding down of springs, the slow running out of fuel as the machines of a life lived in certain ways in certain places and from certain angles are shut down or seize up or blink off one by one. It takes time. Sometimes, you come across the dusty lights or electrical hum of someone else's machine, maybe a long time after you ever expected to, still running, lonely in the dark. Still doing its thing for the person who started it up long, long after they've gone. A man lives so many different lengths of time.
Steven Hall (The Raw Shark Texts)
The river itself is not a hundred yards across, and pa and Vernon and Vardaman and Dewey Dell are the only things in sight not of that single monotony of desolation leaning with that terrific quality a little from right to left, as though we had reached the place where the motion of the wasted world accelerates just before the final precipice. Yet they appear dwarfed. It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread and not the interval between. The mules stand, their fore quarters already sloped a little, their rumps high. They too are breathing now with a deep groaning sound; looking back once, their gaze sweeps across us with in their eyes a wild, sad, profound and despairing quality as though they had already seen in the thick water the shape of the disaster which they could not speak and we could not see.
William Faulkner (As I Lay Dying)
Movies are made out of darkness as well as light; it is the surpassingly brief intervals of darkness between each luminous still image that make it possible to assemble the many images into one moving picture. Without that darkness, there would only be a blur. Which is to say that a full-length movie consists of half an hour or an hour of pure darkness that goes unseen. If you could add up all the darkness, you would find the audience in the theater gazing together at a deep imaginative night. It is the terra incognita of film, the dark continent on every map. In a similar way, a runner’s every step is a leap, so that for a moment he or she is entirely off the ground. For those brief instants, shadows no longer spill out from their feet, like leaks, but hover below them like doubles, as they do with birds, whose shadows crawl below them, caressing the surface of the earth, growing and shrinking as their makers move nearer or farther from that surface. For my friends who run long distances, these tiny fragments of levitation add up to something considerable; by their own power they hover above the earth for many minutes, perhaps some significant portion of an hour or perhaps far more for the hundred-mile races. We fly; we dream in darkness; we devour heaven in bites too small to be measured.
Rebecca Solnit (A Field Guide to Getting Lost)
The stream and the broken pottery: what was any art but an effort to make a sheath, a mould in which to imprison for a moment the shining, elusive element which is life itself,—life hurrying past us and running away, too strong to stop, too sweet to lose? The Indian women had held it in their jars. In the sculpture she had seen in the Art Institute, it had been caught in a flash of arrested motion. In singing, one made a vessel of one's throat and nostrils and held it on one's breath, caught the stream in a scale of natural intervals. IV
Willa Cather (The Song of the Lark)
On most of the occasions when I visited the Ufford, halls and reception rooms were so utterly deserted that the interior might almost have been Uncle Giles's private residence. Had he been a rich bachelor, instead of a poor one, he would probably have lived in a house of just that sort: bare: anonymous: old-fashioned: draughty: with heavy mahogany cabinets and sideboards spaced out at intervals in passages and on landings; nothing that could possibly commit him to any specific opinion, beyond general disapproval of the way the world was run.
Anthony Powell (A Dance to the Music of Time: 1st Movement (A Dance to the Music of Time, #1-3))
This day was the first of many similar ones for the emancipated Mole, each of them longer and full of interest as the ripening summer moved onward. He learnt to swim and to row, and entered into the joy of running water; and with his ear to the reed-stems he caught, at intervals, something of what the wind went whispering so constantly among them.
Kenneth Grahame (The Wind in the Willows)
The best way to settle such arguments is to measure the selling effectiveness of your campaign at regular intervals, and to go on running it until the research shows that it has worn out. Word
David Ogilvy (Ogilvy on Advertising)
This is meant to be in praise of the interval called hangover, a sadness not co-terminous with hopelessness, and the North American doubling cascade that (keep going) “this diamond lake is a photo lab” and if predicates really do propel the plot then you might see Jerusalem in a soap bubble or the appliance failures on Olive Street across these great instances, because “the complex Italians versus the basic Italians” because what does a mirror look like (when it´s not working) but birds singing a full tone higher in the sunshine. I´m going to call them Honest Eyes until I know if they are, in the interval called slam clicker, Realm of Pacific, because the second language wouldn´t let me learn it because I have heard of you for a long time occasionally because diet cards may be the recovery evergreen and there is a new benzodiazepene called Distance, anti-showmanship, anti-showmanship, anti-showmanship. I suppose a broken window is not symbolic unless symbolic means broken, which I think it sorta does, and when the phone jangles what´s more radical, the snow or the tires, and what does the Bible say about metal fatigue and why do mothers carry big scratched-up sunglasses in their purses. Hello to the era of going to the store to buy more ice because we are running out. Hello to feelings that arrive unintroduced. Hello to the nonfunctional sprig of parsley and the game of finding meaning in coincidence. Because there is a second mind in the margins of the used book because Judas Priest (source: Firestone Library) sang a song called Stained Class, because this world is 66% Then and 33% Now, and if you wake up thinking “feeling is a skill now” or “even this glass of water seems complicated now” and a phrase from a men´s magazine (like single-district cognac) rings and rings in your neck, then let the consequent misunderstandings (let the changer love the changed) wobble on heartbreakingly nu legs into this street-legal nonfiction, into this good world, this warm place that I love with all my heart, anti-showmanship, anti-showmanship, anti-showmanship.
David Berman
It’s interval time in a multiplex cinema hall. You just watched first half of Movie-1. It was boring. You wish you could have watched Movie-2 instead which is running parallely in another auditorium. A manager called “Paramatma” approaches you with a solution. He puts your head between two electrodes and erases first half of Movie-1 from your mind. Then he transfers first half of Movie-2 directly in your mind. Now you enter inside the auditorium where Movie-2 is running and watch its second half. After watching the movie-2, you come out. Manager Paramatma says, “I migrated you from Movie-1 to Movie-2 in interval. I hope you are satisfied with my service.” You say, “What the hell are you talking about? I only watched Movie-2 from start to finish. I never watched Movie-1. If I had watched, I would remember.” Paramatma smiles and says, “Thank you for your positive feedback.
In that way the accident was like his mother's death. It did not recede so much as hover, waxing and waning at different intervals but always there. It happened in the past and it was always happening. It happened every single minute of the day.
Ann Patchett (Run)
There is a story that Simonides was dining at the house of a wealthy nobleman named Scopas at Crannon in Thessaly, and chanted a lyric poem which he had composed in honor of his host, in which he followed the custom of the poets by including for decorative purposes a long passage referring to Castor and Pollux; whereupon Scopas with excessive meanness told him he would pay him half the fee agreed on for the poem, and if he liked he might apply for the balance to his sons of Tyndaraus, as they had gone halves in the panegyric. The story runs that a little later a message was brought to Simonides to go outside, as two young men were standing at the door who earnestly requested him to come out; so he rose from his seat and went out, and could not see anybody; but in the interval of his absence the roof of the hall where Scopas was giving the banquet fell in, crushing Scopas himself and his relations underneath the ruins and killing them; and when their friends wanted to bury them but were altogether unable to know them apart as they had been completely crushed, the story goes that Simonides was enabled by his recollection of the place in which each of them had been reclining at table to identify them for separate interment; and that this circumstance suggested to him the discovery of the truth that the best aid to clearness of memory consists in orderly arrangement. He inferred that persons desiring to train this faculty must select localities and form mental images of the facts they wish to remember and store those images in the localities, with the result that the arrangement of the localities will preserve the order of the facts, and the images of the facts will designate the facts themselves, and we shall employ the localities and images respectively as a wax writing tablet and the letters written on it.
Marcus Tullius Cicero
fortify the bank of the Rhône for a distance of eighteen miles between the Lake of Geneva and the Jura, the frontier between the Helvetii and the Sequani. This was effected by means of a rampart sixteen feet high with a trench running parallel. He then placed redoubts at intervals along the fortification and garrisoned them with pickets,
Gaius Julius Caesar (The Conquest of Gaul)
This day was only the first of many similar ones for the emancipated Mole, each of them longer and full of interest as the summer moved onward. He learnt to swim and to row, and entered into the joy of running water; and with his ear to the reed-stems he caught, at intervals, something of what the wind went whispering so constantly among them.
Kenneth Grahame
One last bit of bad news. We’ve been focusing on the stress-related consequences of activating the cardiovascular system too often. What about turning it off at the end of each psychological stressor? As noted earlier, your heart slows down as a result of activation of the vagus nerve by the parasympathetic nervous system. Back to the autonomic nervous system never letting you put your foot on the gas and brake at the same time—by definition, if you are turning on the sympathetic nervous system all the time, you’re chronically shutting off the parasympathetic. And this makes it harder to slow things down, even during those rare moments when you’re not feeling stressed about something. How can you diagnose a vagus nerve that’s not doing its part to calm down the cardiovascular system at the end of a stressor? A clinician could put someone through a stressor, say, run the person on a treadmill, and then monitor the speed of recovery afterward. It turns out that there is a subtler but easier way of detecting a problem. Whenever you inhale, you turn on the sympathetic nervous system slightly, minutely speeding up your heart. And when you exhale, the parasympathetic half turns on, activating your vagus nerve in order to slow things down (this is why many forms of meditation are built around extended exhalations). Therefore, the length of time between heartbeats tends to be shorter when you’re inhaling than exhaling. But what if chronic stress has blunted the ability of your parasympathetic nervous system to kick the vagus nerve into action? When you exhale, your heart won’t slow down, won’t increase the time intervals between beats. Cardiologists use sensitive monitors to measure interbeat intervals. Large amounts of variability (that is to say, short interbeat intervals during inhalation, long during exhalation) mean you have strong parasympathetic tone counteracting your sympathetic tone, a good thing. Minimal variability means a parasympathetic component that has trouble putting its foot on the brake. This is the marker of someone who not only turns on the cardiovascular stress-response too often but, by now, has trouble turning it off.
Robert M. Sapolsky (Why Zebras Don't Get Ulcers: The Acclaimed Guide to Stress, Stress-Related Diseases, and Coping)
Psychologists have devised some ingenious ways to help unpack the human "now." Consider how we run those jerky movie frames together into a smooth and continuous stream. This is known as the "phi phenomenon." The essence of phi shows up in experiments in a darkened room where two small spots are briefly lit in quick succession, at slightly separated locations. What the subjects report seeing is not a succession of spots, but a single spot moving continuously back and forth. Typically, the spots are illuminated for 150 milliseconds separated by an interval of fifty milliseconds. Evidently the brain somehow "fills in" the fifty-millisecond gap. Presumably this "hallucination" or embellishment occurs after the event, because until the second light flashes the subject cannot know the light is "supposed" to move. This hints that the human now is not simultaneous with the visual stimulus, but a bit delayed, allowing time for the brain to reconstruct a plausible fiction of what has happened a few milliseconds before. In a fascinating refinement of the experiment, the first spot is colored red, the second green. This clearly presents the brain with a problem. How will it join together the two discontinuous experiences—red spot, green spot—smoothly? By blending the colors seamlessly into one another? Or something else? In fact, subjects report seeing the spot change color abruptly in the middle of the imagined trajectory, and are even able to indicate exactly where using a pointer. This result leaves us wondering how the subject can apparently experience the "correct" color sensation before the green spot lights up. Is it a type of precognition? Commenting on this eerie phenomenon, the philosopher Nelson Goodman wrote suggestively: "The intervening motion is produced retrospectively, built only after the second flash occurs and projected backwards in time." In his book Consciousness Explained , philosopher Daniel Dennett points out that the illusion of color switch cannot actually be created by the brain until after the green spot appears. "But if the second spot is already 'in conscious experience,' wouldn't it be too late to interpose the illusory content between the conscious experience of the red spot and the conscious experience of the green spot?
Paul C.W. Davies (About Time: Einstein's Unfinished Revolution)
She’d mopped the floors that morning; they were shiny and everything smelled like lemons and clean house. The phone was ringing in the kitchen, she came running in to answer it, and she slipped. She hit her head on the floor, and she was unconscious, but then she woke up and she was fine. That was her lucid interval. That’s what they call it. A little while later she said she had a headache, she went to lie down on the couch, and then she didn’t wake up.
Jenny Han (To All the Boys I've Loved Before (To All the Boys I've Loved Before, #1))
Two Lovers And A Beachcomber By The Real Sea" Cold and final, the imagination Shuts down its fabled summer house; Blue views are boarded up; our sweet vacation Dwindles in the hour-glass. Thoughts that found a maze of mermaid hair Tangling in the tide's green fall Now fold their wings like bats and disappear Into the attic of the skull. We are not what we might be; what we are Outlaws all extrapolation Beyond the interval of now and here: White whales are gone with the white ocean. A lone beachcomber squats among the wrack Of kaleidoscope shells Probing fractured Venus with a stick Under a tent of taunting gulls. No sea-change decks the sunken shank of bone That chucks in backtrack of the wave; Though the mind like an oyster labors on and on, A grain of sand is all we have. Water will run by; the actual sun Will scrupulously rise and set; No little man lives in the exacting moon And that is that, is that, is that. Sylvia Plath, Mademoiselle, August 1955.
Sylvia Plath (Selected Poems)
In the meantime he employed the legion he had with him, and the troops that had been raised in the Province, to fortify the bank of the Rhône for a distance of eighteen miles between the Lake of Geneva and the Jura, the frontier between the Helvetii and the Sequani. This was effected by means of a rampart sixteen feet high with a trench running parallel. He then placed redoubts at intervals along the fortification and garrisoned them with pickets, so that he could stop the Helvetii more easily, should they attempt to force a passage.
Gaius Julius Caesar (The Conquest of Gaul)
Now,” Samite continued, “after Essel has just spent time warning you about generalities and how they often don’t apply, I’m going to use some. Because some generalities are true often enough that we have to worry about them. So here’s one: men will physically fight for status. Women, generally, are more clever. The why of it doesn’t matter: learned, innate, cultural, who cares? You see the chest-bumping, the name-calling, performing for their fellows, what they’re really doing is getting the juices flowing. That interval isn’t always long, but it’s long enough for men to trigger the battle juice. That’s the terror or excitation that leads people to fight or run. It can be useful in small doses or debilitating in large ones. Any of you have brothers, or boys you’ve fought with?” Six of the ten raised their hands. “Have you ever had a fight with them—verbal or physical—and then they leave and come back a little later, and they’re completely done fighting and you’re just fully getting into it? They look like they’ve been ambushed, because they’ve come completely off the mountain already, and you’ve just gotten to the top?” “Think of it like lovemaking,” Essel said. She was a bawdy one. “Breathe in a man’s ear and tell him to take his trousers off, and he’s ready to go before you draw your next breath. A woman’s body takes longer.” Some of the girls giggled nervously. “Men can switch on very, very fast. They also switch off from that battle readiness very, very fast. Sure, they’ll be left trembling, sometimes puking from it, but it’s on and then it’s off. Women don’t do that. We peak slower. Now, maybe there are exceptions, maybe. But as fighters, we tend to think that everyone reacts the way we do, because our own experience is all we have. In this case, it’s not true for us. Men will be ready to fight, then finished, within heartbeats. This is good and bad. “A man, deeply surprised, will have only his first instinctive response be as controlled and crisp as it is when he trains. Then that torrent of emotion is on him. We spend thousands of hours training that first instinctive response, and further, we train to control the torrent of emotion so that it raises us to a heightened level of awareness without making us stupid.” “So the positive, for us Archers: surprise me, and my first reaction will be the same as my male counterpart’s. I can still, of course, get terrified, or locked into a loop of indecision. But if I’m not, my second, third, and tenth moves will also be controlled. My hands will not shake. I will be able to make precision movements that a man cannot. But I won’t have the heightened strength or sensations until perhaps a minute later—often too late. “Where a man needs to train to control that rush, we need to train to make it closer. If we have to climb a mountain more slowly to get to the same height to get all the positives, we need to start climbing sooner. That is, when I go into a situation that I know may be hazardous, I need to prepare myself. I need to start climbing. The men may joke to break the tension. Let them. I don’t join in. Maybe they think I’m humorless because I don’t. Fine. That’s a trade I’m willing to make.” Teia and the rest of the girls walked away from training that day somewhat dazed, definitely overwhelmed. What Teia realized was that the women were deeply appealing because they were honest and powerful. And those two things were wed inextricably together. They said, I am the best in the world at what I do, and I cannot do everything. Those two statements, held together, gave them the security to face any challenge. If her own strengths couldn’t surmount an obstacle, her team’s strengths could—and she was unembarrassed about asking for help where she needed it because she knew that what she brought to the team would be equally valuable in some other situation.
Brent Weeks (The Blinding Knife (Lightbringer, #2))
Gallic walls are always built more or less on the following plan. Balks of timber are laid on the ground at regular intervals of two feet along the whole line on which the wall is to be built, at right angles to it. These are made fast to one another by long beams running across them at their centre points, and are covered with a quantity of rubble; and the two-foot intervals between them are faced with large stones fitted tightly in. When this first course has been placed in position and fastened together, another course is laid on top. The same interval of two feet is kept between the balks of the second course, but they are not in contact with those of the first course, being separated from them by a course of stones two feet high; thus every balk is separated from each of its neighbours by one large stone, and so held firmly in position. By the addition of further courses the fabric is raised to the required height. This style of building presents a diversified appearance that is not unsightly, with its alternation of balks and stones each preserving their own straight lines. It is also very serviceable and well adapted for defending a town: the masonry protects it from fire, the timber from destruction by the battering-ram, which cannot either pierce or knock to pieces a structure braced internally by beams running generally to a length of forty feet in one piece.
Gaius Julius Caesar (The Conquest of Gaul)
As long as the egoic mind is running your life, you cannot truly be at ease; you cannot be at peace or fulfilled except for brief intervals when you obtained what you wanted, when a craving has just been fulfilled. Since the ego is a derived sense of self, it needs to identify with external things. It needs to be both defended and fed constantly. The most common ego identifications have to do with possessions, the work you do, social status and recognition, knowledge and edu-cation, physical appearance, special abilities, relationships, personal and family history, belief systems, and often also political, nationalis-tic, racial, religious, and other collective identifications. None of these is you.
Eckhart Tolle ([The Power of Now: a Guide To Spiritual Enlightenment] [By: Eckhart Tolle] [January, 2001])
With its federal government that can supersede state and local law, its dependence on rule by the majority rather than consensus, its bicameral legislature (members of one branch being elected at fixed intervals), and its denial of suffrage to women, slaves, and the unpropertied, the Constitution as originally enacted was sharply different from the Great Law. In addition, the Constitution’s emphasis on protecting private property runs contrary to Haudenosaunee traditions of communal ownership. But in a larger sense, it seems to me, the claim is correct. The Framers of the Constitution, like most North American colonists, lived at a time when Indians were large presences in their lives—ones that naturally influenced their ideas and actions.
Charles C. Mann (1491: New Revelations of the Americas Before Columbus)
Well, now, if I didn’t think you sewed his collar with white thread, but it’s black.” “Why, I did sew it with white! Tom!” But Tom did not wait for the rest. As he went out at the door he said: “Siddy, I’ll lick you for that.” In a safe place Tom examined two large needles which were thrust into the lapels of his jacket, and had thread bound about them—one needle carried white thread and the other black. He said: “She’d never noticed if it hadn’t been for Sid. Confound it! sometimes she sews it with white, and sometimes she sews it with black. I wish to geeminy she’d stick to one or t’other—I can’t keep the run of ’em. But I bet you I’ll lam Sid for that. I’ll learn him!” He was not the Model Boy of the village. He knew the model boy very well though—and loathed him. Within two minutes, or even less, he had forgotten all his troubles. Not because his troubles were one whit less heavy and bitter to him than a man’s are to a man, but because a new and powerful interest bore them down and drove them out of his mind for the time—just as men’s misfortunes are forgotten in the excitement of new enterprises. This new interest was a valued novelty in whistling, which he had just acquired from a negro, and he was suffering to practise it undisturbed. It consisted in a peculiar bird-like turn, a sort of liquid warble, produced by touching the tongue to the roof of the mouth at short intervals in the midst of the music—the reader probably remembers how to do it, if he has ever been a boy. Diligence and attention soon gave him the knack of it, and he strode down the street with his mouth full of harmony and his soul full of gratitude. He felt much as an astronomer feels who has discovered a new planet—no doubt, as far as strong, deep, unalloyed pleasure is concerned, the advantage was with the boy, not the astronomer. The summer evenings were long. It was not dark, yet.
Mark Twain (The Adventures of Tom Sawyer)
But there wasn’t much peace to be had on Southern California freeways during the morning rush hour. The pace alternated between brief intervals of violent acceleration, and total gridlock. He was navigating the I-5 and 805 merge—known euphemistically as the ‘Golden Triangle’—when a motorcyclist riding a blue Kawasaki ZX6 cut in front of him, passing so close to Derrick’s front bumper that he felt his body tense for collision. Somehow, it didn’t come. Still crossing the freeway on a reckless diagonal, the bike barely missed getting run over by a semi-truck in the far right lane. The truck driver blew his horn long and angrily. Without looking up, the cyclist raised his left fist and made the time-honored ‘bird’ gesture. Then, he darted down the off ramp, and sped away on the East 56 freeway. Derrick shook his head in amazement. “What the hell is wrong with people?” Not more than thirty seconds later, he passed an Amber Alert sign that read, “SHARE THE ROAD. LOOK TWICE FOR MOTORCYCLES.
David Lucero (Who's Minding the Store)
The great powers took on the responsibility of preserving peace and order (which they pretty much equated), and their Concert of Europe was a forerunner of the League of Nations, the United Nations, and the European Union. This international Leviathan deserves much of the credit for the long intervals of peace in 19th-century Europe. But the stability was enforced by monarchs who ruled over lumpy amalgams of ethnic groups, which began to clamor for a say in how their affairs were run. The result was a nationalism that, according to Howard, was “based not so much on universal human rights as on the rights of nations to fight their way into existence and to defend themselves once they existed.” Peace was not particularly desirable in the short term; it would come about “only when all nations were free. Meanwhile, [nations] claimed the right to use such force as was necessary to free themselves, by fighting precisely the wars of national liberation that the Vienna system had been set up to prevent.”111
Steven Pinker (The Better Angels of Our Nature: Why Violence Has Declined)
I know of no actor who is so pure onstage that he thinks only what his character thinks. If he did, he would presumably become the character: a form of madness. This may be of course what happens to Hamlet--he puts on an antic disposition, and gets stuck with it. [...] Acting is mostly a twin-track mental activity. In one track runs the role, requiring thoughts ranging from, say, gentle amusement to towering rage. Then there is the second track, which monitors the performance: executing the right moves, body language, and voice level; taking note of audience reaction and keeping an eye on fellow actors; coping with emergencies such as a missing prop or a faulty lighting cue. These two tracks run parallel, night by night. If one should go wrong, then it is likely that the other will misbehave too. [...] But there is a third and wholly subversive track that intrudes itself at intervals, full of phantom thoughts and feelings that come and go of their own volition. This ghost train of random musings is, of course, to be discouraged, but it can never be entirely denied. As Bohr and his wife, Margrethe, say in the play: "So many things we think about at the same time. Our lives and our physics...All the things that come into our heads out of nowhere.
David Burke (The Copenhagen Papers)
Do those things, god damnit, because nothing sucks worse than a girl who reads. Do it, I say, because a life in purgatory is better than a life in hell. Do it, because a girl who reads possesses a vocabulary that can describe that amorphous discontent as a life unfulfilled—a vocabulary that parses the innate beauty of the world and makes it an accessible necessity instead of an alien wonder. A girl who reads lays claim to a vocabulary that distinguishes between the specious and soulless rhetoric of someone who cannot love her, and the inarticulate desperation of someone who loves her too much. A vocabulary, god damnit, that makes my vacuous sophistry a cheap trick. Do it, because a girl who reads understands syntax. Literature has taught her that moments of tenderness come in sporadic but knowable intervals. A girl who reads knows that life is not planar; she knows, and rightly demands, that the ebb comes along with the flow of disappointment. A girl who has read up on her syntax senses the irregular pauses—the hesitation of breath—endemic to a lie. A girl who reads perceives the difference between a parenthetical moment of anger and the entrenched habits of someone whose bitter cynicism will run on, run on well past any point of reason, or purpose, run on far after she has packed a suitcase and said a reluctant goodbye and she has decided that I am an ellipsis and not a period and run on and run on. Syntax that knows the rhythm and cadence of a life well lived. Date a girl who doesn’t read because the girl who reads knows the importance of plot. She can trace out the demarcations of a prologue and the sharp ridges of a climax. She feels them in her skin. The girl who reads will be patient with an intermission and expedite a denouement. But of all things, the girl who reads knows most the ineluctable significance of an end. She is comfortable with them. She has bid farewell to a thousand heroes with only a twinge of sadness. Don’t date a girl who reads because girls who read are the storytellers. You with the Joyce, you with the Nabokov, you with the Woolf. You there in the library, on the platform of the metro, you in the corner of the café, you in the window of your room. You, who make my life so god damned difficult. The girl who reads has spun out the account of her life and it is bursting with meaning. She insists that her narratives are rich, her supporting cast colorful, and her typeface bold. You, the girl who reads, make me want to be everything that I am not. But I am weak and I will fail you, because you have dreamed, properly, of someone who is better than I am. You will not accept the life that I told of at the beginning of this piece. You will accept nothing less than passion, and perfection, and a life worthy of being storied. So out with you, girl who reads. Take the next southbound train and take your Hemingway with you. I hate you. I really, really, really hate you.
Charles Warnke
And if you wish to receive of the ancient city an impression with which the modern one can no longer furnish you, climb—on the morning of some grand festival, beneath the rising sun of Easter or of Pentecost—climb upon some elevated point, whence you command the entire capital; and be present at the wakening of the chimes. Behold, at a signal given from heaven, for it is the sun which gives it, all those churches quiver simultaneously. First come scattered strokes, running from one church to another, as when musicians give warning that they are about to begin. Then, all at once, behold!—for it seems at times, as though the ear also possessed a sight of its own,—behold, rising from each bell tower, something like a column of sound, a cloud of harmony. First, the vibration of each bell mounts straight upwards, pure and, so to speak, isolated from the others, into the splendid morning sky; then, little by little, as they swell they melt together, mingle, are lost in each other, and amalgamate in a magnificent concert. It is no longer anything but a mass of sonorous vibrations incessantly sent forth from the numerous belfries; floats, undulates, bounds, whirls over the city, and prolongs far beyond the horizon the deafening circle of its oscillations. Nevertheless, this sea of harmony is not a chaos; great and profound as it is, it has not lost its transparency; you behold the windings of each group of notes which escapes from the belfries. You can follow the dialogue, by turns grave and shrill, of the treble and the bass; you can see the octaves leap from one tower to another; you watch them spring forth, winged, light, and whistling, from the silver bell, to fall, broken and limping from the bell of wood; you admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache; you see light and rapid notes running across it, executing three or four luminous zigzags, and vanishing like flashes of lightning. Yonder is the Abbey of Saint-Martin, a shrill, cracked singer; here the gruff and gloomy voice of the Bastille; at the other end, the great tower of the Louvre, with its bass. The royal chime of the palace scatters on all sides, and without relaxation, resplendent trills, upon which fall, at regular intervals, the heavy strokes from the belfry of Notre-Dame, which makes them sparkle like the anvil under the hammer. At intervals you behold the passage of sounds of all forms which come from the triple peal of Saint-Germain-des-Prés. Then, again, from time to time, this mass of sublime noises opens and gives passage to the beats of the Ave Maria, which bursts forth and sparkles like an aigrette of stars. Below, in the very depths of the concert, you confusedly distinguish the interior chanting of the churches, which exhales through the vibrating pores of their vaulted roofs. Assuredly, this is an opera which it is worth the trouble of listening to. Ordinarily, the noise which escapes from Paris by day is the city speaking; by night, it is the city breathing; in this case, it is the city singing. Lend an ear, then, to this concert of bell towers; spread over all the murmur of half a million men, the eternal plaint of the river, the infinite breathings of the wind, the grave and distant quartette of the four forests arranged upon the hills, on the horizon, like immense stacks of organ pipes; extinguish, as in a half shade, all that is too hoarse and too shrill about the central chime, and say whether you know anything in the world more rich and joyful, more golden, more dazzling, than this tumult of bells and chimes;—than this furnace of music,—than these ten thousand brazen voices chanting simultaneously in the flutes of stone, three hundred feet high,—than this city which is no longer anything but an orchestra,—than this symphony which produces the noise of a tempest.
Victor Hugo (The Hunchback of Notre Dame)
He cannot will his entry into and exit from the activity on a daily basis. There is not, as there is for most workers, a brief interval of exemption at the end of the day when he is permitted to enact a wholly different set of gestures; the timing of his eventual exit will by determined not by his own will but by the end of the war, whether that comes in days, months, or years, and there is of course a very high probability that even when the war ends he will never exit from it. Although in all forms of work the worker mixes himself with and eventually becomes inseparable from the materials of his labor (an inseparability that has only its most immediate sign the residues which coat his body, the coal beneath the skin of his arm, the spray of grain in his hair, the ink on his fingers), the boy in war is, to an extent, found in almost no other form of work, inextricably bound up with the men and materials of his labor: he will learn to perceive himself as he will be perceived by others, as indistinguishable from the men of his unit, regiment, division, and above all national group (all of whom will share the same name: he is German) as he is also inextricably bound up with the qualities and conditions – berry laden or snow laden - of the ground over which he walks or runs or crawls and with which he craves and courts identification, as in the camouflage postures he adopts, now running bent over parallel with the ground it is his work to mime, now arching forward conforming the curve of his back to the curve of a companion boulder, now standing as upright and still and narrow as the slender tree behind which he hides; he is the elms and the mud, he is the one hundred and sixth, he is a small piece of German terrain broken off and floating dangerously through the woods of France. He is a fragment of American earth wedged into an open hillside in Korea and reworked by its unbearable sun and rain. He is dark blue like the sea. He is light grey like the air through which he flies. He is sodden in the green shadows of earth. He is a light brown vessel of red Australian blood that will soon be opened and emptied across the rocks and ridges of Gallipoli from which he can never again become distinguishable.
Elaine Scarry (The Body in Pain: The Making and Unmaking of the World)
At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.
Elizabeth Bishop
Auto-Zoomar. Talbert knelt in the a tergo posture, his palms touching the wing-like shoulder blades of the young woman. A conceptual flight. At ten-second intervals the Polaroid projected a photograph on to the screen beside the bed. He watched the auto-zoom close in on the union of their thighs and hips. Details of the face and body of the film actress appeared on the screen, mimetized elements of the planetarium they had visited that morning. Soon the parallax would close, establishing the equivalent geometry of the sexual act with the junctions of this wall and ceiling. ‘Not in the Literal Sense.’Conscious of Catherine Austin’s nervous hips as she stood beside him, Dr Nathan studied the photograph of the young woman. ‘Karen Novotny,’ he read off the caption. ‘Dr Austin, may I assure you that the prognosis is hardly favourable for Miss Novotny. As far as Talbert is concerned the young woman is a mere modulus in his union with the film actress.’ With kindly eyes he looked up at Catherine Austin. ‘Surely it’s self-evident - Talbert’s intention is to have intercourse with Miss Taylor, though needless to say not in the literal sense of that term.’ Action Sequence. Hiding among the traffic in the near-side lane, Koester followed the white Pontiac along the highway. When they turned into the studio entrance he left his car among the pines and climbed through the perimeter fence. In the shooting stage Talbert was staring through a series of colour transparencies. Karen Novotny waited passively beside him, her hands held like limp birds. As they grappled he could feel the exploding musculature of Talbert’s shoulders. A flurry of heavy blows beat him to the floor. Vomiting through his bloodied lips, he saw Talbert run after the young woman as she darted towards the car. The Sex Kit.‘In a sense,’ Dr Nathan explained to Koester, ‘one may regard this as a kit, which Talbert has devised, entitled “Karen Novotny” - it might even be feasible to market it commercially. It contains the following items: (1) Pad of pubic hair, (2) a latex face mask, (3) six detachable mouths, (4) a set of smiles, (5) a pair of breasts, left nipple marked by a small ulcer, (6) a set of non-chafe orifices, (7) photo cut-outs of a number of narrative situations - the girl doing this and that, (8) a list of dialogue samples, of inane chatter, (9) a set of noise levels, (10) descriptive techniques for a variety of sex acts, (11) a torn anal detrusor muscle, (12) a glossary of idioms and catch phrases, (13) an analysis of odour traces (from various vents), mostly purines, etc., (14) a chart of body temperatures (axillary, buccal, rectal), (15) slides of vaginal smears, chiefly Ortho-Gynol jelly, (16) a set of blood pressures, systolic 120, diastolic 70 rising to 200/150 at onset of orgasm . . . ’ Deferring to Koester, Dr Nathan put down the typescript. ‘There are one or two other bits and pieces, but together the inventory is an adequate picture of a woman, who could easily be reconstituted from it. In fact, such a list may well be more stimulating than the real thing. Now that sex is becoming more and more a conceptual act, an intellectualization divorced from affect and physiology alike, one has to bear in mind the positive merits of the sexual perversions. Talbert’s library of cheap photo-pornography is in fact a vital literature, a kindling of the few taste buds left in the jaded palates of our so-called sexuality.
J.G. Ballard (The Atrocity Exhibition)
During your first week as a runner, you might run thirty second intervals interspersed with ninety seconds of walking, but after a few workouts, you’ll realize you can double that time to a full minute—a 100% increase in performance. A week or two later you’re running two or three minutes at a time, doubling your endurance yet again.
Jill Angie (Running with Curves: Why You’re Not Too Fat to Run, and the Skinny on How to Start Today)
Hundreds of experiments have been performed comparing interval training (doing a certain amount of work such as running, biking, swimming, rowing, or jump-roping) vs. steady state training (doing the activity for a specific period of time). What is consistently found is intervals provide as good or better cardiovascular fitness as steady-state training, but with a fraction the time.
Robb Wolf (The Paleo Solution: The Original Human Diet)
So training smart, training effectively, involves cycling through the three zones in any given week or training block: 75 percent easy running, 5 to 10 percent running at target race paces, and 15 to 20 percent fast running or hill training in the third zone to spike the heart and breathing rates. In my 5-days-a-week running schedule, that cycle looks like this: On Monday, I cross-train. Tuesday, I do an easy run in zone one, then speed up to a target race pace for a mile or two of zone-two work. On Wednesday, it’s an easy zone-one run. Thursday is an intense third-zone workout with hills, speed intervals, or a combination of the two. Friday is a recovery day to give my body time to adapt. On Saturday, I do a relaxed run with perhaps another mile or two of zone-two race pace or zone-three speed. Sunday is a long, slow run. That constant cycling through the three zones—a hard day followed by an easy or rest day—gradually improves my performance in each zone and my overall fitness. But today is not about training. It’s about cranking up that treadmill yet again, pushing me to run ever faster in the third zone, so Vescovi can measure my max HR and my max VO2, the greatest amount of oxygen my heart and lungs can pump to muscles working at their peak. When I pass into this third zone, Vescovi and his team start cheering: “Great job!” “Awesome!” “Nice work.” They sound impressed. And when I am in the moment of running rather than watching myself later on film, I really think I am impressing them, that I am lighting up the computer screen with numbers they have rarely seen from a middle-aged marathoner, maybe even from an Olympian in her prime. It’s not impossible: A test of male endurance athletes in Sweden, all over the age of 80 and having 50 years of consistent training for cross-country skiing, found they had relative max VO2 values (“relative” because the person’s weight was included in the calculation) comparable to those of men half their age and 80 percent higher than their sedentary cohorts. And I am going for a high max VO2. I am hauling in air. I am running well over what should be my max HR of 170 (according to that oft-used mathematical formula, 220 − age) and way over the 162 calculated using the Gulati formula, which is considered to be more accurate for women (0.88 × age, the result of which is then subtracted from 206). Those mathematical formulas simply can’t account for individual variables and fitness levels. A more accurate way to measure max HR, other than the test I’m in the middle of, is to strap on a heart rate monitor and run four laps at a 400-meter track, starting out at a moderate pace and running faster on each lap, then running the last one full out. That should spike your heart into its maximum range. My high max HR is not surprising, since endurance runners usually develop both a higher maximum rate at peak effort and a lower rate at rest than unconditioned people. What is surprising is that as the treadmill
Margaret Webb (Older, Faster, Stronger: What Women Runners Can Teach Us All About Living Younger, Longer)
A SUMMARY OF BRAIN TRAINING FUELING GUIDELINES • Drink only when you’re thirsty during running. But don’t allow your thirst to build—that is, drink as soon as you feel the urge and as often as you feel the urge. Never force yourself to drink more than is comfortable. • Drink during runs lasting longer than one hour and during the recovery periods in shorter, high-intensity interval workouts. • When performance counts, use a sports drink instead of water. Its electrolyte content enhances hydration and its carbohydrate content provides an extra source of energy and stimulates a brain signal that boosts performance. • Consider using a carbohydrate-protein sports drink (Accelerade) instead of a conventional sports drink to promote faster recovery from workouts and perhaps greater long-term fitness gains. • Consider using water or an electrolyte-fortified water instead of a sports drink during some of your long runs to increase the physiological stress of these runs in ways that will enhance your body’s adaptations to them.
Matt Fitzgerald (Brain Training For Runners: A Revolutionary New Training System to Improve Endurance, Speed, Health, and Results)
Becoming aware of her presence in the doorway, the men looked up. Westcliff rose from his half-seated position on the desk. “My lord,” Daisy said, “if I might have a word with you?” Although she spoke calmly, something in her expression must have alerted him. He didn’t waste a second in coming to her. “Yes, Daisy?” “It’s about my sister,” she whispered. “It seems her labor has started.” She had never seen the earl look so utterly taken aback. “It’s too early,” he said. “Apparently the baby doesn’t think so.” “But…this is off-schedule.” The earl seemed genuinely baffled that his child would have failed to consult the calendar before arriving. “Not necessarily,” Daisy replied reasonably. “It’s possible the doctor misjudged the date of the baby’s birth. Ultimately it’s only a matter of guesswork.” Westcliff scowled. “I expected far more accuracy than this! It’s nearly a month before the projected…” A new thought occurred to him, and he turned skull-white. “Is the baby premature?” Although Daisy had entertained a few private concerns about that, she shook her head immediately. “Some women show more than others, some less. And my sister is very slender. I’m sure the baby is fine.” She gave him a reassuring smile. “Lillian has had pains for the past four or five hours, and now they’re coming every ten minutes or so, which Annabelle says—” “She’s been in labor for hours and no one told me?” Westcliff demanded in outrage. “Well, it’s not technically labor unless the intervals between the pains are regular, and she said she didn’t want to bother you until—” Westcliff let out a curse that startled Daisy. He turned to point a commanding but unsteady finger at Simon Hunt. “Doctor,” he barked, and took off at a dead run. Simon Hunt appeared unsurprised by Westcliff’s primitive behavior. “Poor fellow,” he said with a slight smile, reaching over the desk to slide a pen back into its holder.
Lisa Kleypas (Scandal in Spring (Wallflowers, #4))
White Chocolate Peppermint Cupcakes Don’t be a hater like Callie! While chocolate white may  not be technically chocolate, it’s still yummy. Makes 28 cupcakes Ingredients For the peppermint cupcakes: - 3 cups cake flour - 1 ¾ cups sugar - 1 tablespoon baking powder - 1 teaspoon salt - 1 cup unsalted butter at room temperature cut into small cubes - 5 egg whites - 1 ¼ cup milk at room temperature - 1 tablespoon peppermint extract - 12 crushed candy canes For the White Chocolate Swirled Buttercream: - 1 cup unsalted butter at room temperature - 1 cup vegetable shortening - 8 cups confectioners’ sugar - 2 tablespoons vanilla extract - ¼ cup milk - 4.4 ounces (125 grams) good quality white chocolate - Red gel paste food color For the white chocolate ganache & decoration: - 6 ounces (170 grams) white chocolate - 2 ounces (57 grams) heavy cream - 28 soft peppermint candy balls Instructions Make the cupcakes Preheat oven to 350 degrees Fahrenheit (175 degrees Celsius) and line muffin tin with cupcake liners. Combine milk and peppermint extract. Set aside. Combine cake flour, sugar, baking powder, and salt in a bowl and mix on low for 2-3 minutes. Add butter a few cubes at a time and mix on low until mixture resembles coarse sand. Add egg whites and beat on medium until combined. Gradually add milk mixture and beat for 1-2 minutes until batter is smooth. Fold in crushed candy canes. Fill cupcake liners ¾ full. Bake for 16-18 minutes, or until toothpick inserted comes out with a few crumbs. Allow cupcakes to cool in the pan for 5 minutes, then remove to wire racks to finish cooling. Make the White Chocolate Buttercream Cream butter, vegetable shortening, and vanilla in bowl and mix on medium speed for 2 minutes until smooth. Reduce mixer speed to low and slowly add confectioners’ sugar 1 cup at a time while mixer is running. Once all the sugar is incorporated, add the milk and mix for 30 seconds. Melt white chocolate in microwave in 30-second intervals, stirring after each turn until melted. Incorporate melted chocolate into buttercream and mix until fluffy. Reserve ¼ cup buttercream and add a small amount of red color get to tint. Prepare a small piping bag with the red buttercream and snip the tip off. Prepare a large piping bag fitted with a large round tip. Streak the inside of the large piping bag with six stripes of red buttercream. Fill the rest of the bag with the White Chocolate Buttercream. Squeeze a swirled dollop of buttercream on top of each cupcake. Place cupcakes in the refrigerator to chill while preparing the ganache. Make the White Chocolate Ganache and Assemble Combine cream and white chocolate in bowl and heat on 30-second intervals, stirring after each turn, for about 1 minute. Stir until chocolate melts, allow to cool and thicken slightly for five minutes. Transfer to a squeeze bottle and drizzle ganache on top of buttercream. Garnish each cupcake with a peppermint candy.
D.E. Haggerty (Christmas Cupcakes and a Caper (Death by Cupcake #4))
What i quickly discovered is that high school running was divided into two camps: those who ran cross-country and those who ran track. There was a clear distinction. The kind of runner you were largely mirrored your approach to life. The cross-country guys thought the track runners were high-strung and prissy, while the track guys viewed the cross-country guys as a bunch of athletic misfits. It's true that the guys on the cross-country team were a motley bunch. solidly built with long, unkempt hair and rarely shaven faces, they looked more like a bunch of lumberjacks than runners. They wore baggy shorts, bushy wool socks, and furry beanie caps, even when it was roasting hot outside. Clothing rarely matched. Track runners were tall and lanky; they were sprinters with skinny long legs and narrow shoulders. They wore long white socks, matching jerseys, and shorts that were so high their butt-cheeks were exposed. They always appeared neatly groomed, even after running. The cross-country guys hung out in late-night coffee shops and read books by Kafka and Kerouac. They rarely talked about running; its was just something they did. The track guys, on the other hand, were obsessed. Speed was all they ever talked about....They spent an inordinate amount of time shaking their limbs and loosening up. They stretched before, during, and after practice, not to mention during lunch break and assembly, and before and after using the head. The cross-country guys, on the the other hand, never stretched at all. The track guys ran intervals and kept logbooks detailing their mileage. They wore fancy watched that counted laps and recorded each lap-time....Everything was measured, dissected, and evaluated. Cross-country guys didn't take notes. They just found a trail and went running....I gravitated toward the cross-country team because the culture suited me
Dean Karnazes (Ultramarathon Man: Confessions of an All-Night Runner)
The joint was divided almost evenly between dining area and bar. The smoke-filled bar was jammed nearly full while the restaurant was largely empty. In both sections, railroad memorabilia—from fading pictures and travel posters to crossing signs—decorated every inch of available wall space. A platform, dropped from the ceiling, ran around the outside of the room and supported the tracks for several running electric trains that hummed overhead at odd intervals.
J.A. Jance (Shoot Don't Shoot (Joanna Brady, #3))
The fundamental unity of the Sequence and Simultaneity points of view became plain; the concept of interval served to connect the static and the dynamic aspect of the universe. How could he have stared at reality for ten years and not seen it? There would be no trouble at all in going on. Indeed he had already gone on. He was there. He saw all that was to come in this first, seemingly casual glimpse of the method, given him by his understanding of a failure in the distant past. The wall was down. The vision was both clear and whole. What he saw was simple, simpler than anything else. It was simplicity: and contained in it all complexity, all promise. It was revelation. It was the way clear, the way home, the light. The spirit in him was like a child running out into the sunlight. There was no end, no end. ... And yet in his utter ease and happiness he shook with fear; his hands trembled, and his eyes filled up with tears, as if he had been looking into the sun. After all, the flesh is not transparent. And it is strange, exceedingly strange, to know that one's life has been fulfilled. Yet he kept looking, and going farther, with that same childish joy, until all at once he could not go any farther; he came back, and looking around through his tears saw that the room was dark and the high windows were full of stars. The moment was gone; he saw it going. He did not try to hold on to it. He knew he was part of it, not it of him. He was in its keeping.
Ursula K. Le Guin
How long did they stay there in that room, on the narrow bed? She had a scar on her shoulder, in the shape of a star, that Louis couldn't help but run his lips over. A souvenir of a fall from a horse. It got dark. They could hear the clattering of hooves, a whinny, and the high-pitched voice of the marquis giving orders at more and more distant intervals, like a motif on a flute, clear and desolate, returning again and again.
Patrick Modiano (Une jeunesse)
The Economics of Property-Casualty Insurance With the acquisition of General Re — and with GEICO’s business mushrooming — it becomes more important than ever that you understand how to evaluate an insurance company. The key determinants are: (1) the amount of float that the business generates; (2) its cost; and (3) most important of all, the long-term outlook for both of these factors. To begin with, float is money we hold but don't own. In an insurance operation, float arises because premiums are received before losses are paid, an interval that sometimes extends over many years. During that time, the insurer invests the money. Typically, this pleasant activity carries with it a downside: The premiums that an insurer takes in usually do not cover the losses and expenses it eventually must pay. That leaves it running an "underwriting loss," which is the cost of float. An insurance business has value if its cost of float over time is less than the cost the company would otherwise incur to obtain funds. But the business is a lemon if its cost of float is higher than market rates for money. A caution is appropriate here: Because loss costs must be estimated, insurers have enormous latitude in figuring their underwriting results, and that makes it very difficult for investors to calculate a company's true cost of float. Errors of estimation, usually innocent but sometimes not, can be huge. The consequences of these miscalculations flow directly into earnings. An experienced observer can usually detect large-scale errors in reserving, but the general public can typically do no more than accept what's presented, and at times I have been amazed by the numbers that big-name auditors have implicitly blessed. As for Berkshire, Charlie and I attempt to be conservative in presenting its underwriting results to you, because we have found that virtually all surprises in insurance are unpleasant ones. The table that follows shows the float generated by Berkshire’s insurance operations since we entered the business 32 years ago. The data are for every fifth year and also the last, which includes General Re’s huge float. For the table we have calculated our float — which we generate in large amounts relative to our premium volume — by adding net loss reserves, loss adjustment reserves, funds held under reinsurance assumed and unearned premium reserves, and then subtracting agents balances, prepaid acquisition costs, prepaid taxes and deferred charges applicable to assumed reinsurance. (Got that?)
Warren Buffett (Berkshire Hathaway Letters to Shareholders, 2023)
It is a huge slab of dark stone, square and rough, like the rocks at the bottom of the chasm. A large crack runs through the middle of it, and there are streaks of lighter rock near the edges. Suspended above the slab is a glass tank of the same dimensions, full of water. A light placed above the center of the tank shines through the water, refracting as it ripples. I hear a faint noise, a drop of water hitting the stone. It comes from a small tube running through the center of the tank. At first I think the tank is just leaking, but another drop falls, then a third, and a fourth, at the same interval. A few drops collect, and then disappear down a narrow channel in the stone. They must be intentional. “Hello.” Zoe stands on the other side of the sculpture. “I’m sorry, I was about to go to the dormitory for you, then saw you heading this way and wondered if you were lost.” “No, I’m not lost,” I say. “This is where I meant to go.” “Ah.” She stands beside me and crosses her arms. She is about as tall as I am, but she stands straighter, so she seems taller. “Yeah, it’s pretty weird, right?” As she talks I watch the freckles on her cheeks, dappled like sunlight through dense leaves. “Does it mean something?” “It’s the symbol of the Bureau of Genetic Welfare,” she says. “The slab of stone is the problem we’re facing. The tank of water is our potential for changing that problem. And the drop of water is what we’re actually able to do, at any given time.” I can’t help it—I laugh. “Not very encouraging, is it?” She smiles. “That’s one way of looking at it. I prefer to look at it another way—which is that if they are persistent enough, even tiny drops of water, over time, can change the rock forever. And it will never change back.” She points to the center of the slab, where there is a small impression, like a shallow bowl carved into the stone. “That, for example, wasn’t there when they installed this thing.” I nod, and watch the next drop fall. Even though I’m wary of the Bureau and everyone in it, I can feel the quiet hope of the sculpture working its way through me. It’s a practical symbol, communicating the patient attitude that has allowed the people here to stay for so long, watching and waiting. But I have to ask. “Wouldn’t it be more effective to unleash the whole tank at once?” I imagine the wave of water colliding with the rock and spilling over the tile floor, collecting around my shoes. Doing a little at once can fix something, eventually, but I feel like when you believe that something is truly a problem, you throw everything you have at it, because you just can’t help yourself.
Veronica Roth (The Divergent Library: Divergent; Insurgent; Allegiant; Four)
Here’s my protocol for my usual monthly 3-day fast from Thursday dinner to Sunday dinner: On Wednesday and Thursday, plan phone calls for Friday. Determine how you can be productive via cell phone for 4 hours. This will make sense shortly. Have a low-carb dinner around 6 p.m. on Thursday. On Friday, Saturday, and Sunday mornings, sleep as late as possible. The point is to let sleep do some of the work for you. Consume exogenous ketones or MCT oil upon waking and 2 more times throughout the day at 3- to 4-hour intervals. I primarily use KetoCaNa and caprylic acid (C8), like Brain Octane. The exogenous ketones help “fill the gap” for the 1 to 3 days that you might suffer carb withdrawal. Once you’re in deep ketosis and using body fat, they can be omitted. On Friday (and Saturday if needed), drink some caffeine and prepare to WALK. Be out the door no later than 30 minutes after waking. I grab a cold liter of water or Smartwater out of my fridge, add a dash of pure, unsweetened lemon juice to attenuate boredom, add a few pinches of salt to prevent misery/headaches/cramping, and head out. I sip this as I walk and make phone calls. Podcasts also work. Once you finish your water, fill it up or buy another. Add a little salt, keep walking, and keep drinking. It’s brisk walking—NOT intense exercise—and constant hydration that are key. I have friends who’ve tried running or high-intensity weight training instead, and it does not work for reasons I won’t bore you with. I told them, “Try brisk walking and tons of water for 3 to 4 hours. I bet you’ll be at 0.7 mmol the next morning.” One of them texted me the next morning: “Holy shit. 0.7 mmol.” Each day of fasting, feel free to consume exogenous ketones or fat (e.g., coconut oil in tea or coffee) as you like, up to 4 tablespoons. I will often reward myself at the end of each fasting afternoon with an iced coffee with a bit of coconut cream in it. Truth be told, I will sometimes allow myself a SeaSnax packet of nori sheets. Oooh, the decadence. Break your fast on Sunday night. Enjoy it. For a 14-day or longer fast, you need to think about refeeding carefully. But for a 3-day fast, I don’t think what you eat matters much. I’ve done steak, I’ve done salads, I’ve done greasy burritos. Evolutionarily, it makes no sense that a starving hominid would need to find shredded cabbage or some such nonsense to save himself from death. Eat what you find to eat.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
it! Your nutrition and hydration plan The optimal nutrition plan will depend on race conditions and will vary among runners.  The best nutritional plan is the one that works for you.  It is also one that you have practiced during your training runs.  Never try anything new on race day!  Try keeping the food you eat during an ultramarathon like the food you normally eat.  Remember your body and gut are already going to be stressed.  Try to minimize additional stress by eating like you normally do as much as possible.  A general guideline is to eat between 150-300 calories per hour.  Start eating early in the race and eat at regular intervals.  Setting
Terry Gebhardt (Minimalist's Guide to Running an Ultramarathon: Finish Your Ultra by Training Smarter, Not Harder!)
The interior spaces aboard the Norego were as dilapidated as her outside. The floors were chipped linoleum, the walls bare metal with large swatches of peeled paint, and the fluorescent lights mounted to the ceilings buzzed loudly. Several of them flickered at erratic intervals, casting the narrow corridor in stark shadow. Esteban led Ghami and Khatahani up a tight companionway with a loose railing and onto another short corridor. He opened the door to his office and gestured for the men to enter. The captain’s cabin could be seen through an open door on the opposite side of the office. The bed was unmade, and the sheets that spilled onto the floor were stained. A single dresser stood bolted to the wall, and the mirror above it had a jagged crack running from corner to corner. The office was a rectangular room with a single porthole so rimed with salt that only murky light came through. The walls were adorned with paintings of sad-eyed clowns done in garish colors on black velvet. Another door led to a tiny bathroom that was filthier than a public washroom in a Tehran slum. So many cigarettes had been smoked in the office that the stale smell seemed to coat everything, including the back of Ghami’s mouth. A lifelong smoker himself, even the Iranian naval officer was disgusted.
Clive Cussler (Plague Ship (Oregon Files, #5))
Thus strength training gives your metabolism a boost far beyond the duration of the actual workout, for as long as 48 hours. In contrast, after aerobic training your metabolism returns to normal almost immediately. So with interval training we’re not only building muscle, but we’re also able to kick up our metabolism long after–even when sleeping! Many people believe aerobic activity strengthens their heart, and decreases the chance of things like coronary artery disease. Yet, after much research, even U.S. Air Force Cardiologist Dr. Kenneth Cooper–the very man who coined the term “aerobics”–now believes there is no correlation between aerobic performance and health, longevity, or protection against heart disease. On the other hand, aerobic activities do carry with them a great risk of injury. Most, even so-called “low impact” classes or activities like stationary cycling, are not necessarily low-force. And things like running are extremely high-force, damaging to your knees, hips and back. Aerobic dance is even worse. Sure, you’ll hear the occasional genetic exception declare that they’ve never ever been injured doing these exercises. But overuse injuries are cumulative and often build undetected over years until it’s too late, leading to a decrease or loss of mobility as you age, which, in turn, too often leads to a shortened lifespan.
Mark Lauren (You Are Your Own Gym: The Bible of Bodyweight Exercises)
Today was to be my tortoise moment. Slow and steady, cautious and smart. The plan hatched by Chris Hauth was to break the run into an extremely conservative interval workout. Run four miles. Then walk a full mile. Repeat. It was a strategy devised to prevent my core temperature from rising beyond the point of no return. No one wanted to fall prey to the dreaded “Ironman shuffle”—that arresting corpse-like crawl brought on by overwhelming fatigue. But it was also a plan that required me to check my ego at the door. Walk? I’d specifically trained to run the entire distance. And having completed a forty-five-mile run just weeks prior, I knew I could do it. My pride revolted at a strategy that seemed to bespeak a lack of confidence in my abilities.
Rich Roll (Finding Ultra: Rejecting Middle Age, Becoming One of the World's Fittest Men, and Discovering Myself)
But it wasn’t long before this strategy started to pay dividends. With each successive four-mile running interval, I began to pass runners, two to four at a time. When I walked, one of these athletes would again pass me, but not the others. And when I resumed the running, I would pass that person, plus two to three more. Again and again. Leapfrogging my way up the field. And that’s when I started to believe.
Rich Roll (Finding Ultra: Rejecting Middle Age, Becoming One of the World's Fittest Men, and Discovering Myself)
We continue to inhabit private discontent and anxiety, no matter how overpowering the chaos of public life and how developed or underdeveloped our societies. I didn't know then that this freedom from clutter and the careful arrangement of space and light rather than of objects, the artful bareness, were the surest manifestations of 21st century wealth and taste. Social media forces everyone to become an operator; everyone is a hustler in the neo-liberal marketplace. We all have to learn how to blend aggressive self-promotion with sincere activism. That useful upper-caste trait: an instant blindness in the face of potentially uncomfortable realities. Coming from the Indian society rent by anarchic poverty and cruelty, where you could never fell history to be on your side, or any institution of government and law working in your favor, coming from a society that had frightened and traumatized so many of us for life, I was learning how to appreciate, or at least not be afraid of, a rich and steadfast world. Geography-dissolving people with hyphenated identities. The general public forgives the super-rich most things except their failure to routinely supply scandal and drama. Fully existing only in the interval between desire and fulfillment, we swell with the illusion of our distinctive self.But fulfillment brings little or no satisfaction; lack of satisfaction makes us desire again, extending into the future the original illusion of the desiring self and its discontents. The healthiest form of life is manual labour in a monastery: the most bracing truths of body and mind lie in physical exercise and silent contemplation and that, with words and thoughts, one starts to slide into harmful untruth.
Pankaj Mishra (Run and Hide)
One of the first scientific papers to write about exercise-induced myokines labeled them “hope molecules.” Ultra-endurance athletes talk about the metaphor of putting one foot in front of the other—how learning that you can take one more step, even when it feels like you can’t possibly keep going, builds confidence and courage. The existence of hope molecules reveals that this is not merely a metaphor. Hope can begin in your muscles. Every time you take a single step, you contract over two hundred myokine-releasing muscles. The very same muscles that propel your body forward also send proteins to your brain that stimulate the neurochemistry of resilience. Importantly, you don’t need to run an ultramarathon across the Arctic to infuse your bloodstream with these chemicals. Any movement that involves muscular contraction—which is to say, all movement—releases beneficial myokines. It seems likely that some ultra-endurance athletes are drawn to the sport precisely because they have a natural capacity to endure. The extreme circumstances of these events allow them to both challenge and enjoy that part of their personality. Yet it’s also possible that the intense physical training contributes to the mental toughness that ultra-endurance athletes demonstrate. Endurance activities like walking, hiking, jogging, running, cycling, and swimming, as well as high-intensity exercise such as interval training, are especially likely to produce a myokinome that supports mental health. Among those who are already active, increasing training intensity or volume—going harder, faster, further, or longer—can jolt muscles to stimulate an even greater myokine release. In one study, running to exhaustion increased irisin levels for the duration of the run and well into a recovery period—an effect that could be viewed as an intravenous dose of hope. Many of the world’s top ultra-endurance athletes have a history of depression, anxiety, trauma, or addiction. Some, like ultrarunner Shawn Bearden, credit the sport with helping to save their lives. This, too, is part of what draws people to the ultra-endurance world. You can start off with seemingly superhuman abilities to endure, or you can build your capacity for resilience one step at a time. Months after I spoke with Bearden, an image from his Instagram account appeared in my feed. It was taken from the middle of a paved road that stretches toward a mountain range, with grassy fields on either side. The sky is blue, except for a huge dark cloud that appears to be hovering directly over the person taking the photo. I remembered how Bearden had described his depression as a black thundercloud rolling in. Under the Instagram photo, Bearden had written, “Tons of wind today, making an easy run far more challenging. So happy to be able to do this. Every day above ground is a good day.” Below, a single comment cheered him on, like a fellow runner on the trail: “Amen to this! Keep striving.
Kelly McGonigal (The Joy of Movement: How exercise helps us find happiness, hope, connection, and courage)
Run interval time/distance Run interval speed Walk interval time/distance Walk interval speed Total duration or distance of the run
Martinus Evans (Slow AF Run Club: The Ultimate Guide for Anyone Who Wants to Run)
Twice weekly do a morning interval workout while running outdoors or on any aerobic machine.
Alan Christianson (The Adrenal Reset Diet: Strategically Cycle Carbs and Proteins to Lose Weight, Balance Hormones, and Move from Stressed to Thriving)
Where HIIT intervals are very short, typically measured in seconds, VO2 max intervals are a bit longer, ranging from three to eight minutes—and a notch less intense. I do these workouts on my road bike, mounted to a stationary trainer, or on a rowing machine, but running on a treadmill (or a track) could also work. The tried-and-true formula for these intervals is to go four minutes at the maximum pace you can sustain for this amount of time—not an all-out sprint, but still a very hard effort.
Peter Attia (Outlive: The Science and Art of Longevity)
Likewise, 90-second-high intensity intervals on a treadmill coupled with 90 seconds of recovery boosts testosterone more than moderate-intensity running for 45 minutes straight[
James DiNicolantonio (WIN: Achieve Peak Athletic Performance, Optimize Recovery and Become a Champion)
Because all of this was the same as a medical “hidden camera,” the difference being that they could no longer catch him off guard; they had already tried so many times that all they could do was risk “hiding the hidden,” hoping to slip it in between levels. He watched them talk, his attention waxing and waning at irregular intervals, as a result of which the two enthusiastic and youthful — almost frenetic — faces he had so close to his began to seem unreal. And they were, he had no doubt about this, though only up to a certain point; because they did belong to two human beings of flesh and blood. The intensive use of hidden cameras in the last few years (in order to pull off all kinds of pranks, but also to catch corrupt officials, dishonest businessmen, tax evaders, and criminal infiltrators into the medical profession) required using up actors at a phenomenal rate, for they could never be employed a second time because of the risk of blowing their cover. They had to always be new, debutants; they couldn’t have appeared on any screen ever before, not even as extras, because given the high degree of distrust that had infiltrated society, the least hint of recognition was enough to ruin the operation. And that same, constantly increasing distrust forced actors to be constantly getting better, more believable. It was astonishing that they didn’t run out of them; of course, they didn’t need to be professionals (with the new Labor Contract Law, they were not strictly required to be members of the union), but in cases where a lot was at stake, it must have required a difficult decision to place the success or failure of an operation in the hands of an amateur.
César Aira (The Miracle Cures of Dr. Aira)
Your kettlebell exercises strengthen your bones and fight osteoporosis. • Kettlebell swings are great for the back and can help overcome back pain and immobility. • Kettlebell swings are the fastest exercise. You can go from sitting to full exertion in seconds and be all done in little over a minute. • With your daily workouts, you will be fierce. And why not? You are slimmer, harder, taller, smarter, fitter, and your booty be bad! The twelve minutes are not done at once. As a matter of fact, eight sessions, each 90 seconds long may be optimal for exertion and spacing for maximizing metabolic risk protection.  Eight sessions has you exercising frequently throughout the day, in quick, easy sessions. Well, quick at least. Your twelve minutes is roughly the cardiovascular equivalent of running an eight minute mile pace for a mile and a half in 12 minutes. A moderate daily aerobic workout is a key component of nearly any health regimen.  It is very good for your heart health to raise your heart rate and respiration with cardiovascular exercise on a daily basis. In many ways, the first minute and a half of running a long distance is the most difficult part of a run, as the body shifts from rest to intense exercise. In this same way, the 90 second kettlebell swings are quite intense, as your body adjusts from no-load to heavy exertion immediately. Kettlebell swings represent a type of interval training, a short burst of intense exercise. Twelve minutes a day of kettlebell swings build muscle.  Muscles, generally, are a good thing, helping us be athletic, protecting us from injury, burning lots of calories and basically looking good. Twelve minutes per day is a very short time to build muscle, compared say, to a construction worker doing demanding physical labor all day. The construction worker will be well muscled, but not necessarily better than yourself, because you are harnessing the weight training effect with your kettlebell swings. You can build significant muscle size and strength with just these few minutes each day, while not having to spend the entire day in hard labor.
Don Fitch (Get Fit, Get Fierce with Kettlebell Swings: Just 12 Minutes a Day to Lose Weight, Prevent Sitting Disease, Hone Your Body and Tone Your Booty!)
The choir are screaming now, fugue-permutations veering and careening to the outer limits of the field where any ratio of intervals or pitches might hold sway: tonics swapping with subdominants within the space of single notes that seem to play out in three octaves all at once, false entries, inversions, retrogrades and diminutions running riot through all keys -- until, suddenly, these fall away, like clouds
Tom McCarthy (The Making of Incarnation)
Apparently interval training isn’t the most optimal method of training; running really slowly is, as it occurs without the accumulation of lactate [a substance produced in human bodies during muscular effort]
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
In the golden age of interval training, Norpoth—and by extension, Van Aaken—recommended a training method based on long, slow distance, still well known as LSD. He defined LSD as running a long distance at a steady, conversational speed and heart rate below 150 beats per minute (130 beats per minute on average). Van Aaken recommended the same method for almost everyone, from children to the elderly. In 1960, he founded the Western Germany Elderly Long-Distance Runners Association.
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
Where HIIT intervals are very short, typically measured in seconds, VO2 max intervals are a bit longer, ranging from three to eight minutes—and a notch less intense. I do these workouts on my road bike, mounted to a stationary trainer, or on a rowing machine, but running on a treadmill (or a track) could also work. The tried-and-true formula for these intervals is to go four minutes at the maximum pace you can sustain for this amount of time—not an all-out sprint, but still a very hard effort. Then ride or jog four minutes easy, which should be enough time for your heart rate to come back down to below about one hundred beats per minute. Repeat this four to six times and cool down.
Peter Attia (Outlive: The Science and Art of Longevity)
The psyches and souls of women also have their own cycles and seasons of doing and solitude, running and staying, being involved and being removed, questing and resting, creating and incubating, being of the world and returning to the soul-place. When we are children and young girls, the instinctive nature notices all these phases and cycles. It hovers quite near us and we are aware and active at various intervals as we see fit.
Clarissa Pinkola Estés (Women Who Run With the Wolves)
Calculating from Shorter’s best marathon time (2:10:30), we can assume that his target marathon pace is just under five minutes per mile, or about 3:05 per kilometer. As you see, except for interval training on Thursday, his training consisted of running slower than his marathon pace. That easy running represented as much as 97 percent of his total training distance.
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
As was Shorter, Kawauchi is an example of a great runner who trains mostly below his target pace, except for one day per week of interval training and races.
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
You might have heard of a training method promoted by Dr. Tabata of Doushisha University. His original protocol requires a five-minute warm-up, eight intervals of twenty seconds of maximal intensity exercise followed by ten seconds of rest, and a two-minute cooldown.
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
What we can recommend is intervals at your target marathon pace in addition to regular slow jogging. Try five to ten repeats of a half-mile to a kilometer at your marathon pace.
Hiroaki Tanaka (Slow Jogging: Lose Weight, Stay Healthy, and Have Fun with Science-Based, Natural Running)
30 Pushups 50 Sit-ups 10 Tricep Dips 20 Split Jumps 30 Second Burpees
Steve Plitt (HIIT: High Intensity Interval Training Guide Including Running, Cycling & Bodyweight Workouts For Weight Loss)
Training need not be an all-or-nothing battle, involving punishing track practice, grueling calisthenics, and wrenching interval sessions every afternoon. It could be a fun and easy cruise through the gorgeous New England countryside. It could be an act of freedom by which I could step outside myself and my racing mind. A long run in nature could even be a way to connect my physical body with the unseen spirit of the universe.
Bill Rodgers (Marathon Man: My 26.2-Mile Journey from Unknown Grad Student to the Top of the Running World)
Slightly further afield, you will find Baroque palaces such as Nymphenberg and Schlossheim, with wonderful parks and art galleries. On a slightly darker note, Dachau Concentration Camp is around 10 miles from town. Trains go there from Munich’s main train station every ten minutes and the journey takes less than 15 minutes. Transport in Munich is well organised with a network of trains – S‐Bahn is the suburban rail; U‐Bahn is underground and there are trams and buses. The S‐Bahn connects Munich Airport with the city at frequent intervals depending on the time of day or night. Munich is especially busy during Oktoberfest, a beer festival that began in the 19th century to celebrate a royal wedding, and also in the Christmas market season, which runs from late November to Christmas Eve. Expect wooden toys and ornaments, cakes and Gluwien. The hot mulled wine stands require a deposit for each mug. This means that locals stand chatting at the stalls while drinking. As a result, the solo traveller is never alone. The downside of Munich is that it is a commercial city, one that works hard and sometimes has little patience for tourists. Natives of Munich also have a reputation for being a little snobbish and very brand conscious. To read: The Book Thief by Markus Zusak. Narrated by death himself, this novel tells of a little girl sent to a foster family in 1939. She reads The Grave Diggers Handbook each evening with her foster father and, as her love of reading grows, she steals a book from a Nazi book burning. From this, her renegade life begins.
Dee Maldon (The Solo Travel Guide: Just Do It)
scientists at the University of Western Ontario gives us insight into just how much more effective high-intensity cardio is.27 Researchers had 10 men and 10 women train three times per week, with one group doing between four and six 30-second treadmill sprints (with four minutes of rest in between each), and the other group doing 30 to 60 minutes of steady-state cardio (running on the treadmill at the “magical fat-loss zone” of 65 percent VO2 max). The results: after six weeks of training, the subjects doing the intervals had lost significantly more body fat. Yes, four to six 30-second sprints burn more fat than 60 minutes of incline treadmill walking.
Michael Matthews (Bigger Leaner Stronger: The Simple Science of Building the Ultimate Male Body)
In our family, we live by the Hard Thing Rule. It has three parts. The first is that everyone—including Mom and Dad—has to do a hard thing. A hard thing is something that requires daily deliberate practice. I’ve told my kids that psychological research is my hard thing, but I also practice yoga. Dad tries to get better and better at being a real estate developer; he does the same with running. My oldest daughter, Amanda, has chosen playing the piano as her hard thing. She did ballet for years, but later quit. So did Lucy. This brings me to the second part of the Hard Thing Rule: You can quit. But you can’t quit until the season is over, the tuition payment is up, or some other “natural” stopping point has arrived. You must, at least for the interval to which you’ve committed yourself, finish whatever you begin. In other words, you can’t quit on a day when your teacher yells at you, or you lose a race, or you have to miss a sleepover because of a recital the next morning. You can’t quit on a bad day. And, finally, the Hard Thing Rule states that you get to pick your hard thing. Nobody picks it for you because, after all, it would make no sense to do a hard thing you’re not even vaguely interested in. Even the decision to try ballet came after a discussion of various other classes my daughters could have chosen instead. Lucy, in fact, cycled through a half-dozen hard things. She started each with enthusiasm but eventually discovered that she didn’t want to keep going with ballet, gymnastics, track, handicrafts, or piano. In the end, she landed on viola. She’s been at it for three years, during which time her interest has waxed rather than waned. Last year, she joined the school and all-city orchestras, and when I asked her recently if she wanted to switch her hard thing to something else, she looked at me like I was crazy. Next year, Amanda will be in high school. Her sister will follow the year after. At that point, the Hard Thing Rule will change. A fourth requirement will be added: each girl must commit to at least one activity, either something new or the piano and viola they’ve already started, for at least two years. Tyrannical? I don’t believe it is. And if Lucy’s and Amanda’s recent comments on the topic aren’t disguised apple-polishing, neither do my daughters. They’d like to grow grittier as they get older, and, like any skill, they know grit takes practice. They know they’re fortunate to have the opportunity to do so. For parents who would like to encourage grit without obliterating their children’s capacity to choose their own path, I recommend the Hard Thing Rule.
Angela Duckworth (Grit: The Power of Passion and Perseverance)
Be a Student of the Game. Like most clichés of sport, this is profound. You can be shaped, or you can be broken. There is not much in between. Try to learn. Be coachable. Try to learn from everybody, especially those who fail. This is hard. Peers who fizzle or blow up or fall down, run away, disappear from the monthly rankings, drop off the circuit. E.T.A. peers waiting for deLint to knock quietly at their door and ask to chat. Opponents. It’s all educational. How promising you are as a Student of the Game is a function of what you can pay attention to without running away. Nets and fences can be mirrors. And between the nets and fences, opponents are also mirrors. This is why the whole thing is scary. This is why all opponents are scary and weaker opponents are especially scary. See yourself in your opponents. They will bring you to understand the Game. To accept the fact that the Game is about managed fear. That its object is to send from yourself what you hope will not return. This is your body. They want you to know. You will have it with you always. On this issue there is no counsel; you must make your best guess. For myself, I do not expect ever really to know. But in the interval, if it is an interval: here is Motrin for your joints, Noxzema for your burn, Lemon Pledge if you prefer nausea to burn, Contracol for your back, benzoin for your hands, Epsom salts and anti-inflammatories for your ankle, and extracurriculars for your folks, who just wanted to make sure you didn’t miss anything they got.
David Foster Wallace
If she was already breaking her time down into fractions, this wasn't going to play out well. She'd done these mental gymnastics since childhood, simplifying chunks of time to alleviate the anxiety of overwhelming situations. An hour-long class was only fifteen-minute intervals or ten six-minute increments. A mile-long run was only four three-minute laps--not that she did those often.
Monica McCallan (Back to the Start)
Where HIIT intervals are very short, typically measured in seconds, VO2 max intervals are a bit longer, ranging from three to eight minutes—and a notch less intense. I do these workouts on my road bike, mounted to a stationary trainer, or on a rowing machine, but running on a treadmill (or a track) could also work. The tried-and-true formula for these intervals is to go four minutes at the maximum pace you can sustain for this amount of time—not an all-out sprint, but still a very hard effort. Then ride or jog four minutes easy, which should be enough time for your heart rate to come back down to below about one hundred beats per minute. Repeat this four to six times and cool down.[*4]
Peter Attia (Outlive: The Science and Art of Longevity)
THE EGO’S SEARCH FOR WHOLENESS Another aspect of the emotional pain that is an intrinsic part of the egoic mind is a deep-seated sense of lack or incompleteness, of not being whole. In some people, this is conscious, in others unconscious. If it is conscious, it manifests as the unsettling and constant feeling of not being worthy or good enough. If it is unconscious, it will only be felt indirectly as an intense craving, wanting and needing. In either case, people will often enter into a compulsive pursuit of ego-gratification and things to identify with in order to fill this hole they feel within. So they strive after possessions, money, success, power, recognition, or a special relationship, basically so that they can feel better about themselves, feel more complete. But even when they attain all these things, they soon find that the hole is still there, that it is bottomless. Then they are really in trouble, because they cannot delude themselves anymore. Well, they can and do, but it gets more difficult. As long as the egoic mind is running your life, you cannot truly be at ease; you cannot be at peace or fulfilled except for brief intervals when you obtained what you wanted, when a craving has just been fulfilled. Since the ego is a derived sense of self, it needs to identify with external things. It needs to be both defended and fed constantly. The most common ego identifications have to do with possessions, the work you do, social status and recognition, knowledge and education, physical appearance, special abilities, relationships, personal and family history, belief systems, and often also political, nationalistic, racial, religious, and other collective identifications. None of these is you. Do you find this frightening? Or is it a relief to know this? All of these things you will have to relinquish sooner or later. Perhaps you find it as yet hard to believe, and I am certainly not asking you to believe that your identity cannot be found in any of those things. You will know the truth of it for yourself. You will know it at the latest when you feel death approaching. Death is a stripping away of all that is not you. The secret of life is to “die before you die” — and find that there is no death.
Eckhart Tolle (The Power of Now: A Guide to Spiritual Enlightenment)