Scenes Of Subjection Quotes

You see the first thing we love is a scene. For love at first sight requires the very sign of its suddenness; and of all things, it is the scene which seems to be seen best for the first time: a curtain parts and what had not yet ever been seen is devoured by the eyes: the scene consecrates the object I am going to love. The context is the constellation of elements, harmoniously arranged that encompass the experience of the amorous subject... Love at first sight is always spoken in the past tense. The scene is perfectly adapted to this temporal phenomenon: distinct, abrupt, framed, it is already a memory (the nature of a photograph is not to represent but to memorialize)... this scene has all the magnificence of an accident: I cannot get over having had this good fortune: to meet what matches my desire. The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other... In this moment, everything is suspended: time, law, prohibition: nothing is exhausted, nothing is wanted: all desires are abolished, for they seem definitively fulfilled... A moment of affirmation; for a certain time, though a finite one, a deranged interval, something has been successful: I have been fulfilled (all my desires abolished by the plenitude of their satisfaction).

What we, or at any rate what I, refer to confidently as memory--meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion--is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.

A scene of Mahabharata where the Surya Devta(Sun God)would come to bless Kunti with a baby The child watching this on TV says "I have been taught that Neil Armstrong had taken several days to reach the moon.Surya Devta took only half a minute to land up in the Kunti's room; that too, he didn't even need a rocket-he had simply walked. Science and Sanskrit had always appeared contradicting subjects to me at school:-)

All things exist as they are perceived: at least in relation to the percipient. 'The mind is its own place, and of itself can make a heaven of hell, a hell of heaven.' But poetry defeats the curse which binds us to be subjected to the accident of surrounding impressions. And whether it spreads its own figured curtain or withdraws life's dark veil from before the scene of things, it equally creates for us a being within our being.

Like the Nazis, the cadres of jihad have a death wish that sets the seal on their nihilism. The goal of a world run by an oligarchy in possession of Teutonic genes, who may kill or enslave other 'races' according to need, is not more unrealizable than the idea that a single state, let alone the globe itself, could be governed according to the dictates of an allegedly holy book. This mad scheme begins by denying itself the talents (and the rights) of half the population, views with superstitious horror the charging of interest, and invokes the right of Muslims to subject nonbelievers to special taxes and confiscations. Not even Afghanistan or Somalia, scenes of the furthest advances yet made by pro-caliphate forces, could be governed for long in this way without setting new standards for beggary and decline.

No matter where; of comfort no man speak: Let's talk of graves, of worms, and epitaphs; Make dust our paper and with rainy eyes Write sorrow on the bosom of the earth, Let's choose executors and talk of wills: And yet not so, for what can we bequeath Save our deposed bodies to the ground? Our lands, our lives and all are Bolingbroke's, And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God's sake, let us sit upon the ground And tell sad stories of the death of kings; How some have been deposed; some slain in war, Some haunted by the ghosts they have deposed; Some poison'd by their wives: some sleeping kill'd; All murder'd: for within the hollow crown That rounds the mortal temples of a king Keeps Death his court and there the antic sits, Scoffing his state and grinning at his pomp, Allowing him a breath, a little scene, To monarchize, be fear'd and kill with looks, Infusing him with self and vain conceit, As if this flesh which walls about our life, Were brass impregnable, and humour'd thus Comes at the last and with a little pin Bores through his castle wall, and farewell king! Cover your heads and mock not flesh and blood With solemn reverence: throw away respect, Tradition, form and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me, I am a king?

Hetty turned her attention back to her subject’s face and was quite surprised to see a meek little submissive, almost ashamed of the orgasm she was about to have, panting and heaving for breath whilst nearly foaming at the mouth. Indeed she looked quite tortured in the throes of passion and any Master would be extremely pleased with that particular look during training.

What we, or at any rate what I, refer to confidently as memory - meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion - is really a form of storytelling that goes on continually in the mind and often changes with the telling.

The Men of Faith will play the cup-bearers at this lifelong bacchanal, filling and ever filling again with the warm liquor that the Intelligences, in sad and sober privacy behind the scenes, will brew for the intoxication of their subjects.

Paarfi undertakes a detailed examination on the virtues of brevity: It would seem, therefore, that if we allow our readers, by virtue of being in the company of the historian, to eavesdrop on this interchange, we will have, in one scene, discharged two obligations; a sacrifice, if we may say so, to the god Brevity, whom all historians, indeed, all who work with the written word, ought to worship. We cannot say too little on this subject.

All murder'd-for within the hollow crown That rounds the mortal temples of a king Keeps Death his court; and there the antic sits, Scoffing his state and grinning at his pomp; Allowing him a breath, a little scene, To monarchize, be fear'd, and kill with looks; Infusing him with self and vain conceit, As if this flesh which walls about our life Were brass impregnable; and, humour'd thus, Comes at the last, and with a little pin Bores through his castle wall, and farewell, king! Cover your heads, and mock not flesh and blood With solemn reverence; throw away respect, Tradition, form, and ceremonious duty; For you have but mistook me all this while. I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me I am a king?

I tried to imagine what future such a woman might claim for herself. I tried to conjure other scenes in which she and her father were of two minds. When she ignored his counsel and kept her own. But my father had taught me that there are not two reasonable opinions to be had on any subject: there is Truth and there are Lies. I knelt on the carpet, listening to my father but studying this stranger, and felt suspended between them, drawn to each, repelled by both. I understood that no future could hold them; no destiny could tolerate him and her. I would remain a child, in perpetuity, always, or I would lose him.

Volume II, Chapter 4 "How unwise had the wanderers been, who had deserted its shelter, entangled themselves in the web of society, and entered on what men of the world call "life,"—that labyrinth of evil, that scheme of mutual torture. To live, according to this sense of the word, we must not only observe and learn, we must also feel; we must not be mere spectators of action, we must act; we must not describe, but be subjects of description. Deep sorrow must have been the inmate of our bosoms; fraud must have lain in wait for us; the artful must have deceived us; sickening doubt and false hope must have chequered our days; hilarity and joy, that lap the soul in ecstasy, must at times have possessed us. Who that knows what "life" is, would pine for this feverish species of existence? I have lived. I have spent days and nights of festivity; I have joined in ambitious hopes, and exulted in victory: now,—shut the door on the world, and build high the wall that is to separate me from the troubled scene enacted within its precincts. Let us live for each other and for happiness; let us seek peace in our dear home, near the inland murmur of streams, and the gracious waving of trees, the beauteous vesture of earth, and sublime pageantry of the skies. Let us leave "life," that we may live.

The novel was born with the Modern Era, which made man, to quote Heidegger, the "only real subject," the ground for everything. It is largely through the novel that man as an individual was established on the European scene. Away from the novel, in our real lives, we know very little about our parents as they were before our birth; we have only fragmentary knowledge of the people close to us: we see them come and go and scarcely have they vanished than their place is taken over by others: they form a long line of replaceable beings. Only the novel separates out an individual, trains a light on his biography, his ideas, his feelings, makes him irreplaceable: makes him the center of everything.

Perhaps Charis did not realize that when one had passed through a time of terrible anxiety relief did not immediately restore the tone of one's mind. To be sure, she herself had not expected that after the first raptures she would find herself subject to fits of dejection, and much inclined to be crotchety; but still Charis should have known better than to have enacted a tragical scene within an hour of her arrival.

..every time scientists try to observe the quantum world they disturb it. And because at least one quantum of energy must always be involved, there is no way the size of this disturbance can be reduced. Our acts of observing the universe, our attempts to gather knowledge, are no longer strictly objective because in seeking to know the universe we act to disturb it. Science prides itself on objectivity, but now Nature is telling us we never see a pure, pristine and objective quantum world. In every act of observation the observing subject enters into the cosmos and disturbs it in an irreducible way. Science is like photographing a series of close ups with your back to the sun. No matter which way you move, your shadow always falls across the scene you photograph. No matter what you do, you can never efface yourself from the photographed scene.

She inhaled deeply—and sneezed. Stupid allergies. “Gods bless you,” Rishi said. Dimple arched an eyebrow. “Gods?” He nodded sagely. “As a Hindu, I’m a polytheist, as you well know.” Dimple laughed. “Yes, and I also know we still only say ‘God,’ not ‘gods.’ We still believe Brahma is the supreme creator.” Rishi smiled, a sneaky little thing that darted out before he could stop it. “You got me. It’s my version of microaggressing back on people.” “Explain.” “So, okay. This is how it works in the US: In the spring we’re constantly subjected to bunnies and eggs wherever we go, signifying Christ’s resurrection. Then right around October we begin to see pine trees and nativity scenes and laughing fat white men everywhere. Christian iconography is all over the place, constantly in our faces, even in casual conversation. This is the bible of comic book artists . . . He had a come to Jesus moment, all of that stuff. So this is my way of saying, Hey, maybe I believe something a little different. And every time someone asks me why ‘gods,’ I get to explain Hinduism.” Dimple chewed on this, impressed in spite of herself. He actually had a valid point. Why was Christianity always the default? “Ah.” She nodded, pushing her glasses up on her nose. “So what you’re saying is, you’re like a Jehovah’s Witness for our people.” Rishi’s mouth twitched, but he nodded seriously. “Yes. I’m Ganesha’s Witness. Has a bit of a ring to it, don’t you think?

Bernays sold the myth of propaganda as a wholly rational endeavor, carried out methodically by careful experts skilled enough to lead “public opinion.” Consistently he casts himself as a supreme manipulator, mastering the responses of a pliable, receptive population. “Conscious and intelligent manipulation,” “invisible governors,” “they who pull the wires which control the public mind,” “shrewd persons operating behind the scenes,” “dictators exercising great power,” and, below them, people working “as if actuated by the touch of a button”—these are but a few expressions of the icy scientistic paradigm that evidently drove his propaganda practice, and that colored all his thinking on the subject. The propagandist rules. The propagandized do whatever he would have them do, exactly as he tells them to, and without knowing it.

The subject matter. . . is not that collection of solid, static objects extended in space but the life that is lived in the scene that it composes; and so reality is not that external scene but the life that is lived in it. Reality is things as they are.

The other thing that I would say about writer's block is that it can be very, very subjective. By which I mean, you can have one of those days when you sit down and every word is crap. It is awful. You cannot understand how or why you are writing, what gave you the illusion or delusion that you would every have anything to say that anybody would ever want to listen to. You're not quite sure why you're wasting your time. And if there is one thing you're sure of, it's that everything that is being written that day is rubbish. I would also note that on those days (especially if deadlines and things are involved) is that I keep writing. The following day, when I actually come to look at what has been written, I will usually look at what I did the day before, and think, "That's not quite as bad as I remember. All I need to do is delete that line and move that sentence around and its fairly usable. It's not that bad." What is really sad and nightmarish (and I should add, completely unfair, in every way. And I mean it -- utterly, utterly, unfair!) is that two years later, or three years later, although you will remember very well, very clearly, that there was a point in this particular scene when you hit a horrible Writer's Block from Hell, and you will also remember there was point in this particular scene where you were writing and the words dripped like magic diamonds from your fingers -- as if the Gods were speaking through you and every sentence was a thing of beauty and magic and brilliance. You can remember just as clearly that there was a point in the story, in that same scene, when the characters had turned into pathetic cardboard cut-outs and nothing they said mattered at all. You remember this very, very clearly. The problem is you are now doing a reading and you cannot for the life of you remember which bits were the gifts of the Gods and dripped from your fingers like magical words and which bits were the nightmare things you just barely created and got down on paper somehow!! Which I consider most unfair. As a writer, you feel like one or the other should be better. I wouldn't mind which. I'm not somebody who's saying, "I really wish the stuff from the Gods was better." I wouldn't mind which way it went. I would just like one of them to be better. Rather than when it's a few years later, and you're reading the scene out loud and you don't know, and you cannot tell. It's obviously all written by the same person and it all gets the same kind of reaction from an audience. No one leaps up to say, "Oh look, that paragraph was clearly written on an 'off' day." It is very unfair. I don't think anybody who isn't a writer would ever understand how quite unfair it is.

Nothing passes the time, or shortens the path, like a thought which engrosses all the faculties of an individual's organisation. Our external Existence is as a sleep, of which this thought is the dream; and. whilst we are subjected to its influence, time has no longer any measure, nor is there any distance in space: we leave one place, and arrive at another, and are conscious of nothing between. Of the intervening scenes, the only remembrance preserved, is somewhat akin to the idea of an indefinite mist, partially broken by obscure images of mountains, trees, and plains.

Even as I wrote my note to Fern, for instance, expressing sentiments and regrets that were real, a part of me was noticing what a fine and sincere note it was, and anticipating the effect on Fern of this or that heartfelt phrase, while yet another part was observing the whole scene of a man in a dress shirt and no tie sitting at his breakfast nook writing a heartfelt note on his last afternoon alive, the blondwood table's surface trembling with sunlight and the man's hand steady and face both haunted by regret and ennobled by resolve, this part of me sort of hovering above and just to the left of myself, evaluating the scene, and thinking what a fine and genuine-seeming performance in a drama it would make if only we all had not already been subject to countless scenes just like it in dramas ever since we first saw a movie or read a book, which somehow entailed that real scenes like the one of my suicide note were now compelling and genuine only to their participants, and to anyone else would come off as banal and even somewhat cheesy or maudlin, which is somewhat paradoxical when you consider – as I did, setting there at the breakfast nook – that the reason scenes like this will seem stale or manipulative to an audience is that we’ve already seen so many of them in dramas, and yet the reason we’ve seen so many of them in dramas is that the scenes really are dramatic and compelling and let people communicate very deep, complicated emotional realities that are almost impossible to articulate in any other way, and at the same time still another facet or part of me realizing that from this perspective my own basic problem was that at an early age I’d somehow chosen to cast my lot with my life’s drama’s supposed audience instead of with the drama itself, and that I even now was watching and gauging my supposed performance’s quality and probable effects, and thus was in the final analysis the very same manipulative fraud writing the note to Fern that I had been throughout the life that had brought me to this climactic scene of writing and signing it and addressing the envelope and affixing postage and putting the envelope in my shirt pocket (totally conscious of the resonance of its resting there, next to my heart, in the scene), planning to drop it in a mailbox on the way out to Lily Cache Rd. and the bridge abutment into which I planned to drive my car at speeds sufficient to displace the whole front end and impale me on the steering wheel and instantly kill me. Self-loathing is not the same thing as being into pain or a lingering death, if I was going to do it I wanted it instant’ (175-176)

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line. There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

In fact, the majlis was an intensely feudal scene, with respectful subjects waiting humbly for a few seconds’ opportunity to whisper in their prince’s ear.

What happened was that sometimes I was, from a young age, put in the theater to watch movies because they kept me quiet and they kept me entertained, and they got me out from under the feet of my parents. So from a very early age, I went to the movies and I soon grew to prefer the life of the movies to my own life. The reality that the movies offered was preferable to the reality that I was experiencing. I became a child movie addict. I would go in with great pleasure and I'd never look at what was playing -- what was playing was unimportant. The fact was that I was entering a new world, an environment where not only was it much more attractive than my life was ordinarily, but also I could manipulate it to an extent by coming and going, and by looking at scenes or not, which I could not in my own life. I was subjected to my own domestic life. But I discovered a kind of power at the movies.

I turned back to the canvas, and it occurred to me then that only a woman could have made this image. This was not a painting of temptation, but rather one of harassment and intimidation, a scene that could be taking place right now in nearly anyplace in the world. The painting operated around a schism, it represented two irreconcilable subjective positions: the man, who believed the scene to be one of ardor and seduction, and the woman, who had been plunged into a state of fear and humiliation. That schism, I now realized, was the true inconsistency animating the canvas, and the true object of Leyster's gaze.

Apollodorus, the leading classical authority on Greek myths, records a tradition that the real scene of the poem was the Sicilian seaboard, and in 1896 Samuel Butler, the author of Erewhon, came independently to the same conclusion. He suggested that the poem, as we now have it, was composed at Drepanum, the modern Trapani, in Western Sicily, and that the authoress was the girl self-portrayed as Nausicaa. None of his classical contemporaries, for whom Homer was necessarily both blind and bearded, deigned to pay Butler’s theory the least attention; and since he had, as we now know, dated the poem some three hundred years too early and not explained how a Sicilian princess could have passed off her saga as Homer’s, his two books on the subject are generally dismissed as a good-humoured joke. Nevertheless, while working on an explanatory dictionary of Greek myths, I found Butler’s arguments for a Western Sicilian setting and for a female authorship irrefutable. I could not rest until I had written this novel. It re-creates, from internal and external evidence, the circumstances which induced Nausicaa to write the Odyssey, and suggest how, as an honorary Daughter of Homer, she managed to get it included in the official canon. Here is the story of a high-spirited and religious-minded Sicilian girl who saves her father’s throne from usurpation, herself from a distasteful marriage, and her two younger brothers from butchery by boldly making things happen, instead of sitting still and hoping for the best.

Everybody must pity Desdemona, but I cannot bring myself to like her. Her determination to marry Othello – it was she who virtually did the proposing – seems the romantic crush of a silly schoolgirl rather than a mature affection; it is Othello’s adventures, so unlike the civilian life she knows, which captivate her rather than Othello as a person. He may not have practiced witchcraft, but, in fact, she is spellbound. Then, she seems more aware than is agreeable of the honor she has done Othello by becoming his wife. […] Before Cassio speaks to her, she has already discussed him with her husband and learned that he is to be reinstated as soon as it is opportune. A sensible wife would have told Cassio this and left matters alone. In continuing to badger Othello, she betrays a desire to prove to herself and to Cassio that she can make her husband do as she pleases. […] Though her relationship with Cassio is perfectly innocent, one cannot but share Iago’s doubts as to the durability of the marriage. It is worth noting that, in the willow-song scene with Emilia, she speaks with admiration of Ludovico and then turns to the topic of adultery. Of course, she discusses this in general terms and is shocked by Emilia’s attitude, but she does discuss the subject and she does listen to what Emilia has to say about husbands and wives. It is as if she had suddenly realized that she had made a mésalliance and that the sort of man she ought to have married was someone of her own class and color like Ludovico. Given a few more years of Othello and of Emilia’s influence and she might well, one feels, have taken a lover.

As I enter into the final phase of each prison interview, I want to get the subject to summarize or affirm what was happening in his head immediately before, during, and after the crime, because the ultimate research goal since the beginning has been to correlate what was going on in the offender’s mind with the evidence left at the crime scene and body dump site, the risk level of the crime both for perpetrator and for victim, and the post-offense behavior that might be observed by those around him. I particularly want to confirm the role that fantasy plays.

This actually did happen to a real person, and the real person is me. I had gone to catch a train. This was April 1976, in Cambridge, U.K. I was a bit early for the train. I’d gotten the time of the train wrong. I went to get myself a newspaper to do the crossword, and a cup of coffee and a packet of cookies. I went and sat at a table. I want you to picture the scene. It’s very important that you get this very clear in your mind. Here’s the table, newspaper, cup of coffee, packet of cookies. There’s a guy sitting opposite me, perfectly ordinary-looking guy wearing a business suit, carrying a briefcase. It didn’t look like he was going to do anything weird. What he did was this: he suddenly leaned across, picked up the packet of cookies, tore it open, took one out, and ate it. Now this, I have to say, is the sort of thing the British are very bad at dealing with. There’s nothing in our background, upbringing, or education that teaches you how to deal with someone who in broad daylight has just stolen your cookies. You know what would happen if this had been South Central Los Angeles. There would have very quickly been gunfire, helicopters coming in, CNN, you know… But in the end, I did what any red-blooded Englishman would do: I ignored it. And I stared at the newspaper, took a sip of coffee, tried to do a clue in the newspaper, couldn’t do anything, and thought, What am I going to do? In the end I thought Nothing for it, I’ll just have to go for it, and I tried very hard not to notice the fact that the packet was already mysteriously opened. I took out a cookie for myself. I thought, That settled him. But it hadn’t because a moment or two later he did it again. He took another cookie. Having not mentioned it the first time, it was somehow even harder to raise the subject the second time around. “Excuse me, I couldn’t help but notice…” I mean, it doesn’t really work. We went through the whole packet like this. When I say the whole packet, I mean there were only about eight cookies, but it felt like a lifetime. He took one, I took one, he took one, I took one. Finally, when we got to the end, he stood up and walked away. Well, we exchanged meaningful looks, then he walked away, and I breathed a sigh of relief and st back. A moment or two later the train was coming in, so I tossed back the rest of my coffee, stood up, picked up the newspaper, and underneath the newspaper were my cookies. The thing I like particularly about this story is the sensation that somewhere in England there has been wandering around for the last quarter-century a perfectly ordinary guy who’s had the same exact story, only he doesn’t have the punch line.

The capitalistic economy of the present day is an immense cosmos into which the individual is born, and which presents itself to him, at least as an individual, as an unalterable order of things in which he must live. It forces the individual, in so far as he is involved in the system of market relationships, to conform to capitalistic rules of action, The manufacturer who in the long run acts counter to these norms, will just as inevitably be eliminated from the economic scene as the worker who cannot or will not adapt himself to them will be thrown into the streets without a job. Thus the capitalism of to-day, which has come to dominate economic life, educates and selects the economic subjects which it needs through a process of economic survival of the fittest. But here one can easily see the limits of the concept of selection as a means of historical explanation. In order that a manner of life so well adapted to the peculiarities of capitalism could be selected at all, i.e. should come to dominate others, it had to originate somewhere, and not in isolated individuals alone, but as a way of life common to whole groups of men. This origin is what really needs explanation.

Depoliticization involves removing a political phenomenon from comprehension of its historical emergence and from a recognition of the powers that produce and contour it. No matter its particular form and mechanics, depoliticization always eschews power and history in the representation of its subject. When these two constitutive sources of social relations and political conflict are elided, an ontological naturalness or essentialism almost inevitably takes up residence in our understandings and explanations. In the case at hand, an object of tolerance analytically divested of constitution by history and power is identified as naturally and essentially different from the tolerating subject; in this difference, it appears as a natural provocation to that which tolerates it. Moreover, not merely the parties to tolerance but the very scene of tolerance is naturalized, ontologized in its constitution as produced by the problem of difference itself.

I knew now that I loved Albertine; but, alas! I had no thought of letting her know it. This was because, since the days of our games in the Champs-Élysées, my conception of love had become different, even if the persons to whom my love was successively assigned remained almost identical. For one thing, the avowal, the declaration of my affection to her whom I loved no longer seemed to me one of the vital and necessary scenes of love, nor love itself an external reality, but simply a subjective pleasure. And as for this pleasure, I felt that Albertine would do everything necessary to sustain it all the more readily if she did not know that I was experiencing it.

I was regarded as fair-looking for one of my race, and for four years a white man—I spare the world his name—had base designs upon me. I do not care to dwell upon this subject, for it is one that is fraught with pain. Suffice it to say, that he persecuted me for four years, and I—I—became a mother. The child of which he was the father was the

Do not forgive. Forgiveness accuses before it forgives. By accusing, by stating the injury, it makes the wrong irredeemable. It carries the blow all the way to culpability. Thus, all becomes irrepairable; giving and forgiving cease to be possible. For nothing saves innocence. Forgive me for forgiving you. The sole fault would be one of position: the one and only fault is to be "I,", for it is not identity that the Self in myself brings me. This self is merely a formal necessity: it simply serves to allow the infinite relation of Self to Other. Whence the temptation (the sole temptation) to become a subject again, instead of being exposed to subjectivity without any subject, the nudity of dying space. I cannot forgive -- forgiveness comes from others -- but I cannot be forgiven either, if forgiveness is what calls the "I" into question and demands that I give myself, that I subject myself to the lack of subjectivity. And if forgiveness comes from others, it only comes; there is never any certitude that it can arrive, because in it there is nothing of the (sacramental) power to determine. It can only delay in the element of indecision. In The Trail, one might think that the death scene constitutes the pardon, the end of the interminable; but there is no end, since Kafka specifies that shame survives, which is to say, the infinite itself, a mockery of life as life's beyond.

I replied that I did not quite know what my ailment had been, but that I had certainly suffered a good deal especially in mind. Further, on this subject, I did not consider it advisable to dwell, for the details of what I had undergone belonged to a portion of my existence in which I never expected my godmother to take a share. Into what a new region would such a confidence have led that hale, serene nature! The difference between her and me might be figured by that between the stately ship cruising safe on smooth seas, with its full complement of crew, a captain gay and brave, and venturous and provident; and the life-boat, which most days of the year lies dry and solitary in an old, dark boat-house, only putting to sea when the billows run high in rough weather, when cloud encounters water, when danger and death divide between them the rule of the great deep. No, the "Louisa Bretton" never was out of harbour on such a night, and in such a scene: her crew could not conceive it; so the half-drowned life-boat man keeps his own counsel, and spins no yarns.

Now we see Christendom likewise sinking. But the true point is this: that Christ's kingdom remains. Indeed, it can be seen more clearly and appreciated more sharply by contrast with the darkness and depravity of the contemporary scene. (...) A wonderful sign (...) is the amazing renewal of the Christian faith in its purest possible form in, of all places, the countries that have been most drastically subjected to the oppression and brainwashing and general influence of the first overtly atheistic and materialistic regime to exist on earth. (...) Soviet citizens had no access to the Gospels, few religious services available, no literature of the mystics, no devotional works, no religious music, and an education brutally atheistic and secular.

Her signature style is hyperrealism, an attempt to capture everything a photograph might and then much more: what the mind knows about a scene that the scene itself does not reveal; what the heart feels about the subject before it; how the past lives in the present and how the future looms real but unrevealed; what any moment on the Earth might mean, if it means anything at all.

Physical brains are subject to the laws of physics; mental states are subject to the laws of logic. Those who think mental states are entirely physical hold a logically contradictory position. In order to think rationally about their thoughts , they must have the freedom to do so, but this freedom is unavailable if the laws of physics and chemistry are controlling their thoughts.

I released a breath I didn’t remember holding. Turned to Ben. Found him looking at me, face inches from mine on Sewee’s deck. Panic flared, white hot, paralyzing me as I lay beside him. Our gazes met. I saw fear in his dark brown eyes. Indecision. Doubt. Ben went rigid, his chest rising and falling like a bellows. Then something changed. His face relaxed, a small smile playing on his lips. Before I could blink, his mouth covered mine. We shared a breath. A tingle ran my spine. Then I pulled back, breathing hard, unsure what either my mind or body were doing. Ben’s unsure look returned. Then vanished. He pulled me near again, his lips melting into mine. Strong, calloused fingers stroked the side of my face. His smell enveloped me. Earthy. Masculine. Ben. Fire rolled through my body. So this is what it’s like. I broke away again, gasping slightly for breath. Reality crashed home. I sat up and scooted a few feet away, rubbing my face with both hands. What was I doing? “Ben, I—” His hand rose to cut me off. He leaned against the bench, face suddenly serious. “I’m not going to pretend anymore. One way or another, I’m going to say how I feel.” Ben snorted softly. “Make my case.” We sat still in the darkness, Sewee rocking gently, the scene dream-like and surreal. “You don’t have to make a case.” I stared at my shoes, had no idea where I wanted this conversation to go. “It’s just, things are—” “YO!” Our heads whipped in the voice’s direction. Ben scrambled to a crouch, scanning the silent bulk of Tern Point, as if just now recalling we were adrift at sea. The voice called down again, suddenly familiar. “What, are you guys paddling around the island? I don’t have a boat license, but that seems dumb.” “Shut up, Hi!” Ben shouted, with more heat than was necessary. Scowling, he slid behind the controls and fired the engine. I scurried to the bow, as far from the captain’s chair as I could manage and stay dry. You’ve done it now, Tory Brennan. Better hope there’s a life preserver somewhere. A glance back. Ben was watching me, looking for all the world like he had more to say. I quickly turned away. Nope. Nope nope nope. I needed some time to think about this one. Perhaps a decade? “Where are we?” I asked, changing the subject. Ben must’ve sensed that my “personal” shop was closed for business.

And even in the open air the stench of whiskey was appalling. To this fiendish poison, I am certain, the greater part of the squalor I saw is due. Many of these vermin were obviously not foreigners—I counted at least five American countenances in which a certain vanished decency half showed through the red whiskey bloating. Then I reflected upon the power of wine, and marveled how self-respecting persons can imbibe such stuff, or permit it to be served upon their tables. It is the deadliest enemy with which humanity is faced. Not all the European wars could produce a tenth of the havock occasioned among men by the wretched fluid which responsible governments allow to be sold openly. Looking upon that mob of sodden brutes, my mind’s eye pictured a scene of different kind; a table bedecked with spotless linen and glistening silver, surrounded by gentlemen immaculate in evening attire—and in the reddening faces of those gentlemen I could trace the same lines which appeared in full development of the beasts of the crowd. Truly, the effects of liquor are universal, and the shamelessness of man unbounded. How can reform be wrought in the crowd, when supposedly respectable boards groan beneath the goblets of rare old vintages? Is mankind asleep, that its enemy is thus entertained as a bosom friend? But a week or two ago, at a parade held in honour of the returning Rhode Island National Guard, the Chief Executive of this State, Mr. Robert Livingston Beeckman, prominent in New York, Newport, and Providence society, appeared in such an intoxicated condition that he could scarce guide his mount, or retain his seat in the saddle, and he the guardian of the liberties and interests of that Colony carved by the faith, hope, and labour of Roger Williams from the wilderness of savage New-England! I am perhaps an extremist on the subject of prohibition, but I can see no justification whatsoever for the tolerance of such a degrading demon as drink.

My childhood wasn’t a movie, of course, though it did have chase sequences, fight scenes, shoot-outs, skyjacking, life and death suspense, and suicide. The plot didn’t make much sense to me as a boy, but it does now. It turns out I was attending an academy of sorts, and though hopefully on different subjects, so were you. No matter what your major, you too have been studying people for a long time, carefully developing theories and strategies to predict what they might do.

Micah Goodman, a popular teacher on the Israeli scene and one of its young public intellectuals, wrote his first three books on Maimonides’s Guide to the Perplexed, Rabbi Yehudah Halevi’s medieval classic, The Kuzari, and the biblical book of Deuteronomy—hardly subjects one would expect to attract mass attention. Yet all three of Goodman’s books hit the Israeli bestseller list. Israelis were buying, reading, and thinking about books on subjects their grandparents had tried to evict from the Israeli conversation

What we, or at any rate what I, refer to confidently as memory—meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion—is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw.

What we, or at any rate what I, refer to confidently as memory—meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion—is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end. In any case, in talking about the past we lie with every breath we draw. —WILLIAM MAXWELL, So Long, See You Tomorrow

How unwise had the wanderers been, who had deserted its shelter, entangled themselves in the web of society, and entered on what men of the world call "life,"—that labyrinth of evil, that scheme of mutual torture. To live, according to this sense of the word, we must not only observe and learn, we must also feel; we must not be mere spectators of action, we must act; we must not describe, but be subjects of description. Deep sorrow must have been the inmate of our bosoms; fraud must have lain in wait for us; the artful must have deceived us; sickening doubt and false hope must have chequered our days; hilarity and joy, that lap the soul in ecstasy, must at times have possessed us. Who that knows what "life" is, would pine for this feverish species of existence? I have lived. I have spent days and nights of festivity; I have joined in ambitious hopes, and exulted in victory: now,—shut the door on the world, and build high the wall that is to separate me from the troubled scene enacted within its precincts. Let us live for each other and for happiness; let us seek peace in our dear home, near the inland murmur of streams, and the gracious waving of trees, the beauteous vesture of earth, and sublime pageantry of the skies. Let us leave "life," that we may live.

At the same time that he was devising a response to the Afghanistan incursion, Carter had to confront a much more acute crisis in Iran, where he had brought the greatest disaster of his presidency down upon himself. In November 1977, he welcomed the shah of Iran to the White House, and on New Year’s Eve in Tehran, raising his glass, he toasted the ruler. Though the shah was sustained in power by a vicious secret police force, Carter praised him as a champion of “the cause of human rights” who had earned “the admiration and love” of the Iranian people. Little more than a year later, his subjects, no longer willing to be governed by a monarch imposed on them by the CIA, drove the shah into exile. Critically ill, he sought medical treatment in the United States. Secretary of State Cyrus Vance warned that admitting him could have repercussions in Iran, and Carter hesitated. But under pressure from David Rockefeller, Henry Kissinger, and the head of the National Security Council, Zbigniew Brzezinski, he caved in. Shortly after the deposed shah entered the Mayo Clinic, three thousand Islamic militants stormed the US embassy compound in Tehran and seized more than fifty diplomats and soldiers. They paraded blindfolded US Marine guards, hands tied behind their backs, through the streets of Tehran while mobs chanted, “Death to Carter, Death to the Shah,” as they spat upon the American flag and burned effigies of the president—scenes recorded on camera that Americans found painful to witness.

Photography is our exorcism. Primitive society had its masks, bourgeois society its mirrors, and we have our images. We believe that we bend the world to our will by means of technology. In fact it is the world that imposes its will upon us with the aid of technology, and the surprise occasioned by this turning of the tables is considerable. You think you are photographing a scene for the pleasure of it, but in fact it is the scene that demands to be photographed, and you are merely part of the decor in the pictorial order it dictates. The subject is no more than the funnel through which things in their irony make their appearance. The image is the ideal medium for the vast self-promotion campaign undertaken by the world and by objects - forcing our imagination into self-effacement, our passions into extraversion, and shattering the mirror which we hold out (hypocritically, moreover) in order to capture them. The miraculous thing about the present period is that appearances, so long reduced to a voluntary servitude, have now become sovereign, and turned back towards (and against) us by means of the very technology from which we had earlier evicted them. Today they come from elsewhere, from their own place, from the heart of their banality, of their objectality: they surge forth on all sides, multiplying of their own accord, and joyfully. (The joy of taking photographs is an objective joy, and anyone who has never felt the objective transports of the image, some morning, in some town or desert, will never understand the pataphysical delicacy of the world.)

It's a dreadfully long monster of a book, and I certainly won't have time to read it, but I'm giving it a thorough skimming. The authors are utterly incompetent - no sense of style or structure at all. It starts out as a detective story, switches to science-fiction, then goes off into the supernatural, and is full of the most detailed information of dozens of ghastly boring subjects. And the time sequence is all out of order in a very pretentious imitation of Faulkner and Joyce. Worst yet, it has the most raunchy sex scenes, thrown in just to make it sell, I'm sure, and the authors - whom I've never heard of - have the supreme bad taste to introduce real political figures into this mishmash and pretend to be exposing a real conspiracy. You can be sure I won't waste time reading such rubbish.

The results of the most recent such study were published in Psychological Science at the end of 2008. A team of University of Michigan researchers, led by psychologist Marc Berman, recruited some three dozen people and subjected them to a rigorous, and mentally fatiguing, series of tests designed to measure the capacity of their working memory and their ability to exert top-down control over their attention. The subjects were then divided into two groups. Half of them spent about an hour walking through a secluded woodland park, and the other half spent an equal amount of time walking along busy down town streets. Both groups then took the tests a second time. Spending time in the park, the researchers found, “significantly improved” people’s performance on the cognitive tests, indicating a substantial increase in attentiveness. Walking in the city, by contrast, led to no improvement in test results. The researchers then conducted a similar experiment with another set of people. Rather than taking walks between the rounds of testing, these subjects simply looked at photographs of either calm rural scenes or busy urban ones. The results were the same. The people who looked at pictures of nature scenes were able to exert substantially stronger control over their attention, while those who looked at city scenes showed no improvement in their attentiveness. “In sum,” concluded the researchers, “simple and brief interactions with nature can produce marked increases in cognitive control.” Spending time in the natural world seems to be of “vital importance” to “effective cognitive functioning.

His reading habit was so varied that in his early teens, he was reading both Maxim Gorky’s Mother and the detective thrillers (Jasoosi Duniya) of Ibn-e-Safi. The detective thrillers—be it Indian or American pulp fiction—were a big favourite for their fast action, tight plots and economies of expression. He remembers the novels of Ibn-e-Safi for their fascinating characters with memorable names. ‘Ibn-e-Safi was a master at naming his characters. All of us who read him remember those names . . . There was a Chinese villain, his name was Sing Hi. There was a Portuguese villain called Garson . . . an Englishman who had come to India and was into yoga . . . was called Gerald Shastri.’ This technique of giving catchy names to characters would stay with him. The wide range of reading not only gave him the sensitivity with which progressive writers approached their subjects but also a very good sense of plot and speaking styles. Here, it would be apt to quote a paragraph from Ibn-e-Safi’s detective novel, House of Fear—featuring his eccentric detective, Imran. The conversation takes place just outside a nightclub: ‘So, young man. So now you have also starred frequenting these places?’ ‘Yes. I often come by to pay Flush,’ Imran said respectfully. ‘Flush! Oh, so now you play Flush . . .’ ‘Yes, yes. I feel like it when I am a bit drunk . . .’ ‘Oh! So you have also started drinking?’ ‘What can I say? I swear I’ve never drunk alone. Frequently I find hookers who do not agree to anything without a drink . . .’ This scene would find a real-life parallel as well as a fictional one in Javed’s life later. Javed

Whenever we attempt to express the matter of immediate experience, we find that its understanding leads us beyond itself, to its contemporaries, to its past, to its future, and to the universals in terms of which its definiteness is exhibited. But such universals, by their very character of universality, embody the potentiality of other facts with variant types of definiteness. Thus [22] the understanding of the immediate brute fact requires its metaphysical interpretation as an item in a world with some systematic relation to it. When thought comes upon the scene, it finds the interpretations as matters of practice. Philosophy does not initiate interpretations. Its search for a rationalistic scheme is the search for more adequate criticism, and for more adequate justification, of the interpretations which we perforce employ. Our habitual experience is a complex of failure and success in the enterprise of interpretation. If we desire a record of uninterpreted experience, we must ask a stone to record its autobiography. Every scientific memoir in its record of the ‘facts’ is shot through and through with interpretation. The methodology of rational interpretation is the product of the fitful vagueness of consciousness. Elements which shine with immediate distinctness, in some circumstances, retire into penumbral shadow in other circumstances, and into black darkness on other occasions. And yet all occasions proclaim themselves as actualities within the flux of a solid world, demanding a unity of interpretation. Philosophy is the self-correction by consciousness of its own initial excess of subjectivity.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

The Romans’ ideal was torn between heroism and glory. Both are epitomized in the instant of death. To die ‘fine death’ was their obsession: to snatch that moment, to gather - carpere - the instant of death. Tiberius died from the effort he had expended at the age of seventy-three by throwing the javelin at a boar in the arena at Circeii. The moment of death isn’t just a subject for painters. It isn’t simply the stuff of the odes and annals. The moment of death exists in the amphitheatre: human sacrifices, bullfights, denudations, tortures and carnivorous scenes. The ancient Romans had taken over the ‘sport’ associated with the figure of Phersu from the Etruscans. The populus romanus gambled on the men who would be put to death within the next hour- The jus gladii - this is the Roman Empire (the right of the sword, the right of life and death).

The Czech novelist Milan Kundera made a famous observation. ‘Kitsch,’ he wrote, ‘causes two tears to flow in quick succession. The first tear says: How nice to see children running on the grass! The second tear says: how nice to be moved, together with all mankind, by children running on the grass!’ Kitsch, in other words, is not about the thing observed but about the observer. It does not invite you to feel moved by the doll you are dressing so tenderly, but by yourself dressing the doll. All sentimentality is like this: it redirects emotion from the object to the subject, so as to create a fantasy of emotion without the real cost of feeling it. The kitsch object encourages you to think ‘look at me feeling this; how nice I am and how lovable’. That is why Oscar Wilde, referring to one of Dickens’s most sickly death-scenes, said that ‘a man must have a heart of stone not to laugh at the death of Little Nell’.

The insult, however, assumes its specific proportion in time. To be called a name is one of the first forms of linguistic injury that one learns. But not all name-calling is injurious. Being called a name is also one of the conditions by which a subject is constituted in language; indeed, it is one of the examples Althusser supplies for an understanding of “interpellation.”1 Does the power of language to injure follow from its interpellative power? And how, if at all, does linguistic agency emerge from this scene of enabling vulnerability? The problem of injurious speech raises the question of which words wound, which representations offend, suggesting that we focus on those parts of language that are uttered, utterable, and explicit. And yet, linguistic injury appears to be the effect not only of the words by which one is addressed but the mode of address itself, a mode—a disposition or conventional bearing—that interpellates and constitutes a subject.

SPIEGEL: You have a lot of respect for the Dalai Lama, you even rewrote some Buddhist writings for him. Are you a religious person? Cleese: I certainly don't think much of organized religion. I am not committed to anything except the vague feeling that there is something more going on than the materialist reductionist people think. I think you can reduce suffering a little bit, like the Buddhists say, that is one of the few things I take seriously. But the idea that you can run this planet in a rational and kind way -- I think it's not possible. There will always be these sociopaths at the top -- selfish people, power-seekers who want to spend their whole lives seeking it. Robin Skynner, the psychiatrist that I wrote two books with, said to me that you could begin to enjoy life when you realized how bad the planet is, how hopeless everything is. I reached that point these last two or three years when I saw that our existence here is absolutely hopeless. I see the rich people have got a stranglehold on us. If somebody had said that to me when I was 20, I would have regarded him as a left-wing loony. SPIEGEL: You may not have been a left-wing loony, but you were happy to attack and ridicule the church. The "Life of Brian," the story of a young man in Judea who isn't Jesus Christ, but is nevertheless followed like a savior and crucified afterwards, was regarded as blasphemy when it was released in 1979. Cleese: Well there was a small number of people in country towns, all very conservative, who got upset and said, "You can't show the film." So people hired a coach and drove 15 miles to the next town and went to see the film there. But a lot of Christians said, "We got it, we know that the joke is not about religion, but about the way people follow religion." If Jesus saw the Spanish Inquisition I think he would have said, "What are you doing there?" SPIEGEL: These days Muslims and Islam are risky subjects. Do you think they are good issues for satire? Cleese: For sure. In 1982, Graham Chapman and I wrote a number of scenes for "The Meaning of Life" movie which had an ayatollah in them. This ayatollah was raging against all the evil inventions of the West, you know, like toilet paper. These scenes were never included in the film, although I thought they were much better than many other scenes that were included. And that's why I didn't do any more Python films: I didn't want to be outvoted any longer. But I wouldn't have made fun of the prophet. SPIEGEL: Why not? Cleese: How could you? How could you make fun of Jesus or Saint Francis of Assisi? They were wonderful human beings. People are only funny when they behave inappropriately, when they've been taken over by some egotistical emotion which they can't control and they become less human. SPIEGEL: Is there a difference between making fun of our side, so to speak, the Western, Christian side, and Islam? Cleese: There shouldn't be a difference. [SPIEGEL Interview with John Cleese: 'Satire Makes People Think' - 2015]

The King who owned this island,” said Caspian slowly, and his face flushed as he spoke, “would soon be the richest of all Kings of the world. I claim this land forever as a Narnian possession. It shall be called Goldwater Island. And I bind all of you to secrecy. No one must know of this. Not even Drinian--on pain of death, do you hear?” “Who are you talking to?” said Edmund. “I’m no subject of yours. If anything it’s the other way round. I am one of the four ancient sovereigns of Narnia and you are under allegiance to the High King my brother.” “So it has come to that, King Edmund, has it?” said Caspian, laying his hand on his sword-hilt. “Oh, stop it, both of you,” said Lucy. “That’s the worst of doing anything with boys. You’re all such swaggering, bullying idiots--oooh!--” Her voice died away into a gasp. And everyone else saw what she had seen. Across the gray hillside above them--gray, for the heather was not yet in bloom--without noise, and without looking at them, and shining as if he were in bright sunlight though the sun had in fact gone in, passed with slow pace the hugest lion that human eyes have ever seen. In describing the scene Lucy said afterward, “He was the size of an elephant,” though at another time she only said, “The size of a cart-horse.” But it was not the size that mattered. Nobody dared to ask what it was. They knew it was Aslan. And nobody ever saw how or where he went. They looked at one another like people waking from sleep. “What were we talking about?” said Caspian. “Have I been making rather an ass of myself?” “Sire,” said Reepicheep, “this is a place with a curse on it. Let us get back on board at once. And if I might have the honor of naming this island, I should call it Deathwater.” “That strikes me as a very good name, Reep,” said Caspian, “though now that I come to think of it, I don’t know why. But the weather seems to be settling and I dare say Drinian would like to be off. What a lot we shall have to tell him.” But in fact they had not much to tell for the memory of the last hour had all become confused.

The Constructed Space" Meanwhile surely there must be something to say, Maybe not suitable but at least happy In a sense between us two whoever We are. Anyhow here we are and never Before have we two faced each other who face Each other now across this abstract scene Stretching between us. This is a public place Achieved against subjective odds and then Mainly an obstacle to what I mean. It is like that, remember. It is like that Very often at the beginning till we are met By some intention risen up out of nothing. And even then we know what we are saying Only when it is said and fixed and dead. Or maybe, surely, of course we never know What we have said, what lonely meanings are read Into the space we make. And yet I say This silence here for in it I might hear you. I say this silence or, better, construct this space So that somehow something may move across The caught habits of language to you and me. From where we are it is not us we see And times are hastening yet, disguise is mortal. The times continually disclose our home. Here in the present tense disguise is mortal. The trying times are hastening. Yet here I am More truly now this abstract act become.

He’d promised she would be “safe,” which she now realized left a great deal of room for personal interpretation. “If I’m going to remain,” she said uneasily, “I think we ought to agree to observe all the proprieties and conventions.” “Such as?” “Well, for a beginning, you really shouldn’t be calling me by my given name.” “Considering the kiss we exchanged in the arbor last night, it seems a little absurd to call you Miss Cameron.” It was the time to tell him she was Lady Cameron, but Elizabeth was too unstrung by his reference to those unforgettable-and wholly forbidden-moments in his arms to bother with that. “That isn’t the point,” she said firmly. “The point is that although last night did happen, it must not influence our behavior today. Today we ought-ought to be twice as correct in our behavior,” she continued, a little desperately and illogically, “to atone for what happened last night!” “Is that how it’s done?” he asked, his eyes beginning to glint with amusement. “Somehow I didn’t quite imagine you allowed convention to dictate your every move.” To a gambler without ties or responsibility, the rules of social etiquette and convention must be tiresome in the extreme, and Elizabeth realized it was imperative to convince him he must yield to her viewpoint. “Oh, but I am,” she prevaricated. “The Camerons are the most conventional people in the world! As you know from last night, I believe in death before dishonor. We also believe in God and country, motherhood and the king, and…and all the proprieties. We’re quite intolerably boring on the subject, actually.” “I see,” he said, his lips twitching. “Tell me something,” he asked mildly, “why would such a conventional person as yourself have crossed swords with a roomful of men last night in order to protect a stranger’s reputation?” “Oh, that,” Elizabeth said. “That was just-well, my conventional notion of justice. Besides,” she said, her ire coming to the fore as she recalled the scene in the card room last night, “it made me excessively angry when I realized that the only reason none of them would try to dissuade Lord Everly from shooting you was because you were not their social equal, while Everly is.” “Social equality?” he teased with a lazy, devastating smile. “What an unusual notion to spring from such a conventional person as yourself.” Elizabeth was trapped, and she knew it. “The truth is,” she said shakily, “that I am scared to death of being here.” “I know you are,” he said, sobering, “but I am the last person in the world you’ll ever have to fear.

Through the buzzing in her ears, she heard new sounds from outside, shouting and cursing. All of a sudden the carriage door was wrenched open and someone vaulted inside. Evie squirmed to see who it was. Her remaining breath was expelled in a faint sob as she saw a familiar glitter of dark golden hair. It was Sebastian as she had never seen him before, no longer detached and self-possessed, but in the grip of bone-shaking rage. His eyes were pale and reptilian as his murderous gaze fastened on Eustace, whose breath began to rattle nervously behind the pudgy ladder of his chin. “Give her to me,” Sebastian said, his voice hoarse with fury. “Now, you pile of gutter sludge, or I’ll rip your throat out.” Seeming to realize that Sebastian was eager to carry out the threat, Eustace released his chokehold on Evie. She scrambled toward Sebastian and took in desperate pulls of air. He caught her with a low murmur, his hold gentle but secure. “Easy, love. You’re safe now.” She felt the tremors of rage that ran in continuous thrills through his body. Sebastian sent a lethal glance to Eustace, who was trying to gather his jellylike mass into the far end of the seat. “The next time I see you,” Sebastian said viciously, “no matter what the circumstances, I’m going to kill you. No law, nor weapon, nor God Himself will be able to stop it from happening. So if you value your life, don’t let your path cross mine again.” Leaving Eustace in a quivering heap of speechless fear, Sebastian hauled Evie from the vehicle. She clung to him, still trying to regain her breath as she glanced apprehensively around the scene. It appeared that Cam had been alerted to the fracas, and was keeping her two uncles at bay. Brook was on the ground, while Peregrine was staggering backward from some kind of assault, his beefy countenance turning ruddy from enraged surprise. Swaying as her feet touched the ground, Evie turned her face into her husband’s shoulder. Sebastian was literally steaming, the chilly air striking off his flushed skin and turning his breath into puffs of white. He subjected her to a brief but thorough inspection, his hands running lightly over her, his gaze searching her pale face. His voice was astonishingly tender. “Are you hurt, Evie? Look up at me, love. Yes. Sweetheart… did they do you any injury?” “N-no.” Evie stared at him dazedly. “My uncle Peregrine,” she whispered, “he’s very p-powerful—” “I’ll handle him,” he assured her, and called out to Cam. “Rohan! Come fetch her.” The young man obeyed instantly, approaching Evie with long, fluid strides. He spoke to her with a few foreign-sounding words, his voice soothing her overwrought nerves. She hesitated before going with him, casting a worried glance at Sebastian. “It’s all right,” he said without looking at her, his icy gaze locked on Peregrine’s bullish form. “Go.

One of the most effective ways to quicken your story’s pace is to move from a static description of an object, place or person to an active scene. The classic method for accomplishing this is to have your character interact with the subject that’s been described. For instance, let’s say you’ve just written three paragraphs describing a wedding dress in a shop window. You’ve detailed the Belgian lace veil, the beaded bodice, the twelve-foot train, even the row of satin buttons down the sleeves. Instinctively you feel it’s time to move into an action scene, but how do you do it without making your transition obvious? A simple, almost seamless way is to initiate an action between your character (let’s call her Miranda) and the dress you’ve just described. Perhaps Miranda could be passing by on the sidewalk when the dress in the window catches her attention. Or she could walk into the shop and ask the shopkeeper how much the dress costs. This method works well to link almost any static description with a scene of action. Describe an elegant table, for instance, complete with crystal goblets, damask tablecloth, monogrammed napkins and sterling silver tableware; then let the maid pull a cloth from her apron and begin to polish one of the forks. Or describe a Superman kite lying beside a tree, then watch as a little girl grabs the string and begins to run. You will still be describing, but the nature of your description will have changed from static to active, thus quickening the story’s pace. Throughout

They had a very pleasant evening out together in Shrewsbury – she was lovely to him, they chatted to mutual acquaintances, laughed, drank quite a bit of wine. They settled into a relaxed mood together – Jason wondering why it couldn’t always be that way; and, in fact, she had closed down again by the time they were walking back to his flat, with a bag of chips shared between them. Something sparked the subject of family once more. He joked about one day being invited to meet her parents. ‘There you go again!’ she snapped. ‘It’s not as if you’re a serious boyfriend, or anything.’ He stopped dead, other revellers had to swerve around them. ‘Why do you say that? I know I’m serious about this. I just don’t get you at all.’ Her expression told him that she was not willing to discuss it. He threw the remnants of the chips into a plastic bin. ‘Adelaide, we’re so good together. We are, aren’t we? Admit it.’ ‘All right, I admit it. I do want you, Jason. Just not in the way you want.’ ‘I know I don’t pressure you. God, I put up with so much crap from you. Just spell it out to me. What is your problem?’ By some miracle of logistics, two police officers happened to be passing along the pedestrianised road. Adelaide used their presence as a way of ending the discussion, ‘Jason, you’re making a scene. I’m going home alone.’ ‘Adelaide!’ ‘Let’s leave it for now, Jason.’ ‘Adelaide!’ She skipped away into groups of passers-by. Infuriated beyond belief by her once more, Jason punched the plastic bin, causing a huge dent. The policemen looked over their shoulders briefly, but then continued on.

In the poem, Inanna, unveiled, sees her own mysterious depth, Ereshkigal, who glares back at her. She has an immediate, full experience of her underworld self. That naked moment is like the fifth scene in the Villa of Mysteries where the faun, looking into a mirror bowl, sees reflected back a mask of terrible Dionysus as lord of the underworld. It is the moment of self-confrontation for the goddess of active life and love. Archetypally, these eyes of death are implacable and profound, seeing an immediateness that finds pretense, ideals, even individuality and relatedness, irrelevant. They also hold and enable the mystery of a radically different, precultural mode of perception. Like the eyes in the skulls around the house of the Russian nature goddess and witch, Baba-Yaga, they perceive with an objectivity like that of nature itself and our dreams, boring into the soul to find the naked truth, to see reality beneath all its myriad forms and the illusions and defenses it displays. Western science once aspired to such vision. But we humans do not have such objective eyes. We can see only limited and relative, indeterminate truths. We and our subjectivity are part of the reality we seek to see. Before the vision of Ereshkigal, however, objective reality is unmasked. It is nothing"Neti,neti," as the Sanskrit says and yet everything, the place of paradox behind the veil of the Great Goddess and the temple of wisdom. These eyes see from and embody the starkness of the abyss that takes all back, reduces the dancing, playing maya of the goddess to inert matter and stops life on earth.

As the conference continued it occurred to me finally that it wasn't really about Indian history as it was written, but really about rewriting it by taking a fresh look at race, ethnicity, gender, and a mix of sociocultural questions... I just couldn't believe how far along the desi scene was, not just socially but intellectually, how many people were out there thinking about it. This whole event so far rocked my world, muddled me still more, and delivered a series of tiny epiphanies, all at the same time. To be honest, I was quite intimidated by the dialogue going on, as well as by the passion and conviction of these people on so many subjects which I, frankly, had never really even thought about. ...A history of a people in transit -- what could that be card catalogued under? And the history of the ABCD. Everyone seemed to know about this ABCD thing -- that didn't seem very confused to me! And it was a relatively new phenomenon; it had never occurred to me that things going on now could have a history already. The moments that made up my life in the present tense seemed so fleetingly urgent and self-contained to me: I'd always felt my life had very little to do with my parents' and especially their parents' histories...and that it would have very little effect on anything to come. But the way these people were talking -- about desis in Hollywood; South Asian Studies departments; the relatively new Asian Indian slot on the census -- was hummingly sculpting the air, as if they were making history as they spoke. Making it, messily but surely, even simply by speaking. I was feeling it, too -- a sense of history in the making. But where did I fit in to any of it? And how come no one had told me?

She and her brother got their usual table, right in front of the grimy, bulletproof window covered with steel bars. Nothing but the best seat in the house when visiting Kyle Rhodes. He laid into her the moment he sat down. “Who’s Tall, Dark, and Smoldering?” Jordan’s mouth dropped open. “Shut up. You’ve been reading Scene and Heard?” Kyle gestured to the bars. “What else am I supposed to do in this place?” “Repent. Reflect on your wrongdoings. Rehabilitate your criminal mind.” “You’re avoiding the question.” Yes, she was. Because her brother was number two on the list of people she really, really didn’t want to lie to, right after her father. “It’s no big deal. He’s just a guy I brought to Xander’s party.” Who, yes, happened to be tall, dark, and smoldering. Allegedly. And who occasionally made her smile, when he wasn’t busy getting under her skin. Like an itch she couldn’t scratch. Or a tick. “For five thousand dollars a head, I doubt he’s ‘just a guy,’ ” Kyle said. Suddenly, their friend Puchalski, the inmate with the black snake tattoo, was at their table. “So who’s this tall, dark, and smoldering jerk?” he asked Jordan, seemingly affronted. Jordan held out her hands. “Seriously, does everyone read Scene and Heard in this place?” Puchalski gestured to Kyle. “I snagged it from Sawyer here while he was reading the financial section. I’ve got to keep up with current events.” He winked. “I won’t be in this place forever, you know.” “You will be if you don’t shut your yap and start following the rules, Puchalski,” a guard warned as he passed by. The inmate scuttled off. Kyle picked up where they’d left off. “So now the big secret’s out.” Jordan glared at her brother, who apparently had decided to be more annoying than usual on this particular subject. “Yes, it’s true—I had a date. Ooh, shocking.

The main signpost that helps political realism to find its way through the landscape of international politics is the concept of interest defined in terms of power. This concept provides the link between reason trying to understand international politics and the facts to be understood. It sets politics as an autonomous sphere of action and understanding apart from other spheres, such as economics (understood in terms of interest defined as wealth), ethics, aesthetics, or religion. Without such a concept a theory of politics, international or domestic, would be altogether impossible, for without it we could not distinguish between political and nonpolitical facts, nor could we bring at least a measure of systematic order to the political sphere. We assume that statesmen think and act in terms of interest defined as power, and the evidence of history bears that assumption out. That assumption allows us to retrace and anticipate, as it were, the steps a statesman - past, present, or future - has taken or will take on the political scene. We look over his shoulder when he writes his dispatches; we listen in on his conversation with other statesmen; we read and anticipate his very thoughts. Thinking in terms of interest defined as power, we think as he does, and as disinterested observers we understand his thoughts and actions perhaps better than he, the actor on the political scene, does himself. The concept of interest defined as power imposes intellectual discipline upon the observer, infuses rational order into the subject matter of politics, and thus makes the theoretical understanding of politics possible. On the side of the actor, it provides for rational discipline in action and creates that astounding continuity in foreign policy which makes American, British, or Russian foreign policy appear as an intelligible, rational continuum, by and large consistent within itself, regardless of the different motives, preferences, and intellectual and moral qualities of successive statesmen.

can be horribly fallible, and is over-rated in courts of law. Psychological experiments have given us some stunning demonstrations, which should worry any jurist inclined to give superior weight to ‘eye-witness’ evidence. A famous example was prepared by Professor Daniel J. Simons at the University of Illinois. Half a dozen young people standing in a circle were filmed for 25 seconds tossing a pair of basketballs to each other, and we, the experimental subjects, watch the film. The players weave in and out of the circle and change places as they pass and bounce the balls, so the scene is quite actively complicated. Before being shown the film, we are told that we have a task to perform, to test our powers of observation. We have to count the total number of times balls are passed from person to person. At the end of the test, the counts are duly written down, but – little does the audience know – this is not the real test! After showing the film and collecting the counts, the experimenter drops his bombshell. ‘And how many of you saw the gorilla?’ The majority of the audience looks baffled: blank. The experimenter then replays the film, but this time tells the audience to watch in a relaxed fashion without trying to count anything. Amazingly, nine seconds into the film, a man in a gorilla suit strolls nonchalantly to the centre of the circle of players, pauses to face the camera, thumps his chest as if in belligerent contempt for eye-witness evidence, and then strolls off with the same insouciance as before (see colour page 8). He is there in full view for nine whole seconds – more than one-third of the film – and yet the majority of the witnesses never see him. They would swear an oath in a court of law that no man in a gorilla suit was present, and they would swear that they had been watching with more than usually acute concentration for the whole 25 seconds, precisely because they were counting ball-passes. Many experiments along these lines have been performed, with similar results, and with similar reactions of stupefied disbelief when the audience is finally shown the truth. Eye-witness testimony, ‘actual observation’, ‘a datum of experience’ – all are, or at least can be, hopelessly unreliable. It is, of course, exactly this unreliability among observers that stage conjurors exploit with their techniques of deliberate distraction.

The war against ISIS in Iraq was a long, hard slog, and for a time the administration was as guilty of hyping progress as the most imaginative briefers at the old “Five O’Clock Follies” in Saigon had been. In May 2015, an ISIS assault on Ramadi and a sandstorm that grounded U.S. planes sent Iraqi forces and U.S. Special Forces embedded with them fleeing the city. Thanks to growing hostility between the Iraqi government and Iranian-supported militias in the battle, the city wouldn’t be taken until the end of the year. Before it was over we had sent well over five thousand military personnel back to Iraq, including Special Forces operators embedded as advisors with Iraqi and Kurdish units. A Navy SEAL, a native Arizonan whom I had known when he was a boy, was killed in northern Iraq. His name was Charles Keating IV, the grandson of my old benefactor, with whom I had been implicated all those years ago in the scandal his name had branded. He was by all accounts a brave and fine man, and I mourned his loss. Special Forces operators were on the front lines when the liberation of Mosul began in October 2016. At immense cost, Mosul was mostly cleared of ISIS fighters by the end of July 2017, though sporadic fighting continued for months. The city was in ruins, and the traumatized civilian population was desolate. By December ISIS had been defeated everywhere in Iraq. I believe that had U.S. forces retained a modest but effective presence in Iraq after 2011 many of these tragic events might have been avoided or mitigated. Would ISIS nihilists unleashed in the fury and slaughter of the Syrian civil war have extended their dystopian caliphate to Iraq had ten thousand or more Americans been in country? Probably, but with American advisors and airpower already on the scene and embedded with Iraqi security forces, I think their advance would have been blunted before they had seized so much territory and subjected millions to the nightmare of ISIS rule. Would Maliki have concentrated so much power and alienated Sunnis so badly that the insurgency would catch fire again? Would Iran’s influence have been as detrimental as it was? Would Iraqis have collaborated to prevent a full-scale civil war from erupting? No one can answer for certain. But I believe that our presence there would have had positive effects. All we can say for certain is that Iraq still has a difficult road to walk, but another opportunity to progress toward that hopeful vision of a democratic, independent nation that’s learned to accommodate its sectarian differences, which generations of Iraqis have suffered without and hundreds of thousands of Americans risked everything for.

The picture of human life in the market-place, though its general tint was the sad gray, brown, or black of the English emigrants, was yet enlivened by some diversity of hue. A party of Indians—in their savage finery of curiously embroidered deerskin robes, wampum-belts, red and yellow ochre, and feathers, and armed with the bow and arrow and stone-headed spear—stood apart with countenances of inflexible gravity, beyond what even the Puritan aspect could attain. Nor, wild as were these painted barbarians, were they the wildest feature of the scene. This distinction could more justly be claimed by some mariners—a part of the crew of the vessel from the Spanish Main—who had come ashore to see the humours of Election Day. They were rough-looking desperadoes, with sun-blackened faces, and an immensity of beard; their wide short trousers were confined about the waist by belts, often clasped with a rough plate of gold, and sustaining always a long knife, and in some instances, a sword. From beneath their broad-brimmed hats of palm-leaf, gleamed eyes which, even in good-nature and merriment, had a kind of animal ferocity. They transgressed without fear or scruple, the rules of behaviour that were binding on all others: smoking tobacco under the beadle's very nose, although each whiff would have cost a townsman a shilling; and quaffing at their pleasure, draughts of wine or aqua-vitae from pocket flasks, which they freely tendered to the gaping crowd around them. It remarkably characterised the incomplete morality of the age, rigid as we call it, that a licence was allowed the seafaring class, not merely for their freaks on shore, but for far more desperate deeds on their proper element. The sailor of that day would go near to be arraigned as a pirate in our own. There could be little doubt, for instance, that this very ship's crew, though no unfavourable specimens of the nautical brotherhood, had been guilty, as we should phrase it, of depredations on the Spanish commerce, such as would have perilled all their necks in a modern court of justice. But the sea in those old times heaved, swelled, and foamed very much at its own will, or subject only to the tempestuous wind, with hardly any attempts at regulation by human law. The buccaneer on the wave might relinquish his calling and become at once if he chose, a man of probity and piety on land; nor, even in the full career of his reckless life, was he regarded as a personage with whom it was disreputable to traffic or casually associate. Thus the Puritan elders in their black cloaks, starched bands, and steeple-crowned hats, smiled not unbenignantly at the clamour and rude deportment of these jolly seafaring men; and it excited neither surprise nor animadversion when so reputable a citizen as old Roger Chillingworth, the physician, was seen to enter the market-place in close and familiar talk with the commander of the questionable vessel.

As the subject watches the movies, the MRI machine creates a 3-D image of the blood flow within the brain. The MRI image looks like a vast collection of thirty thousand dots, or voxels. Each voxel represents a pinpoint of neural energy, and the color of the dot corresponds to the intensity of the signal and blood flow. Red dots represent points of large neural activity, while blue dots represent points of less activity. (The final image looks very much like thousands of Christmas lights in the shape of the brain. Immediately you can see that the brain is concentrating most of its mental energy in the visual cortex, which is located at the back of the brain, while watching these videos.) Gallant’s MRI machine is so powerful it can identify two to three hundred distinct regions of the brain and, on average, can take snapshots that have one hundred dots per region of the brain. (One goal for future generations of MRI technology is to provide an even sharper resolution by increasing the number of dots per region of the brain.) At first, this 3-D collection of colored dots looks like gibberish. But after years of research, Dr. Gallant and his colleagues have developed a mathematical formula that begins to find relationships between certain features of a picture (edges, textures, intensity, etc.) and the MRI voxels. For example, if you look at a boundary, you’ll notice it’s a region separating lighter and darker areas, and hence the edge generates a certain pattern of voxels. By having subject after subject view such a large library of movie clips, this mathematical formula is refined, allowing the computer to analyze how all sorts of images are converted into MRI voxels. Eventually the scientists were able to ascertain a direct correlation between certain MRI patterns of voxels and features within each picture. At this point, the subject is then shown another movie trailer. The computer analyzes the voxels generated during this viewing and re-creates a rough approximation of the original image. (The computer selects images from one hundred movie clips that most closely resemble the one that the subject just saw and then merges images to create a close approximation.) In this way, the computer is able to create a fuzzy video of the visual imagery going through your mind. Dr. Gallant’s mathematical formula is so versatile that it can take a collection of MRI voxels and convert it into a picture, or it can do the reverse, taking a picture and then converting it to MRI voxels. I had a chance to view the video created by Dr. Gallant’s group, and it was very impressive. Watching it was like viewing a movie with faces, animals, street scenes, and buildings through dark glasses. Although you could not see the details within each face or animal, you could clearly identify the kind of object you were seeing. Not only can this program decode what you are looking at, it can also decode imaginary images circulating in your head.

In opting for large scale, Korean state planners got much of what they bargained for. Korean companies today compete globally with the Americans and Japanese in highly capital-intensive sectors like semiconductors, aerospace, consumer electronics, and automobiles, where they are far ahead of most Taiwanese or Hong Kong companies. Unlike Southeast Asia, the Koreans have moved into these sectors not primarily through joint ventures where the foreign partner has provided a turnkey assembly plant but through their own indigenous organizations. So successful have the Koreans been that many Japanese companies feel relentlessly dogged by Korean competitors in areas like semiconductors and steel. The chief advantage that large-scale chaebol organizations would appear to provide is the ability of the group to enter new industries and to ramp up to efficient production quickly through the exploitation of economies of scope.70 Does this mean, then, that cultural factors like social capital and spontaneous sociability are not, in the end, all that important, since a state can intervene to fill the gap left by culture? The answer is no, for several reasons. In the first place, not every state is culturally competent to run as effective an industrial policy as Korea is. The massive subsidies and benefits handed out to Korean corporations over the years could instead have led to enormous abuse, corruption, and misallocation of investment funds. Had President Park and his economic bureaucrats been subject to political pressures to do what was expedient rather than what they believed was economically beneficial, if they had not been as export oriented, or if they had simply been more consumption oriented and corrupt, Korea today would probably look much more like the Philippines. The Korean economic and political scene was in fact closer to that of the Philippines under Syngman Rhee in the 1950s. Park Chung Hee, for all his faults, led a disciplined and spartan personal lifestyle and had a clear vision of where he wanted the country to go economically. He played favorites and tolerated a considerable degree of corruption, but all within reasonable bounds by the standards of other developing countries. He did not waste money personally and kept the business elite from putting their resources into Swiss villas and long vacations on the Riviera.71 Park was a dictator who established a nasty authoritarian political system, but as an economic leader he did much better. The same power over the economy in different hands could have led to disaster. There are other economic drawbacks to state promotion of large-scale industry. The most common critique made by market-oriented economists is that because the investment was government rather than market driven, South Korea has acquired a series of white elephant industries such as shipbuilding, petrochemicals, and heavy manufacturing. In an age that rewards downsizing and nimbleness, the Koreans have created a series of centralized and inflexible corporations that will gradually lose their low-wage competitive edge. Some cite Taiwan’s somewhat higher overall rate of economic growth in the postwar period as evidence of the superior efficiency of a smaller, more competitive industrial structure.

As the most perfect subject for painting I have already specified inwardly satisfied [reconciled and peaceful] love, the object of which is not a purely spiritual ‘beyond’ but is present, so that we can see love itself before us in what is loved. The supreme and unique form of this love is Mary’s love for the Christ-child, the love of the one mother who has borne the Saviour of the world and carries him in her arms. This is the most beautiful subject to which Christian art in general, and especially painting in its religious sphere, has risen. The love of God, and in particular the love of Christ who sits at’ the right hand of God, is of a purely spiritual kind. The object of this love is visible only to the eye of the soul, so that here there is strictly no question of that duality which love implies, nor is any natural bond established between the lovers or any linking them together from the start. On the other hand, any other love is accidental in the inclination of one lover for another, or,’ alternatively, the lovers, e.g. brothers and sisters or a father in his love for his children, have outside this relation other conceI1l8 with an essential claim on them. Fathers or brothers have to apply themselves to the world, to the state, business, war, or, in short, to general purposes, while sisters become wives, mothers, and so forth. But in the case of maternal love it is generally true that a mother’s love for her child is neither something accidental just a single feature in her life, but, on the contrary, it is her supreme vocation on earth, and her natural character and most sacred calling directly coincide. But while other loving mothers see and feel in their child their husband and their inmost union with him, in Mary’s relation to her child this aspect is always absent. For her feeling has nothing in common with a wife’s love for her husband; on the contrary, her relation to Joseph is more like a sister’s to a brother, while on Joseph’s side there is a secret awe of the child who is God’s and Mary’s. Thus religious love in its fullest and most intimate human form we contemplate not in the suffering and risen Christ or in his lingering amongst his friends but in the person of Mary with her womanly feeling. Her whole heart and being is human love for the child that she calls her own, and at the same time adoration, worship, and love of God with whom she feels herself at one. She is humble in God’s sight and yet has an infinite sense of being the one woman who is blessed above all other virgins. She is not self-subsistent on her own account, but is perfect only in her child, in God, but in him she is satisfied and blessed, whether. at the manger or as the Queen of Heaven, without passion or longing, without any further need, without any aim other than to have and to hold what she has. In its religious subject-matter the portrayal of this love has a wide series of events, including, for example, the Annunciation, the Visitation, the Birth, the Flight into Egypt, etc. And then there are, added to this, other subjects from the later life of Christ, i.e. the Disciples and the women who follow him and in whom the love of God becomes more or less a personal relation of love for a living and present Saviour who walks amongst them as an actual man; there is also the love of the angels who hover over the birth of Christ and many other scenes in his life, in serious worship or innocent joy. In all these subjects it is painting especially which presents the peace and full satisfaction of love. But nevertheless this peace is followed by the deepest suffering. Mary sees Christ carry his cross, she sees him suffer and die on the cross, taken down from the cross and buried, and no grief of others is so profound as hers. Mary’s grief is of a totally different kind. She is emotional, she feels the thrust of the dagger into the centre of her soul, her heart breaks, but she does not turn into stone.

The photo was published in the majority of Brazilian newspapers in a full-page spread when CNN and all the television channels of the world broadcast the scene, they froze it for a few seconds. Or minutes, hours, I don't know. For me time has infinite duration--I don't know how to measure it by normal parameters. Trying doesn't even interest me. From the World Trade Center buildings, minutes, prior to their collapse--which would appear as a perfect and planned implosion--only a grayish-blue and black vertical lines can be seen. Like a modernist painting--by whom? Which artist painted lines? Mondrian? No, not Mondrian, he painted squares, rectangles. Anyway, in the picture, the man is falling head first. his body straight, one of his legs bent. Did he jump? Slip? Did he faint and then fall? He probably lost consciousness because of the height, the smoke. He fell. He disappeared from the scene, from life, from the city. A million tons of rubble buried him soon after. Nobody knows his name. Impossible for his family to have him identified. He's an unknown who entered into history at the twenty-first century's first great moment of horror--the history of the world, the United States, communications, photography. Without anyone knowing who he is. And nobody will ever know. We'll only have suppositions, families who'll swear that he was theirs. But was he Brazilian, American, Latino, Chinese, Italian, Irish--what? He could have been anything, but now he's nothing. One among thousands gone forever. And, while we're on the subject, what about the firemen who supposedly became such heroes that day--can you name a single one?

The different strategies and visions of ‘reformists’ and ‘radicals’ are not the only subject of major debate within lesbian, gay, bisexual and queer politics. The fact is that only a tiny minority of non-heterosexuals are involved in any sort of political activism. Various writers and activists have noted with rising alarm an almost mass depoliticisation of lesbian and gay communities in the 1990s. The crass commercialism of the gay scene and the rise of the so-called pink pound and of ‘lifestyle’ as a signifier of sexual identity (and human worth) has allowed huge profits to be reaped. Playing on the insecurities of people sells ‘packages’ which can include everything from ‘gay apartments’ to ‘gay holidays’ and ‘gay clothes’ to designer drugs.

To say that simple life-forms without nervous systems have pain is unnecessary and probably not correct. They certainly have some of the elements required to construct feelings of pain, but it is reasonable to hypothesize that for pain itself to emerge, as a mental experience, the organism needed to have a mind and that for that to pass, the organism needed a nervous system capable of mapping structures and events. In other words, I suspect that life-forms without nervous systems or minds had and have elaborate emotive processes, defensive and adaptive action programs, but not feelings. Once nervous systems entered the scene, the path for feelings was open. That is why even humble nervous systems probably allow some measure of feeling.5 It is often asked, not unreasonably, why feelings should feel like anything at all, pleasant or unpleasant, tolerably quiet or like an uncontainable storm. The reason should now be clear: when the full constellation of physiological events that constitutes feelings began to appear in evolution and provided mental experiences, it made a difference. Feelings made lives better. They prolonged and saved lives. Feelings conformed to the goals of the homeostatic imperative and helped implement them by making them matter mentally to their owner as, for example, the phenomenon of conditioned place aversion appears to demonstrate.6 The presence of feelings is closely related to another development: consciousness and, more specifically, subjectivity.

True, church murals in Bulgaria depict scenes where those who have taken cures from beautiful orisnitsi, or witches, are subjected to eccentric punishments in hell, such as having the Devil himself defecate on them, continuously. But to its credit, the Eastern Orthodox Church only condemned pagan practices in principle, not in practice.

Grief was boring. This was a shallow thought about a deep subject, but it was a valid observation.

In Zilboorg’s interpretation of the primal scene, women become sexual and economic slaves in the family. The co-operative socialist William Thompson provided a similar conjectural history of the origin of marriage. He argued that, ‘in the beginning’, men’s greater strength, aided by cunning, enabled them to enslave women. Men would have turned women into mere labourers except that they depend on women to satisfy their sexual, desires. If men had no sexual desire, or if the propagation of the species did not depend on men’s intervention in a form which also provided sexual gratification, there would have been no need for the institution in which ‘each man yokes a woman to his establishment, and calls it a contract.’ Women are ‘parcelled out amongst men, . . . one weak always coupled and subjected to one strong’.

ON HER WAY home from the restaurant, Rylann’s cell phone rang. For a moment, as she dug around in her purse to find it, she wondered if it would be Kyle, calling her about the Scene and Heard column. She could practically hear his low, teasing voice already. Just calling to check up on my favorite brunette bombshell, counselor. Thought I’d see if you’d be up for round four tonight. Rylann finally found her phone. Oh. Just her mother. “Mom…hi,” she answered. “Looks like I was right to warn you about that Kyle Rhodes.” Rylann stopped at a four-way intersection, immediately on high alert. How could her mother, down in Florida, possibly know anything? So she played it cool. “Not sure what you mean, Mom.” “I was just reading the Trib online,” Helen said. “The Twitter Terrorist made the Scene and Heard column again.” “You read Scene and Heard?” Rylann asked. “Sure. How else am I supposed to keep up with all the local gossip while we’re down here for the winter?” And by winter, she meant early May. “I haven’t seen this morning’s column,” Rylann said. And technically, that was true—she’d only heard it. “I was busy this morning, then went to lunch with Rae. I’m just walking home now.” “Apparently, he was spotted at some hot new nightclub. Leaving with a mysterious brunette bombshell in a red dress. Probably some skank he met that night.” Then her mother changed the subject, cheerfully moving on. “Anyway, what’s new with you, sweetie? Did you do anything exciting last night?” Yes. Kyle Rhodes. “Um, nothing special. Rae and I went out for a few drinks.” Rylann figured it was best to gloss over the rest of the details, seeing how her mother had just called her a skank.

He stood and stared into the distance for a long while; he knew this spot particularly well. While attending university it often happened — a hundred times, perhaps, usually on his way home — that he would pause at precisely this spot, look intently at this truly magnificent panorama and every time be almost amazed by the obscure, irresolvable impression it made on him. An inexplicable chill came over him as he gazed at this magnificence; this gorgeous scene was filled for him by some dumb, deaf spirit... He marvelled every time at this sombre, mysterious impression and, distrusting himself, put off any attempt to explain it. Now, all of a sudden, those old questions of his, that old bewilderment, came back to him sharply, and it was no accident, he felt, that they'd come back now. The simple fact that he'd stopped at the very same spot as before seemed outlandish and bizarre, as if he really had imagined that now he could think the same old thoughts as before, take an interest in the same old subjects and scenes that had interested him... such a short while ago. He almost found it funny, yet his chest felt so tight it hurt. In the depths, down below, somewhere just visible beneath his feet, this old past appeared to him in its entirety, those old thoughts, old problems, old subjects, old impressions, and this whole panorama, and he himself, and everything, everything... It was as if he were flying off somewhere, higher and higher, and everything was vanishing before his eyes... Making an involuntary movement with his hand, he suddenly sensed the twenty-copeck piece in his fist. He unclenched his hand, stared hard at the coin, drew back his arm and hurled the coin into the water; then he turned round and set off home. It felt as if he'd taken a pair of scissors and cut himself off from everyone and everything, there and then.

The TAT is a so-called projective test, which uses a set of cards to discover how people’s inner reality shapes their view of the world. Unlike the Rorschach cards we used with the veterans, the TAT cards depict realistic but ambiguous and somewhat troubling scenes: a man and a woman gloomily staring away from each other, a boy looking at a broken violin. Subjects are asked to tell stories about what is going on in the photo, what has happened previously, and what happens next. In most cases their interpretations quickly reveal the themes that preoccupy them.

November 30th What do you know? For once I favourably surprise myself. After I'd read Howard's exemplary "White Ship" on Friday night and spent yesterday idling about in Providence - woolgathering, I suppose - I've finally made up my mind to sit down and attempt to lick this novel into some kind of functional shape. The central character I'm thinking, is a young man in his early thirties. He's well educated, but if forced by economic circumstance to leave his home in somewhere like Milwaukee (on the principle of writing about somewhere that you know) to seek employment further east. I feel I should give him a name. I know that details of this sort could wait until much later in the process, but I don't feel able to flesh out his character sufficiently until I've at least worked out what he's called. There's been a twenty minute pause between the end of the foregoing sentence and the start of this one, but I think his first name should be Jonathan. Jonathan Randall is the name that comes to me, perhaps by way of Randall Carver. Yes, I think I like the sound of that. So, young Jonathan Randall realises that his yearnings for a literary life have to be put aside to spare his parents dwindling resources, and that he must make his own way in the world, through manual labour if needs be, in order to become the self-sufficient grownup he aspires to be. During an early scene, perhaps in a recounting of Jonathan's childhood, there should be some striking incident which foreshadows the supernatural or psychological weirdness that will dominate the later chapters. Thinking about this, it seems to me that this would be the ideal place to introduce the bridge motif I've toyed with earlier in these pages: since I'm quite fond of the opening paragraphs that I've already written, with that long description of America as a repository for all the world's religious or else occult visionaries, I think what I'll do is largely leave that as it is, to function as a kind of prologue and establish the requisite mood, and then open the novel proper with Jonathan and a school friend playing truant on a summer's afternoon at some remote and overgrown ravine or other, where there's a precarious and creaking bridge with fraying ropes and missing boards that joins the chasm's two sides. I could probably set up the story's major themes and ideas in the two companions' dialogue, albeit simply expressed in keeping with their age and limited experience. Perhaps they're talking in excited schoolboy tones about some local legend, ghost story or piece of folklore that's connected with the bridge or the ravine. This would provide a motive - the eternal boyish fascination with the ghoulish - for them having come to this ill-omened spot while playing hooky, and would also help establish Jonathan's obsession with folkloric subjects as explored in the remainder of the novel.

The other piece she produced that year was just as atypical. Maternity (1900) was the first mother and child scene she had ever drawn. And yet it was a subject she knew. The composition was tender, gentle, balanced – quite unlike her studies of older children and nudes.

Neither the phenomenology of the body, postmodernism, or cognitive science can just dispel the “myth of subjectivity” because all three of them, in distinct ways, need it to account for the very subject matter they take as their own. If the phenomenology of the body is to understand the very field of the (self-)appearing of phenomena to consciousness as embodied, then it has to come to terms with the breakthrough of transcendental reflexivity as a form of pure self-positing that institutes a subject-object schism rendering the very body that we live in Other to ourselves: “the subject (Self) is [...] immaterial: its One-ness, its self-identity, is not reducible to its material support. I am precisely not my body: the Self can only arise against the background of the death of its substantial being, of what it 'objectively' is.” Postmodernism needs to presuppose the pure I as something over and above the contingent field of non-finite cultural difference that it sets up even to talk about the complex network of discourses irreducible to naturalistic influences. Lastly, cognitive science cannot discard the subject if it is to explain the very possibility of how a gap in (material) being could emerge so that there is the basic distance from self that is necessary for the phenomenalization of reality. If we are to understand the true nature of the human being, Žižek's contention is that we must reread transcendental philosophy through the psychoanalytical category of Todestrieb, for both seem to cover the same theoretical set of problems in an uncanny manner; this unholy marriage of German Idealism and psychoanalysis aims to reconfigure the contemporary intellectual scene by offering a comprehensive system that is able to respond to the intrinsic limitations of all three disciplines.

If the emergence of the Symbolic out of the Real—the passage from nature to culture enacted by the founding gesture of subjectivity—is the advent of a completely self-enclosed, selfsustaining structural system, then not only must its founding gesture withdraw from the scene in the very act of instituting the Symbolic, but further, even to explain this act we must posit the absolute as a fragile not-all wrought by negativity and antagonism. Or.. as a series of less than nothings whose essence constitutes an ontologically incomplete field.

First, I am thrilled that paramedics are finally getting the respect they deserve for being the professionals they can be. The scope of practice is expanding, and patient care modalities are improving, seemingly by the minute. Patient outcomes are also improving as a result, and EMS is passing through puberty and forging into adulthood. On the other hand, autonomy in the hands of the “lesser-motivated,” can be a very dangerous thing. You know as well as I do that there are still plenty of providers who operate from a subjective, complacent, and downright lazy place. Combined with the ever-expanding autonomy, that provider just became more dangerous than he or she ever has been – to the patients and to you. Autonomy in patient care places more pressure for excellence on the provider charged with delivering it, and also on the partner and crew members on scene. Since the base hospital is not involved like it once was, they are likewise less responsible for the errors and omissions of the medics on the scene. Now more than ever, crew members are being held to answer for the mistakes and follies of their coworkers; now more than ever, EMS providers are working without a net. What’s next? I predict (and hope) emergency medical Darwinism is going to force some painful and necessary changes. First, increasing autonomy is going to result in the better and best providing superior patient care. More personal ownership of the results is going to manifest in outcomes such as increased cardiac arrest survival rates, faster and more complete stroke recovery, and significantly better outcomes for STEMI patients, all leading to the brass ring: EMS as a profession, not just a job. On the flip side of that coin, you will see consequences for the not-so-good and completely awful providers. There will be higher instances of licensure action, internal discipline, and wash-out. Unfortunately, all those things will stem from generally preventable negative patient outcomes. The danger for the better provider will be in the penumbra; the murky, gray area of time when providers are self-categorizing. Specifically, the better provider who is aware of the dangerously poor provider but does nothing to fix or flush him or her, is almost certain to be caught up in a bad situation caused by sloppy, complacent, or ultimately negligent patient care that should have been corrected or stopped. The answer is as simple as it is difficult. If you are reading this, it is more likely because you are one of the better, more committed, more professional providers. This transition is up to you. You must dig deep and find the strength necessary to face the issue and force the change; you have to demand more from yourself and from those around you. You must have the willingness to help those providers who want it – and respond to those who need it, but don’t want it – with tough love by showing them the door. In the end, EMS will only ever be as good as you make it. If you lay silent through its evolution, you forfeit the right to complain when it crumbles around you.

the Second World War every bond between man and man was to perish. Crimes were committed by the Germans, under the Hitlerite domination to which they allowed themselves to be subjected, which find no equal in scale and wickedness with any that have darkened the human record. The wholesale massacre by systematised processes of six or seven millions of men, women, and children in the German execution camps exceeds in horror the rough-and-ready butcheries of Genghis Khan, and in scale reduces them to pigmy proportions. Deliberate extermination of whole populations was contemplated and pursued by both Germany and Russia in the Eastern war. The hideous process of bombarding open cities from the air, once started by the Germans, was repaid twenty-fold by the ever-mounting power of the Allies, and found its culmination in the use of the atomic bombs which obliterated Hiroshima and Nagasaki. We have at length emerged from a scene of material ruin and moral havoc the like of which had never darkened the imagination of former centuries. After all that we suffered and achieved, we find ourselves still confronted with problems and perils not less but far more formidable than those through which we have so narrowly made our way.

photography can help us to grasp. The camera can capture scenes that pass too quickly, too remotely, or too obscurely for the subject to consciously perceive. By enlarging details, or by slowing down or stopping time, the camera pictures phenomena that the viewer has encountered and unconsciously registered but not consciously processed. This sense of the optical unconscious is not about making latent memory traces visible, however, but rather demonstrating the reach and complexity of unconscious perception,

First, he criticizes the sophists of the Hisbanite school. The Hisbanites maintain that nothing remains existent for two units of time, that everything in the world, whether it be substance or accident, is changing from moment to moment. From this they conclude that there is no Reality in the objective sense. Reality or Truth exists only subjectively, for it can be nothing other than the constant flux of things as you perceive it in a fixed form at this present moment. Though the Hisbanites are right in maintaining that the world as a whole and in its entirety is in perpetual transformation, they are mistaken in that they fail to see that the real oneness of the Substance which underlies all these (changing) forms. (They thereby overlook the fact that) the Substance could not exist (in the external world) if it were not for them (i.e. these changing forms) nor would the forms be conceivable if it were not for the Substance. If the Hisbanites could see this point too (in addition to the first point), their theory would be perfect with regard to this problem. Thus, for Ibn Arabi, the merit and demerit of the Hisbanite thesis are quite clear. They have hit upon a part of the truth in that they have seen the constant change of the world. But they overlook the most important part of the matter in that they do not know the true nature of the Reality which is the very substrate in which all these changes are happening, and consider it merely a subjective construct of each individual mind. Concerning the Ash'arites, Ibn Arabi says: As for the Ash'arites, they fail to see that the world in its entirety (including even the so-called 'substances') is a sum of 'accidents', and that, consequently, the whole world is changing from moment to moment since no 'accident' (as they themselves hold) remains for two units of time. And al-Qashani: The Ash'arites do not know the reality of the world; namely, that the world is nothing other than the whole of all these 'forms' which they call 'accidents'. Thus they only assert the existence of substances (i.e., atoms) which are in truth nothin, having no existence (in the real sense of the word). And they are not aware of the one Entity ('ayn) which manifests itself in these forms ('accidents' as they call them); nor do they know that this one Entity is the He-ness of the Absolute. This is why they assert (only) the (perpetual) change of the accidents. According to the basic thesis of the Ash'arite ontology, the world is reduced to an infinite number of 'indivisible parts', i.e., atoms. These atoms are, in themselves, unknowable. They are knowable only in terms of the 'accidents' that occur to them, one accident appearing in a locus at one moment and disappearing in the next to be replaced by another. The point Ibn Arabi makes against this thesis is that these 'accidents' that go on being born and annihilated in infinitely variegated forms are nothing but so many self-manifestations of the Absolute. And thus behind the kaleidoscopic scene of the perpetual changes and transformations there is always a Reality which is eternally 'one'. And it is this one Reality itself that goes on manifesting itself perpetually in ever new forms. The Ash'arites who overlook the existence of this one Reality underlies all 'accidents' are, according to Ibn Arabi, driven into the self-contradictory thesis that a collection of a number of transitory 'accidents' that appear and disappear and never remain for two moments constitute 'things' that subsist by themselves and continue to exist for a long time.

It’s the antithesis of reason and logic. History’s littered with fools dying for love, going to war for love. Ruining themselves for love. That’s not romantic. It’s imbecilic. Look at Lady Caroline Lamb, smashing a glass and making a scene when Byron ended their affair.” He shook his head. “Ridiculous.” Tess bit back a laugh at his fervency. For someone who claimed to be dispassionate, he seemed to have very strong views on the subject. “And what about the Trojan War?” he continued. “That all started because Paris thought he was in love with Helen, another man’s wife. He wasn’t in love, he was in lust. And he dragged thousands of men to their death because of his unruly loins.

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If we look at depictions of Abraham sacrificing Isaac, or the Wedding at Cana, or the Sermon on the Mount, there is far more variability in how Renaissance painters imagined the scenes. So why this strict adherence to form in the case of the Annunciation? I would argue (and have argued; see Renaissance Quarterly volume XX, issue 3) that for the Renaissance masters the Annunciation was the equivalent of the sonnet for the Elizabethan poets: an artistic endeavor with strict rules that tested the ingenuity of the craftsman and allowed him to showcase his talents to his peers. The Annunciation was the perfect subject matter for such a game because it simultaneously required the rendition of a landscape in the distance and an architectural space up close, interior and exterior light, the human and divine forms, and the varied textures of fabric, feathers, and a flower. In other words, if one could paint an Annunciation, one could paint anything. Needless to say, in tackling his Annunciation, DiDomenico followed form.

Of the Seven Joys, the scene that most interested the painters of the Italian Renaissance was the Annunciation: the moment in which the Archangel Gabriel announces to the Virgin Mary that she is, miraculously, with child. All of the era’s masters tackled this subject, and exquisitely so. Fra Angelico (ca. 1440), Filippo Lippi (ca. 1455), Piero della Francesca (ca. 1455), Leonardo da Vinci (ca. 1473), Botticelli (1489), Raphael (1503), etc. But what is most interesting, and perhaps most revealing, about the masters’ interest in the Annunciation, is that they all chose to paint it with the same composition. While, in theory, the scene could be imagined in a thousand different ways, for the Italian masters Mary was always on the right side of the painting and the Archangel always on the left; Mary was generally seated with a book at hand, and the winged Gabriel kneeling with a lily; Mary was always in a quasi-interior (such as under a portico or in a room that opened on a garden) while Gabriel was either outside the interior space or in front of a window—such that the countryside could be seen in the distance over his shoulder.

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There is perhaps no more compelling voice on this subject than John Dominic Crossan, the professor emeritus of religious studies at DePaul University and a former ordained priest. In Who Killed Jesus?, he asks whether the Gospels’ incendiary depiction of the tribunal before Pilate was “a scene of Roman history” or “Christian propaganda.” He answered the question, in part, with the following passage: “However explicable its origins, defensible its invectives, and understandable its motives among Christians fighting for survival, its repetition has now become the longest lie, and, for our own integrity, we Christians must at last name it as such.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

A few were journalists and one a novelist, who wanted to get it right. (Rhyme welcomed his presence; he himself was the subject of a series of novels based on cases he’d run and had written the author on several occasions about misrepresentations of real crime scene work. “Must you sensationalize?”)

We watched the selfsame scene on that long drive, Saw the magnificent purples, as one eye, Of those near mountains; saw the storm arrive; Laid up the sight in memory, you and I, As if for joint recallings, by and by. But our eye-records, like in hue and line, Had superimposed on them, that very day, Gravings on your side deep, but slight on mine! – Tending to sever us thenceforth alway; Mine commonplace; yours tragic, gruesome, grey. Here are two people supposedly sharing the same objective environment – the ‘near mountains’. Their life-states, however, are very different: during ‘that long drive’ the writer appears to have been in the state of Tranquillity or Humanity, and his companion in Hell. To the writer, therefore, the mountains were impressive but of no great significance, while to his companion they appeared Hellish. In short, the subjective reality experienced by this couple is, to all intents and purposes, of two different environments.

Made you the subject of my dreams, I was always the first to hear your screams. Haven't you had enough of all these schemes? Re-run all the scenes...Haven't you noticed we're being a bit too extreme? I know not everything is as it seems, but aren't you tired of floating downstream?