Selection Novel Quotes

Prince Maxon surveyed the room and found me. Our eye met for a moment, and he smiled.

Every novel is an ideal plane inserted into the realm of reality.

when we reach the point when our lives take on their final shape as in a novel we can identify our happiest moment selecting it in retrospective

The contract between the author and the reader is a game. And the game . . . is one of the greatest invetions of Western civilization: the game of telling stories, inventing characters, and creating the imaginary paradise of the individual, from whence no one can be expelled because, in a novel, no one owns the truth and everyone has the right to be heard and understood.

Formerly I believed books were made like this: a poet came, lightly opened his lips, and the inspired fool burst into song – if you please! But it seems, before they can launch a song, poets must tramp for days with callused feet, and the sluggish fish of the imagination flounders softly in the slush of the heart. And while, with twittering rhymes, they boil a broth of loves and nightingales, the tongueless street merely writhes for lack of something to shout or say

How can 5 judges decide the best book of the year without reading every book of the year? While some lucky authors can enter the contest, others may never get the chance to do so due to the tough nomination and selection processes. And how can the judges’ decision be right when we know that submitting the same books to different panels will result in different winners?

It goes without saying that a fine short poem can have the resonance and depth of an entire novel.

....one of those long, romantic novels, six hundred and fifty pages of small print, translated from French or German or Hungarian or something -- because few of the English ones have the exact feeling I mean. And you read one page of it or even one phrase of it, and then you gobble up all the rest and go about in a dream for weeks afterwards, for months afterwards -- perhaps all your life, who knows? -- surrounded by those six hundred and fifty pages, the houses, the streets, the snow, the river, the roses, the girls, the sun, the ladies' dresses and the gentlemen's voices, the old, wicked, hard-hearted women and the old, sad women, the waltz music -- everything. What is not there you put in afterwards, for it is alive, this book, and it grows in your head. 'The house I was living in when I read that book,' you think, or 'This colour reminds me of that book.

The novel is the privileged vehicle of two ways of being: narrative and freedom: to be new (novel) in a speech open to all, and to be free in a speech that never concludes.

What is a novel if not a conviction of our fellow-men's existence strong enough to take upon itself a form of imagined life clearer than reality and whose accumulated verisimilitude of selected episodes puts to shame the pride of documentary history.

A novel is a tricky thing to map.

I appreciate the scientific rigor with which you’ve approached this project, Anna,” said Christopher, who had gotten jam on his sleeve. “Though I don’t think I could manage to collect that many names and also pursue science. Much too time-consuming.” Anna laughed. “How many names would you want to collect, then?” Christopher tilted his head, a brief frown of concentration crossing his face, and did not reply. “I would only want one,” said Thomas. Cordelia thought of the delicate tracery of the compass rose on Thomas’s arm, and wondered if he had any special person in mind. “Too late for me to only have one,” declared Matthew airily. “At least I can hope for several names in a carefully but enthusiastically selected list.” “Nobody’s ever tried to seduce me at all,” Lucie announced in a brooding fashion. “There’s no need to look at me like that, James. I wouldn’t say yes, but I could immortalize the experience in my novel.” “It would be a very short novel, before we got hold of the blackguard and killed him,” said James. There was a chorus of laughter and argument. The afternoon sun was sinking in the sky, its rays catching the jeweled hilts of the knives in Anna’s mantelpiece. They cast shimmering rainbow patterns on the gold-and-green walls. The light illuminated Anna’s shabby-bright flat, making something in Cordelia’s heart ache. It was such a homey place, in a way that her big cold house in Kensington was not. “What about you, Cordelia?” said Lucie. “One,” said Cordelia. “That’s everyone’s dream, isn’t it, really? Instead of many who give you little pieces of themselves—one who gives you everything.” Anna laughed. “Searching for the one is what leads to all the misery in this world,” she said. “Searching for many is what leads to all the fun.

Even now, so many years later, all this is somehow a very evil memory. I have many evil memories now, but ... hadn't I better end my "Notes" here? I believe I made a mistake in beginning to write them, anyway I have felt ashamed all the time I've been writing this story; so it's hardly literature so much as a corrective punishment. Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are expressly gathered together here, and what matters most, it all produces an unpleasant impression, for we are all divorced from life, we are all cripples, every one of us, more or less. We are so divorced from it that we feel at once a sort of loathing for real life, and so cannot bear to be reminded of it. Why, we have come almost to looking upon real life as an effort, almost as hard work, and we are all privately agreed that it is better in books. And why do we fuss and fume sometimes? Why are we perverse and ask for something else? We don't know what ourselves. It would be the worse for us if our petulant prayers were answered. Come, try, give any one of us, for instance, a little more independence, untie our hands, widen the spheres of our activity, relax the control and we ... yes, I assure you ... we should be begging to be under control again at once. I know that you will very likely be angry with me for that, and will begin shouting and stamping. Speak for yourself, you will say, and for your miseries in your underground holes, and don't dare to say all of us-- excuse me, gentlemen, I am not justifying myself with that "all of us." As for what concerns me in particular I have only in my life carried to an extreme what you have not dared to carry halfway, and what's more, you have taken your cowardice for good sense, and have found comfort in deceiving yourselves. So that perhaps, after all, there is more life in me than in you. Look into it more carefully! Why, we don't even know what living means now, what it is, and what it is called? Leave us alone without books and we shall be lost and in confusion at once. We shall not know what to join on to, what to cling to, what to love and what to hate, what to respect and what to despise. We are oppressed at being men--men with a real individual body and blood, we are ashamed of it, we think it a disgrace and try to contrive to be some sort of impossible generalised man. We are stillborn, and for generations past have been begotten, not by living fathers, and that suits us better and better. We are developing a taste for it. Soon we shall contrive to be born somehow from an idea. But enough; I don't want to write more from "Underground." [The notes of this paradoxalist do not end here, however. He could not refrain from going on with them, but it seems to us that we may stop here.]

The novelist makes his statements by selection, and if he is any good, he selects every word for a reason, every detail for a reason, every incident for a reason, and arranges them in a certain time-sequence for a reason. He demonstrates something that cannot possibly be demonstrated any other way than with a whole novel.

Her hospitality was something exquisite; she had the gift which so many women lack, of being able to make themselves and their houses belong entirely to a guest's pleasure,--that charming surrender for the moment of themselves and whatever belongs to them, so that they make a part of one's own life that can never be forgotten.

New Rule: Gun-control people have to stop pressuring Starbucks to ban guns. I want my gun nuts overcaffeinated, twitchy, and accident-prone. That way, the problem will take care of itself. Plus, if just one gun nut kills just one pseudo-intellectual writing a screenplay-slash-graphic-novel on his iPad, natural selection is doing its job.

people who don’t know what to title their novels/movies can title them ‘where’s waldo’ and insert waldo (or not, depending on tone) in one scene

So it is that we are unhappy we sense more acutely the unhappiness of others; rather than dispersing, the emotion becomes focused...

Being the bigger person didn’t mean I was weak and couldn’t defend myself, it just meant I was selective with what and who deserved my energy.

Remember that we must all die: all these personal relations we try to live by are temporary. I used to feel death selected people, it is a notion one gets from novels, because some of the characters are usually left talking at the end. Now 'death spares no one' begins to be real.

unbelievable fairy tale ever. And now, people read those BDSM books like they’re going out of style because it makes them wet. That sure as fuck doesn’t make it a good novel. A porno movie will make them wet too, but it sure doesn’t mean it’s a good movie. I fucking swear,” he said.

Art is not like other culture because its success is not made by its audience. The public fills concert halls and cinemas every day, we read novels by the millions and buy records by the billions. We the people, affect the making and the quality of most of our culture, but not our art. The Art we look at is made by only a select few. A small group create, promote, purchase, exhibit and decide the success of Art. Only a few hundred people in the world have a real say. When you go to an Art gallery you are simply a tourist looking at a trophy cabinet of a few millionaries.

Ruskin says that anyone who expects perfection from a work of art knows nothing of works of art. This is an appealing sentence that, so far as I can see, is not true about a few pictures and statues and pieces of music, short stories and short poems. Whether or not you expect perfection from them, you get it; at least, there is nothing in them that you would want changed. But what Ruskin says is true about novels: anyone who expects perfection from even the greatest novel knows nothing of novels.

Every novel, after all, invites us into a world that is, at first, strange; our gradual and selective orientation to its furniture and manners imitates the infant’s happy accommodations to his dawning environment.

Now I pass up about twenty-five or thirty thousand of honest gain because I like being a detective, like the work. And liking work makes you want to do it as well as you can. Otherwise there’d be no sense to it. That’s the fix I am in. I don’t know anything else, don’t enjoy anything else, don’t want to know or enjoy anything else. You can’t weight that against any sum of money. Money’s good stuff. I haven’t anything against it.

A man receives only what he is ready to receive, whether physically or intellectually or morally, as animals conceive at certain seasons their kind only. We hear and apprehend only what we already half know. If there is something which does not concern me, which is out of my line, which by experience or by genius my attention is not drawn to, however novel and remarkable it may be, if it is spoken, we hear it not, if it is written, we read it not, or if we read it, it does not detain us. Every man thus tracks himself through life, in all his hearing and reading and observation and traveling. His observations make a chain. The phenomenon or fact that cannot in any wise be linked with the rest which he has observed, he does not observe. By and by we may be ready to receive what we cannot receive now. I find, for example, in Aristotle some thing about the spawning, etc., of the pout and perch, because I know something about it already and have my attention aroused; but I do not discover till very late that he has made other equally important observations on the spawning of other fishes, because I am not interested in those fishes.

Memory retains some things and discards others. I remember every detail of some scenes from my childhood and adolescence, by no means the most important ones. I remember some people and have totally forgotten others. Memory is like the headlights of a car at night, which fall now on a tree, now on a hut, now on a man. People (usually writers) who tell the story of their lives as a continuous and detailed whole generally fill in the gaps with conjecture; it is hard to tell where genuine reminiscence ends and the novel begins.

Upon publication of The Troll Garden, Witter Bynner sent a copy (along with some of his own poetry) to Henry James, who responded that he found it difficult to read new novels, especially those written by American women, but nevertheless would make an effort for Miss Cather.

We are accustomed to understand art to be only what we hear and see in theaters, concerts, and exhibitions, together with buildings, statues, poems, novels. . . . But all this is but the smallest part of the art by which we communicate with each other in life. All human life is filled with works of art of every kind — from cradlesong, jest, mimicry, the ornamentation of houses, dress, and utensils, up to church services, buildings, monuments, and triumphal processions. It is all artistic activity. So that by art, in the limited sense of the word, we do not mean all human activity transmitting feelings, but only that part which we for some reason select from it and to which we attach special importance.

O, I do read Indian novels sometimes. But you know, Ms Rupinder, what we Indians want in literature, at least the kind written in English, is not literature at all, but flattery. We want to see ourselves depicted as soulful, sensitive, profound, valorous, wounded, tolerant and funny beings. All that Jhumpa Lahiri stuff. But the truth is, we are absolutely nothing of that kind. What are we, then, Ms Rupinder? We are animals of the jungle, who will eat our neighbour's children in five minutes, and our own in ten. Keep this in mind before you do any business in this country.

What seemed novel about the use of focus groups in the 1992 campaign was the increasingly narrow part of the population to which either party was interested in listening, and the extent to which this extreme selectivity had transformed the governing of the country, for most of its citizens, into a series of signals meant for someone else.

No matter how daring or cautious you may choose to be, in the course of your life you are bound to come into direct physical contact with what’s known as Evil. I mean here not a property of the gothic novel but, to say the least, a palpable social reality that you in no way can control. No amount of good nature or cunning calculations will prevent this encounter. In fact, the more calculating, the more cautious you are, the greater is the likelihood of this rendezvous, the harder its impact. Such is the structure of life that what we regard as Evil is capable of a fairly ubiquitous presence if only because it tends to appear in the guise of good. You never see it crossing your threshold announcing itself: “Hi, I’m Evil!” That, of course, indicates its secondary nature, but the comfort one may derive from this observation gets dulled by its frequency.

The Jedi were certainly aware of the tremendous potential, but they restrained themselves.” “Precisely what they did with the Force, as some have said. If they had made use of their full powers, the war would have ended in a heartbeat. And the galaxy would be in a different state entirely. For all their purported objectivity, they weren’t scientists, they were mystics. For a thousand generations that sufficed. Notions of right and wrong can no longer be dictated by a select group to safeguard some personal vision of the truth.

Assim vamos remando, barcos a navegar contra a correnteza, incessantemente levados de volta ao passado

If clergymen knew their congregations as well as physicians do, the sermons would be often more closely related to the parish needs.

T’aint’ no use to look for public sperit ‘less you’ve got some yourself.

We are more likely to busy ourselves with finding things to do than in doing with our might the work that is in our hands already.

An independent woman selects her own perfume—scents to accent her style, her personality, her ambition. —DB

Man has done his best to ruin the world he lives in.

The library opened in January 1873. Membership was five dollars a year. At the time, five dollars represented several days' pay for an average worker, so only affluent people were able to join. Library rules were schoolmarmish and scoldy. Men were required to remove their hats upon entering the library, and patrons were discouraged from reading too many novels, lest they turn into what the association labeled "fiction fiends." Books considered to be "of dubious moral effect, or trashy, ill-written ones, or flabby ones" were excluded from the collection. Women were not allowed to use the main facilities, but a "Ladies Room" with a selection of magazines was added soon after the library opened. Children were not allowed in the library at all.

To stay married, you need a fair amount of ignorance. Selective forgetting is what makes close proximity possible. It’s what we forget about someone that lets us find some peace, some happiness.

The images selected by memory are as arbitrary, as narrow, as elusive as those which the imagination had formed and reality has destroyed. There is no reason why, existing outside ourselves, a real place should conform to the pictures in our memory rather than those in our dreams. And besides, a fresh reality will perhaps make us forget, detest even, the desires on account of which we set out on our journey.

Then that had passed. It was 1923 and I wrote a book and discovered that my doom, fate, was to keep on writing books: not for any exterior or ulterior purpose: just writing the books for the sake of writing the books;

When I agreed to give this address, I started trying to think what the best advice I'd been given over the years was. And it came from Stephen King twenty years ago, at the height of the success of Sandman. I was writing a comic that people loved and were taking seriously. King had like Sandman and my novel with Terry Pratchett, Good Omens, and he saw a madness, the long signing lines, all that, and his advice was this: "This is really great. You should enjoy it." And I didn't. Best advice I got that I ignored. Instead I worried about it. I worried about the next deadline, the next idea, the next story. There wasn't a moment for the next fourteen or fifteen years that I wasn't writing something in my head, or wondering about it. And I didn't stop and look around and go, This is really fun. I wish I'd enjoyed it more. It's been an amazing ride. But there were parts of the ride I missed, because I was too worried about things going wrong, about what came next, to enjoy the bit I was on. That was the hardest lesson for me, I think: to let go and enjoy the ride, because the ride takes you to some remarkable and unexpected places.

I often wondered a great deal about the inner life and thought of these self-contained old fishermen; their minds seemed to be fixed upon nature and the elements rather than upon any contrivances of man, like politics or theology.

As for Proust, his contribution has been to create, from an obstinate contemplation of reality, a closed world that belonged only to him and that indicated his victory over the transitoriness of things and over death. But he uses absolutely the opposite means. He upholds, above everything, by a deliberate choice, a careful selection of unique experience, which the writer chooses from the most secret recesses of his past. Immense empty spaces are thus discarded from life because they have left no trace in the memory. If the American novel is the novel of men without memory, the world of Proust is nothing but memory. It is concerned only with the most difficult and most exacting of memories, the memory that rejects the dispersion of the actual world and derives, from the trace of a lingering perfume, the secret of a new and ancient universe. Proust chooses the interior life and, of the interior life, that which is more interior than life itself in preference to what is forgotten in the world of reality— in other words, the purely mechanical and blind aspects of the world. But by his rejection of reality he does not deny reality. He does not commit the error, which would counterbalance the error of American fiction, of suppressing the mechanical. He unites, on the contrary, into a superior form of unity, the memory of the past and the immediate sensation, the twisted foot and the happy days of times past.

Sublime Books The Known World, by Edward P. Jones The Buried Giant, by Kazuo Ishiguro A Thousand Trails Home, by Seth Kantner House Made of Dawn, by N. Scott Momaday Faithful and Virtuous Night, by Louise Glück The Left Hand of Darkness, by Ursula K. Le Guin My Sentence Was a Thousand Years of Joy, by Robert Bly The World Without Us, by Alan Weisman Unfortunately, It Was Paradise, by Mahmoud Darwish Collected Fictions, by Jorge Luis Borges, trans. Andrew Hurley The Xenogenesis Trilogy, by Octavia E. Butler Map: Collected and Last Poems, by Wisława Szymborska In the Lateness of the World, by Carolyn Forché Angels, by Denis Johnson Postcolonial Love Poem, by Natalie Diaz Hope Against Hope, by Nadezhda Mandelstam Exhalation, by Ted Chaing Strange Empire, by Joseph Kinsey Howard Tookie’s Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Let’s Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick O’Brian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder Incarceration Felon, by Reginald Dwayne Betts Against the Loveless World, by Susan Abulhawa Waiting for an Echo, by Christine Montross, M.D. The Mars Room, by Rachel Kushner The New Jim Crow, by Michelle Alexander This Is Where, by Louise K. Waakaa’igan I Will Never See the World Again, by Ahmet Altan Sorrow Mountain, by Ani Pachen and Adelaide Donnelley American Prison, by Shane Bauer Solitary, by Albert Woodfox Are Prisons Obsolete?, by Angela Y. Davis 1000 Years of Joys and Sorrows, by Ai Weiwei Books contain everything worth knowing except what ultimately matters. —Tookie * * * If you are interested in the books on these lists, please seek them out at your local independent bookstore. Miigwech! Acknowledgments

This was the end of some of those friendships. They were left behind, artifacts of youth, boxed up with my comic books, my sketchbooks ans journals, and the rest of my teenage mementos. Only a select few of my high school comrades, like Mike, would remain lifelong pals.

Although there have been documented reports of SARS-CoV escaping from laboratories,68 the fact that the COVID-19 coronavirus, SARS-CoV-2, was optimized for binding to human cells in a novel way suggests that the new pandemic we now face is a product of natural selection.

If the plot is a machine that allows you to get from set piece to set piece, and the set pieces are things without which the reader or the viewer would feel cheated, then, whatever it is, it’s genre. If the plot exists to get you from the lone cowboy riding into town to the first gunfight to the cattle rustling to the showdown, then it’s a Western. If those are simply things that happen on the way, and the plot encompasses them, can do without them, doesn’t actually care if they are in there or not, then it’s a novel set in the old West.

In a variation on James's recipe for interesting experience--the familiar leavened by the novel--Hobbs's "art of choosing difficulties" requires selecting projects that are "just manageable." If an activity is too easy, you lose focus and get bored. If it's too hard, you become anxious, overwhelmed, and unable to concentrate. Tellingly, one group is distinguished by its zeal for the kind of work that requires you to give it all you've got: high achievers particularly relish taking on risky projects that have only a 50/50 chance of success.

There are people who call themselves Archivists...Back when the Hundred Committee made their selections, the Archivists knew the works that didn't get selected would become a commodity. so they saved some of them. The Archivists have illegal ports, ones they've built themselves, for storing things...

To be really realistic a description would have to be endless. Where Stendhal describes in one phrase Lucien Leuwen's entrance into a room, the realistic artist ought, logically, to fill several volumes with descriptions of characters and settings, still without succeeding in exhausting every detail. Realism is indefinite enumeration. By this it reveals that its real ambition is conquest, not of the unity, but of the totality of the real world. Now we understand why it should be the official aesthetic of a totalitarian revolution. But the impossibility of such an aesthetic has already been demonstrated. Realistic novels select their material, despite themselves, from reality, because the choice and the conquest of reality are absolute conditions of thought and expression. To write is already to choose. There is thus an arbitrary aspect to reality, just as there is an arbitrary aspect to the ideal, which makes a realistic novel an implicit problem novel. To reduce the unity of the world of fiction to the totality of reality can only be done by means of an a priori judgment which eliminates form, reality, and everything that conflicts with doctrine. Therefore so-called socialist realism is condemned by the very logic of its nihilism to accumulate the advantages of the edifying novel and propaganda literature.

All writers struggle at some point with the problem of balance between authority and involvement, seduction and revelation. Specifically, beginning writers wonder how much description to employ, and more advanced writers ask how much plot is too much or too little. And there is no better place to find answers than in the Victoria's Secret catalogue--or in any ad for lingerie--where the arts of seduction and revelation are so successfully practiced. After all, the secret of the effective lingerie ad is the secret of effective storytelling--to provide, moment by moment, the illusion of imminent expose, to give the viewer (read: reader) the uncanny sense that something fundamentally compelling is always just about to be revealed. Lingerie ads and storytelling balance the veiled and the unveiled, the seen and the unseen, the shown and the about-to-be-shown. In short, it is the art of the tease, the craft of selective 'coverage,' that, not just in lingerie but in storytelling, works to enthrall.

The book I selected for him was Corelli’s Mandolin, a novel set on a small Greek island occupied by the Italian army during World War II. During the course of the story, the islanders have to accept the fact that they no longer control their own destiny and must come together and adapt to the new reality. In the end, they win by losing.

If I were to live a hundred years, and write three novels in each, I should never be so proud of any of them, as I am of Pickwick, feeling as I do, that it has made its own way, and hoping, as I must own I do hope, that long after my hand is withered as the pens it held, Pickwick will be found on many a dusty shelf with many a better work.

We go so far in our vigorous observance of the first commandment, and our fear of worshiping strange gods, that sometimes we are in danger of forgetting that we must worship God himself. And worship is something different from a certain sort of constant church-going, or from even trying to be conformers and to keep our own laws and our neighbors’.

It was a sunny Sunday morning in spring when I got the call from an editor at the literary journal Gunzo telling me that Hear the Wind Sing had been short-listed for their Prize for New Writers. Almost a year had passed since the season opener at Jingu Stadium, and I had already turned thirty. It was around eleven a.m., but I was still fast asleep, having worked very late the night before. I picked up the receiver, but I was so groggy I had no idea at first who was on the other end or what he was trying to say. To tell the truth, by that time I had quite forgotten having sent Hear the Wind Sing to Gunzo. Once I had finished the manuscript and put it in someone else’s hands, my desire to write had completely subsided. Composing it had been, so to speak, an act of defiance—I had written it very easily, just as it came to me—so the idea that it might make the short list had never occurred to me. In fact, I had sent them my only copy. If they hadn’t selected it, it probably would have vanished forever. I probably never would have written another novel. Life is strange, when you think about it.

The more one lives out of doors the more personality there seems to be in what we call inanimate things. The strength of the hills and the voice of the waves are no longer only grand poetical sentences, but an expression of something real, and more and more one finds God himself in the world, and believes that we may read the thoughts that He writes for us in the book of Nature.

Sometimes people would ask me about Tolkien, and I would explain that I did not, and do not, think of The Lord of the Rings as English Fantasy but as High Fantasy.) It was a novel about the reconciliation of the mundane and the miraculous, in which the world of faerie and the world of men are, perhaps, not as divided as they appear, but might simply be different ways of addressing the same thing.

I have felt ashamed all the time I've been writing this story; so it's hardly literature so much as a corrective punishment. Why, to tell long stories, showing how I have spoiled my life through morally rotting in my corner, through lack of fitting environment, through divorce from real life, and rankling spite in my underground world, would certainly not be interesting; a novel needs a hero, and all the traits for an anti-hero are EXPRESSLY gathered together here, and what matters most, it all produces an unpleasant impression, for we are all divorced from life, we are all cripples, every one of us, more or less. We are so divorced from it that we feel at once a sort of loathing for real life, and so cannot bear to be reminded of it. Why, we have come almost to looking upon real life as an effort, almost as hard work, and we are all privately agreed that it is better in books.

It is not one’s surroundings that can help or hinder – it is having a growing purpose in one’s life to make the most of whatever is in one’s reach. If you have but a few good books, learn those to the very heart of them. Don’t for one moment believe that if you had different surroundings and opportunities you would find the upward path any easier to climb. One condition is like another, if you have not the determination and the power to grow in yourself.

Writing novels, to me, is basically a kind of manual labor. Writing itself is mental labor, but finishing an entire book is closer to manual labor. It doesn’t involve heavy lifting, running fast, or leaping high. Most people, though, only see the surface reality of writing and think of writers as involved in quiet, intellectual work done in their study. If you have the strength to lift a coffee cup, they figure, you can write a novel. But once you try your hand at it, you soon find that it isn’t as peaceful a job as it seems. The whole process—sitting at your desk, focusing your mind like a laser beam, imagining something out of a blank horizon, creating a story, selecting the right words, one by one, keeping the whole flow of the story on track—requires far more energy, over a long period, than most people ever imagine. You might not move your body around, but there’s grueling, dynamic labor going on inside you.

You’ve been wandering about Juarez like a zombie in a though experiment, an experiment in collective guilt, where the zombie is shown the morgue-slab photos, and responds by saying “I’m truly sorry”, and making out a check to Amnesty International, or Nuestra Hijas de Regreso a Casa, or maybe Save the Children or Habitat for Humanity, and then sealing the whole deal by forging his own signature. What’s that you say? You didn’t know it was forged? No wonder the authorities are beginning to get suspicious. We’re sorry to be the ones to break this to you, but the violence that man is doing to his home is not some sort of thought experiment, and the last thing on earth the world needs now is yet another anonymous onlooker, trying to get the picture; our drawing isn’t a drawing exactly, it’s more of a kind of framing device, and you, mon frère, so slow to get the picture, are not only under suspicion, but about to be framed. We didn’t exactly select you at random, and you’re not precisely The Viewer in the abstract sense, and we’re not about to give you a bird’s eye view of anything, or a view of Juarez from high atop a smelting stack; we’re about to put you back exactly where you belong, wearing Douchebag’s shoes, in the middle of the picture, because while Douchebag isn’t you in any literal sense, you appear to be standing in Douchebag shoes, and Douchebag, unfortunately, is now your problem.

As the Earth responds to the changes we humans have made, does it make sense to destroy ecosystems that thrive under the new conditions? As Lugo says, “This is nature’s response to what we have done to it.” Novel ecosystems may be our best hope for the future, as their components adapt to the human-dominated world using the time-tested method of natural selection. Could we hope to do any better than nature in managing and arranging our natural world for a warmer, more populous future?

The artist, he imagined, standing in the position of mediator between the world of his experience and the world of his dreams—a mediator, consequently gifted with twin faculties, a selective faculty and a reproductive faculty. To equate these faculties was the secret of artistic success: the artist who could disentangle the subtle soul of the image from its mesh of defining circumstances most exactly and re-embody it in artistic circumstances chosen as the most exact for it in its new office, he was the supreme artist.

It is often said that a strategy is a choice or a decision. The words “choice” and “decision” evoke an image of someone considering a list of alternatives and then selecting one of them. There is, in fact, a formal theory of decisions that specifies exactly how to make a choice by identifying alternative actions, valuing outcomes, and appraising probabilities of events. The problem with this view, and the reason it barely lightens a leader’s burden, is that you are rarely handed a clear set of alternatives. In the case at hand, Hannibal was certainly not briefed by a staff presenting four options arranged on a PowerPoint slide. Rather, he faced a challenge and he designed a novel response. Today, as then, many effective strategies are more designs than decisions—are more constructed than chosen. In these cases, doing strategy is more like designing a high-performance aircraft than deciding which forklift truck to buy or how large to build a new factory. When someone says “Managers are decision makers,” they are not talking about master strategists, for a master strategist is a designer.

Tookie’s Pandemic Reading Deep Survival, by Laurence Gonzales The Lost City of the Monkey God, by Douglas Preston The House of Broken Angels, by Luis Alberto Urrea The Heartsong of Charging Elk, by James Welch Selected Stories of Anton Chekhov, trans. Richard Pevear and Larissa Volokhonsky The Sound of a Wild Snail Eating, by Elisabeth Tova Bailey Let’s Take the Long Way Home, by Gail Caldwell The Aubrey/Maturin Novels, by Patrick O’Brian The Ibis Trilogy, by Amitav Ghosh The Golden Wolf Saga, by Linnea Hartsuyker Children of Time, by Adrian Tchaikovsky Coyote Warrior, by Paul VanDevelder

Designer pathogens would be the most difficult to fight, since their sequences would be entirely novel. However, since labs now possess machinery that can “read” the code quickly, sequencing a novel pathogen is simpler than at any other time; this does not ensure our capability to fight such a novel attacker, and if such a novel virus does more than infect, it could rewrite humanity’s genetic code in one lifetime, perhaps in a matter of months by selecting for individuals with latent genes awaiting the aforementioned activation. Let’s then assume that a governmental response to a synthetically-derived novel virus is to test all victims

... and I knew what I wanted: I would settle in a hill station and write my novel. I had visions of myself at a table on a large veranda, my notes spread out in front of me next to a steaming cup of tea. Green hills heavy with mists would lie at my feet and the shrill cries of monkeys would fill my ears. The weather would be just tight, requiring a light sweater mornings and evenings, and something short-sleeved midday. Thus set up, pen in hand, for the sake of greater truth, I would turn Portugal into a fiction. That's what fiction is about, isn't it, the selective transforming the reality? The twisting of it to bring out its essence? What need did I have to go to Portugal?

The Mongols who inherited Genghis Khan’s empire exercised a determined drive to move products and commodities around and to combine them in ways that produced entirely novel products and unprecedented invention. When their highly skilled engineers from China, Persia, and Europe combined Chinese gunpowder with Muslim flamethrowers and applied European bell-casting technology, they produced the cannon, an entirely new order of technological innovation, from which sprang the vast modern arsenal of weapons from pistols to missiles. While each item had some significance, the larger impact came in the way the Mongols selected and combined technologies to create unusual hybrids. The

This was no coincidence. The best short stories and the most successful jokes have a lot in common. Each form relies on suggestion and economy. Characters have to be drawn in a few deft strokes. There's generally a setup, a reveal, a reversal, and a release. The structure is delicate. If one element fails, the edifice crumbles. In a novel you might get away with a loose line or two, a saggy paragraph, even a limp chapter. But in the joke and in the short story, the beginning and end are precisely anchored tent poles, and what lies between must pull so taut it twangs. I'm not sure if there is any pattern to these selections. I did not spend a lot of time with those that seemed afraid to tell stories, that handled plot as if it were a hair in the soup, unwelcome and embarrassing. I also tended not to revisit stories that seemed bleak without having earned it, where the emotional notes were false, or where the writing was tricked out or primped up with fashionable devices stressing form over content. I do know that the easiest and the first choices were the stories to which I had a physical response. I read Jennifer Egan's "Out of Body" clenched from head to toe by tension as her suicidal, drug-addled protagonist moves through the Manhattan night toward an unforgivable betrayal. I shed tears over two stories of childhood shadowed by unbearable memory: "The Hare's Mask," by Mark Slouka, with its piercing ending, and Claire Keegan's Irishinflected tale of neglect and rescue, "Foster." Elizabeth McCracken's "Property" also moved me, with its sudden perception shift along the wavering sightlines of loss and grief. Nathan Englander's "Free Fruit for Young Widows" opened with a gasp-inducing act of unexpected violence and evolved into an ethical Rubik's cube. A couple of stories made me laugh: Tom Bissell's "A Bridge Under Water," even as it foreshadows the dissolution of a marriage and probes what religion does for us, and to us; and Richard Powers's "To the Measures Fall," a deftly comic meditation on the uses of literature in the course of a life, and a lifetime. Some stories didn't call forth such a strong immediate response but had instead a lingering resonance. Of these, many dealt with love and its costs, leaving behind indelible images. In Megan Mayhew Bergman's "Housewifely Arts," a bereaved daughter drives miles to visit her dead mother's parrot because she yearns to hear the bird mimic her mother's voice. In Allegra Goodman's "La Vita Nuova," a jilted fiancée lets her art class paint all over her wedding dress. In Ehud Havazelet's spare and tender story, "Gurov in Manhattan," an ailing man and his aging dog must confront life's necessary losses. A complicated, only partly welcome romance blossoms between a Korean woman and her demented

Writing novels, to me, is basically a kind of manual labor. Writing itself is mental labor, but finishing an entire book is closer to manual labor. It doesn’t involve heavy lifting, running fast, or leaping high. Most people, though, only see the surface reality of writing and think of writers as involved in quiet, intellectual work done in their study. If you have the strength to lift a coffee cup, they figure, you can write a novel. But once you try your hand at it, you soon find that it isn’t as peaceful a job as it seems. The whole process—sitting at your desk, focusing your mind like a laser beam, imagining something out of a blank horizon, creating a story, selecting the right words, one by one, keeping the whole flow of the story on track—requires far more energy, over a long period, than most people ever imagine.

Nobody is ever made happy by winning the lottery, buying a house, getting a promotion or even finding true love. People are made happy by one thing and one thing only – pleasant sensations in their bodies. A person who just won the lottery or found new love and jumps from joy is not really reacting to the money or the lover. She is reacting to various hormones coursing through her bloodstream and to the storm of electric signals flashing between different parts of her brain. Unfortunately for all hopes of creating heaven on earth, our internal biochemical system seems to be programmed to keep happiness levels relatively constant. There's no natural selection for happiness as such - a happy hermit's genetic line will go extinct as the genes of a pair of anxious parents get carried on to the next generation. Happiness and misery play a role in evolution only to the extent that they encourage or discourage survival and reproduction. Perhaps it's not surprising, then, that evolution has moulded us to be neither too miserable nor too happy. It enables us to enjoy a momentary rush of pleasant sensations, but these never last for ever. Sooner of later they subside and give place to unpleasant sensations. (...) Some scholars compare human biochemistry to an air-conditioning system that keeps the temperature constant, come heatwave or snowstorm. Events might momentarily change the temperature, but the air-conditioning system always returns the temperature to the same set point. Some air-conditioning systems are set at twenty-five degrees Celsius. Others are set at twenty degrees. Human happiness conditioning systems also differ from person to person. On a scale from one to ten, some people are born with a cheerful biochemical system that allows their mood to swing between levels six and ten, stabilising with time at eight. Such a person is quite happy even if she lives in an alienating big city, loses all her money in a stock-exchange crash and is diagnosed with diabetes. Other people are cursed with a gloomy biochemistry that swings between three and seven and stabilises at five. Such an unhappy person remains depressed even if she enjoys the support of a tight-knit community, wins millions in the lottery and is as healthy as an Olympic athlete (...) incapable of experiencing anything beyond level seven happiness. Her brain is simply not built for exhilaration, come what may. (...) Buying cars and writing novels do not change our biochemistry. They can startle it for a fleeting moment, but it is soon back to the set point.

Many of these fears were also stoked by Aldous Huxley’s prophetic 1931 novel Brave New World. In this dystopia, there are large test-tube-baby factories that produce clones. By selectively depriving oxygen from these fetuses, it is possible to produce children of different levels of brain damage. At the top are the alphas, who suffer no brain damage and are bred to rule society. At the bottom are the epsilons, who suffer significant brain damage and are used as disposable, obedient workers. In between are additional levels made up of other workers and the bureaucracy. The elite then control society by flooding it with mind-altering drugs, free love, and constant brainwashing. In this way, peace, tranquility, and harmony are maintained, but the novel asked a disturbing question that resonates even today: How much of our freedom and basic humanity do we want to sacrifice in the name of peace and social order?

Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

A box of dominoes, a deck of cards, those were under the folded blankets. There are a lot of paperbacks on the shelves in the bedrooms, detective novels mostly, recreational reading. Beside them are the technical books on trees and the other reference books, Edible Plants and Shoots, Tying the Dry Fly, The Common Mushrooms, Log Cabin Construction, A Field Guide to the Birds, Exploring Your Camera, he believed that with the proper guidebooks you could do everything yourself; and his cache of serious books: the King James Bible which he said he enjoyed for its literary qualities, a complete Robert Burns, Boswell’s Life, Thompson’s Seasons, selections from Goldsmith and Cowper. He admired what he called the eighteenth-century rationalists: he thought of them as men who had avoided the corruptions of the Industrial Revolution and learned the secret of the golden mean, the balanced life, he was sure they all practiced organic farming. It astounded me to discover much later, in fact my husband told me, that Burns was an alcoholic, Cowper a madman, Dr. Johnson a manic-depressive and Goldsmith a pauper. There was something wrong with Thompson also; “escapist” was the term he used. After that I liked them better, they weren’t paragons any more.

Say what you will of religion, but draw applicable conclusions and comparisons to reach a consensus. Religion = Reli = Prefix to Relic, or an ancient item. In days of old, items were novel, and they inspired devotion to the divine, and in the divine. Now, items are hypnotizing the masses into submission. Take Christ for example. When he broke bread in the Bible, people actually ate, it was useful to their bodies. Compare that to the politics, governments and corrupt, bumbling bureacrats and lobbyists in the economic recession of today. When they "broke bread", the economy nearly collapsed, and the benefactors thereof were only a select, decadent few. There was no bread to be had, so they asked the people for more! Breaking bread went from meaning sharing food and knowledge and wealth of mind and character, to meaning break the system, being libelous, being unaccountable, and robbing the earth. So they married people's paychecks to the land for high ransoms, rents and mortgages, effectively making any renter or landowner either a slave or a slave master once more. We have higher class toys to play with, and believe we are free. The difference is, the love of profit has the potential, and has nearly already enslaved all, it isn't restriced by culture anymore. Truth is not religion. Governments are religions. Truth does not encourage you to worship things. Governments are for profit. Truth is for progress. Governments are about process. When profit goes before progress, the latter suffers. The truest measurement of the quality of progress, will be its immediate and effective results without the aid of material profit. Quality is meticulous, it leaves no stone unturned, it is thorough and detail oriented. It takes its time, but the results are always worth the investment. Profit is quick, it is ruthless, it is unforgiving, it seeks to be first, but confuses being first with being the best, it is long scale suicidal, it is illusory, it is temporary, it is vastly unfulfilling. It breaks families, and it turns friends. It is single track minded, and small minded as well. Quality, would never do that, my friends. Ironic how dealing and concerning with money, some of those who make the most money, and break other's monies are the most unaccountable. People open bank accounts, over spend, and then expect to be held "unaccountable" for their actions. They even act innocent and unaccountable. But I tell you, everything can and will be counted, and accounted for. Peace can be had, but people must first annhilate the love of items, over their own kind.

The 1950s and 1960s: philosophy, psychology, myth There was considerable critical interest in Woolf ’s life and work in this period, fuelled by the publication of selected extracts from her diaries, in A Writer’s Diary (1953), and in part by J. K. Johnstone’s The Bloomsbury Group (1954). The main critical impetus was to establish a sense of a unifying aesthetic mode in Woolf ’s writing, and in her works as a whole, whether through philosophy, psychoanalysis, formal aesthetics, or mythopoeisis. James Hafley identified a cosmic philosophy in his detailed analysis of her fiction, The Glass Roof: Virginia Woolf as Novelist (1954), and offered a complex account of her symbolism. Woolf featured in the influential The English Novel: A Short Critical History (1954) by Walter Allen who, with antique chauvinism, describes the Woolfian ‘moment’ in terms of ‘short, sharp female gasps of ecstasy, an impression intensified by Mrs Woolf ’s use of the semi-colon where the comma is ordinarily enough’. Psychological and Freudian interpretations were also emerging at this time, such as Joseph Blotner’s 1956 study of mythic patterns in To the Lighthouse, an essay that draws on Freud, Jung and the myth of Persephone.4 And there were studies of Bergsonian writing that made much of Woolf, such as Shiv Kumar’s Bergson and the Stream of Consciousness Novel (1962). The most important work of this period was by the French critic Jean Guiguet. His Virginia Woolf and Her Works (1962); translated by Jean Stewart, 1965) was the first full-length study ofWoolf ’s oeuvre, and it stood for a long time as the standard work of critical reference in Woolf studies. Guiguet draws on the existentialism of Jean-Paul Sartre to put forward a philosophical reading of Woolf; and he also introduces a psychobiographical dimension in the non-self.’ This existentialist approach did not foreground Woolf ’s feminism, either. his heavy use of extracts from A Writer’s Diary. He lays great emphasis on subjectivism in Woolf ’s writing, and draws attention to her interest in the subjective experience of ‘the moment.’ Despite his philosophical apparatus, Guiguet refuses to categorise Woolf in terms of any one school, and insists that Woolf has indeed ‘no pretensions to abstract thought: her domain is life, not ideology’. Her avoidance of conventional character makes Woolf for him a ‘purely psychological’ writer.5 Guiguet set a trend against materialist and historicist readings ofWoolf by his insistence on the primacy of the subjective and the psychological: ‘To exist, for Virginia Woolf, meant experiencing that dizziness on the ridge between two abysses of the unknown, the self and

I have taken a different approach. One that I hope is more easily accessible to the reader’s emotional imagination, though less analytically systematic. I have summoned back into life again—through my own translations from a selection of popular Chinese novel sand poems—some of the imagined worlds in which Chinese have passed their daily reality during the last two hundred years. I have tried to convey something of what it felt like to be a Chinese, living in Chinese society, in different settings of status, age, and gender, and how this has changed over time. For reasons of method, I have looked at a small number of organically coherent emotional spaces, contained in individual works or parts of works, and considered them in detail. ... It would be pretending to more wisdom than I have to claim that the selection I have made is the result of a rigorous intellectual winnowing process from a harvest of widespread reading in late-imperial and modern Chinese literature. Honesty compels the admission that it is more the outcome of chance, serendipity, and whatever happened to catch my imagination, for reasons that I am probably in no position to do more than guess at. ... In so far as there has been a guiding principle behind my choices it has been the desire to show as much as the constraints of space allow of the contrasts among those in different social position, different periods, and different ideologies.

Starting probably with those conversations so long ago with Aunt Sarah Jane, I have learned to understand the old structure of racism as a malevolent convention, the malevolence of which is hard to locate in the conscious intentions of most people. It was a circumstance that was mostly taken for granted. It was inexcusable, and yet we had the formidable excuse of being used to it. It was an injustice both accommodated and varyingly obscured not only by daily custom, but also by the exigencies and preoccupations of daily life. We left the issue alone, not exactly by ignoring it, but by observing an elaborate etiquette that permitted us to ignore it. White people who wished to think well of themselves did not use the language of racial insult in front of black people. But the problem for us white people, as we had finally to understand, was that we could not be selectively complicit. To be complicit at all, even thoughtlessly by custom, was to be complicit in the whole extent and reach of the injustice. It is hard for a customary indifference to unstick itself from the abominations to which it tacitly consents. But we were used to it. What is hardest to get used to maybe, once you are aware, is the range of things humans are able to get used to. I was more used to this once than I am now. Aunt Sarah Jane’s plain talk of racial injustice as she knew it, thereby introducing the fester of it into the conscience of a small boy, who knew it only as the accepted way and a mandatory etiquette, was by the measure of that time remarkable. To the extent that her talk was a discomfort and an instruction, it was a service.

Filming was done outside San Antonio, Texas. The scale of the production was vast and complex. Whole battlefields were scrupulously re-created on the plains of Texas. Wellman deployed as many as five thousand extras and sixty airplanes in some scenes—an enormous logistical exercise. The army sent its best aviators from Selfridge Field in Michigan—the very men with whom Lindbergh had just flown to Ottawa—and stunt fliers were used for the more dangerous scenes. Wellman asked a lot of his airmen. One pilot was killed, another broke his neck, and several more sustained other serious injuries. Wellman did some of the more dangerous stunt flying himself. All this gave the movie’s aerial scenes a realism and immediacy that many found almost literally breathtaking. Wellman captured features of flight that had never been caught on film before—the shadows of planes moving across the earth, the sensation of flying through drifting smoke, the stately fall of bombs, and the destructive puffs of impact that follow. Even the land-bound scenes were filmed with a thoughtfulness and originality that set Wings apart. To bring the viewer into a Parisian nightclub, Wellman used a boom shot in which the camera traveled through the room just above table height, skimming over drinks and between revelers, before arriving at the table of Arlen and Rogers. It is an entrancing shot even now, but it was rivetingly novel in 1927. “Wings,” wrote Penelope Gilliatt simply in The New Yorker in 1971, “is truly beautiful.” Wings was selected as best picture at the very first Academy Awards ceremony in 1929. Wellman, however, wasn’t even invited to the ceremony.

This is a first book, and in it the author has written of experience which is now far and lost, but which was once part of the fabric of his life. If any reader, therefore, should say that the book is 'autobiographical' the writer has no answer for him: it seems to him that all serious work in fiction is autobiographical—that, for instance, a more autobiographical work than Gulliver's Travels cannot easily be imagined. This note, however, is addressed principally to those persons whom the writer may have known in the period covered by these pages. To these persons, he would say what he believes they understand already: that this book was written in innocence and nakedness of spirit, and that the writer's main concern was to give fullness, life, and intensity to the actions and people in the book he was creating. Now that it is to be published, he would insist that this book is a fiction, and that he meditated no man's portrait here. But we are the sum of all the moments of our lives—all that is ours is in them: we cannot escape or conceal it. If the writer has used the clay of life to make his book, he has only used what all men must, what none can keep from using. Fiction is not fact, but fiction is fact selected and understood, fiction is fact arranged and charged with purpose. Dr. Johnson remarked that a man would turn over half a library to make a single book: in the same way, a novelist may turn over half the people in a town to make a single figure in his novel. This is not the whole method but the writer believes it illustrates the whole method in a book that is written from a middle distance and is without rancour or bitter intention.

Jenna is acting strange. Weeping, moping, even remarks tending toward belittlement Melmoth might tolerate (although he cannot think why; she is not his wife and even in human females PMS is a plague of the past) but when he caught her lying about Raquel—udderly wonderful, indeed—he knew the problem was serious. After sex, Melmoth powers her down. He retrieves her capsule from underground storage, a little abashed to be riding up with the oblong vessel in a lobby elevator where anyone might see. Locked vertical for easy transport, the capsule on its castors and titanium carriage stands higher than Melmoth is tall. He cannot help feeling that its translucent pink upper half and tapered conical roundness make it look like an erect penis. Arriving at penthouse level, he wheels it into his apartment. Once inside his private quarters, he positions it beside the hoverbed and enters a six-character alphanumeric open-sesame to spring the lid. On an interior panel, Melmoth touches a sensor for AutoRenew. Gold wands deploy from opposite ends and set up a zero-gravity field that levitates Jenna from the topsheet. As if by magic—to Melmoth it is magic—the inert form of his personal android companion floats four feet laterally and gentles to rest in a polymer cradle contoured to her default figure. Jenna is only a SmartBot. She does not breathe, blood does not run in her arteries and veins. She has no arteries or veins, nor a heart, nor anything in the way of organic tissue. She can be replaced in a day—she can be replaced right now. If Melmoth touches “Upgrade,” the capsule lid will seal and lock, all VirtuLinks to Jenna will break, and a courier from GlobalDigital will collect the unit from a cargo bay of Melmoth’s high-rise after delivering a new model to Melmoth himself. It distresses him, how easy replacement would be, as if Jenna were no more abiding than an oldentime car he might decide one morning to trade-in. Seeing her in the capsule is bad enough; the poor thing looks as if she is lying in her coffin. Melmoth does not select “Power Down” on his cerebral menu any more often than he must. Only to update her software does Melmoth resort to pulling Jenna’s plug. Updating, too, disturbs him. In authorizing it, he cannot pretend she is human. [pp. 90-91]

A few hundred million years later, some of these eukaryotes developed a novel adaptation: they stayed together after cell division to form multicellular organisms in which every cell had exactly the same genes. These are the three-boat septuplets in my example. Once again, competition is suppressed (because each cell can only reproduce if the organism reproduces, via its sperm or egg cells). A group of cells becomes an individual, able to divide labor among the cells (which specialize into limbs and organs). A powerful new kind of vehicle appears, and in a short span of time the world is covered with plants, animals, and fungi.37 It’s another major transition. Major transitions are rare. The biologists John Maynard Smith and Eörs Szathmáry count just eight clear examples over the last 4 billion years (the last of which is human societies).38 But these transitions are among the most important events in biological history, and they are examples of multilevel selection at work. It’s the same story over and over again: Whenever a way is found to suppress free riding so that individual units can cooperate, work as a team, and divide labor, selection at the lower level becomes less important, selection at the higher level becomes more powerful, and that higher-level selection favors the most cohesive superorganisms.39 (A superorganism is an organism made out of smaller organisms.) As these superorganisms proliferate, they begin to compete with each other, and to evolve for greater success in that competition. This competition among superorganisms is one form of group selection.40 There is variation among the groups, and the fittest groups pass on their traits to future generations of groups. Major transitions may be rare, but when they happen, the Earth often changes.41 Just look at what happened more than 100 million years ago when some wasps developed the trick of dividing labor between a queen (who lays all the eggs) and several kinds of workers who maintain the nest and bring back food to share. This trick was discovered by the early hymenoptera (members of the order that includes wasps, which gave rise to bees and ants) and it was discovered independently several dozen other times (by the ancestors of termites, naked mole rats, and some species of shrimp, aphids, beetles, and spiders).42 In each case, the free rider problem was surmounted and selfish genes began to craft relatively selfless group members who together constituted a supremely selfish group.

But sleep tha pondereth and is not to be and there oh may my weary spirit dwell apart forms heaven's eternity and yet how far from hell. other friends have flown before on the morrow he will leave me as my hopes have flown before the bird said nevermore. leave my loneliness unbroken. how dark a woe yet how sublimes a hope. And the fever called living is conquered at last. I stand amid the roar of a surf tormented shore and i hold within my hand grains of the golden sand how few yet how they creep through my fingers to the deep while i weep while i weep o god can i not grasp them with a tighter clasp o god can i not save one from the pitiless wave is all that we see or seem but a dream within a dream. Hell rising form a thousand thrones shall do it reverence. It was the dead who groaned within lest the dead who is forsaken may not be happy now. even for thy woes i love thee even for thy woes thy beauty and thy woes think of all that is airy and fairy like and all that is hideous and unwieldy. hast thou not dragged Diana from her car. I care not though it perishes with a thought i then did cherish. For on its wing was dark alley and as it fluttered fell an essence powerful to destroy a soul that knew it well. (Talking about death) the intense reply of hers to our intelligence. Then all motion of whatever nature creates most writers poets in especial prefer having it understood that they compose by a species of fine frenzy an ecstatic intuition and would positively shudder at letting the public take a peep behind the scenes at the elaborate and vacillating crudities of thought at the true purposes seized only at the last moment at the innumerable glimpses of idea that arrived not at the maturity of full view at the fully matured fancies discarded in despair as unmanageable at the cautions selection and rejections at the painful erasures and interpolations in a word at the wheels and pinions the tackle for scene shifting the steep ladders and demon traps the cock[s feathers a the red pain and the black patches which in ninety nine cases out of the hundred constitute the properties of the literary _histiro. Wit the Arabians there is a medium between heaven and hell where men suffer no punishment but yet do not attain that tranquil and even happiness which they supposed to be characteristic of heavenly enjoyment. If i could dwell where israfel hath dwelt and he where i he might not sing so wildly well mortal melody, while a bolder note than this might swell form my lyre within the sky. And i am drunk with love of the dead who is my bride. And so being young and dipt in folly , I feel in love with melancholy. I could not love except where death was mingling his with beauty's breath or hymen, Time, and destiny were stalking between her and me. Yet that terror was not friegt but a tremulous delight a feeling not the jeweled mine could teach or bribe me to define nor love although the love were thine. Whose solitary soul could make an Eden of that dim lake. that my young life were a lasting dream my spirit not awakening till the beam of an eternity should bring the morrow. An idle longing night and day to dream my very life away. As others saw i could not bring my passions from a comman spring from the sam source i have not taken my sorrow and all i loved i loved alone La solitude est une belle chose; mais il faut quelqu'un pour vous dire que la solitude estune belle chose impulse upon the ether the source of all motion is thought and the source of all thought. Be of heart and fear nothing your allotted days of stupor have expired and tomorrow i will myself induct you into the full joys and wonders of your novel existence. unknown now known of the speculative future merged in the august and certain present.

Although CALLIE BATES’S cancer is well into remission, she still wears her purple wig when she wants to feel like a rock star. A recent graduate of the International Harp Therapy Program, she lives in Wisconsin. Her other writing projects include a nonfiction book reflecting on her cancer experience and diverse novels. Her selection in this anthology, “The Purple Wig,” is her first published work. MELISSA

Versh said, “You get them froze onto that gate, then what you do. Whyn’t you wait for them in the house.” He put my hands into my pockets. I could hear him rattling in the leaves. I could smell the cold. The gate was cold. “Here some hickeynuts. Whooey. Git up that tree. Look here at this squirl, Benjy.” I couldn’t feel the gate at all, but I could smell the bright cold. “You better put them hands back in your pockets.” Caddy was walking. Then she was running, her booksatchel swinging and jouncing behind her. “Hello, Benjy.” Caddy said. She opened the gate and came in and stooped down. Caddy smelled like leaves. “Did you come to meet me.” she said. “Did you come to meet Caddy. What

I quite admit that modern novels have many good points. All I insist on is that, as a class, they are quite unreadable.

Every year he would select a few projects that he felt had no merit and would award them a golden fleece. As in “fleecing” the taxpayers.

We had chosen as our next book club selection Jhumpa Lahiri’s new collection of short stories, Unaccustomed Earth, as we’d both loved her 2003 novel The Namesake and her first book of stories, Interpreter of Maladies, which had won the Pulitzer in 1999.

So much anger, so much hate.

I must say, detective…you have really good taste in women. Your first wife was hot, but this new piece of ass you have…

Liberal politics is based on the idea that the voters know best, and there is no need for Big Brother to tell us what is good for us. Liberal economics is based on the idea that the customer is always right. Liberal art declares that beauty is in the eye of the beholder. Students in liberal schools and universities are taught to think for themselves. Commercials urge us to ‘Just do it.’ Action films, stage dramas, soap operas, novels and catchy pop songs indoctrinate us constantly: ‘Be true to yourself’, ‘Listen to yourself’, ‘Follow your heart’. Jean-Jacques Rousseau stated this view most classically: ‘What I feel to be good – is good. What I feel to be bad – is bad.’ People who have been raised from infancy on a diet of such slogans are prone to believe that happiness is a subjective feeling and that each individual best knows whether she is happy or miserable. Yet this view is unique to liberalism. Most religions and ideologies throughout history stated that there are objective yardsticks for goodness and beauty, and for how things ought to be. They were suspicious of the feelings and preferences of the ordinary person. At the entrance of the temple of Apollo at Delphi, pilgrims were greeted by the inscription: ‘Know thyself!’ The implication was that the average person is ignorant of his true self, and is therefore likely to be ignorant of true happiness. Freud would probably concur.fn1 And so would Christian theologians. St Paul and St Augustine knew perfectly well that if you asked people about it, most of them would prefer to have sex than pray to God. Does that prove that having sex is the key to happiness? Not according to Paul and Augustine. It proves only that humankind is sinful by nature, and that people are easily seduced by Satan. From a Christian viewpoint, the vast majority of people are in more or less the same situation as heroin addicts. Imagine that a psychologist embarks on a study of happiness among drug users. He polls them and finds that they declare, every single one of them, that they are only happy when they shoot up. Would the psychologist publish a paper declaring that heroin is the key to happiness? The idea that feelings are not to be trusted is not restricted to Christianity. At least when it comes to the value of feelings, even Darwin and Dawkins might find common ground with St Paul and St Augustine. According to the selfish gene theory, natural selection makes people, like other organisms, choose what is good for the reproduction of their genes, even if it is bad for them as individuals. Most males spend their lives toiling, worrying, competing and fighting, instead of enjoying peaceful bliss, because their DNA manipulates them for its own selfish aims. Like Satan, DNA uses fleeting pleasures to tempt people and place them in its power.

David and Neil were MBA students at the Wharton School when the cash-strapped David lost his eyeglasses and had to pay $700 for replacements. That got them thinking: Could there be a better way? Neil had previously worked for a nonprofit, VisionSpring, that trained poor women in the developing world to start businesses offering eye exams and selling glasses that were affordable to people making less than four dollars a day. He had helped expand the nonprofit’s presence to ten countries, supporting thousands of female entrepreneurs and boosting the organization’s staff from two to thirty. At the time, it hadn’t occurred to Neil that an idea birthed in the nonprofit sector could be transferred to the private sector. But later at Wharton, as he and David considered entering the eyeglass business, after being shocked by the high cost of replacing David’s glasses, they decided they were out to build more than a company—they were on a social mission as well. They asked a simple question: Why had no one ever sold eyeglasses online? Well, because some believed it was impossible. For one thing, the eyeglass industry operated under a near monopoly that controlled the sales pipeline and price points. That these high prices would be passed on to consumers went unquestioned, even if that meant some people would go without glasses altogether. For another, people didn’t really want to buy a product as carefully calibrated and individualized as glasses online. Besides, how could an online company even work? David and Neil would have to be able to offer stylish frames, a perfect fit, and various options for prescriptions. With a $2,500 seed investment from Wharton’s Venture Initiation Program, David and Neil launched their company in 2010 with a selection of styles, a low price of $95, and a hip marketing program. (They named the company Warby Parker after two characters in a Jack Kerouac novel.) Within a month, they’d sold out all their stock and had a 20,000-person waiting list. Within a year, they’d received serious funding. They kept perfecting their concept, offering an innovative home try-on program, a collection of boutique retail outlets, and an eye test app for distance vision. Today Warby Parker is valued at $1.75 billion, with 1,400 employees and 65 retail stores. It’s no surprise that Neil and David continued to use Warby Parker’s success to deliver eyeglasses to those in need. The company’s Buy a Pair, Give a Pair program is unique: instead of simply providing free eyeglasses, Warby Parker trains and equips entrepreneurs in developing countries to sell the glasses they’re given. To date, 4 million pairs of glasses have been distributed through Warby Parker’s program. This dual commitment to inexpensive eyewear for all, paired with a program to improve access to eyewear for the global poor, makes Warby Parker an exemplary assumption-busting social enterprise.

Flying Caterpillar in St Eval the most randomly named pub Ellie had ever frequented, it was also one of the nicest. More modern than the Seven Stars, it bridged the gap between pub and wine bar, with pristine white walls and dark walnut tables and bar-top, the soft furnishings lime green and neon pink, the bar taps brushed copper. It was a smidgen pretentious, but the mostly local clientele helped soften the edges, and it did a good selection of local wines.

novels. I can’t imagine living anywhere as corrupt, overrun, mismanaged, and freak-infested as Florida. I also can’t imagine living anywhere as beautiful or so worth fighting for. Carl Hiaasen Vero Beach June 7, 2013

Wild Ideas Wednesday.” That’s the time I block out weekly when my team and I try to outdo each other in generating wild and crazy ideas. Nothing is too crazy if it helps us improve Conch, or leads to novel solutions for business or product challenges, though we generally select only a tiny fraction of our ideas to execute.

The Works of Rabindranath Tagore consist of poems, novels, short stories, dramas, and essays that Bengali poet and Brahmo philosopher Rabindranath Tagore created over his lifetime. This ebook presents a collection of all major works of Tagore. A dynamic table of contents allows you to jump directly to the work selected.

Darwin’s mechanism of natural selection and random variation necessarily required a lot of time to generate wholly novel organisms, creating a dilemma that Agassiz was keen to expose.