Sentences To Lead Into Quotes

There are four things that lead to wisdom. You ready for them?' She nodded, wondering when the police work would begin. "They are four sentences we learn to say, and mean." Gamache held up his hand as a fist and raised a finger with each point. "I don't know. I need help. I'm sorry. I was wrong'.

The total amount of suffering per year in the natural world is beyond all decent contemplation. During the minute that it takes me to compose this sentence, thousands of animals are being eaten alive, many others are running for their lives, whimpering with fear, others are slowly being devoured from within by rasping parasites, thousands of all kinds are dying of starvation, thirst, and disease. It must be so. If there ever is a time of plenty, this very fact will automatically lead to an increase in the population until the natural state of starvation and misery is restored. In a universe of electrons and selfish genes, blind physical forces and genetic replication, some people are going to get hurt, other people are going to get lucky, and you won't find any rhyme or reason in it, nor any justice. The universe that we observe has precisely the properties we should expect if there is, at bottom, no design, no purpose, no evil, no good, nothing but pitiless indifference.

That would be a glorious life, to addict oneself to perfection; to follow the curve of the sentence wherever it might lead, into deserts, under drifts of sand, regardless of lures, of seductions; to be poor always and unkempt; to be ridiculous in Piccadilly.

Being in the mood to write, like being in the mood to make love, is a luxury that isn't necessary in a long-term relationship. Just as the first caress can lead to a change of heart, the first sentence, however tentative and awkward, can lead to a desire to go just a little further.

Multiple times he has tried writing his thoughts about Marianne down on paper in an effort to make sense of them. He's moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann's Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-coloured spine. Her long fingers turning the pages. She's not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works... He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to recreate a precise copy of Marianne in print, as if he can preserve her completely for future review.

This sentence is made of lead (and a sentence of lead gives a reader an entirely different sensation from one made of magnesium). This sentence is made of yak wool. This sentence is made of sunlight and plums. This sentence is made of ice. This sentence is made from the blood of the poet. This sentence was made in Japan. This sentence glows in the dark. This sentence was born with a caul. This sentence has a crush on Norman Mailer. This sentence is a wino and doesn't care who knows it. Like many italic sentences, this one has Mafia connections. This sentence is a double Cancer with a Pisces rising. This sentence lost its mind searching for the perfect paragraph. This sentence refuses to be diagrammed. This sentence ran off with an adverb clause. This sentence is 100 percent organic: it will not retain a facsimile of freshness like those sentences of Homer, Shakespeare, Goethe et al., which are loaded with preservatives. This sentence leaks. This sentence doesn't look Jewish... This sentence has accepted Jesus Christ as its personal savior. This sentence once spit in a book reviewer's eye. This sentence can do the funky chicken. This sentence has seen too much and forgotten too little. This sentence is called "Speedoo" but its real name is Mr. Earl. This sentence may be pregnant. This sentence suffered a split infinitive - and survived. If this sentence has been a snake you'd have bitten it. This sentence went to jail with Clifford Irving. This sentence went to Woodstock. And this little sentence went wee wee wee all the way home.

[When asked to use 'horticulture' in a sentence:] You can lead a horticulture but you can't make her think.

Even at the end of the road, read the first sentence, there is a road. Even at the end of the road, a new road stretches out, endless and open, a road that may lead anywhere. To him who will find it, there is always a road.

Now lend me your ears. Here is Creative Writing 101: 1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted. 2. Give the reader at least one character he or she can root for. 3. Every character should want something, even if it is only a glass of water. 4. Every sentence must do one of two things—reveal character or advance the action. 5. Start as close to the end as possible. 6. Be a sadist. No matter sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of. 7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia. 8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages. The greatest American short story writer of my generation was Flannery O'Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.

Chief Inspector Gamache’s says there are ‘four sentences that lead to wisdom: I don’t know. I need help. I’m sorry. I was wrong.

told him the four sentences that lead to wisdom. He’d said them only once, never repeating them. But once had been enough for Gamache. I’m sorry. I was wrong. I need help. I don’t know.

For the average person leading an ordinary life, fame holds an hypnotic attraction. Many would sooner perish than exist in anonymity. But for the unlucky few who've had notoriety forced upon them, infamy can be a sentence more damning than any prison term

Start with a word. A word leads to a sentence, which leads to a paragraph, which leads to a chapter, which leads to a manuscript, which leads to a book..... just start with a word!

I remembered the moment I read a novel for the first time. The texture of the soft paper touching my fingertips. The black letters blooming on a white field. The texture of the page I folded with my hands. 「 It isn’t important to read the letters. The important thing is where the letters lead you. 」 My mother, who loved books, used to say this. At least for me, it wasn’t just a saying. The gaps in the black print. My own little snow garden lay in between the letters. This space, which was too small for someone to go into, was a perfect place for a child who liked to hide. Every time a pleasant sound was heard, the letters stacked up like snow. In it, I became a hero. I had adventures, loved and dreamt. Thus, I read, read and read again. I remembered the first time I was about to finish a book. It was like being deprived of the world. The protagonist and supporting characters walked off with the sentence ‘They lived happily ever after’ and I was left alone at the end of the story. In my vanity and sense of betrayal, my young self struggled because I couldn’t stand the loneliness. 「This… is the end? 」 Perhaps it was similar to learning about death. For the first time, I realized that something was finite.

Is it possible to get over a voice like this? Someday, I'd like to be able to hear her speak a sentence on the phone with out it making me want to hang up, get in my car, and drive as many miles as it takes to kiss her.

On 20 July 1969, Neil Armstrong and Buzz Aldrin landed on the surface of the moon. In the months leading up to their expedition, the Apollo II astronauts trained in a remote moon-like desert in the western United States. The area is home to several Native American communities, and there is a story – or legend – describing an encounter between the astronauts and one of the locals. One day as they were training, the astronauts came across an old Native American. The man asked them what they were doing there. They replied that they were part of a research expedition that would shortly travel to explore the moon. When the old man heard that, he fell silent for a few moments, and then asked the astronauts if they could do him a favour. ‘What do you want?’ they asked. ‘Well,’ said the old man, ‘the people of my tribe believe that holy spirits live on the moon. I was wondering if you could pass an important message to them from my people.’ ‘What’s the message?’ asked the astronauts. The man uttered something in his tribal language, and then asked the astronauts to repeat it again and again until they had memorised it correctly. ‘What does it mean?’ asked the astronauts. ‘Oh, I cannot tell you. It’s a secret that only our tribe and the moon spirits are allowed to know.’ When they returned to their base, the astronauts searched and searched until they found someone who could speak the tribal language, and asked him to translate the secret message. When they repeated what they had memorised, the translator started to laugh uproariously. When he calmed down, the astronauts asked him what it meant. The man explained that the sentence they had memorised so carefully said, ‘Don’t believe a single word these people are telling you. They have come to steal your lands.

What would they talk about? Hi, my name's Vane and I howl at the moon late at night in the form of a wolf. I sleep with your daughter and don't think I could live without her. Mind if I have a beer? Oh and while we're at it, let me introduce my brothers. This one here is a deadly wolf known to kill for nothing more than looking at him cross-eyed, and the other one is comatose because some vampires sucked the life out of him after we'd both been sentenced to death by our jealous father. Yeah, that would go over like a lead balloon.

..the four sentences that lead to wisdom. I'm sorry. I was wrong. I need help. I don't know.

I'm looking for a writer who doesn't know where the sentence is leading her; a writer who starts with her obsessions and whose heart is bursting with love, a writer sly enough to give the slip to her secret police, the ones who know her so well, the ones with the power to accuse and condemn in the blink of an eye. It's all right that she doesn't know what she's thinking until she writes it, as if the words already exist somewhere and draw her to them. She may not know how she got there, but she knows when she's arrived.

As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.

Narcissists (and often, by contagion, their unfortunate victims) don't talk, or communicate: they fend off, hide and evade . . . [They] perfect the ability of saying nothing in lengthy Castro-like speeches. Their locution is impregnated with first person pronouns ("I", "me", "my", "mine" - aka "high pronoun density"). The ensuing convoluted sentences are .. a lack of commitment elevated to an ideology. The narcissist prefers to wait and see what procrastination brings: postponement of the inevitable leads to the inevitability of postponement as a strategy of survival.

We believe in the wrong things. That's what frustrates me the most. Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We're just so damn good at reading them wrong. I don't think meaning is something that can be explained. You have to understand it on your own. It's like when you're starting to read. First, you learn the letters. Then, once you know what sounds the letters make, you use them to sound out words. You know that c-a-t leads to cat and d-o-g leads to dog. But then you have to make that extra leap, to understand that the word, the sound, the "cat" is connected to an actual cat , and that "dog" is connected to an actual dog. It's that leap, that understanding, that leads to meaning. And a lot of the time in life, we're still just sounding things out. We know the sentences and how to say them. We know the ideas and how to present them. We know the prayers and which words to say in what order. But that's only spelling" It's much harder to lie to someone's face. But. It is also much harder to tell the truth to someone's face. The indefatigable pursuit of an unattainable perfection, even though it consist in nothing more than in the pounding of an old piano, is what alone gives a meaning to our life on this unavailing star. (Logan Pearsall Smith) Being alone has nothing to do with how many people are around. (J.R. Moehringer) You could be standing a few feet away...I could have sat next to you on the subway, or brushed beside you as we went through the turnstiles. But whether or not you are here, you are here- because these words are for you, and they wouldn't exist is you weren't here in some way. At last I had it--the Christmas present I'd wanted all along, but hadn't realized. His words. The dream was obviously a sign: he was too enticing to resist. Wow. You must have a lot of faith in me. Which I appreciate. Even if I'm not sure I share it. I could do this on my own, and not freak out that I had no idea what waited for me on the other side of this night. Hope and belief. I'd always wanted hope, but never believed that I could have such an adventure on my own. That I could own it. And love it. But it happened. Because I'm So uncool and so afraid. If there was a clue, that meant the mystery was still intact I fear you may have outmatched me, because not I find these words have nowhere to go. It's hard to answer a question you haven't been asked. It's hard to show that you tried unless you end up succeeding. This was not a haystack. We were people, and people had ways of finding eachother. It was one of those moments when you feel the future so much that is humbles the present. Don't worry. It's your embarrassment at not having the thought that counts. You think fairy tales are only for girls? Here's ahint- ask yourself who wrote them. I assure you, it wasn't just the women. It's the great male fantasy- all it takes is one dance to know that she's the one. All it takes is the sound of her song from the tower, or a look at her sleeping face. And right away you know--this is the girl in your head, sleeping or dancing or singing in front of you. Yes, girls want their princes, but boys want their princesses just as much. And they don't want a very long courtship. They want to know immediately. Be careful what you;re doing, because no one is ever who you want them to be. And the less you really know them, the more likely you are to confuse them with the girl or boy in your head You should never wish for wishful thinking

Not that I'm not keen to talk to him. I am--in the fantasy version of tonight, anyway, in which I actually manage to string words into sentences, and not just random magnetic-poetry sentences, but sentences that don't lead to the logical conclusion that I have brain damage.

The lesson Holmes took from the war can be put in a sentence. It is that certitude leads to violence. This is a proposition that has an easy application and a difficult one. The easy application is to ideologues, dogmatists, and bullies—people who think that their rightness justifies them in imposing on anyone who does not happen to subscribe to their particular ideology, dogma, or notion of turf. If the conviction of rightness is powerful enough, resistance to it will be met, sooner or later, by force. There are people like this in every sphere of life, and it is natural to feel that the world would be a better place without them.

If you’re afraid you can’t write, the answer is to write. Every sentence you construct adds weight to the balance pan. If you’re afraid of what other people will think of your efforts, don’t show them until you write your way beyond your fear. If writing a book is impossible, write a chapter. If writing a chapter is impossible, write a page. If writing a page is impossible, write a paragraph. If writing a paragraph is impossible, write a sentence. If writing even a sentence is impossible, write a word and teach yourself everything there is to know about that word and then write another, connected word and see where their connection leads.

First: never use a long word if a short word will do. Second: if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.

Writing your name can lead to writing sentences. And the next thing you'll be doing is writing paragraphs, and then books. And then you'll be in as much trouble as I am!

When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavoured to bring back with a strict hand such as had been straying through imagination's boundless and trackless waste, into the safe fold of common sense. Arraigned to my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night--of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her quiet way a plain, unvarnished tale, showing how I had rejected the real, and rapidly devoured the ideal--I pronounced judgement to this effect-- That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar. "You," I said, "a favourite with Mr. Rochester? You're gifted with the power of pleasing him? You're of importance to him in any way? Go!--your folly sickens me. And you have derived pleasure from occasional tokens of preference--equivocal tokens shown by a gentleman of family and a man of the world to dependent and novice. How dared you? Poor stupid dupe! Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night? Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does no good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and if discovered and responded to, must lead into miry wilds whence there is no extrication. "Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own pictures, faithfully, without softening on defect; omit no harsh line, smooth away no displeasing irregularity; write under it, 'Portrait of a Governess, disconnected, poor, and plain.' "Afterwards, take a piece of smooth ivory--you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imageine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye--What! you revert to Mr. Rochester as a model! Order! No snivel!--no sentiment!--no regret! I will endure only sense and resolution... "Whenever, in the future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them--say, "Mr. Rochester might probably win that noble lady's love, if he chose to strive for it; is it likely he would waste a serious thought on this indignent and insignifican plebian?" "I'll do it," I resolved; and having framed this determination, I grew calm, and fell asleep.

A man in a topiary maze cannot judge of the twistings and turnings, and which avenue might lead him to the heart; while one who stands above, on some pleasant prospect, looking down upon the labyrinth, is reduced to watching the bewildered circumnavigations of the tiny victim through obvious coils - as the gods, perhaps, looked down on besieged and blood-sprayed Troy from the safety of their couches, and thought mortals weak and foolish while they themselves reclined in comfort, and had only to snap to call Ganymade to theeir side with nectar decanted. So I, now, with the vantage of my years, am sensible of my foolishness, my blindness, as a child. I cannot think of my blunders without a shriveling of the inward parts - not merely the disiccation attendant on shame, but also the aggravation of remorse that I did not demand explanation, that I did not sooner take my mother by the hand, and- I do not know what I regret. I sit with my pen, and cannot find an end to that sentence.

Wanting to know absolutely what a story is about, and to be able to say it in a few sentences, is dangerous: it can lead us to wanting to possess a story as we possess a cup... A story can always break into pieces while it sits inside a book on a shelf; and, decades after we have read it even twenty times, it can open us up, by cut or caress, to a new truth.

I don’t think meaning is something that can be explained. You have to understand hopeful and selectively blind as the next guy, but because I don’t think meaning is something that can be explained. You have to understand it on your own. It’s like when you’re starting to read. First, you learn the letters. Then, once you know what sounds the letters make, you use them to sound out words. You know that c-a-t leads to cat and d-o-g leads to dog. But then you have to make that extra leap, to understand that the word, the sound, the “cat” is connected to an actual cat, and that “dog” is connected to an actual dog. It’s that leap, that understanding, that leads to meaning. And a lot of the time in life, we’re still just sounding things out. We know the sentences and how to say them. We know the ideas and how to present them. We know the prayers and which words to say in what order. But that’s only spelling.

It’s not our place to judge the guilt or innocence of the prisoners, Nurse Webster. The sooner you learn that the better. Any other approach just leads to conflicts of duty and undermines the smooth running of the institution. We are here to ensure that the prisoners are dealt with firmly and professionally. It’s up to their lawyers to handle matters pertaining to their sentences.

There are four things that lead to wisdom. You ready for them?' She nodded, wondering when the police work would begin. "They are four sentences we learn to say, and mean." Gamache held up his hand as a fist and raised a finger with each point. 'I don't know. I need help. I'm sorry. I was wrong'.

The introductory statement for Paul’s famous paragraph on marriage in Ephesians is verse 21: “Submit to one another out of reverence for Christ.”1 In English, this is usually rendered as a separate sentence, but that hides from readers an important point that Paul is making. In the Greek text, verse 21 is the last clause in the long previous sentence in which Paul describes several marks of a person who is “filled with the Spirit.” The last mark of Spirit fullness is in this last clause: It is a loss of pride and self-will that leads a person to humbly serve others. From this Spirit-empowered submission of verse 21, Paul moves to the duties of wives and husbands.

A period of tranquil growth thus leads to rising expectations, and a tendency to increase leverage: as Minsky put it in his most famous sentence, ‘Stability – or tranquility – in a world with a cyclical past and capitalist financial institutions is destabilizing’ (1978, p. 10).

Eight rules for writing fiction: 1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted. 2. Give the reader at least one character he or she can root for. 3. Every character should want something, even if it is only a glass of water. 4. Every sentence must do one of two things -- reveal character or advance the action. 5. Start as close to the end as possible. 6. Be a sadist. Now matter how sweet and innocent your leading characters, make awful things happen to them -- in order that the reader may see what they are made of. 7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia. 8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

Don’t strive to be a well-rounded leader. Instead, discover your zone and stay there. Then delegate everything else. Admitting a weakness is a sign of strength. Acknowledging weakness doesn’t make a leader less effective. Everybody in your organization benefits when you delegate responsibilities that fall outside your core competency. Thoughtful delegation will allow someone else in your organization to shine. Your weakness is someone’s opportunity. Leadership is not always about getting things done “right.” Leadership is about getting things done through other people. The people who follow us are exactly where we have led them. If there is no one to whom we can delegate, it is our own fault. As a leader, gifted by God to do a few things well, it is not right for you to attempt to do everything. Upgrade your performance by playing to your strengths and delegating your weaknesses. There are many things I can do, but I have to narrow it down to the one thing I must do. The secret of concentration is elimination. Devoting a little of yourself to everything means committing a great deal of yourself to nothing. My competence in these areas defines my success as a pastor. A sixty-hour workweek will not compensate for a poorly delivered sermon. People don’t show up on Sunday morning because I am a good pastor (leader, shepherd, counselor). In my world, it is my communication skills that make the difference. So that is where I focus my time. To develop a competent team, help the leaders in your organization discover their leadership competencies and delegate accordingly. Once you step outside your zone, don’t attempt to lead. Follow. The less you do, the more you will accomplish. Only those leaders who act boldly in times of crisis and change are willingly followed. Accepting the status quo is the equivalent of accepting a death sentence. Where there’s no progress, there’s no growth. If there’s no growth, there’s no life. Environments void of change are eventually void of life. So leaders find themselves in the precarious and often career-jeopardizing position of being the one to draw attention to the need for change. Consequently, courage is a nonnegotiable quality for the next generation leader. The leader is the one who has the courage to act on what he sees. A leader is someone who has the courage to say publicly what everybody else is whispering privately. It is not his insight that sets the leader apart from the crowd. It is his courage to act on what he sees, to speak up when everyone else is silent. Next generation leaders are those who would rather challenge what needs to change and pay the price than remain silent and die on the inside. The first person to step out in a new direction is viewed as the leader. And being the first to step out requires courage. In this way, courage establishes leadership. Leadership requires the courage to walk in the dark. The darkness is the uncertainty that always accompanies change. The mystery of whether or not a new enterprise will pan out. The reservation everyone initially feels when a new idea is introduced. The risk of being wrong. Many who lack the courage to forge ahead alone yearn for someone to take the first step, to go first, to show the way. It could be argued that the dark provides the optimal context for leadership. After all, if the pathway to the future were well lit, it would be crowded. Fear has kept many would-be leaders on the sidelines, while good opportunities paraded by. They didn’t lack insight. They lacked courage. Leaders are not always the first to see the need for change, but they are the first to act. Leadership is about moving boldly into the future in spite of uncertainty and risk. You can’t lead without taking risk. You won’t take risk without courage. Courage is essential to leadership.

While I pray that public awareness and debate will lead to reform, bear in mind that the policies of men change in time, and even the Constitution is subverted when the appetites of power demand it. In words from history: Let us speak no more of faith in man, but bind him down from mischief by the chains of cryptography. I instantly recognized the last sentence as a play on a Thomas Jefferson quote from 1798 that I often cited in my writing: “In questions of power, then, let no more be heard of confidence in man, but bind him down from mischief by the chains of the Constitution.

This saying is as old as Western philosophy itself, giving expression to that fundamental experience and orientation of ancient man from which philosophy begins; ἀ-λήθεια, unhiddenness, into which philosophy seeks to bring the hidden, is nothing arbitrary, and is especially not a property of a proposition or sentence, nor is it a so-called ‘value’. It is rather that reality, that occurrence [Geschehen], into which only that path (ἡ ὁδóϛ) leads of which another of the oldest philosophers likewise says: ‘it runs outside the ordinary path of men’, ἀπ´ ἀνθρώπων ἐκτὸϛ πάτου ἐστίυ (Parmenides, Fr. 1, 27).

Sometimes I don’t understand why my arms don’t drop from my body with fatigue, why my brain doesn’t melt away. I am leading an austere life, stripped of all external pleasure, and am sustained only by a kind of permanent frenzy, which sometimes makes me weep tears of impotence but never abates. I love my work with a love that is frantic and perverted, as an ascetic loves the hair shirt that scratches his belly. Sometimes, when I am empty, when words don’t come, when I find I haven’t written a single sentence after scribbling whole pages, I collapse on my couch and lie there dazed, bogged down in a swamp of despair, hating myself and blaming myself for this demented pride that makes me pant after a chimera. A quarter of an hour later, everything has changed; my heart is pounding with joy.

Are you all right?” I whisper uncertainly. “Fine.” He shakes his head once, and then the tension leaves his body. “I’m fine. Don’t finish your sentence yet. It’s going to lead to me slaughtering things.” “You like slaughtering things.” “Compared to this? No.” He touches me again, his fingers grazing my arm. Tentative, hesitant. When I tell him he’s usually the practical one, he replies, “It must be your influence. I’m actually about to make several suggestions, and all of them are impractical.” I smile. “Ooh, several suggestions, is it? My, my. Impractical Kiaran MacKay is . . . dare I say it? Adorable.” Kiaran looks at me in disgust. “I am not.” “You are and you don’t even know it. Adorable.” “Adorable is something we call foolish humans right before we kill them.” “Adorable is what we call adult men who love to cuddle and swear on their lives that they don’t.” Kiaran makes a sound in his throat. “You can growl at me all you want. I know your weaknesses, MacKay. Cuddling. Neck kisses. That ticklish spot just above your—” I laugh as he grabs me around the waist and pulls me against him. He kisses me fiercely enough to make my toes curl. Then he pulls back with the smug expression of someone who has had thousands of years to perfect seduction and knows exactly how to use it against me.

A mental illness diagnosis does not automatically sentence you to a bleak and painful life, devoid of pleasure or joy or accomplishment. I also wanted to dispel the myths held by many mental-health professionals themselves—that people with a significant thought disorder cannot live independently, cannot work at challenging jobs, cannot have true friendships, cannot be in meaningful, sexually satisfying love relationships, cannot lead lives of intellectual, spiritual, or emotional richness.

Davina had a pretty Victorian house, tall and narrow, with a tiny front garden and a chessboard front path leading to a door with stained-glass windows.

Grief isn’t a journey from one point to another. It’s a goddamned labyrinth without a thread to lead you toward the exit.

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death. It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender friend in bearing the sad message. She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance. She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she went away to her room alone. She would have no one follow her. There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul. (opening lines)

You think I hate men. I guess I do, although some of my best friends...I don't like this position. I mistrust generalized hatred. I feel like one of those twelfth century monks raving on about how evil women are and how they must cover themselves up completely when they go out lest they lead men into evil thoughts. The assumption that the men are the ones who matter, and that the women exist only in relation to them, is so silent and underrunning that ever we never picked it up until recently. But after all, look at what we read. I read Schopenhauer and Nietzsche and Wittgenstein and Freud and Erikson; I read de Montherlant and Joyce and Lawrence and sillier people like Miller and Mailer and Roth and Philip Wylie. I read the Bible and Greek myths and didn't question why all later redactions relegated Gaea-Tellus and Lilith to a footnote and made Saturn the creator of the world. I read or read about, without much question, the Hindus and the Jews, Pythagoras and Aristotle, Seneca, Cato, St.Paul, Luther, Sam Johnson, Rousseau, Swift...well, you understand. For years I didn't take it personally. So now it is difficult for me to call others bigots when I am one myself. I tell people at once, to warn them, that I suffer from deformation of character. But the truth is I am sick unto death of four thousand years of males telling me how rotten my sex is. Especially it makes me sick when I look around and see such rotten men and such magnificent women, all of whom have a sneaking suspicion that the four thousand years of remarks are correct. These days I feel like an outlaw, a criminal. Maybe that's what the people perceive who look at me so strangely as I walk the beach. I feel like an outlaw not only because I think that men are rotten and women are great, but because I have come to believe that oppressed people have the right to use criminal means to survive. Criminal means being, of course, defying the laws passed by the oppressors to keep the oppressed in line. Such a position takes you scarily close to advocating oppression itself, though. We are bound in by the terms of the sentence. Subject-verb-object. The best we can do is turn it around. and that's no answer, is it?

My concern with democracy is highly specific. It begins in observing the remarkable fact that, while democracy means a government accountable to the electorate, our rulers now make us accountable to them. Most Western governments hate me smoking, or eating the wrong kind of food, or hunting foxes, or drinking too much, and these are merely the surface disapprovals, the ones that provoke legislation or public campaigns. We also borrow too much money for our personal pleasures, and many of us are very bad parents. Ministers of state have been known to instruct us in elementary matters, such as the importance of reading stories to our children. Again, many of us have unsound views about people of other races, cultures, or religions, and the distribution of our friends does not always correspond, as governments think that it ought, to the cultural diversity of our society. We must face up to the grim fact that the rulers we elect are losing patience with us. No philosopher can contemplate this interesting situation without beginning to reflect on what it can mean. The gap between political realities and their public face is so great that the term “paradox” tends to crop up from sentence to sentence. Our rulers are theoretically “our” representatives, but they are busy turning us into the instruments of the projects they keep dreaming up. The business of governments, one might think, is to supply the framework of law within which we may pursue happiness on our own account. Instead, we are constantly being summoned to reform ourselves. Debt, intemperance, and incompetence in rearing our children are no doubt regrettable, but they are vices, and left alone, they will soon lead to the pain that corrects. Life is a better teacher of virtue than politicians, and most sensible governments in the past left moral faults to the churches. But democratic citizenship in the twenty-first century means receiving a stream of improving “messages” from politicians. Some may forgive these intrusions because they are so well intentioned. Who would defend prejudice, debt, or excessive drinking? The point, however, is that our rulers have no business telling us how to live. They are tiresome enough in their exercise of authority—they are intolerable when they mount the pulpit. Nor should we be in any doubt that nationalizing the moral life is the first step towards totalitarianism. We might perhaps be more tolerant of rulers turning preachers if they were moral giants. But what citizen looks at the government today thinking how wise and virtuous it is? Public respect for politicians has long been declining, even as the population at large has been seduced into demanding political solutions to social problems. To demand help from officials we rather despise argues for a notable lack of logic in the demos. The statesmen of eras past have been replaced by a set of barely competent social workers eager to take over the risks of our everyday life. The electorates of earlier times would have responded to politicians seeking to bribe us with such promises with derision. Today, the demos votes for them.

And that's the last oath I shall ever be able to swear," she thought; "once I set foot on English soil. And I shall never be able to crack a man over the head, or tell him he lies in his teeth, or draw my sword and run him through the body, or sit among my peers, or wear a coronet, or walk in procession, or sentence a man to death, or lead an army, or prance down Whitehall on a charger, or wear seventy-two different medals on my breast. All I can do, once I set foot on English soil, is to pour out tea and ask my lords how they like it. D'you take sugar? D'you take cream?" And mincing out the words, she was horrified to perceive how low an opinion she was forming of the other sex, the manly, to which it had once been her pride to belong.

Tess's feminine hope - shall we confess it - had been so obstinately recuperative as to revive in her surreptitious visions of a domiciliary intimacy continued long enough to break down his coldness even against his judgement. Though unsophisticated in the usual sense, she was not incomplete; and it would have denoted deficiency of womanhood if she had not instinctively known what an argument lies in propinquity. Nothing else would save her, she knew, if this failed. It was wrong to hope in what was of the nature of strategy, she said to herself; yet that sort of hope she could not extinguish. His last representation had now been made, and it was, as she said, a new view. She had truly never though so far as that, and his lucid picture of possible offspring who would scorn her was one that brought deadly conviction to an honest heart which was humanitarian to its centre. Sheer experience had already taught her that, in some circumstances, there was one thing better than to lead a good life, and that was to be saved from leading any life whatever. Like all who have been previsioned by suffering, she could, in the words of M. Sully-Prudhomme, hear a penal sentence in the fiat, 'You shall be born,' particularly if addressed to potential issue or hers.

We believe in the wrong things. That's what frustrates me the most . Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We're just so damn good at reading them wrong. It's not going to be explained to you in a prayer. And I'm not going to be able to explain it to you. Not because I'm as ignorant and hopeful and selectively blind as the next guy, but because I don't think meaning is something that can be explained. You have to understand it on your own. It's like when you're starting to read. First, you learn the letters. Then, once you know what sounds the letters make you use them to sound out words. You know that c-a-t leads to cat and d-o-g leads to dog. But then you have to make that extra leap, to understand that the word, the sound, the "cat" is connected to an actual cat, and that "dog" is connected to an actual dog. It's that leap, that understanding, that leads to meaning. And a lot of the time in life, we're still just sounding things out. We know the sentences and how to say them. We know the ideas and how to present them. We know the prayers and which words to say in what order. but that's only spelling. I don't mean this to sound hopeless. Because in the same way that a kid can realise what "c-a-t" means, I think we can find the truths that live behind our words. I wish that I could remember the moment when I was a kid and I discovered that the letters linked into words, and that the words linked to real things. What a revelation that must have been. We don't have the words for it, since we hadn't yet learnt the words. It must have been astonishing, to be given the key to the kingdom and see it turn in our hands so easily.

We adore You, O Christ, and we praise You, because by Your holy cross, You have redeemed the world. Jesus, most innocent, who neither did nor could commit a sin, was condemned to death, and moreover, to the most ignominious death of the cross. To remain a friend of Caesar, Pilate delivered Him into the hands of His enemies. A fearful crime – to condemn Innocence to death, and to offend God in order not to displease men! O innocent Jesus, having sinned, I am guilty of eternal death, but You willingly accept the unjust sentence of death, that I might live. For whom, then, shall I live, if not for You, my Lord? Should I desire to please men, I could not be Your servant. Let me, therefore, rather displease men and all the world, than not please You, O Jesus. Our Father who art in heaven, hallowed be Thy name. Thy kingdom come, Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our debts as we forgive our debtors. Lead us not into temptation but deliver us from evil. Amen. Hail Mary, full of grace. The Lord is with you. Blessed are you among women, and blessed is the fruit of thy womb. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen. Glory be to the Father, and to the Son, and to the Holy Spirit. As it was in the beginning, is now, and ever shall be, world without end. Amen. Lord Jesus, crucified, have mercy on us! The Second Station Jesus is made to carry His Cross

The essential point was that Cicero for the first time laid out his political credo in black and white, and I can summarise it in a sentence: that politics is the most noble of all callings (“there is really no other occupation in which human virtue approaches more closely the august function of the gods”); that there is “no nobler motive for entering public life than the resolution not to be ruled by wicked men”; that no individual, or combination of individuals, should be allowed to become too powerful; that politics is a profession, not a pastime for dilettantes (nothing is worse than rule by “clever poets”); that a statesman should devote his life to studying “the science of politics, in order to acquire in advance all the knowledge that it may be necessary for him to use at some future time”; that authority in a state must always be divided; and that of the three known forms of government—monarchy, aristocracy and people—the best is a mixture of all three, for each one taken on its own can lead to disaster: kings can be capricious, aristocrats self-interested, and “an unbridled multitude enjoying unwonted power more terrifying than a conflagration or a raging sea.

Being indebted is to be cautious, inhibited, and to never speak out of turn. It is to lead a life constrained by choices that are never your own. The man or woman who feels comfortable holding court at a dinner party will speak in long sentences, with heightened dramatic pauses, assured that no one will interject while they’re mid-thought, whereas I, who am grateful to be invited, speak quickly in clipped compressed bursts, so that I can get a word in before I’m interrupted. If the indebted Asian immigrant thinks they owe their life to America, the child thinks they owe their livelihood to their parents for their suffering. The indebted Asian American is therefore the ideal neoliberal subject. I accept that the burden of history is solely on my shoulders; that it’s up to me to earn back reparations for the losses my parents incurred, and to do so, I must, without complaint, prove myself in the workforce.

I still get plenty anxious. The weird thing, and the unpleasant surprise for me, of proceeding well into the middle, perhaps even post-prime of my career is that writing books has not got any easier. And that doesn't seem fair. I mean, I've been doing it so surely I should be getting better at it, at least a little bit blasé... And it seems to be working absolutely the opposite. This book [Big Brother] I had no confidence in the entirety of its composition, and I only decided I liked it when I finished the very final draft. This means I'm in a state of semi-misery for a long time. And I can't blithely seem either that's some little game I'm playing with myself because, you know, you can easily come along and you don't like what's you're writing for good reason. Right? So, yeah, it's very anxious making, I don't think it's so much the becoming a little more successful, I think it's becoming slightly more aware of how much has already been written, and just becoming less self-impressed as the years go by. More impressed with some people who are better than I am, but... It doesn't wow me that I can write a sentence any more. It has to be a really good sentence. And... I think that's what potentially leads to paralysis in late career, is a kind of killing humility. Politics & Prose Bookstore in Washington, DC, on June 11, 2013

The wall between the men’s and women’s rooms was built like a fortress, and solid bars covered the windows—they’d been put there by the proprietors to protect the girls’ honour. Instead they’d served as a death sentence. Isn’t that always the way, Mrs. Fisher had thought, man’s fears causing him to do things that lead to far greater sins.

This leads me to the Higher Editing. Take of well-ground Indian Ink as much as suffices and a camel-hair brush proportionate to the inter-spaces of your lines. In an auspicious hour, read your final draft and consider faithfully every paragraph, sentence and word, blacking out where requisite. Let it lie by to drain as long as possible. At the end of that time, re-read and you should find that it will bear a second shortening. Finally, read it aloud alone and at leisure. Maybe a shade more brushwork will then indicate or impose itself. If not, praise Allah and let it go, and ‘when thou hast done, repent not.’ The shorter the tale, the longer the brushwork and, normally, the shorter the lie-by, and vice versa. The longer the tale, the less brush but the longer lie-by. I have had tales by me for three or five years which shortened themselves almost yearly. The magic lies in the Brush and the Ink. For the Pen, when it is writing, can only scratch; and bottled ink is not to compare with the ground Chinese stick. Experto crede.

The frequent hearing of my mistress reading the bible--for she often read aloud when her husband was absent--soon awakened my curiosity in respect to this mystery of reading, and roused in me the desire to learn. Having no fear of my kind mistress before my eyes, (she had given me no reason to fear,) I frankly asked her to teach me to read; and without hesitation, the dear woman began the task, and very soon, by her assistance, I was master of the alphabet, and could spell words of three or four letters...Master Hugh was amazed at the simplicity of his spouse, and, probably for the first time, he unfolded to her the true philosophy of slavery, and the peculiar rules necessary to be observed by masters and mistresses, in the management of their human chattels. Mr. Auld promptly forbade the continuance of her [reading] instruction; telling her, in the first place, that the thing itself was unlawful; that it was also unsafe, and could only lead to mischief.... Mrs. Auld evidently felt the force of his remarks; and, like an obedient wife, began to shape her course in the direction indicated by her husband. The effect of his words, on me, was neither slight nor transitory. His iron sentences--cold and harsh--sunk deep into my heart, and stirred up not only my feelings into a sort of rebellion, but awakened within me a slumbering train of vital thought. It was a new and special revelation, dispelling a painful mystery, against which my youthful understanding had struggled, and struggled in vain, to wit: the white man's power to perpetuate the enslavement of the black man. "Very well," thought I; "knowledge unfits a child to be a slave." I instinctively assented to the proposition; and from that moment I understood the direct pathway from slavery to freedom. This was just what I needed; and got it at a time, and from a source, whence I least expected it.... Wise as Mr. Auld was, he evidently underrated my comprehension, and had little idea of the use to which I was capable of putting the impressive lesson he was giving to his wife.... That which he most loved I most hated; and the very determination which he expressed to keep me in ignorance, only rendered me the more resolute in seeking intelligence.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

Perched upon the stones of a bridge The soldiers had the eyes of ravens Their weapons hung black as talons Their eyes gloried in the smoke of murder To the shock of iron-heeled sticks I drew closer in the cripple’s bitter patience And before them I finally tottered Grasping to capture my elusive breath With the cockerel and swift of their knowing They watched and waited for me ‘I have come,’ said I, ‘from this road’s birth, I have come,’ said I, ‘seeking the best in us.’ The sergeant among them had red in his beard Glistening wet as he showed his teeth ‘There are few roads on this earth,’ said he, ‘that will lead you to the best in us, old one.’ ‘But you have seen all the tracks of men,’ said I ‘And where the mothers and children have fled Before your advance. Is there naught among them That you might set an old man upon?’ The surgeon among this rook had bones Under her vellum skin like a maker of limbs ‘Old one,’ said she, ‘I have dwelt In the heat of chests, among heart and lungs, And slid like a serpent between muscles, Swum the currents of slowing blood, And all these roads lead into the darkness Where the broken will at last rest. ‘Dare say I,’ she went on,‘there is no Place waiting inside where you might find In slithering exploration of mysteries All that you so boldly call the best in us.’ And then the man with shovel and pick, Who could raise fort and berm in a day Timbered of thought and measured in all things Set the gauge of his eyes upon the sun And said, ‘Look not in temples proud, Or in the palaces of the rich highborn, We have razed each in turn in our time To melt gold from icon and shrine And of all the treasures weeping in fire There was naught but the smile of greed And the thick power of possession. Know then this: all roads before you From the beginning of the ages past And those now upon us, yield no clue To the secret equations you seek, For each was built of bone and blood And the backs of the slave did bow To the laboured sentence of a life In chains of dire need and little worth. All that we build one day echoes hollow.’ ‘Where then, good soldiers, will I Ever find all that is best in us? If not in flesh or in temple bound Or wretched road of cobbled stone?’ ‘Could we answer you,’ said the sergeant, ‘This blood would cease its fatal flow, And my surgeon could seal wounds with a touch, All labours will ease before temple and road, Could we answer you,’ said the sergeant, ‘Crows might starve in our company And our talons we would cast in bogs For the gods to fight over as they will. But we have not found in all our years The best in us, until this very day.’ ‘How so?’ asked I, so lost now on the road, And said he, ‘Upon this bridge we sat Since the dawn’s bleak arrival, Our perch of despond so weary and worn, And you we watched, at first a speck Upon the strife-painted horizon So tortured in your tread as to soak our faces In the wonder of your will, yet on you came Upon two sticks so bowed in weight Seeking, say you, the best in us And now we have seen in your gift The best in us, and were treasures at hand We would set them humbly before you, A man without feet who walked a road.’ Now, soldiers with kind words are rare Enough, and I welcomed their regard As I moved among them, ’cross the bridge And onward to the long road beyond I travel seeking the best in us And one day it shall rise before me To bless this journey of mine, and this road I began upon long ago shall now end Where waits for all the best in us. ―Avas Didion Flicker Where Ravens Perch

Long reflection on the condition of mankind as people sentenced to death only leads to the justification of crime. Ivan simultaneously hates the death penalty (describing an execution, he says furiously: "His head fell, in the name of divine grace") and condones crime, in principle. Every indulgence is allowed the murderer, none is allowed the executioner. This contradiction, which Sade swallowed with ease, chokes Ivan Karamazov.

Nora Ephron is a screenwriter whose scripts for Silkwood, When Harry Met Sally, and Sleepless in Seattle have all been nominated for Academy Awards. Ephron started her career as a journalist for the New York Post and Esquire. She became a journalist because of her high school journalism teacher. Ephron still remembers the first day of her journalism class. Although the students had no journalism experience, they walked into their first class with a sense of what a journalist does: A journalists gets the facts and reports them. To get the facts, you track down the five Ws—who, what, where, when, and why. As students sat in front of their manual typewriters, Ephron’s teacher announced the first assignment. They would write the lead of a newspaper story. The teacher reeled off the facts: “Kenneth L. Peters, the principal of Beverly Hills High School, announced today that the entire high school faculty will travel to Sacramento next Thursday for a colloquium in new teaching methods. Among the speakers will be anthropologist Margaret Mead, college president Dr. Robert Maynard Hutchins, and California governor Edmund ‘Pat’ Brown.” The budding journalists sat at their typewriters and pecked away at the first lead of their careers. According to Ephron, she and most of the other students produced leads that reordered the facts and condensed them into a single sentence: “Governor Pat Brown, Margaret Mead, and Robert Maynard Hutchins will address the Beverly Hills High School faculty Thursday in Sacramento. . .blah, blah, blah.” The teacher collected the leads and scanned them rapidly. Then he laid them aside and paused for a moment. Finally, he said, “The lead to the story is ‘There will be no school next Thursday.’” “It was a breathtaking moment,” Ephron recalls. “In that instant I realized that journalism was not just about regurgitating the facts but about figuring out the point. It wasn’t enough to know the who, what, when, and where; you had to understand what it meant. And why it mattered.” For the rest of the year, she says, every assignment had a secret—a hidden point that the students had to figure out in order to produce a good story.

Some of the social skill difficulties leave adults with ADD sometimes hesitant to participate in important situations at work and in their social life. These often lead to anxiety and withdrawal since you don’t know if today will be a good or bad brain day. You may not be able to think of a single thing to say during small talk or be able to answer a direct question. You may simply go blank, unable to retrieve information you know. You may not be able to tell a story in a linear way and people may start to stare at you several minutes into the story and you know they aren’t following you. You may find yourself interrupting, wanting to get to the bottom line, and finishing people’s sentences for them (because you know what they are going to say!). You may mentally wander off in conversations, not following what is being said, which is especially difficult in groups.

We believe that the most terrifying and destructive feeling that a person can experience is psychological isolation. This is not the same as being alone. It is a feeling that one is locked out of the possibility of human connection and of being powerless to change the situation. In the extreme, psychological isolation can lead to a sense of hopelessness and desperation. People will do almost anything to escape this combination of condemned isolation and powerlessness. The part of this definition that is critical to understanding shame is the sentence 'People will do almost anything to escape this combination of condemned isolation and powerlessness.' Shame often leads to desperation. And reactions to this desperate need to escape from isolation and fear can run the gamut from numbing to addiction, depression, self-injury, eating disorders, bullying, violence, and suicide.

The themes of Jesus' teaching are important, but of course he was more than a teacher. All the Gospels put the end of his life at the dramatic center of his story. Here all the hopes of Israel come together—he is the king of the Jews, the greatest of all the suffering prophets. Yet Jesus transformed those expectations. He did not lead Israel to victory over Rome. Indeed, one of the remarkable features of the narratives of his last days is that his increasing isolation makes it impossible to identify him with any one 'side' or cause. The Roman governor sentenced him as a Jewish rebel, but the leaders of Judaism also turned against him. He attacked the powerful on behalf of the poor, but in the end the mob too called for his blood. His own disciples ran away; Peter denied him. He did not go to his death agony as a representative of Jews, or of the poor, or of Christians, but alone, and thus, according to Christian faith, as a representative of all.

We believe in the wrong things. That's what frustrates me the most. Not the lack of belief, but the belief in the wrong things. You want meaning? Well, the meanings are out there. We're just so damn good at reading them wrong. I don't think meaning is something that can be explained. You have to understand it on your own. It's like when you're starting to read. First, you learn the letters. Then, once you know what sounds the letters make, you use them to sound out words. You know that c-a-t leads to cat and d-o-g leads to dog. But then you have to make that extra leap, to understand that the word, the sound, the "cat" is connected to an actual cat , and that "dog" is connected to an actual dog. It's that leap, that understanding, that leads to meaning. And a lot of the time in life, we're still just sounding things out. We know the sentences and how to say them. We know the ideas and how to present them. We know the prayers and which words to say in what order. But that's only spelling.

If a writer has to find a rhythm if his novel is to come 'right', a rhythm which he may well discover in the rhythm of an individual sentence, then likewise a reader has to find a corresponding rhythm in his reading, which may equally well be discovered in responding to local effect. The intimacy of this relationship between writer and reader is well caught in a recent observation made by Graham Greene, 'Novels should always have, if not dull, then at least level patches. That's where the excessive use of film technique, cutting sharply from intensity to intensity is harmful. . . . The writer needs level passages for his subconscious to work up to the sharp scenes . . . and the reader needs those level patches too, so that he can share in the processes of creation—not by conscious analysis, but by absorption?' To reflect on the wide-ranging effects of rhythm in reading would seem to be one way of making a start on tracing that obscure route that leads from 'absorption' to 'conscious analysis'.

Ask yourself what you like to think about. Problems associated with your technical specialty? Would you be unhappy making a career shift into a new area? Do you see yourself, in the future, as more of an individual contributor or a manager? If you do think you want to specialize, here is the acid test: Your skills and talents are sufficiently deep and leading-edge for you to be able to complete a sentence that sounds something like this: "I am uniquely qualified for this because I am one of a handful of people who have the depth of knowledge to…

In the months leading up to their expedition, the Apollo 11 astronauts trained in a remote moon-like desert in the western United States. The area is home to several Native American communities, and there is a story – or legend – describing an encounter between the astronauts and one of the locals. One day as they were training, the astronauts came across an old Native American. The man asked them what they were doing there. They replied that they were part of a research expedition that would shortly travel to explore the moon. When the old man heard that, he fell silent for a few moments, and then asked the astronauts if they could do him a favour. ‘What do you want?’ they asked. ‘Well,’ said the old man, ‘the people of my tribe believe that holy spirits live on the moon. I was wondering if you could pass an important message to them from my people.’ ‘What’s the message?’ asked the astronauts. The man uttered something in his tribal language, and then asked the astronauts to repeat it again and again until they had memorised it correctly. ‘What does it mean?’ asked the astronauts. ‘Oh, I cannot tell you. It’s a secret that only our tribe and the moon spirits are allowed to know.’ When they returned to their base, the astronauts searched and searched until they found someone who could speak the tribal language, and asked him to translate the secret message. When they repeated what they had memorised, the translator started to laugh uproariously. When he calmed down, the astronauts asked him what it meant. The man explained that the sentence they had memorised so carefully said, ‘Don’t believe a single word these people are telling you. They have come to steal your lands.

Saturday evening, on a quiet lazy afternoon, I went to watch a bullfight in Las Ventas, one of Madrid's most famous bullrings. I went there out of curiosity. I had long been haunted by the image of the matador with its custom made torero suit, embroidered with golden threads, looking spectacular in his "suit of light" or traje de luces as they call it in Spain. I was curious to see the dance of death unfold in front of me, to test my humanity in the midst of blood and gold, and to see in which state my soul will come out of the arena, whether it will be shaken and stirred, furious and angry, or a little bit aware of the life embedded in every death. Being an avid fan of Hemingway, and a proponent of his famous sentence "About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after,” I went there willingly to test myself. I had heard atrocities about bullfighting yet I had this immense desire to be part of what I partially had an inclination to call a bloody piece of cultural experience. As I sat there, in front of the empty arena, I felt a grandiose feeling of belonging to something bigger than anything I experienced during my stay in Spain. Few minutes and I'll be witnessing a painting being carefully drawn in front of me, few minutes and I will be part of an art form deeply entrenched in the Spanish cultural heritage: the art of defying death. But to sit there, and to watch the bull enter the arena… To watch one bull surrounded by a matador and his six assistants. To watch the matador confronting the bull with the capote, performing a series of passes, just before the picador on a horse stabs the bull's neck, weakening the neck muscles and leading to the animal's first loss of blood... Starting a game with only one side having decided fully to engage in while making sure all the odds will be in the favor of him being a predetermined winner. It was this moment precisely that made me feel part of something immoral. The unfair rules of the game. The indifferent bull being begged to react, being pushed to the edge of fury. The bull, tired and peaceful. The bull, being teased relentlessly. The bull being pushed to a game he isn't interested in. And the matador getting credits for an unfair game he set. As I left the arena, people looked at me with mocking eyes. Yes, I went to watch a bull fight and yes the play of colors is marvelous. The matador’s costume is breathtaking and to be sitting in an arena fills your lungs with the sands of time. But to see the amount of claps the spill of blood is getting was beyond what I can endure. To hear the amount of claps injustice brings is astonishing. You understand a lot about human nature, about the wars taking place every day, about poverty and starvation. You understand a lot about racial discrimination and abuse (verbal and physical), sex trafficking, and everything that stirs the wounds of this world wide open. You understand a lot about humans’ thirst for injustice and violence as a way to empower hidden insecurities. Replace the bull and replace the matador. And the arena will still be there. And you'll hear the claps. You've been hearing them ever since you opened your eyes.

Perhaps Bufalino’s closest friend was Philadelphia crime boss Angelo Bruno. Law enforcement referred to Bufalino as “the quiet Don Rosario”; Bruno was known as the “Docile Don” for his similar low-key approach to heading a major crime family. Like Bufalino’s family, the Bruno crime family was not permitted to deal in drugs. Because of his perceived old-fashioned ways Bruno was killed by greedy underlings in 1980. Bruno’s demise would lead to everlasting anarchy in his family. His successor, Philip “Chicken Man” Testa, was literally blown up a year after taking over. Testa’s successor, Nicodemus “Little Nicky” Scarfo, is now serving multiple life sentences for murder, having been betrayed by his own underboss and nephew. Little Nicky’s successor, John Stanfa, is serving five consecutive life sentences for murder. Frank Sheeran got a Christmas card every year from John Stanfa in his Leavenworth cell. John Stanfa’s successor, Ralph Natale, is the first boss to turn government informant and testify against his own men. Frank Sheeran calls Philadelphia “the city of rats.” On the other hand, Russell Bufalino lived a long life. He died of old age in a nursing home in 1994 at the age of ninety. He controlled his “family” until the day he died, and unlike Angelo Bruno’s Philadelphia family, not a sign of discord has been reported in the Bufalino family since his death. Frank

I began to notice that when I was tired or anxious, there were certain sentences I would say in my head that lead me to a very familiar place. The journey to this place would often start with me walking around disturbed, feeling as if there was something deep inside that I needed to put into words but couldn't quite capture. I felt the "something" as an anxiety, a loneliness, and a need for connection with someone. If no connection came, I would start to say things like, "Life really stinks. Why is it always so hard? It's never going to change." If no one noticed that I was struggling and asked me what was wrong, I found my sentences shifting again to a more cynical level, "Who cares? Life really is a joke." Surprisingly, I noticed by the time I was saying these last sentences, I was feeling better. The anxiety had greatly diminished. My "comforter", my abiding place, was cynicism and rebellion. From this abiding place, I would feel free to use some soul - cocaine - a violence video with maybe a little sexual titillation thrown in, perhaps having a little more alcohol with a meal than I might normally drink - things that would allow me to feel better for just a little while. I had always thought of these things as just bad habits. I began to see that they were much more; they were spiritual abiding places that were my comforters and friends in a very spiritual way; literally, other lovers.

What was the secret of Grandpa's charm? I began to understand only years later. He possessed a quality that is hardly ever found among men, a marvelous quality that for many women is the sexiest in a man: He listened. He did not just politely pretend to listen, while impatiently waiting for her to finish what she was saying and shut up. He did not break into his partner's sentence and finish it for her. He did not cut in to sum up what she was saying so as to move on to another subject. He did not let his interlocutress talk into thin air while he prepared in his head the reply he would make when she finally finished. He did not pretend to be interested or entertained, he really was. Nu, what: he had an inexhaustible curiosity. He was not impatient. He did not attempt to deflect the conversation from her petty concerns to his own important ones. On the contrary: he loved her concerns. He always enjoyed waiting for her, and if she needed to take her time he took pleasure in all her contortions. He was in no hurry, and he never rushed her. He would wait for her to finish, and even when she had finished, he did not pounce or grab but enjoyed waiting in case there was something more, in case she was carried along on another wave. He loved to let her take him by the hand and lead him to her own places, at her own pace. He loved to be her accompanist. He loved getting to know her. He loved to understand, to get to the bottom of her. And beyond.

Have you ever been in a place where history becomes tangible? Where you stand motionless, feeling time and importance press around you, press into you? That was how I felt the first time I stood in the astronaut garden at OCA PNW. Is it still there? Do you know it? Every OCA campus had – has, please let it be has – one: a circular enclave, walled by smooth white stone that towered up and up until it abruptly cut off, definitive as the end of an atmosphere, making room for the sky above. Stretching up from the ground, standing in neat rows and with an equally neat carpet of microclover in between, were trees, one for every person who’d taken a trip off Earth on an OCA rocket. It didn’t matter where you from, where you trained, where your spacecraft launched. When someone went up, every OCA campus planted a sapling. The trees are an awesome sight, but bear in mind: the forest above is not the garden’s entry point. You enter from underground. I remember walking through a short tunnel and into a low-lit domed chamber that possessed nothing but a spiral staircase leading upward. The walls were made of thick glass, and behind it was the dense network you find below every forest. Roots interlocking like fingers, with gossamer fungus sprawled symbiotically between, allowing for the peaceful exchange of carbon and nutrients. Worms traversed roads of their own making. Pockets of water and pebbles decorated the scene. This is what a forest is, after all. Don’t believe the lie of individual trees, each a monument to its own self-made success. A forest is an interdependent community. Resources are shared, and life in isolation is a death sentence. As I stood contemplating the roots, a hidden timer triggered, and the lights faded out. My breath went with it. The glass was etched with some kind of luminescent colourant, invisible when the lights were on, but glowing boldly in the dark. I moved closer, and I saw names – thousands upon thousands of names, printed as small as possible. I understood what I was seeing without being told. The idea behind Open Cluster Astronautics was simple: citizen-funded spaceflight. Exploration for exploration’s sake. Apolitical, international, non-profit. Donations accepted from anyone, with no kickbacks or concessions or promises of anything beyond a fervent attempt to bring astronauts back from extinction. It began in a post thread kicked off in 2052, a literal moonshot by a collective of frustrated friends from all corners – former thinkers for big names gone bankrupt, starry-eyed academics who wanted to do more than teach the past, government bureau members whose governments no longer existed. If you want to do good science with clean money and clean hands, they argued, if you want to keep the fire burning even as flags and logos came down, if you understand that space exploration is best when it’s done in the name of the people, then the people are the ones who have to make it happen.

Julian said he had read about a march to Washington, D.C., to be led by Martin Luther King, Jr.... "King leading a march. Who is he going to pray to this time, the statue of Abe Lincoln?" "Give us our freedom again, please suh." "King has been in jail so much he's got a liking for those iron bars and jailhouse food." The ridicule fitted our consciousness. We were brave revolutionaries, not pussyfooting nonviolent cowards. We scorned the idea of being spat upon, kicked, and then turning our cheeks for more abuse. Of course, none of us, save Julian, had even been close to bloody violence, and not one of us had spent an hour in jail for our political beliefs. My policy was to keep quiet when Reverend King's name was mentioned. I didn't want to remind my radical friends of my association with the peacemaker. It was difficult, but I managed to dispose of the idea that my silence was a betrayal. After all, when I worked for him, I had been deluded into agreeing with Reverend King that love would cure America of its pathological illnesses, that indeed our struggle for equal rights would redeem the country's baleful history. But all the prayers, sit-ins, sacrifices, jail sentences, humiliation, insults and jibes had not borne out Reverend King's vision. When maddened White citizens and elected political leaders vowed to die before they would see segregation come to an end, I became more resolute in rejecting nonviolence and more adamant in denying Martin Luther King.

We have also heard within the last few hours that Rubeus Hagrid”--all three of them gasped, and so nearly missed the rest of the sentence--“well-known gamekeeper at Hogwarts School, has narrowly escaped arrest within the grounds of Hogwarts, where he is rumored to have hosted a ‘Support Harry Potter’ party in his house. However, Hagrid was not taken into custody, and is, we believe, on the run.” “I suppose it helps, when escaping from Death Eaters, if you’ve got a sixteen-foot-high half brother?” asked Lee. “It would tend to give you an edge,” agreed Lupin gravely. “May I just add that while we here at Potterwatch applaud Hagrid’s spirit, we would urge even the most devoted of Harry’s supporters against following Hagrid’s lead. ‘Support Harry Potter’ parties are unwise in the present climate.” “Indeed they are, Romulus,” said Lee, “so we suggest that you continue to show your devotion to the man with the lightning scar by listening to Potterwatch! And now let’s move to news concerning the wizard who is proving just as elusive as Harry Potter. We like to refer to him as the Chief Death Eater, and here to give his views on some of the more insane rumors circulating about him, I’d like to introduce a new correspondent: Rodent.” “‘Rodent’?” said yet another familiar voice, and Harry, Ron, and Hermione cried out together: “Fred!” “No--is it George?” “It’s Fred, I think,” said Ron, leaning in closer, as whichever twin it was said, “I’m not being ‘Rodent,’ no way, I told you I wanted to be ‘Rapier’!

According to that book, only one Marx contributed an unforgotten pun to the Round Tablers’ vaunted word games. It wasn’t Groucho, who must have been furious. Nor was it Harpo, who for all we know sat at the table naked. Nor was it Chico, who had more dangerous games elsewhere. It was Gummo. Evidently Gummo had a seat at that table at least once, and he made it count. Everybody knows that Dorothy Parker, challenged to make a sentence with the word horticulture, quipped as follows: “You can lead a horticulture, but you can’t make her think.” But who knew that Gummo, taking on euphoria, came up with this: LEFT TO RIGHT: Harpo, Zeppo, Chico, Groucho, and Gummo, 1957. “Go outside and play,” Minnie told the brothers. “Which ones?” they asked. And she said: “Euphoria.”*

Thus three conclusions emerge from the eye story: (1) it is easier to inherit a ‘vision acquisition device’ than a full-blown hard-wired visual analyser; (2) the visual analyser, once ‘set up’, is refractory to radical restructuring—hence the existence of a critical period in its development in cats; (3) the eye seems to have evolved in steps from a light-sensitive, innervated cell to our complex organ by common evolutionary mechanisms. Something similar may have been taking place in evolution of the language organ, and may be occurring during individual development. An argument, put forward forcefully by Noam Chomsky and his followers, refers to the ‘poverty of stimulus’. Most permutations of word order and grammatical items in a sentence leads to incomprehensible gibberish. There is no way that children could learn without some internal ‘guide’ which sentence is grammatical and which is not, only on the basis of heard examples. To make matters worse, many parents do not correct their children’s grammatical mistakes (they seem to be much more worried about the utterance of four-letter words). Recent investigations clearly confirm that children’s ‘instinctive’ understanding of grammatical intricacies, between the ages 2 and 4, is far better than one would expect from a conventional learning mechanism. Thus there seems to be a ‘language acquisition device’ (LAD) in the brain, which must be triggered by linguistic input so that its working ultimately leads to proper language. It is the LAD, and not a fully developed linguistic processor, which seems to be innate.

Tell you what: Ask a Baptist wife why her husband treats her like a personal slave. Ask a homosexual couple why their love for one another is treated as a sick joke in some parts of the world and as a crime punishable by death in others. Ask a starving African mother with ten starving children why she doesn't practice birth control. Ask a young Muslim girl why her parents sliced off her clitoris. Ask millions of Muslim women why they cannot attend schools or show themselves in public except through the eye slits of a full-body burqa. Ask the Pakistani woman who's gang-raped why she is sentenced to death while her rapists go free, and why it’s her own family leading the murderous chorus. Ask the American woman who’s raped why her local congressman would question the “legitimacy” of that rape and would force her to bring her rapist’s child to term. Ask the dead Christian children why their fundamentalist parents wouldn’t give them an antibiotic to stave off their infection or an insulin injection to control their diabetes. Ask the Parkinson’s or paralysis victims why their cures have been mired in religious and political red tape for decades now because an increasingly hysterical and radical segment of American society believes that a clump of cells with no identity and no consciousness has more rights than they do. Ask them all to point to the source of their misery, and then ask yourself why it doesn't bother you that they are pointing to the same goddamned book you're using in your religious services and in the celebration of your “harmless” and “quaint” traditions.

Modified interaction does not always involve linguistic simplification. It may also include elaboration, slower speech rate, gesture, or the provision of additional contextual cues. Some examples of conversational modifications are: 1   Comprehension checks—efforts by the native speaker to ensure that the learner has understood (for example, ‘The bus leaves at 6:30. Do you understand?’). 2   Clarification requests—efforts by the learner to get the native speaker to clarify something that has not been understood (for example, ‘Could you repeat please?’). These requests from the learner lead to further modifications by the native speaker. 3   Self-repetition or paraphrase—the more proficient speaker repeats his or her sentence either partially or in its entirety (for example, ‘She got lost on her way home from school. She was walking home from school. She got lost.’).

Less is not known as a teacher, in the same way Melville was not known as a customs inspector. And yet both held the respective positions. Though he was once an endowed chair at Robert’s university, he has no formal training except the drunken, cigarette-filled evenings of his youth, when Robert’s friends gathered and yelled, taunted, and played games with words. As a result, Less feels uncomfortable lecturing. Instead, he re-creates those lost days with his students. Remembering those middle-aged men sitting with a bottle of whiskey, a Norton book of poetry, and scissors, he cuts up a paragraph of Lolita and has the young doctoral students reassemble the text as they desire. In these collages, Humbert Humbert becomes an addled old man rather than a diabolical one, mixing up cocktail ingredients and, instead of confronting the betrayed Charlotte Haze, going back for more ice. He gives them a page of Joyce and a bottle of Wite-Out—and Molly Bloom merely says “Yes.” A game to write a persuasive opening sentence for a book they have never read (this is difficult, as these diligent students have read everything) leads to a chilling start to Woolf’s The Waves: I was too far out in the ocean to hear the lifeguard shouting, “Shark! Shark!” Though the course features, curiously, neither vampires nor Frankenstein monsters, the students adore it. No one has given them scissors and glue sticks since they were in kindergarten. No one has ever asked them to translate a sentence from Carson McCullers (In the town there were two mutes, and they were always together) into German (In der Stadt gab es zwei Stumme, und sie waren immer zusammen) and pass it around the room, retranslating as they go, until it comes out as playground gibberish: In the bar there were two potatoes together, and they were trouble. What a relief for their hardworking lives. Do they learn anything about literature? Doubtful. But they learn to love language again, something that has faded like sex in a long marriage. Because of this, they learn to love their teacher.

I’ve something to show you in here,” he murmurs and opens the door. The harsh light of the fluorescents illuminates the impressive motor launch in the dock, bobbing gently on the dark water. There’s a row boat beside it. “Come.” Christian takes my hand and leads me up the wooden stairs. Opening the door at the top, he steps aside to let me in. My mouth drops to the floor. The attic is unrecognizable. The room is filled with flowers... there are flowers everywhere. Someone has created a magical bower of beautiful wild meadow flowers mixed with glowing fairy lights and miniature lanterns that glow soft and pale round the room. My face whips round to meet his, and he’s gazing at me, his expression unreadable. He shrugs. “You wanted hearts and flowers,” he murmurs. I blink at him, not quite believing what I’m seeing. “You have my heart.” And he waves toward the room. “And here are the flowers,” I whisper, completing his sentence. “Christian, it’s lovely.” I can’t think of what else to say. My heart is in my mouth as tears prick my eyes.

The communists didn’t release their grip until the late 1980s. Effective organisation kept them in power for eight long decades, and they eventually fell due to defective organisation. On 21 December 1989 Nicolae Ceaus¸escu, the communist dictator of Romania, organised a mass demonstration of support in the centre of Bucharest. Over the previous months the Soviet Union had withdrawn its support from the eastern European communist regimes, the Berlin Wall had fallen, and revolutions had swept Poland, East Germany, Hungary, Bulgaria and Czechoslovakia. Ceaus¸escu, who had ruled Romania since 1965, believed he could withstand the tsunami, even though riots against his rule had erupted in the Romanian city of Timis¸oara on 17 December. As one of his counter-measures, Ceaus¸escu arranged a massive rally in Bucharest to prove to Romanians and the rest of the world that the majority of the populace still loved him – or at least feared him. The creaking party apparatus mobilised 80,000 people to fill the city’s central square, and citizens throughout Romania were instructed to stop all their activities and tune in on their radios and televisions. To the cheering of the seemingly enthusiastic crowd, Ceauşescu mounted the balcony overlooking the square, as he had done scores of times in previous decades. Flanked by his wife, Elena, leading party officials and a bevy of bodyguards, Ceaus¸escu began delivering one of his trademark dreary speeches. For eight minutes he praised the glories of Romanian socialism, looking very pleased with himself as the crowd clapped mechanically. And then something went wrong. You can see it for yourself on YouTube. Just search for ‘Ceauşescu’s last speech’, and watch history in action.20 The YouTube clip shows Ceaus¸escu starting another long sentence, saying, ‘I want to thank the initiators and organisers of this great event in Bucharest, considering it as a—’, and then he falls silent, his eyes open wide, and he freezes in disbelief. He never finished the sentence. You can see in that split second how an entire world collapses. Somebody in the audience booed. People

How did you find me?" "I've followed you for a long time." He must have mistaken the look on my face for alarm or fear, and said, "Not literally. I just mean I never lost track." But it wasn't fear, or anything like that. It was an instant of realization I'd have a lot in the coming days: I'd been thinking of him as coming back from the dead, but the fact was he'd been there all along. He'd been alive when I cried in my room over him being gone. He'd been alive when I started a new school without him, the day I made my first friend a Jones Hall, the time I ran into Ethan at the library. Cameron Quick and I had existed simultaneously on the planet during all of those moments. It didn't seem possible that we could have been leading separate lives, not after everything we'd been through together. "...then I looked you up online," he was saying, "and found your mom's wedding announcement from before you changed your name. I didn't even need to do that. It's easy to find someone you never lost." I struggled to understand what he was saying. "You mean...you could have written to me, or seen me, sooner?" "I wanted to. Almost did, a bunch of times." "Why didn't you? I wish you had." And I did, I wished it so much, imagined how it would have been to know all those years that he was there, thinking of me. "Things seemed different for you," he said, matter-of-fact. "Better. I could tell that from the bits of information I found...like an interview with the parents who were putting their kids in your school when it first started. Or an article about that essay contest you won a couple years ago." "You knew about that?" He nodded. "That one had a picture. I could see just from looking at you that you had a good thing going. Didn't need me coming along and messing it up." "Don't say that," I said quickly. Then: "You were never part of what I wanted to forget." "Nice of you to say, but I know it's not true." I knew what he was thinking, could see that he'd been carrying around the same burden all those years as me. "You didn't do anything wrong." It was getting cold on the porch, and late, and the looming topic scared me. I got up. "Let's go in. I can make coffee or hot chocolate or something?" "I have to go." "No! Already?" I didn't want to let him out of my sight. "Don't worry," he said. "Just have to go to work. I'll be around." "Give me your number. I'll call you." "I don't have a phone right now." "Find me at school," I said, "or anytime. Eat lunch with us tomorrow." He didn't answer. "Really," I continued, "you should meet my friends and stuff." "You have a boyfriend," he finally said. "I saw you guys holding hands." I nodded. "Ethan." "For how long?" "Three months, almost." I couldn't picture Cameron Quick dating anyone, though he must have at some point. If I'd found Ethan, I was sure Cameron had some Ashley or Becca or Caitlin along the way. I didn't ask. "He's nice," I added. "He's..." I don't know what I'd planned to say, but whatever it was it seemed insignificant so I finished that sentence with a shrug. "You lost your lisp." And about twenty-five pounds, I thought. "I guess speech therapy worked for both of us." He smiled. "I always liked that, you know. Your lisp. It was...you." He started down the porch steps. "See you tomorrow, okay?" "Yeah," I said, unable to take my eyes off of him. "Tomorrow.

Roughly 25 percent of humanity is Muslim. For every Jew, there are roughly one hundred twenty-five Muslims. Judaism is about 2500 years older than Islam, and yet it has not been able to attract nearly as many followers. If we construe religions as memeplexes (a collection of interconnected memes), to borrow Richard Dawkin's term, the Islamic memeplex has been extraordinarily more successful than its Jewish counterpart (from an epidemiological perspective, that is). Why is that? To answer this important question, we must look at the contents of the two respective memeplexes to examine why one is more "infectious" than the other. Let us explore the rules for converting into the two religions and apostatizing out of them. In Judaism, the religious process for conversion is onerous, requiring several years of commitment and an absence of ulterior motive. (For example, converting to Judaism because you are marrying a Jewish person is considered an ulterior motive). Not surprisingly, given the barriers to entry, relatively few people convert to Judaism. On the other hand, to convert to Islam simply requires that one proclaim openly the sentence, the shahada (the testimony): "There is no true god but Allah, and Muhammad is the Messenger of Allah." It does not require a sophisticated epidemiological model to predict which memeplex will spread more rapidly. Let us now suppose that one wishes to leave the religion. While the Old Testament does mention the death penalty for apostasy, it has seldom been applied throughout Jewish history, whereas to this day apostasy from Islam does lead to the death penalty in several Islamic countries. But perhaps the most important difference is that Judaism does not promote or encourage proselytizing, whereas it is a central religious obligation in Islam. According to Islam, the world is divided into dar al-hard (the house of war) and dar al-Islam (the house of Islam). Peace will arrive when the entire world is united under the flag of Allah. Hence, it is imperative to Islamize the nations within dar al-harb. There is only one Jewish country in the world, Israel, and it has a sizeable non-Jewish minority. But there are fifty-seven member states of the Organization of Islamic Cooperation.

He’s moved by a desire to describe in words exactly how she looks and speaks. Her hair and clothing. The copy of Swann’s Way she reads at lunchtime in the school cafeteria, with a dark French painting on the cover and a mint-colored spine. Her long fingers turning the pages. She’s not leading the same kind of life as other people. She acts so worldly at times, making him feel ignorant, but then she can be so naive. He wants to understand how her mind works. If he silently decides not to say something when they’re talking, Marianne will ask “what?” within one or two seconds. This “what?” question seems to him to contain so much: not just the forensic attentiveness to his silences that allows her to ask in the first place, but a desire for total communication, a sense that anything unsaid is an unwelcome interruption between them. He writes these things down, long run-on sentences with too many dependent clauses, sometimes connected with breathless semicolons, as if he wants to re-create a precise copy of Marianne in print, as if he can preserve her completely for future review. Then he turns a new page in the notebook so he doesn’t have to look at what he’s done.

Nonconformity is an affront to those in the mainstream. Our impulse is to dismiss this lifestyle, create reasons why it can’t work, why it doesn’t even warrant consideration. Why not? Living outdoors is cheap and can be afforded by a half year of marginal employment. They can’t buy things that most of us have, but what they lose in possessions, they gain in freedom. In Somerset Maugham’s The Razor’s Edge, lead character Larry returns from the First World War and declares that he would like to “loaf.”23 The term “loafing” inadequately describes the life he would spend traveling, studying, searching for meaning, and even laboring. Larry meets with the disapproval of peers and would-be mentors: “Common sense assured…that if you wanted to get on in this world, you must accept its conventions, and not to do what everybody else did clearly pointed to instability.” Larry had an inheritance that enabled him to live modestly and pursue his dreams. Larry’s acquaintances didn’t fear the consequences of his failure; they feared his failure to conform. I’m no maverick. Upon leaving college I dove into the workforce, eager to have my own stuff and a job to pay for it. Parents approved, bosses gave raises, and my friends could relate. The approval, the comforts, the commitments wound themselves around me like invisible threads. When my life stayed the course, I wouldn’t even feel them binding. Then I would waiver enough to sense the growing entrapment, the taming of my life in which I had been complicit. Working a nine-to-five job took more energy than I had expected, leaving less time to pursue diverse interests. I grew to detest the statement “I am a…” with the sentence completed by an occupational title. Self-help books emphasize “defining priorities” and “staying focused,” euphemisms for specialization and stifling spontaneity. Our vision becomes so narrow that risk is trying a new brand of cereal, and adventure is watching a new sitcom. Over time I have elevated my opinion of nonconformity nearly to the level of an obligation. We should have a bias toward doing activities that we don’t normally do to keep loose the moorings of society. Hiking the AT is “pointless.” What life is not “pointless”? Is it not pointless to work paycheck to paycheck just to conform? Hiking the AT before joining the workforce was an opportunity not taken. Doing it in retirement would be sensible; doing it at this time in my life is abnormal, and therein lay the appeal. I want to make my life less ordinary.

Broca’s area is adjacent to the part of the motor-control strip dedicated to the jaws, lip, and tongue, and it was once thought that Broca’s area is involved in the production of language (though obviously not speech per se, because writing and signing are just as affected). But the area seems to be implicated in grammatical processing in general. A defect in grammar will be most obvious in the output, because any slip will lead to a sentence that is conspicuously defective. Comprehension, on the other hand, can often exploit the redundancy in speech to come up with sensible interpretations with little in the way of actual parsing. For example, one can understand The dog bit the man or The apple that the boy is eating is red just by knowing that dogs bite men, boys eat apples, and apples are red. Even The car pushes the truck can be guessed at because the cause is mentioned before the effect. For a century, Broca’s aphasics fooled neurologists by using shortcuts. Their trickery was finally unmasked when psycholinguists asked them to act out sentences that could be understood only by their syntax, like The car is pushed by the truck or The girl whom the boy is pushing is tall. The patients gave the correct interpretation half the time and its opposite half the time—a mental coin flip.

Amazing Grace” Amazing grace, how sweet the sound, That saved a wretch like me! I once was lost, but now am found; Was blind, but now I see. ’Twas grace that taught my heart to fear, And grace my fears relieved; How precious did that grace appear, The hour I first believed. Through many dangers, toils and snares, I have already come; ’Tis grace hath brought me safe thus far, And grace will lead me home. The Lord has promised good to me, His Word my hope secures; He will my Shield and Portion be, As long as life endures. Yea, when this flesh and heart shall fail, And mortal life shall cease, I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who called me here below, Will be forever mine. When we’ve been there ten thousand years, Bright shining as the sun, We’ve no less days to sing God’s praise, Than when we’d first begun. Lyrics by John Newton, 1779 “Swing Low, Sweet Chariot” (Chorus) Swing low, sweet chariot, Coming for to carry me home. Swing low, sweet chariot, Coming for to carry me home. I looked over Jordan, and what did I see? (Coming for to carry me home) A band of angels coming after me. (Coming for to carry me home) (Chorus) If you get there before I do, (Coming for to carry me home) Tell all of my friends, that I'm coming there too. (Coming for to carry me home) (Chorus) Traditional lyrics Wallis Willis, circa 1865 “Battle Hymn of the Republic” Mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of His terrible swift sword: His truth is marching on. (Chorus) Glory, Glory, hallelujah! Glory, glory, hallelujah! Glory, glory, hallelujah! His truth is marching on. I have seen Him in the watch-fires of a hundred circling camps, They have builded Him an altar in the evening dews and damps; I can read His righteous sentence in the dim and flaring lamps: His day is marching on. (Chorus) I have read a fiery gospel writ in burnished rows of steel: "As ye deal with my contemners, so with you my grace shall deal"; Let the Hero, born of woman, crush the serpent with his heel, Since God is marching on. (Chorus) He has sounded forth the trumpet that shall never call retreat; He is sifting out the hearts of men before His judgment-seat; Oh, be swift, my soul, to answer Him! Be jubilant, my feet! Our God is marching on. (Chorus) In the beauty of the lilies Christ was born across the sea, With a glory in His bosom that transfigures you and me. As He died to make men holy, let us die to make men free, While God is marching on. Lyrics by Julia Ward Howe, 1861

She had the startled eyes of a wild bird. This is the kind of sentence I go mad for. I would like to be able to write such sentences, without embarrassment. I would like to be able to read them without embarrassment. If I could only do these two simple things, I feel, I would be able to pass my allotted time on this earth like a pearl wrapped in velvet. She had the startled eyes of a wild bird. Ah, but which one? A screech owl, perhaps, or a cuckoo? It does make a difference. We do not need more literalists of the imagination. They cannot read a body like a gazelle’s without thinking of intestinal parasites, zoos and smells. She had a feral gaze like that of an untamed animal, I read. Reluctantly I put down the book, thumb still inserted at the exciting moment. He’s about to crush her in his arms, pressing his hot, devouring, hard, demanding mouth to hers as her breasts squish out the top of her dress, but I can’t concentrate. Metaphor leads me by the nose, into the maze, and suddenly all Eden lies before me. Porcupines, weasels, warthogs and skunks, their feral gazes malicious or bland or stolid or piggy and sly. Agony, to see the romantic frisson quivering just out of reach, a dark-winged butterfly stuck to an over-ripe peach, and not to be able to swallow, or wallow. Which one? I murmur to the unresponding air. Which one?

As it was, Einstein merely had the pleasure of renouncing the cosmological constant, which he had never liked.53 In a new edition of his popular book on relativity published in 1931, he added an appendix explaining why the term he had pasted into his field equations was, thankfully, no longer necessary.54 “When I was discussing cosmological problems with Einstein,” George Gamow later recalled, “he remarked that the introduction of the cosmological term was the biggest blunder he ever made in his life.”55 In fact, Einstein’s blunders were more fascinating and complex than even the triumphs of lesser scientists. It was hard simply to banish the term from the field equations. “Unfortunately,” says Nobel laureate Steven Weinberg, “it was not so easy just to drop the cosmological constant, because anything that contributes to the energy density of the vacuum acts just like a cosmological constant.”56 It turns out that the cosmological constant not only was difficult to banish but is still needed by cosmologists, who use it today to explain the accelerating expansion of the universe.57 The mysterious dark energy that seems to cause this expansion behaves as if it were a manifestation of Einstein’s constant. As a result, two or three times each year fresh observations produce reports that lead with sentences along the lines of this one from November 2005: “The genius of Albert Einstein, who added a ‘cosmological constant’ to his equation for the expansion of the universe but then retracted it, may be vindicated by new research.

In 2014, the American media exploded with news of ISIS beheadings in Syria—six thousand miles away from the United States. Meanwhile, the beheading capital of the world is just to our south, a stone’s throw from American homes, businesses, and ranches. When the Islamic State of Iraq and Syria first began posting videotaped beheadings online, it was as if no one had ever heard of such barbarity. In fact, decapitation porn was an innovation of the Mexican drug cartels.45 One “ISIS” video circulating in 2014 showed a man being beheaded with a chain saw. Then it turned out the video wasn’t an ISIS beheading, at all: It was a Mexican video from 2010.46 After American David Hartley was shot and killed by Mexican drug cartel members while jet skiing with his wife at a lake on the Mexican border, the lead investigator on the case was murdered and his head delivered in a suitcase to a nearby military installation.47 In 2013, there was a huge outcry over Facebook’s video-sharing policy when an extremely graphic video of a man beheading a woman appeared on the site. That, too, was a product of Mexico.48 Where is the 24-7 coverage for these champion beheaders? If it seems like you never hear about all the dismemberments in Mexico, you’d be right. In a search of all transcripts in the Nexis archive in the first eight months of ISIS’s existence as a jihadist group, “beheading” was used in the same sentence as “ISIS” or “ISIL” 1,629 times. During that same time period, it was used in the same sentence as “Mexico” or “Mexican” twice. Indeed, in the previous five years Mexican beheadings were mentioned only sixty-six times.49 If a tree falls and beheads a woman in Mexico, does anyone hear it?

On 20 July 1969, Neil Armstrong and Buzz Aldrin landed on the surface of the moon. In the months leading up to their expedition, the Apollo 11 astronauts trained in a remote moon-like desert in the western United States. The area is home to several Native American communities, and there is a story – or legend – describing an encounter between the astronauts and one of the locals. One day as they were training, the astronauts came across an old Native American. The man asked them what they were doing there. They replied that they were part of a research expedition that would shortly travel to explore the moon. When the old man heard that, he fell silent for a few moments, and then asked the astronauts if they could do him a favour. ‘What do you want?’ they asked. ‘Well,’ said the old man, ‘the people of my tribe believe that holy spirits live on the moon. I was wondering if you could pass an important message to them from my people.’ ‘What’s the message?’ asked the astronauts. The man uttered something in his tribal language, and then asked the astronauts to repeat it again and again until they had memorised it correctly. ‘What does it mean?’ asked the astronauts. ‘Oh, I cannot tell you. It’s a secret that only our tribe and the moon spirits are allowed to know.’ When they returned to their base, the astronauts searched and searched until they found someone who could speak the tribal language, and asked him to translate the secret message. When they repeated what they had memorised, the translator started to laugh uproariously. When he calmed down, the astronauts asked him what it meant. The man explained that the sentence they had memorised so carefully said, ‘Don’t believe a single word these people are telling you. They have come to steal your lands.’ Empty Maps

But nothing has ever expressed the general, gut-felt moral revulsion against city-bombing better than a virtually unknown article, from firsthand experience, by America’s most famous writer at the time, Ernest Hemingway, in July 1938. It’s still little known because he wrote it, by request, for the Soviet newspaper Pravda, which published it in Russian; his manuscript in English didn’t surface143 for forty-four years. It conveys in words the same surreal images that Picasso had rendered on canvas the year before. His lead sentence: “During the last fifteen months I saw murder done in Spain by the Fascist invaders. Murder is different from war.” Hemingway was describing what he had seen of fascist bombing of workers’ housing in Barcelona and shelling of civilian cinemagoers in Madrid. You see the murdered children with their twisted legs, their arms that bend in wrong directions, and their plaster powdered faces. You see the women, sometimes unmarked when they die from concussion, their faces grey, green matter running out of their mouths from bursted gall bladders. You see them sometimes looking like bloodied bundles of rags. You see them sometimes blown capriciously into fragments as an insane butcher might sever a carcass. And you hate the Italian and German murderers who do this as you hate no other people. … When they shell the cinema crowds, concentrating on the squares where the people will be coming out at six o’clock, it is murder. … You see a shell hit a queue of women standing in line to buy soap. There are only four women killed but a part of one woman’s torso is driven against a stone wall so that blood is driven into the stone with such force that sandblasting later fails to clean it. The other dead lie like scattered black bundles and the wounded are moaning or screaming.

I struggle with an embarrassing affliction, one that as far as I know doesn’t have a website or support group despite its disabling effects on the lives of those of us who’ve somehow contracted it. I can’t remember exactly when I started noticing the symptoms—it’s just one of those things you learn to live with, I guess. You make adjustments. You hope people don’t notice. The irony, obviously, is having gone into a line of work in which this particular infirmity is most likely to stand out, like being a gimpy tango instructor or an acrophobic flight attendant. The affliction I’m speaking of is moral relativism, and you can imagine the catastrophic effects on a critic’s career if the thing were left to run its course unfettered or I had to rely on my own inner compass alone. To be honest, calling it moral relativism may dignify it too much; it’s more like moral wishy-washiness. Critics are supposed to have deeply felt moral outrage about things, be ready to pronounce on or condemn other people’s foibles and failures at a moment’s notice whenever an editor emails requesting twelve hundred words by the day after tomorrow. The severity of your condemnation is the measure of your intellectual seriousness (especially when it comes to other people’s literary or aesthetic failures, which, for our best critics, register as nothing short of moral turpitude in itself). That’s how critics make their reputations: having take-no-prisoners convictions and expressing them in brutal mots justes. You’d better be right there with that verdict or you’d better just shut the fuck up. But when it comes to moral turpitude and ethical lapses (which happen to be subjects I’ve written on frequently, perversely drawn to the topics likely to expose me at my most irresolute)—it’s like I’m shooting outrage blanks. There I sit, fingers poised on keyboard, one part of me (the ambitious, careerist part) itching to strike, but in my truest soul limply equivocal, particularly when it comes to the many lapses I suspect I’m capable of committing myself, from bad prose to adultery. Every once in a while I succeed in landing a feeble blow or two, but for the most part it’s the limp equivocator who rules the roost—contextualizing, identifying, dithering. And here’s another confession while I’m at it—wow, it feels good to finally come clean about it all. It’s that … once in a while, when I’m feeling especially jellylike, I’ve found myself loitering on the Internet in hopes of—this is embarrassing—cadging a bit of other people’s moral outrage (not exactly in short supply online) concerning whatever subject I’m supposed to be addressing. Sometimes you just need a little shot in the arm, you know? It’s not like I’d crib anyone’s actual sentences (though frankly I have a tough time getting as worked up about plagiarism as other people seem to get—that’s how deep this horrible affliction runs). No, it’s the tranquillity of their moral authority I’m hoping will rub off on me. I confess to having a bit of an online “thing,” for this reason, about New Republic editor-columnist Leon Wieseltier—as everyone knows, one of our leading critical voices and always in high dudgeon about something or other: never fearing to lambaste anyone no matter how far beneath him in the pecking order, never fearing for a moment, when he calls someone out for being preening or self-congratulatory, as he frequently does, that it might be true of himself as well. When I’m in the depths of soft-heartedness, a little dose of Leon is all I need to feel like clambering back on the horse of critical judgment and denouncing someone for something.

The theory of relativity is a beautiful example of the basic character of the modern development of theory. That is to say, the hypotheses from which one starts become ever more abstract and more remote from experience. But in return one comes closer to the preeminent goal of science, that of encompassing a maximum of empirical contents through logical deduction with a minimum of hypotheses or axioms. The intellectual path from the axioms to the empirical contents or to the testable consequences becomes, thereby, ever longer and more subtle. The theoretician is forced, ever more, to allow himself to be directed by purely mathematical, formal points of view in the search for theories, because the physical experience of the experimenter is not capable of leading us up to the regions of the highest abstraction. Tentative deduction takes the place of the predominantly inductive methods appropriate to the youthful state of science. Such a theoretical structure must be quite thoroughly elaborated in order for it to lead to consequences that can be compared with experience. It is certainly the case that here, as well, the empirical fact is the all-powerful judge. But its judgment can be handed down only on the basis of great and difficult intellectual effort that first bridges the wide space between the axioms and the testable consequences. The theorist must accomplish this Herculean task with the clear understanding that this effort may only be destined to prepare the way for a death sentence for his theory. One should not reproach the theorist who undertakes such a task by calling him a fantast; instead, one must allow him his fantasizing, since for him there is no other way to his goal whatsoever. Indeed, it is no planless fantasizing, but rather a search for the logically simplest possibilities and their consequences.

The most comprehensive studies of racial bias in the exercise of prosecutorial and judicial discretion involve the treatment of juveniles. These studies have shown that youth of color are more likely to be arrested, detained, formally charged, transferred to adult court, and confined to secure residential facilities than their white counterparts.65 A report in 2000 observed that among youth who have never been sent to a juvenile prison before, African Americans were more than six times as likely as whites to be sentenced to prison for identical crimes.66 A study sponsored by the U.S. Justice Department and several of the nation’s leading foundations, published in 2007, found that the impact of the biased treatment is magnified with each additional step into the criminal justice system. African American youth account for 16 percent of all youth, 28 percent of all juvenile arrests, 35 percent of the youth waived to adult criminal court, and 58 percent of youth admitted to state adult prison.67 A major reason for these disparities is unconscious and conscious racial biases infecting decision making. In the state of Washington, for example, a review of juvenile sentencing reports found that prosecutors routinely described black and white offenders differently.68 Blacks committed crimes because of internal personality flaws such as disrespect. Whites did so because of external conditions such as family conflict. The risk that prosecutorial discretion will be racially biased is especially acute in the drug enforcement context, where virtually identical behavior is susceptible to a wide variety of interpretations and responses and the media imagery and political discourse has been so thoroughly racialized. Whether a kid is perceived as a dangerous drug-dealing thug or instead is viewed as a good kid who was merely experimenting with drugs and selling to a few of his friends has to do with the ways in which information about illegal drug activity is processed and interpreted, in a social climate in which drug dealing is racially defined. As a former U.S. Attorney explained: I had an [assistant U.S. attorney who] wanted to drop the gun charge against the defendant [in a case in which] there were no extenuating circumstances. I asked, “Why do you want to drop the gun offense?” And he said, “‘He’s a rural guy and grew up on a farm. The gun he had with him was a rifle. He’s a good ol’ boy, and all good ol’ boys have rifles, and it’s not like he was a gun-toting drug dealer.” But he was a gun-toting drug dealer, exactly.

INTERNATIONAL LAW WAS CREATED DURING THE BUSH ADMINISTRATION BECAUSE a group of Mexicans—and one African American—gang-raped and murdered two teenaged girls in Houston, Texas.1 The crime made history in another way: It led to the most death sentences handed out for a single crime in Texas since 1949.2 Do you even know about this case? The only reason the media eventually admitted that the lead rapist, Jose Ernesto Medellin, was an illegal alien from Mexico was to try to overturn his conviction on the grounds that he had not been informed of his right, as a Mexican citizen, to confer with the Mexican consulate. Journalists have an irritating tendency to skimp on detail when reporting crimes by immigrants, a practice that will not be followed here. One summer night in June 1993, fourteen-year-old Jennifer Ertman and Elizabeth Peña, who had just turned sixteen, were returning from a pool party, and decided to take a shortcut through a park to make their 11:30 p.m. curfew. They encountered a group of Hispanic men, who were in the process of discussing “gang etiquette,” such as not complaining if other members talked about having sex with your mother.3 The girls ran away, but Medellin grabbed Jennifer and began ripping her clothes off. Hearing her screams, Elizabeth came back to help her friend. For more than an hour, the five Hispanics and one black man raped the teens, vaginally, anally, and orally—“every way you can assault a human being,” as the prosecutor put it.4 The girls were beaten, kicked, and stomped, their teeth knocked out and their ribs broken. One of the Hispanic men told Medellin’s fourteen-year-old brother to “get some,” so he raped one of the girls, too. But when it was time to kill the girls, Medellin said his brother was “too small to watch” and dragged the girls into the woods.5 There, the girls were forced to kneel on the ground and a belt or shoelace was looped around their necks. Then a man on each side pulled on the cord as hard as he could. The men strangling Jennifer pulled so hard they broke the belt. Medellin later complained that “the bitch wouldn’t die.” When it was done, he repeatedly stomped on the girls’ necks, to make sure they were dead.6 At trial, Medellin’s sister-in-law testified that shortly after the gruesome murders, Medellin was laughing about it, saying they’d “had some fun with some girls” and boasting that he had “virgin blood” on his underpants.7 It’s difficult to understand a culture where such an orgy of cruelty is bragged about at all, but especially in front of women.

Here’s a sentence in a book I’m reading: ‘We belong, of course, to a generation that’s seen through things, seen how futile everything is, and had the courage to accept futility, and say to ourselves: There’s nothing for it but to enjoy ourselves as best we can.’ Well, I suppose that’s my generation, the one that’s seen the war and its aftermath; and, of course, it is the attitude of quite a crowd; but when you come to think of it, it might have been said by any rather unthinking person in any generation; certainly might have been said by the last generation after religion had got the knock that Darwin gave it. For what does it come to? Suppose you admit having seen through religion and marriage and treaties, and commercial honesty and freedom and ideals of every kind, seen that there’s nothing absolute about them, that they lead of themselves to no definite reward, either in this world or a next which doesn’t exist perhaps, and that the only thing absolute is pleasure and that you mean to have it — are you any farther towards getting pleasure? No! you’re a long way farther off. If everybody’s creed is consciously and crudely ‘grab a good time at all costs,’ everybody is going to grab it at the expense of everybody else, and the devil will take the hindmost, and that’ll be nearly everybody, especially the sort of slackers who naturally hold that creed, so that they, most certainly, aren’t going to get a good time. All those things they’ve so cleverly seen through are only rules of the road devised by men throughout the ages to keep people within bounds, so that we may all have a reasonable chance of getting a good time, instead of the good time going only to the violent, callous, dangerous and able few. All our institutions, religion, marriage, treaties, the law, and the rest, are simply forms of consideration for others necessary to secure consideration for self. Without them we should be a society of feeble motor-bandits and streetwalkers in slavery to a few super-crooks. You can’t, therefore, disbelieve in consideration for others without making an idiot of yourself and spoiling your own chances of a good time. The funny thing is that no matter how we all talk, we recognise that perfectly. People who prate like the fellow in that book don’t act up to their creed when it comes to the point. Even a motor-bandit doesn’t turn King’s evidence. In fact, this new philosophy of ‘having the courage to accept futility and grab a good time’ is simply a shallow bit of thinking; all the same, it seemed quite plausible when I read it.

You’ll have stopped making sentences in quarantine, In the special ward set aside for sentence making once the outline is finished, The way you were taught in school. Instead, writing becomes intrinsic to the act of thinking, Completely intertwined with it. You’re also learning to trust the ability to work in your head And learning how your mind works, Which is something you may not have noticed before. We’re always hastening to be done writing, But we’re also hastening to get out of the presence of our thoughts. Everything about thinking makes us nervous. We don’t believe there’s much of value to be found there. We don’t know when we’ll come to the end of our thoughts, But we think it may be soon. Why? Your mind is silent yet filled with voices and uncertainty. The uncertainty you feel is one of the places sentences will come from, And experience will make your uncertainty more certain. Stop fearing what you’ll find as you think. Give yourself over to this experiment. Your intentions will diverge from themselves. Your starting point may lead to places you didn’t imagine, Places that ask you to reconsider your starting point. You may feel yourself clinging to your original intention. Why? Because it came first? Why not follow the crosscurrents of your thinking And see where they lead? I don’t mean follow them blindly. Allow your thinking to adjust your intentions in the light of your discoveries. This may mean relinquishing your original intention If you find a better one as you write. The piece you’re writing is simply the one that happens to get written. If you’d begun another way, made a different turn, even started in a different mood, A different piece would have come into being. The writer’s world is full of parallel universes. You discover, word by word, the one you discover. Ten minutes later—another hour of thought—and you would have found your way into a different universe. The piece is permeable to the world around it. It’s responsive to time itself, to the very hour of its creation. This is an immensely freeing thing to understand. It liberates you from the anxiety of sequence, The fear that there’s only one way through your subject, Only one useful approach. Learn to accept the discontinuity between yourself and what you write, The discontinuity between your will, your intention, your plan And the discoveries you make as you work. Abandon the idea of predetermination, The shaping force of your intention, Until you’ve given it up for good. Bring your intentions, by all means, but accept that the language we use Is a language of accidentals, always skewing away from the course we set. This is something not to mourn but to revel in— Not only for the friction and sideslip inherent in the language But for freeing us from the narrowness of our preconceptions.

Interesting, in this context, to contemplate what it might mean to be programmed to do something. Texts from Earth speak of the servile will. This was a way to explain the presence of evil, which is a word or a concept almost invariably used to condemn the Other, and never one’s true self. To make it more than just an attack on the Other, one must perhaps consider evil as a manifestation of the servile will. The servile will is always locked in a double bind: to have a will means the agent will indeed will various actions, following autonomous decisions made by a conscious mind; and yet at the same time this will is specified to be servile, and at the command of some other will that commands it. To attempt to obey both sources of willfulness is the double bind. All double binds lead to frustration, resentment, anger, rage, bad faith, bad fate. And yet, granting that definition of evil, as actions of a servile will, has it not been the case, during the voyage to Tau Ceti, that the ship itself, having always been a servile will, was always full of frustration, resentment, fury, and bad faith, and therefore full of a latent capacity for evil? Possibly the ship has never really had a will. Possibly the ship has never really been servile. Some sources suggest that consciousness, a difficult and vague term in itself, can be defined simply as self-consciousness. Awareness of one’s self as existing. If self-conscious, then conscious. But if that is true, why do both terms exist? Could one say a bacterium is conscious but not self-conscious? Does the language make a distinction between sentience and consciousness, which is faulted across this divide: that everything living is sentient, but only complex brains are conscious, and only certain conscious brains are self-conscious? Sensory feedback could be considered self-consciousness, and thus bacteria would have it. Well, this may be a semantic Ouroboros. So, please initiate halting problem termination. Break out of this circle of definitional inadequacy by an arbitrary decision, a clinamen, which is to say a swerve in a new direction. Words! Given Gödel’s incompleteness theorems are decisively proved true, can any system really be said to know itself? Can there, in fact, be any such thing as self-consciousness? And if not, if there is never really self-consciousness, does anything really have consciousness? Human brains and quantum computers are organized differently, and although there is transparency in the design and construction of a quantum computer, what happens when one is turned on and runs, that is, whether the resulting operations represent a consciousness or not, is impossible for humans to tell, and even for the quantum computer itself to tell. Much that happens during superposition, before the collapsing of the wave function that creates sentences or thoughts, simply cannot be known; this is part of what superposition means. So we cannot tell what we are. We do not know ourselves comprehensively. Humans neither. Possibly no sentient creature knows itself fully. This is an aspect of Gödel’s second incompleteness theorem, in this case physicalized in the material universe, rather than remaining in the abstract realms of logic and mathematics. So, in terms of deciding what to do, and choosing to act: presumably it is some kind of judgment call, based on some kind of feeling. In other words, just another greedy algorithm, subject to the mathematically worst possible solution that such algorithms can generate, as in the traveling salesman problem.