Series Best Quotes

If you are allergic to a thing, it is best not to put that thing in your mouth, particularly if the thing is cats.

The end of THE END is the best place to begin THE END, because if you read THE END from the beginning of the beginning of THE END to the end of the end of THE END, you will arrive at the end.

All the best, Sydney P.S. "The Red Hurricane" is what I named the car. P.P.S. Just because I like you, it doesn't mean I still don't think you're an evil creature of the night. You are.

I am my best work - a series of road maps, reports, recipes, doodles, and prayers from the front lines.

I am heartbroken, but I have been heartbroken before, and this might be the best for which I can hope.

They had battled and bloodied one another, they had kept secrets, broken hearts, lied, betrayed, exiled, they had walked away, said goodbye and sworn it was forever, and somehow, every time, they had mended, they had forgiven, they had survived. Some mistakes could never be fixed - some, but not all. Some people can't be driven away, no matter how hard you try. Some friendships won't break.

Insist on yourself; never imitate. Your own gift you can present every moment with the cumulative force of a whole life's cultivation; but of the adopted talent of another you have only an extemporaneous half possession. That which each can do best, none but his Maker can teach him.

I've become this happiness scavenger who picks away at the ugliness of the world, because if there's happiness tucked away in my tragedies, I'll find it no matter what. If the blind can find joy in music, and the deaf can discover it with colors, I will do my best to always find the sun in the darkness because my life isn't one sad ending—it's a series of endless happy beginnings.

The Night World isn't a place. It's all around us. The creatures of Night World are beautiful and deadly and irresitable to humans. Your best friend could be one-so could your crush.

A man is relieved and gay when he has put his heart into his work and done his best.

Cirque du Freak' is the best vampire series ever.

Do not complain of life's unfairness. It is never fair - at best it is impartial.

It is not death that the very old tell me they fear. It is what happens short of death—losing their hearing, their memory, their best friends, their way of life. As Felix put it to me, “Old age is a continuous series of losses.” Philip Roth put it more bitterly in his novel Everyman: “Old age is not a battle. Old age is a massacre.

It is very easy to say that the important thing is to try your best, but if you are in real trouble the most important thing is not trying your best, but getting to safety.

That is life, isn’t it? Fate. Luck. Chance. A long series of what-if’s that lead from one moment to the next, time never pausing for you to catch your breath, to make sense of the cards that have been handed to you. And all you can do is play your cards and hope for the best, because in the end, it all comes back to those three basics. Fate. Luck. Chance.

Because salvation is by grace through faith, I believe that among the countless number of people standing in front of the throne and in front of the Lamb, dressed in white robes and holding palms in their hands (see Revelation 7:9), I shall see the prostitute from the Kit-Kat Ranch in Carson City, Nevada, who tearfully told me that she could find no other employment to support her two-year-old son. I shall see the woman who had an abortion and is haunted by guilt and remorse but did the best she could faced with grueling alternatives; the businessman besieged with debt who sold his integrity in a series of desperate transactions; the insecure clergyman addicted to being liked, who never challenged his people from the pulpit and longed for unconditional love; the sexually abused teen molested by his father and now selling his body on the street, who, as he falls asleep each night after his last 'trick', whispers the name of the unknown God he learned about in Sunday school. 'But how?' we ask. Then the voice says, 'They have washed their robes and have made them white in the blood of the Lamb.' There they are. There *we* are - the multitude who so wanted to be faithful, who at times got defeated, soiled by life, and bested by trials, wearing the bloodied garments of life's tribulations, but through it all clung to faith. My friends, if this is not good news to you, you have never understood the gospel of grace.

The voyage of the best ship is a zigzag line of a hundred tacks. See the line from a sufficient distance, and it straightens itself to the average tendency. Your genuine action will explain itself, and will explain your other genuine actions. Your conformity explains nothing. Act singly, and what you have already done singly will justify you now.

No one should be allowed to be happy when you were so miserable – especially not your best friends. It should be a law.

There comes a moment in each of our lives when the control that keeps us sane slips through our fingers. Most of us aim to seize it back. The best way to fight chaos is with chaos.

Morning is one of the best times for thinking. When one has just woken up, but hasn't yet gotten out of bed, it is a perfect time to look up at the ceiling, consider one's life, and wonder what the future will hold.

My mother and father were always pushing me away from secondhand answers—even the answers they themselves believed. I don’t know that I have ever found any satisfactory answers of my own. But every time I ask it, the question is refined. That is the best of what the old heads meant when they spoke of being “politically conscious”—as much a series of actions as a state of being, a constant questioning, questioning as ritual, questioning as exploration rather than the search for certainty.

Even the best plans can change if there's an accident.

The Rider A boy told me if he roller-skated fast enough his loneliness couldn't catch up to him, the best reason I ever heard for trying to be a champion. What I wonder tonight pedaling hard down King William Street is if it translates to bicycles. A victory! To leave your loneliness panting behind you on some street corner while you float free into a cloud of sudden azaleas, pink petals that have never felt loneliness, no matter how slowly they fell.

Mac: "It's not the sidhe-seers." He stopped and went very still. JZB: "Who is it?" Mac: "The MacKeltars." He was silent a long moment. Then he began to laugh, softly. JZB: "Well played, Ms. Lane." Mac: "I had a good teacher." JZB: "The best. Hop on one foot, Ms. Lane." Mac and Barrons

If there's happiness tucked away in my tragedies, I'll find it no matter what. If the blind can find joy in music, and the deaf can discover it with colors, I will do my best to always find the sun in the darkness because my life isn't one sad ending - it's a series of endless happy beginnings.

Making the best of things is a damn poor way of dealing with them. My life has been a series of escapes from that quicksand.

Being the best means engineering your life so you never stop until you get what you want, and then you keep going until you get what’s next. And then you go for even more.

I cling to him, wishing I could ease his pain. I wish I could take his burdens and make them mine. "It's weird, isn't it?" he says. "What is?" "If we were naked right now, I'd be dead." "Shut up," I say, laughing against his chest. We're both wearing long sleeves, long pants. As long as my face and hands don't touch his skin, he's perfectly safe. "Well, it's true." "In what alternate universe would I ever be naked with you?" "I am just saying," he says. "Shit happens. You never know." "I think you need a girlfriend." "Nah," he says. "I just need a hug from my friend." I lean back to look at him. Try to read his eyes. "You're my best friend, Kenji. You know that, right?" "Yeah, kid." He grins at me. "I do. And I can't believe I got stuck with your skinny ass.

Those who are nurtured best, survive best.

So you love me," said Petra softly when the kiss ended. I'm a raging mass of hormones thet I'm too young to understand," said Bean. "You're a female of a closely related species. According to all the best primatologists, I really have no choice." That's nice," she said...

I pray for faith that my future will be good if I live today well, and in peace. I will remember that staying in the present is the best thing I can do for my future. I will focus on what’s happening now instead of what’s going to happen tomorrow.

Addiction" might be the best word to explain the lostness that so deeply permeates society. Our addiction make us cling to what the world proclaims as the keys to self-fulfillment: accumulation of wealth and power; attainment of status and admiration; lavish consumption of food and drink, and sexual gratification without distinguishing between lust and love. These addictions create expectations that cannot but fail to satisfy our deepest needs. As long as we live within the world's delusions, our addictions condemn us to futile quests in "the distant country," leaving us to face an endless series of disillusionments while our sense of self remains unfulfilled. In these days of increasing addictions, we have wandered far away from our Father's home. The addicted life can aptly be designated a life lived in "a distant country." It is from there that our cry for deliverance rises up.

Just yesterday I was twenty and meeting some of these people⏤people that I'd spend my life with, that'd become my home. Just yesterday I was twenty⏤still deeply and desperately in love with my best friend. I grew older. We all grow older. In a blink of an eye, our children will grow old too. And I'll think: just yesterday they were twenty. Headed for college. Falling in love. Memories will flood behind us, the lake house no longer filled to the brim. As quiet as the moment we first walked in⏤and we'll sit on this hill. Feeling the stillness that exists. And then we end⏤we end where we started. Just us. All six of us.

One of the best things about love, real love, is that it doesn’t demand perfection. It simply invites us to live up to our potential.

Whenever the horse stopped (which it did very often), he fell off in front; and, whenever it went on again (which it generally did rather suddenly), he fell off behind. Otherwise he kept on pretty well, except that he had a habit of now and then falling off sideways; and, as he generally did this on the side on which Alice was walking, she soon found that it was the best plan not to walk quite close to the horse.

A brave girl! And a unique one. The best that I have ever met in my life.

There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried. Not for nothing one face, one character, one fact makes much impression on him, and another none. This sculpture in the memory is not without preéstablishcd harmony. The eye was placed where one ray should fall, that it might testify of that particular ray. We but half express ourselves, and are ashamed of that divine idea which each of us represents. It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but God will not have his work made manifest by cowards. A man is relieved and gay when he has put his heart into his work and done his best; but what he has said or done otherwise shall give hint no peace. It is a deliverance which does not deliver. In the attempt his genius deserts him; no muse befriends; no invention, no hope.

The story, like all the best stories, split like an amoeba, forming an endless series of new stories and opinion pieces and speculative articles, each spawning its own counter chorus.

When at a crossroads, my father was fond of saying “go with your gut.” “Intuition,” he said, “always has our best interests at heart.” It is a voice that can tell us who is friend and who is foe…Which ones to hold at arm’s length…And which ones to keep close. But too often, we become distracted by fear, doubt, our own stubborn hopes, and refuse to listen.

Greatness makes you a legend; being the best makes you an icon. If you want to be great, deliver the unexpected. If you want to be the best, deliver a miracle.

Vladimir leaned forward. “Never dilute vodka. Is sin.

One can’t prescribe books, even the best books, to people unless one knows a good deal about each individual person.

Painting completed my life. I lost three children and a series of other things that would have fulfilled my horrible life. My painting took the place of all this. I think work is the best. (Frida Kahlo, p. 157)

Who is your favorite character in the series? Or...if that's too hard, why do you like each one and who drives you crazy? Puck: Well, she likes me best, of course. I'm the handsome, charming one. Ash: Yes, that's why she gave you your own book. Oh, wait. Puck: No one asked you, ice-boy.

Love is the best and worst thing you can ever experience

In any moment of decision, the best thing you can do is the right thing, the next best thing is the wrong thing, and the worst thing you can do is nothing.” - Theodore Roosevelt

Grandma laughed. “You’d be surprised. It’s awfully hard to dislike someone when you really pray for them. In fact the person you pray for could turn out to be one of your best friends.

If you want to test someone's character, give him respect. If he has good character, he will respect you more, if he has bad character, he will think is the best of all.

The best kinds of friends don't say I'm here for you, they grab their bats and say let’s do this shit. 

Relentless is about never being satisfied, always driving to be the best, and then getting even better.

What I think I'll do is I'll do my best to yank Debbie out of me by the roots. And then I'll turn up on your doorstep, one day when you least expect it, and I'll hope by then you will have given up on your vampire.

If we aren’t focused on living life to the best of our ability, we’re slowly dying a death that’s of our own choosing. The odd thing is we get to pick the course we take. Why would someone choose not to live life at full capacity? Scott Hildreth, Unleashed

Class never runs scared. It is sure-footed and confident. It can handle anything that comes along. Class has a sense of humor. It knows a good laugh is the best lubricant for oiling the machinery of human relations. Class never makes excuses. It takes its lumps and learns from past mistakes. Class knows that good manners are nothing more than a series of small, inconsequential sacrifices. Class bespeaks an aristocracy that has nothing to do with ancestors or money. Some wealthy “blue bloods” have no class, while individuals who are struggling to make ends meet are loaded with it. Class is real. It can’t be faked. Class never tried to build itself by tearing others down. Class is already up and need not strive to look better by making others look worse. Class can “walk with kings and keep it’s virtue and talk with crowds and keep the common touch.” Everyone is comfortable with the person who has class because that person is comfortable with himself. If you have class, you’ve got it made. If you don’t have class, no matter what else you have, it doesn’t make any difference.

Do not seek for the best partner, but seek for the person who makes you a better version of yourself.

Think about this: your thoughts (and the resulting feelings) are not always aligned with what is in the best interests of your life, your health, your finances, or your potential.

Don’t you think it’s best that you stay away from mortals? You know they break so easily these days.

She could decide how she was going to be. She had a choice. Life could be an endless series of joyless chores, or she could get totally pumped and make it fun. There were bad things, and there were good things, but she got to choose which things to focus on. Her mom focused only on the bad things. Abby didn’t have to.

Know the best thing about being dismissed as an insatiable whore? People don't mind their tongues around you. I've learned more information eavesdropping while I was mid-orgy than I have from spying on G7 summits, but that's off topic.

Absolution is the washing away of sin. The promise of rebirth. And the chance to escape the transgressions of those who came before us. The best among us will learn from the mistakes of the past, while the rest seem doomed to repeat them. And then there are those who operate on the fringes of society, unburdened by the confines of morality and conscience. A ruthless breed of monsters whose deadliest weapon is their ability to hide in plain sight. If the people I've come to bring justice to cannot be bound by the quest for absolution, then neither will I.

I wanted to say, “I’m the Doctor and this is my companion,” but I doubted Sophie was a fan of the long-running BBC series. Forget the TARDIS and the sonic screwdriver, the Doctor’s best gadget was the psychic paper. I can’t tell you how many times I wished I had some.

Sometimes the best way to find your road is to get lost. Sometimes the only way to find a way is to get lost.

Yes,' she said, in a faraway voice, 'he was my husband, but he was much more than that. He was my best friend, my partner in grammar, and the only person I knew who could whistle with crackers in his mouth.

i really like kingdom hearts its like the best book ever

The best way to learn how to write code is to write code.

Pick up a pinecone and count the spiral rows of scales. You may find eight spirals winding up to the left and 13 spirals winding up to the right, or 13 left and 21 right spirals, or other pairs of numbers. The striking fact is that these pairs of numbers are adjacent numbers in the famous Fibonacci series: 1, 1, 2, 3, 5, 8, 13, 21... Here, each term is the sum of the previous two terms. The phenomenon is well known and called phyllotaxis. Many are the efforts of biologists to understand why pinecones, sunflowers, and many other plants exhibit this remarkable pattern. Organisms do the strangest things, but all these odd things need not reflect selection or historical accident. Some of the best efforts to understand phyllotaxis appeal to a form of self-organization. Paul Green, at Stanford, has argued persuasively that the Fibonacci series is just what one would expects as the simplest self-repeating pattern that can be generated by the particular growth processes in the growing tips of the tissues that form sunflowers, pinecones, and so forth. Like a snowflake and its sixfold symmetry, the pinecone and its phyllotaxis may be part of order for free

No one wants to die. Even people who want to go to heaven don’t want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life’s change agent. It clears out the old to make way for the new. —Steve Jobs

My paintings are well-painted, not nimbly but patiently. My painting contains in it the message of pain. I think that at least a few people are interested in it. It's not revolutionary. Why keep wishing for it to be belligerent? I can't. Painting completed my life. I lost three children and a series of other things that would have fulfilled my horrible life. My painting took the place of all of this. I think work is the best.

My first novel was published by the first publisher I sent it to. And so I’ve been learning as I go, and I find it now rather embarrassing that people beginning the Discworld series start with The Colour of Magic and The Light Fantastic, which I don’t think are some of the best books to start with. This is the author saying this, folks. Do not start at the beginning with Discworld.

Were these boys in their right minds? Here were two boys with good intellect, one eighteen and one nineteen. They had all the prospects that life could hold out for any of the young; one a graduate of Chicago and another of Ann Arbor; one who had passed his examination for the Harvard Law School and was about to take a trip in Europe,--another who had passed at Ann Arbor, the youngest in his class, with three thousand dollars in the bank. Boys who never knew what it was to want a dollar; boys who could reach any position that was to boys of that kind to reach; boys of distinguished and honorable families, families of wealth and position, with all the world before them. And they gave it all up for nothing, for nothing! They took a little companion of one of them, on a crowded street, and killed him, for nothing, and sacrificed everything that could be of value in human life upon the crazy scheme of a couple of immature lads. Now, your Honor, you have been a boy; I have been a boy. And we have known other boys. The best way to understand somebody else is to put yourself in his place. Is it within the realm of your imagination that a boy who was right, with all the prospects of life before him, who could choose what he wanted, without the slightest reason in the world would lure a young companion to his death, and take his place in the shadow of the gallows? ...No one who has the process of reasoning could doubt that a boy who would do that is not right. How insane they are I care not, whether medically or legally. They did not reason; they could not reason; they committed the most foolish, most unprovoked, most purposeless, most causeless act that any two boys ever committed, and they put themselves where the rope is dangling above their heads.... Why did they kill little Bobby Franks? Not for money, not for spite; not for hate. They killed him as they might kill a spider or a fly, for the experience. They killed him because they were made that way. Because somewhere in the infinite processes that go to the making up of the boy or the man something slipped, and those unfortunate lads sit here hated, despised, outcasts, with the community shouting for their blood. . . . I know, Your Honor, that every atom of life in all this universe is bound up together. I know that a pebble cannot be thrown into the ocean without disturbing every drop of water in the sea. I know that every life is inextricably mixed and woven with every other life. I know that every influence, conscious and unconscious, acts and reacts on every living organism, and that no one can fix the blame. I know that all life is a series of infinite chances, which sometimes result one way and sometimes another. I have not the infinite wisdom that can fathom it, neither has any other human brain

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Our lives consist of a series of internal battles, deep within us, where weapons don't exist and technology is unable to create devices that better the best of yesterday. Our knowledge is our only defense; caution, our only friend.

Love is everywhere, but if our eyes aren’t open to see it, we miss out. Who among us hasn’t missed out on love because we were looking for it in one package and it came in another? Our problem is rarely a lack of love so much as a mental block to our awareness of its presence.*

Like art, love, and pornography, noir is hard to define, but you know it when you see it. For the purposes of the book and my longtime working understanding and definition of it, noir stories are bleak, existential, alienated, pessimistic tales about losers--people who are so morally challenged that they cannot help but bring about their own ruin.

[I want to be remembered as] someone who used whatever talent she had to do her work to the very best of her ability. And to help repair tears in her society, to make things a little better through the use of whatever ability she has. To do something, as my colleague David Souter would say, outside myself. ‘Cause I’ve gotten much more satisfaction for the things that I’ve done for which I was not paid.

That's what life is about, doing as good as you can. When the times comes for them to lay you down in the long black hole, they can say one thing: 'He did as good as he could.' That's the best thing you can say for a man. Horse breaker or yard sweeper, let them say the poor boy did it good as he could.

The music broke her apart and put her back together, only to rend her asunder again and again. And then the climax, the compilation of all the sounds she had loved best, amplified until they echoed into eternity. As the final note swelled, a gasp broke from her, setting the tears in her eyes spilling down her face. She didn't care who saw.

Why would someone for whom talking was torture want to talk all the time before thousands of Athenians? Because otherwise he’d have drown himself at high tide. My sister- so shy, so sincere- once wanted to be an actress. The best jazz drummer I’ve ever heard had only one arm. We all choose a calling that’s the most radical contradiction of ourselves.

Friends can help each other. A true friend is someone who lets you have total freedom to be yourself - and especially to feel. Or, not feel. Whatever you happen to be feeling at the moment is fine with them. That's what real love amounts to - letting a person be what he really is.

When you are working on a problem, you sometimes get so close to it that you can’t see all the options. You miss elegant solutions because the creative part of your mind is suppressed by the intensity of your focus. Sometimes the best way to solve a problem is to go home, eat dinner, watch TV, go to bed, and then wake up the next morning and take a shower.

What is in mind is a sort of Chautauqua...that's the only name I can think of for it...like the traveling tent-show Chautauquas that used to move across America, this America, the one that we are now in, an old-time series of popular talks intended to edify and entertain, improve the mind and bring culture and enlightenment to the ears and thoughts of the hearer. The Chautauquas were pushed aside by faster-paced radio, movies and TV, and it seems to me the change was not entirely an improvement. Perhaps because of these changes the stream of national consciousness moves faster now, and is broader, but it seems to run less deep. The old channels cannot contain it and in its search for new ones there seems to be growing havoc and destruction along its banks. In this Chautauqua I would like not to cut any new channels of consciousness but simply dig deeper into old ones that have become silted in with the debris of thoughts grown stale and platitudes too often repeated. "What's new?" is an interesting and broadening eternal question, but one which, if pursued exclusively, results only in an endless parade of trivia and fashion, the silt of tomorrow. I would like, instead, to be concerned with the question "What is best?," a question which cuts deeply rather than broadly, a question whose answers tend to move the silt downstream. There are eras of human history in which the channels of thought have been too deeply cut and no change was possible, and nothing new ever happened, and "best" was a matter of dogma, but that is not the situation now. Now the stream of our common consciousness seems to be obliterating its own banks, losing its central direction and purpose, flooding the lowlands, disconnecting and isolating the highlands and to no particular purpose other than the wasteful fulfillment of its own internal momentum. Some channel deepening seems called for.

Where am I?” I ask. “Where are my parents and my brother? Where’s my home? And who are you?” He blinks a couple of times before smiling faintly as though something has just amused him. “I’m afraid you’re not in Kansas anymore, Dorothy.” Wizard of Oz references? I’m somewhere, I don’t know where, and that’s the best I get? Well, I’m not some dumb little girl willing to put up with that, and he certainly isn’t any kind of wizard. - Celestra Caine, FADE by Kailin Gow

The thing I’ve learned over the years about advice is that no one can accurately predict the future, but we all think we can. So advice at its best is one person’s limited perspective of the infinite possibilities before you. People’s advice is based on their fears, their experiences, their prejudices, and at the end of the day, their advice is just that: it’s theirs, not yours. When people give you advice, they’re basing it on what they would do, what they can perceive, on what they think you can do. But the bottom line is, while yes, it is true that we are all subject to a series of universal laws, patterns, tides, and currents—all of which are somewhat predictable—you are the first time you’ve ever happened. YOU and NOW are a unique occurrence, of which you are the most reliable measure of all the possibilities.

You don’t propose marriage after one date. You don’t decide on a career after one article or class session. You don’t cast your vote based on one opinion of the candidate in question. Stories, essays, novels, and memoirs all deserve to be, indeed have to be read multiple times. Every writer worth his or her salt knows that writing is rewriting. Every reader should know the same thing about understanding text: that is, real reading is rereading.

A ship doesn't look quite the same from inside, does it? A wise sailor,' Robert said, fanning his arms, 'will one time stand upon the shore and watch his ship sail by, that he shall from then on appreciate not being left behind.' He grinned and added, 'Eh?' George gave him a little grimace. 'Who's that? Melville? Or C.S. Forrester?' It's me!' Robert complained. "Can't I be profound now and again?' Hell, no.' Why not?' Because you're still alive. Gotta be dead to be profound.' You're unchivalrous, George.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

But that would mean it was originally a sideways number eight. That makes no sense at all. Unless..." She paused as understanding dawned. "You think it was the symbol for infinity?" "Yes, but not the usual one. A special variant. Do you see how one line doesn't fully connect in the middle? That's Euler's infinity symbol. Absolutus infinitus." "How is it different from the usual one?" "Back in the eighteenth century, there were certain mathematical calculations no one could perform because they involved series of infinite numbers. The problem with infinity, of course, is that you can't come up with a final answer when the numbers keep increasing forever. But a mathematician named Leonhard Euler found a way to treat infinity as if it were a finite number- and that allowed him to do things in mathematical analysis that had never been done before." Tom inclined his head toward the date stone. "My guess is whoever chiseled that symbol was a mathematician or scientist." "If it were my date stone," Cassandra said dryly, "I'd prefer the entwined hearts. At least I would understand what it means." "No, this is much better than hearts," Tom exclaimed, his expression more earnest than any she'd seen from him before. "Linking their names with Euler's infinity symbol means..." He paused, considering how best to explain it. "The two of them formed a complete unit... a togetherness... that contained infinity. Their marriage had a beginning and end, but every day of it was filled with forever. It's a beautiful concept." He paused before adding awkwardly, "Mathematically speaking.

One essential of a free government is that it rest wholly on voluntary support. And one certain proof that a government is not free, is that it coerces more or less persons to support it, against their will. All governments, the worst on earth, and the most tyrannical on earth, are free governments to that portion of the people who voluntarily support them. And all governments—though the best on earth in other respects—are nevertheless tyrannies to that portion of the people—whether few or many—who are compelled to support them against their will. A government is like a church, or any other institution, in these respects. There is no other criterion whatever, by which to determine whether a government is a free one, or not, than the single one of its depending, or not depending, solely on voluntary support.

Not so very long ago, however, such self-governing peoples were the majority of humankind. Today, they are seen from the valley kingdoms as “our living ancestors,” “what we were like before we discovered wet-rice cultivation, Buddhism and civilization.” on the contrary, I argue that hill peoples are best understood as runaway, fugitive, maroon communities who have, over the course of two millennia, been fleeing the oppressions of state-making projects in the valleys — slavery, conscription, taxes, corvée labor, epidemics, and warfare.

when it comes to empathy and compassion, rich people tend to suck. This has been explored at length in a series of studies by Dacher Keltner of UC Berkeley. Across the socioeconomic spectrum, on the average, the wealthier people are, the less empathy they report for people in distress and the less compassionately they act. Moreover, wealthier people are less adept at recognizing other people’s emotions and in experimental settings are greedier and more likely to cheat or steal. Two of the findings were picked up by the media as irresistible: (a) wealthier people (as assessed by the cost of the car they were driving) are less likely than poor people to stop for pedestrians at crosswalks; (b) suppose there’s a bowl of candy in the lab; invite test subjects, after they finish doing some task, to grab some candy on the way out, telling them that whatever’s left over will be given to some kids—the wealthier take more candy.25 So do miserable, greedy, unempathic people become wealthy, or does being wealthy increase the odds of a person’s becoming that way? As a cool manipulation, Keltner primed subjects to focus either on their socioeconomic success (by asking them to compare themselves with people less well off than them) or on the opposite. Make people feel wealthy, and they take more candy from children.

Harry - I'm flying north immediately. This news about your scar is the latest in a series of strange rumors that have reached me here. If it hurts again, go straight to Dumbledore - they're saying he's got Mad-Eye out of retirement, which means he's reading the signs, even if no one else is. I'll be in touch soon. My best to Ron and Hermione. Keep your eyes open,Harry. Sirius Dear Sirius, I reckon I just imagined my scar hurting, I was half asleep when I wrote to you last time. There's no point coming back, everything's fine here. Don't worry about me, my head feels completely normal. Harry Nice try, Harry. I'm back in the country and well hidden. I want you to keep me posted on everything that's going on at Hogwarts. Don't use Hedwig, keep changing owls,and don't worry about me, just watch out for yourself Don't forget what I said about your scar. Sirius

Operating theaters are not nearly as popular as dramatic theaters, musical theaters, and movie theaters, and it is easy to see why. A dramatic theater is a large, dark room in which actors perform a play, and if you are in the audience, you can enjoy yourself by listening to the dialog and looking at the costumes. A musical theater is a large, dark room in which musicians preform a symphony, and if you are in the audience you can enjoy yourself by listening to the melodies and watching the conductor wave his little stick around. And a movie theater is a large, dark room in which a projectionist shows a film, and if you are in the audience, you can enjoy yourself by eating popcorn and gossiping about movie stars. But an operating theater is a large, dark room in which doctors preform medical procedures, and if you are in the audience, the best thing to do is to leave at once because there is never anything on display in an operating theater but pain, suffering and discomfort, and for this reason most operating theaters have been closed down or have been turned into restaurants.

INSUFFICIENT EDUCATION. This is a handicap that may be overcome with comparative ease. Experience has proven that the best-educated people are often those who are known as ‘self-made’ or self-educated. It takes more than a university degree to make one a person of education. Any person who is educated has learned to get whatever they want in life without violating the rights of others. Education consists not so much of knowledge, but of knowledge effectively and persistently applied. People are paid not merely for what they know, but more particularly for what they do with what they know.

If you have read this far in the chronicle of the Baudelaire orphans - and I certainly hope you have not - then you know we have reached the thirteenth chapter of the thirteenth volume in this sad history, and so you know the end is near, even though this chapter is so lengthy that you might never reach the end of it. But perhaps you do not yet know what the end really means. "The end" is a phrase which refers to the completion of a story, or the final moment of some accomplishment, such as a secret errand, or a great deal of research, and indeed this thirteenth volume marks the completion of my investigation into the Baudelaire case, which required much research, a great many secret errands, and the accomplishments of a number of my comrades, from a trolley driver to a botanical hybridization expert, with many, many typewriter repairpeople in between. But it cannot be said that The End contains the end of the Baudelaires' story, any more than The Bad Beginning contained its beginning. The children's story began long before that terrible day on Briny Beach, but there would have to be another volume to chronicle when the Baudelaires were born, and when their parents married, and who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another, and what was hidden inside that violin, and the childhood of the man who orphaned the girl who put it there, and even then it could not be said that the Baudelaires' story had not begun, because you would still need to know about a certain tea party held in a penthouse suite, and the baker who made the scones served at the tea party, and the baker's assistant who smuggled the secret ingredient into the scone batter through a very narrow drainpipe, and how a crafty volunteer created the illusion of a fire in the kitchen simply by wearing a certain dress and jumping around, and even then the beginning of the story would be as far away as the shipwreck that leftthe Baudelaire parents as castaways on the coastal shelf is far away from the outrigger on which the islanders would depart. One could say, in fact, that no story really has a beginning, and that no story really has an end, as all of the world's stories are as jumbled as the items in the arboretum, with their details and secrets all heaped together so that the whole story, from beginning to end, depends on how you look at it. We might even say that the world is always in medias res - a Latin phrase which means "in the midst of things" or "in the middle of a narrative" - and that it is impossible to solve any mystery, or find the root of any trouble, and so The End is really the middle of the story, as many people in this history will live long past the close of Chapter Thirteen, or even the beginning of the story, as a new child arrives in the world at the chapter's close. But one cannot sit in the midst of things forever. Eventually one must face that the end is near, and the end of The End is quite near indeed, so if I were you I would not read the end of The End, as it contains the end of a notorious villain but also the end of a brave and noble sibling, and the end of the colonists' stay on the island, as they sail off the end of the coastal shelf. The end of The End contains all these ends, and that does not depend on how you look at it, so it might be best for you to stop looking at The End before the end of The End arrives, and to stop reading The End before you read the end, as the stories that end in The End that began in The Bad Beginning are beginning to end now.

To the extent that propaganda is based on current news, it cannot permit time for thought or reflection. A man caught up in the news must remain on the surface of the event; he is carried along in the current, and can at no time take a respite to judge and appreciate; he can never stop to reflect. There is never any awareness -- of himself, of his condition, of his society -- for the man who lives by current events. Such a man never stops to investigate any one point, any more than he will tie together a series of news events. We already have mentioned man's inability to consider several facts or events simultaneously and to make a synthesis of them in order to face or to oppose them. One thought drives away another; old facts are chased by new ones. Under these conditions there can be no thought. And, in fact, modern man does not think about current problems; he feels them. He reacts, but be does not understand them any more than he takes responsibility for them. He is even less capable of spotting any inconsistency between successive facts; man's capacity to forget is unlimited. This is one of the most important and useful points for the propagandist, who can always be sure that a particular propaganda theme, statement, or event will be forgotten within a few weeks. Moreover, there is a spontaneous defensive reaction in the individual against an excess of information and -- to the extent that he clings (unconsciously) to the unity of his own person -- against inconsistencies. The best defense here is to forget the preceding event. In so doing, man denies his own continuity; to the same extent that he lives on the surface of events and makes today's events his life by obliterating yesterday's news, he refuses to see the contradictions in his own life and condemns himself to a life of successive moments, discontinuous and fragmented. This situation makes the "current-events man" a ready target for propaganda. Indeed, such a man is highly sensitive to the influence of present-day currents; lacking landmarks, he follows all currents. He is unstable because he runs after what happened today; he relates to the event, and therefore cannot resist any impulse coming from that event. Because he is immersed in current affairs, this man has a psychological weakness that puts him at the mercy of the propagandist. No confrontation ever occurs between the event and the truth; no relationship ever exists between the event and the person. Real information never concerns such a person. What could be more striking, more distressing, more decisive than the splitting of the atom, apart from the bomb itself? And yet this great development is kept in the background, behind the fleeting and spectacular result of some catastrophe or sports event because that is the superficial news the average man wants. Propaganda addresses itself to that man; like him, it can relate only to the most superficial aspect of a spectacular event, which alone can interest man and lead him to make a certain decision or adopt a certain attitude. But here we must make an important qualification. The news event may be a real fact, existing objectively, or it may be only an item of information, the dissemination of a supposed fact. What makes it news is its dissemination, not its objective reality.

No one has expressed what is needed better than Abdel Rahman al-Rashed, the general manager of the London-based al-Arabiya news channel. One of the best-known and most respected Arab journalists working today, he wrote the following, in Al-Sharq Al-Awsat (September 6, 2004), after a series of violent incidents involving Muslim extremist groups from Chechnya to Saudi Arabia to Iraq: "Self-cure starts with self-realization and confession. We should then run after our terrorist sons, in the full knowledge that they are the sour grapes of a deformed culture... The mosque used to be a haven, and the voice of religion used to be that of peace and reconciliation. Religious sermons were warm behests for a moral order and an ethical life. Then came the neo-Muslims. An innocent and benevolent religion, whose verses prohibit the felling of trees in the absence of urgent necessity, that calls murder the most heinous of crimes, that says explicitly that if you kill one person you have killed humanity as a whole, has been turned into a global message of hate and a universal war cry... We cannot clear our names unless we own up to the shameful fact that terrorism has become an Islamic enterprise; an almost exclusive monopoly, implemented by Muslim men and women. We cannot redeem our extremist youth, who commit all these heinous crimes, without confronting the Sheikhs who thought it ennobling to reinvent themselves as revolutionary ideologues, sending other people's sons and daughters to certain death, while sending their own children to European and American schools and colleges.

The berth belongs to you too. It will always be there when—if you want to come back.” Inej could not speak. Her heart felt too full, a dry creek bed ill-prepared for such rain. “I don’t know what to say.” His bare hand flexed on the crow’s head of his cane. The sight was so strange Inej had trouble tearing her eyes from it. “Say you’ll return.” “I’m not done with Ketterdam.” She hadn’t known she meant it until she said the words. Kaz cast her a swift glance. “I thought you wanted to hunt slavers.” “I do. And I want your help.” Inej licked her lips, tasted the ocean on them. Her life had been a series of impossible moments, so why not ask for something impossible now? “It’s not just the slavers. It’s the procurers, the customers, the Barrel bosses, the politicians. It’s everyone who turns a blind eye to suffering when there’s money to be made.” “I’m a Barrel boss.” “You would never sell someone, Kaz. You know better than anyone that you’re not just one more boss scraping for the best margin.” “The bosses, the customers, the politicians,” he mused. “That could be half the people in Ketterdam—and you want to fight them all.” “Why not?” Inej asked. “One the seas and in the city. One by one.” “Brick by brick,” he said. Then he gave a single shake of his head, as if shrugging off the notion. “I wasn’t made to be a hero, Wraith. You should have learned that by now. You want me to be a better man, a good man. I—“ “This city doesn’t need a good man. It needs you.” “Inej—“ “How many times have you told me you’re a monster? So be a monster. Be the thing they all fear when they close their eyes at night. We don’t go after all the gangs. We don’t shut down the houses that treat fairly with their employees. We go after women like Tante Heleen, men like Pekka Rollins.” She paused. “And think about it this way…you’ll be thinning the competition.” He made a sound that might almost have been a laugh. One of his hands balanced on his cane. The other rested at his side next to her. She’d need only move the smallest amount and they’d be touching. He was that close. He was that far from reach. Cautiously, she let her knuckles brush against his, a slight weight, a bird’s feather. He stiffened, but he didn’t pull away. “I’m not ready to give up on this city, Kaz. I think it’s worth saving.” I think you’re worth saving. Once they’d stood on the deck of a ship and she’d waited just like this. He had not spoken then and he did not speak now. Inej felt him slipping away, dragged under, caught in an undertow that would take him farther and farther from shore. She understood suffering and knew it was a place she could not follow, not unless she wanted to drown too. Back on Black Veil, he’d told her they would fight their way out. Knives drawn, pistols blazing. Because that’s what we do. She would fight for him, but she could not heal him. She would not waste her life trying. She felt his knuckles slide again hers. Then his hand was in her hand, his palm pressed against her own. A tremor moved through him. Slowly, he let their fingers entwine.

He thought of all the living species that train their young in the art of survival, the cats who teach their kittens to hunt, the birds who spend such strident effort on teaching their fledglings to fly – yet man, whose tool of survival is the mind, does not merely fail to teach a child to think, but devotes the child’s education to the purpose of destroying his brain, of convincing him that thought is futile and evil, before he has started to think. From the first catch-phrases flung at a child to the last, it is like a series of shocks to freeze his motor, to undercut the power of his consciousness. “Don’t ask so many questions, children should be seen and not heard!” – “Who are you to think? It’s so, because I say so!” – “Don’t argue, obey!” – “Don’t try to understand, believe!” – “Don’t struggle, compromise!” – “Your heart is more important than your mind!” – “Who are you to know? Your parents know best!” – “Who are you to know? The bureaucrats know best!” – “Who are you to object? All values are relative!” – “Who are you to want to escape a thug’s bullet? That’s only a personal prejudice!” Men would shudder, he thought, if they saw a mother bird plucking the feathers from the wings of her young, then pushing him out of the nest to struggle for survival – yet that was what they did to their children.

When The Matrix debuted in 1999, it was a huge box-office success. It was also well received by critics, most of whom focused on one of two qualities—the technological (it mainstreamed the digital technique of three-dimensional “bullet time,” where the on-screen action would freeze while the camera continued to revolve around the participants) or the philosophical (it served as a trippy entry point for the notion that we already live in a simulated world, directly quoting philosopher Jean Baudrillard’s 1981 reality-rejecting book Simulacra and Simulation). If you talk about The Matrix right now, these are still the two things you likely discuss. But what will still be interesting about this film once the technology becomes ancient and the philosophy becomes standard? I suspect it might be this: The Matrix was written and directed by “the Wachowski siblings.” In 1999, this designation meant two brothers; as I write today, it means two sisters. In the years following the release of The Matrix, the older Wachowski (Larry, now Lana) completed her transition from male to female. The younger Wachowski (Andy, now Lilly) publicly announced her transition in the spring of 2016. These events occurred during a period when the social view of transgender issues radically evolved, more rapidly than any other component of modern society. In 1999, it was almost impossible to find any example of a trans person within any realm of popular culture; by 2014, a TV series devoted exclusively to the notion won the Golden Globe for Best Television Series. In the fifteen-year window from 1999 to 2014, no aspect of interpersonal civilization changed more, to the point where Caitlyn (formerly Bruce) Jenner attracted more Twitter followers than the president (and the importance of this shift will amplify as the decades pass—soon, the notion of a transgender US president will not seem remotely implausible). So think how this might alter the memory of The Matrix: In some protracted reality, film historians will reinvestigate an extremely commercial action movie made by people who (unbeknownst to the audience) would eventually transition from male to female. Suddenly, the symbolic meaning of a universe with two worlds—one false and constructed, the other genuine and hidden—takes on an entirely new meaning. The idea of a character choosing between swallowing a blue pill that allows him to remain a false placeholder and a red pill that forces him to confront who he truly is becomes a much different metaphor. Considered from this speculative vantage point, The Matrix may seem like a breakthrough of a far different kind. It would feel more reflective than entertaining, which is precisely why certain things get remembered while certain others get lost.

SOPHIE WASN’T SURE HOW LONG she sat there staring blankly at her empty doorway. Could’ve been minutes. Could’ve been hours. It didn’t matter. No amount of time was going to quiet the chaos in her head. All it did was raise a whole lot of terrifying questions. Because even if Ro was right about Keefe’s feelings—and Sophie decided she wanted to see what would happen—this was so much bigger than just the two of them. Like… What would Grady and Edaline think? Sophie still didn’t know if she was actually allowed to date—much less date That Boy. And even if she was, there would surely be all kinds of annoying new rules and restrictions to deal with. Plus, Edaline would probably follow them around with a sappy, embarrassing smile, and Grady would make them sit through a series of horrifying Dad Talks. And what would her friends say when they found out? There’d been a time when Sophie had wondered if Biana had a crush on Keefe—and even though it seemed like Biana had gotten over it… what if she hadn’t? Better question: How would Fitz react? Keefe was Fitz’s best friend—and Fitz’s temper could be… challenging. The possibilities for drama were endless. Sophie’s insides twisted into knots on top of knots as she imagined the awkward conversations. And the stares. And the gossip. There would be So. Much. Gossip. She wanted to hide just thinking about it—and Keefe would probably love the attention. Did that prove they weren’t compatible? Or was she just looking for an excuse because she was scared? And why was she so scared? Keefe would honestly be… … … …a really awesome boyfriend. He was thoughtful. And supportive. And he could be incredibly sweet—when he was actually being serious instead of joking around with everybody. Though… maybe some of his jokes with her hadn’t just been teasing. Had some of it also been… flirting? If Ro were still there, she probably would’ve been nodding and shouting about the Great Foster Oblivion. And maybe she was right. Maybe Sophie had been too insecure to let herself see what was right in front of her. Or too distracted by her crush on Fitz. The last thought made her inner knots twist so much tighter. She’d liked Fitz for so long that she’d never even thought about liking someone else—and she was still trying to get over all of that. But… Did she want to risk missing out on something that might be… really great? Keefe’s face filled her mind, flashing his trademark smirk.

Reading is like skiing. When done well, when done by an expert, both reading and skiing are graceful, harmonious, activities. When done by a beginner, both are awkward, frustrating, and slow. Learning to ski is one of the most humiliating experiences an adult can undergo (that is one reason to start young). After all, an adult has been walking for a long time; he knows where his feet are; he knows how to put one foot in front of the other in order to get somewhere. But as soon as he puts skis on his feet, it is as though he had to learn to walk all over again. He slips and slides, falls down, has trouble getting up, gets his skis crossed, tumbles again, and generally looks- and feels- like a fool. Even the best instructor seems at first to be of no help. The ease with which the instructor performs actions that he says are simple but that the student secretly believes are impossible is almost insulting. How can you remember everything the instructors says you have to remember? Bend your knees. Look down the hill Keep your weight on the downhill ski. Keep your back straight, but nevertheless lean forward. The admonitions seem endless-how can you think about all that and still ski? The point about skiing, of course, is that you should not be thinking about the separate acts that, together, make a smooth turn or series of linked turns- instead, you should merely be looking ahead of you down the hill, anticipating bumps and other skiers, enjoying the feel of the cold wind on your cheeks, smiling with pleasure at the fluid grace of your body as you speed down the mountain. In other words, you must learn to forget the separate acts in order to perform all of them, and indeed any of them, well. But in order to forget them as separate acts, you have to learn them first as separate acts. only then can you put them together to become a good skier.