Short Classic Quotes

Most of what passes for legitimate entertainment is inferior or foolish and only caters to or exploits people's weaknesses. Avoid being one of the mob who indulges in such pastimes. Your life is too short and you have important things to do. Be discriminating about what images and ideas you permit into your mind. If you yourself don't choose what thoughts and images you expose yourself to, someone else will, and their motives may not be the highest. It is the easiest thing in the world to slide imperceptibly into vulgarity. But there's no need for that to happen if you determine not to waste your time and attention on mindless pap.

I like my first lines short and declarative. No complicated sentences. Of course, that's not really a Scott thing. It's pretty classic grab-the-reader technique.

It was a bright cold day in April, and the clocks were striking thirteen. It was the future, and everything sucked.

The story of a life can be as long or as short as the teller wishes. Whether the life is tragic or enlightened, the classic gravestone inscription marking simply the dates of birth and death has, in its brevity, much to recommend it.

A good poem is a tautology. It expands one word by adding a number which clarify it, thus making a new word which has never before been spoken. The seedword is always so ordinary that hardly anyone perceives it. Classical odes grow from and or because, romantic lyrics from but and if. Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb. Good poems, therefore, are always close to banality, over which, however, they tower like precipices.

In my parents' day and age, it used to be the person who fell short. Now it's the discipline. Reading the classics is too difficult, therefore it's the classics that are to blame. Today the student asserts his incapacity as a privilege. I can't learn it, so there is something wrong with it. And there is something especially wrong with the bad teacher who wants to teach it. There are no more criteria, Mr. Zuckerman, only opinions.

... a practical problem can only be solved by action itself. When your practical problem is how to earn a living, a book on how to make friends and influence people cannot solve it, though it may suggest things to do. Nothing short of the doing solves the problem. It is solved only by earning a living.

He became fubar in the classic way, which is to say that he was the victim of a temporary arrangement that became permanent.

The difficulty with Poe is not figuring out which of his stories rise to the level required of this collection, but rather which of his stories to exclude from it.

In short, we can only learn from our "betters".

In short, every child develops in ways that best allow them to compensate for weakness; “a thousand talents and capabilities arise from our feelings of inadequacy,” Adler noted.

The short story is not, as some believe, a lesser form of literature than the novel.

The simplistic way of not conforming is to see what is in style in our culture and then do the opposite. If short hair is in vogue, the nonconformist wears long hair. If going to the movies is popular, then Christians avoid movies as “worldly.” The extreme case of this may be seen in groups that refuse to wear buttons or use electricity because such things, too, are worldly. A superficial style of nonconformity is the classical pharisaical trap. The kingdom of God is not about buttons, movies, or dancing. The concern of God is not focused on what we eat or what we drink. The call of nonconformity is a call to a deeper level of righteousness, that goes beyond externals. When piety is defined exclusively in terms of externals, the whole point of the apostle’s teaching has been lost. Somehow we have failed to hear Jesus’ words that it is not what goes into a person’s mouth that deflies a person, but what comes out of that mouth. We still want to make the kingdom a matter of eating and drinking.

Mr. Hooper spent a long life, irreproachable in outward act, yet shrouded in dismal suspicions; kind and loving, though unloved, and dimly feared; a man apart from men, shunned in their health and joy, but ever summoned to their aid in mortal anguish.

There is no need to ”believe” in Jupiter or Wotan—something that is no more ridiculous then believing in Yahweh however—to be pagan. Contemporary paganism does not consist of erecting altars to Apollo or reviving the worship of Odin. Instead it implies looking behind religion and, according to a now classic itinerary, seeking for the “mental equipment” that produced it, the inner world it reflects, and how the world it depicts as apprehended. In short, it consists of viewing the gods as “centers of value” and the beliefs they generate as value systems: gods and beliefs may pass away, but the values remain.

I got mixed up with some oddness in my youth, and the long and short of it is that I can't shuffle off this mortal coil until I have read the ten most boring classics.

the moral seemed to be that one should always have Latin, or at least a good classical poetry quotation, to depend upon in great or desperate moments.

Our highest assurance of the goodness of Providence seems to me to rest in the flowers. All other things, our powers, our desires, our food, are all really necessary for our existence in the first instance. But this rose is an extra. It's smell and it's color are an embellishment of life, not a condition of it. It is only goodness which gives extras, and so I say again that we have much to hope from the flowers.

Her eyes were a poem; their every glance was a song

...There is no such thing as a story. The words on paper are only instructions used by each reader to create a story. The story itself exists in the reader's mind and nowhere else. And it is different for each reader, because no two people have the same experience, background, training, interests, and so on.

Beware, then, of the long word that's no better than the short word: "assistance" (help), "numerous" (many), "facilitate" (ease), "Individual" (man or woman), "remainder" (rest), "initial" (first), "implement" (do), "sufficient" (enough), "attempt" (try), "referred to as" (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write. Don't dialogue with someone you can talk to. Don't interface with anybody.

In short, the man displayed a constant and insurmountable impulse to wrap himself in a covering, to make himself, so to speak, a case which would isolate him and protect him from external influences. Reality irritated him, frightened him, kept him in continual agitation, and, perhaps to justify his timidity, his aversion for the actual, he always praised the past and what had never existed; and even the classical languages which he taught were in reality for him goloshes and umbrellas in which he sheltered himself from real life.

It was one of those hot, silent nights, when people sit at windows, listening for the thunder which they know will shortly break; when they recall dismal tales of hurricanes and earthquakes; and of lonely travelers on open plains, and lonely ships at sea, struck by lightning.

When we look, for example, at the Parthenon for the first time, we look at it already knowing that generations of architects chose precisely that style of building for the museums, town-halls, and banks of most of our major cities.

A philosophical thought is not supposed to be impervious to all criticism; this is the error Whitehead describes of turning philosophy into geometry, and it is useful primarily as a way of gaining short-term triumphs in personal arguments that no one else cares (or even knows) about anyway. A good philosophical thought will always be subject to criticisms (as Heidegger’s or Whitehead’s best insights all are) but they are of such elegance and depth that they change the terms of debate, and function as a sort of “obligatory passage point” (Latour’s term) in the discussions that follow. Or in other words, the reason Being and Time is still such a classic, with hundreds of thousands or millions of readers almost a century later, is not because Heidegger made “fewer mistakes” than others of his generation. Mistakes need to be cleaned up, but that is not the primary engine of personal or collective intellectual progress.

How do I get my point heard? How do I get it noticed? How do I get to belong in the discussion? I am sure it is something some men feel too, but if there’s one thing that bonds women of all backgrounds, of all political colours, in all kinds of business and profession, it is the classic experience of the failed intervention; you’re at a meeting, you make a point, then a short silence follows, and after a few awkward seconds some man picks up where he had just left off: ‘What I was saying was …’ You might as well never have opened your mouth, and you end up blaming both yourself and the men whose exclusive club the discussion appears to be.

What I had was classic short-term PTSD. From an evolutionary perspective, it’s exactly the response you want to have when your life is in danger: you want to be vigilant, you want to avoid situations where you are not in control, you want to react to strange noises, you want to sleep lightly and wake easily, you want to have flashbacks and nightmares that remind you of specific threats to your life, and you want to be, by turns, angry and depressed. Anger keeps you ready to fight, and depression keeps you from being too active and putting yourself in more danger. Flashbacks also serve to remind you of the danger that’s out there—a “highly efficient single-event survival-learning mechanism,” as one researcher termed it. All humans react to trauma in this way, and most mammals do as well. It may be unpleasant, but it’s preferable to getting killed. Like

I

Keep a government poor and weak and it’s your servant; let it get rich and powerful and it’s your master.

If ‘myth’ is a slippery term, so is ‘classical’. It is common shorthand for ‘ancient Greek and Roman’. But this shorthand has a history, and a bias.

Be content with what thou seest; and wait until Time and Experience shall teach thee to find jealousy behind the sweet smile, and hatred under the honeyed word!’ “This

In the stock market, however, as de la Vega points out, “the news [as such] is often of little value;” in the short run, the mood of the investors is what counts.

The whelp went home, and went to bed.  If he had had any sense of what he had done that night, and had been less of a whelp and more of a brother, he might have turned short on the road, might have gone down to the ill-smelling river that was dyed black, might have gone to bed in it for good and all, and have curtained his head for ever with its filthy waters.

Remember that you are an actor in a drama of such sort as the author chooses, - if short, then in a short one; if long, then in a long one. If it be his pleasure that you should enact a poor man, see that you act it well; or a cripple, or a ruler, or a private citizen. For this is your business, to act well the given part; but to choose it, belongs to another.

But the secret of good writing is to strip every sentence to its cleanest components. Every words that serves no function, every long word that could be a short word, every adverb that carries the same meaning that's already in the verb, every passive construction that leaves the reader unsure of who is doing what--these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to education and rank,

What makes someone mythic is not whether or not he lived, or lived well, but whether or not he was larger than life. Mythic heroes were – and are – outrageous and outstanding. They are phenomenal. They distil some collective ideal or fantasy. That’s why we can speak of ‘the myth of John Lennon’, but not ‘the myth of John Major’. And it’s also why Theseus made it and Lycurgus didn’t.

It was important for a Roman of this period to get his Greek mythology right. Being able to identify who was who and what was what was a sign that the viewer was a person of culture and status.

Is Jace with you?" "Uh, no," said Alec. He wondered if Aline was asking for a specific reason. Aline and Jace had kissed in Alicante, before the war. Alec tried to think of what Isabelle usually said to girls about Jace. "The thing is," he added, "Jace is a beautiful antelope, who has to be free to run across the plains." "What?" said ALine. Maybe Alec had gotten that wrong. "Jace is home with his, uh, his new girlfriend. You remember Clary." Alec hoped Aline was not too heartbroken. "Oh right, the short redhead," she said. Aline was tiny herself, but refused to ever admit it. "you know, Jace was so sad before the war, I thought he must have a forbidden love. I just didn't think it was Clary, for obvious reasons. I thought it was that vampire." Alec coughed. Aline offered him a sip of her latte. "No," he said when he got his voice back. "Jace is not dating Simon. Jace is straight. Simon is straight." "I totally saw scars on Jace's neck," Aline said. "He let the vampire bite him. He brought him to Alicante. I thought: classic Jace. Never makes a mess when a total catastrophe will do. Wait, did you think I wanted a ride on that disaster train?" "Yes?" said Alec.

Upon the publication of Goethe’s epic drama, the Faustian legend had reached an almost unapproachable zenith. Although many failed to appreciate, or indeed, to understand this magnum opus in its entirety, from this point onward his drama was the rule by which all other Faust adaptations were measured. Goethe had eclipsed the earlier legends and became the undisputed authority on the subject of Faust in the eyes of the new Romantic generation. To deviate from his path would be nothing short of blasphemy.

Control of sexuality is a classic tool of domination, used by men against women, by white people against people of color, by the abled against the disabled—or, to cut a long list short, by the powerful against the less powerful. It can be expressed in many ways, like rape as a form of political conquest or slave owners marrying off their slaves and splitting families apart. It can look like enforcing purity rules only for women, perpetuating racist sexual stereotypes, or assuming that some groups have no sexual desires at all.

...while epic fantasy is based on the fairy tale of the just war, that’s not one you’ll find in Grimm or Disney, and most will never recognize the shape of it. I think the fantasy genre pitches its tent in the medieval campground for the very reason that we even bother to write stories about things that never happened in the first place: because it says something subtle and true about our own world, something it is difficult to say straight out, with a straight face. Something you need tools to say, you need cheat codes for the human brain--a candy princess or a sugar-coated unicorn to wash down the sour taste of how bad things can really get. See, I think our culture has a slash running through the middle of it, too. Past/Future, Conservative/Liberal, Online/Offline. Virgin/Whore. And yes: Classical/Medieval. I think we’re torn between the Classical Narrative of Self and the Medieval Narrative of Self, between the choice of Achilles and Keep Calm and Carry On. The Classical internal monologue goes like this: do anything, anything, only don’t be forgotten. Yes, this one sacrificed his daughter on a slab at Aulis, that one married his mother and tore out his eyes, and oh that guy ate his kids in a pie. But you remember their names, don’t you? So it’s all good in the end. Give a Greek soul a choice between a short life full of glory and a name echoing down the halls of time and a long, gentle life full of children and a quiet sort of virtue, and he’ll always go down in flames. That’s what the Iliad is all about, and the Odyssey too. When you get to Hades, you gotta have a story to tell, because the rest of eternity is just forgetting and hoping some mortal shows up on a quest and lets you drink blood from a bowl so you can remember who you were for one hour. And every bit of cultural narrative in America says that we are all Odysseus, we are all Agamemnon, all Atreus, all Achilles. That we as a nation made that choice and chose glory and personal valor, and woe betide any inconvenient “other people” who get in our way. We tell the tales around the campfire of men who came from nothing to run dotcom empires, of a million dollars made overnight, of an actress marrying a prince from Monaco, of athletes and stars and artists and cowboys and gangsters and bootleggers and talk show hosts who hitched up their bootstraps and bent the world to their will. Whose names you all know. And we say: that can be each and every one of us and if it isn’t, it’s your fault. You didn’t have the excellence for it. You didn’t work hard enough. The story wasn’t about you, and the only good stories are the kind that have big, unignorable, undeniable heroes.

Beauty in a woman is a treasure rare Which we are never weary of admiring; But a sweet temper is a gift more fair And better worth the youthful maid's desiring. That was the boon bestowed on Cinderella By her wise godmother - her truest glory. The rest was "nought but leather and prunella." Such is the moral of this little story - Beauties that charm become you more than dress, And win a heart with far greater facility. In short, in all things to ensure success, The real Fairy Gift is amiability! Talent, courage, wit, and worth Are rare gifts to own on Earth; But if you want to thrive at court - So, at least, the wise report - You will find you need some others, Such as godfathers or mothers.

Responding to myth often means wearing blinkers. Myth is a complex game of production and reception that involves selecting some parts of a narrative and suppressing others. As we shall see later on, this process of communication is not always easily controlled.

In your footwork, you should tread strongly on your heels while allowing some leeway in your toes. Although your stride may be long or short, slow or fast, according to the situation, it is to be as normal. Flighty steps, unsteady steps, and stomping steps are to be avoided.

Psychoanalysis and Greek mythology are two sides of the same medallion. To put it differently: without classical mythology, there would be no psychoanalysis. If that seems like too bold a statement, this chapter aims to show that it is not. It will look at the dynamic relationship forged between psychoanalysis and classical myth, and the impacts, positive and negative, that each has made upon the other. There are numerous psychoanalytic theorists, but Freud necessarily takes centre stage. Like many in 19th-century Germany, Freud was passionate about ancient Greece and its myths. He was both an analyst of the psyche, or mind (using Greek myth) and of Greek myth (using the psyche). As a result, he initiated a radical new method of enquiry, psychoanalysis, and wrote a momentous chapter in the history of classical mythology.

Why are you walking like that?” Rome asked, running a broad hand through his short hair, his glittering green eyes flicking down my legs before settling on my face. “Like what?” I asked, as he fell into step beside me. ... “Like you’re scared of the ground,” he replied on a snort.

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were going directly to Heaven, we were all going direct the other way- in short, the period, that some of its noisiest authorities insisted on its being, received, for good or for evil, in superlative degree of comparison only.

the inner game. This is the game that takes place in the mind of the player, and it is played against such obstacles as lapses in concentration, nervousness, self-doubt and self-condemnation. In short, it is played to overcome all habits of mind which inhibit excellence in performance.

Classical liberalism . . . does not wholly define modern American conservatism. There is an added element: a concern with social and civic virtue. The term virtue has become a bad word in some quarters of American life. (It is especially unpopular with the chronically wicked and depraved.) Young people, especially, tend to associate it with finger-wagging and with people who tell you how to live your life. This is a very narrow view of virtue: It applies only to what it is good to do, rather than what it is good to be and what it is good to love. . . . Conservatives recognize, of course, that people frequently fall short of these standards. In their personal conduct, conservatives do not claim to be better than anyone else. . . . But for conservatives, these lapses do not provide an excuse to get rid of the standards. Even hypocrisy--professing one thing but doing another--is in the conservative view preferable to a denial of standards because such denial leads to moral chaos or nihilism.

The Louis XIII style in perfumery, composed of the elements dear to that period - orris-powder, musk, civet and myrtle-water, already known by the name of angel-water - was scarcely adequate to express the cavalierish graces, the rather crude colours of the time which certain sonnets by Saint-Amand have preserved for us. Later on, with the aid of myrrh and frankincense, the potent and austere scents of religion, it became almost possible to render the stately pomp of the age of Louis XIV, the pleonastic artifices of classical oratory, the ample, sustained, wordy style of Bossuet and the other masters of the pulpit. Later still, the blase, sophisticated graces of French society under Louis XV found their interpreters more easily in frangipane and marechale, which offered in a way the very synthesis of the period. And then, after the indifference and incuriosity of the First Empire, which used eau-de-Cologne and rosemary to excess, perfumery followed Victor Hugo and Gautier and went for inspiration to the lands of the sun; it composed its own Oriental verses, its own highly spiced salaams, discovered intonations and audacious antitheses, sorted out and revived forgotten nuances which it complicated, subtilized and paired off, and in short resolutely repudiated the voluntary decrepitude to which it had been reduced by its Malesherbes, its Boileaus, its Andrieux, its Baour-Lormians, the vulgar distillers of its poems.

At the present time he was a man of perhaps forty-five years of age, short and heavy-set, with a bullet-shaped head that rested on broad, ape-like shoulders. His thick torso and bulging paunch were supported by a pair of spindly legs that contrasted oddly with the upper portions of his beefy body.

Outside Styx's apartment was not the first time Rochester and I had met, or would it be the last. We first encountered each other at Haworth House in Yorkshire when my mind was young and the barrier between reality and make-believe had not yet hardened into the shell that cocoons us in adult life. The barrier was soft, pliable and, for a moment, thanks to the kindness of a stranger and the power of a good storytelling voice, I made the short journey--and returned.

Ancient astrology was rather different from the modern horoscope. Its more learned practitioners enjoyed intellectual respectability, and there was a substantial overlap between astrology and philosophy. People would consult astrologers on anything, from the time and manner in which they were going to die to who was likely to win in the chariot-races that afternoon. The chronology of the origins and development of astrology are impossible to establish, and were debated even in the ancient world. Suffice it to say here that the Western tradition was one of many traditions: Indian, Chinese, Middle Eastern. It was Ptolemy, the Hellenistic geographer and astrologer, who first laid the technical foundations of Western astrology in his Tetrabiblos (‘Four Books’). But the rise in the prominence of astrology was closely tied to the Roman imperial regime. It greatly benefited emperors to have their sovereignty ‘written in the stars’.

I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit

He had only smiled, condescendingly and therapeutically. "No, Leland, not you. You, and in fact quite a lot of your generation, have in some way been exiled from that particular sanctuary. It's become almost impossible for you to 'go mad' in the classical sense. At one time people conveniently 'went mad' and were never heard from again. Like a character in a romantic novel. But now"--And I think he even went so far as to yawn--"you are too hip to yourself on a psychological level. You are all too intimate with too many of the symptoms of insanity to be caught completely off your guard. Another thing: all of you have a talent for releasing frustration through clever fantasy. And you, you are the worst of the lot on that score. So... you may be neurotic as hell for the rest of your life, and miserable, maybe even do a short hitch at Bellvue and certainly good for another five years as a paying patient--but I'm afraid never completely out." He leaned back in his elegant Lounge-o-Chair. "Sorry to disappoint you but the best I can offer is plain old schizophrenia with delusional tendencies.

This is all a tale of an older world and a forgotten countryside. At this moment of time change has come; a screaming line of steel runs through the heather of no-man’s-land, and the holiday-maker claims the valleys for his own. But this busyness is but of yesterday, and not ten years ago the fields lay quiet to the gaze of placid beasts and the wandering stars. This story I have culled from the grave of an old fashion, and set down for the love of a great soul and the poetry of life.

there was yet the assurance of such power in the preparation of the whole, that we knew her to be merely running over the chords of our appetite with preliminary savors, as a musician acquaints his touch with the keys of an unfamiliar piano before breaking into brilliant and triumphant execution. Within a week she had mastered

Dwell with yourself, and you will know how short your household stuff is.

The point of this, as Marx explains, is to show that according to classical economics the worker becomes a commodity, the production of which is subject to the ordinary laws of supply and demand. If the supply of workers exceeds the demand for labour, wages fall and some workers starve. Wages therefore tend to the lowest possible level compatible with keeping an adequate supply of workers alive.

I restrained the urge to slam my door. On the right stood a teenage guy with thick chestnut hair, chocolatey brown eyes, and the kind of perfectly square jaw I thought only existed on models. He wore khaki pants and a white shirt - classic preppy gear, though on him it looked incredibly hot. The man on the left had black hair with wings of pure white at the temples, and unbelievable blue eyes the color of the Caribbean. Not that I've ever seen the Caribbean, but I swear you could have cut and pasted his eyes right into an ad for the Bahamas. Meanwhile, I looked like I didn't know how to operate a washing machine. My shorts had a glob of strawberry jelly on them from breakfast, my wrinkled gray T-shirt looked like it had been slept in (which it had), and my Seattle Mariners baseball hat had a dark ring around the brim. Grandma practically winced as her gaze traveled up and down my outfit. Her taste runs toward matching velour tracksuits, so I don't usually worry about her opinion much. Still, this time I think she was right.

When it repudiates a past paradigm, a scientific community simultaneously renounces, as a fit subject for professional scrutiny, most of the books and articles in which that paradigm had been embodied. Scientific education makes use of no equivalent for the art museum or the library of classics, and the result is a sometimes drastic distortion in the scientist's perception of his discipline's past. More than the practitioners of other creative fields, he comes to see it as leading in a straight line to the discipline's present vantage. In short, he comes to see it as progress. No alternative is available to him while he remains in the field.

Yes, it would nice for this fifty year period, this cradle of all vampire short stories in the English language, to include a vampire tale by Edgar Allan Poe. But the sad answer is that Poe never penned a vampire story.

I’m engaged in the dance of the ages and the search for a song to go with it. Though Templeton’s A Veritable Smorgasbord is a well-deserving classic, it’s a stanza too short for my morphing existence. So I write my own.

In The Invention of Literature (1999), the classical scholar Florence Dupont reminds us that many of the greatest works of human imagination were created to be performed, to be heard. Before the printing press and mass literacy, the written versions existed as blueprints or records of performances, recitals, speeches, songs, and other forms of oral communication. Voicing was an art of living creators, and the voice of the storyteller was

Act Well the Part That Is Given to You We are like actors in a play. The divine will has assigned us our roles in life without consulting us. Some of us will act in a short drama, others in a long one. We might be assigned the part of a poor person, a cripple, a distinguished celebrity or public leader, or an ordinary private citizen. Although we can’t control which roles are assigned to us, it must be our business to act our given role as best as we possibly can and to refrain from complaining about it. Wherever you find yourself and in whatever circumstances, give an impeccable performance. If you are supposed to be a reader, read; if you are supposed to be a writer, write.

By the word materialism, the philistine understands gluttony, drunkenness, lust of the eye, lust of the flesh, arrogance, cupidity, avarice, covetousness, profit-hunting, and stock-exchange swindling — in short, all the filthy vices in which he himself indulges in private. By the word idealism he understands the belief in virtue, universal philanthropy, and in a general way a “better world”, of which he boasts before others but in which he himself at the utmost believes only so long as he is having the blues or is going through the bankruptcy consequent upon his customary “materialist” excesses. It is then that he sings his favorite song, What is man? — Half beast, half angel.

But the secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long words that could be a short word, every adverb that carries the same meaning that's already in the verb. every passive construction that leaves the reader unsure of who is doing what-these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to education and rank.

In Cecil B. DeMille’s 1920 film Why Change Your Wife?, the usually glamorous Gloria Swanson played a wife who wore glasses, listened to classical music, and read such books as How to Improve Your Mind. It was obvious to the audience why her husband left her for a perfumed, short-skirted man chaser. But a happy ending was achieved when Swanson’s character ordered some sleeveless, backless dresses and devoted herself to improving her dance steps instead of her mind.

He broke off and eyed with dignified surprise a fine piece of wireless telegraphy between husband and wife. It appeared that Mr. Negget sent off a humorous message with his left eye, the right being for some reason closed, to which Mrs. Negget replied with a series of frowns and staccato shakes of the head, which her husband found easily translatable. Under the austere stare of Mr. Bodfish their faces at once regained their wonted calm, and the ex-constable in a somewhat offended manner resumed his inquiries.

In her relationships with humans, Artemis is primarily concerned with females, especially the physical aspects of their life cycle, including menstruation, childbirth, and death, however contradictory the association of these with a virgin may appear. (She is also cited as the reason for the termination of female life: when swift death came to a woman, she was said to have been short by Artemis.) The Artemis of classical Greece probably evolved from the concept of a primitive mother goddess, and both she and her sister Athena were considered virgins because they had never submitted to a monogamous marriage. Rather, as befits mother goddesses, they had enjoyed many consorts. Their failure to marry, however, was misinterpreted as virginity by succeeding generations of men who connected loss of virginity only with conventional marriage. Either way, as mother goddess or virgin, Artemis retains control over herself; her lack of permanent connection to a male figure in a monogamous relationship is the keystone of her independence.

Not only the portraits on the walls, but also the shelves in the library were thinned out. The disappearance of certain books and brochures happened discretely, usually the day after the arrival of a new message from above. Rubashov made his sarcastic commentaries on it while dictating to Arlova, who received them in silence. Most of the works on foreign trade and currency disappeared from the shelves – their author, the People’s Commissar for Finance, had just been arrested; also nearly all old Party Congress reports treating the same subject; most books and reference-books on the history and antecedents of the Revolution; most works by living authors on problems of birth control; the manuals on the structure of the People’s Army; treatises on trade unionism and the right to strike in the People’s State; practically every study of the problems of political constitution more than two years old, and, finally, even the volumes of the Encyclopedia published by the Academy – a new revised edition being promised shortly. New books arrived, too: the classics of social science appeared with new footnotes and commentaries, the old histories were replaced by new histories, the old memoirs of dead revolutionary leaders were replaced by new memoirs of the same defunct. Rubashov remarked jokingly to Arlova that the only thing left to be done was to publish a new and revised edition of the back numbers of all newspapers.

We tend to write Moses’ true personality out of the Exodus story. (Cecil B. DeMille’s classic, The Ten Commandments, portrays him as a swashbuckling figure who does all the talking, with no help from Aaron.) We don’t ask why God chose as his prophet a stutterer with a public speaking phobia. But we should. The book of Exodus is short on explication, but its stories suggest that introversion plays yin to the yang of extroversion; that the medium is not always the message; and that people followed Moses because his words were thoughtful, not because he spoke them well.

It is interesting to see how the judgmental mind extends itself. It may begin by complaining, “What a lousy serve,” then extend to, “I’m serving badly today.” After a few more “bad” serves, the judgment may become further extended to “I have a terrible serve.” Then, “I’m a lousy tennis player,” and finally, “I’m no good.” First the mind judges the event, then groups events, then identifies with the combined event and finally judges itself. As a result, what usually happens is that these self-judgments become self-fulfilling prophecies. That is, they are communications from Self 1 about Self 2 which, after being repeated often enough, become rigidified into expectations or even convictions about Self 2. Then Self 2 begins to live up to these expectations. If you tell yourself often enough that you are a poor server, a kind of hypnotic process takes place. It’s as if Self 2 is being given a role to play—the role of bad server—and plays it to the hilt, suppressing for the time being its true capabilities. Once the judgmental mind establishes a self-identity based on its negative judgments, the role-playing continues to hide the true potential of Self 2 until the hypnotic spell is broken. In short, you start to become what you think.

Classics is a subject that exists in that gap between us and the word of the Greeks and Romans. The questions raised by Classics are the questions raised by our distance from 'their' world, and at the same time by our closeness to it, and its familiarity to us. In our museums, in our literature, languages, culture, and ways of thinking. The aim of Classics is not only to discover or uncover the ancient world (though that is part of it, as the rediscovery of Bassae, or the excavation of the furthest outposts of the Roman empire on the Scottish borders, shows). Its aim is to also define and debate our relationship to that world.

So, when I read of a recent study that found that children are significantly more inclined to eat “difficult” foods like liver, spinach, broccoli—and other such hard-to-sell “but-it’s-good-for-you” classics—when they are wrapped in comfortingly bright packages from McDonald’s, I was at first appalled, and then … inspired. Rather than trying to co-opt Ronald’s all-too-effective credibility among children to short-term positive ends, like getting my daughter to eat the occasional serving of spinach, I could reverse-engineer this! Use the strange and terrible powers of the Golden Arches for good—not evil! I plan to dip something decidedly unpleasant in an enticing chocolate coating and then wrap it carefully in McDonald’s wrapping paper. Nothing dangerous, mind you, but something that a two-and-a-half-year-old will find “yucky!”—even upsetting—in the extreme. Maybe a sponge soaked with vinegar. A tuft of hair. A Barbie head. I will then place it inside the familiar cardboard box and leave it—as if forgotten—somewhere for my daughter to find. I might even warn her, “If you see any of that nasty McDonald’s … make sure you don’t eat it!” I’ll say, before leaving her to it. “Daddy was stupid and got some chocolate … and now he’s lost it…” I might mutter audibly to myself before taking a long stroll to the laundry room. An early, traumatic, Ronald-related experience can only be good for her.

It is the simplest phrase you can imagine,” Favreau said, “three monosyllabic words that people say to each other every day.” But the speech etched itself in rhetorical lore. It inspired music videos and memes and the full range of reactions that any blockbuster receives online today, from praise to out-of-context humor to arch mockery. Obama’s “Yes, we can” refrain is an example of a rhetorical device known as epistrophe, or the repetition of words at the end of a sentence. It’s one of many famous rhetorical types, most with Greek names, based on some form of repetition. There is anaphora, which is repetition at the beginning of a sentence (Winston Churchill: “We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields”). There is tricolon, which is repetition in short triplicate (Abraham Lincoln: “Government of the people, by the people, and for the people”). There is epizeuxis, which is the same word repeated over and over (Nancy Pelosi: “Just remember these four words for what this legislation means: jobs, jobs, jobs, and jobs”). There is diacope, which is the repetition of a word or phrase with a brief interruption (Franklin D. Roosevelt: “The only thing we have to fear is fear itself”) or, most simply, an A-B-A structure (Sarah Palin: “Drill baby drill!”). There is antithesis, which is repetition of clause structures to juxtapose contrasting ideas (Charles Dickens: “It was the best of times, it was the worst of times”). There is parallelism, which is repetition of sentence structure (the paragraph you just read). Finally, there is the king of all modern speech-making tricks, antimetabole, which is rhetorical inversion: “It’s not the size of the dog in the fight; it’s the size of the fight in the dog.” There are several reasons why antimetabole is so popular. First, it’s just complex enough to disguise the fact that it’s formulaic. Second, it’s useful for highlighting an argument by drawing a clear contrast. Third, it’s quite poppy, in the Swedish songwriting sense, building a hook around two elements—A and B—and inverting them to give listeners immediate gratification and meaning. The classic structure of antimetabole is AB;BA, which is easy to remember since it spells out the name of a certain Swedish band.18 Famous ABBA examples in politics include: “Man is not the creature of circumstances. Circumstances are the creatures of men.” —Benjamin Disraeli “East and West do not mistrust each other because we are armed; we are armed because we mistrust each other.” —Ronald Reagan “The world faces a very different Russia than it did in 1991. Like all countries, Russia also faces a very different world.” —Bill Clinton “Whether we bring our enemies to justice or bring justice to our enemies, justice will be done.” —George W. Bush “Human rights are women’s rights and women’s rights are human rights.” —Hillary Clinton In particular, President John F. Kennedy made ABBA famous (and ABBA made John F. Kennedy famous). “Mankind must put an end to war, or war will put an end to mankind,” he said, and “Each increase of tension has produced an increase of arms; each increase of arms has produced an increase of tension,” and most famously, “Ask not what your country can do for you; ask what you can do for your country.” Antimetabole is like the C–G–Am–F chord progression in Western pop music: When you learn it somewhere, you hear it everywhere.19 Difficult and even controversial ideas are transformed, through ABBA, into something like musical hooks.

In the classic sales book SPIN Selling, Neil Rackham describes the four phases of successful selling: (1) understanding the situation, (2) defining the problem, (3) clarifying the short-term and long-term implications of that problem, and (4) quantifying the need-payoff, or the financial and emotional benefits the customer would experience after the resolution of their problem.

I did make a mistake in judging Anne, but it weren't no wonder, for an odder, unexpecteder witch of a child there never was in this world, that's what. There was no ciphering her out by the rules that worked with other children. It's nothing short of wonderful how she's improved these three years, but especially in looks. She's a real pretty girl got to be, though I can't say I'm overly partial to that pale, big-eyed style myself. I like more snap and color, like Diana Barry or Ruby Gillis. Ruby Gillis' looks are real showy. But somehow- I don't know how it is but when Anne and them are together, though she ain't half as handsome, she makes them look kind of common and overdone- something like them white June lilies she calls narcissus alongside of the big, red peonies, that's what.

Specifically, I cherished a romantic impulse towards death, yet at the same time I required a strictly classical body as its vehicle; a peculiar sense of destiny made me believe that the reason why my romantic impulse towards death remained unfulfilled in reality was the immensely simple fact that I lacked the necessary physical qualifications. A powerful, tragic frame and sculpturesque muscles were indispensable in a romantically noble death. Any confrontation between weak, flabby flesh and death seemed to me absurdly inappropriate. Longing at eighteen for an early demise, I felt myself unfitted for it. I lacked, in short, the muscles suitable for a dramatic death. And it deeply offended my romantic pride that it should be this unsuitability that had permitted me to survive the war.

Then Toraf opens the passenger side door…Wait. That’s not Toraf. I’ve never seen this man before, yet he’s eerily familiar. His silhouette sitting next to Galen was definitely classic Syrena male, but the glare from the sun had hidden his face. I’d naturally just assumed that where there’s a Galen, there’s a Toraf. Now that his face is in full view though, I see that this man looks like a slightly older version of Galen. Slightly older as in slightly more jaded. Other than that, he could be his twin brother. It may be because he’s wearing some of Galen’s clothes, a wrinkled brown polo shirt and plaid shorts. But he shares other things, too, besides clothes. He’s handsome like Galen, with the same strong jaw and the same eyebrow shape and the way he’s wearing the same expression on his face that Galen is-that he’s found what he’s been looking for. Only, the stranger’s expression clearly divulges that he’s been looking for a lot longer than Galen has-and this man is not looking at me. And that’s when I know just exactly who he is. That’s when I believe the look in Galen’s eyes. That he didn’t lie to me, that he loves me. Because this man has to be Grom. Mom confirms it with a half cry, half growl. “No. No. It can’t be.” Even if she weren’t handcuffed to Rachel right now, I’m not sure she’d actually be able to move. Disbelief has a special way of paralyzing you. With every step the man takes toward Rachel’s car, he shakes his head more vigorously. It’s like he’s deliberately taking his time, drinking in the moment, or maybe he just can’t believe this moment is actually happening. Yep, disbelief is a cruel hag.

PERIODIC MOOD-CHANGES We have already spoken of the affective concomitants of common migraines—elated and irritable prodromal states, states of dread and depression associated with the main phase of the attack, and states of euphoric rebound. Any or all of these may be abstracted as isolated periodic symptoms of relatively short duration—some hours, or at most two or three days, and as such may present themselves as primary emotional disorders. The most acute of these mood-changes, generally no more than an hour in duration, usually represents concomitants or equivalents of migraine aura. We may confine our attention at this stage to attacks of depression, or truncated manic-depressive cycles, occurring at intervals in patients who have previously suffered from attacks of undoubted (classical, common, abdominal, etc.) migraine.

New Age spirituality purports to promote change – its mantra is ‘transformation’ – but, in reality, it endorses the status quo. It preaches changing oneself to accept the world as it is. New Agers are too busy with their affirmations and introspections to do anything like take direct action. Indeed, in some books the advice to unleash one’s inner goddess turns out to be little more than to bring back the old ‘domestic goddess’. Using myth as one’s personal charter is nothing new (as we saw in Chapter 3), but when Alexander the Great chose Achilles, the psychopathic hero of Homer’s Iliad, to revere and emulate, he did so with action in mind. Alexander used classical myth as his ‘life coach’ and changed the world. New Agers use classical myth to ensure that the spirit is soothed, the horoscope reassuring, and the house clean, but the world stays the same.

In an experiment that became an instant classic, the psychologist John Bargh and his collaborators asked students at New York University—most aged eighteen to twenty-two—to assemble four-word sentences from a set of five words (for example, “finds he it yellow instantly”). For one group of students, half the scrambled sentences contained words associated with the elderly, such as Florida, forgetful, bald, gray, or wrinkle. When they had completed that task, the young participants were sent out to do another experiment in an office down the hall. That short walk was what the experiment was about. The researchers unobtrusively measured the time it took people to get from one end of the corridor to the other. As Bargh had predicted, the young people who had fashioned a sentence from words with an elderly theme walked down the hallway significantly more slowly than the others.

McIntyre’s tale may have predecessors, but it is unique. I strain for literary comparisons and think: Kipling, the classical Chinese poets, early Patrick O’Brian, Hopkins. I search for a definition of its animating presence: the predator, the Buddhist sage, the hunter. All fall short. I stand before The Snow Leopard’s Tale in awe and with a little envy. It is a gem, an uncanny evocation of the cold ancient dusty highlands of Central Asia, and could only have come from Tom McIntyre. It is his best.

By the close of the nineteenth century her studies with her father were being supplemented by tuition in the classics from Dr Warr of King’s College, Kensington, and from Clara Pater, sister of the English essayist and critic Walter Pater (1839–94). Woolf was very fond of Clara and an exchange between them later became the basis for her short story ‘Moments of Being: Slater’s Pins Have No Points’ (1928). Thoby boarded at Clifton College, Bristol, Adrian was a dayboy at Westminster School, and Vanessa attended Cope’s School of Art. Thoby, and later Adrian, eventually went to Trinity College, Cambridge, and Vanessa undertook training in the visual arts (attending the Slade School of Fine Art for a while). From 1902 Virginia’s tuition in classics passed from Clara Pater to the very capable Janet Case, one of the first graduates from Girton College, Cambridge, and a committed feminist. The sisters visited Cambridge a number of times to meet Thoby, whose friends there included Clive Bell 1881–1964), Lytton Strachey (1880– 1932), Leonard Woolf (1880–1969) and Saxon Sydney-Turner.

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

At all times it is a bewildering thing to the poor weaver to see his employer removing from house to house, each one grander than the last, till he ends in building one more magnificent than all, or withdraws his money from the concern, or sells his mill, to buy an estate in the country, while all the time the weaver, who thinks he and his fellows are the real makers of this wealth, is struggling on for bread for his children, through the vicissitudes of lowered wages, short hours, fewer hands employed, etc. And when he knows trade is bad, and could understand (at least partially) that there are not buyers enough in the market to purchase the goods already made, and consequently that there is no demand for more; when he would bear and endure much without complaining, could he also see that his employers were bearing their share; he is, I say, bewildered and (to use his own word) "aggravated" to see that all goes on just as usual with the millowners. Large houses are still occupied, while spinners' and weavers' cottages stand empty, because the families that once filled them are obliged to live in rooms or cellars. Carriages still roll along the streets, concerts are still crowded by subscribers, the shops for expensive luxuries still find daily customers, while the workman loiters away his unemployed time in watching these things, and thinking of the pale, uncomplaining wife at home, and the wailing children asking in vain for enough of food--of the sinking health, of the dying life of those near and dear to him. The contrast is too great. Why should he alone suffer from bad times?

On the Craft of Writing:  The Story Grid: What Good Editors Know by Shawn Coyne The Elements of Style by William Strunk Jr. and E. B. White 2K to 10K: Writing Faster, Writing Better, and Writing More of What You Love by Rachel Aaron  On Writing: A Memoir of the Craft by Stephen King Take Off Your Pants! Outline Your Books for Faster, Better Writing by Libbie Hawker  You Are a Writer (So Start Acting Like One) by Jeff Goins Prosperity for Writers: A Writer's Guide to Creating Abundance by Honorée Corder  The Artist's Way by Julia Cameron The War of Art: Break Through the Blocks and Win Your Inner Creative Battles by Steven Pressfield Business for Authors: How To Be An Author Entrepreneur by Joanna Penn  On Writing Well: The Classic Guide to Writing Nonfiction by William Zinsser Writing Tools: 50 Essential Strategies for Every Writer by Roy Peter Clark On Mindset:  The One Thing: The Surprisingly Simple Truth Behind Extraordinary Results by Gary Keller and Jay Papasan The Art of Exceptional Living by Jim Rohn Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results by Honorée Corder The 7 Habits of Highly Effective People: Powerful Lessons in Personal Change by Stephen R. Covey Essentialism: The Disciplined Pursuit of Less by Greg Mckeown Mastery by Robert Greene The Success Principles: How to Get from Where You Are to Where You Want to Be by Jack Canfield and Janet Switzer The Game of Life and How to Play It by Florence Scovel Shinn The Compound Effect by Darren Hardy Taking Life Head On: How to Love the Life You Have While You Create the Life of Your Dreams by Hal Elrod Think and Grow Rich by Napoleon Hill In

The whitewash of Kingdom of Heaven Kingdom of Heaven is a classic cowboys-and-Indians story in which the Muslims are noble and heroic and the Christians are venal and violent. The script is heavy on modern-day PC clichés and fantasies of Islamic tolerance; brushing aside dhimmi laws and attitudes (of which Ridley Scott has most likely never heard), it invents a peace-and-tolerance group called the “Brotherhood of Muslims, Jews and Christians.” But of course, the Christians spoiled everything. A publicist for the film explained, “They were working together. It was a strong bond until the Knights Templar caused friction between them.” Ah yes, those nasty “Christian extremists.” Kingdom of Heaven was made for those who believe that all the trouble between the Islamic world and the West has been caused by Western imperialism, racism, and colonialism, and that the glorious paradigm of Islamic tolerance, which was once a beacon to the world, could be reestablished if only the wicked white men of America and Europe would be more tolerant. Ridley Scott and his team arranged advance screenings for groups like the Council on American-Islamic Relations, making sure that sensitive Muslim feelings were not hurt. It is a dream movie for the PC establishment in every way except one: It isn’t true. Professor Jonathan Riley-Smith, author of A Short History of the Crusades and one of the world’s leading historians of the period, called the movie “rubbish,” explaining that “it’s not historically accurate at all” as it “depicts the Muslims as sophisticated and civilised, and the Crusaders are all brutes and barbarians. It has nothing to do with reality.” Oh, and “there was never a confraternity of Muslims, Jews and Christians. That is utter nonsense.

The use of rewards—what might be called positive coercion—does not work in the long run any better than threat and punishment, or negative coercion. In the reward, the child senses the parent’s desire to control no less than in the punishment. The issue is the child’s sense of being forced, not the manner in which the force is applied. This was well illustrated in a classic study using magic markers.2 A number of children were screened to select some who showed a natural interest and inclination for playing with magic markers. Those who did were then divided into three different groups. For one group, there was no reward involved and no indication what to do with the markers. Another group was given a small reward to use the markers, and the third was promised a substantial reward. When retested sometime later, the group that had been most rewarded showed the least interest in playing with the magic markers, while the children who had been left uninstructed showed by far the greatest motivation to use them. Simple behaviorist principles would suggest it ought to have been the other way around, another illustration that behavioral approaches have no more than short-term efficacy. At work here, of course, was residual counterwill in response to positive coercion. In a similar experiment, the psychologist Edward Deci observed the behaviors of two groups of college students vis-à-vis a puzzle game they had originally all been equally intrigued by. One group was to receive a monetary reward each time a puzzle was solved; the other was given no external incentive. Once the payments stopped, the paid group proved far more likely to abandon the game than their unpaid counterparts. “Rewards may increase the likelihood of behaviors,” Dr. Deci remarks, “but only so long as the rewards keep coming... Stop the pay, stop the play.” We

For years, exercise scientists have been convinced that the only way to increase mitochondrial density is with aerobic endurance training, but recent studies have proved otherwise. Not only is an increase in the size and number of mitochondria a proven adaptation to HIIT, but the mitochondrial benefit of HIIT goes way beyond size and number. For example, all your mitochondria contain oxidative enzymes, such as citrate synthase, malate dehydrogenase, and succinate dehydrogenase. These oxidative enzymes lead to improved metabolic function of your skeletal muscles—particularly by causing more effective fat and carbohydrate breakdown for fuel and also by accelerating energy formation from ATP. So more oxidative enzymes means that you have a higher capacity for going longer and harder. And it turns out that, according to an initial study on the effect of HIIT on oxidative enzymes, there were enormous increases in skeletal muscle oxidative enzymes in seven weeks in subjects who did four to ten thirty-second maximal cycling sprints followed by four minutes of recovery just three days a week. But what about HIIT as opposed to aerobic cardio? Another six-week training study compared the increase in oxidative enzymes that resulted from either: 1. Four to six thirty-second maximal-effort cycling sprints, each followed by four-and-a-half minutes of recovery, performed three days a week (classic HIIT training) or 2. Forty to sixty minutes of steady cycling at 65 percent VO2 max (an easy aerobic intensity) five days a week The levels of oxidative enzymes in the mitochondria in subjects who performed the HIIT program were significantly higher—even though they were training at a fraction of the volume of the aerobic group. How could this favorable endurance adaptation happen with such short periods of exercise? It turns out that the increased mitochondrial density and oxidative-enzyme activity from HIIT are caused by completely different message-signaling pathways than those created by traditional endurance training.

My family is a classic American-dream story. My great-grandparents fled Russia to avoid being murdered for their religion. Just two generations later, my parents fled New York City weekends for their country house. I never felt guilty about this. I was raised to believe America rewards hard work. But I was also raised to understand that luck plays a role in even the bootstrappiest success story. The cost of living the dream, I was taught, is the responsibility to expand it for others. It’s a more than fair price. Yet the people running the country didn’t see it that way. With George W. Bush in the White House, millionaires and billionaires were showered with tax cuts. Meanwhile, schools went underfunded. Roads and bridges deteriorated. Household incomes languished. Deficits ballooned. And America went to war. President Bush invaded Iraq to destroy weapons of mass destruction, a campaign which hit a snag when it turned out those weapons didn’t exist. But by then it was too late. We had broken a country and owned the resulting mess. Colin Powell called this “the Pottery Barn rule,” which, admittedly, was cute. Still, it’s hard to imagine a visit to Pottery Barn that costs trillions of dollars and thousands of American lives. Our leaders, in other words, had made bad choices. They would therefore be replaced with better ones. That’s how AP Government told me the system worked. In the real world, however, the invasion of Iraq became an excuse for a dark and antidemocratic turn. Those who questioned the war, the torture of prisoners—or even just the tax cuts—found themselves accused of something barely short of treason. No longer was a distinction made between supporting the president’s policies and America’s troops. As an electoral strategy, this was dangerous and cynical. Also, it worked. So no, I didn’t grow up with a high opinion of politicians. But I did grow up in the kind of environment where people constantly told me I could change the world. In 2004, eager to prove them right, I volunteered for John Kerry’s presidential campaign.

Doctor … I’m going mad; the final complete flip, it’s swooping down out of the hills at me!” He had only smiled, condescendingly and therapeutically. “No, Leland, not you. You, and in fact quite a lot of your generation, have in some way been exiled from that particular sanctuary. It’s become almost impossible for you to ‘go mad’ in the classical sense. At one time people conveniently ‘went mad’ and were never heard from again. Like a character in a romantic novel. But now”—And I think he even went so far as to yawn—“you are too hip to yourself on a psychological level. You all are too intimate with too many of the symptoms of insanity to be caught completely off your guard. Another thing: all of you have a talent for releasing frustration through clever fantasy. And you, you are the worst of the lot on that score. So … you may be neurotic as hell for the rest of your life, and miserable, maybe even do a short hitch at Bellevue and certainly good for another five years as a paying patient—but I’m afraid never completely out.

He is the greatest artist the South has produced.… Indeed, through his many novels and short stories, Faulkner fights out the moral problem which was repressed after the nineteenth century [yet] for all his concern with the South, Faulkner was actually seeking out the nature of man. Thus we must turn to him for that continuity of moral purpose which made for the greatness of our classics.” —RALPH ELLISON “Faulkner, more than most men, was aware of human strength as well of human weakness. He knew that the understanding and the resolution of fear are a large part of the writer’s reason for being.” —JOHN STEINBECK “For range of effect, philosophical weight, originality of style, variety of characterization, humor, and tragic intensity, [Faulkner’s works] are without equal in our time and country.” —ROBERT PENN WARREN “No man ever put more of his heart and soul into the written word than did William Faulkner. If you want to know all you can about that heart and soul, the fiction where he put it is still right there.” —EUDORA WELTY

Moses, for example, was not, according to some interpretations of his story, the brash, talkative type who would organize road trips and hold forth in a classroom at Harvard Business School. On the contrary, by today’s standards he was dreadfully timid. He spoke with a stutter and considered himself inarticulate. The book of Numbers describes him as “very meek, above all the men which were upon the face of the earth.” When God first appeared to him in the form of a burning bush, Moses was employed as a shepherd by his father-in-law; he wasn’t even ambitious enough to own his own sheep. And when God revealed to Moses his role as liberator of the Jews, did Moses leap at the opportunity? Send someone else to do it, he said. “Who am I, that I should go to Pharaoh?” he pleaded. “I have never been eloquent. I am slow of speech and tongue.” It was only when God paired him up with his extroverted brother Aaron that Moses agreed to take on the assignment. Moses would be the speechwriter, the behind-the-scenes guy, the Cyrano de Bergerac; Aaron would be the public face of the operation. “It will be as if he were your mouth,” said God, “and as if you were God to him.” Complemented by Aaron, Moses led the Jews from Egypt, provided for them in the desert for the next forty years, and brought the Ten Commandments down from Mount Sinai. And he did all this using strengths that are classically associated with introversion: climbing a mountain in search of wisdom and writing down carefully, on two stone tablets, everything he learned there. We tend to write Moses’ true personality out of the Exodus story. (Cecil B. DeMille’s classic, The Ten Commandments, portrays him as a swashbuckling figure who does all the talking, with no help from Aaron.) We don’t ask why God chose as his prophet a stutterer with a public speaking phobia. But we should. The book of Exodus is short on explication, but its stories suggest that introversion plays yin to the yang of extroversion; that the medium is not always the message; and that people followed Moses because his words were thoughtful, not because he spoke them well.

Next week is Beltane,” she reminded him. “Do you suppose we will make it through the wedding this time?” “Not if Gideon says you cannot get out of this bed,” he countered sternly. “Absolutely not!” she burst out, making him wince and cover the ear she’d been too close to. She immediately regretted her thoughtlessness, making a sad sound before reaching to kiss the ear she had offended with quiet gentleness. Jacob extricated himself from her hold enough to allow himself to turn and face her. “Okay, explain what you meant,” he said gently. “I refuse to wait another six months. We are getting married on Beltane, come hell or . . . necromancers . . . or . . . the creature from the Black Lagoon. There is no way Corrine is going to be allowed to get married without me getting married, too. I refuse to listen to her calling me the family hussy for the rest of the year.” “What does it matter what she says?” Jacob sighed as he reached to touch the soft contours of her face. “You and I are bonded in a way that transcends marriage already. Is that not what is important?” “No. What’s important is the fact that I am going to murder the sister I love if she doesn’t quit. And she will not quit until I shut her up either with a marriage or a murder weapon. Understand?” Clearly, by his expression, Jacob did not understand. “Thank Destiny all I have is a brother,” he said dryly. “I have been inundated with people tied into knots over one sister or another for the past weeks.” “You mean Legna. Listen, it’s not her fault if everyone has their shorts in a twist because of who her Imprinted mate is! Frankly, I think she and Gideon make a fabulous couple. Granted, a little too gorgeously ‘King and Queen of the Prom’ perfect for human eyes to bear looking at for long, but fabulous just the same.” Jacob blinked in confusion as he tried to decipher his fiancée’s statement. Even after all these months, she still came out with unique phraseologies that totally escaped his more classic comprehension of the English language. But he had gotten used to just shrugging his confusion off, blaming it on the fact that English wasn’t his first, second, or third language, so it was to be expected. “Anyway,” she went on, “Noah and Hannah need to chill. You saw Legna when she came to visit yesterday. If a woman could glow, she was as good as radioactive.” She smiled sweetly at him. “That means,” she explained, “that she looks as brilliantly happy as you make me feel.” “I see,” he chuckled. “Thank you for the translation.” He reached his arms around her, drawing her body up to his as close as he could considering the small matter of a fetal obstacle. He kissed her inviting mouth until she was breathless and glowing herself. “I thought I would be kind to you,” she explained with a laugh against his mouth. “You, my love, are all heart.” “And you are all pervert. Jacob!” She laughed as she swatted one of his hands away from intimate places, only to be shanghaied by another. “What would Gideon say?” “He better not say anything, because if he did that would mean he was in here while you are naked. And that, little flower, would probably cost him his vocal chords in any event.” “Oh. Well . . . when you put it that way . . .

I cooked with so many of the greats: Tom Colicchio, Eric Ripert, Wylie Dufresne, Grant Achatz. Rick Bayless taught me not one but two amazing mole sauces, the whole time bemoaning that he never seemed to know what to cook for his teenage daughter. Jose Andres made me a classic Spanish tortilla, shocking me with the sheer volume of viridian olive oil he put into that simple dish of potatoes, onions, and eggs. Graham Elliot Bowles and I made gourmet Jell-O shots together, and ate leftover cheddar risotto with Cheez-Its crumbled on top right out of the pan. Lucky for me, Maria still includes me in special evenings like this, usually giving me the option of joining the guests at table, or helping in the kitchen. I always choose the kitchen, because passing up the opportunity to see these chefs in action is something only an idiot would do. Susan Spicer flew up from New Orleans shortly after the BP oil spill to do an extraordinary menu of all Gulf seafood for a ten-thousand-dollar-a-plate fund-raising dinner Maria hosted to help the families of Gulf fishermen. Local geniuses Gil Langlois and Top Chef winner Stephanie Izard joined forces with Gale Gand for a seven-course dinner none of us will ever forget, due in no small part to Gil's hoisin oxtail with smoked Gouda mac 'n' cheese, Stephanie's roasted cauliflower with pine nuts and light-as-air chickpea fritters, and Gale's honey panna cotta with rhubarb compote and insane little chocolate cookies. Stephanie and I bonded over hair products, since we have the same thick brown curls with a tendency to frizz, and the general dumbness of boys, and ended up giggling over glasses of bourbon till nearly two in the morning. She is even more awesome, funny, sweet, and genuine in person than she was on her rock-star winning season on Bravo. Plus, her food is spectacular all day. I sort of wish she would go into food television and steal me from Patrick. Allen Sternweiler did a game menu with all local proteins he had hunted himself, including a pheasant breast over caramelized brussels sprouts and mushrooms that melted in your mouth (despite the occasional bit of buckshot). Michelle Bernstein came up from Miami and taught me her white gazpacho, which I have since made a gajillion times, as it is probably one of the world's perfect foods.

Yet the homogeneity of contemporary humanity is most apparent when it comes to our view of the natural world and of the human body. If you fell sick a thousand years ago, it mattered a great deal where you lived. In Europe, the resident priest would probably tell you that you had made God angry and that in order to regain your health you should donate something to the church, make a pilgrimage to a sacred site, and pray fervently for God’s forgiveness. Alternatively, the village witch might explain that a demon had possessed you and that she could cast it out using song, dance, and the blood of a black cockerel. In the Middle East, doctors brought up on classical traditions might explain that your four bodily humors were out of balance and that you should harmonize them with a proper diet and foul-smelling potions. In India, Ayurvedic experts would offer their own theories concerning the balance between the three bodily elements known as doshas and recommend a treatment of herbs, massages, and yoga postures. Chinese physicians, Siberian shamans, African witch doctors, Amerindian medicine men—every empire, kingdom, and tribe had its own traditions and experts, each espousing different views about the human body and the nature of sickness, and each offering their own cornucopia of rituals, concoctions, and cures. Some of them worked surprisingly well, whereas others were little short of a death sentence. The only thing that united European, Chinese, African, and American medical practices was that everywhere at least a third of all children died before reaching adulthood, and average life expectancy was far below fifty.14 Today, if you happen to be sick, it makes much less difference where you live. In Toronto, Tokyo, Tehran, or Tel Aviv, you will be taken to similar-looking hospitals, where you will meet doctors in white coats who learned the same scientific theories in the same medical colleges. They will follow identical protocols and use identical tests to reach very similar diagnoses. They will then dispense the same medicines produced by the same international drug companies. There are still some minor cultural differences, but Canadian, Japanese, Iranian, and Israeli physicians hold much the same views about the human body and human diseases. After the Islamic State captured Raqqa and Mosul, it did not tear down the local hospitals. Rather, it launched an appeal to Muslim doctors and nurses throughout the world to volunteer their services there.15 Presumably even Islamist doctors and nurses believe that the body is made of cells, that diseases are caused by pathogens, and that antibiotics kill bacteria.

Except for Christianity, the Nazis reject as Jewish everything which stems from Jewish authors. This condemnation includes the writings of those Jews who, like Stahl, Lassalle, Gumplowicz, and Rathenau, have contributed many essential ideas to the system of Nazism. But the Jewish mind is, as the Nazis say, not limited to the Jews and their offspring only. Many “Aryans” have been imbued with Jewish mentality—for instance the poet, writer, and critic Gotthold Ephraim Lessing, the socialist Frederick Engels, the composer Johannes Brahms, the writer Thomas Mann, and the theologian Karl Barth. They too are damned. Then there are whole schools of thought, art, and literature rejected as Jewish. Internationalism and pacifism are Jewish, but so is warmongering. So are liberalism and capitalism, as well as the “spurious” socialism of the Marxians and of the Bolsheviks. The epithets Jewish and Western are applied to the philosophies of Descartes and Hume, to positivism, materialism and empiro-criticism, to the economic theories both of the classics and of modern subjectivism. Atonal music, the Italian opera style, the operetta and the paintings of impressionism are also Jewish. In short, Jewish is what any Nazi dislikes. If one put together everything that various Nazis have stigmatized as Jewish, one would get the impression that our whole civilization has been the achievement only of Jews.

There is an excellent short book (126 pages) by Faustino Ballvè, Essentials of Economics (Irvington-on-Hudson, N.Y.: Foundation for Economic Education), which briefly summarizes principles and policies. A book that does that at somewhat greater length (327 pages) is Understanding the Dollar Crisis by Percy L. Greaves (Belmont, Mass.: Western Islands, 1973). Bettina Bien Greaves has assembled two volumes of readings on Free Market Economics (Foundation for Economic Education). The reader who aims at a thorough understanding, and feels prepared for it, should next read Human Action by Ludwig von Mises (Chicago: Contemporary Books, 1949, 1966, 907 pages). This book extended the logical unity and precision of economics beyond that of any previous work. A two-volume work written thirteen years after Human Action by a student of Mises is Murray N. Rothbard’s Man, Economy, and State (Mission, Kan.: Sheed, Andrews and McMeel, 1962, 987 pages). This contains much original and penetrating material; its exposition is admirably lucid; and its arrangement makes it in some respects more suitable for textbook use than Mises’ great work. Short books that discuss special economic subjects in a simple way are Planning for Freedom by Ludwig von Mises (South Holland, 111.: Libertarian Press, 1952), and Capitalism and Freedom by Milton Friedman (Chicago: University of Chicago Press, 1962). There is an excellent pamphlet by Murray N. Rothbard, What Has Government Done to Our Money? (Santa Ana, Calif.: Rampart College, 1964, 1974, 62 pages). On the urgent subject of inflation, a book by the present author has recently been published, The Inflation Crisis, and How to Resolve It (New Rochelle, N.Y.: Arlington House, 1978). Among recent works which discuss current ideologies and developments from a point of view similar to that of this volume are the present author’s The Failure of the “New Economics”: An Analysis of the Keynesian Fallacies (Arlington House, 1959); F. A. Hayek, The Road to Serfdom (1945) and the same author’s monumental Constitution of Liberty (Chicago: University of Chicago Press, 1960). Ludwig von Mises’ Socialism: An Economic and Sociological Analysis (London: Jonathan Cape, 1936, 1969) is the most thorough and devastating critique of collectivistic doctrines ever written. The reader should not overlook, of course, Frederic Bastiat’s Economic Sophisms (ca. 1844), and particularly his essay on “What Is Seen and What Is Not Seen.” Those who are interested in working through the economic classics might find it most profitable to do this in the reverse of their historical order. Presented in this order, the chief works to be consulted, with the dates of their first editions, are: Philip Wicksteed, The Common Sense of Political Economy, 1911; John Bates Clark, The Distribution of Wealth, 1899; Eugen von Böhm-Bawerk, The Positive Theory of Capital, 1888; Karl Menger, Principles of Economics, 1871; W. Stanley Jevons, The Theory of Political Economy, 1871; John Stuart Mill, Principles of Political Economy, 1848; David Ricardo, Principles of Political Economy and Taxation, 1817; and Adam Smith, The Wealth of Nations, 1776.