Show Your Talent Quotes

When you show yourself to the world and display your talents, you naturally stir all kinds of resentment, envy, and other manifestations of insecurity... you cannot spend your life worrying about the petty feelings of others

Get Off The Scale! You are beautiful. Your beauty, just like your capacity for life, happiness, and success, is immeasurable. Day after day, countless people across the globe get on a scale in search of validation of beauty and social acceptance. Get off the scale! I have yet to see a scale that can tell you how enchanting your eyes are. I have yet to see a scale that can show you how wonderful your hair looks when the sun shines its glorious rays on it. I have yet to see a scale that can thank you for your compassion, sense of humor, and contagious smile. Get off the scale because I have yet to see one that can admire you for your perseverance when challenged in life. It’s true, the scale can only give you a numerical reflection of your relationship with gravity. That’s it. It cannot measure beauty, talent, purpose, life force, possibility, strength, or love. Don’t give the scale more power than it has earned. Take note of the number, then get off the scale and live your life. You are beautiful!

I see all this talent, all this... this energy and brightness and... potential. Yes. Potential. And I cannot for the life of me see how you can be content to live this tiny life. This life that will take place almost entirely within a five mile radius and contain nobody who will ever surprise you or push you or show you things that will leave your head spinning and unable to sleep at night.

The saddest thing in life is wasted talent, and the choices that you make will shape your life forever.

Christ came to be Father's compassion to the world. Be kind in your actions. Do not think that you are the only one who can do efficient work, work worth showing. This makes you harsh in your judgment of others who may not have the same talents. Do your best and trust that others do their best. And be faithful in small things because it is in them that your strength lies.

Civilized people must, I believe, satisfy the following criteria: 1) They respect human beings as individuals and are therefore always tolerant, gentle, courteous and amenable ... They do not create scenes over a hammer or a mislaid eraser; they do not make you feel they are conferring a great benefit on you when they live with you, and they don't make a scandal when they leave. (...) 2) They have compassion for other people besides beggars and cats. Their hearts suffer the pain of what is hidden to the naked eye. (...) 3) They respect other people's property, and therefore pay their debts. 4) They are not devious, and they fear lies as they fear fire. They don't tell lies even in the most trivial matters. To lie to someone is to insult them, and the liar is diminished in the eyes of the person he lies to. Civilized people don't put on airs; they behave in the street as they would at home, they don't show off to impress their juniors. (...) 5) They don't run themselves down in order to provoke the sympathy of others. They don't play on other people's heartstrings to be sighed over and cosseted ... that sort of thing is just cheap striving for effects, it's vulgar, old hat and false. (...) 6) They are not vain. They don't waste time with the fake jewellery of hobnobbing with celebrities, being permitted to shake the hand of a drunken [judicial orator], the exaggerated bonhomie of the first person they meet at the Salon, being the life and soul of the bar ... They regard prases like 'I am a representative of the Press!!' -- the sort of thing one only hears from [very minor journalists] -- as absurd. If they have done a brass farthing's work they don't pass it off as if it were 100 roubles' by swanking about with their portfolios, and they don't boast of being able to gain admission to places other people aren't allowed in (...) True talent always sits in the shade, mingles with the crowd, avoids the limelight ... As Krylov said, the empty barrel makes more noise than the full one. (...) 7) If they do possess talent, they value it ... They take pride in it ... they know they have a responsibility to exert a civilizing influence on [others] rather than aimlessly hanging out with them. And they are fastidious in their habits. (...) 8) They work at developing their aesthetic sensibility ... Civilized people don't simply obey their baser instincts ... they require mens sana in corpore sano. And so on. That's what civilized people are like ... Reading Pickwick and learning a speech from Faust by heart is not enough if your aim is to become a truly civilized person and not to sink below the level of your surroundings. [From a letter to Nikolay Chekhov, March 1886]

Stop measuring yourself against us. It’s not the right scale. You have your own gifts, your own talents. Show the world everything you’re capable of, Marguerite. You don’t even see how amazing you are.

When it comes to your career, you must always try and allow the positive aspects of your character to dictate what happens to you. Be led by your talent, not by your self-loathing; those other things you just have to manage.

Talent isn't enough. You need motivation-and persistence, too: what Steinbeck called a blend of faith and arrogance. When you're young, plain old poverty can be enough, along with an insatiable hunger for recognition. You have to have that feeling of "I'll show them." If you don't have it, don't become a writer

When I asked him the meaning of life, Dr. Webb got very quiet and then told me life has no one meaning, it only has whatever meaning each of us puts on our own life. I'll tell you now that I still don't know the meaning of mine. And Lucas Cader, with all his brains and talent, doesn't know the meaning of his, either. But I'll tell you the meaning of all this. The meaning of some bird showing up and some boy disappearing and you knowing all about it. The meaning of this was not to save you, but to warn you instead. To warn you of confusion and delusion and assumption. To warn you of psychics and zombies and ghosts of your lost brother. To warn you of Ada Taylor and her sympathy and mothers who wake you up with vacuums. To warn you of two-foot-tall birds that say they can help, but never do.

Sometimes the reason God doesn't show up to win your battles is because he already put inside of you the power to end it.

Back in the 1930s, Carl Jung, the eminent thinker and psychologist, put it this way: Criticism has 'the power to do good when there is something that must be destroyed, dissolved or reduced, but [it is] capable only of harm when there is something to be built.

When you win, you don't examine it very much, except to congratulate yourself. You easily, and wrongly, assume it has something to do with your rare qualities as a person. But winning only measures how hard you've worked and how physically talented you are; it doesn't particularly define you beyond those characteristics. Losing on the other hand, really does say something about who you are. Among other things it measures are: do you blame others, or do you own the loss? Do you analyze your failure, or just complain about bad luck? If you're willing to examine failure, and to look not just at your outward physical performance, but your internal workings, too, losing can be valuable. How you behave in those moments can perhaps be more self-defining than winning could ever be. Sometimes losing shows you for who you really are.

Ask God to use you. Ask Him to show you how you can be a blessing everywhere you go. Keep honoring Him so that others can see Him through you.

If your senses are numbed with delusion and denial, you will stop looking for these true strengths and wind up living a second-rate version of someone's life rather than a worldclass version of your own

When we studied them, excellent performers were rarely well rounded. On the contrary, they were sharp.

Studies show that even a brief connection with a role model can vastly increase unconscious motivation.

Yes, you’re afraid of me because I’m better than you are. And if you give one talented woman the power she deserves, another will follow. Then another. And together they’ll show that their way is better. Then your whole fake fucking world will come tumbling down.

Yeah, I get it; you're a vampire," she said. "Creepy. And okay, a little hot, I admit." "You don't mean that." "Come on. I still like you, you know, even if you... crave plasma." Michael blinked and looked at her as if he had never seen her before. "You what?" "Like. You." Eve enunciated slowly, as if Michael might not know the words. "Idiot. I always have. What, you didn't know?" Eve sounded cool and grown-up about it, but Claire saw the hectic color in her cheeks, under the makeup. "How clueless are you? Does it come with the fangs?" "I guess I... I just thought... Hell. I just didn't think... You're kind of intimidating, you know." "I'm intimidating? Me? I run like a rabbit from trouble, mostly," Eve said. "It's all show and makeup. You're the one who's intimidating. I mean, come on. All that talent, and you look... Well, you know how you look." " How do I look?" He sounded fascinated now, and he'd actually moved a little closer to Eve on the couch. She laughed. "Oh come on. You're a total model-babe." "You're kidding." "You don't think you are?" He shook his head. "Then you're kind of an idiot, Glass. Smart, but and idiot." Eve crossed her arms. “So? What exactly do you think about me, except that I’m intimidating?” “I think you’re…you’re…ah, interesting?” Michael was amazingly bad at this, Claire thought, but then he saved it by looking away and continuing. “I think you’re beautiful. And really, really strange.” Eve smiled and looked down, and that looked like a real blush, under the rice powder. “Thanks for that, “ she said, “I never thought you knew I existed, or if you did, that you thought I was anything but Shane’s bratty freak friend.” “Well, to be fair, you are Shane’s bratty freak friend.” “Hey!” “You can be bratty and beautiful,” Michael said. “I think it’s interesting.

Talent is everything. If you've got talent, nothing else matters. You can screw up your personal life something terrible. So what. If you've got talent, it's there in reserve. Anybody who has talent they know they have it and that's it. It's what makes you what you are. It tells you you're you. Talent is everything; sanity is nothing. I'm convinced of it. I think I had something once. I showed promise, didn't I? But I was too sane. I couldn't make the leap out of my own soul into the soul of the universe. That's the leap they all made. From Blake to Rimbaud. I don't write anything but checks. I read science fiction. I go on business trips to South Bend and Rochester. The one in Minnesota. Not Rochester, New York. Rochester, Minnesota. I couldn't make the leap.

But if you find yourself thinking in the future, if you find yourself actually anticipating the activity-'When can I do this again?'-it is a pretty good sign that you are enjoying it and that one of your talents is in play.

The only possible failure would be never managing to find the right role or the right partners to help you realize that strength.

The 'big five' factors of personality are neuroticism (which reflects emotional stability), extroversion (seeking the company of others), openness (interest in new experiences, ideas, and so forth), agreeableness (likability, harmoniousness), and conscientiousness (rule abidance, discipline, integrity).

Deep practice, however, doesn't obey the same math. Spending more time is effective—but only if you're still in the sweet spot at the edge of your capabilities, attentively building and honing circuits. What's more, there seems to be a universal limit for how much deep practice human beings can do in a day. Ericsson's research shows that most world-class experts—including pianists, chess players, novelists, and athletes—practice between three and five hours a day, no matter what skill they pursue.

Okay, God, I have these dreams and these desires and talents, and they seem to be leading me in a particular direction. So show me where they need to shift and change to be Your dreams and Your desires.

1. Each person's talents are enduring and unique. 2. Each person's greatest room for growth is in the areas of his or her greatest strength.

Knowledge consists of the facts and lessons learned. Skills are the steps of an activity. These three-talents, knowledge, and skills-combine to create your strengths.

From this point of view, to avoid your strengths and to focus on your weaknesses isn't a sign of diligent humility. It is almost irresponsible. By contrast the most responsible, the most challenging, and, in the sense of being true to yourself, the most honorable thing to do is face up to the strength potential inherent in your talents and then find ways to realize it.

In Martin Seligman's words, 'Psychology is half-baked, literally half-baked. We have baked the part about mental illness. We have baked the part about repair and damage. But the other side is unbaked. The side of strengths, the side of what we are good at, the side…of what makes life worth living.

Studies show that even a brief connection with a role model can vastly increase unconscious motivation. For example, being told that you share a birthday with a mathematician can improve the amount of effort you’re willing to put into difficult math tasks by 62 percent.

The boundaries of human experience are finite (if you haven't experienced emotions such as pain or fear or shame, you are either a sociopath or an alien), but within these boundaries there is significant range and diversity.

If there is any difference between you and me, it may simply be that I get up every day and have a chance to do what I love to do, every day.

The acid test of a strength? The ability is a strength only if you can fathom yourself doing it repeatedly, happily, and successfully.

Talent is any recurring pattern of thought, feeling, or behavior that can be productively applied.

Our definition of a weakness is anything that gets in the way of excellent performance.

A TV show comprises many departments—Costumes, Props, Talent, Graphics, Set Dressing, Transportation. Everyone in every department wants to show off their skills and contribute creatively to the show, which is a blessing. You’re grateful to work with people who are talented and enthusiastic about their jobs. You would think that as a producer, your job would be to churn up creativity, but mostly your job is to police enthusiasm. You may have an occasion where the script calls for a bran muffin on a white plate and the Props Department shows up with a bran cake in the shape of Santa Claus sitting on a silver platter that says “Welcome to Denmark.” “We just thought it would be funny.” And you have to find a polite way to explain that the character is Jewish, so her eating Santa’s face might have negative connotations, and the silver tray, while beautiful, is giving a weird glare on camera and maybe let’s go with the bran muffin on the white plate. And then sometimes Actors have what they call “ideas.” Usually it involves them talking more, or, in the case of more experienced actors, sitting more. When Actors have ideas it’s very important to get to the core reason behind their idea.

While your spontaneous reactions provide the clearest trace of your talents, here are three more clues to keep in mind: yearnings, rapid learning, and satisfactions. Yearnings reveal the presence of a talent, particularly when they are felt early in life.

All right,” said Susan. “I’m not stupid. You’re saying humans need…fantasies to make life bearable.” REALLY? AS IF IT WAS SOME KIND OF PINK PILL? NO. HUMANS NEED FANTASY TO BE HUMAN. TO BE THE PLACE WHERE THE FALLING ANGEL MEETS THE RISING APE. “Tooth fairies? Hogfathers? Little—” YES. AS PRACTICE. YOU HAVE TO START OUT LEARNING TO BELIEVE THE LITTLE LIES. “So we can believe the big ones?” YES. JUSTICE. MERCY. DUTY. THAT SORT OF THING. “They’re not the same at all!” YOU THINK SO? THEN TAKE THE UNIVERSE AND GRIND IT DOWN TO THE FINEST POWDER AND SIEVE IT THROUGH THE FINEST SIEVE AND THEN SHOW ME ONE ATOM OF JUSTICE, ONE MOLECULE OF MERCY. AND YET—Death waved a hand. AND YET YOU ACT AS IF THERE IS SOME IDEAL ORDER IN THE WORLD, AS IF THERE IS SOME…SOME RIGHTNESS IN THE UNIVERSE BY WHICH IT MAY BE JUDGED. “Yes, but people have got to believe that, or what’s the point—” MY POINT EXACTLY. She tried to assemble her thoughts. THERE IS A PLACE WHERE TWO GALAXIES HAVE BEEN COLLIDING FOR A MILLION YEARS, said Death, apropos of nothing. DON’T TRY TO TELL ME THAT’S RIGHT. “Yes, but people don’t think about that,” said Susan. “Somewhere there was a bed…” CORRECT. STARS EXPLODE, WORLDS COLLIDE, THERE’S HARDLY ANYWHERE IN THE UNIVERSE WHERE HUMANS CAN LIVE WITHOUT BEING FROZEN OR FRIED, AND YET YOU BELIEVE THAT A…A BED IS A NORMAL THING. IT IS THE MOST AMAZING TALENT. “Talent?” OH, YES. A VERY SPECIAL KIND OF STUPIDITY. YOU THINK THE WHOLE UNIVERSE IS INSIDE YOUR HEADS. “You make us sound mad,” said Susan. A nice warm bed… NO. YOU NEED TO BELIEVE IN THINGS THAT AREN’T TRUE. HOW ELSE CAN THEY BECOME? said Death

The point here is not that you should always forgo this kind of weakness fixing. The point is that you should see it for what it is: damage control, not development. And as we mentioned earlier, damage control can prevent failure, but it will never elevate you to excellence.

Do all the good you can, By all the means you can, In all the ways you can, In all the places you can, At all the times you can, To all the people you can, As long as ever you can. Our Father and our God, You have made each of us unique and special. Show me how You want me to use the special talents You have given me to glorify You, Lord. Help me to hear and march to the heavenly drumbeat of Your Holy Spirit through Christ Jesus my Lord. Amen.

You can make a successful run for political office in this country without an especially thick résumé, any exceptional talent for expressing yourself, a noteworthy education or, for that matter, a basic grasp of science. But you better have religion. You better be ready to profess your faith in and fealty to God — the Judeo-Christian one, of course. And you better be convincing. A dust-up last week in the 2014 race for a United States Senate seat from Arkansas provided a sad reminder of this, showing once again that our ballyhooed separation of church and state is less canyon than itty-bitty crack.

You might not get the apology you deserve. You might not get answers to explain the actions of others. You might not get truth that makes sense to you. You might not get people to understand what you went through because of them. You might not get communication. You might not get maturity. You might not get mercy or even common decency. You might not get respect or the chance to explain your side of the story. However, you do get to choose how people treat you. God loves you enough to bring people into your life who won't hurt you, abuse you, betray you, lie and gossip about you, psycho analyse you, break your heart or make you an option or choice. He will bring people into your life that will love you, respect you, fight for you, show gratitude for your love and want to be a part of your life mission. The best part of this is you don't have to convince them of your worth. They want to be there. They know your value. They know your struggles. They are in touch with their own faults and understand you struggle just like everyone else. They won't hold you to a greater standard then they do themselves. They care about you and don't want to see you cry, feel discouraged or give up on this life. When you know the power of who you are and what you have to accomplish you will scratch your head in disbelief that you allowed other people to dictate who you are based on little knowledge of what God knows about you and your life purpose. Letting go isn't about accepting defeat or acknowledging you were wrong. Sometimes letting go is realizing that God has something better in store for you.

But not unlike the gremlins in the film of the same name who were transformed into nasty little critters if they were splashed or if they were fed after midnight, irrelevant nontalents can mutate into real weaknesses under one condition: As soon as you find yourself in a role that requires you to play to one of your nontalents-or area of low skills or knowledge-a weakness is born.

Yes, you’re afraid of me because I’m better than you are. And if you give one talented woman the power she deserves, another will follow. Then another. And together they’ll show that their way is better. Then your whole fake fucking world will come tumbling down.

The definition of a strength that we will use throughout this book is quite specific: consistent near perfect performance in an activity.

Third, you will excel only by maximizing your strengths, never by fixing your weaknesses. This is not the same as saying 'ignore your weaknesses.

To develop a strength in any activity requires certain natural talents.

Talents are your naturally recurring patterns of thought, feeling, or behavior.

Skills are so enticingly helpful that they obscure their two flaws. The first flaw is that while skills will help you perform, they will not help you excel.

The second flaw is that some activities, almost by definition, defy being broken down into steps.

Rather, your smartness and your effectiveness depend on how well you capitalize on your strongest connections.

Well, more than likely you will never entirely dissolve either your fear of your own failure or your small pleasure in other people's.

We live with them every day, and they come so easily to us that they cease to be precious.

Positive psychology is a framework, or a paradigm, that encompasses an approach to psychology from the perspective of healthy, successful life functioning.

Such questions are labeled 'ipsative,' which means that if in reality you have both, the question makes it impossible for you to show up with both.

Satisfactions provide the last clue to talent. As we described in the previous chapter, your strongest synaptic connections are designed so that when you use them, it feels good. Thus, obviously, if it feels good when you perform an activity, chances are that you are using a talent.

If nature didn't whittle down your network to a smaller number of strongly forged connections, you would never become an adult. You would remain a permanent child, frozen in sensory overload.

I think there are writers who take a quieter approach to their work — one that is just about respectfully showing up for your vocation day after day, steadily doing your best, and letting go of the results. Not going to war against anyone else, or against their talents, or against themselves.

I’m a simple man, Janet. I say what I mean and have no talent for games. I want to show you how I feel about you so there’s no chance for misunderstanding. If you think I’m trying to romance you, you’re right. I am.

The bottom line on skills is this: A skill is designed to make the secrets of the best easily transferable. If you learn a skill, it will help you get a little better, but it will not cover for a lack of talent. Instead, as you build your strengths, skills will actually prove most valuable when they are combined with genuine talent.

Each of these strategies-get a little better at it, design a support system, use one of your strongest themes to overwhelm your weakness, find a partner, and just stop doing it-can help you as you strive to build your life around your strengths.

As the wit W. C. Fields advised: 'If at first you don't succeed, try again. Then quit. There is no point making a fool of yourself.' This advice is easy to give and difficult to put into practice, but as you build your strengths, sometimes making great progress, sometimes slipping back, take comfort from the fact that this is how a strong life is supposed to be lived.

In order for you to acquire luck you must be at the right place, in the right time and show the work of your hands, your labor, and your talent. Luck, according to the creator, is not a happenstance or the result of probabilities or numerical factors. I is a function of you creating your own land and being the ruler of your earthly possessions according to a greater purpose.

Rapid learning offers another trace of talent. Sometimes a talent doesn't signal itself through yearning. For a myriad of reasons, although the talent exists within you, you don't hear its call. Instead, comparatively late in life, something sparks the talent, and it is the speed at which you learn a new skill that provides the telltale clue to the talent's presence and power.

Thus, the lesson we should draw from these people is not that each person's talents are infinitely malleable or that they can be anything they want to be if they just apply themselves. Rather, the lesson is that talents, like intelligence, are value neutral. If you want to change your life so that others may benefit from your strengths, then change your values. Don't waste time trying to change your talents.

There is one sure way to identify your greatest potential for strength: Step back and watch yourself for a while. Try an activity and see how quickly you pick it up, how quickly you skip steps in the learning and add twists and kinks you haven't been taught yet. See whether you become absorbed in the activity to such an extent that you lose track of time. If none of these has happened after a couple of months, try another activity and watch-and another. Over time your dominant talents will reveal themselves, and you can start to refine them into a powerful strength.

I see all this talent, all this…” He shrugged. “This energy and brightness, and—” “Don’t say potential…” “Potential. Yes. Potential. And I cannot for the life of me see how you can be content to live this tiny life. This life that will take place almost entirely within a five-mile radius and contain nobody who will ever surprise you or push you or show you things that will leave your head spinning and unable to sleep at night.

History is a funny little creature. Do you remember visiting your old Aunt that autumn when the trees shone so very yellow, and how she owned a striped and unsocial cat, quite old and fat and wounded about the ears and whiskers, with a crooked, broken tail? That cat would not come to you no matter how you coaxed and called; it had its own business, thank you, and no time for you. But as the evening wore on, it would come and show some affection or favor to your Aunt, or your Father, or the old end-table with the stack of green coasters on it. You couldn’t predict who that cat might decide to love, or who it might decide to bite. You couldn’t tell what it thought or felt, or how old it might really be, or whether it would one day, miraculously, decide to let you put one hand, very briefly, on its dusty head. History is like that. Of course, unlike your Aunt’s cat, history is going on all around you, all the time, and is often quite lively. Sometimes it rests in a sunbeam for a peaceful century or two, but on the whole, history is always plotting, and it bites very hard. It stalks around the world, fickle and dissatisfied and often angry. It demands to be fed just a little earlier each day, until you find yourself carving meat from the bone as fast as you can, faster than you thought possible, just to satisfy it. Some people have a kind of marvelous talent for calming it and enticing it onto their laps. To some it will never even spare a glance.

As John Bruer describes in The Myth of the First Three Years, nature has developed three ways for you to learn as an adult: Continue to strengthen your existing synaptic connections (as happens when you perfect a talent with relevant skills and knowledge), keep losing more of your extraneous connections (as also happens when you focus on your talents and allow other connections to deteriorate), or develop a few more synaptic connections.

He's high," Kevin told Neil. "He tells me when he's sober, so I always know. How did you figure it out?" "They're twins, but they're not the same." Neil lifted one shoulder in a shrug. "One of them hates your obsession with Exy while the other couldn't care less." Kevin looked to Andrew, but Andrew only had eyes for Neil. Andrew took a second to process those words before he started laughing. "He's a comedian, too? An athlete and a comic and a student. How multitalented. What a grand addition to the Fox line. I can't wait to find out what else he can do. Perhaps we should throw a talent show and find out?

Dear Young Black Males, Don’t be afraid to shine! Dimming your light just to appeal to others is an insult to self. Be who YOU are. If you’re smart, don’t play dumb just to fit in. If you have a special talent, don’t be afraid to show it off. If you’re considered a nerd, OWN it! Intelligence is what many people wish they had. Stand tall with your head held high. Self-confidence is an attractive quality to have. People may talk about you, tease you, or even try to discourage you, but don’t you EVER quit or doubt yourself. Be brave! Be authentic! Be comfortable in your own skin! Your life has purpose and YOU matter.

Our research into human strengths does not support the extreme, and extremely misleading, assertion that 'you can play any role you set your mind to,' but it does lead us to this truth: Whatever you set your mind to, you will be most successful when you craft your role to play to your signature talents most of the time.

First, he became aware of it. Many of us don't seem able to take even this step. Second, and most significant, he chose not to focus on reinforcing its weaker threads. Instead, he did the exact opposite: He identified its strongest threads, wove in education and experience, and built them into the dominating strengths we see today.

You’re acting like a child!” was one brave reporter’s response when I denied his interview. Was I acting like child? No, I didn’t think I was. They didn’t understand any of this if they thought that. You know, sometimes I wanted to take their hands and place the truth in it. I wanted to give them everything I had. Sometimes I wanted to act like they treated me and show them how childish I could be. I wanted to give them the weight of everything I felt and let them be the goddamn judge of this shit. Sometimes I wanted to vent, scream, and give it all away. Here, you take my talent. Take my life you feel the need to criticize every moment of the day. Take everything I have and you deal with the shit. You see what you can make of it since you seem to think I’m doing so badly. I wanted them to feel the pressure, the inadequateness, the letdown, all of it.

If you believe in the lone genius myth, creativity is an antisocial act, performed by only a few great figures — mostly dead men with names like Mozart, Einstein, or Picasso. The rest of us are left to stand around and gawk in awe at their achievements. Under the "scenius" model, great ideas are often birthed by a group of creative individuals — artists, curators, thinkers, theorists, and other tastemakers — who make up an “ecology of talent.” Being a valuable part of a scenius is not necessarily about how smart or talented you are, but about what you have to contribute—the ideas you share, the quality of the connections you make, and the conversations you start. If we forget about genius and think more about how we can nurture and contribute to a scenius, we can adjust our own expectations and the expectations of the worlds we want to accept us. We can stop asking what others can do for us, and start asking what we can do for others. Think about what you want to learn, and make a commitment to learning it in front of others. Find a scenius, pay attention to what others are sharing, and then start taking note of what they’re not sharing. Be on the lookout for voids that you can fill with your own efforts, no matter how bad they are at first. . . . Share what you love, and the people who love the same things will find you.

He’s ruined that magic,” this aide said of Trump. “The disdain he shows for our country’s foundation and its principles. The disregard he has for right and wrong. Your fist clenches. Your teeth grate. The hair goes up on the back of your neck. I have to remind myself I said an oath to a document in the National Archives. I swore to the Constitution. I didn’t swear an oath to this jackass.” As this aide saw it, there has been a silent understanding within the national security community that diplomatic, military, and intelligence officers were doing the right thing, quietly risking their lives to protect the American way of life. This aide saw Trump’s move against Brennan as one of the first steps of undercutting America’s democratic system of government and the belief system upon which it was founded. According to the aide, it was the president declaring, “It’s not okay to disagree with me. I can remove you from this work and your career. “If he wanted to, how far could he push this?” this aide asked. “Look back. Did people in the 1930s in Germany know when the government started to turn on them? Most Americans are more worried about who is going to win on America’s Got Talent and what the traffic is going to be like on I-95. They aren’t watching this closely. “I like to believe [Trump] is too self-engrossed, too incompetent and disorganized to get us to 1930,” this aide added. “But he has moved the bar. And another president that comes after him can move it a little farther. The time is coming. Our nation will be tested. Every nation is. Rome fell, remember. He is opening up vulnerabilities for this to happen. That is my fear.” —

Sow the seeds of hard work and you will reap the fruits of success. Find something to do, do it with all your concentration. You will excel. Show the world you are not here to just pass through. Leave great footprints wherever you pass and be remembered for the change you initiated. Flow wherever you go. You can’t be limited. Dare to rise above all limitations and become better than you were. Strive to arrive at the top. Glow wherever you go and let the light of God reflect in the world around you. You carry the light of God and wherever you pass, darkness must flee. Grow your talents and skills through a consistent practice and progressive learning. Learn to relearn and unlearn. Raise the bar for yourself always. Blow out all negative attitudes and live true to your dreams. Talks less and act more. Be confident and see yourself wining even before the victory comes. Know God and let Him be known. You were saved by grace for greater works apportioned for you even before you were born. Share the good news. I am proud of you because greater things that eyes have not seen yet, the Lord will do through you.

In 90% of cases, you can start with one of the two most effective ways to open a speech: ask a question or start with a story. Our brain doesn’t remember what we hear. It remembers only what we “see” or imagine while we listen. You can remember stories. Everything else is quickly forgotten. Smell is the most powerful sense out of 4 to immerse audience members into a scene. Every sentence either helps to drive your point home, or it detracts from clarity. There is no middle point. If you don’t have a foundational phrase in your speech, it means that your message is not clear enough to you, and if it’s not clear to you, there is no way it will be clear to your audience. Share your failures first. Show your audience members that you are not any better, smarter or more talented than they are. You are not an actor, you are a speaker. The main skill of an actor is to play a role; to be someone else. Your main skill as a speaker is to be yourself. People will forgive you for anything except for being boring. Speaking without passion is boring. If you are not excited about what you are talking about, how can you expect your audience to be excited? Never hide behind a lectern or a table. Your audience needs to see 100% of your body. Speak slowly and people will consider you to be a thoughtful and clever person. Leaders don’t talk much, but each word holds a lot of meaning and value. You always speak to only one person. Have a conversation directly with one person, look him or her in the eye. After you have logically completed one idea, which usually is 10-20 seconds, scan the audience and then stop your eyes on another person. Repeat this process again. Cover the entire room with eye contact. When you scan the audience and pick people for eye contact, pick positive people more often. When you pause, your audience thinks about your message and reflects. Pausing builds an audiences’ confidence. If you don’t pause, your audience doesn’t have time to digest what you've told them and hence, they will not remember a word of what you've said. Pause before and after you make an important point and stand still. During this pause, people think about your words and your message sinks in. After you make an important point and stand still. During this pause, people think about your words and your message sinks in. Speakers use filler words when they don’t know what to say, but they feel uncomfortable with silence. Have you ever seen a speaker who went on stage with a piece of paper and notes? Have you ever been one of these speakers? When people see you with paper in your hands, they instantly think, “This speaker is not sincere. He has a script and will talk according to the script.” The best speeches are not written, they are rewritten. Bad speakers create a 10 minutes speech and deliver it in 7 minutes. Great speakers create a 5 minute speech and deliver it in 7 minutes. Explain your ideas in a simple manner, so that the average 12-year-old child can understand the concept. Good speakers and experts can always explain the most complex ideas with very simple words. Stories evoke emotions. Factual information conveys logic. Emotions are far more important in a speech than logic. If you're considering whether to use statistics or a story, use a story. PowerPoint is for pictures not for words. Use as few words on the slide as possible. Never learn your speech word for word. Just rehearse it enough times to internalize the flow. If you watch a video of your speech, you can triple the pace of your development as a speaker. Make videos a habit. Meaningless words and clichés neither convey value nor information. Avoid them. Never apologize on stage. If people need to put in a lot of effort to understand you they simply won’t listen. On the other hand if you use very simple language you will connect with the audience and your speech will be remembered.

Optimists Optimism is normal, but some fortunate people are more optimistic than the rest of us. If you are genetically endowed with an optimistic bias, you hardly need to be told that you are a lucky person—you already feel fortunate. An optimistic attitude is largely inherited, and it is part of a general disposition for well-being, which may also include a preference for seeing the bright side of everything. If you were allowed one wish for your child, seriously consider wishing him or her optimism. Optimists are normally cheerful and happy, and therefore popular; they are resilient in adapting to failures and hardships, their chances of clinical depression are reduced, their immune system is stronger, they take better care of their health, they feel healthier than others and are in fact likely to live longer. A study of people who exaggerate their expected life span beyond actuarial predictions showed that they work longer hours, are more optimistic about their future income, are more likely to remarry after divorce (the classic “triumph of hope over experience”), and are more prone to bet on individual stocks. Of course, the blessings of optimism are offered only to individuals who are only mildly biased and who are able to “accentuate the positive” without losing track of reality. Optimistic individuals play a disproportionate role in shaping our lives. Their decisions make a difference; they are the inventors, the entrepreneurs, the political and military leaders—not average people. They got to where they are by seeking challenges and taking risks. They are talented and they have been lucky, almost certainly luckier than they acknowledge. They are probably optimistic by temperament; a survey of founders of small businesses concluded that entrepreneurs are more sanguine than midlevel managers about life in general. Their experiences of success have confirmed their faith in their judgment and in their ability to control events. Their self-confidence is reinforced by the admiration of others. This reasoning leads to a hypothesis: the people who have the greatest influence on the lives of others are likely to be optimistic and overconfident, and to take more risks than they realize.

Ethan’s parents constantly told him how brainy he was. “You’re so smart! You can do anything, Ethan. We are so proud of you, they would say every time he sailed through a math test. Or a spelling test. Or any test. With the best of intentions, they consistently tethered Ethan’s accomplishment to some innate characteristic of his intellectual prowess. Researchers call this “appealing to fixed mindsets.” The parents had no idea that this form of praise was toxic. 　　Little Ethan quickly learned that any academic achievement that required no effort was the behavior that defined his gift. When he hit junior high school, he ran into subjects that did require effort. He could no longer sail through, and, for the first time, he started making mistakes. But he did not see these errors as opportunities for improvement. After all, he was smart because he could mysteriously grasp things quickly. And if he could no longer grasp things quickly, what did that imply? That he was no longer smart. Since he didn’t know the ingredients making him successful, he didn’t know what to do when he failed. You don’t have to hit that brick wall very often before you get discouraged, then depressed. Quite simply, Ethan quit trying. His grades collapsed. What happens when you say, ‘You’re so smart’ 　　Research shows that Ethan’s unfortunate story is typical of kids regularly praised for some fixed characteristic. If you praise your child this way, three things are statistically likely to happen: 　　First, your child will begin to perceive mistakes as failures. Because you told her that success was due to some static ability over which she had no control, she will start to think of failure (such as a bad grade) as a static thing, too—now perceived as a lack of ability. Successes are thought of as gifts rather than the governable product of effort. 　　Second, perhaps as a reaction to the first, she will become more concerned with looking smart than with actually learning something. (Though Ethan was intelligent, he was more preoccupied with breezing through and appearing smart to the people who mattered to him. He developed little regard for learning.) 　　Third, she will be less willing to confront the reasons behind any deficiencies, less willing to make an effort. Such kids have a difficult time admitting errors. There is simply too much at stake for failure. 　　  　　What to say instead: ‘You really worked hard’ 　　What should Ethan’s parents have done? Research shows a simple solution. Rather than praising him for being smart, they should have praised him for working hard. On the successful completion of a test, they should not have said,“I’m so proud of you. You’re so smart. They should have said, “I’m so proud of you. You must have really studied hard”. This appeals to controllable effort rather than to unchangeable talent. It’s called “growth mindset” praise.

Since each person's talents are enduring, you should spend a great deal of time and money selecting people properly in the first place. This will help mitigate the 'I don't think I have the right talent for the role' problem. Since each person's talents are unique, you should focus performance by legislating outcomes rather than forcing each person into a stylistic mold. This means a strong emphasis on careful measurement of the right outcomes, and less on policies, procedures, and competencies. This will address the 'in my role I don't have any room to express my talents' problem.

Will you not this day make it your prayer? "Lord, help me to glorify Thee; I am poor, help me to glorify Thee by contentment; I am sick, help me to give Thee honour by patience; I have talents, help me to extol Thee by spending them for Thee; I have time, Lord, help me to redeem it, that I may serve Thee; I have a heart to feel, Lord, let that heart feel no love but Thine, and glow with no flame but affection for Thee; I have a head to think, Lord, help me to think of Thee and for Thee; Thou hast put me in this world for something, Lord, show me what that is, and help me to work out my life-purpose.

Since the greatest room for each person's growth is in the areas of his greatest strength, you should focus your training time and money on educating him about his strengths and figuring out ways to build on these strengths rather than on remedially trying to plug his 'skill gaps.' You will find that this one shift in emphasis will pay huge dividends. In one fell swoop you will sidestep three potential pitfalls to building a strengths-based organization: the 'I don't have the skills and knowledge I need' problem, the 'I don't know what I'm best at' problem, and the 'my manager doesn't know what I'm best at' problem.

I don’t believe you live the good life by doing what you can do; you live it by doing what you want to do. I don’t even think your greatest talents necessarily show up in your skills. All of us are good at things we’re not madly in love with. And all of us have talents we’ve never used. Relying on your skills to guide you is simply unacceptable. That’s why I don’t intend to give you personality tests or skills assessments to find out what you should be doing. I know what you should be doing. You should be doing what you love. What you love is what you are gifted at. Only love will give you the drive to stick to something until you develop your gift.

including thousands of paintings in his unique, semi-cartoonish style, often densely packed with animals and figures—Elvis, George Washington, angels—and set fancifully in apocalyptic landscapes. In short order, he was appearing on Johnny Carson’s Tonight Show and creating album covers for R.E.M. and Talking Heads. Upon entry to the garden, I was greeted by a giant self-portrait of a smirking Finster in a burgundy suit, affixed to a cinderblock wall. At the bottom are the words “I began painting pictures in Jan-1976—without any training. This is my painting. A person don’t know what he can do unless he tryes. Trying things is the answer to find your talent.

Lastly, since the greatest room for each person's growth lies in his areas of greatest strength, you should devise ways to help each person grow his career without necessarily promoting him up the corporate ladder and out of his areas of strength. In this organization 'promotion' will mean finding ways to give prestige, respect, and financial reward to anyone who has achieved word-class performance in any role, no matter where that role is in the hierarchy. By doing so you will overcome the remaining two obstacles to building a strengths-based organization: the 'even though I'm now in the wrong role, it was the only way to grow my career' problem and the 'I'm in a pass-through role that no one respects' problem.

The cabby left, muttering under his nose. "What's he muttering about?" Mr. Goliadkin thought through his tears. "I hired him for the evening, I'm sort of...within my rights nows...so there! I hired him for the evening, and that's the end of the matter. Even if he just stands there, it's all the same. It's as I will. I'm free to go, and free not to go. And that I'm now standing behind the woodpile--that, too, is quite all right...and don't you dare say anything; I say, the gentleman wants to stand behind the woodpile, so he stands behind the woodpile...and it's no taint to anybody's honor--so there! So there, lady mine, if you'd like to know. Thus and so, I say, but in our age, lady mine, nobody lives in a hut. So there! In our industrial age, lady mine, you can't get anywhere without good behavior, of which you yourself serve as a pernicious example...You say one must serve as a chief clerk and live in a hut on the seashore. First of all, lady mine, there are no chief clerks on the seashore, and second, you and I can't possible get to be a chief clerk. For, to take an example, suppose I apply, I show up--thus and so, as a chief clerk, say, sort of...and protect me from my enemy...and they'll tell you, my lady, say, sort of...there are lots of chief clerks, and here you're not at some émigrée Falbala's, where you learned good behavior, of which you yourself serve as a pernicious example. Good behavior, my lady, means sitting at home, respecting your father, and not thinking of any little suitors before it's time. Little suitors, my lady, will be found in due time! So there! Of course, one must indisputably have certain talents, to wit: playing the piano on occasion, speaking French, some history, geography, catechism, and arithmetic--so there!--but not more. Also cooking; cooking should unfailingly be part of every well-behaved girl's knowledge!

Followers Everywhere To start with; Facebook : 10K followers !! Instagram : 710 followers !! Twitter : 20K followers !! Followers!! Followers!! And Followers!! Well, who are these followers? Just more than being a crowd of audience, who are they? Ever thought of? And for what purpose are they following you or someone else? Is it because you are a famous personality, a best friend, or you're someone who holds a high status in the society or just because you're simply rich enough to be followed ? Everyone live their life the way they want to. No one is bound to live under certain limitations or boundaries. Every individual have their own freedom in life. Each one of them is unique too. But what holds us different from others is the work we do for ourselves and for our society. Our behaviour, personality, nature, our attitude towards life and our talents hold us apart from others. Some people are really good and some are really worse than you ever thought of. What I'm trying to say is that some are 'legally' good and they may or may not hold a high position in the society and some are 'illegally' good and they may or may not hold a high position in the society. I just want to say that follow people for who they actually are, for the good work they do for themselves and for everyone. And respect them by being their true follower in a true sense. The person whom you follow doesn't need to be a rich or poor. A person should be rich by heart and poor by wealth! Even I'm not someone to be followed, yet I do have a few followers. It's not because I'm some great personality or a renowned writer, but might be because they like my work. And I feel happy for that. And I thank God for blessing me with this wonderful skill of writing. Even I follow many people including some really great personalities for their good work and for their kind way of serving the society and the poor. And I believe that, this is the true way to show respect for them.

When he was barely 14, he auditioned on one of the most prestigious reality shows in South Korea, known as Superstar K. A show designed to find raw talent in the Korean music industry. The show achieved just that with the discovery of Jungkook. Interestingly, Jungkook did not win the show; neither was he part of the individuals who were selected. But his difference was evident to most of the individuals in the room, and before the show was over, he had received more than seven offers from seven different entertainment companies. The decision he made appeared to be the best decision he made all his life. He chose Big Hit Entertainment and started a 36-month training program with them.  Years later, he was quoted to have said that his present bandmate, Rap Monster, in the label was what influenced his decision.

I love you, Kate,” he whispered, his lips brushing the words against her mouth. “I love you so much.” She nodded, unable to make a sound. “And right now I wish . . . I wish . . .” And then the strangest thing happened. Laughter bubbled up inside of him. He was overtaken by the pure joy of the moment, and it was all he could do not to pick her up and twirl her grandly through the air. “Anthony?” she asked, sounding equal parts confused and amused. “Do you know what else love means?” he murmured, planting his hands on either side of her body and letting his nose rest against hers. She shook her head. “I couldn’t possibly even hazard a guess.” “It means,” he grumbled, “that I’m finding this broken leg of yours a damned nuisance.” “Not half so much as I, my lord,” she said, casting a rueful glance at her splinted leg. Anthony frowned. “No vigorous exercise for two months, eh?” “At least.” He grinned, and in that moment he looked every inch the rake she’d once accused him of being. “Clearly,” he murmured, “I shall have to be very, very gentle.” “Tonight?” she croaked. He shook his head. “Even I haven’t the talent to express myself with that light a touch.” Kate giggled. She couldn’t help herself. She loved this man and he loved her and whether he knew it or not, they were going to grow very, very old together. It was enough to make a girl— even a girl with a broken leg— positively giddy. “Are you laughing at me?” he queried, one of his brows arching arrogantly as he slid his body into place next to her. “I wouldn’t dream of it.” “Good. Because I have some very important things to tell you.” “Really?” He nodded gravely. “I may not be able to show you how much I love you this eve, but I can tell you.” “I should never tire of hearing it,” she murmured. “Good. Because when I’m done telling you, I’m going to tell you how I’d like to show you.” “Anthony!” she squeaked. “I think I’d start with your earlobe,” he mused. “Yes, definitely the earlobe. I’d kiss it, and then nibble it, and then . . .” Kate gasped. And then she squirmed. And then she fell in love with him all over again.

I came to love the way Morrie lit up when I entered the room. He did this for many people, I know, but it was his special talent to make each visitor feel that the smile was unique. “Ahhhh, it’s my buddy,” he would say when he saw me, in that foggy, high-pitched voice. And it didn’t stop with the greeting. When Morrie was with you, he was really with you. He looked you straight in the eye, and he listened as if you were the only person in the world. How much better would people get along if their first encounter each day were like this—instead of a grumble from a waitress or a bus driver or a boss? “I believe in being fully present,” Morrie said. “That means you should be with the person you’re with. When I’m talking to you now, Mitch, I try to keep focused only on what is going on between us. I am not thinking about something we said last week. I am not thinking of what’s coming up this Friday. I am not thinking about doing another Koppel show, or about what medications I’m taking. “I am talking to you. I am thinking about you.” I remembered how he used to teach this idea in the Group Process class back at Brandeis. I had scoffed back then, thinking this was hardly a lesson plan for a university course. Learning to pay attention? How important could that be? I now know it is more important than almost everything they taught us in college.

Watch out, brother,' his professor had told him more than once, 'you have talent; it would be a sin to ruin it. But you're impatient. Some one thing entices you, some one thing takes your fancy––and you occupy yourself with it, and the rest can rot, you don't care about it, you don't even want to look at it. Watch out you don't turn into a fashionable painter. Even now your colors are beginning to cry a bit too loudly. Your drawing is imprecise, and sometimes quite weak, the line doesn't show; you go for fashionable lighting, which strikes the eye at once. Watch out or you'll fall into the English type. Beware. You already feel drawn to the world: every so often I see a showy scarf on your neck, a glossy hat ... It's enticing, you can start painting fashionable pictures, little portraits for money. But that doesn't develop talent, it ruins it. Be patient. Ponder over every work, drop showiness––let the others make money. You won't come out the loser.

If you're looking for an Inspiration, then I think Rahul Mahajan is a perfect example for all the fainthearted people out there who fear to show their talent. Many people around us assume themselves as "not so special" person and people will laugh at them if they perform in public. I've seen Rahul Mahajan in a reality show of dancing, which is no way related to him. He is been asked to dance various dance forms, but the fact is he doesn't have the body language to perform like a dancer. His dances make people laugh, and his mistakes in the performances are taken as humor. Rahul never thinks about the results or what the audiences are thinking and keep on performing. Not only that but he is a favorite contestant of all the judges and the audiences too. The power is his honesty, hardwork, innocence, ego-less and he enjoys every bit of his performance to the core. I think that’s the reason why he's successful and lives in the heart of the Indian Audiences. Hats off to your spirit Rahul Mahajan. :)

GET BEYOND THE ONE-MAN SHOW Great organizations are never one-man operations. There are 22 million licensed small businesses in America that have no employees. Forbes suggests 75 percent of all businesses operate with one person. And the average income of those companies is a sad $44,000. That’s not a business—that’s torture. That is a prison where you are both the warden and the prisoner. What makes a person start a business and then be the only person who works there? Are they committed to staying small? Or maybe an entrepreneur decides that because the talent pool is so poor, they can’t hire anyone who can do it as well as them, and they give up. My guess is the latter: Most people have just given up and said, “It’s easier if I just do it myself.” I know, because that’s what I did—and it was suicidal. Because my business was totally dependent on me and only me, I was barely able to survive, much less grow, for the first ten years. Instead I contracted another company to promote my seminars. When I hired just one person to assist me out of my home office, I thought I was so smart: Keep it small. Keep expenses low. Run a tight ship. Bigger isn’t always better. These were the things I told myself to justify not growing my business. I did this for years and even bragged about how well I was doing on my own. Then I started a second company with a partner, a consulting business that ran parallel to my seminar business. This consulting business quickly grew bigger than my first business because my partner hired people to work for us. But even then I resisted bringing other people into the company because I had this idea that I didn’t want the headaches and costs that come with managing people. My margins were monster when I had no employees, but I could never grow my revenue line without killing myself, and I have since learned that is where all my attention and effort should have gone. But with the efforts of one person and one contracted marketing company, I could expand only so much. I know that a lot of speakers and business gurus run their companies as one-man shows. Which means that while they are giving advice to others about how to grow a business, they may have never grown one themselves! Their one-man show is simply a guy or gal going out, collecting a fee, selling time and a few books. And when they are out speaking, the business terminates all activity. I started studying other people and companies that had made it big and discovered they all had lots of employees. The reality is you cannot have a great business if it’s just you. You need to add other people. If you don’t believe me, try to name one truly great business that is successful, ongoing, viable, and growing that doesn’t have many people making it happen. Good luck. Businesses are made of people, not just machines, automations, and technology. You need people around you to implement programs, to add passion to the technology, to serve customers, and ultimately to get you where you want to go. Consider the behemoth online company Amazon: It has more than 220,000 employees. Apple has more than 100,000; Microsoft has around the same number. Ernst & Young has more than 200,000 people. Apple calls the employees working in its stores “Geniuses.” Don’t you want to hire employees deserving of that title too? Think of how powerful they could make your business.

Your character and soul, intelligence and creativity, love and experiences, goodness and talents, your bright and lovely self are entwined with your body, and she has delivered the whole of you to this very day. What a partner! She has been a home for your smartest ideas, your triumphant spirit, your best jokes. You haven’t gotten anywhere you’ve ever gone without her. She has served you well. Your body walked with you all the way through childhood—climbed the trees and rode the bikes and danced the ballet steps and walked you into the first day of high school. How else would you have learned to love the smell of brownies, toasted bagels, onions and garlic sizzling in olive oil? Your body perfectly delivered the sounds of Stevie Wonder, Whitney Houston, and Bon Jovi right into your memories. She gave you your first kiss, which you felt on your lips and in your stomach, a coordinated body venture. She drove you to college and hiked the Grand Canyon. She might have carried your backpack through Europe and fed you croissants. She watched Steel Magnolias and knew right when to let the tears fall. Maybe your body walked you down the aisle and kissed your person and made promises and threw flowers. Your body carried you into your first big interview and nailed it—calmed you down, smiled charmingly, delivered the right words. Sex? That is some of your body’s best work. Your body might have incubated, nourished, and delivered a whole new human life, maybe even two or three. She is how you cherish the smell of those babies, the feel of their cheeks, the sound of them calling your name. How else are you going to taste deep-dish pizza and French onion soup? You have your body to thank for every good thing you have ever experienced. She has been so good to you. And to others. Your body delivered you to people who needed you the exact moment you showed up. She kissed away little tears and patched up skinned knees. She holds hands that need holding and hugs necks that need hugging. Your body nurtures minds and souls with her presence. With her lovely eyes, she looks deliberately at people who so deeply need to be seen. She nourishes folks with food, stirring and dicing and roasting and baking. Your body has sat quietly with sad, sick, and suffering friends. She has also wrapped gifts and sent cards and sung celebration songs to cheer people on. Her face has been a comfort. Her hands will be remembered fondly—how they looked, how they loved. Her specific smell will still be remembered in seventy years. Her voice is the sound of home. You may hate her, but no one else does.

After the plates are removed by the silent and swift waiting staff, General Çiller leans forward and says across the table to Güney, ‘What’s this I’m reading in Hürriyet about Strasbourg breaking up the nation?’ ‘It’s not breaking up the nation. It’s a French motion to implement European Regional Directive 8182 which calls for a Kurdish Regional Parliament.’ ‘And that’s not breaking up the nation?’ General Çiller throws up his hands in exasperation. He’s a big, square man, the model of the military, but he moves freely and lightly ‘The French prancing all over the legacy of Atatürk? What do you think, Mr Sarioğlu?’ The trap could not be any more obvious but Ayşe sees Adnan straighten his tie, the code for, Trust me, I know what I’m doing, ‘What I think about the legacy of Atatürk, General? Let it go. I don’t care. The age of Atatürk is over.’ Guests stiffen around the table, breath subtly indrawn; social gasps. This is heresy. People have been shot down in the streets of Istanbul for less. Adnan commands every eye. ‘Atatürk was father of the nation, unquestionably. No Atatürk, no Turkey. But, at some point every child has to leave his father. You have to stand on your own two feet and find out if you’re a man. We’re like kids that go on about how great their dads are; my dad’s the strongest, the best wrestler, the fastest driver, the biggest moustache. And when someone squares up to us, or calls us a name or even looks at us squinty, we run back shouting ‘I’ll get my dad, I’ll get my dad!’ At some point; we have to grow up. If you’ll pardon the expression, the balls have to drop. We talk the talk mighty fine: great nation, proud people, global union of the noble Turkic races, all that stuff. There’s no one like us for talking ourselves up. And then the EU says, All right, prove it. The door’s open, in you come; sit down, be one of us. Move out of the family home; move in with the other guys. Step out from the shadow of the Father of the Nation. ‘And do you know what the European Union shows us about ourselves? We’re all those things we say we are. They weren’t lies, they weren’t boasts. We’re good. We’re big. We’re a powerhouse. We’ve got an economy that goes all the way to the South China Sea. We’ve got energy and ideas and talent - look at the stuff that’s coming out of those tin-shed business parks in the nano sector and the synthetic biology start-ups. Turkish. All Turkish. That’s the legacy of Atatürk. It doesn’t matter if the Kurds have their own Parliament or the French make everyone stand in Taksim Square and apologize to the Armenians. We’re the legacy of Atatürk. Turkey is the people. Atatürk’s done his job. He can crumble into dust now. The kid’s come right. The kid’s come very right. That’s why I believe the EU’s the best thing that’s ever happened to us because it’s finally taught us how to be Turks.’ General Çiller beats a fist on the table, sending the cutlery leaping. ‘By God, by God; that’s a bold thing to say but you’re exactly right.

Arin had bathed. He was wearing house clothes, and when Kestrel saw him standing in the doorway his shoulders were relaxed. Without being invited, he strode into the room, pulled out the other chair at the small table where Kestrel waited, and sat. He arranged his arms in a position of negligent ease and leaned into the brocaded chair as if he owned it. He seemed, Kestrel thought, at home. But then, he had also seemed so in the forge. Kestrel looked away from him, stacking the Bite and Sting tiles on the table. It occurred to her that it was a talent for Arin to be comfortable in such different environments. She wondered how she would fare in his world. He said, “This is not a sitting room.” “Oh?” Kestrel mixed the tiles. “And here I thought we were sitting.” His mouth curved slightly. “This is a writing room. Or, rather”--he pulled his six tiles--“it was.” Kestrel drew her Bite and Sting hand. She decided to show no sign of curiosity. She would not allow herself to be distracted. She arranged her tiles facedown. “Wait,” he said. “What are the stakes?” She had given this careful consideration. She took a small wooden box from her skirt pocket and set it on the table. Arin picked up the box and shook it, listening to the thin, sliding rattle of its contents. “Matches.” He tossed the box back onto the table. “Hardly high stakes.” But what were appropriate stakes for a slave who had nothing to gamble? This question had troubled Kestrel ever since she had proposed the game. She shrugged and said, “Perhaps I am afraid to lose.” She split the matches between them. “Hmm,” he said, and they each put in their ante. Arin positioned his tiles so that he could see their engravings without revealing them to Kestrel. His eyes flicked to them briefly, then lifted to examine the luxury of his surroundings. This annoyed her--both because she could glean nothing from his expression and because he was acting the gentleman by averting his gaze, offering her a moment to study her tiles without fear of giving away something to him. As if she needed such an advantage. “How do you know?” she said. “How do I know what?” “That this was a writing room. I have never heard of such a thing.” She began to position her own tiles. It was only when she saw their designs that she wondered whether Arin had really been polite in looking away, or if he had been deliberately provoking her. She concentrated on her draw, relieved to see that she had a good set. A tiger (the highest tile); a wolf, a mouse, a fox (not a bad trio, except the mouse); and a pair of scorpions. She liked the Sting tiles. They were often underestimated. Kestrel realized that Arin had been waiting to answer her question. He was watching her. “I know,” he said, “because of this room’s position in your suite, the cream color of the walls, and the paintings of swans. This was where a Herrani lady would pen her letters or write journal entries. It’s a private room. I shouldn’t be allowed inside.” “Well,” said Kestrel, uncomfortable, “it is no longer what it was.

With a scowl, he turned from the window, but it was too late. The sight of Lady Celia crossing the courtyard dressed in some rich fabric had already stirred his blood. She never wore such fetching clothes; generally her lithe figure was shrouded in smocks to protect her workaday gowns from powder smudges while she practiced her target shooting. But this morning, in that lemon-colored gown, with her hair finely arranged and a jeweled bracelet on her delicate wrist, she was summer on a dreary winter day, sunshine in the bleak of night, music in the still silence of a deserted concert hall. And he was a fool. "I can see how you might find her maddening," Masters said in a low voice. Jackson stiffened. "Your wife?" he said, deliberately being obtuse. "Lady Celia." Hell and blazes. He'd obviously let his feelings show. He'd spent his childhood learning to keep them hidden so the other children wouldn't see how their epithets wounded him, and he'd refined that talent as an investigator who knew the value of an unemotional demeanor. He drew on that talent as he faced the barrister. "Anyone would find her maddening. She's reckless and spoiled and liable to give her husband grief at every turn." When she wasn't tempting him to madness. Masters raised an eyebrow. "Yet you often watch her. Have you any interest there?" Jackson forced a shrug. "Certainly not. You'll have to find another way to inherit your new bride's fortune." He'd hoped to prick Masters's pride and thus change the subject, but Masters laughed. "You, marry my sister-in-law? That, I'd like to see. Aside from the fact that her grandmother would never approve, Lady Celia hates you." She did indeed. The chit had taken an instant dislike to him when he'd interfered in an impromptu shooting match she'd been participating in with her brother and his friends at a public park. That should have set him on his guard right then. A pity it hadn't. Because even if she didn't despise him and weren't miles above him in rank, she'd never make him a good wife. She was young and indulged, not the sort of female to make do on a Bow Street Runner's salary. But she'll be an heiress once she marries. He gritted his teeth. That only made matters worse. She would assume he was marrying her for her inheritance. So would everyone else. And his pride chafed at that. Dirty bastard. Son of shame. Whoreson. Love-brat. He'd been called them all as a boy. Later, as he'd moved up at Bow Street, those who resented his rapid advancement had called him a baseborn upstart. He wasn't about to add money-grubbing fortune hunter to the list. "Besides," Masters went on, "you may not realize this, since you haven't been around much these past few weeks, but Minerva claims that Celia has her eye on three very eligible potential suitors." Jackson's startled gaze shot to him. Suitors? The word who was on his lips when the door opened and Stoneville entered. The rest of the family followed, leaving Jackson to force a smile and exchange pleasantries as they settled into seats about the table, but his mind kept running over Masters's words. Lady Celia had suitors. Eligible ones. Good-that was good. He needn't worry about himself around her anymore. She was now out of his reach, thank God. Not that she was ever in his reach, but- "Have you got any news?" Stoneville asked. Jackson started. "Yes." He took a steadying breath and forced his mine to the matter at hand.

It's hard to form a lasting connection when your permanent address is an eight-inch mailbox in the UPS store. Still,as I inch my way closer, I can't help the way my breath hitches, the way my insides thrum and swirl. And when he turns,flashing me that slow, languorous smile that's about to make him world famous,his eyes meeting mine when he says, "Hey,Daire-Happy Sweet Sixteen," I can't help but think of the millions of girls who would do just about anything to stand in my pointy blue babouches. I return the smile, flick a little wave of my hand, then bury it in the side pocket of the olive-green army jacket I always wear. Pretending not to notice the way his gaze roams over me, straying from my waist-length brown hair peeking out from my scarf, to the tie-dyed tank top that clings under my jacket,to the skinny dark denim jeans,all the way down to the brand-new slippers I wear on my feet. "Nice." He places his foot beside mine, providing me with a view of the his-and-hers version of the very same shoe. Laughing when he adds, "Maybe we can start a trend when we head back to the States.What do you think?" We. There is no we. I know it.He knows it.And it bugs me that he tries to pretend otherwise. The cameras stopped rolling hours ago, and yet here he is,still playing a role. Acting as though our brief, on-location hookup means something more. Acting like we won't really end long before our passports are stamped RETURN. And that's all it takes for those annoyingly soft girly feelings to vanish as quickly as a flame in the rain. Allowing the Daire I know,the Daire I've honed myself to be, to stand in her palce. "Doubtful." I smirk,kicking his shoe with mine.A little harder then necessary, but then again,he deserves it for thinking I'm lame enough to fall for his act. "So,what do you say-food? I'm dying for one of those beef brochettes,maybe even a sausage one too.Oh-and some fries would be good!" I make for the food stalls,but Vane has another idea. His hand reaches for mine,fingers entwining until they're laced nice and tight. "In a minute," he says,pulling me so close my hip bumps against his. "I thought we might do something special-in honor of your birthday and all.What do you think about matching tattoos?" I gape.Surely he's joking. "Yeah,you know,mehndi. Nothing permanent.Still,I thought it could be kinda cool." He arcs his left brow in his trademark Vane Wick wau,and I have to fight not to frown in return. Nothing permanent. That's my theme song-my mission statement,if you will. Still,mehndi's not quite the same as a press-on. It has its own life span. One that will linger long after Vane's studio-financed, private jet lifts him high into the sky and right out of my life. Though I don't mention any of that, instead I just say, "You know the director will kill you if you show up on set tomorrow covered in henna." Vane shrugs. Shrugs in a way I've seen too many times, on too many young actors before him.He's in full-on star-power mode.Think he's indispensable. That he's the only seventeen-year-old guy with a hint of talent,golden skin, wavy blond hair, and piercing blue eyes that can light up a screen and make the girls (and most of their moms) swoon. It's a dangerous way to see yourself-especially when you make your living in Hollywood. It's the kind of thinking that leads straight to multiple rehab stints, trashy reality TV shows, desperate ghostwritten memoirs, and low-budget movies that go straight to DVD.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.