Slide Presentation Quotes

I have a foreboding of an America in my children's or grandchildren's time -- when the United States is a service and information economy; when nearly all the manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what's true, we slide, almost without noticing, back into superstition and darkness... The dumbing down of American is most evident in the slow decay of substantive content in the enormously influential media, the 30 second sound bites (now down to 10 seconds or less), lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance

At that moment of realization (that union with God is always present), that's when God let me go, let me slide through His fingers with this last compassionate, unspoken message: You may return here once you have fully come to understand that you are always here.

Life is a struggle and the potential for failure is ever present, but those who live in fear of failure, or hardship, or embarrassment will never achieve their potential. Without pushing your limits, without occasionally sliding down the rope headfirst, without daring greatly, you will never know what is truly possible in your life.

She is my past, my present, my future. So when I open the door and slide into the driver’s seat, I’m not surprised that it feels like I’m returning home.

What I really fear is time. That's the devil: whipping us on when we'd rather loll, so the present sprints by, impossible to grasp, and all is suddenly past, a past that won't hold still, that slides into these inauthentic tales. My past- it doesn't feel real in the slightest. The person who inhabited it is not me. It's as if the present me is constantly dissolving. There's that line from Heraclitus: 'No man steps in the same river twice, for it is not the same river and he is not the same man.' That's quite right. We enjoy this illusion of continuity, and we call it memory. Which explains, perhaps, why our worst fear isn't the end of life but the end of memories.

I have a foreboding of America in my children’s or grandchildren’s time–when the United States is a service and information economy; when nearly all of the manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; with our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide almost without noticing, back into superstition and darkness. And when the dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30-second sound bites now down to 10 seconds or less, lowest-common-denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance.

Paul, careening down the slide with his arms out flung, and Phoebe, present somehow through her absence.

I slipped from present to past, sliding down the snake heads of memory into what was and what would never be again.

In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can’t pick up a page. All the words slide off.

Packing a bag doesn't make you aware of changes, rather it compels you to postpone the past, and the present is taken up with concerns about the immediate. Time slides over the travelers' skin.

In eternity there is indeed something true and sublime. But all these times and places and occasions are now and here. God himself culminates in the present moment and will never be more divine in the lapse of the ages. Time is but a stream I go a-fishing in. I drink at it, but when I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away but eternity remains.

Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. Time present and time past Are both perhaps present in time future And time future contained in time past. (I) What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. (I) Go, go, go, said the bird: human kind Cannot bear very much reality. What might have been and what has been Point to one end, which is always present. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. (I) At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is... At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where And I cannot say, how long, for that is to place it in time. (II) All is always now. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. (II) Words move, music moves Only in time; but that which is only living Can only die. Words, after speech, reach Into the silence. (V) Or say that the end precedes the beginning, And the end and the beginning were always there Before the beginning and after the end. And all is always now. Words strain, Crack and sometimes break, under the burden, Under the tension, slip, slide, perish, Will not stay still. (V) Desire itself is movement Not in itself desirable; Love is itself unmoving, Only the cause and end of movement, Timeless, and undesiring Except in the aspect of time Caught in the form of limitation Between un-being and being. (V)

In Donald Trump, we have a frightening Venn diagram consisting of three circles: the first is extreme present hedonism; the second, narcissism; and the third, bullying behavior. These three circles overlap in the middle to create an impulsive, immature, incompetent person who, when in the position of ultimate power, easily slides into the role of tyrant, complete with family members sitting at his proverbial “ruling table.” Like a fledgling dictator, he plants psychological seeds of treachery in sections of our population that reinforce already negative attitudes.

My mother had not let anything go. Inside that self we knew, which might at times appear blurred a bit, or sidetracked, she kept her younger selves strenuous and hopeful; scenes from the past were liable to pop up any time, like lantern slides, against the cluttered fabric of the present.

PLEASE DON’T DO IT, NOAH! PLEASE!” “WHY NOT?!” “BECAUSE YOU’RE MINE!” I screamed at him through my sobs. … “Then why don’t you fucking take me and stop this bullshit you keep putting us through? You’re going to tell me you’re okay with my hands running up and down her body? Touching her ass and her tits. You’re okay with my tongue licking every inch of her? You’re okay knowing that while you’re over in your bed, I’ll be over here sliding into her, when we both know it should be you?

Walking along past the store windows, into which she peers with her usual eagerness, her usual sense that maybe, today, she will discover behind them something that will truly be worth seeing, she feels as if her feet are not on cement at all but on ice. The blade of the skate floats, she knows, on a thin film of water, which it melts by pressure and which freezes behind it. This is the freedom of the present tense, this sliding edge.

He listened to the shhk of metal sliding home, then turned to find Lila waiting, her back purposely to the tavern, as if her present were already her past.

The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river. Then one sees through the surface to the depths. In those moments I find one of my greatest satisfactions, not that I am thinking of the past; but that it is then that I am living most fully in the present. For the present when backed by the past is a thousand times deeper...

At this moment” is a rare thing because only sometimes do I step with both feet on the land of the present; usually one foot slides toward the past, the other slides toward the future. And I end up with nothing.

If you are in the garden, I will dress myself in leaves. If you are in the sea I will slide into that smooth blue nest, I will talk fish, I will adore salt. But if you are sad, I will not dress myself in desolation. I will present myself with all the laughters I can muster. And if you are angry I will come, calm and steady, with some small and easy story.

If you and your slides are saying the same thing, one of you is not needed.

If this constant sliding and hiding of meaning were true of conscious life, then we would of course never be able to speak coherently at all. If the whole of language were present to me when I spoke, then I would not be able to articulate anything at all. The ego, or consciousness, can therefore only work by repressing this turbulent activity, provisionally nailing down words on to meanings. Every now and then a word from the unconscious which I do not want insinuates itself into my discourse, and this is the famous Freudian slip of the tongue or parapraxis. But for Lacan all our discourse is in a sense a slip of the tongue: if the process of language is as slippery and ambiguous as he suggests, we can never mean precisely what we say and never say precisely what we mean. Meaning is always in some sense an approximation, a near-miss, a part-failure, mixing non-sense and non-communication into sense and dialogue.

There is a moment of surface tension when a knife blade presents its demand and the flesh honors it. An instant of pressure before the puncture, the rip before the slide, a small eternity easy to miss but impossible to ignore if you’ve felt it before. I lived in that moment a great while for the small sliver of time it was there.

there was no future: there was only a continued slide into still more terrifying versions of the present.

We don’t begin every new sentence in a conversation by restating our names, so why would you bombard people with your company logo on every slide?

three days after a presentation, most people only remember approximately 10% of what they heard. However, if you add a picture, recall shoots up to 65%.

usually more time is spent in making good-looking presentation slides than in improving the quality of the software.

The one thing that all successful people have in common is persistence,

Gussying up slides that have meaningless content is like putting lipstick in a pig.

I cleared my throat and began my presentation. As I moved through the different aspects of the proposal, he stayed silent, staring directly at his copy. Why was he so calm? His temper tantrums I could handle. But the eerie silence? It was unnerving. I was leaning over the table, gesturing toward a set of graphs, when it happened. "Their timeline for the first milestone is a little ambi-" I stopped midsentence, my breath caught in my throat. His hand pressed gently into my lower back before sliding down, settling on the curve of my ass. In the nine months I had worked for him, he had never intentionally touched me. This was most definitely intentional.

And then, you’ve got to sit down and write what I call the “Voice Over” for each slide. You’ve got to decide exactly what you will be saying as your audience is seeing the slide on the screen.

Anyway, I'm afraid to ask about Reed, where he is, because I'm afraid I can't handle the answer. The way people come and go in your life, where they're present and alive one minute, and missing or dead the next, is an idea that's too big for me to grasp. Life just seems way too fragile all of a sudden, and everybody seems to take it so lightly, as if they think we're all made like army tanks, big and strong and able to roll over anything in our way. And it's not just our bodies that are fragile; our minds are even more so. I don't know what fine membrane separates sanity from insanity, but after watching my dad slip-sliding around on the border between the two all my life, I know how easy it is to cross, and this scares me. This scares me to death. I've just been wondering, what if I had had the switchblade in my hand? What if Reed had dared me and I was the one with the switchblade? Maybe I would have used it. Then I'd be the one missing. It could have been me. I could have been Reed. Reed is me and I am Reed is Dad is Reed is me.

I hate the way people use slide presentations instead of thinking,” Jobs later recalled. “People would confront a problem by creating a presentation. I wanted them to engage, to hash things out at the table, rather than show a bunch of slides. People who know what they’re talking about don’t need PowerPoint.

Throughout my career, I always had great respect for the British Special Air Service, the famed SAS. The SAS motto was “Who Dares Wins.” The motto was so widely admired that even moments before the bin Laden raid, my Command Sergeant Major, Chris Faris, quoted it to the SEALs preparing for the mission. To me the motto was more than about how the British special forces operated as a unit; it was about how each of us should approach our lives. Life is a struggle and the potential for failure is ever present, but those who live in fear of failure, or hardship, or embarrassment will never achieve their potential. Without pushing your limits, without occasionally sliding down the rope headfirst, without daring greatly, you will never know what is truly possible in your life.

What’s the first thing you should do when creating a PowerPoint presentation? If you’re like many people you’ll say, “Open PowerPoint.” Wrong answer. You should plan the story first. Just as a movie director storyboards the scenes before he begins shooting, you should create the story before you open the tool. You’ll have plenty of time to design pretty slides once the story is complete, but if the story is boring, you’ve lost your audience before you’ve spoken a word.

The first time I took Valium was the first time that I experienced being unbothered by my own body. The thing is, until the calm of that little pill spread its lovely little tentacles all through me, I had absolutely no idea how uneasy in my own skin I'd always felt. I am not just talking about pain, either. It's more of an extreme and ever-present awareness of my body, as if I don't quite fit myself properly, as if my flesh is a pair of underpants that is forever sliding up the butt crack of my soul.

Or so the slide deck said.

Slide (media) bukan alat bantu presentasi, slide melengkapi presentasi.

The three-second rule states that your audience should understand your slide within three seconds of seeing it.

Your slides should be a billboard not a document!

Kicking off the comfortable slides, she ran from him in bare feet, her arms wide like wings, ropes of hair spilling down her back wildly like a glossy cape. His heart had wings of its own, as if he were a young man again with no weights on his heart, but with the wisdom of his present age to know what a tremendous gift this moment was. He caught up with her, seized her hand. They kept running, both running from shadows but running together, throwing off a light that he reflected might keep those shadows cowering in the past where they belonged.

Her actions were instinctive—her hands reaching up to run feverishly over his stiffly held shoulders, then up his corded neck towards his suddenly taut face muscles. His mouth gasped open when she began to trace his lips boldly with her fingers. She didn’t hesitate, daringly inserting them into his mouth, sliding them back and forth along his wet tongue in an echo of what his body was doing inside hers. ‘Ethan,’ she moaned in her mad passion for him. ‘Oh, Ethan…’ He froze for a second, then shuddered violently, a raw, animal sound punched from his lungs.

We work in a first-draft culture. Type an e-mail. Send. Write a blog entry. Post. Whip up some slides. Speak. But it’s in crafting and recrafting—in iteration and rehearsal—that excellence emerges.

We live in liminal time, each moment sliding into the next, the future into the present, the present into the past. We believe all things are possible, and that there are always more stories to be written.

In a series of experiments, safety officials ran regular people through mock evacuations from planes. The trials weren't nearly as stressful as real evacuations, of course, but it didn't matter. People, especially women, hesitated for a surprisingly long time before jumping onto the slide. That pause slowed the evacuation for everyone. But there was a way to get people to move faster. If a flight attendant stood at the exit and screamed at people to jump, the pause all but disappeared, the researchers found. In fact, if flight attendants did not aggressively direct the evacuation, they might as well have not been there at all. A study by the Cranfield University Aviation Safety Centre found that people moved just as slowly for polite and calm flight attendants as they did when there were no flight attendants present.

People would confront a problem by creating a presentation. I wanted them to engage, to hash things out at the table, rather than show a bunch of slides. People who know what they’re talking about don’t need PowerPoint.

Finding a taxi, she felt like a child pressing her nose to the window of a candy store as she watched the changing vista pass by while the twilight descended and the capital became bathed in a translucent misty lavender glow. Entering the city from that airport was truly unique. Charles de Gaulle, built nineteen miles north of the bustling metropolis, ensured that the final point of destination was veiled from the eyes of the traveller as they descended. No doubt, the officials scrupulously planned the airport’s location to prevent the incessant air traffic and roaring engines from visibly or audibly polluting the ambience of their beloved capital, and apparently, they succeeded. If one flew over during the summer months, the visitor would be visibly presented with beautifully managed quilt-like fields of alternating gold and green appearing as though they were tilled and clipped with the mathematical precision of a slide rule. The countryside was dotted with quaint villages and towns that were obviously under meticulous planning control. When the aircraft began to descend, this prevailing sense of exactitude and order made the visitor long for an aerial view of the capital city and its famous wonders, hoping they could see as many landmarks as they could before they touched ground, as was the usual case with other major international airports, but from this point of entry, one was denied a glimpse of the city below. Green fields, villages, more fields, the ground grew closer and closer, a runway appeared, a slight bump or two was felt as the craft landed, and they were surrounded by the steel and glass buildings of the airport. Slightly disappointed with this mysterious game of hide-and-seek, the voyager must continue on and collect their baggage, consoled by the reflection that they will see the metropolis as they make their way into town. For those travelling by road, the concrete motorway with its blue road signs, the underpasses and the typical traffic-logged hubbub of industrial areas were the first landmarks to greet the eye, without a doubt, it was a disheartening first impression. Then, the real introduction began. Quietly, and almost imperceptibly, the modern confusion of steel and asphalt was effaced little by little as the exquisite timelessness of Parisian heritage architecture was gradually unveiled. Popping up like mushrooms were cream sandstone edifices filigreed with curled, swirling carvings, gently sloping mansard roofs, elegant ironwork lanterns and wood doors that charmed the eye, until finally, the traveller was completely submerged in the glory of the Second Empire ala Baron Haussmann’s master plan of city design, the iconic grand mansions, tree-lined boulevards and avenues, the quaint gardens, the majestic churches with their towers and spires, the shops and cafés with their colourful awnings, all crowded and nestled together like jewels encrusted on a gold setting.

Do you ever feel like this? You're moving through the world, encountering people left and right but there's something not quite present - like you KNOW there's more to them, but it's like they're sleeping. Or closed. And so, somehow, you have to close a little, too. Then you meet someone who side-slides into the room of life and screams, "I'm alive! I'm present! Here I am!" And you think, "There you are! I KNEW you were alive. I've been looking everywhere for you!" And you can tell they're awake. And even if you ended up hating them later, you would love them because they weren't sleeping, and with them you didn't have to sleep, either. I'm pretty sure that's what makes real friends happen.

Steve paid attention to every nuance of the slides, even details that, as far as I could tell, were invisible to the naked eye, like font kerning—which is adjusting the space between letters—and font smoothing to make sure the curves on each font were perfect. He hired a presentation professional, Wayne Goodrich, to help finalize these details and to make sure that at every single stop on the road show, all the pieces were in place to show the presentation and video perfectly.

The present phase of total occupation of social life by the accumulated results of the economy leads to a generalized sliding of having into appearing, from which all actual “having” must draw its immediate prestige and its ultimate function.

Your competition's sales slide presentation is equally pathetic. Here is the secret solution: Convert the time you're currently wasting watching television re-runs in the evening and develop your own PowerPoint presentation that is 100% in terms of the customer's needs and desires, one that engages the prospective customer by asking questions and promoting dialogue, one that uses a little humor to keep the sales presentation alive, and one that supports every fact and claim with testimonials.

It may sound as though she wants a simple PowerPoint presentation about the business, but if she’s hoping to persuade a client of something, you’ll want your slides to help do that. Be clear, too, about deadlines and who needs to be looped in on the project.

friendship nostalgia i miss the days when my friends knew every mundane detail about my life and i knew every ordinary detail about theirs adulthood has starved me of that consistency​ ​that us those walks around the block those long conversations when we were too lost in the moment to care what time it was when we won-and celebrated when we failed and celebrated even harder when we were just kids now we have our very important jobs that fill up our very busy schedules we have to compare calendars just to plan coffee dates that one of us will eventually cancel because adulthood is being too exhausted to leave our apartments most days i miss belonging to a group of people bigger than myself it was that belonging that made life easier to live how come no one warned us about how we'd graduate and grow apart after everything we'd been through how come no one said one of life's biggest challenges would be trying to stay connected to the people that make us feel alive no one talks about the hole a friend can leave inside you when they go off to make their dreams come true in college we used to stay up till 4 in the morning dreaming of what we'd do the moment we started earning real paychecks now we finally have the money to cross everything off our bucket lists but those lists are collecting dust in some lost corridor of our minds sometimes when i get lonely ​i​ still search for them i'd give anything to go back and do the foolish things we used to do i feel the most present in your presence when we're laughing so hard the past slides off our shoulders and worries of the future slip away the truth is​ ​i couldn't survive without my friends they know exactly what i need before i even know that i need the way we hold each other is just different so forget grabbing coffee i don't want to have another dinner where we sit across from each other at a table reminiscing about old times when we have so much time left to make new memories with how about you go pack your bags and i'll pack mine you take a week off work i'll grab my keys and let's go for ride we've got years of catching up to do

If you are conducting a one-hour meeting at your company, you have effectively stolen one hour from every person in the room. If there are twenty people in the room, your presentation is now the equivalent of a twenty-hour investment. It is therefore your responsibility to ensure that you do not waste the hour by reading from PowerPoint slides, providing information that could have been delivered via email, lecturing, pontificating, pandering, or otherwise boring your audience. You must entertain, engage, and inform. Every single time.

And how easy it was to leave this life, after all - this life that could feel so present and permanent that departing from it must seem to require a tear into a different dimension. There the bunch of them were, young hopefuls, decorating their annually purged dorm rooms with postcards and prints and favorite photographs of friends, filling them with hot pots and dried flowers, throw rugs and stereos. Houseplants, a lamp, maybe some furniture brought up by encouraging parents. They nested there like miniature grownups. As if this provisional student life - with its brushfire friendships and drink-addled intimacies, its gorging on knowledge and blind sexual indulgences - could possibly last. As if it were a home, of any kind at all: someplace to gather one's sense of self. Flannery had never felt for a minute that these months of shared living took place on anything other than quicksand, and it had given this whole year (these scant seven or eight months, into which an aging decade or so had been condensed) a sliding, wavery feel. She came from earthquake country and knew the dangers of building on landfill. That was, it seemed to Flannery, the best description of this willed group project of freshman year: construction on landfill. A collective confusion of impressions and tendencies, mostly castoffs with a few keepers. What was there to count on in any of it? What structure would remain, founded on that?

my own primary curiosity was still technical in nature. It’s all well and good to read a document or to click through the slides of a PowerPoint presentation to find out what a program is intended to do, but the better you can understand a program’s mechanics, the better you can understand its potential for abuse.

The best text slides convey their message as starkly and simply as possible. They do not waste words (or slides) on transitional or introductory points, which can and should be stated orally. This means of course that the slides by themselves will not be intelligible as a handout to someone who has not attended the presentation.

Matt lead those kids through a whole cycle of emotions, from fear to anger, from anger to hate, from hate to hope. It was somewhat sanitized, somewhat canned and rehearsed, but it was marketing genius. I knew how to kill people. Matt knew how to convince people to want to kill. I'm pretty sure that there's more blood on his hands than on mine. I remember leaving the meeting when I was sixteen - frothing at the mouth, ready to start killing. The meeting gave me a purpose. I was sixteen. All I wanted was a purpose. Now, I sat watching Matt's little presentation and felt nothing. Now I had my own reasons for hating the enemy. I didn't need the slide show anymore. War will do that to you.

Natalie, if I was fixin’ to offer a proper thank-you,” he said, his Texas accent clear and present in his voice, “I’d kneel down right here and slide your jeans over your hips, down your damn-near perfect legs. I’d toss your pants across the room, followed by your panties. And then I’d lick you until the whole bar heard you come. Screaming. My. Name.

Phoebe was relieved to discover she would be accompanied by Westcliff's oldest son, Lord Foxhall, whom she had known her entire life. He was a big, boldly handsome man in his twenties, an avid sportsman like his father. As the earl's heir, he had been accorded a viscountcy, but he and Phoebe were far too familiar to stand on ceremony. "Fox," she exclaimed, a wide smile crossing her face. "Cousin Phoebe." He leaned down to kiss her cheek, his dark eyes snapping with lively humor. "It seems I'm your escort. Bad luck for you." "To me it's good luck- how could it be otherwise?" "With all the eligible men present, you should be with one who doesn't remember you as a little girl in pigtails, sliding down one of the banisters at Stony Cross Manor.

And under the cicadas, deeper down that the longest taproot, between and beneath the rounded black rocks and slanting slabs of sandstone in the earth, ground water is creeping. Ground water seeps and slides, across and down, across and down, leaking from here to there, minutely at a rate of a mile a year. What a tug of waters goes on! There are flings and pulls in every direction at every moment. The world is a wild wrestle under the grass; earth shall be moved. What else is going on right this minute while ground water creeps under my feet? The galaxy is careening in a slow, muffled widening. If a million solar systems are born every hour, then surely hundreds burst into being as I shift my weight to the other elbow. The sun’s surface is now exploding; other stars implode and vanish, heavy and black, out of sight. Meteorites are arcing to earth invisibly all day long. On the planet, the winds are blowing: the polar easterlies, the westerlies, the northeast and southeast trades. Somewhere, someone under full sail is becalmed, in the horse latitudes, in the doldrums; in the northland, a trapper is maddened, crazed, by the eerie scent of the chinook, the sweater, a wind that can melt two feet of snow in a day. The pampero blows, and the tramontane, and the Boro, sirocco, levanter, mistral. Lick a finger; feel the now. Spring is seeping north, towards me and away from me, at sixteen miles a day. Along estuary banks of tidal rivers all over the world, snails in black clusters like currants are gliding up and down the stems of reed and sedge, migrating every moment with the dip and swing of tides. Behind me, Tinker Mountain is eroding one thousandth of an inch a year. The sharks I saw are roving up and down the coast. If the sharks cease roving, if they still their twist and rest for a moment, they die. They need new water pushed into their gills; they need dance. Somewhere east of me, on another continent, it is sunset, and starlings in breathtaking bands are winding high in the sky to their evening roost. The mantis egg cases are tied to the mock-orange hedge; within each case, within each egg, cells elongate, narrow, and split; cells bubble and curve inward, align, harden or hollow or stretch. And where are you now?

Go up along the eastern side of Lake Michigan, steer northeast when the land bends away at Point Betsie, and you come before long to Sleeping Bear Point–an incredible flat-topped sand dune rising five hundred feet above the level of the lake and going north for two miles or more. It looks out over the dark water and the islands that lie just offshore, and in the late afternoon the sunlight strikes it and the golden sand turns white, with a pink overlay when the light is just so, and little cloud shadows slide along its face, blue-gray as evening sets in. Sleeping Bear looks eternal, although it is not; this lake took its present shape no more than two or three thousand years ago, and Sleeping Bear is slowly drifting off to the east as the wind shifts its grains of sand, swirling them up one side and dropping them on the other; in a few centuries it will be very different, if indeed it is there at all. Yet if this is a reminder that this part of the earth is still being remodeled it is also a hint that the spirit back of the remodeling may be worth knowing. In the way this shining dune looks west toward the storms and the sunsets there is a profound serenity, an unworried affirmation that comes from seeing beyond time and mischance. A woman I know says that to look at the Sleeping Bear late in the day is to feel the same emotion that comes when you listen to Beethoven’s Emperor Concerto, and she is entirely right. The message is the same. The only trouble is that you have to compose a planet, or great music, to say it persuasively. Maybe man–some men, anyway–was made in the image of God, after all.

What is this, behind this veil, is it ugly, is it beautiful? It is shimmering, has it breasts, has it edges? I am sure it is unique, I am sure it is what I want. When I am quiet at my cooking I feel it looking, I feel it thinking 'Is this the one I am too appear for, Is this the elect one, the one with black eye-pits and a scar? Measuring the flour, cutting off the surplus, Adhering to rules, to rules, to rules. Is this the one for the annunciation? My god, what a laugh!' But it shimmers, it does not stop, and I think it wants me. I would not mind if it were bones, or a pearl button. I do not want much of a present, anyway, this year. After all I am alive only by accident. I would have killed myself gladly that time any possible way. Now there are these veils, shimmering like curtains, The diaphanous satins of a January window White as babies' bedding and glittering with dead breath. O ivory! It must be a tusk there, a ghost column. Can you not see I do not mind what it is. Can you not give it to me? Do not be ashamed--I do not mind if it is small. Do not be mean, I am ready for enormity. Let us sit down to it, one on either side, admiring the gleam, The glaze, the mirrory variety of it. Let us eat our last supper at it, like a hospital plate. I know why you will not give it to me, You are terrified The world will go up in a shriek, and your head with it, Bossed, brazen, an antique shield, A marvel to your great-grandchildren. Do not be afraid, it is not so. I will only take it and go aside quietly. You will not even hear me opening it, no paper crackle, No falling ribbons, no scream at the end. I do not think you credit me with this discretion. If you only knew how the veils were killing my days. To you they are only transparencies, clear air. But my god, the clouds are like cotton. Armies of them. They are carbon monoxide. Sweetly, sweetly I breathe in, Filling my veins with invisibles, with the million Probable motes that tick the years off my life. You are silver-suited for the occasion. O adding machine----- Is it impossible for you to let something go and have it go whole? Must you stamp each piece purple, Must you kill what you can? There is one thing I want today, and only you can give it to me. It stands at my window, big as the sky. It breathes from my sheets, the cold dead center Where split lives congeal and stiffen to history. Let it not come by the mail, finger by finger. Let it not come by word of mouth, I should be sixty By the time the whole of it was delivered, and to numb to use it. Only let down the veil, the veil, the veil. If it were death I would admire the deep gravity of it, its timeless eyes. I would know you were serious. There would be a nobility then, there would be a birthday. And the knife not carve, but enter Pure and clean as the cry of a baby, And the universe slide from my side.

So the place where you should look for the kingdom of God or the Pure Land of the Buddha, the place where you should look for your happiness, your peace, and your fulfillment, has to be in the present moment. It’s so simple and clear. But since we have the tendency to slide back into the past or to run into the future, we have to recognize that habit and learn how to be free from it to really establish ourselves in the present moment. When

He Thomas, also Tomos, Tommaso and Thomaes Cromwell, withdraws his past selves into his present body and edges back to where he was before. His single shadow slides against the wall, a visitor not sure of his welcome. Which of these Thomases saw the blow coming? There are moments when a memory moves right through you. You shy, you duck, you run; or else the past takes your fist and actuates it, without the intervention of will. Suppose you have a knife in your fist? That's how murder happens.

The demographic of most defendants in these courts is homogeneous; society’s lost boys and girls, a sorry parade of abused children turned drug-abusing adults. Sliding on and off the bottom rung of social functioning, in and out of homelessness, joblessness and wretched worthlessness, their histories are scabbed with violence, mental ill-health and chaos, and their present lies in a parallel universe where the middle-class ambition of the Good Life is replaced with a desperate scrapping for daily survival.

Careful, Charlie,” I say. “That sounds like jealousy.” “It’s relief,” he says. “I expected you to show up here today in Daisy Dukes and pigtails, maybe a Ford tattoo on your tailbone.” I slide my forearms onto the desk and lean forward in such a way that I really might as well have brought a silver platter out and presented my cleavage to him that way. The lack of sleep is really getting to me. I feel haunted by him, and I’m determined to haunt him right back. “I would be”—I drop my voice—“adorable in Daisy Dukes and pigtails.” His eyes snap back to my face, flashing; his mouth twitches through that grimacing pout, a pair as reliable as thunder and lightning. “Not the word I’d use.” Awareness sizzles down my backbone. I lean closer. “Charming?” His eyes stay on my face. “Not that either.” “Sweet,” I say. “No.” “Comely?” I guess. “Comely? What year is it, Stephens?” “A real girl next door,” I parry. He snorts. “Whose door?” I straighten. “It’ll come to me.” “I doubt it,” he says under his breath.

A RUSHED ACCOUNT OF THE DEW I who can blink to break the spell of daylight and what a sliding screen between worlds is a blink I who can hear the last three seconds in my head but the present is beyond me listen in this tiny moment of reflexion I want to work out what it's like to descend out of the dawn's mind and find a leaf and fasten the known to the unknown with a liquid cufflink and then unfasten to be brief to be almost actual oh pristine example of claiming a place on the earth only to cancel

Over this lip, as over a slippery threshold, we now slide into the mouth. Upon my word were I at Mackinaw, I should take this to be the inside of an Indian wigwam. Good Lord! is this the road that Jonah went? The roof is about twelve feet high, and runs to a pretty sharp angle, as if there were a regular ridge-pole there; while these ribbed, arched, hairy sides, present us with those wondrous, half vertical, scimitar-shaped slats of whalebone, say three hundred on a side, which depending from the upper part of the head or crown bone, form those Venetian blinds which have elsewhere been cursorily mentioned. The edges of these bones are fringed with hairy fibres, through which the Right Whale strains the water, and in whose intricacies he retains the small fish, when openmouthed he goes through the seas of brit in feeding time. In the central blinds of bone, as they stand in their natural order, there are certain curious marks, curves, hollows, and ridges, whereby some whalemen calculate the creature's age, as the age of an oak by its circular rings. Though

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

Science is more than a body of knowledge; it is a way of thinking. I have a foreboding of an America in my children’s or grandchildren’s time—when the United States is a service and information economy; when nearly all the key manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness. The dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30-second sound bites (now down to 10 seconds or less), lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance.

When nothing is valued for what it is, everything is destined to be wasted. Once the values of things refer only to their future usefulness, then an infinite withdrawal of value from the living present has begun. Nothing (and nobody) can then exist that is not theoretically replaceable by something (or somebody) more valuable. The country that we (or some of us) had thought to make our home becomes instead 'a nation rich in natural resources'; the good bounty of the land begins its mechanical metamorphosis into junk, garbage, silt, poison, and other forms of 'waste.' "The inevitable result of such an economy is that no farm or any other usable property can safely be regarded by anyone as a home, no home is ultimately worthy of our loyalty, nothing is ultimately worth doing, and no place or task or person is worth a lifetime's devotion. 'Waste,' in such an economy, must eventually include several categories of humans--the unborn, the old, 'disinvested' farmers, the unemployed, the 'unemployable.' Indeed, once our homeland, our source, is regarded as a resource, we are all sliding downward toward the ash heap or the dump.

Presently, as I followed the water down, the steep fall of the valley leveled somewhat, and the ground underfoot changed from moor grass to a dense aromatic carpet of bog myrtle interlaced with heather; and I began to feel for the firmness of every step. Then it dropped again, and the stream plunged after it in a long slide of black water smooth as polished glass under the overarching tangle of hawthorn trees, and rough pasture came up to meet me among the hillside outcrops of black rock, and almost in the same instant I snuffed the faint blue whisper of woodsmoke.

Consider it this way. The present is a split second, so tiny and trivial as to be immaterial. Everything else, everything real and substantial, is a coral reef of dead split seconds, forming the islands and continents of our reality. Every moment is a brick in the wall of the past, building enormous structures that have identity and meaning, cities we live in. The future is wet shapeless clay, the present is so brief it barely exists, but the past houses and shelters us, gives us a home and a name; and the mortar that binds those bricks, that stops them from sliding apart into a nettle-shrouded ruin, is memory.

The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river. Then one sees through the surface to the depths. In those moments I find one of my greatest satisfactions, not that I am thinking of the pat; but that it is then that I am living most fully in the present. For the present when backed by the past is a thousand times deeper than the present when it presses so close that you can feel nothing else, when the film on the camera reaches only the eye. But to feel the present sliding over the depths of the past, peace is necessary. The present must be smooth, habitual.`` Moments of Being, Virginia Woolf, p98

The past only comes back when the present runs so smoothly that it is like the sliding surface of a deep river. Then one sees through the surface to the depths. In those moments I find one of my greatest satisfactions, not that I am thinking of the pat; but that it is then that I am living most fully in the present. For the present when backed by the past is a thousand times deeper than the present when it presses so close that you can feel nothing else, when the film on the camera reaches only the eye. But to feel the present sliding over the depths of the past, peace is necessary. The present must be smooth, habitual.`` Moments of Being, Virginia Woolf, p98:

It’s a miracle,” they said. “He’s so calm, so collected. No prepared speeches, slides with almost no words—he just knows what he’s talking about and it all hangs together.” It never felt like a speech. It felt like a conversation. Like a story. And the reason is simple: Steve didn’t just read a script for the presentation. He’d been telling a version of that same story every single day for months and months during development—to us, to his friends, his family. He was constantly working on it, refining it. Every time he’d get a puzzled look or a request for clarification from his unwitting early audience, he’d sand it down, tweak it slightly, until it was perfectly polished.

Science is more than a body of knowledge; it is a way of thinking. I have a foreboding of an America in my children’s or grandchildren’s time—when the United States is a service and information economy; when nearly all the key manufacturing industries have slipped away to other countries; when awesome technological powers are in the hands of a very few, and no one representing the public interest can even grasp the issues; when the people have lost the ability to set their own agendas or knowledgeably question those in authority; when, clutching our crystals and nervously consulting our horoscopes, our critical faculties in decline, unable to distinguish between what feels good and what’s true, we slide, almost without noticing, back into superstition and darkness. The dumbing down of America is most evident in the slow decay of substantive content in the enormously influential media, the 30-second sound bites (now down to 10 seconds or less), lowest common denominator programming, credulous presentations on pseudoscience and superstition, but especially a kind of celebration of ignorance. As I write, the number-one videocassette rental in America is the movie Dumb and Dumber. “Beavis and Butthead” remain popular (and influential) with young TV viewers. The plain lesson is that study and learning—not just of science, but of anything—are avoidable, even undesirable.

Calgene's FlavrSavr tomato was the first genetically modified whole food. When Calgene brought it to the FDA in 1992, the tomato was subjected to $2 million-worth of testing by the FDA on top of the testing done by Calgene. In a public meeting the FDA scientists brought the results of their extensive and sophisticated chemical analyses to a panel of external advisers; the panel included representatives of public interest groups and industry, as well as scientists whose specialties ranged from nutrition to basic plant science. The concluding slide of the FDA's presentation had a simple message: Calgene's transgenic tomato … is a tomato. Mendel in the Kitchen: A Scientist's View of Genetically Modified Food

Each time, I could see myself sleeping on the gurney. Present me did not want to wake her up and tell her what happened. I could see myself lifting up my loosely bandaged hands, blinking and looking around. I wished to approach her and say, good morning, go back to sleep. I'd quietly roll the gurney back into the ambulance, we'd speed in reverse. I'd be asleep again in the bumpy vehicle, delivered by paramedics back onto the ground. Brock's hand would slide out of me, my underwear shimmying back up my legs, the pine needles swimming back into the ground. I'd walk backward into the party, standing alone, my sister returning to find me. Outside the Swedes would bike past to wherever they were going. The world would continue, another Saturday evening.

But my point, you see, is that death is misunderstood. The loss of one’s life is not the greatest loss. It is no loss at all. To others, perhaps, but not to oneself. From one’s own perspective, experience simply halts. From one’s own perspective, there is no loss. You see? Yet maybe this is a game of words, too, because it doesn’t make it any less frightening, does it.” She sips her tea. “What I really fear is time. That’s the devil: whipping us on when we’d rather loll, so the present sprints by, impossible to grasp, and all is suddenly past, a past that won’t hold still, that slides into these inauthentic tales. My past—it doesn’t feel real in the slightest. The person who inhabited it is not me. It’s as if the present me is constantly dissolving.

No, I’d open a refuge for mothers. A retreat. Concrete 1970s brutalism, an anti-domestic architecture without flounces. Something low with big windows and wide corridors, carpets to deaden sound. There will be five or six rooms off the corridor, each with a wall of glass and sliding doors looking on to a cold, grey beach. Each room has a single bed in the corner, a table and chair. You may bring your laptop but there is no internet access and no telephone. There are books with a body count of zero and no suffering for anyone under the age of eight. A cinema where everything you wanted to see in the last eight years is shown at a time that allows you to have an early night afterwards. And the food, the kind of food you’re pleased to have eaten as well as pleased to eat, is made by a chef, a childless male chef, and brought to your room. You may ask him for biscuits at any moment of the day or night, send your mug back because you dislike the shape of the handle, and change your mind after ordering dinner. And there is a swimming pool, lit from below in a warm, low-ceilinged room without windows, which may be used by one mummy at a time to swim herself into dream. Oh, fuck it, I am composing a business plan for a womb with a view. So what? I’ll call it Hôtel de la Mère and the only real problem is childcare. Absent, children cause guilt and anxiety incompatible with the mission of the Hôtel; present, they prevent thought or sleep, much more swimming and the consumption of biscuits. We need to turn them off for a few days, suspend them like computers. Make them hibernate. You can’t uninvent children any more than you can uninvent the bomb.

Tobias is standing in the hallway outside the dormitory. I am breathless, and I can feel my heartbeat even in my fingertips; I am overwhelmed, teeming with loss and wonder and anger and longing. “Tris,” Tobias says, his brow furrowed with concern. “Are you all right?” I shake my head, still struggling for air, and crush him against the wall with my body, my lips finding his. For a moment he tries to push me away, but then he must decide that he doesn’t care if I’m all right, doesn’t care if he’s all right, doesn’t care. We haven’t been alone together in days. Weeks. Months. His fingers slide into my hair, and I hold on to his arms to stay steady as we press together like two blades at a stalemate. He is stronger than anyone I know, and warmer than anyone else realizes; he is a secret that I have kept, and will keep, for the rest of my life. He leans down and kisses my throat, hard, and his hands smooth over me, securing themselves at my waist. I hook my fingers in his belt loops, my eyes closing. In that moment I know exactly what I want; I want to peel away all the layers of clothing between us, strip away everything that separates us, the past and the present and the future. I hear footsteps and laughter at the end of the hallway, and we break apart. Someone--probably Uriah--whistles, but I barely hear it over the pulsing in my ears. Tobias’s eyes meet mine, and it’s like the first time I really looked at him during my initiation, after my fear simulation; we stare too long, too intently. “Shut up,” I call out to Uriah, without looking away. Uriah and Christina walk into the dormitory, and Tobias and I follow them, like nothing happened.

After almost eighteen months of trying to convince Kiran to dilute her stakes, a large delegation, which included the global head of R&D at Unilever and his team, came to Bengaluru. In the opening meeting, Kiran gave a presentation, and her first slide, memorable to many, declared that there were three types of companies: # Companies which make things happen # Companies which watch things happen # Companies which wonder what happened Biocon India, she said, was the first type of company and Unilever was the third type. That in-your-face presentation left everyone stunned. ‘We didn’t know where to look. There were board members, some senior managers and the head of Hindustan Unilever. Those days we did not have [smart] phones to fiddle with, we just went red in the face,’ recalls Bharadwaj. If egos were bruised, nobody showed it.

Every morning the muse puts her finger in my nose. One, then two. Sliding into me pornographically. She stretches my nostrils wide until her slimy hand crawls past my deviated septum, in between my eyes, and into my brain. Exploding into a fist when she reaches the cavity behind my temples. The muse is bratty. She is smug. She wiggles her fingers around defiantly. She displays her palm expectantly, waiting for a present I will drop into it. She brushes and tickles the walls of my skull. The muse is a flirt. She’ll always tease but never put out. Fucking bitch. I so badly want to be liked. Scratch that. I want to be loved. I want her to love me. Scratch that. I want her to leave. I want her to scratch that. Scratch that itchy itch of my swollen brain. It’s only awful ’cause the muse looks just like me. Dirty fingernails and gummy smile. But she sparkles the way only a beautiful woman can.

But Harry had eyes only for the man who stood in the largest portrait directly behind the headmaster’s chair. Tears were sliding down from behind the half-moon spectacles into the long silver beard, and the pride and the gratitude emanating from him filled Harry with the same balm as phoenix song. At last, Harry held up his hands, and the portraits fell respectfully silent, beaming and mopping their eyes and waiting eagerly for him to speak. He directed his words at Dumbledore, however, and chose them with enormous care. Exhausted and bleary-eyed though he was, he must make one last effort, seeking one last piece of advice. “The thing that was hidden in the Snitch,” he began, “I dropped it in the forest. I don’t know exactly where, but I’m not going to go looking for it again. Do you agree?” “My dear boy, I do,” said Dumbledore, while his fellow pictures looked confused and curious. “A wise and courageous decision, but no less than I would have expected of you. Does anyone else know where it fell?” “No one,” said Harry, and Dumbledore nodded his satisfaction. “I’m going to keep Ignotus’s present, though,” said Harry, and Dumbledore beamed. “But of course, Harry, it is yours forever, until you pass it on!” “And then there’s this.” Harry held up the Elder Wand, and Ron and Hermione looked at it with a reverence that, even in his befuddled and sleep-deprived state, Harry did not like to see. “I don’t want it,” said Harry. “What?” said Ron loudly. “Are you mental?” “I know it’s powerful,” said Harry wearily. “But I was happier with mine. So…” He rummaged in the pouch hung around his neck, and pulled out the two halves of holly still just connected by the finest thread of phoenix feather. Hermione had said that they could not be repaired, that the damage was too severe. All he knew was that if this did not work, nothing would. He laid the broken wand upon the headmaster’s desk, touched it with the very tip of the Elder Wand, and said, “Reparo.” As his wand resealed, red sparks flew out of its end. Harry knew that he had succeeded. He picked up the holly and phoenix wand and felt a sudden warmth in his fingers, as though wand and hand were rejoicing at their reunion. “I’m putting the Elder Wand,” he told Dumbledore, who was watching him with enormous affection and admiration, “back where it came from. It can stay there. If I die a natural death like Ignotus, its power will be broken, won’t it? The previous master will never have been defeated. That’ll be the end of it.” Dumbledore nodded. They smiled at each other. “Are you sure?” said Ron. There was the faintest trace of longing in his voice as he looked at the Elder Wand. “I think Harry’s right,” said Hermione quietly. “That wand’s more trouble than it’s worth,” said Harry. “And quite honestly,” he turned away from the painted portraits, thinking now only of the four-poster bed lying waiting for him in Gryffindor Tower, and wondering whether Kreacher might bring him a sandwich there, “I’ve had enough trouble for a lifetime.

Can I make you a cup of tea?” He says that would be wonderful, and she smiles handsomely; then her face darkens in terrible sorrow. “And I am so sorry, Mr. Arthur,” she says, as if imparting the death of a loved one. “You are too early to see the cherry blossoms.” After the tea (which she makes by hand, whisking it into a bitter green foam—“Please eat the sugar cookie before the tea”) he is shown to his room and told it was, in fact, the novelist Kawabata Yasunari’s favorite. A low lacquered table is set on the tatami floor, and the woman slides back paper walls to reveal a moonlit corner garden dripping from a recent rain; Kawabata wrote of this garden in the rain that it was the heart of Kyoto. “Not any garden,” she says pointedly, “but this very garden.” She informs him that the tub in the bathroom is already warm and that an attendant will keep it warm, always, for whenever he needs it. Always. There is a yukata in the closet for him to wear. Would he like dinner in the room? She will bring it personally for him: the first of the four kaiseki meals he will be writing about. The kaiseki meal, he has learned, is an ancient formal meal drawn from both monasteries and the royal court. It is typically seven courses, each course composed of a particular type of food (grilled, simmered, raw) and seasonal ingredients. Tonight, it is butter bean, mugwort, and sea bream. Less is humbled both by the exquisite food and by the graciousness with which she presents it. “I most sincerely apologize I cannot be here tomorrow to see you; I must go to Tokyo.” She says this as if she were missing the most extraordinary of wonders: another day with Arthur Less. He sees, in the lines around her mouth, the shadow of the smile all widows wear in private. She bows and exits, returning with a sake sampler. He tries all three, and when asked which is his favorite, he says the Tonni, though he cannot tell the difference. He asks which is her favorite. She blinks and says: “The Tonni.” If only he could learn to lie so compassionately.

I ventured to place my hand on the large wings that lay folded on his breast, and in doing so a slight shock as of electricity passed through me. I recoiled in fear; my host smiled, and as if courteously to gratify my curiosity, slowly expanded his pinions. I observed that his garment beneath them became dilated as a bladder that fills with air. The arms seemed to slide into the wings, and in another moment he had launched himself into the luminous atmosphere, and hovered there, still, and with outspread wings, as an eagle that basks in the sun. Then, rapidly as an eagle swoops, he rushed downwards into the midst of one of the groups, skimming through the midst, and as suddenly again soaring aloft. Thereon, three forms, in one of which I thought to recognise my host’s daughter, detached themselves from the rest, and followed him as a bird sportively follows a bird. My eyes, dazzled with the lights and bewildered by the throngs, ceased to distinguish the gyrations and evolutions of these winged playmates, till presently my host re-emerged from the crowd and alighted at my side.

She sent Amelie to inform Maydrop that she donned an evening dress made of a heavy, supple olive green silk that gleamed under candlelight. It fell from the bodice, but rather than belling out, the silk was cut on the bias and hugged every curve of her body. The bodice was gathered under her breasts and trimmed with dark copper lace that glimmered with shiny black beads. and widened into short sleeves. Her hair was pulled straight back from her forehead without even a wisp floating at her ears, and she waved away the ruby necklace Amelie offered. She wanted no distraction from her face. She did, however, slide a sparkling ruby onto her right hand, a present she had given to herself when Ryburn Weavers made its first thousand guineas in profit. How better to remember that milestone than to wear a sizable percentage it on one's finger? Finally, Amelie drew out a small brush and skillfully applied a few strategic dabs of face paint. The last thing Theo wanted was to try to look conventionally feminine, but she'd discovered that a thin line of kohl made her eyes look deep and mysterious.

I set my coffee beside me on the curb; I smell loam on the wind; I pat the puppy; I watch the mountain. My hand works automatically over the puppy’s fur, following the line of hair under his ears, down his neck, inside his forelegs, along his hot-skinned belly. Shadows lope along the mountain’s rumpled flanks; they elongate like root tips, like lobes of spilling water, faster and faster. A warm purple pigment pools in each ruck and tuck of the rock; it deepens and spreads, boring crevasses, canyons. As the purple vaults and slides, it tricks out the unleafed forest and rumpled rock in gilt, in shape-shifting patches of glow. These gold lights veer and retract, shatter and glide in a series of dazzling splashes, shrinking, leaking, exploding. The ridge’s bosses and hummocks sprout bulging from its side; the whole mountain looms miles closer; the light warms and reddens; the bare forest folds and pleats itself like living protoplasm before my eyes, like a running chart, a wildly scrawling oscillograph on the present moment. The air cools; the puppy’s skin is hot. I am more alive than all the world.

The German people is gradually being threatened with the loss of its genetic quality, assertion of identity, and self-preservation drive. Instead, internationalism is triumphing and destroying the value of our people, democracy is spreading by smothering the individual identity, and a nasty pacifist sewage is ultimately poisoning the mindset of bold self-preservation. We see the effects of these human vices appearing everywhere in the life of our people. Not only in the area of political concerns—no, also in the economic area, and last but not least a downward sliding [sic] is noticeable in our cultural life. If this descent is not halted, our people will no longer be able to be counted among those nations with a promising future. Eliminating these general aspects of decay is the great domestic policy task of the future. This is the mission of the National Socialist movement. From this work, a new body politic must come into being, which must also overcome the most serious disadvantage of the present, the division between the classes, for which the bourgeoisie and the Marxists are equally culpable.

The German people is gradually being threatened with the loss of its genetic quality, assertion of identity, and self-preservation drive. Instead, internationalism is triumphing and destroying the value of our people, democracy is spreading by smothering the individual identity, and a nasty pacifist sewage is ultimately poisoning the mindset of bold self-preservation. We see the effects of these human vices appearing everywhere in the life of our people. Not only in the area of political concerns—no, also in the economic area, and last but not least a downward sliding [sic] is noticeable in our cultural life. If this descent is not halted, our people will no longer be able to be counted among those nations with a promising future. Eliminating these general aspects of decay is the great domestic policy task of the future. This is the mission of the National Socialist movement. From this work, a new body politic must come into being, which must also o vercome the most serious disadvantage of the present, the division between the classes, for which the bourgeoisie and the Marxists are equally culpable.

Mr. Haverstrom closes the door, leaving Patrick and me alone in the hallway. Pat smiles slickly, leaning in toward me. I step back until I press against the wall. It’s uncomfortable—but not threatening. Mostly because in addition to racquetball I’ve practiced aikido for years. So if Patrick tries anything funny, he’s in for a very painful surprise. “Let’s be honest, Sarah: you know and I know the last thing you want to do is give a presentation in front of hundreds of people—your colleagues.” My heart tries to crawl into my throat. “So, how about this? You do the research portion, slides and such that I don’t really have time for, and I’ll take care of the presentation, giving you half the credit of course.” Of course. I’ve heard this song before—in school “group projects” where I, the quiet girl, did all the work, but the smoothest, loudest talker took all the glory. “I’ll get Haverstrom to agree on Saturday—I’m like a son to him,” Pat explains before leaning close enough that I can smell the garlic on his breath. “Let Big Pat take care of it. What do you say?” I say there’s a special place in hell for people who refer to themselves in the third person. But before I can respond, Willard’s firm, sure voice travels down the hall. “I think you should back off, Nolan. Sarah’s not just ‘up for it,’ she’ll be fantastic at it.” Pat waves his hand. “Quiet, midge—the adults are talking.” And the adrenaline comes rushing back, but this time it’s not anxiety-induced—it’s anger. Indignation. I push off the wall. “Don’t call him that.” “He doesn’t mind.” “I mind.” He stares at me with something akin to surprise. Then scoffs and turns to Willard. “You always let a woman fight your battles?” I take another step forward, forcing him to move back. “You think I can’t fight a battle because I’m a woman?” “No, I think you can’t fight a battle because you’re a woman who can barely string three words together if more than two people are in the room.” I’m not hurt by the observation. For the most part, it’s true. But not this time. I smile slowly, devilishly. Suddenly, I’m Cathy Linton come to life—headstrong and proud. “There are more than two people standing here right now. And I’ve got more than three words for you: fuck off, you arrogant, self-righteous swamp donkey.” His expression is almost funny. Like he can’t decide if he’s more shocked that I know the word fuck or that I said it out loud to him—and not in the good way. Then his face hardens and he points at me. “That’s what I get for trying to help your mute arse? Have fun making a fool of yourself.” I don’t blink until he’s down the stairs and gone. Willard slow-claps as he walks down the hall to me. “Swamp donkey?” I shrug. “It just came to me.” “Impressive.” Then he bows and kisses the back of my hand. “You were magnificent.” “Not half bad, right? It felt good.” “And you didn’t blush once.” I push my dark hair out of my face, laughing self-consciously. “Seems like I forget all about being nervous when I’m defending someone else.” Willard nods. “Good. And though I hate to be the twat who points it out, there’s something else you should probably start thinking about straight away.” “What’s that?” “The presentation in front of hundreds of people.” And just like that, the tight, sickly feeling washes back over me. So this is what doomed feels like. I lean against the wall. “Oh, broccoli balls.

Free spirits, the ambitious, ex-socialists, drug users, and sexual eccentrics often find an attractive political philosophy in libertarianism, the idea that individual freedom should be the sole rule of ethics and government. Libertarianism offers its believers a clear conscience to do things society presently restrains, like make more money, have more sex, or take more drugs. It promises a consistent formula for ethics, a rigorous framework for policy analysis, a foundation in American history, and the application of capitalist efficiencies to the whole of society. But while it contains substantial grains of truth, as a whole it is a seductive mistake. . . . The most fundamental problem with libertarianism is very simple: freedom, though a good thing, is simply not the only good thing in life. . . . Libertarians try to get around this fact that freedom is not the only good thing by trying to reduce all other goods to it through the concept of choice, claiming that everything that is good is so because we choose to partake of it. Therefore freedom, by giving us choice, supposedly embraces all other goods. But this violates common sense by denying that anything is good by nature, independently of whether we choose it. . . . So even if the libertarian principle of “an it harm none, do as thou wilt,” is true, it does not license the behavior libertarians claim. Consider pornography: libertarians say it should be permitted because if someone doesn’t like it, he can choose not to view it. But what he can’t do is choose not to live in a culture that has been vulgarized by it. . . . There is no need to embrace outright libertarianism just because we want a healthy portion of freedom, and the alternative to libertarianism is not the USSR, it is America’s traditional liberties. . . . Paradoxically, people exercise their freedom not to be libertarians. The political corollary of this is that since no electorate will support libertarianism, a libertarian government could never be achieved democratically but would have to be imposed by some kind of authoritarian state, which rather puts the lie to libertarians’ claim that under any other philosophy, busybodies who claim to know what’s best for other people impose their values on the rest of us. . . . Libertarians are also naïve about the range and perversity of human desires they propose to unleash. They can imagine nothing more threatening than a bit of Sunday-afternoon sadomasochism, followed by some recreational drug use and work on Monday. They assume that if people are given freedom, they will gravitate towards essentially bourgeois lives, but this takes for granted things like the deferral of gratification that were pounded into them as children without their being free to refuse. They forget that for much of the population, preaching maximum freedom merely results in drunkenness, drugs, failure to hold a job, and pregnancy out of wedlock. Society is dependent upon inculcated self-restraint if it is not to slide into barbarism, and libertarians attack this self-restraint. Ironically, this often results in internal restraints being replaced by the external restraints of police and prison, resulting in less freedom, not more. This contempt for self-restraint is emblematic of a deeper problem: libertarianism has a lot to say about freedom but little about learning to handle it. Freedom without judgment is dangerous at best, useless at worst. Yet libertarianism is philosophically incapable of evolving a theory of how to use freedom well because of its root dogma that all free choices are equal, which it cannot abandon except at the cost of admitting that there are other goods than freedom. Conservatives should know better.

We are engaged in a world war of stories—a war between incompatible versions of reality—and we need to learn how to fight it. A tyrant has arisen in Russia and brutality engulfs Ukraine, whose people, led by a satirist turned hero, offer heroic resistance, and are already creating a legend of freedom. The tyrant creates false narratives to justify his assault—the Ukrainians are Nazis, and Russia is menaced by Western conspiracies. He seeks to brainwash his own citizens with such lying stories. Meanwhile, America is sliding back towards the Middle Ages, as white supremacy exerts itself not only over Black bodies, but over women’s bodies too. False narratives rooted in antiquated religiosity and bigoted ideas from hundreds of years ago are used to justify this, and find willing audiences and believers. In India, religious sectarianism and political authoritarianism go hand in hand, and violence grows as democracy dies. Once again, false narratives of Indian history are in play, narratives that privilege the majority and oppress minorities; and these narratives, let it be said, are popular, just as the Russian tyrant’s lies are believed. This, now, is the ugly dailiness of the world. How should we respond? It has been said, I have said it myself, that the powerful may own the present, but writers own the future, for it is through our work, or the best of it at least, the work which endures into that future, that the present misdeeds of the powerful will be judged. But how can we think of the future when the present screams for our attention, and what, if we turn away from posterity and pay attention to this dreadful moment, can we usefully or effectively do? A poem will not stop a bullet. A novel cannot defuse a bomb. Not all our satirists are heroes. But we are not helpless. Even after Orpheus was torn to pieces, his severed head, floating down the river Hebrus, went on singing, reminding us that the song is stronger than death. We can sing the truth and name the liars, we can join in solidarity with our fellows on the front lines and magnify their voices by adding our own to them. Above all, we must understand that stories are at the heart of what’s happening, and the dishonest narratives of oppressors have proved attractive to many. So we must work to overturn the false narratives of tyrants, populists, and fools by telling better stories than they do, stories within which people want to live. The battleground is not only on the battlefield. The stories we live in are contested territories too. Perhaps we can seek to emulate Joyce’s Dedalus, who sought to forge, in the smithy of his soul, the uncreated conscience of his race. We can emulate Orpheus and sing on in the face of horror, and not stop singing until the tide turns, and a better day begins.

Still dark. The Alpine hush is miles deep. The skylight over Holly’s bed is covered with snow, but now that the blizzard’s stopped I’m guessing the stars are out. I’d like to buy her a telescope. Could I send her one? From where? My body’s aching and floaty but my mind’s flicking through the last night and day, like a record collector flicking through a file of LPs. On the clock radio, a ghostly presenter named Antoine Tanguay is working through Nocturne Hour from three till four A.M. Like all the best DJs, Antoine Tanguay says almost nothing. I kiss Holly’s hair, but to my surprise she’s awake: “When did the wind die down?” “An hour ago. Like someone unplugged it.” “You’ve been awake a whole hour?” “My arm’s dead, but I didn’t want to disturb you.” “Idiot.” She lifts her body to tell me to slide out. I loop a long strand of her hair around my thumb and rub it on my lip. “I spoke out of turn last night. About your brother. Sorry.” “You’re forgiven.” She twangs my boxer shorts’ elastic. “Obviously. Maybe I needed to hear it.” I kiss her wound-up hair bundle, then uncoil it. “You wouldn’t have any ciggies left, perchance?” In the velvet dark, I see her smile: A blade of happiness slips between my ribs. “What?” “Use a word like ‘perchance’ in Gravesend, you’d get crucified on the Ebbsfleet roundabout for being a suspected Conservative voter. No cigarettes left, I’m ’fraid. I went out to buy some yesterday, but found a semiattractive stalker, who’d cleverly made himself homeless forty minutes before a whiteout, so I had to come back without any.” I trace her cheekbones. “Semiattractive? Cheeky moo.” She yawns an octave. “Hope we can dig a way out tomorrow.” “I hope we can’t. I like being snowed in with you.” “Yeah well, some of us have these job things. Günter’s expecting a full house. Flirty-flirty tourists want to party-party-party.” I bury my head in the crook of her bare shoulder. “No.” Her hand explores my shoulder blade. “No what?” “No, you can’t go to Le Croc tomorrow. Sorry. First, because now I’m your man, I forbid it.” Her sss-sss is a sort of laugh. “Second?” “Second, if you went, I’d have to gun down every male between twelve and ninety who dared speak to you, plus any lesbians too. That’s seventy-five percent of Le Croc’s clientele. Tomorrow’s headlines would all be BLOODBATH IN THE ALPS AND LAMB THE SLAUGHTERER, and the a vegetarian-pacifist type, I know you wouldn’t want any role in a massacre so you’d better shack up”—I kiss her nose, forehead, and temple—“with me all day.” She presses her ear to my ribs. “Have you heard your heart? It’s like Keith Moon in there. Seriously. Have I got off with a mutant?” The blanket’s slipped off her shoulder: I pull it back. We say nothing for a while. Antoine whispers in his radio studio, wherever it is, and plays John Cage’s In a Landscape. It unscrolls, meanderingly. “If time had a pause button,” I tell Holly Sykes, “I’d press it. Right”—I press a spot between her eyebrows and up a bit—“there. Now.” “But if you did that, the whole universe’d be frozen, even you, so you couldn’t press play to start time again. We’d be stuck forever.” I kiss her on the mouth and blood’s rushing everywhere. She murmurs, “You only value something if you know it’ll end.

The ocean made space for me, pressing against the blackness of my assumed skin, buoying me and counter-acting the heaviness of the lead fastened around my waist. I kicked and continued my initial dive, feeling the pressures sliding back against my belly and legs, the quiet acceptance of the seas. Space and oceans have much in common, both are alien to us, not our element, both contain mysteries, dangers, sudden beauties of their own and beyond our land-bound experience. But space is a container of nothingness, a vacuum, a void of immeasurable loneliness and occasional transcendence. Water is a repository of life, and the life asserts itself as you move through the ocean; creatures large and small, beautiful or stunningle grotesque according to their custom, aquatic forests and microscopic landscapes, beings caught between the layers of life, rocks made of living creatures and living creatures made of stone, vegetable animals and animated plants and sudden deep, heart-breaking, lovely jewels that flick their trailing rainbows and dart away from you between the fronds of weeds, leaving shimmering mysteries that can be pursued, but never truly caught and comprehended. Space does not care whether you are there or not, and the struggle to survive between worlds is a fight to avoid being sucked into a vacuum, into an ultimate nil. Implacable in its indifference, it kills you simply because it is, and crushes you with the weight of your knowledge of its indifference. But the ocean is not indifferent. It reacts and shapes itself to your presence or absence, presents its laws as implacable realities, but an instant later displays the very non-exemplar of that rule swimming calmly through the depths. Accept the strangeness and the ocean opens to you, gives you freedom and beauty, a hook into otherness. But wonder approached in fear is cancelled, disappears into threathening shiverings of distant plants, into terrifying movements of bulky darkness through the rocks.

A word of explanation about how the information in this book was obtained, evaluated and used. This book is designed to present, as best my reporting could determine, what really happened. The core of this book comes from the written record—National Security Council meeting notes, personal notes, memos, chronologies, letters, PowerPoint slides, e-mails, reports, government cables, calendars, transcripts, diaries and maps. Information in the book was supplied by more than 100 people involved in the Afghanistan War and national security during the first 18 months of President Barack Obama’s administration. Interviews were conducted on “background,” meaning the information could be used but the sources would not be identified by name. Many sources were interviewed five or more times. Most allowed me to record the interviews, which were then transcribed. For several sources, the combined interview transcripts run more than 300 pages. I have attempted to preserve the language of the main characters and sources as much as possible, using their words even when they are not directly quoted, reflecting the flavor of their speech and attitudes. Many key White House aides were interviewed in-depth. They shared meeting notes, important documents, recollections of what happened before, during and after meetings, and assisted extensively with their interpretations. Senior and well-placed military, intelligence and diplomatic officials also provided detailed recollections, read from notes or assisted with documents. Since the reporting was done over 18 months, many interviews were conducted within days or even hours after critical discussions. This often provided a fresher and less-calculated account. Dialogue comes mostly from the written record, but also from participants, usually more than one. Any attribution of thoughts, conclusions or feelings to a person was obtained directly from that person, from notes or from a colleague whom the person told. Occasionally, a source said mid-conversation that something was “off-the-record,” meaning it could not be used unless the information was obtained elsewhere. In many cases, I was able to get the information elsewhere so that it could be included in this book. Some people think they can lock up and prevent publication of information by declaring it “off-the-record” or that they don’t want to see it in the book. But inside any White House, nearly everyone’s business and attitudes become known to others. And in the course of multiple, extensive interviews with firsthand sources about key decision points in the war, the role of the players became clear. Given the diversity of sources, stakes and the lives involved, there is no way I could write a sterilized or laundered version of this story. I interviewed President Obama on-the-record in the Oval Office for one hour and 15 minutes on Saturday, July 10, 2

In the tumultuous business of cutting-in and attending to a whale, there is much running backwards and forwards among the crew. Now hands are wanted here, and then again hands are wanted there. There is no staying in any one place; for at one and the same time everything has to be done everywhere. It is much the same with him who endeavors the description of the scene. We must now retrace our way a little. It was mentioned that upon first breaking ground in the whale’s back, the blubber-hook was inserted into the original hole there cut by the spades of the mates. But how did so clumsy and weighty a mass as that same hook get fixed in that hole? It was inserted there by my particular friend Queequeg, whose duty it was, as harpooneer, to descend upon the monster’s back for the special purpose referred to. But in very many cases, circumstances require that the harpooneer shall remain on the whale till the whole flensing or stripping operation is concluded. The whale, be it observed, lies almost entirely submerged, excepting the immediate parts operated upon. So down there, some ten feet below the level of the deck, the poor harpooneer flounders about, half on the whale and half in the water, as the vast mass revolves like a tread-mill beneath him. On the occasion in question, Queequeg figured in the Highland costume—a shirt and socks—in which to my eyes, at least, he appeared to uncommon advantage; and no one had a better chance to observe him, as will presently be seen. Being the savage’s bowsman, that is, the person who pulled the bow-oar in his boat (the second one from forward), it was my cheerful duty to attend upon him while taking that hard-scrabble scramble upon the dead whale’s back. You have seen Italian organ-boys holding a dancing-ape by a long cord. Just so, from the ship’s steep side, did I hold Queequeg down there in the sea, by what is technically called in the fishery a monkey-rope, attached to a strong strip of canvas belted round his waist. It was a humorously perilous business for both of us. For, before we proceed further, it must be said that the monkey-rope was fast at both ends; fast to Queequeg’s broad canvas belt, and fast to my narrow leather one. So that for better or for worse, we two, for the time, were wedded; and should poor Queequeg sink to rise no more, then both usage and honor demanded, that instead of cutting the cord, it should drag me down in his wake. So, then, an elongated Siamese ligature united us. Queequeg was my own inseparable twin brother; nor could I any way get rid of the dangerous liabilities which the hempen bond entailed. So strongly and metaphysically did I conceive of my situation then, that while earnestly watching his motions, I seemed distinctly to perceive that my own individuality was now merged in a joint stock company of two; that my free will had received a mortal wound; and that another’s mistake or misfortune might plunge innocent me into unmerited disaster and death. Therefore, I saw that here was a sort of interregnum in Providence; for its even-handed equity never could have so gross an injustice. And yet still further pondering—while I jerked him now and then from between the whale and ship, which would threaten to jam him—still further pondering, I say, I saw that this situation of mine was the precise situation of every mortal that breathes; only, in most cases, he, one way or other, has this Siamese connexion with a plurality of other mortals. If your banker breaks, you snap; if your apothecary by mistake sends you poison in your pills, you die. True, you may say that, by exceeding caution, you may possibly escape these and the multitudinous other evil chances of life. But handle Queequeg’s monkey-rope heedfully as I would, sometimes he jerked it so, that I came very near sliding overboard. Nor could I possibly forget that, do what I would, I only had the management of one end of it.

Taking hold of the ladder, she began to climb, stopping when she got to eye level with him. That, however, turned out to be a mistake, because the moment her eyes met his, she forgot everything—even the lines she’d just committed to memory—because nothing else mattered to her except . . . him. “You wrote a scene with a strong heroine in it, and one where the hero gets dangled by his feet.” “I did.” “Why?” “Because I couldn’t figure out a better way to let you know I love you, the real you, without dangling from my feet and letting you cut me down.” Lucetta’s eyes immediately took to turning a little misty. “You . . . love me?” “I do, but before we continue this, I have to admit that hanging upside down is far less pleasant than I imagined, so if you’d be so kind, I really do need you to get me down from here.” Realizing he was completely serious, but also realizing if she cut him down he’d go plummeting to the hard floor and most likely suffer a horrible injury—which certainly wouldn’t have the night turning out well at all—Lucetta looked to the side of the stage and caught Mr. Skukman’s eye. As he, along with a good number of backstage hands, walked across the boards, whispers began circulating around the theater, growing louder after Bram got released and rose to his feet. Smiling ever so charmingly at the audience, he presented them with a small bow right before he took center stage. “Ladies and gentlemen, I must beg your indulgence for just a few more minutes because you see . . . I am . . . Mr. Grimstone.” The whispers ceased immediately. Bram smiled. “I’m Mr. Grimstone, alias Mr. Bram Haverstein, and I’ve come here tonight, with all of you as my witnesses, to proclaim my love for Miss Lucetta Plum, and . . .” He dropped to one knee. “Ask her to do me the very great honor of becoming my wife.” He reached out and took hold of Lucetta’s hand. “Miss Lucetta Plum, I am completely and irrevocably in love with you, and just so we’re clear, I’m in love with the real you, not the person you turn into when you take to the stage. I love the idea that you’re completely oblivious to your unusual beauty, can outrun a goat, and . . . you fascinate me as no one ever has. I’m asking you, in front of all of these people who will probably never buy another one of my books again if you turn me down . . .” He stopped talking and turned his head to the audience. “And just to remind everyone, I will have another novel releasing soon, although I haven’t decided on a title just yet, something about a strong-willed lady, no doubt, or . . .” “You’re getting distracted,” Lucetta interrupted. Bram immediately returned his gaze to hers. “Quite right, but . . . I’ve lost my train of thought.” “You were just about to the part where you were going to ask her to marry you,” a voice called out, a voice that sounded remarkably like Abigail’s. “Thank you, Grandmother,” he called back. “You’re welcome, darling. And just to remind you, I’m not getting any younger, so you might want to hurry this proposal business along.” Grinning, Bram shook his head, brought Lucetta’s fingers to his lips, and then sobered as he held her gaze. “I love you, Lucetta, more than I ever imagined I could, and I would be so incredibly honored if you’d agree to be my wife.” For a second, Lucetta was unable to answer him because her heart had taken to rising in her throat, but after drawing in a deep breath, she managed to nod, ignoring the tears that had filled her eyes and were blurring her vision. “I would be honored to become your wife, especially since—I’m not sure when this happened, but—I’m in love with you as well.” Bram’s hold on her hand tightened for just a second, and then he was sliding a ring on her finger she hadn’t even realized he’d been holding. Before she could take even a second to admire what felt like an enormous rock on her hand, he was standing instead of kneeling, looking intently into her eyes, before he pulled her into his arms and kissed her. The