Slides With Multiple Quotes

...it was complicated, she wasn't thinking only of herself but me too, since we'd both been through so many of the same things, she and I, and we were an awful lot alike-too much. And because we'd both been hurt so badly, so early on, in violent and irremediable ways that most people didn't, and couldn't, understand, wasn't it a bit… precarious? A matter of self-preservation? Two rickety and death-driven persons who would need to lean on each other quite so much? not to say she wasn't doing well at the moment, because she was, but all that could change in a flash with either of us, couldn't it? the reversal, the sharp downward slide, and wasn't that the danger? since our flaws and weaknesses were so much the same, and one of us could bring the other down way too quick? and though this was left to float in the air a bit, I realized instantly, and with some considerable astonishment, what she was getting at. (Dumb of me not to have seen it earlier, after all the injuries, the crushed leg, the multiple surgeries; adorable drag in the voice, adorable drag in the step, the arm-hugging and the pallor, the scarves and sweaters and multiple layers of clothes, slow drowsy smile: she herself, the dreamy childhood her, was sublimity and disaster, the morphine lollipop I'd chased for all those years.)

it is very telling what we don’t hear in eulogies. We almost never hear things like: “The crowning achievement of his life was when he made senior vice president.” Or: “He increased market share for his company multiple times during his tenure.” Or: “She never stopped working. She ate lunch at her desk. Every day.” Or: “He never made it to his kid’s Little League games because he always had to go over those figures one more time.” Or: “While she didn’t have any real friends, she had six hundred Facebook friends, and she dealt with every email in her in-box every night.” Or: “His PowerPoint slides were always meticulously prepared.” Our eulogies are always about the other stuff: what we gave, how we connected, how much we meant to our family and friends, small kindnesses, lifelong passions, and the things that made us laugh.

Sliding Doors and Run Lola Run (1998)—These two movies, neither of which is technically science fiction, were released in the same year. We see the idea of timelines branching from a single point which lead to different outcomes. In the example of Sliding Doors, a separate timeline branches off of the first timeline and then exists in parallel for some time, overlapping the main timeline, before merging back in. In Run Lola Run, on the other hand, we see Lola trying to rescue her boyfriend Manni by rewinding what happened and making different choices multiple times. We see visually what running our Core Loop might look like in a real-world, high-stress situation.

Lacan, as we have seen in our discussion of Freud, regards the unconscious as structured like a language. This is not only because it works by metaphor and metonymy: it is also because, like language itself for the post-structuralists, it is composed less of signs — stable meanings — than of signifiers. If you dream of a horse, it is not immediately obvious what this signifies: it may have many contradictory meanings, may be just one of a whole chain of signifiers with equally multiple meanings. The image of the horse, that is to say, is not a sign in Saussure’s sense - it does not have one determined signified tied neatly to its tail - but is a signifier which may be attached to many different signifieds, and which may itself bear the traces of the other signifiers which surround it. (I was not aware, when I wrote the above sentence, of the word-play involved in ‘horse’ and ‘tail’: one signifier interacted with another against my conscious intention.) The unconscious is just a continual movement and activity of signifiers, whose signifieds are often inaccessible to us because they are repressed. This is why Lacan speaks of the unconscious as a ‘sliding of the signified beneath the signifier’, as a constant fading and evaporation of meaning, a bizarre ‘modernist’ text which is almost unreadable and which will certainly never yield up its final secrets to interpretation.

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?

What I saw of military life left me humbled. As long as I’d been alive, I’d never encountered the kind of fortitude and loyalty that I found in those rooms. One day in San Antonio, Texas, I noticed a minor commotion in the hallway of the military hospital I was visiting. Nurses shuffled urgently in and out of the room I was about to enter. “He won’t stay in bed,” I heard someone whisper. Inside, I found a broad-shouldered young man from rural Texas who had multiple injuries and whose body had been severely burned. He was in clear agony, tearing off the bedsheets and trying to slide his feet to the floor. It took us all a minute to understand what he was doing. Despite his pain, he was trying to stand up and salute the wife of his commander in chief.

I was impressed by the scene in Apollo 13 where the astronauts request confirmation of their calculations and several people at Mission Control dive for their slide rules. For several months after that, my standard response to statements like "We must implement multi-processor object-oriented Java-based client-server technologies immediately!" was "You know, FORTRAN and slide rules put men on the moon and got them back safely multiple times." Tended to shut them up, at least for a moment.

The next slide is an up-close selfie of her looking sad. There's lots of text over this one. 'The #Berkey is so much more than a kitchen staple. Do you know what's in your tap water? The government does. Fluoride is a toxic substance that has been proven to cause disease, brain fog, and multiple health issues. I believe we are being controlled by fluoride in ways I can't discuss on here just yet. But for now I'll just say that fluoride interferes with the functioning of the thyroid and it is said to shut the door to your gateway to God...

For a split second, the space around Werner tears in half, as though the last molecules of oxygen have been ripped out of it. Then shards of stone and wood and metal streak past, ringing against his helmet, sizzling into the wall behind them, and Volkheimer’s barricade collapses, and everywhere in the darkness, things scuttle and slide, and he cannot find any air to breathe. But the detonation creates some tectonic shift in the building’s rubble, and there is a snap followed by multiple cascades in the darkness. When Werner stops coughing and pushes the debris off his chest, he finds Volkheimer staring up at a single sheared hole of purple light. Sky. Night sky. A shaft of starlight slices through the dust and drops along the edge of a mound of rubble to the floor. For a moment Werner inhales it. Then Volkheimer urges him back and climbs halfway up the ruined staircase and begins whaling away at the edges of the hole with a piece of rebar. The iron clangs and his hands lacerate and his six-day beard glows white with dust, but Werner can see that Volkheimer makes quick progress: the sliver of light becomes a violet wedge, wider across than two of Werner’s hands. With one more blow, Volkheimer manages to pulverize a big slab of debris, much of it crashing onto his helmet and shoulders, and then it is simply a matter of scrabbling and climbing. He squeezes his upper body through the hole, his shoulders scraping on the edges, his jacket tearing, hips twisting, and then he’s through.

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

Each slide should represent one clear thought. If you find yourself explaining multiple ideas on a slide, split the slide into multiple single thought elements.

That was diverse.” Poppy looks surprised as she slides down the wall like a bird that’s forgotten how to fly, landing in a crumpled heap on the curb. “Positively Dionysian,” I manage to slur. The world is a crazed kaleidoscope. Colors fight for space, desperate to steal each other’s names. “They’re just labels!” I yell at the untidy bundle of shades and bones near my foot. “Are you talking to me?” Patterns birthed by multiple reflections coalesce into Poppy’s face. “Maybe. I think other people’s musical chi has saturated my cells.” Myriad venues and tonal flavors are scattered through my memory, like broken harmonies. “Why did I feed on so many tunes?” “You wanted filtered sounds to rain down and seep clean through, beyond blood, to the soul.” A lone streetlight flickers behind her and for a few alienating seconds she shimmers in and out of existence. “Too much.” My stomach turns over, but I manage to keep everything down. If I throw up now, nothing will come out but music. “Tonight’s orgy of sound has left us in a pure, concentrated haze of other people’s emotions,” Poppy announces proudly, unperturbed by the fact I’m squatting in a gutter. She holds out her arms to me, palms turned up. “Look, I’m full of music.” I stare at the small woman, posed like a crazed Messiah. The cat mask is still caught in her hair. A cracking sound fills the air and her face starts to fracture into pieces, like shards of a broken mirror. Closing my eyes, I take deep breaths till my head calms down. When I open them again, Poppy is gone.

Jo didn't have more than two or three hours of awareness on any given day. When she wasn't doing work for her graduate classes, Jo thought about, or wrote about, getting well. Jo's goal was no amnesia. She wanted all of the time. Jo didn't have my ability to monitor what went on when "she was inside." Her life was a slide show of fleeting moments. She wasn't sure what she'd do with twenty-four hours of a day, but she knew she wouldn't spend an afternoon coloring, as Missy sometimes did. She certainly wouldn't spend precious minutes playing with a toy dump truck in Lynn's office, as Little Joe did.

A eulogy is often the first formal marking down of what our lives were about—the foundational document of our legacy. It is how people remember us and how we live on in the minds and hearts of others. And it is very telling what we don’t hear in eulogies. We almost never hear things like: “The crowning achievement of his life was when he made senior vice president.” Or: “He increased market share for his company multiple times during his tenure.” Or: “She never stopped working. She ate lunch at her desk. Every day.” Or: “He never made it to his kid’s Little League games because he always had to go over those figures one more time.” Or: “While she didn’t have any real friends, she had six hundred Facebook friends, and she dealt with every email in her in-box every night.” Or: “His PowerPoint slides were always meticulously prepared.” Our eulogies are always about the other stuff: what we gave, how we connected, how much we meant to our family and friends, small kindnesses, lifelong passions, and the things that made us laugh.

In a 1963 performance entitled "Who R U?" at the San Francisco Museum of Art, Stern and Callahan added highway sounds to the mix, moving them from speaker to speaker in the showroom. They also had individuals placed in booths around a central auditorium, miked their conversations, and replayed them simultaneously in an eighteen-channel remix. By 1965 this show had morphed into a program called "We R All One," in which USCO deployed slide and film projections, oscilloscopes, music, strobes, and live dancers to create a sensory cacophony. At the end of the performance, the lights would go down, and for ten minutes the audience would hear multiple "Om's" from the speakers. According to Stern, the show was designed to lead viewers from "overload to spiritual meditation."19 In the final moments, the audience was to experience the mystical unity that ostensibly bound together USCO's members.

Following up the butt strike, your weapon is now at your left shoulder, held in rifle grip with the right hand palm-down at the handle of the weapon and the left hand palm-up maybe one third to one half the distance up the stick. To execute the rap, bring the right hand in toward the right hip while the left hand pushes the barrel end outward into the opponent's face. The weapon retraces the path it originally took from middle guard to the left shoulder, only in reverse. In practice you will find that the left elbow acts like a shock absorber, causing the end of the stick to snap back. Redirect this rebound up to your right shoulder, while letting your left hand slide down to bat grip. Follow through with an overight strike. Practice these three moves in sequence: underight butt, overleft rap, overight strike from bat grip. Your weapon will trace a 'V,' moving from one shoulder to another. Slam I have also seen this technique referred to as a “bar strike” because you are striking with the portion of the stick between the hands, which is like a bar. The slam is typically performed with the hands palm down in staff grip, equidistant from the ends, and thrown so that the stick is horizontal. Realize, though, that the slam can be thrown with multiple grips in multiple orientations. From the middle guard, throw the stick forward and diagonally, parallel to your adversary, striking him in the chest. Don't just shove the opponent, but aim for an explosive strike that knocks him back on impact. If the attacker crouches and lunges in to tackle, jam the portion of the stick between your hands into the juncture of the opponent's right shoulder and neck.

My gaze dropped to his mouth, almost hesitant, as if asking for permission. When I looked back up, his blue eyes were a definite yes. They were his sexy bedroom eyes, dark and hungry, but there was more behind them than just sex. There was more to his yes than just this moment. My hand still on his chest, I slanted my mouth over his in a slow, deep kiss. The corners of my lips were damp from the tears, and Sam licked away the salt with his tongue, his hands sliding up under my shirt like we were two teenagers making out after school. Which was a little how it felt, being with him like this in my childhood bedroom, the same quilt still on my bed from when I was fifteen. Maybe Sam felt that, too, because his hands under my shirt were working maddeningly slow for someone who'd already seen me naked multiple times before. They slid up my rib cage, brushed against the sensitive skin under my breasts, flicked once against my nipples, which were taut and aching under my bra. But then he skimmed back down my sides and gave my leggings-clad thighs a squeeze, leaving me hungry to feel his hands on my bare skin. "What do you want to feel?" he murmured, his breath warm against my cheek. Everything. But instead, what came out was, "Taken care of.

THE WEBSITE FOR SSA Marine says, “Accelerating the Pace of Business.” Its terminal is now giving off a deafening whir: engine sounds, horns, beeps, and the echoes of workers shouting. The giant cranes lift containers off the ship, sliding them inward fast enough that they swing a little bit in midair. Currently, the bay is full of the haze-lightened silhouettes of container ships, players in that sprawling, fractal network whose workings have recently come to the fore in headlines about the supply chain. In the restored marsh along the park, clusters of migrating shorebirds are keeping their own schedule. It’s currently three hours from high tide, and on the shrinking islands, tiny sandpipers sit together so densely that they look like a tessellated pattern. Stalking around them are a variety of spidery birds, including long-billed curlews, which have surreal curved beaks more than half the length of their entire bodies. They are back for the time being, having traveled northeast to breed—possibly as far as Idaho—and in the meantime, they adjust their activities to the tides. On the one hand, it is true that you can see multiple forms of time here. The containers pile up; the shorebirds probe the mud; the phoebe chases its flies; a small, brown mushroom pushes up from the grass; and the tide continues to rise. Your stomach rumbles. But one of these clocks is not like the others. In order to maintain its equilibrium, it has to run ahead faster and faster.

What he said of Friedrich Hebbel’s poetry is true of his own, that it “penetrates us in such a way that the most secret … inner depths stir in us and the actually demonic, the natural in us, sounds in dark and intoxicating sympathetic vibration.”10 With all its danger, the instinctual element in man, “the natural in us,” provided the power whereby one could escape from the prison of aestheticism, from the paralysis of narcissistic sensibility. Engagement in life, Hofmannsthal felt, demands the capacity to resolve, to will. This capacity implies commitment to the irrational, in which alone resolution and will are grounded. Thus affirmation of the instinctual reopened for the aesthete the door to the life of action and society. How did Hofmannsthal see the great world which he now entered? Modern society and culture seemed to him, as to Schnitzler, hopelessly pluralistic, lacking in cohesion or direction. “… [T]he nature of our epoch,” he wrote in 1905, “is multiplicity and indeterminacy. It can rest only on das Gleitende [the moving, the slipping, the sliding], and is aware that what other generations believed to be firm is in fact das Gleitende”11 This new perception of reality undermined the very efficacy of reason for Hofmannsthal. “Everything fell into parts, the parts again into more parts,” says one of his characters, “and nothing allowed itself to be embraced by concepts any more.”12 Hofmannsthal saw it as the trial of the noblest natures to take into themselves “a wholly irrational mass of the non-homogeneous,

I lean closer to kiss Karter, taking him by surprise, and when he kisses me back, it's like sliding into a dream. A dream where four men love me. Four men want to be the encouragement and the security in my life. It's more than I could have hoped for. So much more.

Shuck Corn Cleanly Getting rid of that silk can be tedious business. Slice off the stalk one inch above the last row of kernels. Microwave for two to four minutes (add time to this for multiple ears). Then gently shake and squeeze the husk (wear an oven mitten—it will be hot) until the corn slides out. The steam will separate threads from the kernels, and you’ll have a freshly cooked cob.

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