Spiral Notebook With Quotes

The nature of the labyrinth, I scribbled into my spiral notebook, and the way out of it. This teacher rocked. I hated discussion classes. I hated talking, and I hated listening to everyone else stumble on their words and try to phrase things in the vaguest possible way so they wouldn't sound dumb, and I hated how it was all just a game of trying to figure out what the teacher wanted to hear and then saying it. I'm in class, so teach me.

I… What are you saying, Zsadist?" she stammered, even though she'd heard every word. He glanced back down at the pencil in his hand and then turned to the table. Flipping the spiral notebook to a new page, he bent way over and labored on top of the paper for quite a while. Then he ripped the sheet free. His hand was shaking as he held it out. "It's messy." Bella took the paper. In a child's uneven block letters there were three words: I LOVE YOU Her lips flattened tight as her eyes stung. The handwriting got wavy and then disappeared.   "Maybe you can't read it," he said in a small voice. "I can do it over."   She shook her head. "I can read it just fine. It's… beautiful." "I don't expect anything back. I mean… I know that you don't… feel that for me anymore. But I wanted you to know. It's important that you knew.

The epiphany was simply tucked away for consideration after we were back on campus. Sometimes a revelation comes with a flash of heavenly light and a booming voice - and sometimes it is jotted in a sun-bleached spiral notebook.

Mina penned the jubilant words into her blue spiral notebook with her favorite ballpoint pen. She faithfully used the same pen when writing all of her entries in the hope that

I'm sorry," Lucinda said,pressing her hands over her heart. "I don't know what came over me.I've never done anything like that..." Daniel wasn't going to argue with her now,though she'd slapped him so many times over the years that Arriane kept a tally in a little spiral notebook marked You're Fresh.

What is the nature of being a person? What is the best way to go about being a person? How did we come to be and what will become of us when we are no longer? In short: what are the rules of this game and how might we best play it?" The nature of the labyrinth, I scribbled into my spiral notebook, and the way out of it.

My version of events sounded perfectly rational until I was forced to say the words aloud, and then it sounded insane, particularly on the day I had to say them to the police officer who came to our house. I told him everything that had happened, even about the creature, as he sat nodding across the kitchen table, writing nothing in his spiral notebook. When I finished all he said was, "Great, thanks." and then turned to my parents and asked if I'd "been to see anyone." As if I wouldn't know what that meant. I told him I had another statement to make and then held up my middle finger and walked out.

I read it over and over again. I turned it over, turned it back, smoothed it out on my pillow and then read it some more. It was written on a piece of torn-out spiral notebook paper. It had seams like it had been folded and unfolded a few times. I looked into the manila envelope again to see if there was anything else. There wasn't.

and it finally changed again, this time into a slim red spiral notebook.

I go through about half a dozen spiral notebooks a year. They are my friends, just like the to-do lists. They keep me organized.

The nature of the labyrinth, I scribbled into my spiral notebook, and the way out of it. This

I have been writing all my life. Growing up, I wrote in soft-covered journals, in spiral-bound notebooks, in diaries with locks and keys. I wrote love letters and lies, stories and missives. When I wasn't writing, I was reading. And when I wasn't writing or reading, I was staring out the window, lost in thought. Life was elsewhere-I was sure of it-and writing was what took me there.

[H]e went ahead and named them without her, pulling from the spiral notebook of names they'd been collecting, putting together first and middle names with no rhyme or reason . . . names that obviously didn't flow.

It makes you wonder where they all go, all the letters and notes, the thank-you cards and he birthday invitations, the little missives scrawled along the edges of grocery lists, the doodles on the cardboard backs of spiral-bound notebooks. All the messages, so important, so pressing, so necessary. Maybe Wolf’s right and they never really disappear. Even after they’re crumpled and thrown away, they linger and become ghosts. Not the kind that hide up in the attic rattling your shutters, but the kind that follow you wherever you go, coming back to you like an echo, like when something leaves a bad taste in your mouth. I don’t know if that’s guilt or regret.

And so I make my way across the room steadily, carefully. Hands shaking, I pull the string, lifting my blinds. They rise slowly, drawing more moonlight into the room with every inch And there he is, crouched low on the roof. Same leather jacket. The hair is his, the cheekbones, the perfect nose . . . the eyes: dark and mysterious . . . full of secrets. . . . My heart flutters, body light. I reach out to touch him, thinking he might disappear, my fingers disrupted by the windowpane. On the other side, Parker lifts his hand and mouths: “Hi.” I mouth “Hi” back. He holds up a single finger, signalling me to hold on. He picks up a spiral-bound notebook and flips open the cover, turning the first page to me. I recognize his neat, block print instantly: bold, black Sharpie. I know this is unexpected . . . , I read. He flips the page. . . . and strange . . . I lift an eyebrow. . . . but please hear read me out. He flips to the next page. I know I told you I never lied . . . . . . but that was (obviously) the biggest lie of all. The truth is: I’m a liar. I lied. I lied to myself . . . . . . and to you. Parker watches as I read. Our eyes meet, and he flips the page. But only because I had to. I wasn’t supposed to fall in love with you, Jaden . . . . . . but it happened anyway. I clear my throat, and swallow hard, but it’s squeezed shut again, tight. And it gets worse. Not only am I a liar . . . I’m selfish. Selfish enough to want it all. And I know if I don’t have you . . . I hold my breath, waiting. . . . I don’t have anything. He turns another page, and I read: I’m not Parker . . . . . . and I’m not going to give up . . . . . . until I can prove to you . . . . . . that you are the only thing that matters. He flips to the next page. So keep sending me away . . . . . . but I’ll just keep coming back to you. Again . . . He flips to the next page. . . . and again . . . And the next: . . . and again. Goose bumps rise to the surface of my skin. I shiver, hugging myself tightly. And if you can ever find it in your (heart) to forgive me . . . There’s a big, black “heart” symbol where the word should be. I will do everything it takes to make it up to you. He closes the notebook and tosses it beside him. It lands on the roof with a dull thwack. Then, lifting his index finger, he draws an X across his chest. Cross my heart. I stifle the happy laugh welling inside, hiding the smile as I reach for the metal latch to unlock my window. I slowly, carefully, raise the sash. A burst of fresh honeysuckles saturates the balmy, midnight air, sickeningly sweet, filling the room. I close my eyes, breathing it in, as a thousand sleepless nights melt, slipping away. I gather the lavender satin of my dress in my hand, climb through the open window, and stand tall on the roof, feeling the height, the warmth of the shingles beneath my bare feet, facing Parker. He touches the length of the scar on my forehead with his cool finger, tucks my hair behind my ear, traces the edge of my face with the back of his hand. My eyes close. “You know you’re beautiful? Even when you cry?” He smiles, holding my face in his hands, smearing the tears away with his thumbs. I breathe in, lungs shuddering. “I’m sorry,” he whispers, black eyes sincere. I swallow. “I know why you had to.” “Doesn’t make it right.” “Doesn’t matter anymore,” I say, shaking my head. The moon hangs suspended in the sky, stars twinkling overhead, as he leans down and kisses me softly, lips meeting mine, familiar—lips I imagined, dreamed about, memorized a mil ion hours ago. Then he wraps his arms around me, pulling me into him, quelling every doubt and fear and uncertainty in this one, perfect moment.

Today I saved Brody Carmichael’s life! Mina penned the jubilant words into her blue spiral notebook with her favorite ballpoint pen. She faithfully used the same pen when writing all of her entries in the hope that it would change her luck and she could write something good in her notebook—like today. Mina stared at the words written before her in her sloppy script and felt a pang of guilt. She started to close the notebook but paused in thought. It didn’t feel right. It didn’t seem…truthful. With a heavy hand and a heavy heart, she added in parentheses next to her

when he was engaged in blue-sky thinking, his science was not a separate endeavor from his art. Together they served his driving passion, which was nothing less than knowing everything there was to know about the world, including how we fit into it. He had a reverence for the wholeness of nature and a feel for the harmony of its patterns, which he saw replicated in phenomena large and small. In his notebooks he would record curls of hair, eddies of water, and whirls of air, along with some stabs at the math that might underlie such spirals. While at Windsor Castle looking at the swirling power of the “Deluge drawings” that he made near the end of his life, I asked the curator, Martin Clayton, whether he thought Leonardo had done them as works of art or of science. Even as I spoke, I realized it was a dumb question. “I do not think that Leonardo would have made that distinction,” he replied.

Results showed that areas of the brain linked with emotion and empathy (the cingulate cortex and the amygdala) were less active during violent video gaming . . . These areas must be suppressed during violent video gaming, just as they would be in real life, in order to act violently without hesitation.

I wanted a real diary, but there wasn't time to visit a stationery store, so instead I ran down to Thrift Drug and got you. According to your cover, you're an 'Official Popeye the Sailor Spiral-Bound Notebook, copyright © 1959 King Features Syndicate.' When I look into your wizened face, Popeye, I know you're a man I can trust.

Bedtime stories were a group activity. And because showing the pictures all around to everyone involved a great deal of squirming and shoving and pinching and pushing and get-outta-my-ways and he-farted-on-mes and you-got-to-look-longer-than-I-dids, Penn often resorted to telling stories rather than reading them. He had a magic book he read from. It was an empty spiral notebook. He showed the boys it was blank so that there was no clamoring to see. And then he read it to them. Like magic.

When I tried to write novels, sprawled on my bed with a ballpoint pen and spiral notebook, I imagined girls who outsmarted grown-ups and rescued their best friends from kidnappers, girls who raced in the Iditarod and girls who traveled to worlds far beyond our galaxy—girls who were always white. To be a hero, I thought, you had to be beautiful and adored. To be beautiful and adored, you had to be white. That there were millions of Asian girls like me out there in the world, starring in their own dramas large and small, had not yet occurred to me, as I had neither lived nor seen it.

Pay attention to everything the dying person says. You might want to keep pens and a spiral notebook beside the bed so that anyone can jot down notes about gestures, conversations, or anything out of the ordinary said by the dying person. Talk with one another about these comments and gestures. • Remember that there may be important messages in any communication, however vague or garbled. Not every statement made by a dying person has significance, but heed them all so as not to miss the ones that do. • Watch for key signs: a glassy-eyed look; the appearance of staring through you; distractedness or secretiveness; seemingly inappropriate smiles or gestures, such as pointing, reaching toward someone or something unseen, or waving when no one is there; efforts to pick at the covers or get out of bed for no apparent reason; agitation or distress at your inability to comprehend something the dying person has tried to say. • Respond to anything you don’t understand with gentle inquiries. “Can you tell me what’s happening?” is sometimes a helpful way to initiate this kind of conversation. You might also try saying, “You seem different today. Can you tell me why?” • Pose questions in open-ended, encouraging terms. For example, if a dying person whose mother is long dead says, “My mother’s waiting for me,” turn that comment into a question: “Mother’s waiting for you?” or “I’m so glad she’s close to you. Can you tell me about it?” • Accept and validate what the dying person tells you. If he says, “I see a beautiful place!” say, “That’s wonderful! Can you tell me more about it?” or “I’m so pleased. I can see that it makes you happy,” or “I’m so glad you’re telling me this. I really want to understand what’s happening to you. Can you tell me more?” • Don’t argue or challenge. By saying something like “You couldn’t possibly have seen Mother, she’s been dead for ten years,” you could increase the dying person’s frustration and isolation, and run the risk of putting an end to further attempts at communicating. • Remember that a dying person may employ images from life experiences like work or hobbies. A pilot may talk about getting ready to go for a flight; carry the metaphor forward: “Do you know when it leaves?” or “Is there anyone on the plane you know?” or “Is there anything I can do to help you get ready for takeoff?” • Be honest about having trouble understanding. One way is to say, “I think you’re trying to tell me something important and I’m trying very hard, but I’m just not getting it. I’ll keep on trying. Please don’t give up on me.” • Don’t push. Let the dying control the breadth and depth of the conversation—they may not be able to put their experiences into words; insisting on more talk may frustrate or overwhelm them. • Avoid instilling a sense of failure in the dying person. If the information is garbled or the delivery impossibly vague, show that you appreciate the effort by saying, “I can see that this is hard for you; I appreciate your trying to share it with me,” or “I can see you’re getting tired/angry/frustrated. Would it be easier if we talked about this later?” or “Don’t worry. We’ll keep trying and maybe it will come.” • If you don’t know what to say, don’t say anything. Sometimes the best response is simply to touch the dying person’s hand, or smile and stroke his or her forehead. Touching gives the very important message “I’m with you.” Or you could say, “That’s interesting, let me think about it.” • Remember that sometimes the one dying picks an unlikely confidant. Dying people often try to communicate important information to someone who makes them feel safe—who won’t get upset or be taken aback by such confidences. If you’re an outsider chosen for this role, share the information as gently and completely as possible with the appropriate family members or friends. They may be more familiar with innuendos in a message because they know the person well.

She has confided to her Aunt Daisy, for instance, that she can understand the genealogical phenomenon that as burst forth all around her. She finds it moving, she says to see men and women - though, oddly, they mostly women - tramping through cemeteries or else huddled over library tables in the university's records room, turning over the pages of county histories, copying names and dates into small spiral notebooks and imagining, hoping, that their unselfish labors will open up into a fabric of substance and comity. all they want is for their to be revealed as simple, honest, law-abiding folks, quiet in their accomplishments, faithful in their vows, cheerful, solvent, and well intentioned, and that their robustly rounded lives will push up against, and perhaps pardon, the contemporary plagues of displacement and disaffection.

After four or five months of reading Hemingway, I decided to write a story. I had in the past written stories for English classes. These had all been about white people, because white people’s stories seemed to matter more. Also, I hadn’t known how to write about Indians. How would I translate the various family relations, the difference between an uncle who is a father’s brother and an uncle who is a mother’s brother? Having read Hemingway, I knew that I should just push all the exotic things to the side as if they didn’t matter, that this was how one used exoticism—by not bothering to explain. The first story I wrote was about my brother coughing. I woke one night to the sound of Birju coughing downstairs and then could not go back to sleep. To be woken this way and not be able to return to sleep struck me as sad enough to merit a reader’s attention. Also, Hemingway had written a story about a man being woken because somebody is dying nearby, and the man is forced to witness the death. I got up from my bed and turned on the light. I then returned to bed with a spiral-bound notebook and placed it against my knees. I began my story in the middle of the action the way Hemingway did. I wrote: The coughing wakes me. My wife coughs and coughs, and then when her throat is clear, she moans. The nurse’s aide moves back and forth downstairs. The hospital bed jingles. I wrote that it was a spouse coughing because that seemed something a reader could identify with, while a brother would be too specific to me. I lie here, listening to my wife cough, and it is hard to believe that she is dying. It was strange to write something down and for that thing to come into existence. The fact that the sentence existed made Birju’s coughing somehow less awful. As I sat on my bed, I thought about how I could end my story. I held my pencil above the sheet of paper. According to the essays I had read on Hemingway, all I needed to do was attach something to the end of the story that was both unexpected and natural. I imagined Birju dying; this had to be what would eventually happen. As soon as I imagined this, I did not want him gone. I felt a surge of love for Birju. Even though he was sick and swollen, I did not want him gone. I wrote: I lie in my bed and listen to her cough and am glad she is coughing because this means she is alive. Soon she will die, and I will no longer be among the lucky people whose wives are sick. Fortunate are the men whose wives cough. Fortunate are the men who cannot sleep through the night because their wives’ coughing wakes them.

The storyteller gave me a sideways look. “Miss Lea, it doesn’t do to get attached to these secondary characters. It’s not their story. They come, they go, and when they go they’re gone for good. That’s all there is to it.” I slid my pencil into the spiral binding of my notebook and walked to the door, but when I got there, I turned back. “Where did she come from, then?” “For goodness’ sake! She was only a governess! She is irrelevant, I tell you.” “She must have had references. A previous job. Or else a letter of application with a home address. Perhaps she came from an agency?” Miss Winter closed her eyes and a long-suffering expression appeared on her face. “Mr. Lomax, the Angelfield family solicitor, will have all the details I’m sure. Not that they’ll do you any good. It’s my story. I should know. His office is in Market Street, Banbury. I will instruct him to answer any inquiries you choose to make.” I wrote to Mr. Lomax that night.

Pet Journal If you have a pet, then I highly recommend you keep a pet journal for that pet. I find it best to have a small spiral notebook right by the cage, tank, or other area associated with the pet. That way you can make notes about what they’re eating, how they are doing, and anything else you wish to track. Often pets will hide illnesses as part of their self-defense mechanism. You’ll only notice subtle changes in their eating or movement patterns. The more you make daily notes, the more likely you are to spot those changes.

Often in our life we have made a prayer list of items we feel we need. We learned years ago that before venturing out to buy an item at full price, we should give God the opportunity to provide the item at a great sale price, used for still less, or sometimes even for free. We have seen God answer our prayers over and over again. We document these in our family's 'I Spy' book-- a simple spiral notebook that chronicles the faith stories of how God blessed us with material possessions that we needed and prayed for.

This is perhaps a more useful way to think about the shape of time—not as a line or an arrow or a circle or a spiral, but something living, a circle that expands out of sight, invisible roots that grow and grow even as the parts we can see die off. “The world is always new,” wrote Ursula K. Le Guin, “however old its roots.

okay. Give yourself a lot of space in which to explore writing. A cheap spiral notebook lets you feel that you can fill it quickly and afford another. Also, it is easy to carry. (I often buy notebook-size purses.) Garfield, the Muppets, Mickey Mouse, Star Wars. I use notebooks with funny covers. They come out fresh in September when school starts. They are a quarter more than the plain spirals, but I like them.

You don’t understand,’ Franz said patiently. ‘It’s not a particular art form, or manner, that interests me, it’s a personality, a view of the artistic gesture, of its situation in society. If you came here tomorrow with a simple sheet of paper, torn from a spiral notebook, on which you’d written “I don’t even know if I want to continue with art at all”, I would exhibit this sheet without hesitation. Yet I’m not an intellectual. But you interest me.

For Leonardo, the spiral form was the archetypal code for the ever-changing yet stable nature of living forms. He saw it in the growth patterns of plants and animals, in curling locks, in human movements and gestures, and above all in the swirling vortices of water and air. The movement of water is the grand unifying theme in Leonardo’s science of living forms. Water is the life-giving element flowing through the veins of the Earth and the blood vessels of the human body. It nourishes and sustains all living bodies. Its forms, like theirs, are fluid and always varying. It is a major source of power and for eons has shaped the surface of the living Earth, gradually turning arid rocks into fertile soil. With its infinite variety of form and movement—as rivers and tides, clouds and rain, cascades and currents, eddies and whirlpools—water flows through Leonardo’s art and interlinks the main fields of his science.

Before she sat, she grabbed the spiral-bound journal she’d been jotting down notes in since she’d first joked about her plan to Lisa, and set it on the table. “I wrote down a few things. You know, about myself? If you skim through it, it’ll help you pretend you’ve known me longer than two days.” Instead of waiting until they were done, he sat down his slice, picked up the notebook and opened it to a random page. “You’re not afraid of spiders, but you hate slugs? That’s relevant?” “It’s something you would know about me.” “You graduated from the University of New Hampshire. Your feet aren’t ticklish.” He chuckled and shook his head. “You actually come with an owner’s manual?” “You could call it that. And if you could write something up for me to look over, that would be great.” He shrugged and flipped through a few more pages of the journal. “I’m a guy. I like guy stuff. Steak. Football. Beer. Women.” “One woman, singular. At least for the next month, and then you can go back to your wild pluralizing ways.” She took a sip of her beer. “You think that’s all I need to know about you?” “That’s the important stuff. I could write it on a sticky note, if you want, along with my favorite sexual position. Which isn’t missionary, by the way.” It was right there on the tip of her tongue--then what is your favorite sexual position?--but she bit it back. The last thing she needed to know about a man she was going to share a bedroom with for a month was how he liked his sex. “I hardly think that’ll come up in conversation.” “It’s more relevant than slugs.” “Since you’ll be doing more gardening than having sex, not really.” “Wait a minute.” He stabbed a finger at one of the notes in the journal. “You can’t cook?” “Not well. Microwave directions help.” “I’d never marry a woman who can’t cook.” “I’d never marry the kind of man who’d never marry a woman who can’t cook, so it’s a good thing we’re just pretending.

There are two major types of memory and learning,” he says. “One type is Deductive Learning that comes from memory: You learn that Denver is the capital of Colorado by repeating this again and again. The second type is called Procedural Learning and it comes from repetitive actions and practice, like shooting a basketball over and over until you become good at it. One of the problems with video games is that you’re learning to kill repetitively in simulated situations. You get better at it and you get more desensitized to the process.

a term employed by law enforcement and mental health experts when trying to identify dangerous students or others before they become murderers. The term is “leakage,” which means that signs of trouble or potential violence can leak out of kids as warning signals in advance of bloodshed.

Guns might be called the hardware of this equation of violence. Emotions were the software—and just as important when deciding whether or not to pick up a firearm.

So, when do we get started?”  I paced around the room to stretch my legs after the long drive. “Soon as you’re ready, I guess.”  Sam riffled through his bag, looking for something. “How many this weekend?” He didn’t look at me.  In fact, he seemed to be making an effort not to look at me and had been making that effort since breakfast.  My stomach wanted to do a flip, but I firmly smashed down my emotions.  I needed to figure out what was going on before I reacted in any way.  Emotions around werewolves gave you away.  They could smell some and hear others. “I’m not sure.  All of the Elders put a call out since it’s your last one.  Ready?”  He straightened, with pencil and paper in his hand, and still did not meet my gaze.  He kept himself busy by tucking the pencil into the spiral of the notebook as he moved toward the door. “Yep.”  I fell into step behind him.  “So, what does that mean?” “That there are more ears than usual.”  He opened the door for me. A werewolf fun fact to keep in mind at all times: They have excellent hearing. 

Change starts when people realize they have choices—when they can say or do or explore what they hadn’t thought about exploring before. Change begins when they can see alternatives that they’d never thought about before.

the four areas where stress most significantly affected the brain: attention control, emotion regulation, healthy coping, and empathy.

Change the brain’s response to its environment, even without being able to change that environment itself, and you could change behaviors. You did this through repetitive practices, the same way you learned any other skill or trained any other muscle.

I explained to the desk sergeant who I was, and he got so excited at one point that he glanced up at me for a moment before he went back to writing in a spiral notebook.

If AP English via Miss Sweeney had taught Flannery anything, it was that life was brimming with various traumas and tragedies—the great novels didn’t lie—and that there was no need to court sorrow by writing Goth poetry in a black spiral notebook or listening to death-rock because sorrow was always, always looming, sorrow would be thrust upon you, and, as the foot-stomping song from the junior year musical went—everyone was a girl who couldn’t say no, everyone was in a terrible fix. But

Squashed behind The Cloud of Unknowing we discovered a pocket-size spiral notebook with a day-by-day account of the time Justin had stayed with her and her husband after Tommy’s death. The writing was legible though it required effort (this was before she took her calligraphy course), but Justin was ecstatic and asked if he could have the little notebook. “This is my history,” he said. Later, after he had deciphered every last word: “Boy, was I loved.

When a writer removes the pen from the spiral parts of her notebook, a bomb has just been detonated- The Affidavit of Niedria Dionne Kenny

Call it the curse of the photographer. Unlike the memories of my childhood--fuzzy around the edges, suffused more with movement and smell and sound than with the rigidity of graphic lines and shapes--most of the memories I have since becoming a photographer are four-sided and flat. When you learn to properly frame an image in the viewfinder of a camera, you start to frame and catalog everything you see, whether you photograph it or not. And suddenly, memory has the shape of a rectangle. The vastness of a forest becomes twelve trees with a rock balancing out the foreground. A person becomes a close-up of the crow's-feet around his eyes. A war becomes red blood in white snow. Sometimes I feel like my brain has become nothing more than an overstuffed spiral notebook full of negatives, printed at will in a disorganized flurry by the slightest provocation.

Writers tend to be fetishistic about our materials, and I am no exception. Spiral-bound, perfect bound, lined, unlined, pocket-size - as if the notebook itself might make a difference. Instead, I ended up buying a package of index cards, understanding something I couldn't have articulated: my life was no in fragments I would need to shuffle and reshuffle in any attempt to make sense of it.

I run my hand over the blank page of my college-ruled spiral-bound notebook. All that white space. So many possibilities. It makes me feel like I’m on the edge of a diving board, about to launch myself off. Just go. Don’t think. Just write.

He makes me want to fill a spiral notebook with bad poetry about his smoldering hazel eyes.