Statement Piece Quotes

The only reason I don’t know more about love is because there just isn’t more to know. In fact, I’ve reduced love to a mathematical formula: Hdgk(X)=H2k(X,Q)∩Hk,k(X). Actually, that’s not right. That’s the statement piece of the Hodge conjecture, but I’m sure you already knew that.


A single diamond brooch was her only adornment (one good piece, ladies, and choose it well; everything makes a statement, nothing speaks quite so loudly as cheapness).

We have all heard such stories of expert intuition: the chess master who walks past a street game and announces “White mates in three” without stopping, or the physician who makes a complex diagnosis after a single glance at a patient. Expert intuition strikes us as magical, but it is not. Indeed, each of us performs feats of intuitive expertise many times each day. Most of us are pitch-perfect in detecting anger in the first word of a telephone call, recognize as we enter a room that we were the subject of the conversation, and quickly react to subtle signs that the driver of the car in the next lane is dangerous. Our everyday intuitive abilities are no less marvelous than the striking insights of an experienced firefighter or physician—only more common. The psychology of accurate intuition involves no magic. Perhaps the best short statement of it is by the great Herbert Simon, who studied chess masters and showed that after thousands of hours of practice they come to see the pieces on the board differently from the rest of us. You can feel Simon’s impatience with the mythologizing of expert intuition when he writes: “The situation has provided a cue; this cue has given the expert access to information stored in memory, and the information provides the answer. Intuition is nothing more and nothing less than recognition.

When I met Wittgenstein, I saw that Schlick's warnings were fully justified. But his behavior was not caused by any arrogance. In general, he was of a sympathetic temperament and very kind; but he was hypersensitive and easily irritated. Whatever he said was always interesting and stimulating and the way in which he expressed it was often fascinating. His point of view and his attitude toward people and problems, even theoretical problems, were much more similar to those of a creative artist than to those of a scientist; one might almost say, similar to those of a religious prophet or a seer. When he started to formulate his view on some specific problem, we often felt the internal struggle that occurred in him at that very moment, a struggle by which he tried to penetrate from darkness to light under an intense and painful strain, which was even visible on his most expressive face. When finally, sometimes after a prolonged arduous effort, his answers came forth, his statement stood before us like a newly created piece of art or a divine revelation. Not that he asserted his views dogmatically ... But the impression he made on us was as if insight came to him as through divine inspiration, so that we could not help feeling that any sober rational comment of analysis of it would be a profanation.

His statement flew in the face of everything I knew. He thought of relationships as finite, like a pie that could only be cut into so many pieces. Take a piece away, and there was that much less for him. I knew, however, that relationships are more like muscles - the more you work them, the stronger they become.

The psychology of accurate intuition involves no magic. Perhaps the best short statement of it is by the great Herbert Simon, who studied chess masters and showed that after thousands of hours of practice they come to see the pieces on the board differently from the rest of us. You can feel Simon’s impatience with the mythologizing of expert intuition when he writes: “The situation has provided a cue; this cue has given the expert access to information stored in memory, and the information provides the answer. Intuition is nothing more and nothing less than recognition.

Bassareus regarded Hart, studied the bottle in his hand, then turned his attention back to Hart. “She must be a hot piece of ass.” “You look like a rabbit, but you’re actually a pig, aren’t you?” Hart said, making it clear that this was a statement, not a question.

The psychology of accurate intuition involves no magic. Perhaps the best short statement of it is by the great Herbert Simon, who studied chess masters and showed that after thousands of hours of practice they come to see the pieces on the board differently from the rest of us.

For example, they recently had a piece on a character--I think his name was Ambrosio D'Urbervilles--whose "design statement" was to stuff an entire apartment from floor to ceiling with dark purple cottonballs. He called it "Portrait of a Dead Camel Dancing on the Roof of a Steambath.

They say instant communication is not communication at all but merely a frantic, trivial, nerve-wracking bombardment of clichés, threats, fads, fashions, gibberish and advertising. However, who has not hung on a scripture, a quote, a statement, only to stumble upon the key phrase that brought all things to a turning point? The greatest sermons and speeches were pieced together by illuminating thoughts that powered men to surpass their own commonness. It is the sparkling magic of letters forming words, and those words colliding with passion, that makes statements into wisdom.

We cannot do it in this way for two reasons. First, we do not yet know all the basic laws: there is an expanding frontier of ignorance. Second, the correct statement of the laws of physics involves some very unfamiliar ideas which require advanced mathematics for their description. Therefore,

Madame Dufour stood at the head of the table, dressed in a severe black dress that revealed the soup spoon–sized hollow at the base of her long neck. A single diamond brooch was her only adornment (one good piece, ladies, and choose it well; everything makes a statement, nothing speaks quite so loudly as cheapness).

Until I was twenty I was sure there was a being who could see everything I did and who didn't like most of it. He seemed to care about minute aspects of my life, like on what day of the week I ate a piece of meat. And yet, he let earthquakes and mudslides take out whole communities, apparently ignoring the saints among them who ate their meat on the assigned days. Eventually, I realized that I didn't believe there was such a being. It didn't seem reasonable. And I assumed that I was an atheist. As I understood the word, it meant that I was someone who didn't believe in a God; I was without a God. I didn't broadcast this in public because I noticed that people who do believe in a god get upset to hear that others don't. (Why this is so is one of the most pressing of human questions, and I wish a few of the bright people in this conversation would try to answer it through research.) But, slowly I realized that in the popular mind the word atheist was coming to mean something more - a statement that there couldn't be a God. God was, in this formulation, not possible, and this was something that could be proved. But I had been changed by eleven years of interviewing six or seven hundred scientists around the world on the television program Scientific American Frontiers. And that change was reflected in how I would now identify myself. The most striking thing about the scientists I met was their complete dedication to evidence. It reminded me of the wonderfully plainspoken words of Richard Feynman who felt it was better not to know than to know something that was wrong.

I feel confident in this assumption because between myself and my longtime students, often things happen that seem like telepathy, but it is more truthfully a relationship that has reached a maturity where words are not necessary for full communication. A quick nod in the direction of some equipment in the room and the student who has been there for years will understand it to mean, “Go get that.” The unspoken statement in that question is surmised from the context of the lesson. I don’t need to tell them precisely which piece of equipment to bring, because they already know what I am asking for. They have been around long enough to be able to add two and two together. To a beginner, it may seem like a superpower, but it is just relationship. We could and should assume the same holds true here. Not every detail needed to be spelled out.

So who told you that you had a chip on your shoulder?" "Never mind." I shoved a piece of lasagna int my mouth so I couldn't answer. "It was a cute guy, wasn't it?" Kelly said. "Those types pf statements only bother you if cute guys say them." I didn't answer, and I didn't look at them. "Must have been a really cute guy." Aleeta said. Kelly leaned forward. "Who was it, and do you like him?" I took another bite of lasagna. "She likes him." Aleeta said with a smile. "Ryan Geno?" Kelly asked. "Arnold Carrillo?" "Colton Taft." Aleeta said as though sure she was right. Kelly nodded. "Which means we're really talking about Bryant, aren't we?" Aleeta leaned closer to the table and lowered her voice. "Charlotte likes Bryant?" "No," I said quickly. "No," Kelly repeated, "She doesn't like him, which is why Colton thinks she has a chip on her shoulder." She turned to me then, wearing a triumphant smile. "I'm right, aren't I?" I shuffled pieces of lasagna around my plate. "I should stop hanging out with smart people.

the correct statement of the laws of physics involves some very unfamiliar ideas which require advanced mathematics for their description. Therefore,

His [Francisco Goya's] debt to the Christianity of the eighteenth century is contained in the idea that politics was just adopting from the Gospels: the conviction that man has a right to justice. Such a statement would seem utterly conceited to a Roman, who would doubtless have looked upon the Disasters as we look upon photographs of the amphitheatre...But if Goya thought that man has not come onto the earth to be cut to pieces he thought that he must have come here for something. Is it to live in joy and honour? Not only that; it is to come to terms with the world. And the message he never ceased to preach, a message underlined by war, is that man only comes to terms with the world by blinding himself with childishness.

Why do you do that? Do what? Push the sceptic thing so hard!? I mean, it made sense at first, but now? After everything we’ve seen, after everything you’ve read! I hear you recording statements and y-you just dismiss them. You tear them to pieces like they’re wasting your time, but half of the “rational” explanations you give are actually more far-fetched than just accepting it was a, a ghost or something. I mean for god’s sake John, we’re literally hiding from some kind of worm… queen… thing, how, how could you possibly still not believe!? Of course, I believe. Of course I do. Have you ever taken a look at the stuff we have in Artefact Storage? That’s enough to convince anyone. But, but even before that… Why do you think I started working here? It’s not exactly glamorous. I have… I’ve always believed in the supernatural. Within reason. I mean. I still think most of the statements down here aren’t real. Of the hundreds I’ve recorded, we’ve had maybe… thirty, forty that are… that go on tape. Now, those, I believe, at least for the most part. Then why do you – Because I’m scared, Martin!. Because when I record these statements it feels… it feels like I’m being watched. I… I lose myself a bit. And then when I come back, it’s like… like if I admit there may be any truth to it, whatever’s watching will… know somehow. The skepticism, feigning ignorance. It just felt safer.

I’m not sure if it’s Kyle Davenport I see hanging, considering there’s not a piece of flesh to make him identifiable, but everyone here has the same conclusion. Even if we can’t identify him, we all know it’s him. The rope holds his neck, and his naked, fleshless body dangles from the tower as the bells chime on. If she wanted to make a statement that would incite a full-blown panic, she just won that war.

Taylor and I are going to go to the boardwalk tonight. Will one of you guys drop us off?” Before my mother or Susannah could answer, Jeremiah said, “Ooh, the boardwalk. I think we should go to the boardwalk too.” Turning to Conrad and Steven, he added, “Right, guys?” Normally I would have been thrilled that any of them wanted to go somewhere I was going, but not this time. I knew it wasn’t for me. I looked at Taylor, who was suddenly busy cutting up her scallops into tiny bite-size pieces. She knew it was for her too. “The boardwalk sucks,” said Steven. Conrad said, “Not interested.” “Who invited you guys anyway?” I said. Steven rolled his eyes. “No one invites anyone to the boardwalk. You just go. It’s a free country.” “Is it a free country?” my mother mused. “I want you to really think about that statement, Steven. What about our civil liberties? Are we really free if-“ “Laurel, please,” Susannah said, shaking her head. “Let’s not talk politics at the dinner table.” “I don’t know of a better time for political discourse,” my mother said calmly.

Let us take a limited example and compare the war machine and the state apparatus in the context of the theory of games. Let us take chess and Go, from the standpoint of game pieces, the relations between the pieces and the space involved. Chess is a game of the State, or of the court: the emperor of China played it. Chess pieces are coded; they have an internal nature and intrinsic properties from which their movements, situations, and confrontations derive. They have qualities; a knight remains a knight, a pawn a pawn, a bishop a bishop. Each is like a subject of the statement endowed with relative power, and these relative powers combine in a subject of enunciation, that is, the chess player or the game’s form of interiority. Go pieces, I contrast, are pellets, disks, simple arithmetic units, and have only an anonymous, collective, or third-person function: “It” makes a move. “It” could be a man, a woman, a louse, an elephant. Go pieces are elements of a nonsubjectified machine assemblage with no intrinsic properties, only situational ones. Thus the relations are very different in the two cases. Within their milieu of interiority, chess pieces entertain biunivocal relations with one another, and with the adversary’s pieces: their functioning is structural. One the other hand, a Go piece has only a milieu of exteriority, or extrinsic relations with nebulas or constellations, according to which it fulfills functions of insertion or situation, such as bordering, encircling, shattering. All by itself, a Go piece can destroy an entire constellation synchronically; a chess piece cannot (or can do so diachronically only). Chess is indeed a war, but an institutionalized, regulated, coded war with a front, a rear, battles. But what is proper to Go is war without battle lines, with neither confrontation nor retreat, without battles even: pure strategy, whereas chess is a semiology. Finally, the space is not at all the same: in chess, it is a question of arranging a closed space for oneself, thus going from one point to another, of occupying the maximum number of squares with the minimum number of pieces. In Go, it is a question of arraying oneself in an open space, of holding space, of maintaining the possibility of springing up at any point: the movement is not from one point to another, but becomes perpetual, without aim or destination, without departure or arrival. The “smooth” space of Go, as against the “striated” space of chess. The nomos of Go against the State of chess, nomos against polis. The difference is that chess codes and decodes space, whereas Go proceeds altogether differently, territorializing and deterritorializing it (make the outside a territory in space; consolidate that territory by the construction of a second, adjacent territory; deterritorialize the enemy by shattering his territory from within; deterritorialize oneself by renouncing, by going elsewhere…) Another justice, another movement, another space-time.

Every special group around the country tries to get its hands on whatever bits and pieces it can. The result is that there is hardly an issue on which government is not on both sides. For example, in one massive building in Washington some government employees are working full-time trying to devise and implement plans to spend our money to discourage us from smoking cigarettes. In another massive building, perhaps miles away from the first, other employees, equally dedicated, equally hard-working, are working full-time spending our money to subsidize farmers to grow tobacco.

I hope you won't take this the wrong way . . ." is another bell ringer for me. I sense the mealymouthed attacker approaching so if I cannot flee, I explain in no uncertain voice if there is even the slightest chance that I might take a statement the wrong way, be assured that I will do so. I advise the speaker that it would be better to remain silent than to try to collect the speaker's bruised feelings, which I intend to leave in pieces scattered on the floor. I am never proud to participate in violence, yet I know that each of us must care enough for ourselves to be ready and able to come to our own self-defense.

Those pieces of paper, which should have been gold, are a token of honor—your claim upon the energy of the men who produce. Your wallet is your statement of hope that somewhere in the world around you there are men who will not default on that moral principle which is the root of money. Is this what you consider evil?

White Evangelicals neither obscure nor ignore their religious convictions when they declare their allegiance to the 45th president. In fact, their actions indicate a preeminent concern with upholding orthodoxy. In the case of President Trump, observers should focus on discerning the orthodoxy of an actor who is perceived as religiously legitimate primarily because he engages in actions in support of religiously defined group interests rather than as a result of statements of belief or piety of behavior. While fear, nostalgia, racial resentment, and white nationalism have all been analytical pieces of the Trump support puzzle scholars have been weaving together since November 2016, a critical aspect of Trump support is to assert, rather than deny, that he is indeed unexpectedly religiously orthodox in the conduct of his presidency

To these statements, Socrates, no one can offer a reply; but when you talk in this way, a strange feeling passes over the minds of your hearers: They fancy that they are led astray a little at each step in the argument, owing to their own want of skill in asking and answering questions; these littles accumulate, and at the end of the discussion they are found to have sustained a mighty overthrow and all their former notions appear to be turned upside down. And as unskilful players of draughts are at last shut up by their more skilful adversaries and have no piece to move, so they too find themselves shut up at last; for they have nothing to say in this new game of which words are the counters; and yet all the time they are in the right. The observation is suggested to me by what is now occurring. For any one of us might say, that although in words he is not able to meet you at each step of the argument, he sees as a fact that the votaries of philosophy, when they carry on the study, not only in youth as a part of education, but as the pursuit of their maturer years, most of them become strange monsters, not to say utter rogues, and that those who may be considered the best of them are made useless to the world by the very study which you extol.

Are you ready to possess your master piece; ready to live a life that is worthy of who you were made to be? You will likely shed a few tears—tears of joy, tears of pain, tears of revelation—you might scream out loud and laugh out loud. You might even stomp your feet, shake your fist or pound the air. That's okay, because later on you might just run out and hug a stranger, love an enemy and sing like never before as well.

A Springfield “horseshoe” was an often grotesque open-faced sandwich in which a piece of meat was covered first with french fries and then with a cheeselike sauce. Visitors knowledgeable enough to avoid the local delicacy felt rightfully proud. The statement that Springfield was a city of “bad hotels and worse food” was perhaps apocryphal, but there was no shortage of bars, because drinking was state politicos’ top recreational activity.

Jennifer’s father, Randy Ertman, summarized our feelings toward Medellin in his statement to the court when the last three defendants were sentenced to death: “I hope you rot in hell. I honest to God mean that. I hope they rot in hell, sir. I hope to be there when you die, you sick pieces of (censored). Thank you, Your Honor, for allowing me to speak. I appreciate it, sir.”15 That doesn’t move the story along; I just admired his eloquence.

Science in its everyday practice is much closer to art than to philosophy. When I look at Godel's proof of his undecidability theorem, I do not see a philosophical argument. The proof is a soaring piece of architecture, as unique and as lovely as Chartres Cathedral. Godel took Hilbert's formalized axioms of mathematics as his building blocks and built out of them a lofty structure of ideas into which he could finally insert his undecidable arithmetical statement as the keystone of the arch. The proof is a great work of art. It is a construction, not a reduction. It destroyed Hilbert's dream of reducing all mathematics to a few equations, and replaced it with a greater dream of mathematics as an endlessly growing realm of ideas. Godel proved that in mathematics the whole is always greater than the sum of the parts. Every formalization of mathematics raises questions that reach beyond the limits of the formalism into unexplored territory.

Numbers written on restaurant checks within the confines of restaurants do not follow the same mathematical laws as numbers written on any other pieces of paper in any other parts of the Universe. This single statement took the scientific world by storm. It completely revolutionized it. So many mathematical conferences got held in such good restaurants that many of the finest minds of a generation died of obesity and heart failure and the science of math was put back by years. Slowly,

At any given time in the circle of life, we may be aspiring, succeeding, or failing—though right now we’re failing. With wisdom, we understand that these positions are transitory, not statements about your value as a human being. When success begins to slip from your fingers—for whatever reason—the response isn’t to grip and claw so hard that you shatter it to pieces. It’s to understand that you must work yourself back to the aspirational phase. You must get back to first principles and best practices.

You are still in Vursa.” The woman’s tone made it more like a statement than a question. “We are,” Terico said. “But I still don’t know who you are, or even what you are... I’m Terico Obisious, and I’ve been traveling with Jujor in order to find the pieces of the Elpis stone, in the hopes of bringing down Delkol and the Brotherhood.” Terico decided it didn’t matter at this point if Borely and Kitoh knew the truth about his objectives, considering how they had witnessed the power of the Elpis firsthand.

My personal war against the so-called “soccer menace” probably reached its peak in 1993, when I was nearly fired from a college newspaper for suggesting that soccer was the reason thousands of Brazilians are annually killed at Quiet Riot concerts in Rio de Janeiro, a statement that is—admittedly—only half true. A few weeks after the publication of said piece, a petition to have me removed as the newspaper’s sports editor was circulated by a ridiculously vocal campus organization called the Hispanic American Council, prompting an “academic hearing” where I was accused (with absolute seriousness) of libeling Pelé. If memory serves, I think my criticism of soccer and Quiet Riot was somehow taken as latently racist, although—admittedly—I’m not completely positive, as I was intoxicated for most of the monthlong episode. But the bottom line is that I am still willing to die a painful public death, assuming my execution destroys the game of soccer (or—at the very least—convinces people to shut up about it).

The primitive mentality does not invent myths, it experiences them. Myths are original revelations of the preconscious psyche, involuntary statements about unconscious psychic happenings, and anything but allegories of physical processes.7 Such allegories would be an idle amusement for an unscientific intellect. Myths, on the contrary, have a vital meaning. Not merely do they represent, they are the psychic life of the primitive tribe, which immediately falls to pieces and decays when it loses its mythological heritage, like a man who has lost his soul. A tribe’s mythology is its living religion “whose loss is always and everywhere, even among the civilized, a moral catastrophe. But religion is a vital link with psychic processes independent of and beyond consciousness, in the dark hinterland of the psyche. Many of these unconscious processes may be indirectly occasioned by consciousness, but never by conscious choice. Others appear to arise spontaneously, that is to say, from no discernible or demonstrable conscious cause

The enemy of my soul didn't want me painting that day. To create meant that I would look a little bit like my Creator. To overcome the terrifying angst of the blank canvas meant I would forever have more compassion for other artists. You better believe as I placed the first blue and gray strokes onto the white emptiness before me, the "not good enough" statement was pulsing through my head in almost deafening tones... This parlaying lie is one of his favorite tactics to keep you disillusioned by disappointments. Walls go up, emotions run high, we get guarded, defensive, demotivated, and paralyzed by the endless ways we feel doomed to fail. This is when we quit. This is when we settle for the ease of facebook.... This is when we get a job to simply make money instead of pursuing our calling to make a difference. This is when we put the paintbrush down and don't even try. So there I was. Standing before my painted blue boat, making a choice of which voice to listen to. I'm convinced God was smiling. Pleased. Asking me to find delight in what is right. Wanting me to have compassion for myself by focusing on that part of my painting that expressed something beautiful. To just be eager to give that beauty to whoever dared to look at my boat. To create to love others. Not to beg them for validation. But the enemy was perverting all that. Perfection mocked my boat. The bow was too high, the details too elementary, the reflection on the water too abrupt, and the back of the boat too off-center. Disappointment demanded I hyper-focused on what didn't look quite right. It was my choice which narrative to hold on to: "Not good enough" or "Find delight in what is right." Each perspective swirled, begging me to declare it as truth. I was struggling to make peace with my painting creation, because I was struggling to make make peace with myself as God's creation. Anytime we feel not good enough we deny the powerful truth that we are a glorious work of God in progress. We are imperfect because we are unfinished. So, as unfinished creations, of course everything we attempt will have imperfections. Everything we accomplish will have imperfections. And that's when it hit me: I expect a perfection in me and in others that not even God Himself expects. If God is patient with the process, why can't I be? How many times have I let imperfections cause me to be too hard on myself and too harsh with others? I force myself to send a picture of my boat to at least 20 friends. I was determined to not not be held back by the enemy's accusations that my artwork wasn't good enough to be considered "real art". This wasn't for validation but rather confirmation that I could see the imperfections in my painting but not deem it worthless. I could see the imperfections in me and not deem myself worthless. It was an act of self-compassion. I now knew to stand before each painting with nothing but love, amazement, and delight. I refused to demand anything more from the artist. I just wanted to show up for every single piece she was so brave to put on display.. Might I just be courageous enough to stand before her work and require myself to find everything about it I love? Release my clenched fist and pouty disappointments, and trade my "live up" mentality for a "show up" one? It is so much more freeing to simply show up and be a finder of the good. Break from the secret disappointments. Let my brain venture down the tiny little opening of love.. And I realized what makes paintings so delightful. It's there imperfections. That's what makes it art. It's been touched by a human. It's been created by someone whose hands sweat and who can't possibly transfer divine perfection from what her eyes see to what her fingertips can create. It will be flawed.

I do have a bad habit,” he says. “of falling in love. With regularity and to spectacular effect. You see, it never goes well.” I wonder if this conversation makes him think of our kiss, but then, I was the one who kissed him. He’d only kissed back. “As charming as you are, how can that be?” I say. He laughs again. “That’s what my sister Taryn always says. She tells me that I remind her of her late husband. Which makes some sense, since I would be his half brother. But it’s also alarming, because she’s the one who murdered him.” Much as when he spoke about Madoc, it’s strange how fond Oak can sound when he tells me a horrifying thing a member of his family has done. “Whom have you fallen in love with?” I ask. “Well, there was you,” the prince says. “When we were children.” “Me?” I ask incredulously. “You didn’t know?” He appears to be merry in the face of my astonishment. “Oh yes. Though you were a year my senior, and it was hopeless, I absolutely mooned over you. When you were gone from Court, I refused any food but tea and toast for a month.” I cannot help snorting over the sheer absurdity of his statement. He puts a hand to my heart. “Ah, and now you laugh. It is my curse to adore cruel women. He cannot expect me to believe he had real feelings. “Stop with your games.” “Very well,” he says. “Shall we go to the next? Her name was Lara, a mortal at the school I attended when I lived with my eldest sister and her girlfriend. Sometimes Lara and I would climb into the crook of one of the maple trees and share sandwiches. But she had a villainous friend, who implicated me in a piece of gossip—which resulted in Lara stabbing me with a lead pencil and breaking off our relationship.” “You do like cruel women,” I say. “Then there was Violet, a pixie. I wrote terrible poetry about how I adored her. Unfortunately, she adored duels and would get into trouble so that I would have to fight for her honor. And even more unfortunately, neither my sister nor my father bothered to teach me how to fight for show. I thought of the dead-eyed expression on his face before his bout with the ogre and Tiernan’s angry words. “That resulted in my accidentally killing a person she liked better than me.” “Oh,” I say. “That is three levels of unfortunate.” “Then there was Sibi, who wanted to run away from Court with me, but as soon as we went, hated it and wept until I took her home. And Loana, a mermaid, who found my lack of a tail unbearable but tried to drown me anyway, because she found it equally unbearable that I would ever love another.” The way he tells these stories makes me recall how he’s told me many painful things before. Some people laugh in the face of death. He laughed in the face of despair. “How old were you?” “Fifteen, with the mermaid,” he said. “And nearly three years later, I must surely be wiser.” “Surely,” I say, wondering if he was. Wondering if I wanted him to be.

...for a piece of famous fluffiness that doesn't just pretend about what real lives can be like, but moves on into one of the world's least convincing pretences about what people themselves are like, consider the teased and coiffed nylon monument that is 'Imagine': surely the My Little Pony of philosophical statements. John and Yoko all in white, John at the white piano, John drifting through the white rooms of a white mansion, and all the while the sweet drivel flowing. Imagine there's no heaven. Imagine there's no hell. Imagine all the people, living life in - hello? Excuse me? Take religion out of the picture, and everybody spontaneously starts living life in peace? I don't know about you, but in my experience peace is not the default state of human beings, any more than having an apartment the size of Joey and Chandler's is. Peace is not the state of being we return to, like water running downhill, whenever there's nothing external to perturb us. Peace between people is an achievement, a state of affairs we put together effortfully in the face of competing interests, and primate dominance dynamics, and our evolved tendency to cease our sympathies at the boundaries of our tribe.

So, Colonna, please demonstrate to our friends how it's possible to respect, or appear to respect, one fundamental principle of democratic journalism, which is separating fact from opinion. ...' 'Simple,' I said. 'Take the major British or American newspapers. If they report, say, a fire or a car accident, then obviously they can't indulge in saying what they think. And so they introduce into the piece, in quotation marks, the statements of a witness, a man in the street, someone who represents public opinion. Those statements, once put in quotes, become facts - in other words, it's a fact that that person expressed that opinion. But it might be assumed that the journalist has only quoted someone who thinks like him. So there will be two conflicting statements to show, as a fact, that there are varying opinions on a particular issue, and the newspaper is taking account of this irrefutable fact. The trick lies in quoting first a trivial opinion and then another opinion that is more respectable, and more closely reflects the journalist's view. In this way, readers are under the impression that they are being informed about two facts, but they're persuaded to accept just one view as being more convincing.

So you think that money is the root of all evil?” said Francisco d’Anconia. “Have you ever asked what is the root of money? Money is a tool of exchange, which can’t exist unless there are goods produced and men able to produce them. Money is the material shape of the principle that men who wish to deal with one another must deal by trade and give value for value. Money is not the tool of the moochers, who claim your product by tears, or of the looters, who take it from you by force. Money is made possible only by the men who produce. Is this what you consider evil? “When you accept money in payment for your effort, you do so only on the conviction that you will exchange it for the product of the effort of others. It is not the moochers or the looters who give value to money. Not an ocean of tears nor all the guns in the world can transform those pieces of paper in your wallet into the bread you will need to survive tomorrow. Those pieces of paper, which should have been gold, are a token of honor—your claim upon the energy of the men who produce. Your wallet is your statement of hope that somewhere in the world around you there are men who will not default on that moral principle which is the root of money. Is this what you consider evil?

I can't tell you how many times in my life I have been told that I have “control issues”. Historically, this statement has brought me annoyance—the kind of irritation that can only be described as a self-protective reaction to having my behaviours labelled for exactly what they were. Needless to say, these accusations would make me defensive. I'd pull my armour tighter and get out my weapons—anything to protect myself from the truth. I realized, one day, that there were only a few things I could control, and a whole lot of things that I couldn't. I realized that trying to control everything around me was a recipe for failure, because it simply wasn't possible. I wish I could tell you that I "let go" then—that it was a lovely, beautiful spiritual moment, and now I'm all better. But that isn't true. Because, for me, seeking to control things which can't be controlled isn't a random tick or flaw. It's a stage of communication in the language of my own mind. If I don't listen to the first whispers that tell me I've repressed some emotion or neglected to process some event—then, stage two starts. Every piece of dirt on the floor, every chewing noise, every unexpected obstacle... they all become intolerable. So, I have two choices when this happens. I can allow my desire to control the outside world to turn into trying to control it. Or, I can allow myself to hear what is being said to me—to interpret this strange language that I speak to myself in and respond with compassion. Do I consistently do the wise thing first? No. I forget. And then I remember, somewhere in the middle of neurotically scrubbing a wall. But I remember faster now than I did before, and sometimes I really am able to respond quickly. It's a journey. I'm not perfect. But I am doing the right thing, and I get better at it every time I have the chance to practice. That's what learning and letting go really is—a practice. It's never over. And it never is, and never will be, perfect.

It always bothers me that, according to the laws as we understand them today, it takes a computing machine an infinite number of logical operations to figure out what goes on in no matter how tiny a region of space, and no matter how tiny a region of time. How can all that be going on in that tiny space ? Why should it take an infinite amount of logic to figure out what one tiny piece of space/time is going to do? So I have often made the hypothesis that ultimately physics will not require a mathematical statement, that in the end the machinery will be revealed, and the laws will turn out to be simple, like the chequer board with all its apparent complexities. But

I'll tell you God's truth.' His right hand suddenly ordered divine retribution to stand by. 'I am the son of some wealthy people in the Middle West – all dead now. I was brought up in America but educated at Oxford, because all my ancestors have been educated there for many years. It is a family tradition.'     He looked at me sideways – and I knew why Jordan Baker had believed he was lying. He hurried the phrase 'educated at Oxford', or swallowed it, or choked on it, as though it had bothered him before. And with this doubt, his whole statement fell to pieces, and I wondered if there wasn't something a little sinister about him, after all.     'What part of the Middle West?' I inquired casually.     'San Francisco.'     'I see.

What's in a name? that which we call a rose/By any other name would smell as sweet.' In other words, the essence of an object does not change depending on it's name. This is a common misconception not unlike the 'world is flat' belief. By verbally identifying an object, by giving it a name, we alter it. And at the same time we prevent it from changing. A name is like a forked stick that we use to hold a snake on the ground." Portnov imitated using a forked branch to press down an imaginary viper. "By the way, consider this: the contradictory nature of a statement almost certainly proves its legitimacy... Come in." [...] "May I continue? Thank you. However, there is also another misconception-by which a name automatically defines the properties of an object. Here is a pen." He tossed up and caught a dark-blue pen with a white top. "If I give it the name of... an earthworm, will it slither?" Second years, Group A, maintained a tense silence. No one wanted to risk an answer. "It will not." Portnov let the pen fall on his desk. "Because this given piece of plastic has nothing in common with the process and events that we are talking about, that we spend time studying... between dance parties and dealing with gastrointestinal problems. Besides, when I say 'give a name,' I do not imply any of the languages that are commonly used by any of the living persons. I am talking about Speech, which you will begin to study during your third year. Some of you may start earlier.

My mother defines collage as a combination of things unexpected. The artist can choose things that appeal to her visually, and put them together psychologically. Thus, she took photos of her beloved brother, cut out from the context of prison, and let him romp with the fairies. . Or a window in a tree... flowers growing in unlikely places, the way you might wish they would. In collage you can put whatever you want anywhere. You make your own order out of the real stuff you are given to work with. . My mother told me this, and then she called a few days later to amend her original statement. Mark's collages weren't like mine, she said. I choose disparate elements and see how they fit together, what they might make. Mark decided what he wanted to make and then chose the pieces specifically to make that preconceived picture.

So, my dear…” She faced him with thudding heart, the crystal piece clutched desperately in her hand, but she was hardly aware that she even held it. “… You say I have let another man into my bed.” Erienne opened her mouth to speak. Her first impulse was to chatter some inanity that could magically take the edge from his callous half statement, half question. No great enlightenment dawned, however, and her dry, parched throat issued no sound of its own. She inspected the stopper closely, turning it slowly in her hand rather than meet the accusing stare. From behind the mask, Lord Saxton observed his wife closely, well aware that the next moments would form the basis for the rest of his life or leave it an empty husk. After this, there could be no turning back. “I think, my dear,” his words made her start, “that whatever the cost, ’tis time you met the beast of Saxton Hall.” Erienne swallowed hard and clasped the stopper with whitened knuckles, as if to draw some bit of courage from the crystal piece. As she watched, Lord Saxton doffed his coat, waistcoat, and stock, and she wondered if it was a trick of her imagination that he seemed somewhat lighter of frame. After their removal, he caught the heel of his right boot over the toe of the left and slowly drew the heavy, misshapen encumbrance from his foot. She frowned in open bemusement, unable to detect a flaw. He flexed the leg a moment before slipping off the other boot. His movements seemed pained as he shed the gloves, and Erienne’s eyes fastened on the long, tan, unscarred hands that rose to the mask and, with deliberate movements, flipped the lacings loose. She half turned, dropping the stopper and colliding with the desk as he reached to the other side of the leather helm and lifted it away with a single motion. She braved a quick glance and gasped in astonishment when she found translucent eyes calmly smiling at her. “Christopher! What…?” She could not form a question, though her mind raced in a frantic search for logic. He rose from the chair with an effort. “Christopher Stuart Saxton, lord of Saxton Hall.” His voice no longer bore a hint of a rasp. “Your servant, my lady.” “But… but where is…?” The truth was only just beginning to dawn on her, and the name she spoke sounded small and thin. “… Stuart?” “One and the same, madam.” He stepped near, and those translucent eyes commanded her attention. “Look at me, Erienne. Look very closely.” He towered over her, and his lean, hard face bore no hint of humor. “And tell me again if you think I would ever allow another man in your bed while I yet breathe.” -Christopher & Erienne

I think people use fuzzy verbs when they are afraid that if they make strong statements, someone may challenge them or they may be wrong. If people feel challenged, you have engaged their interest, and that is good. Challenging proposals sometimes get funded; boring ones never do. Also remember, you are a scientist — it is not your job to be right. It is your job to be thoughtful, careful, and analytical; it is your job to challenge your ideas and to try to falsify your hypotheses; it is your job to be open and honest about the uncertainties in your data and conclusions. But if you are doing cutting-edge work, you are not always going to be right. You may have some aspects of the system right but others wrong; your piece of the system may be counterbalanced by others; you may even have misinterpreted your data. As long as you did it with honesty, integrity, and intellect, you did right, even if you weren’t right.

My worst fears from jury selection manifested themselves in the verdict. This jury needed someone to tell them exactly how Caylee died. Piecing it together from circumstantial evidence was not good enough for them. They wanted the answers on a silver platter, but we didn’t have the evidence to serve it that way. It’s not just the verdict that tells me this, but also the manner in which it was reached. The fact that they didn’t request any materials to review. The fact that they didn’t have any questions for the judge. If the statements that the foreman of the jury made to the media are true, ten of these twelve jurors felt that ninety minutes of deliberation was sufficient to fully weigh, consider, and reject four weeks’ worth of testimony that we on the prosecution used to establish that this was first-degree murder. The rest of the thirteen hours of deliberation had been spent trying to convince the two holdout jurors of the decision.

The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")

How to Create Coping Statements Coping statements should be brief and simple so you can easily remember them when you feel anxious. They should apply directly to the situation you fear--if you are worried about your hand shaking while you eat, a statement about public speaking won’t help. They should also be realistic. You might try to counter anxious feelings with a statement like, “I won’t be nervous.” That statement is too unrealistic to help; everyone feels nervous at times. Your statements should help you cope with the nervousness. Some examples of effective coping statements include: -Relax. I’m in control. -My friends will still accept me if I say something silly. -It’s not that bad. I can do it. You may want to write your coping statement on a piece of paper to carry with you. You can also write other helpful comments on it. Then, when you become anxious, you can read the coping card and can remind yourself that you can change the way you think. Often, simply having the card with you is calming whether you refer to it or not.

You’re Chris Kyle?” said the man. “Uh, yeah?” answered Chris. The man handed Chris a piece of paper. “You’ve been served,” he intoned in an overly dramatic voice. Jesse Ventura had decided to sue Chris, claiming he had been defamed by his statements. According to Jesse, the incident never happened. One of the unique aspects of the lawsuit was that it charged Chris with “unjust enrichment.” In layman’s terms, as I understood it, this meant that Jesse claimed people bought the book because he talked about decking him. So all that information about Chris’s childhood, his days as a cowboy, his time in Iraq, his medals, the people he saved, the people he couldn’t save, his difficulty transitioning home, all the things I said in the book about raising the kids, how hard it was to get on without him…all of those things weren’t the reason people bought the book? They were interested in the four hundred or so words tucked toward the back about a fight that didn’t even name the principal-details that anyone could find for free on the Internet? Awesome. Chris wasn’t worried about the lawsuit. He believed what he said and had witnesses who remembered the incident as he did. It was an issue that would smolder for more than two years, and cause a great deal of pain.

During his visit to India in December 2010, the soft-spoken Chinese Premier Wen Jiabao seems to have succeeded in convincing Prime Minister Manmohan Singh that the border dispute between the two countries belongs to the past, won’t be easy to resolve, and requires patience. Instead of using whatever diplomatic language was necessary to call this statement pure poppycock, the even more soft-spoken Dr Singh appears to have succumbed completely. When Mr Jiabao was asked whether he would advise Pakistan to stop terrorist activity, he made it clear that he would not. ‘That’s for the two of you to resolve,’ he bluntly said. Our prime minister obviously tried to flatter his guest in the hope of getting some response which he could sell to the Indian people when he declared that ‘the world will listen when India and China will speak with one voice’. The response he received to this piece of flattery was, ‘Our relationship is greater than the sum of its parts.’ To me the statement is an attractive piece of diplomatic craftsmanship meaning nothing. Without any countervailing advantage, the visit yielded a trade pact which will take the bilateral trade to $100 billion by 2015, a complete economic sell-out in a year when the trade deficit was already approximately $20 billion.

Okay. Fine. Why are you disappointed in me, Cletus?” “Because I provided means and opportunity. All you had to do was exploit the situation.” “What are you talking about?” “On Friday? With the blankets and coffee? You think that was all by accident? That was arranged.” “Arranged?” I blinked at him while he tore off another piece of his doughnut. It smelled like it was strawberry flavored. “Yes. Arranged.” Leaning back in my chair, I crossed my arms and examined Cletus. I decided he was odd. “You’re odd.” “Yes. I am. But that doesn’t negate the fact that you fumbled my pass. If we’re going to make this thing happen with Jethro, I need you to bring your A-game.” “This is about Jethro?” I sat up straighter. “Of course. What’d you think I was talking about?” Apparently I wasn’t catching on quickly enough because he sighed loudly and rolled his eyes with great effect. “Do you want my help or not?” “Yes, yes, yes,” I said quickly, leaning forward at full attention. “Yes. I want your help.” “Fine then. We need to coordinate our attack.” Cletus punctuated this statement by popping the remainder of the first doughnut in his mouth. “Good. Yes. Attack synchronization.” My phone rang as he chewed. I glanced at the screen, saw it was Marta, and sent it to voicemail. Marta called back immediately, earning me a severe frown from Cletus. “You should get that.” He gestured to my phone. “You get that and I’ll ruminate while eating this other doughnut.

I was going to make a confession. Then I remembered I don't make them very well. We still need to see the monkeys." "You don't really think I'm going to let a provocative statement like that slip by,do you?" "Well...I thought the best way to discourage you was to agree to go out with you-to some place like this, which I thought would bore you to distraction-then be as obnoxious as possible." "Have you been obnoxious?" His tone was mild and entirely too serious. "I thought you've been behaving very naturally." "Ouch." Shelby rubbed at the figurative wound under her heart. "In any case, I get the distinct impression that I haven't discouraged you at all." "Really?" Reaching for more popcorn, he leaned close and spoke gently in her ear "How did you come by that?" "Oh-" She cleared her throat. "Just a hunch." He found that tiny show of nerves very rewarding. Yes, the puzzle was coming together, piece by careful piece. It was the way he'd always structured his life. "Odd.And not once since we've been here have I mentioned that I'd like to find a small, dim room and make love to you,over and over." Warily, Shelby slid her eyes to his. "I'd just as soon you didn't. "All right." Alan slipped an arm around her waist. "I won't mention it while we're here." A smile tugged at her mouth, but she shook her head. "It's not going to come to that, Alan.It can't." "We have a fundamental disagreement." He paused on a bridge. Beneath them, swans floated haughtily. "Because to my way of thinking it has to.

Life is pretty short yet magnanimous if we know just how to live right. It isn't that easy, it takes a lot of our soul, sometimes too many broken pieces to finally come together in binding a masterpiece that smiles like a solitary star forever gazing around at the music of an eternal cosmos. The most brutal yet beautiful truth about Life is that It is marked, marked with Time where every moment takes us closer to death, it doesn't have to sound or feel bad or scary because death is the most inevitable truth in this mortal world. While the knowledge of death jolts our mind with the uncertainty of Life, clutches us in the emotion of fear to think of pain or the loss of bonds, when we acknowledge that as a part of our souls' journey and take every moment as our precious gift, a blessing to experience this Life with its beautiful garden of emotions blossoming with wonderful smiles that we can paint on others, then we make our Life magnanimous, then we make even the very face of death as that of an angel coming to take us to a different voyage, soaked in a lot of memories and experiences beautifully binding our soul. I have realised that when we live each day as if it's the last day of our life, we become more loving and gentle to everyone around and especially to our own selves. We forgive and love more openly, we grace and embrace every opportunity we get to be kind, to stay in touch with everything that truly matters. I have realised that when we rise every morning with gratitude knowing that the breath of air still passes through our body, just in the mere understanding that we have one more day to experience Life once again, we stay more compassionate towards everything and everyone around and invest more of our selves into everything and everyone that truly connect and resonate with our soul. I have realised that when we consciously try to be good and kind, no matter however bad or suffocating a situation is we always end up taking everything at its best holding on to the firm grip of goodness, accepting everything as a part of our souls' lesson or just a turn of Time or Fate and that shapes into our strength and roots our core with the truest understanding of Life, the simple act of going on and letting go. Letting go of anything and everything that chains our Soul while going on with a Heart open to Love and a Soul ready to absorb all that falls along the pathway of this adventure called Life. I have realised that when we are kind and do anything good for another person, that gives us the most special happiness, something so pure that even our hearts don't know how deep that joy permeates inside our soul. I have realised that at the end of the day we do good not because of others but because of our own selves, for if tomorrow death comes to grace me I hope to smile and say I have Lived, loved unconditionally and embraced forgiveness, kindness and goodness and all the other colours of Love with every breath I caught, I have lived a Life magnanimous. So each time someone's unkind towards you, hold back and smile, and try to give your warmth to that person. Because Kindness is not a declaration of who deserves it, it's a statement of who you are. So each time some pieces of your heart lay scattered, hold them up and embrace everyone of them with Love. Because Love is not a magic potion that is spilled from a hollow space, it's a breath of eternity that flows through the tunnel of your soul. So each time Life puts up a question of your Happiness, answer back with a Smile of Peace. Because Happiness is not what you look for in others, it's what you create in every passing moment, with the power of Life, that is pretty short when we see how counted it stands in days but actually turns out absolutely incredibly magnanimous when loved and lived in moments.

Grayson, I’m going to dance on the day that you swing.” “If he swings, I swing with him.” Joss rose to his feet. Gray drilled his brother with a glare. “Joss, no.” Sit down, damn you. Think of our sister. Think of your son. “I’m the captain of the Aphrodite.” Joss’s voice rang through the courtroom. “I’m responsible for the actions of her passengers and crew. If my brother is a pirate, then I’m a pirate, too.” Gray’s heart sank. They would both die now, he and his idiot of a brother. Joss walked to the center of the courtroom, the brass buttons of his captain’s coat gleaming as he strode through a shaft of sunlight. “But I demand a full trial. I will be heard, and evidence will be examined. Logbooks, the condition of the ships, the statements of my crew. If you mean to hang my brother, you’ll have to find cause to hang me.” Fitzhugh’s eyebrows rose to his wig. “Gladly.” “And me.” Gray groaned at the sound of that voice. He didn’t even have to look to know that Davy Linnet was on his feet. Brave, stupid fool of a boy. “If Gray’s a pirate, I’m a pirate, too,” Davy said. “I helped him aim and fire that cannon, that’s God’s truth. If you hang him, you have to hang me.” Another chair scraped the floorboards as its occupant rose to his feet. “And me.” Oh God. O’Shea now? “I boarded the Kestrel. I took control of her helm and helped bind that piece of shite.” The Irishman jutted his chin at Mallory. “Suppose that makes me a pirate, too.” “Very good.” Fitzhugh’s eyes lit with glee. “Anyone else?” Over by the window, Levi stood. His shadow blanketed most of the room. “Me,” he said. “Now, Levi?” Gray pulled at his hair. “Seven years in my employ, you don’t say a single goddamned word, and you decide to speak now?” Bloody hell, now they were all on their feet. Pumping fists, cursing Mallory, defending Gray, arguing over which one of them deserved the distinction of most bloodthirsty pirate. It would have been a heartwarming display of loyalty, if they weren’t all going to die.

When you added dialogue to your piece, I really understood how Amy [the character] felt.” This is not so much praise as a causal statement—you did this [added dialogue], with this consequence [I understood how the character felt]. Causal process statements are at the heart of building agency.

yours, Rob,” she replied. “Damn it, Gretchen,” he said. “This is how it works. I can’t always give you all the information.” “Well you could have given us more.” The statement hung in the air between them for several moments. Finally, Hutton relented, “I don’t have all of the pieces,

In most companies, you have to justify so much of what you do—to prepare for quarterly earnings statements if the company is publicly traded or, if it is not, to build support for your decisions. I believe, however, that you should not be required to justify everything. We must always leave the door open for the unexpected. Scientific research operates in this way—when you embark on an experiment, you don’t know if you will achieve a breakthrough. Chances are, you won’t. But nevertheless, you may stumble on a piece of the puzzle along the way—a glimpse, if you will, into the unknown.

(one good piece, ladies, and choose it well; everything makes a statement, nothing speaks quite so loudly as cheapness).

No!” She yanked it away, curling protectively around it. He felt like she had slapped him. “What do you think I am going to do, snatch it and throw it in the lake?” he demanded in an angry voice. She took a step back, and he followed. “Do you?” “Shhhh!” she said in a fierce whisper. “People are still sleeping!” He stepped closer, his face inches from hers. “And I am dying here because a woman I have hankered after for years just kicked me in the teeth. Again.” Mollie blanched. “Why do you keep talking like that? We barely know each other!” He was mad enough to spit fire. “I couldn’t court a woman who did business with Hartman’s,” he ground out. “That was the quickest route for me to get canned, but after the fire, I don’t care anymore about rules. You are a woman I want in my life, but my hand to God, if you keep accusing me of trying to swindle you, I am liable to combust.” Her eyes narrowed in distrust, and he was smart enough to know that blasted scrap of paper was going to be a wedge between them forever unless he could figure a way to dispose of it. He settled his hands on her shoulders. “Mollie, you have a piece of paper. In the coming years, the court system in this city is going to be swamped with a legal quagmire the likes of which this country has never seen before. With the archives of the courthouse in ashes, there is no way to prove the legitimacy of that deed.” “No way to disprove it either.” “Exactly.” He turned her around and cupped the side of her face. He tried using a gentle pressure to nudge her face up to look at him, but she resisted. “Mollie, I have cared about you for years. I have made a great study of Mollie Knox and the way she runs her business, but you know nothing about me. I suppose it is not fair for me to expect you to trust me when I’ve never been more than the man signing off on your quarterly revenue statements. Come live at my house. Bring Frank. Heaven help me, you can even bring Sophie, but come. I can’t stand the thought of you shivering in that church. No matter what it takes, I intend to earn your trust, and after that, you’d better put an armed guard around your heart, because I plan on winning you and folding you into my life. Fair warning, woman.” Mollie squinted at something over his shoulder, and Zack realized she had not been paying attention to a single word he’d said.

The course I will be seeking to pursue with the company is one of reconciliation,” Mr. Cherkaoui said in a statement. “For a number of years there has been a constantly growing exchange between the different dance disciplines, as classical ballet and contemporary dance increasingly complement each other.” Ben Munisteri Is Back, Out of a Time Warp Julieta Cervantes for The New York Times Katie Weir, foreground, in a piece by the choreographer Ben Munisteri, at Actors Fund Arts Center in Brooklyn.

The proceedings of these ecumenical councils remind me of the experience of sitting down at a table before a large, thousand-piece jigsaw puzzle. Many of us know how frustrating it can be to keep trying piece after piece that looks like it should fit, but it doesn’t. I have even been guilty of trying to force a piece into the wrong space, even though I know only one will be a true fit. Eventually, I find the proper puzzle piece that provides an exact fit. Likewise, the delegates to the Council of Nicea and the Council of Chalcedon were seeking to be faithful to the hundreds of Christological “pieces” found in the texts of Scriptures. It was their unenviable task to put the whole “picture” of Christ together for the very first time in such a way as to find a perfect match for every piece. At times, various groups presented “pieces” they believed were a proper fit regarding the humanity or deity or natures or wills of Christ, but, in the end, each was declared to be improper fits. The proceedings of these councils did more to declare which pieces were not true pieces of the puzzle and should be discarded, than to provide a final, definitive statement of Christology that would silence all future discussions. We may know that the “Arius,” “Nestorius,” and “Eutyches” pieces do not fit the Christological puzzle, but this is not to say that a final and complete picture emerged.

Companies use various tests and methodologies. One popular test is called the Myers-Briggs Type Indicator. HubSpot uses a methodology called DISC, which stands for four basic personality types: dominant, influential, steady, and conscientious. You can be a mix of more than one trait—a D with a little bit of C mixed in, for example. The basic idea on all of these things is that you answer a zillion random questions, and a piece of software analyzes your answers to determine what kind of person you are. You do the test online. In the DISC assessment, you’re presented with statements to which you must answer yes or no. I am a neat and orderly person. I like peace and quiet. I am very persuasive. I am a very modest type. A week or so after filling out my questionnaire I am sent to a meeting where I will find out my results. It’s a group encounter, with about twenty people. I’m the only person from my department. The others seem to be mostly from sales. I don’t know any of them. DISC is based on concepts created in 1928 by a psychologist named William Marston, who also created the comic book character Wonder Woman. That tells you pretty much all you need to know about DISC. Other people picked up Marston’s concepts in the 1950s and 1970s, and used them to create personality assessment tests. The ideas are pretty much hogwash, and to make things worse, they are put into practice by people with no psychological training or expertise. At

you create your life in two ways: by the statements you say to yourself and others, and by the questions you ask yourselves and others.

Poetry and Genre The hallmark of rhetoric in ancient Near Eastern literature is repetition; in poetry, this takes the form of what scholars call “parallelism.” Frequently, the first line of a verse is echoed in some way by the second line. The second line might repeat the substance of the first line with slightly different emphasis, or perhaps the second line amplifies the first line in some fashion, such as drawing a logical conclusion, illustrating or intensifying the thought. At times the point of the first line is reinforced by a contrast in the second line. Occasionally, more than two lines are parallel. Each of these features, frequently observed in Biblical psalms, is represented in songs from Egypt, Mesopotamia and Ugarit. Unlike English poetry, which often depends on rhyme for its effect, these ancient cultures attained impact on listeners and readers with creative repetition. Psalms come in several standard subgenres, each with standard formal elements. Praise psalms can be either individual or corporate. Over a third of the psalms in the Psalter are praise psalms. Corporate psalms typically begin with an imperative call to praise (e.g., “Shout for joy to the LORD” [Ps 100:1]) and describe all the good things the Lord has done. Individual praise often begins with a proclamation of intent to praise (e.g., “I will praise you, LORD” [Ps 138:1]) and declare what God has done in a particular situation in the psalmist’s life. Mesopotamian and Egyptian hymns generally focus on descriptive praise, often moving from praise to petition. Examples of the proclamation format can be seen in the Mesopotamian wisdom composition, Ludlul bel nemeqi. The title is the first line of the piece, which is translated “I will praise the lord of wisdom.” As in the individual praise psalms, this Mesopotamian worshiper of Marduk reports about a problem that he had and reports how his god brought him deliverance. Lament psalms may be personal statements of despair (e.g., Ps 22:1–21, dirges following the death of an important person (cf. David’s elegy for Saul in 2Sa 1:17–27) or communal cries in times of crisis (e.g., Ps 137). The most famous lament form from ancient Mesopotamia is the “Lament Over the Destruction of Ur,” which commemorates the capture of the city in 2004 BC by the Elamite king Kindattu. For more information on this latter category, see the article “Neo-Sumerian Laments.” In the book of Psalms, more than a third of the psalms are laments, mostly by an individual. The most common complaints concern sickness and oppression by enemies. The lament literature of Mesopotamia is comprised of a number of different subgenres described by various technical terms. Some of these subgenres overlap with Biblical categories, but most of the Mesopotamian pieces are associated with incantations (magical rites being performed to try to rid the person of the problem). Nevertheless, the petitions that accompany lament in the Bible are very similar to those found in prayers from the ancient Near East. They include requests for guidance, protection, favor, attention from the deity, deliverance from crisis, intervention, reconciliation, healing and long life. Prayers to deities preserved

My foundational message is that “Enlightenment is a piece of cake. But to be in "discipleship' is all it takes to understand this foundational statement. Once you are in discipleship, you are in a boundless state.

The application of the parable is, I think, that if you do not understand a statement, then to discover that it has no verification is an important piece of information about it and makes you understand it better. That is to say, you understand it better; you do not find out that there

The power in a sincere compliment is enormous. There is nothing that makes people feel more special than to have their finer traits noted and appreciated. You can compliment someone on a new hairstyle, an item of clothing, a piece of jewelry, or physical appearance. However, not all compliments are created equal. A good compliment acknowledges the object of admiration: - That’s a nice sweater you’re wearing, or What an unusual tie. An excellent, top-of-the-line compliment goes beyond that to give conversation material by expounding on why you like the item. For instance, you might elaborate on the sweater by saying, - I love your sweater. That shade really enhances the color of your eyes. You can turn your appreciation of a good-looking tie into a more powerful compliment by saying, - That’s a great tie. Its unusual design really sets it apart, I always enjoy it when men make fashion statements with their ties.

In France, a parallel experiment found something similar. People deliberately exposed to Marine Le Pen’s false claims were more likely to want to vote for her.6 Sadly, this persisted after her statements were fact-checked in front of them. Truth did not sway their opinions. Simply thinking about migration makes people more parochial. The facts aren’t allowed to get in the way. There is an important reason why facts are ignored, and it is based on a piece of economics seemingly so utterly self-evident that many find it impossible to think past it, even when the evidence says the opposite. The economic analysis of immigration often comes down to a seductive syllogism. The world is full of poor people who would obviously earn a lot more if they could find their way here (wherever that might be), where things are clearly much better; therefore, given half a chance, they will indeed leave wherever they are and come to our country, and this will drive down wages and make most of us already here worse off.

Overview of the Fallacy of Division by Austin Cline In critical thinking, we often come across statements that fall victim to the fallacy of division. This common logical fallacy refers to an attribution placed onto an entire class, assuming that each part has the same property as the whole. These can be physical objects, concepts, or groups of people. By grouping elements of a whole together and assuming that every piece automatically has a certain attribute, we are often stating a false argument. This falls into the category of a fallacy of grammatical analogy. It can apply to many arguments and statements we make, including the debate over religious beliefs. The fallacy of division is similar to the fallacy of composition but in reverse. This fallacy involves someone taking an attribute of a whole or a class and assuming that it must also necessarily be true of each part or member. The fallacy of division takes the form of: X has property P. Therefore, all parts (or members) of X have this property P. Here are some obvious examples of the Fallacy of Division: The United States is the richest country in the world. Therefore, everyone in the United States must be rich and live well. [So pointing out one poor American does not refute the proposition that the United States is a rich country.]

A violinist named Karl Amenda arrived in Vienna about this time and became Beethoven’s nearly inseparable companion due to their mutual enjoyment of each other’s music. Amenda later related that when he once deplored the fact that Beethoven’s marvelous improvisations were “born and lost in a moment,” Beethoven refuted this statement by accurately replaying every note of the impromptu piece he had just completed. Another time, Amenda happened to be on hand when Beethoven came up short on cash when his rent was due. Amenda told Beethoven that he didn’t have a problem; boldly, he locked Beethoven into his room, gave him an assignment, and returned after three hours had passed. Beethoven shoved over a paper on which a new musical composition was written. Amenda took the paper to Beethoven’s landlord and instructed him to take it to a publisher and collect the rent that was due to him. The landlord was dubious, but he returned from the publisher asking if “other bits of paper like that were to be had.

The men fortunately didn’t notice my near heart attack or me.  They were too busy watching something in the parking lot.  Standing shoulder to shoulder, they blocked my view.  I didn’t really care what had them so engrossed; I wanted to go home. I heard Sam behind me, muttered a quick “excuse me,” and moved around the small group.  It took me less than a second to spot the object of their attention.  Once I did, I couldn’t look away. Sam’s truck had exploded.  Ok, maybe not literally, but that’s what it looked like at first glance.  The detached hood leaned against the right front fender.  Dark shapes littered the ground directly in front of the truck.  My mouth popped open when I realized I was looking at scattered pieces of the truck’s guts.  Little pieces, big pieces, some covered in sludge.  Deep inside, I groaned a desperate denial.  Not Sam’s truck.  I needed it. A clanking sound drew my attention from the carnage to the form bent over the front grill.  He did this, the last man I’d met.  He studied the gaping hole that had once lovingly cradled an engine—one with enough life to drive me home. “Gabby, honey,” Sam said from behind me, causing me to jump.  “I don’t think he wants you to go just yet.” My heart sank.  Not only did the man’s actions scream loud and clear “she’s mine” but Sam’s calm statement confirmed my worst fear.  The Elders had noticed.  My stomach clenched with dread for a moment, and I wrestled with my emotions.  No, it didn’t matter who noticed.  I wasn’t giving up or giving in.  I’d told Sam I’d come to the Introductions.  I had never agreed to follow their customs. “There’s more than one vehicle here,” I said. “If we go inside to ask anyone else, we’ll come back to more vehicular murder.” I turned to look at Sam.  He watched the man and his truck.  He was right.  I couldn’t ask anyone else to deal with this guy’s obvious mental disorder.  As soon as that thought entered my mind, I felt a little guilty.  I usually didn’t judge people.  I preferred to avoid them altogether.  But this guy made himself hard to ignore. “Fine.”  I shouldered my bag, turned, and walked toward the main gate, pretending I didn’t hear Sam’s warning. “You won’t get far,” he said softly behind me. The

Any discrete piece of information can be represented by a set of numbers. Systems that compute can represent powerful mappings from one set of numbers to another. Moreover, any program on any computer is equivalent to a number mapping. These mappings can be thought of as statements about the properties of numbers; hence, there is a close connection between computer programs and mathematical proofs. But there are more possible mappings than possible programs; thus, there are some things that simply cannot be computed. The actual process of computing can be defined in terms of a very small number of primitive operations, with recursion and/or iteration comprising the most fundamental pieces of a computing device. Computing devices can also make statements about other computing devices. This leads to a fundamental paradox that ultimately exposes the limitations not just of machine logic, but all of nature as well.

This brings me back to the statement that thee is no such thing as living matter. In the cell, all the parts and pieces are separate units, working precisely together, but not themselves alive. Life is not IN any of these parts and pieces, just as in your automobile, there is no automobility in any piece or part, in a spark plug or a carburetor needle. Automobility is a superior quality which coheres to the total motor car to the total motor car. Similarly, life is a super-quality that coheres to the total cell.

Have you ever asked what is the root of money? Money is a tool of exchange, which can’t exist unless there are goods produced and men able to produce them. Money is the material shape of the principle that men who wish to deal with one another must deal by trade and give value for value. Money is not the tool of the moochers, who claim your product by tears, or of the looters, who take it from you by force. Money is made possible only by the men who produce. Is this what you consider evil? “When you accept money in payment for your effort, you do so only on the conviction that you will exchange it for the product of the effort of others. It is not the moochers or the looters who give value to money. Not an ocean of tears nor all the guns in the world can transform those pieces of paper in your wallet into the bread you will need to survive tomorrow. Those pieces of paper, which should have been gold, are a token of honor—your claim upon the energy of the men who produce. Your wallet is your statement of hope that somewhere in the world around you there are men who will not default on that moral principle which is the root of money. Is this what you consider evil? “Have you ever looked for the root of production

Goody Putnam thereby became the first to follow Tituba in describing the devil’s book—an object that, in many guises, was eventually to appear in numerous statements by both accusers and confessors. The afflicted later referred repeatedly to being tempted to write their names in Satan’s book, while confessors typically described actually having done so. More than two decades earlier Elizabeth Knapp had been the first New Englander to indicate that the diabolic covenant was embodied in a book rather than merely a piece of paper.

The Banach-Tarski paradox The pieces that the original ball is chopped into are not your typical sane pieces. Rather, they will look like something that was done by Zeno while under the influence of psychedelic drugs. Each piece will be connected but very bizarre looking. Nevertheless, this fact is a provable consequence of the seemingly harmless axiom of choice. Another version of the paradox says that a sphere as small as a pea can be cut up into a finite set of different parts and then be put together to form a sphere the size of the sun. Many people say that since this paradox is the consequence of the axiom of choice, this axiom leads to an obvious false statement and should be excluded from what is reasonable.

Hulking piece of rust,” she grumbled, then gave it a little pat on the wheel well as she scooted out between her truck and Hannah’s car. “Can’t let the car gods hear you dis their minions,” she said when she caught Cooper’s amused look. “They’ll strand you in the desert as sure as look at you. Besides, she might be a hulking piece of rusted metal but she’s my hulking piece.” She stopped when she reached her sister and gave her a one-armed hug. “And to what do I owe this pleasure? Cross-examining my afternoon date, are we?” “Maybe,” Hannah said, hugging her back. “Oh, good.” Kerry grinned, rubbing her hands together. “What did you learn?” “Hey, now,” Cooper said, chuckling. “What makes you think I’d give anything up?” “Oh, she’s good,” Kerry told him. “She once talked a tribal chief in Papua New Guinea, out of marrying me to his youngest son.” Cooper looked at Hannah, who just raised an arched brow but didn’t refute the statement. “Well, then, I suppose I’m even more in your debt,” he told Kerry’s oldest sister. “Unless of course the tribe believes in polygamy.” Kerry looked affronted. “You’d share me? Well, well, good to know.” She folded her arms. “So glad we’re having this little chat.” “Oh, no, Starfish, no such luck. You’d be stuck making do with only me. You see, I know a guy who could fly us out of there on his helicopter, and I’m guessing your erstwhile tribal spouse wouldn’t go anywhere near one of those flying birds. I’d spirit you off and--” “And leave my poor first husband brokenhearted and alone? Do I get a say in this?” She looked to her sister. “You’re drawing up my pre-nup, right?” Cooper brightened and clapped his hands together, which earned him an arched brow from Kerry. “Well, while I’m not too thrilled about your attachment to Number One, speaking as Number Two, I will say I’m happy to hear we’re in the negotiation phase.” “Husband Number One is a lot younger,” she said consideringly. “And while he doesn’t have as many head of cattle as you do, he does come with an entire village, and if something happens to his other six brothers, he’ll be chief one day.” She smiled sweetly. “Just saying.” Cooper flashed her a smile that might have been a little too private with her sister standing right there, but what the hell. “Keep in mind, Number Twos traditionally try harder. So I have that going for me.” Hannah looked from Cooper to Kerry, then at both of them, before finally looking at Kerry. “Seriously, marry him before he wises up.” “Hey,” Kerry replied, mock wounded. “And why do you say that?” “You speak the same language.” “Says the woman who communicates with her husband using old movie quotes that nobody gets but the two of you.” Hannah smiled, really smiled, and it transformed her often more serious expression into something truly radiant. “Yes, that’s exactly who’s saying that.” She looked at Cooper. “I have a feeling you and Calder will become fast friends.” “Thank you,” Cooper said, “for both sentiments.

I would also encourage you to see the text literarily. (Did your brain fill in a different word you were expecting?!) By literarily, I mean that you accept the text as what it is, which is a piece of literature. It is holy, inspired literature, but it is literature nonetheless. Genesis 3 is not journalistic live reporting. It is a story passed down through storytelling from one generation to the next, until at last we had the means of writing the story down to preserve for future generations. It has an audience, and a narrator, and primary characters. Because it’s good literature, it has a crisis, and a climax, and a resolution, too. Rather than asking the text to be the first, sole, or primary spiritual, philosophical, psychological, and sociological statement about humanity, we could choose instead to accept it as what it is: a story from scripture, meant to provoke us in ways that will move us toward God. It can far and away exceed that particular expectation.

much yourself at that moment. I kept it together at the office but when I got home, Jeremy Peters from the New York Times reached me on my landline. In my emotional state, I was unguarded. He quoted me in his piece saying, “This is like an 18-wheeler smacking into us, and it just becomes a huge distraction at the worst possible time. We don’t want it to knock us off our game. But on the second-to-last weekend of the race, we find ourselves having to tell voters, ‘Keep your focus; keep your eyes on the prize.’” My statement was not much appreciated in Brooklyn

More specific material relating to the bourgeois state will be found in subsequent volumes. This approach is of a piece with Marx’s. One must remember that most of the states that Marx had occasion to discuss were not capitalist states—as yet—even in Europe, let alone throughout the rest of the world. From the standpoint of theory this is a good thing, since no phenomenon can be thoroughly understood if only one specimen or type is available for examination. The literature of Marxism and marxology is unfortunately full of statements about Marx’s views which actually apply only to capitalism and the bourgeois era, and which require at least considerable qualification as soon as the focus is widened to include most of the world and world history. It is a form of ethnocentrism.

Eco-friendly stores that are environmentally friendly are ones that have no negative impact on the environment. These are products made entirely of organic and natural materials. They're also packaged in materials that are compostable or biodegradable. Let's take a look at all of the sustainable products for home you can use right now to help save the environment. How many times a year do you go shopping for new clothes? Do you ever resist wearing new clothing because it is out of style? Clarkia Home, where you may buy trendy clothes, generates a lot of waste. Clarkia Home was one of the most well-known brands involved in the fight against fast fashion like recyclable and reused. This ethical clothing business offers long-lasting fashion at an affordable price that may be worn throughout the year. Every basic thing can be simply turned into a stunning fashion statement. In your kitchen products, you probably already reuse and recycle as much as possible. You've decided to start buying eco-friendly kitchen products in order to make your home more economically conscious. To be sure, this isn't always simple. However, with a little tweaks here and there, you can achieve it. Here are some eco-friendly home products to assist you achieve your goal of having a completely green kitchen. Eco Long Handle Reusable Cotton Bags drawstring: One of Clarkia home's best favorite Recyclable products is our trophy Reusable Produce Bags. Instead of tearing off and discarding plastic produce bags from the grocery store, anyone may use the Clarkia home reusable produce cotton bags and never tear off and discard a plastic produce bag again. They also let water and air pass through, allowing you to wash your fruits and vegetables once you reach home. Cotton Coffee Filters Cones - 3 Piece Size For your Clarkia home, the ideal reusable coffee filters Crafts are available in a range of materials and sizes to fit a variety of coffee-making machines. Here's a rundown of what's on offer. You'll be able to discover a filtration for any style of coffee maker . Just take in mind how much trouble it will be to clean up afterward, as well as how many your family will likely require at the same time. It's also a good idea to double-check that the filter you're buying is compatible with your coffee filter crafts. Contact Us: Eco-Friendly Home Products - Clarkia Home 214, Gautam Marg, Namdarpura, Urdupura, Ujjain, M. P. 456006 (+91) – 99989 – 39740 care@clarkiahome.com

George Powers of Little Rock, Arkansas, made a statement which was read at a public indignation meeting in Los Angeles on October 12, 1857, and which was widely reported in California newspapers. Describing conditions in Utah, he said: We found the Mormons making very determined preparations to fight the United States troops, whenever they may arrive. On our way in, we met three companies of 100 men each, armed and on the road toward the pass above Fort Bridger... We found companies drilling every evening in the city. The Mormons declared to us that no U.S. troops should ever cross the mountains; they talked and acted as though they were willing to take a brush with Uncle Sam... We came on to Buttermilk Fort, near the Lone Cedar 176 miles, and found the inhabitants greatly enraged at the train that had just passed... The people [the Mormons] had refused to sell the train any provisions, and told us they were sorry they had not killed them there; but they knew it would be done before they got in. They stated further that they were holding their Indians in check until the arrival of their chief, when he would follow the train and cut it to pieces.

Tell me what an axiom is,” Mom said. “A statement accepted as true without proof.” “You want to know what God is, Esther. God is an axiom.

birth certificate and death certificate, both issued in Cook County, Illinois. Laura’s various diplomas, her birth certificate from Rhode Island, her social security card, her driver’s license. Andrea Eloise Mitchell’s record of live birth dated August 20, 1987. The deed to the Belle Isle house. Immunization records. Marriage license. Divorce decree. Car titles. Insurance cards. Bank statements. Credit card statements.

Here are a few recommendations: Brainstorm on a piece of paper everything that invigorates you and connect the dots. Think back to what you enjoyed doing as a child. Explore what you enjoy doing in your spare time or as a hobby. List all of your strengths and reflect on them. Ask others for help if you find it hard to list your strengths. Write your own personal mission statement, i.e. what would you like to specifically offer the world or actually have written on your gravestone? Ask your Soul for guidance in the form of a prayer. Ask yourself, “How can I best give my gift away to others?” Whatever answer makes you want to cry with joy is your meaning in life. Repeat these recommendations until something bursts into your awareness and takes your breath away.

… my imagemaking and storymaking are associated… My sketches act as notes… It’s almost like the drawing is the equivalent of the first curl of an idea… In Nightbreed, the drawing would be the equivalent of just writing on a piece of paper, as I did once, ‘How about a saint for monsters?’ Finally, that idea of ‘How about a saint for monsters?’ became Cabal. By an incredibly different route, but that’s what it ended up becoming. This idea, Saint Boone of Midian, of something that was holy to monsters - a saviour for monsters - became intriguing to me, and yet eventually it had to become this public thing as well, because you have to sell the idea to your publisher, and you have to hone it, and then your agent has something to say, and then your editor has something to say, whereas the drawing or the sketch is simply that first statement.

The first, indirect method of breaking the ice is to ask people for objective information or a subjective opinion. These can be very legitimate and important questions that would necessitate speaking to a stranger. It doesn’t necessarily matter that the person you are asking knows the answer; it’s just a way to begin a dialogue. For that matter, it doesn’t even matter that you don’t know the answer. Excuse me, do you know what time the speeches begin? Do you know where the closest Starbucks is? What did you think of the CEO’s speech? Do you like the food here? The first two examples are inquiring about objective information, while the latter two are asking for a subjective opinion. The second, indirect method of breaking the ice is to comment on something in the environment, context, or specific situation. It can be as simple as an observation. Imagine you are thinking out loud and prompting people to answer. Did you see that piece of art on the wall? What a crazy concept. The lighting in here is beautiful. I think it’s worth more than my house. This is an amazing DJ. All the rock ballads of the ’80s. Notice how these are all statements and not direct questions. You are inviting someone to comment on your statement instead of asking them to engage. If they don’t choose to engage, no harm no foul. You are not putting any pressure on them to respond, and you don’t necessarily need to expect an answer. The third and final indirect method of breaking the ice is to comment on a commonality you both share. For instance, why are you both at your friend Jack’s apartment? What business brings you both to this networking conference in Tallahassee? What stroke of misfortune brought you to the DMV this morning? So who do you know here? So how do you know Jack? Has Jack told you about the time he went skiing with his dog? The idea with these commonalities is that they are instant topics of conversation because there will be a clear answer behind them.

Tunics are one of the most popular and versatile garments in fashion. They can be worn in a variety of ways to create different looks. Here are some tips on how to wear a tunic: Pair tunic tops for women with leggings or skinny jeans for a comfortable and stylish look. Wear a belt around your waist to define your figure and create an hourglass shape. Layer long tunics for women over a collared shirt or turtleneck for a chic and polished look. Add interest to your outfit with accessories such as statement necklaces, scarves, or belts. For a more casual look, pair a tunic with shorts or Capri pants. To dress up your outfit, wear heels or wedges with your tunic. How to Style a Tunic ? Tunics are a versatile and comfortable item of clothing that can be worn in a variety of ways. They are perfect for both casual and formal occasions, and can be styled to suit any taste. Here are some tips on how to style a tunic: -Pair your designer tunics online with leggings or skinny jeans for a casual look. -Wear it over a dress or skirt for a more formal outfit. -Layer it under a jacket or cardigan for extra warmth. Tunics For Women Fashion: A Guide to Using This All-Time Favorite Tunic Fashion is an all-time favorite for many women. Wearing one makes you feel light and confident all at once – the perfect combination! Tunics come in a variety of patterns, lengths, and sleeves, so there’s something for every woman no matter what your personal style might be. Tunic Lengths Tunic fashion is all about comfort and style. This all-time favorite can be dressed up or down, making it a versatile piece in your wardrobe. The key to finding the right tunic length is to know your body type and what looks best on you. Petite women should look for tunics that hit at the hip or above. This will prevent the tunic from overwhelming your small frame. If you’re tall, you can get away with long tunics for women length. Just make sure it doesn’t drag on the ground – no one wants to deal with that! If you’re pear-shaped, look for tunics that cinch at the waist to flatter your figure. A-line tunics are also a good option for this body type. And if you have an hourglass figure, show off your curves with a fitted tunic top. No matter what your body type, there’s a tunic length out there that will look great on you! What to Wear with a Tunic ? Assuming you want a guide on how to wear a tunic: Tunics for women are one of the most versatile, easy-to-wear items in any woman’s wardrobe. Whether you’re looking for something to wear to the office or on a casual weekend, a tunic can be dressed up or down to suit any occasion. But with so many different styles and silhouettes out there, it can be hard to know what to pair with your tunic. Here are a few tips on what to wear with a tunic dress for women, no matter what the occasion: For work: To give your tunic a more polished look for work, try pairing it with tailored trousers or a pencil skirt. Add a blazer for extra warmth and style points. And don’t forget the accessories! A great pair of earrings or a statement necklace can really elevate your look. For weekends: On weekends, you can afford to dress your girls tunic tops down a bit. Try pairing it with jeans or leggings for a comfortable, casual look. Slip on some flats or sneakers and you’re good to go! For evenings out: To dress up your tunic for an evening out, try pairing it with slim-fit pants or a skirt in a rich fabric like velvet or satin. Add heels and some sparkling jewelry to really make your outfit shine. How to Wear a Tunic ? -Accessorize with jewelry, scarves, or belts to personalize your look. What Types of Tunics are Available? Ladies tunic dresses come in a wide range of styles, from fitted to loose and flowing. They can be made from a variety of fabrics, including cotton, linen, Silk, and wool. You can find tunics in solid colors, patterns, and prints.

The easiest way to describe how to harness the galvanizing power of why is with a tool I call the belief statement. For example, most of Apple’s product launches in recent years feature slick videos with commentary from Apple designers, engineers, and executives. These videos, while camouflaged as beautiful product showcases, are actually packed with statements not about what the products do but about the design thinking behind them: in essence, the tightly held beliefs with which Apple’s design team operates. We believe our users should be at the center of everything we do. We believe that a piece of technology should be as beautiful as it is functional. We believe that making devices thinner and lighter but more powerful requires innovative problem solving. Belief statements like these are so compelling for two reasons. First, the right corporate or organizational beliefs have the ability to resonate with our personal belief systems and feelings, and move us to action. In fact, the 2018 Edelman Earned Brand study revealed that nearly two out of three people are now belief-driven buyers.4 And as we saw in our discussion of buyers’ emotional motivators in chapter 3, this works even if the beliefs stated are aspirational. For example, if my vision for my future self is someone who weighs a few pounds less and is in better physical shape, a well-timed ad from a health club or fancy kitchen blender evangelizing the benefits of a healthy lifestyle may be enough to rapidly convert me. In the case of Apple, the same phenomenon results in mobs of smitten consumers arriving at stores in droves, braving long lines and paying premium prices, as if to say, “Yes! I do believe I should be at the center of everything you do! Technology should be beautiful! Thinner? Lighter? More powerful? Of course! We share the same vision! We’re both cool!” (Although these actual words are rarely spoken aloud.) The second reason belief statements are so compelling is because they help us manifest the conviction and emotion critical to delivering our message in an authentic way.

For example, our knives deliver the performance of those fancy knives at a fraction of the cost—and we’ll deliver them right to your door! Pro tip: this is also a perfect place to insert the belief statement you created in the previous section (e.g., “At the Cerebral Knife Company, we believe that every home cook deserves affordable, professional-grade knives”). Here’s another example of an infomercial narrative for a piece of home exercise equipment: Hey, do you want to lose weight and get in the best shape of your life? Well, the best way to do that is to go to the gym five times a week and work out for two hours each time. But gym memberships are expensive—and who has that kind of time? What you need is our awesome, cost-effective home exercise machine. Or how about an infomercial narrative for some kind of fruit and vegetable juicer: Eating too many processed foods is destroying your health. The solution is to eat more fresh fruits, vegetables, and juices. The problem is that typical juicers are too large, time-consuming to use, expensive, hard to clean, and kill too many of your food’s helpful nutrients. Our awesome, compact, easy-to-clean, and affordable juice machine is what you need! From a classical sales perspective, this messaging and pitch formula is so effective because at each stage your audience is taking small, incremental steps toward your solution. These steps are rooted in both universal truths and emotion. While the approach starts with tension to garner the buyer’s interest, the story unfolds naturally with no big leaps of faith required.

Tunics For Women Fashion: A Guide to Using This All-Time Favorite Tunic Fashion is an all-time favorite for many women. Wearing one makes you feel light and confident all at once – the perfect combination! Tunics come in a variety of patterns, lengths, and sleeves, so there’s something for every woman no matter what your personal style might be. Tunic Lengths Tunic fashion is all about comfort and style. This all-time favorite can be dressed up or down, making it a versatile piece in your wardrobe. The key to finding the right tunic length is to know your body type and what looks best on you. Petite women should look for tunics that hit at the hip or above. This will prevent the tunic from overwhelming your small frame. If you’re tall, you can get away with long tunics for women length. Just make sure it doesn’t drag on the ground – no one wants to deal with that! If you’re pear-shaped, look for tunics that cinch at the waist to flatter your figure. A-line tunics are also a good option for this body type. And if you have an hourglass figure, show off your curves with a fitted tunic top. No matter what your body type, there’s a tunic length out there that will look great on you! What to Wear with a Tunic ? Assuming you want a guide on how to wear a tunic: Tunics for women are one of the most versatile, easy-to-wear items in any woman’s wardrobe. Whether you’re looking for something to wear to the office or on a casual weekend, a tunic can be dressed up or down to suit any occasion. But with so many different styles and silhouettes out there, it can be hard to know what to pair with your tunic. Here are a few tips on what to wear with a tunic dress for women, no matter what the occasion: For work: To give your tunic a more polished look for work, try pairing it with tailored trousers or a pencil skirt. Add a blazer for extra warmth and style points. And don’t forget the accessories! A great pair of earrings or a statement necklace can really elevate your look. For weekends: On weekends, you can afford to dress your girls tunic tops down a bit. Try pairing it with jeans or leggings for a comfortable, casual look. Slip on some flats or sneakers and you’re good to go! For evenings out: To dress up your tunic for an evening out, try pairing it with slim-fit pants or a skirt in a rich fabric like velvet or satin. Add heels and some sparkling jewelry to really make your outfit shine. How to Wear a Tunic ? -Accessorize with jewelry, scarves, or belts to personalize your look.

Write down your intention on a small piece of paper. Make sure that it is a direct statement. Take the paper in your hands, close your eyes, and visualize what you wish to manifest. Imagine it right in front of you. What does your life look like if you have it? Focus on all the details. Fold the piece of paper three times and imagine that it is a seed. Bury the paper in your backyard, or in a potted plant in your home. As you nurture that plant, you will be nurturing what you wish to manifest. Think about that intention every time you see that plant or tend to your backyard. Imagine your intention blooming like a beautiful flower over time.

One good piece, ladies, and choose it well; everything makes a statement, nothing speaks quite so loudly as cheapness.

Raven My heart skips a beat when I see Ares leaning against his car as he waits for me in front of my office building. I pause for a moment and take him in. His dark hair, that sharp jaw, those green eyes that are identical to Sierra’s. It isn’t fair that he continues to get more handsome the older we get. Each time I see him, he feels a little more out of reach. Ares looks up and straightens when he notices me standing by the entrance, a smile transforming his face. “Hi!” I tell him as he holds the door open for me. Ares grins at me, and I smile back at him. There’s a good chance I’ll regret giving into him later, but until then, I’m going to enjoy every second of it. “Where are we going?” I ask when he gets in beside me, his hands wrapping around the steering wheel. Ares leans back against the headrest and tilts his face toward me. “Raven,” he says, sounding petulant. I can’t help the way my heart races when he says my name like that, and I involuntarily turn toward him, facing him. “Why don’t I ever see you anymore?” Ares genuinely looks distraught, as though he really has missed me, and that fire I keep trying to douse reignites once more. “I’ve just been busy.” My voice is weak, soft, as though I can’t make myself lie to him with authority. “I’m working really insane hours. I’ve got so many modeling contracts, and I’m trying to grow my fashion brand at the same time. Honestly, some days I barely have time to eat or sleep.” He nods and drags his gaze away, a hint of concern in his expression as he starts the car. “Don’t overwork yourself, Rave. Remember to take care of yourself, okay? You can’t always be working. You need to have a social life too. When was the last time you saw your parents?” I force a smile onto my face and cross my arms. The older I get, the less I see my parents. Their entire world revolves around Hannah, and I hate going where I’m not welcome. I shouldn’t feel excluded in my own home, but I do. “Sierra was actually just in my office,” I tell him. “I do have friends, you know.” He glances at me the way he does sometimes, as though he can see straight through my lies and deception, but he nods nonetheless. “What are you thinking of buying this year?” I ask him, my tone light and friendly. He glances back at me with a smile on his face. “What do you think of some jewelry, maybe?” I nod. “A new statement piece, perhaps?” Ares looks at me with such a blank expression that I burst out laughing, and that just makes him smile in return. “I haven’t heard you laugh in so long, Raven. I missed it.” My smile melts away and I look down at my lap, my heart aching. I wish he wouldn’t say things like that. He sees me as an

heal.” Paramedics rushed in to take him from the officers. So wrapped up was she in the moment that Rachel hadn’t even heard the ambulance approaching. “You have to let these people do their job,” the same officer said gently. “Stand back please.” Rachel turned her eyes towards the young man. “This is my fiancé,” she whispered. “He’s been missing for more than three days, and I thought he might be dead. Please, don’t send me away.” The female paramedic nodded at the officer, and he let her step close. She reached out and touched the arm that didn’t seem to be injured. “I’ve been praying and praying for you,” she whispered near his ear. “And Gott sent a host of angels to help me find you.” “You found me?” he asked, his eyes drinking her in. “How?” Before she could answer, the paramedic intervened. “We’re going to take him to the hospital. You can ride along in the back. Sir, if you’ll just lie down on the stretcher?” Isaac cooperated, but never let his eyes leave her face. “You look so different,” he managed to say through his split lip. “Yah,” she agreed, touching the hair that he’d never really seen except when wisps escaped her kapp. “You too.” Now he did laugh, but it was clear that it pained him. “Sorry! I wasn’t thinking.” “Nee, it’s okay. If I don’t laugh, I might cry, and what woman wants to see her beau cry?” “I don’t care,” she returned passionately, striding alongside the stretcher as he was wheeled toward the waiting ambulance. “I only care that you’re in one piece.” Just as they were getting into the vehicle, the same young officer approached her. “I’ll meet you at the hospital to take a statement, Miss…?” “Uh, Swartz, Rachel Swartz. But I don’t really know anything.” “Still, I’ll see you there.” The doors closed and Rachel looked up to see her three champions standing side by side at the top of the hill, waving at her. She prayed a blessing on them and hoped to see them soon. At the hospital, Isaac was taken into the emergency ward and Rachel was forced to wait outside. On the way over, Isaac had tried to tell her what he knew, but it didn’t make much sense. The

to poetry, but it is also illuminating when applied to religion and atheism. Describing ambiguity as ‘any verbal nuance, however slight, which gives room for alternative reactions to the same piece of language’, he observed that ‘any prose statement could be called ambiguous’. There could be no such thing as ultimate clarity. ‘One can do a great deal to make poetry intelligible’, Empson wrote, ‘by discussing the resultant variety of meanings.’2 It was the nuances of meaning that made poetry possible. In a later book, The Structure of Complex Words (1951), Empson showed how the most straightforward-looking terms were ‘compacted with doctrines’ that left their meaning equivocal.

Editing a written text is a collaborative enterprise that commences with the other parties commenting up the author’s initial ideas and it can include technical assistance in correction of grammatical mistakes, misspellings, poorly structured sentences, vague or inconsistent statements, and correcting errors in citations. Editing is as much as an art form as writing a creative piece of literature. A good editor is a trusted person whom instructs the writer to speak plainly and unabashedly informs the writer when they write absolute gibberish. Perhaps the most successful relationship between a writer and an editor is the storied relationship shared by Thomas Wolfe and his renowned editor, Maxwell Perkins. By all accounts, the prodigiously talented and mercurial Wolfe was hypersensitive to criticism. Perkins provided Wolfe with constant reassurance and substantially trimmed the text of his books. Before Perkins commenced line editing and proofreading Wolfe’s bestselling autobiography Look Homeward, Angel,’ the original manuscript exceeded 1,100 pages. In a letter to Maxwell Perkins, Thomas Wolfe declared that his goal when writing “Look Homeward, Angel,” was “to loot my life clean, if possible of every memory which a buried life and the thousand faces of forgotten time could awaken and to weave it into a … densely woven web.” After looting my own dormant memories by delving into the amorphous events that caused me to lose faith in the world and assembling the largely formless mulch into a narrative manuscript of dubious length, I understand why a writer wishes to thank many people for their assistance, advice, and support in publishing a book.

Here’s what you do during a light (or baseline) edit: Correct inconsistencies in the mechanics of the body text — spelling, capitalization, punctuation, abbreviations, use of hyphenation and dashes, font and font sizes, and everything else your eyes take in. Correct inconsistencies in the other parts of the document — footnotes and endnotes; tables of content and page numbers; placement of page numbers, headers, and footers; and charts, graphs, and maps. Correct grammar and usage errors, but do not change anything that is not an outright error. Flag awkward or confusing language, but do not revise it. Bypass benign areas of wordiness and jargon, but query unusual words that may not be accessible to the audience. Flag information that seems incorrect or is not factual. Flag information that may require permission for use, as well as statements or language that may expose the author or publisher to lawsuits. During a heavy edit — the kind that may require a backhoe — you do the following: Correct all errors and inconsistencies in grammar, syntax, and usage. Rewrite areas of wordiness or confusing or awkward construction. Flag and query inappropriate or overused figures of speech, jargon, or sentiment. Check and revise information that seems incorrect or is not factual. Query and suggest changes or fix discrepancies and conflicts in content (or, if fiction, in plot, setting, and character details). Flag and suggest changes in language that promotes bias or stereotyping or is otherwise insensitive to a particular section of the readership. For fiction, query the intent of bias-heavy language if it is difficult to discern a reason for the language in the context of the piece. Suggest changes to the layout or order of information for clarity or a more logical progression of an argument.