Stay Composed Quotes

That country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain.

The only reason I am successful is because I have stayed true to myself.

The Violins waltzed. The Cellos and Basses provided accompaniment. The Violas mourned their fate, while the Concertmaster showed off. The Flutes did bird imitations…repeatedly, and the reed instruments had the good taste to admire my jacket. The Trumpets held a parade in honor of our great nation, while the French Horns waxed nostalgic about something or other. The Trombones had too much to drink. The Percussion beat the band, and the Tuba stayed home playing cards with his landlady, the Harp, taking sips of warm milk a blue little cup. “But the Composer is still dead.

Within the hierarchy of fabrications that compose our lives—families, countries, gods—the self incontestably ranks highest. Just below the self is the family, which has proven itself more durable than national or ethnic affiliations, with these in turn outranking god-figures for their staying power. So any progress toward the salvation of humankind will probably begin from the bottom—when our gods have been devalued to the status of refrigerator magnets or lawn ornaments. Following the death rattle of deities, it would appear that nations or ethnic communities are next in line for the boneyard. Only after fealty to countries, gods, and families has been shucked off can we even think about coming to grips with the least endangered of fabrications—the self.

Elegantly accomplished," said Nehemiah Trot. "I shall compose an Ode. Would you like to stay and listen?

Chin up! You're a Montrose, and we stay calm and composed everywhere, always.

We never promised we would stay the same,/But only we would shape our change/From this now single clay.[p. 82]

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don't know where it will take me, because I don't know anything. I could see this inn as a prison, for I'm compelled to wait in it; I could see it as a social center, for it's here that I meet others. But I'm neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlors, from where their songs and voices conveniently drift out here to me. I'm sitting at the door, feasting my eyes and ears on the colors and sounds of the landscape, and I softly sing - for myself alone - wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I'm given and the soul I'm given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don't read it, or are not entertained, that's fine too.

Keep creating new chapters in your personal book and never stop re-inventing and perfecting yourself. Try new things. Pick up new hobbies and books. Travel and explore other cultures. Never stay in the same city or state for more than five years of your life. There are many heavens on earth waiting for you to discover. Seek out people with beautiful hearts and minds, not those with just beautiful style and bodies. The first kind will forever remain beautiful to you, while the other will grow stale and ugly. Learn a new language at least twice. Change your career at least thrice, and change your location often. Like all creatures in the wild, we were designed to keep moving. When a snake sheds its old skin, it becomes a more refined creature. Never stop refining and re-defining yourself. We are all beautiful instruments of God. He created many notes in music so we would not be stuck playing the same song. Be music always. Keep changing the keys, tones, pitch, and volume of each of the songs you create along your journey and play on. Nobody will ever reach ultimate perfection in this lifetime, but trying to achieve it is a full-time job. Start now and don't stop. Make your book of life a musical. Never abandon obligations, but have fun leaving behind a colorful legacy. Never allow anybody to be the composer of your own destiny. Take control of your life, and never allow limitations implanted by society, tell you how your music is supposed to sound — or how your book is supposed to be written.

We do not overidentify with our jobs. We may take pride in our work, we may stay late and come in on weekends, but we recognize that we are not our job descriptions. The amateur, on the other hand, overidentifies with his avocation, his artistic aspiration. He defines himself by it. He is a musician, a painter, a playwright. Resistance loves this. Resistance knows that the amateur composer will never write his symphony because he is overly invested in its success and overterrified of its failure. The amateur takes it so seriously it paralyzes him.

She had been wrong in thinking Christ had been called up against his will to fight in a war. He didn't look - in spite of the crown of thorns - like someone making a sacrifice. Or even like someone determined to "do his bit". He looked instead like Marjorie had looked telling Polly she'd joined the Nursing Service, like Mr Humphreys had looked filling buckets with water and sand to save Saint Paul's, like Miss Laburnum had looked that day she came to Townsend Brothers with the coats. He looked like Captain Faulknor must have looked, lashing the ships together. Like Ernest Shackleton, setting out in that tiny boat across icy seas. Like Colin helping Mr Dunworthy across the wreckage. He looked ... contented. As if he was where he wanted to be, doing what he wanted to do. Like Eileen had looked, telling Polly she'd decided to stay. Like Mike must have looked in Kent, composing engagement announcements and letters to the editor. Like I must have looked there in the rubble with Sir Godfrey, my hand pressed against his heart. Exalted. Happy. To do something for someone or something you loved - England or Shakespeare or a dog or the Hodbins or history - wasn't a sacrifice at all. Even if it cost you your freedom, your life, your youth.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I’m given and the soul I was given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don’t read it, or are not entertained, that’s fine too

I see you are in a dilemma, and one of a peculiar and difficult nature. Two paths lie before you; you conscientiously wish to choose the right one, even though it be the most steep, straight, and rugged; but you do not know which is the right one; you cannot decide whether duty and religion command you to go out into the cold and friendless world, and there to earn your living by governess drudgery, or whether they enjoin your continued stay with your aged mother, neglecting, for the present, every prospect of independency for yourself, and putting up with the daily inconvenience, sometimes even with privations. I can well imagine, that it is next to impossible for you to decide for yourself in this matter, so I will decide it for you. At least, I will tell you what is my earnest conviction on the subject; I will show you candidly how the question strikes me. The right path is that which necessitates the greatest sacrifice of self-interest -- which implies the greatest good to others; and this path, steadily followed, will lead, I believe, in time, to prosperity and to happiness; though it may seem, at the outset, to tend quite in a contrary direction. Your mother is both old and infirm; old and infirm people have but few resources of happiness -- fewer almost than the comparatively young and healthy can conceive; to deprive them of one of these is cruel. If your mother is more composed when you are with her, stay with her. If she would be unhappy in case you left her, stay with her. It will not apparently, as far as short-sighted humanity can see, be for your advantage to remain at XXX, nor will you be praised and admired for remaining at home to comfort your mother; yet, probably, your own conscience will approve, and if it does, stay with her. I recommend you to do what I am trying to do myself. [Quoted from a letter to a friend, referenced in the last chapter of Vol 1. "The Life of Charlotte Bronte" by Elizabeth Gaskell ]

17. Human life. Duration: momentary. Nature: changeable. Perception: dim. Condition of Body: decaying. Soul: spinning around. Fortune: unpredictable. Lasting Fame: uncertain. Sum Up: The body and its parts are a river, the soul a dream and mist, life is warfare and a journey far from home, lasting reputation is oblivion. Then what can guide us? Only philosophy. Which means making sure that the power within stays safe and free from assault, superior to pleasure and pain, doing nothing randomly or dishonestly and with imposture, not dependent on anyone else’s doing something or not doing it. And making sure that it accepts what happens and what it is dealt as coming from the same place it came from. And above all, that it accepts death in a cheerful spirit, as nothing but the dissolution of the elements from which each living thing is composed. If it doesn’t hurt the individual elements to change continually into one another, why are people afraid of all of them changing and separating? It’s a natural thing. And nothing natural is evil.

October Country... that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain...

All right," Eric agreed. "If you were me, and your wife were sick, desperately so, with no hope of recovery, would you leave her? Or would you stay with her, even if you had traveled ten years into the future and knew for an absolute certainty that the damage to her brain could never be reversed? And staying with her would mean-" "I can see what it would mean, sir," the cab broke in. "It would mean no other life for you beyond caring for her." "That's right," Eric said. "I'd stay with her," the cab decided. "Why?" "Because," the cab said, "life is composed of reality configurations so constituted. To abandon her would be to say, I can't endure reality as such. I have to have uniquely special easier conditions." "I think I agree," Eric said after a time. "I think I will stay with her." God bless you, sir," the cab said. "I can see that you're a good man.

The store was empty, without a single customer or employee. It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They’d probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

Once she had managed to compose herself enough for sleep, Sara slept as if she never wanted to wake up. In her dreams she was pursued by a great beast of a wolf with slavering jaws and eyes that glowed redly in the night. And in spite of the fact that she knew he could overtake her with a single bound, he preferred to stay just behind her, toying with her, letting her exert herself until her heart was bursting; waiting until it was his whim to close his jaws about her throat, taking her to oblivion -- taking her at last . . .

For me life is an inn where I must stay until the carriage from the abyss calls to collect me [...] I could consider this inn to be a prison, since I’m compelled to stay here; I could consider it a kind of club, because I meet other people here. However, unlike others, I am neither impatient nor sociable. I leave those who chatter in the living room, from where the cosy sound of music and voices reaches me. I sit at the door and fill my eyes and ears with the colours and sounds of the landscape and slowly, just for myself, I sing vague songs that I compose while I wait. Night will fall on all of us and the carriage will arrive. I enjoy the breeze given to me and the soul given to me to enjoy it and I ask no more questions, look no further. If what I leave written in the visitors’ book is one day read by others and entertains them on their journey, that’s fine. If no one reads it or is entertained by it, that’s fine too.

Co-commitment is made possible when two people deal with their sense of responsibility and integrity. Being alive to the full range of your feelings, speaking the truth at the deepest level of which you are capable, and learning to keep agreements: all of these actions are required to master a co-committed relationship. When these three requirements are met, the real intimacy begins to unfold. A co-committed relationship may look like magic, but it really is composed of tiny moments of choice. Choosing to tell the truth. Noticing that you are projecting, and finding the courage to take responsibility. Choosing to feel rather than go numb. Choosing to communicate about a broken agreement. Choosing to support your partner as he or she goes through deep feeling. Ultimately, once these skills are practiced and internalized, the relationship flows effortlessly. Once your nervous system learns to stay at a high level of aliveness and does not need to numb itself by lying, breaking agreements, and hiding feelings, the creativity starts to flow.

For the sake of everything you presently take for granted, give up all ideas of volunteering for the draft: or for anything military. It is a way of life which was never meant for our type. Being almost wholly composed of dullards and intellectual sluggards, it is a painful hell for anyone with an I.Q. over 80. Be a beachcomber, a Parisian wino, an Italian pimp, or a Danish pervert; but stay away from the Armed Forces. It is a catch-all for people who regard every tomorrow as a hammer swinging at the head of man, and whose outstanding trait is a fearful mistrust of everything out of the ordinary. Should you volunteer, it will be two years lost in a sea of ignorance.

Anonymous > Quotes > Quotable Quote “I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

I chose option A. I kept my cool, aided by a lifetime of dealing with difficult men trying to throw me off. I did, however, grip the microphone extra hard. I wonder, though, whether I should have chosen option B. It certainly would have been better TV. Maybe I have overlearned the lesson of staying calm—biting my tongue, digging my fingernails into a clenched fist, smiling all the while, determined to present a composed face to the world. Of course, had I told Trump off, he surely would have capitalized on it gleefully.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don't know where it will take me, because I don't know anything. I could see this inn as a prison, for I'm compelled to wait in it; I could see it as a social centre, for it's here that I meet others. But I'm neither impatient nor sociable. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I'm sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing - for myself alone - wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I'm given and the soul I'm given to enjoy it with, and I no longer question or seek.

I say is someone in there?’ The voice is the young post-New formalist from Pittsburgh who affects Continental and wears an ascot that won’t stay tight, with that hesitant knocking of when you know perfectly well someone’s in there, the bathroom door composed of thirty-six that’s three times a lengthwise twelve recessed two-bevelled squares in a warped rectangle of steam-softened wood, not quite white, the bottom outside corner right here raw wood and mangled from hitting the cabinets’ bottom drawer’s wicked metal knob, through the door and offset ‘Red’ and glowering actors and calendar and very crowded scene and pubic spirals of pale blue smoke from the elephant-colored rubble of ash and little blackened chunks in the foil funnel’s cone, the smoke’s baby-blanket blue that’s sent her sliding down along the wall past knotted washcloth, towel rack, blood-flower wallpaper and intricately grimed electrical outlet, the light sharp bitter tint of a heated sky’s blue that’s left her uprightly fetal with chin on knees in yet another North American bathroom, deveiled, too pretty for words, maybe the Prettiest Girl Of All Time (Prettiest G.O.A.T.), knees to chest, slew-footed by the radiant chill of the claw-footed tub’s porcelain, Molly’s had somebody lacquer the tub in blue, lacquer, she’s holding the bottle, recalling vividly its slogan for the past generation was The Choice of a Nude Generation, when she was of back-pocket height and prettier by far than any of the peach-colored titans they’d gazed up at, his hand in her lap her hand in the box and rooting down past candy for the Prize, more fun way too much fun inside her veil on the counter above her, the stuff in the funnel exhausted though it’s still smoking thinly, its graph reaching its highest spiked prick, peak, the arrow’s best descent, so good she can’t stand it and reaches out for the cold tub’s rim’s cold edge to pull herself up as the white- party-noise reaches, for her, the sort of stereophonic precipice of volume to teeter on just before the speaker’s blow, people barely twitching and conversations strettoing against a ghastly old pre-Carter thing saying ‘We’ve Only Just Begun,’ Joelle’s limbs have been removed to a distance where their acknowledgement of her commands seems like magic, both clogs simply gone, nowhere in sight, and socks oddly wet, pulls her face up to face the unclean medicine-cabinet mirror, twin roses of flame still hanging in the glass’s corner, hair of the flame she’s eaten now trailing like the legs of wasps through the air of the glass she uses to locate the de-faced veil and what’s inside it, loading up the cone again, the ashes from the last load make the world's best filter: this is a fact. Breathes in and out like a savvy diver… –and is knelt vomiting over the lip of the cool blue tub, gouges on the tub’s lip revealing sandy white gritty stuff below the lacquer and porcelain, vomiting muddy juice and blue smoke and dots of mercuric red into the claw-footed trough, and can hear again and seems to see, against the fire of her closed lids’ blood, bladed vessels aloft in the night to monitor flow, searchlit helicopters, fat fingers of blue light from one sky, searching.

Then I turn my back to her and putter around the kitchen, trying to compose myself, trying to stay away from the coffee, trying to figure out where I am going to find the strength to stand behind this decision for another ten minutes, then for the remainder of this day, then for the rest of my life.

I have heard them preach, when I sat in the pew and my feet did not touch the floor, about the final home of the unconverted. In order to impress upon the children the length of time they would probably stay if they settled in that country, the preacher would frequently give us the following illustration: 'Suppose that once in a billion years a bird should come from some far-distant planet, and carry off in its little bill a grain of sand, a time would finally come when the last atom composing this earth would be carried away; and when this last atom was taken, it would not even be sun up in hell.' Think of such an infamous doctrine being taught to children!

Time cannot permeate this sabbatical. We do not stay dead long. Once my Luger lets me go, my birth, next time around, will be upon me in a heartbeat. Thirteen years from now we’ll meet again at Gresham, ten years later I’ll be back in this same room, holding this same gun, composing this same letter, my resolution as perfect as my many-headed sextet.

In the elevator, he held silent, but she saw him twice look at her blouse. She could feel his gaze, damn it, deep inside herself. And she knew what he was looking at. Without the binding, her boobs were far too noticeable. The damned buttons gaped and the material strained. “Enjoying yourself?” she asked with a heavy dose of sarcasm. If anything, her jibe only made him intensify his study. He stood there, negligence personified, his hands clasped behind his back, his stance casual and relaxed. “I can see the outline of your nipples.” She nearly strangled on her fury. “Go to hell!” “What are you? C cup? Maybe even a D?” Oh, God, she did not want to stand here alone with him, closed up in such a small space with his heat and scent invading her lungs. “None of your damn business.” He lifted his hand in front of him, not to touch her, but to imagine it covering her right breast. His face screwed up while he pretended to heft her. “I’d say a full C.” A fine trembling started in her neck and went down her spine. She needed to stay composed to face off with Murray Coburn, but for whatever reason, this man wanted to demolish her control. “I say go kill yourself.” He cracked a smile. And what that smile did for him . . . She couldn’t deny that he was devastatingly handsome. Probably a cutthroat villain, but still gorgeous. That disheveled fair hair and those intense, oddly colored eyes . . . she shivered. He lifted a brow. “Cold?” “No.” She had to distract him. “So I didn’t catch your name.” “No one gave you my name.” “It’s a secret, then?” She tried to hunch her shoulders to make her chest less noticeable. “How strange.” “That doesn’t help,” he said of her posture, “and if you’re really interested?” He held out a hand. “Trace Miller.” She disdained touching him again. “Is that your real name or an alias?” With a grin, he retracted his proffered hand. “What do you think?” “I think you took my driver’s license.” He went still for a heartbeat, giving her a small measure of satisfaction. Lifting her hands in a “woo woo” way, she intoned,” I know all, see all.” Then she curled her lip. “And besides, you suck at stealth.

We make up hidden stories that tell us who is against us and who is with us. Whom we can trust and who is not to be trusted. Conspiracy thinking is all about fear-based self-protection and our intolerance for uncertainty. When we depend on self-protecting narratives often enough, they become our default stories. And we must not forget that storytelling is a powerful integration tool. We start weaving these hidden, false stories into our lives and they eventually distort who we are and how we relate to others. When unconscious storytelling becomes our default, we often keep tripping over the same issue, staying down when we fall, and having different versions of the same problem in our relationships—we’ve got the story on repeat. Burton explains that our brains like predictable storytelling. He writes, “In effect, well-oiled patterns of observation encourage our brains to compose a story that we expect to hear.” The men and women who have cultivated rising strong practices in their lives became aware of the traps in these first stories, whereas the participants who continued to struggle the most appeared to have gotten stuck in those stories. The good news is that people aren’t born with an exceptional understanding of the stories they make up, nor does it just dawn on them one day. They practiced. Sometimes for years. They set out with the intention to become aware and they tried until it worked. They captured their conspiracies and confabulations. Capturing

It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They’d probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They'd probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

The next generation would acquire a skill on their behalf - one that we could also use against them. Commanding the language seemed like our only way of surpassing them. Home life took on a kind of casual litigiousness. The calm and composed children, a jaunty bounce to our sentences, laying traps with our line of questioning. The parents, tired and irritated, defaulting to the native tongue.

Dutiful How did I get so dutiful? Was I always that way? Going around as a child with a small broom and dustpan, sweeping up dirt I didn't make, or out into the yard with a stunted rake,, weeding the gardens of others -the dirt blew back, the weeds flourished, despite my efforts- and all the while with a frown of disapproval for other people's fecklessness, and my own slavery. I didn't perform these duties willingly. I wanted to be on the river, or dancing, but something had me by the back of the neck. That's me too, years later, a purple-eyed wreck, because whatever had to be finished wasn't, and I stayed late, grumpy as a snake, on too much coffee, and further on still, those groups composed of mutterings and scoldings, and the set-piece exhortation: somebody ought to do something! That was my hand shooting up. But I've resigned. I've ditched the grip of my echo. I've decided to wear sunglasses, and a necklace adorned with the gold word NO, and eat flowers I didn't grow. Still, why do I feel so responsible for the wailing from shattered houses, for birth defects and unjust wars, and the soft, unbearable sadness filtering down from distant stars?

I know what you think,” Oak says. “That you’re not whom I should want.” She ducks her head, a faint flush on her cheeks. “It’s true you inspire no safe daydream of love,” he tells her. “A nightmare, then?” she asks with a small, self-deprecating laugh. “The kind of love that comes when two people see each other clearly,” he says, walking to her. “Even if they’re scared to believe that’s possible. I adore you. I want to play games with you. I want to tell you all the truths I have to give. And if you really think you’re a monster, then let’s be monsters together.” Wren stares at him. “And if I send you away even after this speech? If I don’t want you?” He hesitates. “Then I’ll go,” he says. “And adore you from afar. And compose ballads about you or something.” “You could make me love you,” she says. “You?” Oak snorts. “I doubt it. You’re not interested in my telling you what you want to hear. I think you might actually prefer me at my least charming.” “What if I am too much? If I need too much?” she asks, her voice very low. He takes a deep breath, his smile gone. “I’m not good. I’m not kind. Maybe I am not even safe. But whatever you want from me, I will give you.” For a moment, they stare at each other. He can see the tension in her body. But her eyes are clear and bright and open. She nods, a smile growing on her lips. “I want you to stay.” “Good,” he says, sitting on the couch beside her. “Because it’s very cold out there, and it was a long walk.” She lets her head fall against his shoulders with a sigh, let’s him put his arm around her and pull her into an embrace.

But to play in an international tournament of the caliber announced, he had to spend much more time at careful, precise study, analysis, and memorization. He stopped answering his phone, because he didn’t want to be interrupted or tempted to socialize—even for a chess party—and at one point, to be alone with the chessboard, he just threw some clothes in a suitcase, didn’t tell anyone where he was going, and checked into the Brooklyn YMCA. During his stay there, he sometimes studied more than sixteen hours per day. Malcolm Gladwell, in his book Outliers, describes how people in all fields reach success. He quotes neurologist Daniel Levitin: “In study after study, of composers, basketball players, fiction writers, ice skaters, concert pianists, chessplayers, criminals and what have you, the number comes up again and again [the magic number for true expertise: ten thousand hours of practice].” Gladwell then refers to Bobby: “To become a chess grandmaster also seems to take about ten years. (Only the legendary Bobby Fischer got to that elite level in less than that amount of time: it took him nine years.) Practice isn’t the thing you do once you’re good. It’s the thing you do that makes you good.

When unconscious storytelling becomes out default, we often keep tripping over the same issue, staying down when we fall, and having different versions of the same problem in our relationships--we've got the story on repeat. Burton explains that our brains like predictable storytelling. He writes, "In effect, well-oiled patterns of observation encourage our brains to compose a story that we expect to hear.

The jury was composed of eight blacks and four whites. Hoffa and his attorney, the legendary Edward Bennett Williams, struck only white jurors in the selection process. Hoffa had a black female lawyer flown in from California to sit at counsel table. He arranged for a newspaper, The Afro-American, to run an ad praising Hoffa as a champion of the “Negro race.” The ad featured a photo of Hoffa’s black-and-white legal team. Hoffa then had the newspaper delivered to the home of each black juror. Finally, Hoffa’s Chicago underworld buddy Red Dorfman had the legendary boxing champion Joe Louis flown in from his Detroit home. Jimmy Hoffa and Joe Louis hugged in front of the jury as if they were old friends. Joe Louis stayed and watched a couple of days of testimony. When Cye Cheasty testified, Edward Bennett Williams asked him if he had ever officially investigated the NAACP. Cheasty denied he had, but the seed was planted. Hoffa was acquitted. Edward

This behavior can be more easily captured by continuous, analog networks than it can be defined by digital, algorithmic codes. These analog networks may be composed of digital processors, but it is in the analog domain that the interesting computation is being performed. “The purely ‘digital’ procedure is probably more circumstantial and clumsy than necessary,” von Neumann warned in 1951. “Better, and better integrated, mixed procedures may exist.”49 Analog is back, and here to stay.

Since she had arrived for her stay at the artists’ colony called Les Beaux Arts at the Chateau DeRoche, she’d noticed something different about the owner, Antoine Chevalier. And not just the way his eyes bore into hers, shooting shivers through her and making it difficult to breathe. His quiet nature, his preference for seclusion for days at a time, and his still, composed temperament belied an intensity within. Noir eyes that rarely blinked spoke of haunted depth and smoldering passion.

The speed felt tremendous. And the bottom of the ravine was treacherous. She ought to control her mount somehow - slow it; steer it to safer footing. Of course. And while she was at it, she ought to defeat the Alend Monarch's army, take care of Master Gilbur and the arch-Imager Vagel, and produce peace on earth. While composing great music with her free hand. Instead of doing all that, however, she concentrated with a pure white intensity that resembled terror on simply staying in the saddle

Most of the Israelites chose to stay in Babylon, where they would make an important contribution to the Hebrew scriptures. The returning exiles brought home nine scrolls that traced the history of their people from the creation until their deportation: Genesis, Exodus, Leviticus, Numbers, Deuteronomy, Joshua, Judges, Samuel and Kings; they also brought anthologies of the oracles of the prophets (neviim) and a hymn book, which included new psalms composed in Babylon. It was still not complete, but the exiles had in their possession the bare bones of the Hebrew Bible.

Complex networks—of molecules, people, or ideas—constitute their own simplest behavioral descriptions. This behavior can be more easily captured by continuous, analog networks than it can be defined by digital, algorithmic codes. These analog networks may be composed of digital processors, but it is in the analog domain that the interesting computation is being performed. “The purely ‘digital’ procedure is probably more circumstantial and clumsy than necessary,” von Neumann warned in 1951. “Better, and better integrated, mixed procedures may exist.”49 Analog is back, and here to stay.

Of course, human tissue completely It's unlikely that scar was composed of the same molecules. Do you think it is really appropriate to consider people to be the same entity they were seven years earlier? Because, physically, they're not. They're connected but every part has changed. Like a renovated house. It seems like after seven years you should not be liable for things you did before. Why should a man be imprisoned for a crime committed by a different physical entity? Should we expect a couple to stay married when they barely share a molecule with the people who said 'I do'? I don't think so.

Ladislav gave the wrong answer.” The tutor lifted his arm, fingers heavy with thick rings, and backhanded Radu sharply across his face. Radu’s head snapped to the side and he fell out of his chair with a cry of shock and pain. Lada would kill him. She would cut this man’s hand from his body for striking her brother; she would— She composed herself before the tutor looked at her, his chest heaving and his eyes bright. Waiting for her reaction. If she killed him, they would kill her, and no one would be here to protect stupid, fragile Radu. Her stupid, fragile Radu. And if she got angry, the tutor would know—they would all know—how to control her. The same way they had known to control her father. The same way the Janissaries had known to hurt her by taking Bogdan away. She raised her eyebrows impassively. “What are the five pillars of Islam?” he asked as Radu got back into his chair, tears in his eyes and a shocked expression on his face. Lada smiled and shook her head. The tutor hit Radu again. Radu stayed on the ground, gasping out the answer, his words garbled by a split and swiftly swelling lip, but Lada did not look away from the tutor’s face. She kept a pleasant smile on her own, kept her hands loosely folded in her lap, kept control. Control was power. No one would make her lose it. And eventually the tutor would realize that she would let him hit Radu over, and over, and over. And only then would Radu be safe.

Having renounced his native land, Sanger adopted no other. He roved about from one European capital to another, never settling anywhere for long, driven forwards by his strange, restless fancy. Usually he quartered himself upon his friends, who were accustomed to endure a great deal from him. He would stay with them for weeks, composing third acts in their spare bedrooms, producing operas which always failed financially, falling in love with their wives, conducting their symphonies, and borrowing money from hem. His preposterous family generally accompanied him. Few people could recollect quite how many children Sanger was supposed to have got, but there always seemed to be a good many and they were most shockingly brought up.

My darling wife,” he murmured softly, “ ’tis probable that I shall be most heavily set upon within the next few moments. The front door, as solid as it is, cannot be properly defended, and they will come before long to ram it down. ’Twould please me much if you…” Erienne’s head was already shaking before he finished. Strangely she experienced no fright, no fear. She was in her home, and a grim determination lay beneath her composed exterior. “I will stay with you.” She tapped the pistol with the tip of her finger and informed him bluntly, “The man who harms you will not live out the day. I will see to that.” There was a level sternness in her gaze that made Christopher glad she was his wife and not a foe. -Christopher & Erienne

In the elements themselves, of which all sub-elementary things are composed, there is no acquiescence, but a vicissitudinary transmutation into one another: air condensed becomes water, a more solid body, and air rarefied becomes fire, a body more disputable and inapparent. It is so in the condition of men, too: a merchant condensed, kneaded and packed up in a great estate, becomes a lord; and a merchant rarefied, blown up by a perfidious factor, or by a riotous son, evaporates into air, into nothing, and is not seen. And if there were anything permanent and durable in this world, yet we got nothing by it, because howsoever that it might last in itself, yet we could not last to enjoy it; if our goods were not amongst moveables, yet we ourselves are; if they could stay with us, yet we cannot stay with them.

Thus the first thing that plague brought to our town was exile. And the narrator is convinced that he can set down here, as holding good for all, the feeling he personally had and to which many of his friends confessed. It was undoubtedly the feeling of exile—that sensation of a void within which never left us, that irrational longing to hark back to the past or else to speed up the march of time, and those keen shafts of memory that stung like fire. Sometimes we toyed with our imagination, composing ourselves to wait for a ring at the bell announcing somebody’s return, or for the sound of a familiar footstep on the stairs; but, though we might deliberately stay at home at the hour when a traveler coming by the evening train would normally have arrived, and though we might contrive to forget for the moment that no trains were running, that game of make-believe, for obvious reasons, could not last.

So I could not stay seated, I got back on to my feet; and thus at every moment, I had to meet one of those countless, humble selves that compose us who had not yet learned of Albertine’s departure and inform them of it—this task was all more cruel than if they had been strangers, and had not borrowed my sensitivity in order to suffer—to announce the impending misfortune to all of these people, all of these selves who did not yet know it; each one of them in turn needed to hear these words for the first time “Albertine asked for her trunk”—that coffin-shaped trunk which I had seen loaded into the carriage at Balbec along with my mother’s luggage—“Albertine has left.” I had to inform every one of them of my sorrow, that sorrow which is not at all a pessimistic conclusion freely drawn from a collection of sinister circumstances, but the intermittent and involuntary revival of a specific impression, externally provoked rather than chosen by us.

I have always loved the quote from John F. Kennedy: “When written in Chinese, the word crisis is composed of two characters. One represents danger and the other represents opportunity.” Looking back on my life, I can see that I have never had a crisis that didn’t make me stronger. And here was all that I loved before me: great risk, but also great opportunity. I had never felt so excited. Neil was already preparing to come back up. Mick, so fortunate to be alive, was staying firmly, and wisely, at base camp. But for me, my time had come. That evening, camp two was again full of friends. Neil and Geoffrey were there along with Michael and Graham, Karla and Alan. But the weariness of coming back up to camp two again oozed painfully from Karla’s gaunt face. She was utterly exhausted, and you could see it. Who wouldn’t be after three months on Everest, and having got within four hundred feet of the summit only days earlier? Tomorrow the biggest battle of our lives would begin.

I wanted to tell you.” Maggie was smiling now, and when he pulled back enough to appreciate that fact, she started toying with the hair at his nape. “Tell me what?” Her fingers went still. “You never miss a detail, Benjamin. Surely you knew when I nearly fainted at Lady Dandridge’s…?” He rose and dusted off his knees, then resumed his place beside her—right smack beside her. “You’d been wandering in the rain for God knows how long, missing sleep, and likely doing without proper sustenance. If every woman who laced her stays too tightly were carrying, the population would shortly double.” “Benjamin, we are going to have a baby. I should have told you this sooner, but I did not want you to feel trapped.” She was back to smoothing her skirts and gripping his hand, suggesting she hadn’t composed herself quite as quickly as appearances might indicate. “Maggie, do you feel trapped?” It was a sincere question, the sort of sincere question that kept a sincere man up late of a night and might cause him more than one pang in years to come. “By the child? Of course not.” Or it might not. “You want this child?” “Gracious God, Benjamin. I spent years dealing with Cecily because Bridget was mine to love. I’ve protected my ducal family because they were mine to love. This child is mine to love, and you are mine to love. How could you think I’d feel otherwise?” “We are going to have to watch this tendency of yours to protect all whom you love.” She smiled a little sheepishly. “I want a big family, but we’re getting a rather late start on things.” “Then we’ll just have to be diligent about it.” His

The questing, anxious, exacting way that we have of looking at the person we love, our eagerness for the word which shall give us or take from us the hope of an appointment for the morrow, and, until that word is uttered, our alternative if not simultaneous imaginings of joy and of despair, all these make our observation, in the beloved object’s presence, too tremulous to be able to carry away a clear impression of her. Perhaps, also, that activity of all the senses at once which endeavours to learn from the visible aspect alone what lies behind it is over-indulgent to the thousand forms, to the changing fragrance, to the movements of the living person whom as a rule, when we are not in love, we regard as fixed in one permanent position. Whereas the beloved model does not stay still; and our mental photographs of her are always blurred. I did not rightly know how Gilberte’s features were composed, save in the heavenly moments when she disclosed them to me; I could remember nothing but her smile. And not being able to see again that beloved face, despite every effort that I might make to recapture it, I would be disgusted to find, outlined in my memory with a maddening precision of detail, the meaningless, emphatic faces of the man with the wooden horses and of the barley-sugar woman; just as those who have lost a dear friend whom they never see even while they are asleep, are exasperated at meeting incessantly in their dreams any number of insupportable creatures whom it is quite enough to have known in the waking world. In their inability to form any image of the object of their grief they are almost led to assert that they feel no grief.

Brystal knew it was in her best interest to just stay silent and nod, but every word out of Mr. Edgar's mouth infuriated her more than the last. "Mr. Edgar, you agree the Lord is all-knowing, all-powerful, and the sole creator of all existence, correct?" she asked. "Without question," Mr. Edgar replied. "Then why would the Lord create magic if he hates it so much?" she asked. "It's a little counterproductive, don't you think?" Mr. Edgar went quiet and it took him a few moments to answer her. "To test the loyalty of your soul, of course," he declared. "The Lord wants to separate the people who seek salvation from the people who surrender to sin. By willingly making sacrifices to overcome your condition, you are proving your devotion to the Lord, and to his beloved Southern Kingdom." "But if the Lord wants to identify those who willingly overcome magic, aren't you interfering by forcing young girls to overcome it?" Her second question was even more befuddling than the first. Mr. Edgar became flustered and his cheeks turned the same color as his bow tie. His eyes darted between Brystal and his wife as he composed a response. "Of course not!" he said. "Magic is an unholy manipulation of nature! And no one should manipulate the Lord's beautiful world but the Lord himself! He smiles upon the people who try to stop such abominations!" "But you're trying to manipulate me - isn't that also an abomination?" Brystal asked. Mr. and Mrs. Edgar gasped - they had never been accused of such a thing. Brystal knew she should stop while she was ahead, but she couldn't stomach any more hypocrisy. She was going to speak her mind whether the administrators liked it or not.

But as she glanced back over her shoulder to see who had come, the sight of a man’s tall, dark form struck sparks inside her. She stopped with her foot on the first step, staring and staring, until a pair of amber eyes looked in her direction. Cam. He looked disheveled and disreputable, like an outlaw on the run. A smile came to his lips, while he stared at her intently. “It seems I can’t stay away from you,” he said. She rushed to him without thinking, almost stumbling in her haste. “Cam—” He caught her up with a low laugh. The scent of outdoors clung to him; wet earth, dampness, leaves. The mist on his coat sank through the thin layer of her robe. Feeling her tremor, Cam opened his coat with a wordless murmur and pulled her into the tough, warm haven of his body. Amelia couldn’t contain her shivering. She was vaguely aware of servants moving through the entrance hall, of her sister’s presence nearby. She was making a scene—she should pull away and try to compose herself. But she couldn’t. Not yet. “You must have traveled all night,” she heard herself say. “I had to come back early.” She felt his lips brush her tumbled hair. “I left some things unfinished. But I had a feeling you might need me. Tell me what’s happened, sweetheart.” Amelia opened her mouth to answer, but to her mortification, the only sound she could make was a sort of miserable croak. Her self-control shattered. She shook her head and choked on more sobs, and the more she tried to stop them, the worse they became. Cam gripped her firmly, deeply, into his embrace. The appalling storm of tears didn’t seem to bother him at all. He took one of Amelia’s hands and flattened it against his heart, until she could feel the strong, steady beat. In a world that was disintegrating around her, he was solid and real. “It’s all right,” she heard him murmur. “I’m here.

In my life I’ve only been good at one thing. The violin. Not as good as my father. Maybe I could have been. But I drank too much and lost my temper too often. I came to Italy because I failed in Vienna. I came to Italy because I was in love with a woman who wasn’t in love with me. And for the last thirteen years, I’ve taken it out on you. If you hadn’t been so strong, I might have broken you. I might have made you hate me. But you fought back. You shrugged me off. And now I listen to you and I am in awe.” “You are?” Eva asked in amazement. These were things she had never heard before. “When you play, Eva, I feel hopeful. They can take our homes, our possessions. Our families. Our lives. They can drive us out, like they’ve driven us out before. They can humiliate us and dehumanize us. But they cannot take our thoughts. They cannot take our talents. They cannot take our knowledge, or our memories, or our minds. In music, there is no bondage. Music is a door, and the soul escapes through the melody. Even if it’s only for a few minutes. And everyone who listens is freed. Everyone who listens is elevated. “When you play, I hear my life lifting off your strings. I hear the long notes and the scales, the tears and the hours. I hear you and me, together in this room. I hear my father and the things he taught me that I passed on to you. I hear it all, and my life plays on, his life plays on, over and over, when you play.” Eva set her instrument down and, with tears streaming down her face, knelt in front of her uncle and slid her arms around him, pressing her cheek to his thin chest. He embraced her gently, and they stayed in sorrowful silence, listening to the wind as it wailed a mournful strain not so different from the one Eva had composed, wondering if the wind would be the only witness, the only whisper, when the death in Austria came for them too.

He and Powell would be celebrating their twentieth wedding anniversary a few days later, and he admitted that at times he had not been as appreciative of her as she deserved. “I’m very lucky, because you just don’t know what you’re getting into when you get married,” he said. “You have an intuitive feeling about things. I couldn’t have done better, because not only is Laurene smart and beautiful, she’s turned out to be a really good person.” For a moment he teared up. He talked about his other girlfriends, particularly Tina Redse, but said he ended up in the right place. He also reflected on how selfish and demanding he could be. “Laurene had to deal with that, and also with me being sick,” he said. “I know that living with me is not a bowl of cherries.” Among his selfish traits was that he tended not to remember anniversaries or birthdays. But in this case, he decided to plan a surprise. They had gotten married at the Ahwahnee Hotel in Yosemite, and he decided to take Powell back there on their anniversary. But when Jobs called, the place was fully booked. So he had the hotel approach the people who had reserved the suite where he and Powell had stayed and ask if they would relinquish it. “I offered to pay for another weekend,” Jobs recalled, “and the man was very nice and said, ‘Twenty years, please take it, it’s yours.’” He found the photographs of the wedding, taken by a friend, and had large prints made on thick paper boards and placed in an elegant box. Scrolling through his iPhone, he found the note that he had composed to be included in the box and read it aloud: "We didn’t know much about each other twenty years ago. We were guided by our intuition; you swept me off my feet. It was snowing when we got married at the Ahwahnee. Years passed, kids came, good times, hard times, but never bad times. Our love and respect has endured and grown. We’ve been through so much together and here we are right back where we started 20 years ago—older, wiser—with wrinkles on our faces and hearts. We now know many of life’s joys, sufferings, secrets and wonders and we’re still here together. My feet have never returned to the ground."  By the end of the recitation he was crying uncontrollably. When he composed himself, he noted that he had also made a set of the pictures for each of his kids. “I thought they might like to see that I was young once.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

Drake got up and composed himself. Adrian wrapped his arm around Drennen’s shoulders. Drake and Dru banned around Drennen as well and they stayed in that embrace, drawing strength from each other until they all agreed that they were OK. This was the worst time for them, and they needed each other to get through it. It wasn’t optional that they have a tight family unit, it was imperative. At the end of the day, anyone could empathize with them, but only the four of them knew what it felt like to lose their parents and have to survive with only the help of one another. They walked back to their cars side by side, oldest to youngest, with their arm over the shoulder of the next like they’d been doing for the past seventeen years…   When

I was just beginning to wonder how long I would have to wait when finally a guard sauntered up and said, “Galloway, get your stuff, get your bed.” I ran to my cell to get my stuff and I grabbed the toothpaste. The toothpaste was in this clear tube and was clear like hair gel. It had a muted, watered-down mint flavor. Everything you got in jail was made specifically to be as safe as can be. One of the guys told me, “Don’t ever take anything from being locked up. It’s bad luck.” But I told myself, You ain’t coming back. You ain’t getting locked up again, so you’re taking a souvenir. I grabbed that little clear tube and I put it in my pocket and walked out of my cell. As I came out, all of the guys from my cellblock were lined up to say goodbye. The guard had this look on his face like, “What is going on?” I walked down the line shaking each man’s hands. They all told me they were glad they had met me. They told me that I made an impact on them. One guy said, “You came in here and you’ve been to war and back, you’re missing two limbs, but you still had a smile on your face the whole time. You’ve gone through so much and you are able to keep smiling. That motivates me.” I was really touched. I kept going down the line, shaking hands and saying my farewells, and finally I got to Michael Bolton. He said, “Hey, man, I’ve asked people this before and they never follow through with it but I believe you will. Could you print out some TV guides? Because you know we just tell them the number. We don’t know what’s on at what time, what station.” I said, “Yeah, man, I’ll do that.” And I looked around to the other guys and asked, “Does anybody want any crossword puzzles or anything like that?” They all said that would be awesome. “All right, Michael, I’ve got your address so I’m gonna send it to you. And listen, man, I’m gonna give you my email address. When you get out shoot me an email. I want to stay in touch and see how things are going.” I turned to the guard who was still baffled by what was happening and said, “I’m ready.” He rolled his eyes and opened the door. We walked out and they handed me my clothes. I pulled off the orange jumpsuit and tossed it. I changed back into my clothes. I signed everything I had to sign, got some paperwork to take with me, and walked out a free man again. Well, my epic freedom moment was short-lived, because I realized my cell phone was dead. I walked down the road to a gas station and asked if I could use the phone. I called Tracy and told her where I was and asked her to pick me up. When Tracy arrived I hopped in the car and the very first thing I said to her was “I gotta get home. I have to print out some TV guides and I need to write a letter to some of the guys in there.” She started laughing and when she could compose herself enough to talk said, “My sisters and I all said we guarantee Noah is going to come out of jail with new friends. He’s going to be friends with everybody.

A CHANGING SOCIETY What does today’s high incidence of social anxiety tell us about modern society? As we’ve seen, social anxiety is connected to a person’s drive for self-preservation and a feeling of safety. It is natural to withdraw from situations that we expect will lead to pain. Avoidance—while not necessarily healthy—is logical. Because the negative social experience of a growing number of people has caused them emotional pain and suffering, the number of individuals who choose to avoid socializing is increasing at an alarming rate. The sometimes wide distance among family members these days only adds to isolation. And the anonymity of large cities creates a vacuum in which many lonely people co-exist, often leading solitary lives in which they pursue their interests and activities alone. We live in a society in which social fears are perhaps not unjustified. As cities become denser, isolation seems to be the best way to counter urban decay. Consider the dangers of the outside world: Crime rates are soaring. Caution—and its companion, fear—are in the air. As the twentieth century draws to a close, we find ourselves in a society where meeting people can be difficult. These larger forces can combine to create a further sense of distance among people. Particularly significant is the change that has taken place as the social organization of the smaller-scale community gives way to that of the larger, increasingly fragmented city. In a “hometown” setting, the character of daily life is largely composed of face-to-face relations with friends, neighbors, co-workers, and family members. But in the hustle and bustle of today’s cities, whose urban sprawls extend to what author Joel Garreau has called Edge Cities—creating light industrial suburbs even larger than the cities they surround—the individual can get lost. It is common in these areas for people to focus solely on themselves, seldom getting to know their neighbors, and rarely living close to family. We may call these places home, but they are a far cry from the destination of that word as we knew it when we were children. Today’s cities are hotbeds of competition on all levels, from the professional to the social. It often seems as if only the most sophisticated “win.” To be ready for this constant challenge, you have to be able to manage in a stressful environment, relying on a whole repertoire of social skills just to stay afloat. This competitive environment can be terrifying for the socially anxious person. The 1980s were a consumer decade in which picture-perfect images on television and in magazines caused many of us to cast our lots with either the haves or the have-nots. Pressure to succeed grew to an all-time high. For those who felt they could not measure up, the challenge seemed daunting. I think the escalating crime rate in today’s urban centers—drugs, burglary, rape, and murder—ties into this trend and society’s response to the pressure. In looking at the forces that influence the social context of modern life, it is clear that feelings of frustration at not “making it” socially and financially are a component in many people’s choosing a life of crime. Interactive ability determines success in establishing a rewarding career, in experiencing relationships. Without these prospects, crime can appear to be a quick fix for a lifelong problem.

He said he commenced it on the deck of their vessel, in the fervor of the moment when he saw the enemy hastily retreating to their ships, and looked at the flag he had watched for so anxiously as the morning opened: that he had written some lines or brief notes that would aid him in calling them to mind upon the back of a letter which he happened to have in his pocket, and for some of the lines as he proceeded he was obliged to rely altogether on his memory, and that he finished it in the boat on his way to the shore and wrote it out as it now stands at the hotel on the night he reached Baltimore, and immediately after he arrived; he said that on the next day he immediately sent it to a printer, and directed copies to be struck off in hand-bill form, and that he — Mr. Key — believed it to have been favorably received by the Baltimore public.” In fact, Key composed the song on the back of a letter he was carrying in his pocket, and he completed it during a stay at the Indian Queen Hotel following his release. He titled his work, “Defence of Fort M’Henry.

Why mobile app hosting is fundamental for your versatile application? Portable application hosting is fundamental for your site? Also, why it is compulsory to work? To lay it out plainly, you have constructed a versatile application. What would be the best next step? Fostering an application isn't generally so direct as tossing it in the air; it needs a spot to live, or all the more precisely, a hosting supplier. It's better assuming it's done on an outside server since your gadget won't deal with the power. An application that crashes each time won't acquire large number of clients, which youthful new businesses need. Versatile app hosting services is fundamental, with a powerful server is the best arrangement. We'll take a gander at how portable applications create and why composing code isn't the entire story. How would you foster a portable application? It's more convoluted than you likely suspect. It comprises of two sections. Utilizing a telephone or tablet, the client can explore the application's front end by clicking buttons and moving sliders. The server-side, nonetheless, should be answerable for showing buttons and sliders. When you click on the button, a data demand is shipped off the server. Subsequent to handling, you will figure out the outcomes. You ought to have another screen stacked in practically no time, so you will not lose significant clients pausing. Is it important to have a versatile application? Versatile application improvement requires something other than composing code. The client's gadget will clearly contain the whole backend if the application resembles a mini-computer with just rudimentary capacities. Notwithstanding, a backend should exist that offers more complicated capacities, and something should empower solicitations to be satisfied there. In this manner, App Hosting is fundamental. It alludes to introducing an application on the server of a supplier, like Amazon Web Services (AWS) or Google Cloud Platform (GCP). These suppliers put the application on their servers. There are basically no distinctions between Mobile App Hosting and hosting sites. In like manner, the versatile application hosting server processes a solicitation sent by the client. The client makes a move or sends a solicitation. So what precisely is Code Push? It would assist with fixing bugs when they happen toward the front. In AppStore and Google Play, an update requires an audit each time it is made. The interaction requires 30 minutes for Android and could take more time to a day for iOS. You can robotize this and pass the survey by transferring updates to Code Push. Designers can without much of a stretch update their React Native applications utilizing the App Center. Applications can demand refreshes utilizing the gave client SDK from the focal vault, which is a focal store for refreshes. Mechanizing refreshes permits us to fix blunders quicker, setting aside us time and cash. How do these administrations vary? Cloud hosting is one model. It's something we've utilized ourselves first. Then, at that point, on the grounds that a ton of organizations use it, Whence comes this? Rather than regular hosting, cloud hosting utilizes only one server rather than different servers. A virtual and actual organization of cloud servers has the application or site. How much is portable application hosting fundamental in the cloud? Reliability You would lose your item assuming something happened to the server it was facilitated. Another situation includes many machines that are associated. Information will stay on the organization regardless of whether it vanishes from one server. Efficiencies Dissimilar to a normal server, cloud hosting can increment framework assets. This is on the grounds that the server's ability should be expanded assuming the quantity of clients increments abruptly. Assuming you utilize a devoted server, the cycle is more adaptable.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor sociable. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting.

Intentional daydreaming (or gedankenexperiment, mental synthesis, or whatever you want to call it) can change how we see our world, but thought experiments are not limited to genius scientists. Gifted artists, composers, and mathematicians use them for creative work or problem-solving, sometimes without realizing it. Hypnotherapists evoke vivid imaginings during trances. Yogis do it while practicing their inner exploration, and some religious orders access gedankenexperiments through contemplative prayer. Meditation has been my main hobby since I was a teenager. It’s helped me stay calm and think creatively in challenging circumstances.

Life Life is a 'stage' Every day is a book's new page. The most of life you should make, Every difficulty, as an opportunity, you must take. What you make out of life: gain or loss, The choice is finally yours. Always be in the NOW For everything in life, be in WOW! Life's a precious gift from God to you, One good deed every day, you should do. Perform your duties and your work, and you shall surely invite Lady Luck. Stay positive and have loads of fun Have a cheerful life in the long run! Be like the trees, and shine like the Sun Help everyone, expecting nothing in return. Life is a gift, make the most out of it Stay happy, healthy, kind and fit So that your 'play' is remembered Reminisced as a 'Hit'! (Poem Composed by Sangeet Pandey)

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You’re sure he’s gone?” Ellen asked, unable to keep her voice from breaking. “He’ll stay gone? You’re safe from him?” “I am safe from him.” Val held her gaze. “You are safe from him. I promise you this, Ellen, with my most solemn word. My family owns two shipping companies, and we’d spot him before he disembarked at any domestic port. His ship was headed for Italy by way of Portugal, because he already has enemies in France. He can afford to run for a bit, since he took his personal jewelry with him. Recall, though, that he’s alone, he doesn’t speak the language, doesn’t know the customs, and I have friends who will keep an eye on him in Rome. Will you marry me?” “You’re going to keep composing, aren’t you?” Ellen peered at him worriedly. “That music, Val. It was… sublime. I could almost hear the frogs croaking and feel the tears on my cheeks—well, I could feel the real tears—and the flowers, I could smell them in the sunshine during that second movement. I think the Belmont boys were there too, and so was Marmalade. You have to keep writing. You have to. Is your hand all right?” Val sat back and braced one of his hands on each of her arms. “If I promise to keep composing, will you marry me?” “Yes.” It was a simple word but the most radiant in her vocabulary. Radiant like the notes of his symphony. “Yes. I will marry you, Valentine Windham, and you will write music, and our lives will always have something of the divine in them.” “Always,” he agreed, hugging her to him. And

The housekeeper came to greet him, and he asked to see Beatrix. “The family is having dinner, sir--” the housekeeper began. “I don’t care. Either bring Miss Hathaway to me, or I’ll find her myself.” He had already resolved that the Hathaway household would do nothing to distract or divert him. No doubt after a summer spent with his cantankerous dog, they would hand Albert over without a qualm. As for Beatrix--he only hoped she would try to stop him, so that he could make a few things clear to her. “Would you care to wait in the front parlor, sir?” Christopher shook his head wordlessly. Looking perturbed, the housekeeper left him in the entrance hall. In no time at all, Beatrix appeared. She was wearing a white dress made of thin, flowing layers, the bodice wrapped intricately over the curves of her breasts. The translucence of her chest and upper arms gave her the look of emerging from the white silk. For a woman who had stolen his dog, she was remarkably composed. “Captain Phelan.” She stopped before him with a graceful curtsy. Christopher stared at her in fascination, trying to retain his righteous anger, but it was slipping away like sand through his fingers. “Where are your breeches?” he found himself asking in a husky voice. Beatrix smiled. “I thought you might come to fetch Albert soon, and I didn’t want to offend you by wearing masculine attire.” “If you were all that concerned about giving offense, you would have thought twice before abducting my dog.” “I didn’t abduct him. He went with me willingly.” “I seem to recall telling you to stay away from him.” “Yes, I know.” Her tone was contrite. “But Albert preferred to stay here for the summer. He has done very well with us, by the way.” She paused, looking him over. “How are you?” “I’m exhausted,” Christopher said curtly. “I’ve just arrived from London.” “Poor man. You must be famished. Come have dinner.” “Thank you, but no. All I want is to collect my dog and go home.” And drink myself into a stupor.

Well, well. If it isn’t the princess.” My body tensed and I frowned when I saw him approaching. Narrowing my eyes, I plastered on a fake smile. “I almost didn’t recognize you without a tramp attached to you.” Drew and the other guy snickered. Leaning into my ear he harshly whispered, “Would you like to change that? I’m not up to my limit tonight yet.” Gah, why did he have to be so hot? My body was practically humming with how close he was. I leaned away and replied with the most innocent expression on my face, “Oh I’m sorry, but I don’t have any STDs, I’m not your type.” Drew started choking and Breanna spit her next shot all over the counter. Sputtering and choking, she finally composed herself enough to chime in, “Chase, you better stay away from my roommate. I told the guys she’s off limits.” I tore my eyes away from his to look at Bree, “You know him?” Everyone started laughing except for the guy standing next to me. His eyebrows were raised and his perfect mouth was slightly open. I guess women don’t turn him down often. “Well I’d like to think so, he is my brother.” Oh. Crap. Heat instantly spread to my cheeks and I took a step away from him. Now that I’d been informed, I realized I should have known it. They had the same blond hair, blue eyes and killer smile. “Wait, Harper is this the guy you said was a jerk?” My eyes widened and I looked at the ground. “You said I’m a jerk?” Chase laughed and turned to the bar, “She’s the one that just practically called me a dirty man-whore.” “Don’t be rude to my friends Chase!

Myron sat back. He stayed composed but underneath he could almost feel the fissure widening, his foundation starting to shift. “When I first got pregnant, I figured like you: I’d slept with Greg more, so it was probably his baby. At least, that’s what I told myself.” She closed her eyes. Myron stayed very still, the knot in his stomach tightening. “And when Jeremy was born, he favored me, so who was to say? But—and this is going to sound so goddamn stupid—a mother knows. I can’t tell you how. But I knew. I tried to deny it too. I told myself I was just feeling guilty over what we’d done, and that this was God’s way of punishing me.” “How Old Testament of you,” Myron said. “Sarcasm,” she said with almost a smile. “Your favorite defense.

Some young man has wronged you, hasn't he?' From a person who renounced on principle the possibility of transcendental morality, she thought, it was an interesting choice of words. 'None of them's stuck around long enough to wrong me, Bruno.' He waved a hand dismissively. 'Romance is a fiction anyway. A myth to sell greeting cards.' Still, he seemed ready, given a name and address, to go challenge the malefactor, like some feudal-era father defending his daughter's chastity. This was all in the eyes, of course. The rest of the face stayed perfectly composed.

There's a telos of self-improvement baked into the immigrant experience. As a teenager, I busied myself with the school newspaper or debate club because, unlike with math or science, I thought I could actually get better at these things. You flip through your father's old physics notebooks, and you know in your bones that these formulas and graphs will never make sense to you. But one day, you realize that your parents speak with a mild accent, and that they have no idea what passive voice is. The next generation would acquire a skill on their behalf -- one that we could also use against them. Commanding the language seemed like our only way of surpassing them. Home life took on a kind of casual litigiousness. The calm and composed children, a jaunty bounce to our sentences, laying traps with our line of questioning. The parents, tired and irritated, defaulting to the native tongue.

...that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twiUghts linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autunm thoughts. Whose people passing at night on the empty walks sound like rain...

...that country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilghts linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autunm thoughts. Whose people passing at night on the empty walks sound like rain...

When you’re angry, you might feel a wave of frustration, as though everything and everyone is getting on your nerves. This frustration can quickly escalate to irritation, making it hard to stay calm and composed.

By contrast, parents who control their own anger—both around and toward their children—help their kids learn to do the same. “Kids learn emotional regulation from us,” Laura says. Every time you stop yourself from acting in anger, your child sees a calm way to deal with frustrations. They learn to stay composed when anger arises. So to help a child learn emotional regulation, the number one thing parents can do is learn to regulate their own emotions.

Iraq, later reflected that from a cultural standpoint, Iraq ‘suffered a big shock when the Jews left.’ One reason was that ‘all of Iraq’s famous musicians and composers were Jewish,’ as were a large portion of its other artists. In addition, ‘Jews were so central to commercial life in Iraq that business across the country used to shut down on Saturdays because it was the Jewish Shabbat. They were the most prominent members of every elite profession–bankers, doctors, lawyers, professors, engineers, etc.’ In Kashi’s view, had the Jews stayed, they would have

Sometimes we’d go into the local saloons and challenge the house. When that didn’t work, we’d challenge each other. Those saloons were friendly places, as long as we stayed away from guys who were on a bender and those involved in poker games. The men, while drinking, sang, and Johnny and I joined in whenever we could. I still remember the words from a song we were all fond of singing—in our flat, off-key voices. Judging from the words, I’d say it was composed before its time. “If I was a millionaire and had a lot of coin, I would plant a row of coke plantations, and grow Heroyn, I would have Camel cigarettes growin’ on my trees, I’d build a castle of morphine and live there at my ease. I would have forty thousand hop layouts, each one inlaid with pearls. I’d invite each old time fighter to bring along his girl. And everyone who had a habit, I’d have them leaping like a rabbit, Down at the fighters’ jubilee! Down at the fighters’ jubilee! Down on the Isle of H. M. and C. H. stands for heroyn, M. stands for morph, C. for cokoloro—to blow your head off. Autos and airships and big sirloin steaks, Each old time fighter would own his own lake. We’ll build castles in the air, And all feel like millionaires, Down at the fighters’ jubilee!” We had laughs singing that song in unison. In later years, however, just thinking about it filled me with a tremendous sadness, since the tragedy of hard drugs eventually destroyed my younger brother Johnny.

When you stand accused, your character is being tested. The strength of character that you reveal will ultimately determine the Tanks’ perception of you and future behavior toward you. Action Plan Step 1. Hold Your Ground. The first step is to stay put and hold your ground, neither running away nor gearing for battle. Do not change your position, whether you happen to be standing, sitting, leaning, or making up your mind. You don’t have to go on the offensive or the defensive. Instead, silently look the Tank in the eyes, and shift your attention to your breathing. Breathe slowly and deeply. Intentional breathing is a terrific way to regain your self-control. And while you compose yourself, the Tank has the opportunity to fire off a round unimpeded. When Martin found himself under attack, he restrained his impulse to counterattack. Instead, he held his ground. He looked into his boss’s eyes, kept breathing, and waited for the blasting to stop. When it did, Martin asked, “Is that everything?” Apparently, that wasn’t all. The Tank loaded up another round a of abuse and fired it off. Martin held his temper in check, took a slow breath, and asked evenly, “Anything else?” “Why, you ...” Sherman loaded up his last round and fired it off. He was now completely out of ammunition, having said every rotten thing he knew how to say. At that point, he just stood there silently glaring at Martin, as if waiting for an answer will ultimately determine the Tanks’ perception of you and future behavior toward you.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I’m given and the soul I was given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don’t read it, or are not entertained, that’s fine too.

Take a day off from your own self, wander through the corridors of curiosity, and let the unexpected whispers of existence unveil untold chapters within. Take a day off from your own self, rediscover the world around you, and let the symphony of life compose a new melody for your soul. Take a day off from yourself as well, letting the world unfold without your constant scrutiny. Embrace the liberation of anonymity, allowing the universe to surprise and inspire you anew when you return to your own narrative.

I know what you think,” Oak says. “That you’re not whom I should want.” She ducks her head, a faint flush on her cheeks. “It’s true you inspire no safe daydream of love,” he tells her. “A nightmare, then?” she asks with a small, self-deprecating laugh. “The kind of love that comes when two people see each other clearly,” he says, walking to her. “Even if they’re scared to believe that’s possible. I adore you. I want to play games with you. I want to tell you all the truths I have to give. And if you really think you’re a monster, then let’s be monsters together.” Wren stares at him. “And if I send you away even after this speech? If I don’t want you?” He hesitates. “Then I’ll go,” he says. “And adore you from afar. And compose ballads about you or something.” “You could make me love you,” she says. “You?” Oak snorts. “I doubt it. You’re not interested in my telling you what you want to hear. I think you might actually prefer me at my least charming.” “What if I am too much? If I need too much?” she asks, her voice very low. He takes a deep breath, his smile gone. “I’m not good. I’m not kind. Maybe I am not even safe. But whatever you want from me, I will give you.” For a moment, they stare at each other. He can see the tension in her body. But her eyes are clear and bright and open. She nods, a smile growing on her lips. “I want you to stay.” “Good,” he says, sitting on the couch beside her. “Because it’s very cold out there, and it was a long walk.” She lets her head fall against his shoulders with a sigh, lets him put his arm around her and pull her into an embrace.

If people had more understanding of geologic time, we’d be less selfish and greedy, and think about the future.” It almost seems as if Cris is living in a different time-world than the rest of us. The rest of us humans, that is. At the moment of the world’s most urgent extinction crises, he radiates calm. Amid a culture of hurry and hunger, he remains contented. He holds, at once, the in-the-moment present and the far-off future, and faces them both with composed persistence. He is living in turtle time. Turtle people are not your ordinary, run-of-the mill humans. Matt and I are staying at the TSA’s intern guesthouse, an immaculate mobile home on a site where the former occupant raised rats for a living (and whose trailer was eventually relocated

Despite the focus and intensity that he was feeling, the song always made him smile. ‘We’re one big performance away from doing it and lifting the trophy,’ he reminded himself quietly. It was fifty-five years since England had won a major international tournament, but here they were ahead of their final test against a strong Italy team. At last, there was the clatter of studs ahead of him and the line was moving. He heard the booming stadium speakers announce that the teams were on their way and, seconds later, he emerged onto the Wembley pitch with roars coming from all corners of the stadium. After all the preparation, with the goosebumps from the national anthem and the energy surging through his body, Declan tried to stay composed. England boss Gareth Southgate and the coaching staff had made that point again and again: don’t let the big occasion take you out of your usual rhythm. Declan squeezed in a couple more stretches

[...] this stranger who had been composed of a head and a half-torso, framed by the window ledge like a painting from a different century, as if a product of someone else’s imagination

How to Freelance Could it be said that you are fed up with being a representative encountering the monotonous routine? Assuming that your response is indeed, this present time would be the opportunity to consider outsourcing your experience and abilities. Outsourcing is rapidly turning Into the calling which is carrying specialists into what's in store. Organizations are starting to downsize on costs, including their labor force, and they are going to the outsourcing business sector for help. Assuming you have involvement with any of the above regions, or something else, there is an incredible opportunity that you can embed your skill into the outsourcing industry without any problem. There are an astounding measure of clients out there searching for your abilities and ready to pay great cash to use them please visit here how to freelancing for more details. Freelance composing is an extremely complicated interaction that relies upon, and just on the essayist. While this vocation decision is difficult to get into, it is strikingly simple to transform the composing field and earn substantial sums of money simultaneously. There are three essential things about freelance composing that each essayist, new or not, should be aware or have a grasping of. We check out at them exhaustively here: The when of freelance composition There is no when to freelance composition. A capable essayist can compose whenever of the day or night; one glimmer of motivation and he's up and composing on the pc. However, this is valid just for a couple of essayists. A large number of us compose at explicit times, with the end goal that our innovativeness becomes restricted to those hours as it were. A work at home mother will rise and shine right on time to get in a couple of hours before the children wake up. An undergrad will work in the nights after talks. However, with freelance composition, it's best not to get into a groove to such an extent that your innovativeness endures. The where of freelance composition Here, most essayists have a decision. A few of us need clear walls around us with zero commotion levels to have The option to work capably. Others need a boisterous climate. Others can work anyplace; from the middle of a well of lava emission to a path seat on a cable car in london. You get to choose where you are generally agreeable, and work from that point. The how of freelance composition Once more, there is no how to freelance composition. You should simply sit at your pc or type-essayist, and get moving. Those dealing with a particular task as of now have some thought of what they will compose, while others sit before their clear screens and get their dream together. In the cutting edge world, however, this approach is becoming old, since each essayist worth his time and energy is charging constantly. A typical slip-UP freelancers make is having powerless correspondence with their clients. You should know about this in light of the fact that continually rehashing this error can set you back huge load of cash as long as possible. You should be certain that you impart successfully while getting the task and furthermore during the venture. you want to construct and keep up with trust with your clients. The following mix-up you should know can occur with an extremely normal benefit you can have as a freelancer, how much tasks you can have. You can have many undertakings for yourself as you can deal with. However, you'll have to genuinely check what you can deal with. At long last, let's talk about recurrent business. That is when clients utilize your administrations again and again. At the point when you get you first clients, you might begin imagining that since you got work from them that you'll continue to get work from them. This is an unfortunate mix-up on your part. You believe that should conquer this by keeping up with great terms with your client and staying in contact with them.

Five Cs of communication—Keep the five Cs in mind when composing or delivering any project communication: Clear—State the subject; stay on subject; hold the receiver’s hand through the message; use appropriate terms. Concise—Get to the point; limit scope of the message. Courteous—Be polite; watch your tone. Consistent—Use appropriate tone, medium for intended message; all message elements should support intended meaning. Compelling—Give them a reason to pay attention.

Its usually futile to defend your dreams in fear and anger. Stay calm yet calculated instead. Man is designed to succeed by "expanding" his frontiers not by "climbing" his way through life. Hey, success is easier when you don't fight through life and you are composed enough to get ahead by thinking ahead. Stay on course!" -Asuni LadyZeal

The Ballad of John Axon was the first of a series created by MacColl, Seeger and BBC producer Charles Parker that shone the microphone like a searchlight into obscure or overlooked sectors of British society: fishermen, teenagers, motorway builders, miners, polio sufferers, even the nomadic travelling community. Gathered on the spot, their oral histories were reworked as intelligent and dynamic folk anthropology, attuned to their era’s nuanced tug-of-war between conservatism and progress. The eight programmes, broadcast by the BBC between 1958–64, were experiments conducted on the wireless, splicing spoken word, field recordings, sound effects, traditional folk song and newly composed material into audio essays that verged on the hypnotic. They were given a name that elegantly fused tradition and modernity: radio ballads. Until the mid-1950s standard BBC practice in making radio documentaries involved researchers visiting members of the public – ‘actuality characters’ – and talking to them, perhaps even recording them, then returning to headquarters and working out a script based on their testimonies. The original subjects would then be revisited and presented with the scripted version of their own words. That’s the reason such programmes sound so stilted to modern ears: members of the public are almost always speaking a scriptwriter’s distillation of their spontaneous thoughts. When MacColl and Charles Parker drove up to Stockport in the autumn of 1957 with an EMI Midget tape recorder in their weekend bags, they planned to interview Axon’s widow and his colleagues for information, then turn their findings into a dramatic reconstruction featuring actors and musicians. In fact, they stayed in the area for around a fortnight and ended up with more than forty hours of voices and location recordings. The material, they agreed, was too good to tamper with.

These and other discoveries tell us that music is a vital instrument for building our energetic fields. Any maternal and loving song, sound, or tone stirs instant healing within our body and helps sustain our energetic fields. The music of Mozart, Bach, Brahms, Chopin, and other classical composers has been shown to improve our social, emotional, mental, and physical well-being. As it enters our energetic field, it nourishes these important spiritual borders. As well, exposing ourselves to natural sounds enhances our connection with the electromagnetic field of the earth, bolsters our energetic fields, and stimulates relaxing brain waves.

Behavior that had in the past been acceptable—being in contact with your family, being on the internet when you weren’t supposed to—was suddenly grounds for intense suspicion. Not fighting was not an option. Not fighting other Syrian rebel groups, composed of Sunni Muslims, was not an option. Being a private citizen who stayed at home was not an option. The only option left to her looked to be escape.

My friends—a Spanish painter, a guitarist, the tenor who has been staying with Joaquin, a poet, a homosexual, a Roumanian painter, an American composer, etc. etc.—they are all pained, injured, that I should defend Lawrence. Una mujer tan ideal, que lastima!

For me life is an inn where I must stay until the carriage from the abyss calls to collect me. I don’t know where that carriage will take me because I know nothing. I could consider this inn to be a prison since I’m compelled to stay here; I could consider it a kind of club, because I meet other people here. However, unlike others, I am neither impatient nor sociable. I leave those who shut themselves in their rooms and wait, lying limply on their beds unable to sleep; I leave those who chatter in the lounges, from where the cosy sound of music and voices reaches me. I sit at the door and fill my eyes and ears with the colours and sounds of the landscape and slowly, just for myself, sing vague songs that I compose while I wait. Night will fall on all of us and the carriage will arrive. I enjoy the breeze given to me and the soul given to me to enjoy it and I ask no more questions, look no further.

For me life is an inn where I must stay until the carriage from the abyss calls to collect me. I don’t know where that carriage will take me because I know nothing. I could consider this inn to be a prison since I’m compelled to stay here; I could consider it a kind of club, because I meet other people here. However, unlike others, I am neither impatient nor sociable. I leave those who shut themselves in their rooms and wait, lying limply on their beds unable to sleep; I leave those who chatter in the lounges, from where the cosy sound of music and voices reaches me. I sit at the door and fill my eyes and ears with the colours and sounds of the landscape and slowly, just for myself, sing vague songs that I compose while I wait. Night will fall on all of us and the carriage will arrive. I enjoy the breeze given to me and the soul given to me to enjoy it and I ask no more questions, look no further.

I see life as a roadside inn where I have to stay until the coach from the abyss pulls up. I don’t know where it will take me, because I don’t know anything. I could see this inn as a prison, for I’m compelled to wait in it; I could see it as a social centre, for it’s here that I meet others. But I’m neither impatient nor common. I leave who will to stay shut up in their rooms, sprawled out on beds where they sleeplessly wait, and I leave who will to chat in the parlours, from where their songs and voices conveniently drift out here to me. I’m sitting at the door, feasting my eyes and ears on the colours and sounds of the landscape, and I softly sing – for myself alone – wispy songs I compose while waiting. Night will fall on us all and the coach will pull up. I enjoy the breeze I’m given and the soul I was given to enjoy it with, and I no longer question or seek. If what I write in the book of travellers can, when read by others at some future date, also entertain them on their journey, then fine. If they don’t read it, or are not entertained, that’s fine too.

I narrow my eyes at him, taking a small step backwards to put some distance between us, because his nearness is muddling me almost as much as his words. ‘He might not say or do any of those things, Kit, but he does keep his promises. He wouldn’t walk away and not come back.’ ‘I did come back,’ Kit says under his breath. I shrug. For a few moments we stand there watching each other. My fingers hurt from gripping my sides so much. I’m trying not to cry, but with each breath it feels as if the sob is going to come tearing out of me. ‘It’s too late,’ I finally say. ‘OK,’ Kit says after a beat. I watch him struggle to compose his face. ‘I’d better be going then,’ he says. ‘I’m sorry.’ And after all those words, with me watching him half in disbelief and half in horror, words rising mute up my throat and bursting silent on my tongue, I watch him walk away. Does he not see? I want to scream and call him back. I was just testing him. I don’t want him to leave. I want him to stay – to fight for me, to prove to me that he really means it, that he isn’t ever going to walk away again. But he’s failed the test. ‘That’s right,’ I whisper as he walks towards his bike. ‘Walk away. That’s what you’re good at.

There is something more to be said about our freedom to improvise inside of the composer’s form. The jazz lifestyle of the kingdom of God is a communal freedom. Jazz musicians make harmonious music, not just because they stay inside an agreed upon musical structure, but because they play in community with one another. Good jazz musicians are not just good players; they are also very skilled listeners. Their jazz is always an interaction with what is going on around them. God hasn’t given us sheet music. He has composed a structure that liberates us to improvise within the structure, and all while listening intently to one another and to him. What is he doing in and through my brothers and sisters in this moment? How can I make music that is harmonious with what God is intending, and with what others need? These are the questions of the communal freedom of the kingdom of God.

This intercourse between God and the soul is known to us in conscious personal awareness. It is personal: that is, it does not come through the body of believers, as such, but is known to the individual, and to the body through the individuals which compose it. And it is conscious: that is, it does not stay below the threshold of consciousness and work there unknown to the soul

Is Mr. Huntley safe?” Bethany’s composed voice sounded through the connection. “He is. Are you?” “I’m fine. Jeff and I went for a drive around the block. I had to tell him to stay to the left twice.” Liev laughed in spite of himself. “Did you keep him close?” Bethany’s question sent tight ropes of tension through Liev’s chest. “I did.” “Why didn’t you answer the phone when I first rang?” Because I was tongue-fucking our boss against a door. The confession played through Liev’s mind like a wicked taunt. “I was dealing with the situation.” “I want details later.” He snorted at Bethany’s calm demand. “Tough. You’re not going to get them.” Bethany chuckled. “Yes, I will,” she said, and then hung up. Suppressing a growl, Liev shoved his phone back into his pocket. Chris’s P.A. was an enigma. A frustrating, feisty enigma who seemed to have an agenda regarding their boss that Liev couldn’t decipher but somehow seemed to be a part of. Which made her his new favourite woman in the world. Or his least.