Strike A Chord Quotes

When love has left us in the lurch and nothing ever strikes a chord anymore, we may come to realize a vacuum of the lost vibrations of happiness and an absence of the ethereal and exalting feel of harmony that we only become aware of, after time passes by and everything has expired. (“Amour en friche”)

Normally writers do not talk much,because they are saving their conversations for the readers of their book- those invisible listeners with whom we wish to strike a sympathetic chord.

The best way ah knew tae strike a chord without compromising too much tae the sickening hypocrisy, perversely peddled as decency, which fills the room, is tae stick tae the clichés.

People were funny. They thought having a drone hanging outside the window was too invasive, but a lifelog didn’t strike the same chord. The recording feature didn’t feel invasive.

Light, my light, the world-filling light, the eye-kissing light, heart-sweetening light! Ah, the light dances, my darling, at the centre of my life; the light strikes, my darling, the chords of my love; the sky opens, the wind runs wild, laughter passes over the earth. The butterflies spread their sails on the sea of light. Lilies and jasmines surge up on the crest of the waves of light. The light is shattered into gold on every cloud, my darling, and it scatters gems in profusion. Mirth spreads from leaf to leaf, my darling, and gladness without measure. The heaven's river has drowned its banks and the flood of joy is abroad.

He strips me to my last nakedness, that underskin of mauve, pearlized satin, like a skinned rabbit; then dresses me again in an embrace so lucid and encompassing it might be made of water. And shakes over me dead leaves as if into the stream I have become. Sometimes the birds, at random, all singing, strike a chord. His skin covers me entirely; we are like two halves of a seed, enclosed in the same integument. I should like to grow enormously small, so that you could swallow me, like those queens in fairy tales who conceive when they swallow a grain of corn or a sesame seed. Then I could lodge inside your body and you would bear me.

Poetry is the language of the soul; Poetic Prose, the language of my heart. Each line must flow as in a song, and strike a chord that rings forever. To me, words are music!

I concede that a bad romantic novel is embarrassing and indefensible. So is a bad so-called realistic novel. (And it is usually pretentious into the bargain which is insufferable.) But a good romantic novel is a heart-warming thing which strikes a responsive chord in those who are happy and offers a certain lifting of the spirits to those who are not.

I wonder if anyone else has an ear so tuned and sharpened as I have, to detect the music, not of the spheres, but of earth, subtleties of major and minor chord that the wind strikes upon the tree branches. Have you ever heard the earth breathe?

You've got to shake your fists at lightning now, you've got to roar like forest fire You've got to spread your light like blazes all across the sky They're going to aim the hoses on you, show 'em you won't expire Not till you burn up every passion, not even when you die Come on now, you've got to try, if you're feeling contempt, well then you tell it If you're tired of the silent night, Jesus, well then you yell it Condemned to wires and hammers, strike every chord that you feel That broken trees and elephant ivories conceal

Art only survives by striking a chord in someone’s heart and offering solace and reassurance.

Death is not your termination but your transition into eternity, so there are eternal consequences to everything you do on earth. Every act of our lives strikes some chord that will vibrate in eternity.

Genius is when you strike a chord accidently, and the ensuing music is beyond your control

But that's the same for everyone if we let society determine our value," Steve explained as he sat down on the piano bench. "We always lose when we evaluate ourselves according to some one else's ideas or standards. And there are as many standards as there are people. A jock measures you by your athletic ability; a student by your brains; a steady by your looks. It's a losing battle," he said, striking a sour piano chord for added emphasis. "We have to forget about what people say or think, and recognize that God's values are the only important ones.

Stories of how businesses rise and fall strike a chord with readers by offering what the human mind needs: a simple message of triumph and failure that identifies clear causes and ignores the determinative power of luck and the inevitability of regression. These stories induce and maintain an illusion of understanding, imparting lessons of little enduring value to readers who are all too eager to believe them.

Aunt Clara doesn't take her eyes off her toast. Her delicate jet earrings tremble as her knife scratches at the toast like a cat's paw, buttering every inch. Strange how even the most mundane habits of dislikable people can strike such harsh chords. I even hate the way Aunt butters.

There’s magic and metaphors in music superior to any other art form. An exquisite alchemy is involved in mixing pieces of your self and soul into the precisely perfect blend of harmonies, melodies, and lyrics that strike a chord.

The power to respond to reason and truth exists in all of us. But so, unfortunately, does the tendency to respond to unrea­son and falsehood -- particularly in those cases where the falsehood evokes some enjoyable emotion, or where the appeal to unreason strikes some answering chord in the primitive, subhuman depths of our being.

I lean forward, pressing my lips to his, and it breaks me open. His hand leaves my face and traces notes up my arms, strikes chords on my throat and up into my hair. His mouth forms lyrics that expose my soul. The kiss is like a song played only once. And forever.

So if you like her, if she strikes a chord, this one goes out to you: the angry women, the threatening women, the solitary and the abhorred; women with cold hearts and sharp tongues, who play with fire and fall in love with monsters; women who love women, women who didn’t know they were women at first but know better now, those who thought they were women at first but know better now. We shall be monsters, you and I.

But wether I am faking on a player piano, or striking the chords with the power of my own mind and hands, the song of my life is equally suspenseful and full of surprises as it rolls off the pulsating sounding board of destiny - a barcarole that either way will leave, I hope, happy echoes behind

He struck me as a reptilian, small-hearted being, someone placed on a planet to strike a chord with similar people, people who distracted themselves with money and conversation rather than sink their hands and teeth into the world around them. Shallow, I guess. But there were worse people on this Earth.

He stuck me as a reptilian, small-hearted being, someone placed on the planet to strike a chord with similar people, people who distracted themselves with moeny and conversation rather than sink their hands and teeth into the world around them. Shallow, I guess. But there were worse people on this Earth.

He struck me as a reptilian, small-hearted being, someone placed on the planet to strike a chord with similar people, people who distracted themselves with moeny and conversation rather than sink their hands and teeth into the world around them. Shallow, I guess. But there were worse people on this Earth.

and sometimes getting older feels like striking the same chord and it sounding different.

I hope you’re ready, Taylor Marsten, because I’m going to be the best fucking boyfriend you’ve ever had.

Twenty-seven years, I’ve gotten every single thing I’ve ever wanted. And now, I want you.

I have never been in love before you. There will never be anyone else. It’s only you.

At their core, Tiger Eyes, Forever..., and Sally J. Freeman are all books about teenage issues, but to an adult reader, the parents' story lines seem to almost overshadow their daughters. I'm bringing an entirely new set of experiences to these novels now, and my reward is a fresh set of story lines that i missed the first time around. I'm sure that in twenty or thirty years I'll read these books again and completely identify with all the grandparent characteristics. That's the wonderful thing about Judy Blume - you can revisit her stories at any stage in life and find a character who strikes a deep chord of recognition. I've been there, I'm in the middle of this, someday that'll be me. The same characters, yet somehow completely different. (Beth Kendrick)

If I’ve given you the impression that I’m fragile, let me make myself clear. I can take whatever you dish out.” He licks his lips and my stomach tumbles as if I’m on a rollercoaster. “Fragile or not, I will break you.” “I’d love to see you try.

Tell me the truth. Tell me you’re not giving up on us just because things are complicated. Tell me you’ll fight for us. Tell me you’ll do whatever it fucking takes to keep me. Tell me you can’t see yourself with another man.” ... “Tell me you’re mine.

Law 8: Create a vision for your future. Extraordinary minds create a vision for their future that is decidedly their own and free from expectations of the culturescape. Their vision is focused on end goals that strike a direct chord with their happiness.

An Opera for Kamal Boullata If I were one of those musicians who penned grand Italian operas where the notes, like clogs strike all the chords of Mediterraneans like us I would compose one and dedicate it to you Yet sadly these shrill words are all I have for you

Opium! dread agent of unimaginable pleasure and pain! I had heard of it as I had of manna or of ambrosia, but no further. How unmeaning a sound was it at that time: what solemn chords does it now strike upon my heart! What heart-quaking vibrations of sad and happy remembrances!

I’m falling in love with you.” His body stills above me, as if he’s holding his breath. … He props his weight on his elbows and kisses me—soft, sweet, and with so much feeling, my eyes heat with unshed tears. “Good.” He kisses me again. “Because I’ve already fallen in love with you.

Love, that is first and last of all things made, The light that has the living world for shade, The spirit that for temporal veil has on The souls of all men woven in unison, One fiery raiment with all lives inwrought And lights of sunny and starry deed and thought, And alway through new act and passion new Shines the divine same body and beauty through, The body spiritual of fire and light That is to worldly noon as noon to night; Love, that is flesh upon the spirit of man And spirit within the flesh whence breath began; Love, that keeps all the choir of lives in chime; Love, that is blood within the veins of time; That wrought the whole world without stroke of hand, Shaping the breadth of sea, the length of land, And with the pulse and motion of his breath Through the great heart of the earth strikes life and death, The sweet twain chords that make the sweet tune live Through day and night of things alternative, Through silence and through sound of stress and strife, And ebb and flow of dying death and life: Love, that sounds loud or light in all men's ears, Whence all men's eyes take fire from sparks of tears, That binds on all men's feet or chains or wings; Love that is root and fruit of terrene things; Love, that the whole world's waters shall not drown, The whole world's fiery forces not burn down; Love, that what time his own hands guard his head The whole world's wrath and strength shall not strike dead; Love, that if once his own hands make his grave The whole world's pity and sorrow shall not save; Love, that for very life shall not be sold, Nor bought nor bound with iron nor with gold; So strong that heaven, could love bid heaven farewell, Would turn to fruitless and unflowering hell; So sweet that hell, to hell could love be given, Would turn to splendid and sonorous heaven; Love that is fire within thee and light above, And lives by grace of nothing but of love; Through many and lovely thoughts and much desire Led these twain to the life of tears and fire; Through many and lovely days and much delight Led these twain to the lifeless life of night.

There is a reason why we admire certain people. They espouse something that strikes a chord within us. Be it their innate talent, drive, wisdom, or attitude, there is a reason we find certain individuals fascinating, and if we can harness that same spark that made them great, perhaps we can achieve greatness as well.

Hypothetically speaking…” They all nod. “When you ask a woman who is clearly upset ‘what’s wrong’ and they say ‘nothing, I’m fine’—” They all groan and shake their heads. “So not fine.” “They’re pissed.” “Fine is the atom-bomb of female emotions.” Jesse cringes. “That’s a word you never want to hear when you ask if everything’s okay.

I've been thinking about what it means to bear witness. The past ten years I've been bearing witness to death, bearing witness to women I love, and bearing witness to the [nuclear] testing going on in the Nevada desert. I've been bearing witness to bombing runs on the edge of the Cabeza Prieta Wildlife Refuge, bearing witness to the burning of yew trees and their healing secrets in slash piles in the Pacific Northwest and thinking this is not so unlike the burning of witches, who also held knowledge of heading within their bones. I've been bearing witness to traplines of coyotes being poisoned by the Animal Damage Control. And I've been bearing witness to beauty, beauty that strikes a chord so deep you can't stop the tears from flowing. At places as astonishing as Mono Lake, where I've stood knee-deep in salt-water to watch the fresh water of Lee Vining Creek flow over the top like water on vinegar....It's the space of angels. I've been bearing witness to dancing grouse on their leks up at Malheur in Oregon. Bearing witness to both the beauty and pain of our world is a task that I want to be part of. As a writer, this is my work. By bearing witness, the story that is told can provide a healing ground. Through the art of language, the art of story, alchemy can occur. And if we choose to turn our backs, we've walked away from what it means to be human.

When I was a little child there used to be two blind performers in Rajkot. One of them was a musician. When he played on his instrument, his fingers swept the strings with an unerring instinct and everybody listened spellbound to his playing. Similarly there are chords in every human heart. If we only knew how to strike the right chord, we would bring out the music.

Psychology knows that he who imagines disasters in some way desires them. But why do they come so eagerly to meet him.l Something in reality strikes a chord in paranoid fantasy and is warped by it. The sadism latent in everyone unerringly divines the weakness latent in everyone. And the fantasy of persecution is contagious: wherever it occurs spectators are driven irresistibly to imitate it.

It is from numberless diverse acts of courage and belief that human history is shaped. Each time a man stands up for an ideal, or acts to improve the lot of others, or strikes out against injustice, he sends forth a tiny ripple of hope, and crossing each other from a million different centers of energy and daring, those ripples build a current which can sweep down the mightiest walls of oppression and resistance.

A third emotional source of the defense forces is the sadistic conception of sexuality that the children of all patriarchal cultural circles acquire in early childhood. Since every inhibition of genital gratification intensifies the sadistic impulse, the entire sexual structure becomes sadistic. Since, moreover, genital claims are replaced by anal claims, the reactionary sexual slogan that a woman is degraded by sexual intercourse strikes a chord in the adolescent structure. In short, it is owing to the already existing perversity in the adolescent structure that the slogan can be effective. It is from his own personal experience that the adolescent has developed a sadistic conception of sexual intercourse. Thus, here too we find a confirmation of the fact that man's compulsive moralistic defense forces constitute the basis of political reaction's power.

Angry heat tightens my skin. “Never took you for a coward,” I blurt. His head snaps in my direction. “What do you mean by that?” “You came here tonight for a reason. Why don’t you own up to it?” Before I can think about it, I lean across the center console and stare him directly in the face. “Do you always run from what you want?” Maybe I’m going out on a limb to imply he wants me, but the pulse throbbing at his neck tells me it’s so. And he is here, after all. His gaze drops to my mouth. “I can’t think of the last time I had anything I truly wanted,” he says huskily, so low I could hardly hear him. It’s more like I felt him. His words echo through me, striking a chord so deep that I’m sure there’s a reason for all this. A reason we’ve found each other, first in the mountains and now here. A reason. Something more. Something bigger than coincidence. “Me too.” He leans across the console. Sliding a hand behind my neck, he tugs my face closer. I move fluid, melting toward him. “Maybe it’s time to change that then.” At the first brush of his mouth, stinging heat surges through me, shocking me motionless. My veins and skin pop and pulse. I rise on my knees, clutch his shoulders with clawing fingers, trying to get closer. My hands drift, rounding over his smooth shoulders, skimming down a rock-hard chest. His heart beats like a drum beneath my fingers. My blood burns, lungs expand and smolder. I can’t draw enough air through my nose . . . or at least not enough to chill my steaming lungs. His hands slide over my cheeks, holding my face. His skin feels like ice to my blistering flesh, and I kiss him harder. “Your skin,” he whispers against my mouth,” it’s so . . .” I drink him in, his words, his touch, moaning at his taste, at the sudden burning pull of my skin. The delicious tugging in my back. He kisses me deeper with cool, dry lips. Moves his hands down my face, along my jaw to my neck. His fingertips graze beneath my ear, and I shiver. “Your skin is so soft, so warm . . .

Potential demagogues exist in all democracies, and occasionally, one or more of them strike a public chord. But in some democracies, political leaders heed the warning signs and take steps to ensure that authoritarians remain on the fringes, far from the centers of power. When faced with the rise of extremists or demagogues, they make a concerted effort to isolate and defeat them. Although mass responses to extremist appeals matter, what matters more is whether political elites, and especially parties, serve as filters. Put simply, political parties are democracy’s gatekeepers.

Let the chromosomes be represented by the keyboard of a grand piano-a very grand piano with thousands of keys. Then each key will be a gene. Every cell in the body carries a microscopic but complete keyboard in its nucleus. But each specialised cell is only permitted to sound one chord, according to its specialty-the rest of its genetic keyboard has been inactivated by scotch tape. The fertilised egg, and the first few generations of its daughter cells, had the complete keyboard at their disposal. But succesive generations have, at each 'point of no return', larger and larger areas of it covered by scotch tape. In the end, a muscle cell can only do one thing: contract-strike a single chord. The scotch tape is known in the language of genetics as the 'repressor'. The agent which strikes the key and activates the gene is an 'inducer'. A mutated gene is a key which has gone out of tune. When quite a lot of key have gone quite a lot out of tune, the result, we were asked to believe, was a much improved, wonderful new melody- a reptile transformed into a bird, or a monkey into a man. It seems that at some point the theory must have gone wrong. The point where it went wrong was the atomistic concept of the gene.

She had her head down, her back half turned to me. But even from that partial view, I could see that she was, as David had said, a striking woman: creamy skin, a glossy fall of obsidian hair, which she wore unbound and uncovered. Even in her loose robe it was possible to discern long, slender legs, a supple rounding of hips, and generous breasts, against which the baby lay, his thick shock of hair bearing fiery witness to his paternity. When David presented her she looked up, and I took a step backward. Her eyes were unexpected: a luminous blue. Also shocking: despite her tall, full figure, the face that gazed up at me was the face of a child. She was very young.

Who is Mr. Jasper?" Rosa turned aside her head in answering: "Eddy's uncle, and my music-master." "You do not love him?" "Ugh!" She put her hands up to her face, and shook with fear or horror. "You know that he loves you?" "O, don't, don't, don't!" cried Rosa, dropping on her knees, and clinging to her new resource. "Don't tell me of it! He terrifies me. He haunts my thoughts, like a dreadful ghost. I feel that I am never safe from him. I feel as if he could pass in through the wall when he is spoken of." She actually did look round, as if she dreaded to see him standing in the shadow behind her. "Try to tell me more about it, darling." "Yes, I will, I will. Because you are so strong. But hold me the while, and stay with me afterwards." "My child! You speak as if he had threatened you in some dark way." "He has never spoken to me about - that. Never." "What has he done?" "He has made a slave of me with his looks. He has forced me to understand him, without his saying a word; and he has forced me to keep silence, without his uttering a threat. When I play, he never moves his eyes from my hands. When I sing, he never moves his eyes from my lips. When he corrects me, and strikes a note, or a chord, or plays a passage, he himself is in the sounds, whispering that he pursues me as a lover, and commanding me to keep his secret. I avoid his eyes, but he forces me to see them without looking at them. Even when a glaze comes over them (which is sometimes the case), and he seems to wander away into a frightful sort of dream in which he threatens most, he obliges me to know it, and to know that he is sitting close at my side, more terrible to me than ever." "What is this imagined threatening, pretty one? What is threatened?" "I don't know. I have never even dared to think or wonder what it is." "And was this all, to-night?" "This was all; except that to-night when he watched my lips so closely as I was singing, besides feeling terrified I felt ashamed and passionately hurt. It was as if he kissed me, and I couldn't bear it, but cried out. You must never breathe this to any one. Eddy is devoted to him. But you said to-night that you would not be afraid of him, under any circumstances, and that gives me - who am so much afraid of him - courage to tell only you. Hold me! Stay with me! I am too frightened to be left by myself.

Reading Group Questions and Topics for Discussion 1. Maya Angelou begins her autobiography with a moment of public humiliation in church. Why do you think she chose this scene in particular? Do themes in this scene reappear throughout the memoir? 2. To Marguerite, her mother seems alternately charming elusive, unreliable, and strong. Which episodes in the novel illuminate her character? Do you think she was a good mother? 3. Mrs. Flowers “encouraged [Marguerite] to listen carefully to what country people called mother wit. That in those homely sayings was couched the collective wisdom of generations” (this page). What are some of the maxims that Angelou remembers hearing from Momma and Mother? Did any of these maxims strike a particular chord with you? Are there examples of “mother wit” that you remember from your own childhood, or pass on to those around you? 4. Angelou describes Marguerite as “superstitious” (this page). Can you find some examples of Marguerite's superstition? 5. How does Angelou describe her molestation and later her rape at the hands of Mr. Freeman? Were you surprised by her emotions? Was this terrible experience the defining moment of the novel or of Angelou's childhood? Why or why not? 6.

The most intriguing correlations obtained by the Minnesota study were also among the most unexpected. Social and political attitudes between twins reared apart were just as concordant as those between twins reared together: liberals clustered with liberals, and orthodoxy was twinned with orthodoxy. Religiosity and faith were also strikingly concordant: twins were either both faithful or both nonreligious. Traditionalism, or “willingness to yield to authority,” was significantly correlated. So were characteristics such as “assertiveness, drive for leadership, and a taste for attention.” Other studies on identical twins continued to deepen the effect of genes on human personality and behavior. Novelty seeking and impulsiveness were found to have striking degrees of correlation. Experiences that one might have imagined as intensely personal were, in fact, shared between twins. “Empathy, altruism, sense of equity, love, trust, music, economic behavior, and even politics are partially hardwired.” As one startled observer wrote, “A surprisingly high genetic component was found in the ability to be enthralled by an esthetic experience such as listening to a symphonic concert.” Separated by geographic and economic continents, when two brothers, estranged at birth, were brought to tears by the same Chopin nocturne at night, they seemed to be responding to some subtle, common chord struck by their genomes.

the ten thousand things To study the self is to forget the self. To forget the self is to be enlightened by the ten thousand things. – Eihei Dogen If one is very fortunate indeed, one comes upon – or is found by – the teachings that match one’s disposition and the teachers or mentors whose expression strikes to the heart while teasing the knots from the mind. The Miriam Louisa character came with a tendency towards contrariness and scepticism, which is probably why she gravitated to teachers who displayed like qualities. It was always evident to me that the ‘blink’ required in order to meet life in its naked suchness was not something to be gained in time. Rather, it was clear that it was something to do with understanding what sabotages this direct engagement. So my teachers were those who deconstructed the spiritual search – and with it the seeker – inviting one to “see for oneself.” I realised early on that I wouldn’t find any help within traditional spiritual institutions since their version of awakening is usually a project in time. Anyway, I’m not a joiner by nature. I set out on my via negativa at an early age, trying on all kinds of philosophies and practices with enthusiasm and casting them aside –neti neti – equally enthusiastically. Chögyam Trungpa wised me up to “spiritual materialism” in the 70s; Alan Watts followed on, pointing out that whatever is being experienced is none other than ‘IT’ – the unarguable aliveness that one IS. By then I was perfectly primed for the questions put by Jiddu Krishnamurti – “Is there a thinker separate from thought?” “Is there an observer separate from the observed?” “Can consciousness be separated from its content?” It was while teaching at Brockwood Park that I also had the good fortune to engage with David Bohm in formal dialogues as well as private conversations. (About which I have written elsewhere.) Krishnamurti and Bohm were seminal teachers for me; I also loved the unique style of deconstruction offered by Nisargadatta Maharaj. As it happened though, it took just one tiny paragraph from Wei Wu Wei to land in my brain at exactly the right time for the irreversible ‘blink’ to occur. I mention this rather august lineage because it explains why the writing of Robert Saltzman strikes not just a chord but an entire symphonic movement for me. We are peers; we were probably reading the same books by Watts and Krishnamurti at the same time during the 70s and 80s. Reading his book, The Ten Thousand Things, is, for me, like feeling my way across a tapestry exquisitely woven from the threads of my own life. I’m not sure that I can adequately express my wonderment and appreciation… The candor, lucidity and lack of jargon in Robert’s writing are deeply refreshing. I also relish his way with words. He knows how to write. He also knows how to take astonishingly fine photographs, and these are featured throughout the book. It’s been said that this book will become a classic, which is a pretty good achievement for someone who isn’t claiming to be a teacher and has nothing to gain by its sale. (The book sells for the production price.) He is not peddling enlightenment. He is simply sharing how it feels to be free from all the spiritual fantasies that obscure our seamless engagement with this miraculous thing called life, right now.

Sahir had attempted to underline the importance of compassion in politics, thinking that it would strike a chord with Imran. After all, his party’s message centred on change, justice and decency. But Imran ended the discussion by saying “Machiavelli’s ideas work

To be brief doesn't just mean being concise. Your responsibility is to balance how long it takes to convey a message well enough to cause a person to act on it. That's the harmony of brevity when it's striking the right chords.

The more unequal societies become, the more likely we are to hear from the demophobes. This would strike a chord with my great-grandparents’ generation. It would also sound familiar to America’s Founding Fathers. ‘The newfound aversion to democratic institutions among rich citizens in the West may be no more than a return to the historical norm,’ write Yascha Mounk and Roberto Stefan Foa.53 To put it more bluntly: when inequality is high, the rich fear the mob.

There are flowers growing upon the hill Like they always have before, And now you slumber and all is still, And your sword will ne'er strike more.

When there are two pianos and you strike an A chord on one, the other will vibrate A too.

But I had only met Kraunauer recently, spent less than an hour in his company, and I didn’t really know him at all, except to know that he was, in his own way, as completely without feelings as I was. I knew this from his reputation, of course. But from being in his company I had also sensed that somewhere behind his eyes there lurked that familiar Dark Emptiness. He was a predator, totally without mercy, the kind of dedicated and enthusiastic shark who didn’t even need the smell of blood in the water to strike. He ripped out chunks of flesh because that’s what he was made to do, and he liked it that way. Naturally enough, that kind of inborn enthusiasm struck a chord in me.

To A Friend" I ask but one thing of you, only one, That always you will be my dream of you; That never shall I wake to find untrue All this I have believed and rested on, Forever vanished, like a vision gone Out into the night. Alas, how few There are who strike in us a chord we knew Existed, but so seldom heard its tone We tremble at the half-forgotten sound. The world is full of rude awakenings And heaven-born castles shattered to the ground, Yet still our human longing vainly clings To a belief in beauty through all wrongs. O stay your hand, and leave my heart its songs!

the work that we produce for business or for culture, there is always a telling moment—when it leaves our hands and reaches the public for which it was intended. In that instant it ceases to be something that was in our heads; it becomes an object that is judged by others. Sometimes this object connects with people in a profound way. It strikes an emotional chord, resonates, and has warmth. It meets a need. Other times it leaves people surprisingly cold—in our minds we had imagined it having a much different effect. This process can seem rather mysterious. Some people seem to have a knack for creating things that resonate with an audience. They are great artists, politicians with the popular touch, or business people who are endlessly inventive. Sometimes we ourselves produce something that works, but we fail to understand why, and lacking this knowledge, we cannot reproduce our success.

if we let ourselves be guided by the atonal musician we walk as it were through a dense forest. The strangest flowers and plants attract our attention by the side of the path. But we do not know where we are going nor whence we have come. The listener is seized by a feeling of being lost, of being at the mercy of the forces of primeval existence. It seems as though the atonal musician had not paid attention to the listener as an independent personality: the listener is faced with an all-powerful world of chaos. But of course it must be admitted that this strikes a chord in the apprehensions of modern man!

I sometimes recommend that readers view the table of contents and start with whatever headings most strike a chord. Although the book is laid out in a somewhat linear fashion, everyone’s journey of recovering is different, and journeys can be initiated in a variety of ways.

Every once in a while I get the queer notion that every human soul experiences everything, both outwardly and inwardly, that the world has to offer in the way of experiences. If that were not so, there would be no equality before God. The difference between souls does not lie in their ability or inability to have experiences but only in the degree of articulation with which they become conscious of these experiences. Even those who are simple enough to discount the more mysterious conditions of our soul as “extravagant fancies” are filled and permeated by them. For this reason the hope springs eternal that even the most ineffable inner experience will strike a responsive chord in someone who will exclaim in brotherly surprise: “I’ve had exactly the same experience.

He wanted to sweep her up into his arms and hold her for the rest of his life, wanted to apologize a million times in a million different languages, to hopefully strike a chord.

Peace, a commodity purchased with friendship and safety and anything comfortable and all things familiar; peace that was a pleasant melody playing through the moments of their day; a chord striking only the notes of security and agreement and understanding and order.

I am not a woman,” was all she said. But hot temper laced those molten gold eyes. He gave her an indolent shrug, perhaps only because she was indeed in chains, perhaps because, even though the death she radiated thrilled him, it did not strike a chord of fear. “Witch, woman … as long as the parts that matter are there, what difference does it make?” She eased into a sitting position, disbelief and exhausted outrage on that perfect face. She bared her teeth in a silent snarl. Dorian offered a lazy grin in return. “Believe it or not, this ship has an unnatural number of attractive men and women on board. You’ll fit right in. And fit in with the cranky immortals, I suppose.

Sir, I just want you to help me out of this case and I will serve you in whatever way you want,” Arora said, hoping to strike the right chord and escape suspension. Arora had a long experience of paying graft to his senior officers, time and again. He had very well adapted himself to the practical culture of the system, where bribery and graft were no secret.

I watched him play every perfect chord as if it were an entire song, every song as if it were a grand sonata. The old man was lost in the captivating music and I was lost too—in his commanding presence, in his seamless movement, in his unmatched talent. His fingers floated effortlessly over the worn strings of the acoustic guitar, each one crossing over the other with calming ease. I found it hard to distinguish where one part ended and another began, inspiring and stirring my soul like a miracle. Elsie watched him with great intent, with great wonder, as did I. Then she got up from her leather armchair in the corner, walked over to the parlor grand piano, and joined in just as the song began to swell to its airy peak. They played together flawlessly, a man and a woman, for what could have been the thousandth time. Yet as I watched them, as the music filled me like the warmth of coming home, I could see it was new to them too, though ancestral and old. I was swept away, amazed at how each part was so distinct, so solitary in and of itself, and how yet it could only capture its full potential, its full beauty, as a part of something greater. I thought of how we are all pieces of music, of how one person would cease to swell without the other, of how the part that moves us the most freely in ourselves might not exist at all. I watched Johnny as he continued to strum, then Elsie as her fingers darted from place to place on the keys of the piano. The music swept over me like a memory of summertime, and I closed my eyes, letting it take me where it would, to a place so strikingly beautiful that everything else was silently perfect, letting the melody lead the moment. The hopeful sound filled my expectant ears and my emotions felt new again, as if I were a child, the moment peacefully pure, like rocking a newborn back to sleep. Wet streams of tears escaped my soft, emotional eyes as I let the notes take their full effect. To Johnny and Elsie, music was a language that didn't require words. In fact, it exceeded them. For what was flowing from the withered hands of the couple before me now was in itself perfection. Words could only ruin a moment this pure. As I watched them, I realized I wanted to care about anything as much as they did about music. A tear ran down my cheek as the last note hung softly, like a butterfly might hang on air. I decided right then that some things in life were much too beautiful not to cry about. This, I now knew, was one of them.

Imagine what you can give in these areas of the Twelve Areas of Balance: 9.​YOUR CAREER. What are your visions for your career? What level of competence do you want to achieve and why? How would you like to improve your workplace or company? What contribution to your field would you like to make? If your career does not currently seem to contribute anything meaningful to the world, take a closer look—is that because the work is truly meaningless or does it just not have meaning to you? What career would you like to get into? 10.​YOUR CREATIVE LIFE. What creative activities do you love to do or what would you like to learn? It could be anything from cooking to singing to photography (my own passion) to painting to writing poetry to developing software. What are some ways you can share your creative self with the world? 11.​YOUR FAMILY LIFE. Picture yourself being with your family not as you think you “should” be but in ways that fill you with happiness. What are you doing and saying? What wonderful experiences are you having together? What values do you want to embody and pass along? What can you contribute to your family that is unique to you? Keep in mind that your family doesn’t have to be a traditional family—ideas along those lines are often Brules. “Family” may be cohabiting partners, a same-sex partner, a marriage where you decided not to have children, or a single life where you consider a few close friends as family. Don’t fall into society’s definition of family. Instead, create a new model of reality and think of family as those whom you truly love and want to spend time with. 12.​YOUR COMMUNITY LIFE. This could be your friends, your neighborhood, your city, state, nation, religious community, or the world community. How would you like to contribute to your community? Looking at all of your abilities, all of your ideas, all of the unique experiences you’ve had that make you the person you are, what is the mark you want to leave on the world that excites and deeply satisfies you? For me, it’s reforming global education for our children. What is it for you? This brings us to Law 8. Law 8: Create a vision for your future. Extraordinary minds create a vision for their future that is decidedly their own and free from expectations of the culturescape. Their vision is focused on end goals that strike a direct chord with their happiness.

Paul then strikes a major chord when he says that they have been sanctified in Christ Jesus, called to be holy. Sanctified means consecrated: set apart for a divine purpose, as a chalice or church might be consecrated today. Though

It was from this that Mary Elizabeth Frankenstein was born. So if you like her, if she strikes a chord, this one goes out to you: the angry women, the threatening women, the solitary and the abhorred; women with cold hearts and sharp tongues, who play with fire and fall in love with monsters; women who love women, women who didn’t know they were women at first but know better now, those who thought they were women at first but know better now. We shall be monsters, you and I.

The term 'cathedral forest' is used as a metaphor, to suggest that great woods are like great medieval churches. But I have often felt that this is backward, that the stone cathedrals are a recreation of the forests where our distant ancestors lived. This is why they strike a chord deep within us. The soaring ceilings of a medieval cathedral, the cool, damp air, the dark punctuated by beams of brilliant light coloured by stained glass mimic our ancient home, our Garden of Eden.... A walk in the rain forest is a walk into the mind of God.

Between a good story and a bunch of data, the story has always prevailed. These mentally vivid images strike a deep, lasting chord known as the narrative fallacy.

Jazz is a strange music. Jazz is where you find it. You dig all day in the mine, handling those big lumpy dead rocks; that’s the popular music, the dead stuff. And then all of a sudden you come on a bright gleaming streak embedded in the dead rock; it’s alive, it’s gold. That’s how you find jazz. So many people have never heard jazz, because they’ve found nothing but the slag, the dead ore in which it’s cased. They hear the raw material, the nondescript popular song; they may never be lucky enough to be present when inspired musicians strike away the lumpy death and bring out the life. The trumpet states a theme; it isn’t a hell of a good theme and in the song it means little or nothing. He strips it down to its bare chords, throws its thin line of melody out there for a start. The clarinet invents a counter-melody for himself, an invention as carefully wrought, as musicianly, as anything Bach ever wrote down. And then the trombone sings; there is a complete perfection, coming close to the unbearable, in the addition of that third voice to the polyphony of true jazz. Out of nothing something of beauty has been created; you have heard jazz, and you are lucky. You are even more lucky if you have created jazz, if you can sit with the gut-searing vibrations of a trombone mouthpiece kicking back against your face and feel the music down into your feet.

There is a trinity of strings inside you. Your mind, your heart and your gut strike chords in major, minor, augmented or diminished. Put down the binoculars and pick up the stethoscope. Place its chilly steel disc against your bashful skin and listen. This is the sound of a universe. Be as God to your earful kingdom. You are Lord of your body. Every cell is following your commandments. Your heart is an emperor’s drummer with his eyes watching for your cue. You are the maestro of intuition, morals, and reason. Your pelvis wants you here seated. Your throne aches for the rule of someone just like you with no exceptions.

Clark said it was stupid not to put his father on the stand. Daniel told Richard he had spoken to his mother and she had cried and begged him to convince her youngest-born to put up a defense. That seemed to strike a chord somewhere deep inside of Richard. He said he would like to talk with Dr. Jo ’Ellan Dimitrius and ask how the jury might react if he didn’t put up a defense, didn’t take the stand and deny the charges.

To identify our internal obstacles we can look for inconvenient facts, those uncomfortable truths about our performance that we don’t usually admit to. The word ‘inconvenient’ seems to strike the right chord – not too strong but not too weak. And calling them ‘facts’ means we can’t deny them.

When what happens outside strikes a chord with what is inside, that is the essence of the moment—and that is when the artist should make the photograph.

Elsa crossed her arms. “All my life I’ve been told to make no noise, don’t want too much, be grateful for any scrap that came my way. And I’ve done that. I thought if I just did what women are supposed to do and played by the rules, it would … I don’t know … change. But the way we’re treated…” “It’s unfair,” he said. “It’s wrong,” she said. “This isn’t who we are in America.” “No.” “A strike.” She said the frightening word quietly. “Can it work?” “Maybe.” She was grateful for his honesty. “They’ll hurt us for trying.” “Yeah,” he said. “But life is more than what happens to us, Elsa. We have choices to make.” “I’m not a brave woman.” “And yet here you are, standing at the edge of battle.” His words touched a chord in her. “My grandfather was a Texas Ranger. He used to tell me that courage was a lie. It was just fear that you ignored.” She looked at him. “Well, I’m scared.” “We’re all scared,” he said.

Whenever you’re tapping, look for key words and phrases that really strike a chord.

It is the first time I have felt truly South African. When the orchestra strikes up the opening chords of the national anthem, and the entire stadium stands, I have found my voice and I sing ‘Nkosi sikelel’ iAfrika!’ I look to the gogo who had earlier taken my arm and I put my hand in hers. My people, I think to myself. My people.

After their time in the monastery, most young men and women will return to their villages, having completed their training with the elders. They are now accepted as “ripe,” as initiated men and women, respected in their community. Outwardly they will have learned the religious forms and sacred rituals of the Buddhist community. Inwardly, these ancient forms are intended to awaken an unshakable virtue and inner respect, fearlessness in the face of death, self-reliance, wisdom, and profound compassion. These qualities give one who leaves the monastery the hallmark of a mature man or woman. Perhaps as you read about this ordination process, its beauty will strike a chord in you that intuitively knows about the need for initiations. This does not mean that you have to enter a monastery to seek this remarkable and wonderful training. By reading about this tradition, you may simply awaken that place in yourself, which exists in each of us, that longs for wholeness and integrity, because the awakening that comes through initiation is a universal story. In our time we need to reclaim rites of passage, we need to honor elders, we need to find ways to remind our young people and the whole of our communities of the sacredness of life, of who we really are.

After their time in the monastery, most young men and women will return to their villages, having completed their training with the elders. They are now accepted as “ripe,” as initiated men and women, respected in their community. Outwardly they will have learned the religious forms and sacred rituals of the Buddhist community. Inwardly, these ancient forms are intended to awaken an unshakable virtue and inner respect, fearlessness in the face of death, self-reliance, wisdom, and profound compassion. These qualities give one who leaves the monastery the hallmark of a mature man or woman. Perhaps as you read about this ordination process, its beauty will strike a chord in you that intuitively knows about the need for initiations. This does not mean that you have to enter a monastery to seek this remarkable and wonderful training. By reading about this tradition, you may simply awaken that place in yourself, which exists in each of us, that longs for wholeness and integrity, because the awakening that comes through initiation is a universal story. In our time we need to reclaim rites of passage, we need to honor elders, we need to find ways to remind our young people and the whole of our communities of the sacredness of life, of who we really are. Remember, too, that initiation comes in many forms. I have a friend who has three children under the age of five. This is a retreat as intensive as any other, including sitting up all night in the charnel grounds. Marriage and family are a kind of initiation. As Gary Snyder says, All of us are apprentices to the same teacher that all masters have worked with—reality. Reality says: Master the twenty-four hours. Do it well without self-pity. It is as hard to get children herded into the car pool and down the road to the bus as it is to chant sutras in the Buddha Hall on a cold morning. One is not better than the other. Each can be quite boring. They both have the virtuous quality of repetition. Repetition and ritual and their good results come in many forms: changing the car filters, wiping noses, going to meetings, sitting in meditation, picking up around the house, washing dishes, checking the dipstick. Don’t let yourself think that one or more of these distracts you from the serious pursuits. Such a round of chores is not a set of difficulties to escape so that we may do our practice that will put us on the path. It IS our path.

In a letter she wrote to Alfred Stieglitz in November of 1909, she says, “I’ve just finished a big job for very little cash! A set of designs for a pack of Tarot cards 80 designs. I shall send some over—of the original drawings—as some people may like them!” Today this note strikes a chord that’s both sweet and sour. The thirty-one-year-old writing it had no inkling how renowned her images would become after they were published in 1910. The Rider-Waite tarot deck, as it came to be called (after Waite and the publisher, William Rider & Son), is now arguably the most successful and recognizable deck ever made, and it is the number-one-selling deck in America and England. Her complex, symbolic artwork has been a source of inspiration and deep meaning to card readers for more than a hundred years, not to mention its numberless appearances on everything from T-shirts to coffee mugs to haute couture dresses by Dior and Alexander McQueen.

You know, I’ve been thinking about what you said, about vampirism being the ultimate oral fixation.” I groaned. “Please, can we give this whole vampire thing a rest?” “I don’t mean vampires as blood suckers or soul suckers. But as oral robbers.” My brow furrowed. “Oral robbers?” “Yes. Those who steal with their mouths—not by way of fangs, but with words.” “I don’t understand,” I said. Grayson turned his back on me and reached back into the cupboard. “What if I told you I was thinking of letting you go, Drex?” My gut fell four inches. “What? Why? What did I do wrong?” He turned back around. “Did you feel an internal shift?” “Internal shift?” I said. “I feel destroyed. Like I want to throw up! Why are you doing this?” “To prove my point.” “What point? That I’m no good?” “No. That in a way, we’re all oral robbers—with our words.” “Huh?” I whined. Grayson studied me clinically. “All I did was utter some particular arrangement of tones through my vocal chords. You interpreted them as words, and applied your own meaning to them.” I was hurt. And on my last nerve with Grayson’s stupid analogies. “Come on, Grayson! Just tell me. Am I fired, or what?” Grayson locked his green eyes on mine. “My words formed images in your mind that sent chemical and hormonal secretions into your bloodstream, causing emotions that shifted your entire world view.” I glared at him. “Fine. I’ll pack my bags and leave with the Triple A guy.” “See?” Grayson said. “Now you’re insecure about your whole future, based on a couple of words that came out of my mouth.” “You’d be undone, too, if you just got fired and had to go back to Point Paradise and work with Earl!” “That’s just it,” Grayson said. “You don’t have to. I didn’t fire you. I only asked you, ‘What if I told you I was thinking of letting you go?’ You did the rest yourself.” I blanched. “So ... I’m not fired?” “No. Like I said before, it was all to prove my point. Every word we say is a psychic vampire, Drex, striking others with the power of suggestion that either drains or boosts the energy of its intended target.” “Oh,” I said, feeling a wave of confused relief wash over me. “In other words, we all live and die by the thoughts and words we chose to believe?

The poet Adrienne Rich wrote in a 1973 essay, toward the end of the Vietnam War: Rape has always been a part of war; and rape in war may be an act of vengeance on the male enemy "whose" women are thus used... Rape [has been] used as a bribe to the peasants being impressed for service, as one of the perquisites of the military: as part of an invading army one has carte blanche to loot property and rape women ... Rape is a part of war; but it may be more accurate to say that the capacity for dehumanizing another which so corrodes male sexuality is carried over from sex into war. The chant of the basic training drill" This is my rifle, this is my gun [cock]; This is for killing, this is for fun" is not a piece of bizarre brainwashing invented by some infantry sergeant's fertile imagination; it is a recognition of the fact that when you strike the chord of sexuality in the ... [male] psyche, the chord of violence is like to vibrate in response; and vice versa.

Death Games (a) Conceptual. Nader again. His assault on the automobile clearly had me worried. Living in grey England, what I most treasured of my Shanghai childhood were my memories of American cars, a passion I’ve retained to this day. Looking back, one can see that Nader was the first of the ecopuritans, who proliferate now, convinced that everything is bad for us. In fact, too few things are bad for us, and one fears an indefinite future of pious bourgeois certitudes. It’s curious that these puritans strike such a chord - there is a deep underlying unease about the rate of social change, but little apparent change is actually taking place. Most superficial change belongs in the context of the word ‘new’, as applied to refrigerator or lawn-mower design. Real change is largely invisible, as befits this age of invisible technology - and people have embraced VCRs, fax machines, word processors without a thought, along with the new social habits that have sprung up around them. They have also accepted the unique vocabulary and grammar of late-20th-century life (whose psychology I have tried to describe in the present book), though most would deny it vehemently if asked.

Poetic writing can be understood and misunderstood in many ways. In most cases the author is not the right authority to decide on where the reader ceases to understand and misunderstanding begins. Many an author has found the readers to whom his work seemed more lucid than it was to himself. Moreover, misunderstandings may be fruitful under certain circumstances. ... I neither can nor intend to tell my readers how they ought to understand my tale. May everyone find in it what strikes a chord in him and is of some use to him!

In April 1934, by the time Steinbeck thanked Needham for his prescient review in the Los Angeles Times, he was at the threshold of becoming not only the accomplished writer he had started out to be seven years earlier, but a popular one as well. If the remainder of Steinbeck’s career after Tortilla Flat can be seen as an anguished dance with fame, he had here arrived at a transitional moment when his sense of himself as a writer was still driven by the private pleasures of his art. “A couple of years ago,” he confessed in August 1933, “I realized that I was not the material of which great artists are made and that I was rather glad I wasn’t. And since then I have been happier simply to do the work and to take the reward at the end of every day that is given for a day of honest work.” His candor still strikes a resonant chord. To a God Unknown is not considered a great novel, though it is a quirky, memorable one. But because John Steinbeck may have learned more about crafting long fiction from it than from anything else he worked on during that period, this book laid the foundation for later artistic greatness.

I went home and scrubbed my hands with a steel wool pad until they bled, even though the memory strikes such a chord of anger and shame that after I share this I have nightmares for a month.