Striking A Balance Quotes

You know, a man always judges himself by the balance he can strike between the needs of his body and the demands of his mind. You're judging yourself now, Mersaut, and you don't like the sentence.

Do you see how an act is not, as young men think, like a rock that one picks up and throws, and it hits or misses, and that's the end of it. When that rock is lifted, the earth is lighter; the hand that bears it heavier. When it is thrown, the circuits of the stars respond, and where it strikes or falls, the universe is changed. On every act the balance of the whole depends. The winds and seas, the powers of water and earth and light, all that these do, and all that the beasts and green things do, is well done, and rightly done. All these act within the Equilibrium. From the hurricane and the great whale's sounding to the fall of a dry leaf and the gnat's flight, all they do is done within the balance of the whole. But we, insofar as we have power over the world and over one another, we must learn to do what the leaf and the whale and the wind do of their own nature. We must learn to keep the balance. Having intelligence, we must not act in ignorance. Having choice, we must not act without responsibility.

The truly correct proof is one that strikes a harmonious balance between strength and flexibility. There are plenty of proofs that are technically correct but are messy and inelegant or counterintuitive. But it's not something you can put into words — explaining why a formula is beautiful is like trying to explain why the stars are beautiful.

You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole.

every time you solve a problem you’d cause another problem. And maybe all these plagues and droughts are nature’s way of striking a balance? We humans don’t have any natural predators left, so nature has to find other ways to handle us.

Neither the life of anarchy nor the life enslaved by tyrants, no, worship neither. Strike the balance all in all and god will give you power.

That said, the question remains: how to strike the balance between free speech and mutual respect in this mixed-up world, both blessed and cursed with instant communication? We should not fight fire with fire, threats with threats.

But now I gotta pay,' he said. To pay?' For my sin. That's why I'm here, right? Justice?' The Blue Man smiled. 'No, Edward. You are here so I can teach you something. All the people you meet here have one thing to teach you...That there are no random acts. That we are all connected. That you can no more seperate a breeze from the wind.' ...'It was my stupidity, running out there like that. Why should you have to die on account of me? It ain't fair.' The Blue Man held out his hand. 'Fairness,' he said, 'does not govern life and death. If it did, no good person would ever die young...Why people gather when others die? Why people feel they should? It is because the human spirit knows, deep down, that all lives intersect. That death doesn't just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed. You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole.' ... 'I still don't understand,' Eddie whispered. 'What good came from your death?' You lived,' the Blue Man answered. But we barely knew each other. I might as well have been a stranger.' The Blue Man put his arms on Eddie's shoulders. Eddie felt that warm, melting sensation. Strangers,' the Blue Man said, 'are just family have yet to come to know.

We've tried to live in balance with nature long enough. This time nature went too far. As soon as you and your fiance are safely out of here, I'm calling in an air strike to napalm this whole forest.

Some writers are the kind of solo violinists who need complete silence to tune their instruments. Others want to hear every member of the orchestra—they’ll take a cue from a clarinet, from an oboe, even. I am one of those. My writing desk is covered in open novels. I read lines to swim in a certain sensibility, to strike a particular note, to encourage rigour when I’m too sentimental, to bring verbal ease when I’m syntactically uptight. I think of reading like a balanced diet; if your sentences are baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka, as roughage. If your aesthetic has become so refined it is stopping you from placing a single black mark on white paper, stop worrying so much about what Nabokov would say; pick up Dostoyevsky, patron saint of substance over style.

What's wrong with being in control anyway?" I demand, of the universe at large. "Beats me." "And what, just because I don't want kids, I would supposedly punish a pregnant woman for making a different decision than me? My favorite person's a pregnant woman! And I'm obsessed with my nieces. Not every decision a woman makes is some grand indictment on other women's lives." "Nora," Charlie says. "It's a novel. Fiction." "You don't get it because you're... you." I wave a hand at him. "Me?" he says. "You can afford to be all surly and sharp and people will admire you for it. The rules are different for women. You have to strike that perfect balance to be taken seriously but not seen as bitchy. It's a constant effort. People don't want to work with sharky women -" "I do," he says.

While we are in recovery we need to be able to strike a balance between not allowing our ego to do all the talking and not letting our low self-esteem to only present what is wrong with us.

Everything I pick up seems to lure me away. Everything I do in my daily life begins to feel like striking wet matches. The need to travel is a mysterious force. A desire to 'go' runs through me equally with an intense desire to 'stay' at home. An equal and opposite thermodynamic principle. When I travel, I think of home and what it means. At home I'm dreaming of catching trains at night in the gray light of Old Europe, or pushing open shutters to see Florence awaken. The balance just slightly tips in the direction of the airport.

Knowing God without knowing our own wretchedness makes for pride. Knowing our own wretchedness without knowing God makes for despair. Knowing Jesus Christ strikes the balance because he shows us both God and our own wretchedness.

Extraverts, in other words, often stumble over themselves. They can talk too much and listen too little, which dulls their understanding of others’ perspectives. They can fail to strike the proper balance between asserting and holding back, which can be read as pushy and drive people away.*

Odysseus draped the towel over his shoulders and stretched his back. "You remember practicing with wooden swords? All the moves, the blocks, the counters, getting your footwork right, learning how to be in balance always?" "Of course you were a hard master." "And you recall the first time you went into a real fight, with blood being shed and the fear of death in the air?" "I do" "The moves are the same, but the difference is wider than the Great Green. Love is like that, Helikaon. You can spend time with a whore and laugh and know great pleasure. But when love strikes--- ah, the difference is awesome. You will find more joy in the touch of a hand or the sight of a smile than you could ever experience in a hundred nights of passion with anyone else. The sky will be more blue, the sun more bright. Ah, I am missing my Penelope tonight

Honor is a balancing act and only the heart can strike that balance.

A happy person strikes a balance between doing good and doing well.

Striking a balance in life is tough, but trying to strike balance and remain fair in the face of imbalance and oppression is even tougher.

Theo knew enough about women and their clothes to recognize she was trying to strike an appropriate balance between... what? Between liking him and hating him? Between wanting to look good and not wanting to look too available? Just because he knew a mixed message when he saw one didn't mean he knew exactly which messages were being mixed

The French, it seems to me, strike a happy balance between intimacy and reserve. Some of this must be helped by the language, which lends itself to graceful expression even when dealing with fairly basic subjects.... And there's that famously elegant subtitle from a classic Western. COWBOY: "Gimme a shot of red-eye." SUBTITLE: "Un Dubonnet, s'il vous plait." No wonder French was the language of diplomacy for all those years.

My funeral," the Blue Man said. "Look at the mourners. Some did not even know me well, yet they came. Why? Did you ever wonder? Why people gather when others die? Why people feel they should? "It is because the human spirit knows, deep down, that all lives intersect. That death doesn't just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed. "You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole. "It is why we are drawn to babies . . ." He turned to the mourners. "And to funerals.

I’m not cool and collected, and I’m not always doing things at my own pace. It’s just a question of balance. I’m just good at habitually shifting the weight I carry around from one side of the fulcrum to the other, distributing it. Maybe this strikes others as cool. But it isn’t an easy operation. It takes more time than it seems. And even if I do find the right balance, that doesn’t lessen the total weight one bit.

Life's all about balance. To move on in life you have to strike a balance between your past, present, and your future; you may either be jerked off or left behind.

… as I associated with more and more different types, I realized that to make it, you had to get along with almost everybody. If you dislike the people you work with, you’d better not show it. I learned that to be a good leader, I had to strike a delicate balance.

...thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It's best done by disguising it as doing something, and the something closest to doing nothing is walking. Walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing.

Well, this. That we’re ashamed to say we’ve refused a posting. That the social conscience completely dominates the individual conscience, instead of striking a balance with it. We don’t cooperate — we obey. We fear being outcast, being called lazy, dysfunctional, egoizing. We fear our neighbor’s opinion more than we respect our own freedom of choice. You don’t believe me, Tak, but try, just try stepping over the line, just in imagination, and see how you feel. You realize then what Tirin is, and why he’s a wreck, a lost soul. He is a criminal! We have created crime, just as the propertarians did. We force a man outside the sphere of our approval, and then condemn him for it. We’ve made laws, laws of conventional behavior, built walls all around ourselves, and we can’t see them, because they’re part of our thinking. Tir never did that I knew him since we were ten years old. He never did it, he never could build walls. He was a natural rebel. He was a natural Odonian — a real one! He was a free man, and the rest of us, his brothers, drove him insane in punishment for his first free act.

Life is a delicate balance between the idea that we need others for almost everything and the striking reality that nobody owes you anything!

All of us struggle to strike a balance between the image we present to the world and the reality of our inner landscape.

Taking the multidimensional hybrid models for going digital is all about how to strike the right balance of reaping quick wins and focusing on the long-term strategic goals.

But, on the other hand, the study of music is one of the best ways to learn about human nature. This is why I am so sad about music education being practically nonexistent today in schools. Education means preparing children for adult life; teaching them how to behave and what kinds of human beings they want to be. Everything else is information and can be learned in a very simple way. To play music well you need to strike a balance between your head, your heart, and your stomach. And if one of the three is not there or is there in too strong a dose, you cannot use it. What better way than music to show a child how to be human?

The goal of this education is to aid the reader in striking a balance between two extremes: cultural anorexia (rejecting all moviegoing because of any negative aspects) and cultural gluttony (consuming too many movies without discretion).

If the moral senses can conflict with one another and with what prudent action requires under particular circumstances, then living a good life requires striking a delicate balance among those senses and between them and prudent self-interest.

Jesus did not come to strike a balance between grace and truth. He brought the full measure of both... It's easy to create an all-truth church model. It may be even easier to create an all-grace model, but Jesus didn't leave either option on the table.

True, most of the people he had known personally were pleasant people who were far from short either of money or good will -- people who would not hesitate to help someone in trouble if they could, or thought they could. By the same token, most of the fiction he had read had been about fantastically selfish, unwashed people without a grain of human kindness even toward themselves, who seemed to be distracted from prolonged acts of suicide only to strike out at the people around them. Between the two, he struck a rough sort of balance.

Love is like a match to a wick. It takes that right combination to strike a flame. But once the flame is there, it can either give warmth, die out or burn your world to ashes. Even kill you. It’s how you sustain the flame, feed it, and moderate the amount of energy in balance.

Companies should assess the impact of debt on capital structure to maintain financial stability and optimize their cost of capital. This evaluation helps them strike the right balance between debt and equity, ensuring efficient financing, lower interest expenses, and sustainable growth.

When describing your accomplishments, you need to strike a balance between tooting your own horn and hiding your horn behind the shed. This is difficult because if you don’t take enough credit you won’t seem qualified, but if you take too much credit you’ll seem arrogant. Good luck with that.

When we strike a balance between the challenge of an activity and our skill at performing it, when the rhythm of the work itself feels in sync with our pulse, when we know that what we're doing matters, we can get totally absorbed in our task. That is happiness. The life coach Martha Beck asks new potential clients, "Is there anything you do regularly that makes you forget what time it is?" That forgetting -- that pure absorption -- is what the psychologist Mihaly Csikzentmihalyi calls "flow" or optimal experience. In an interview with Wired magazine, he described flow as "being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement and thought follows inevitably from the previous one, like playing jazz. Your whole being is involved, and you're using your skills to the utmost." In a typical day that teeters between anxiety and boredom, flow experiences are those flashes of intense living -- bright against the dull. These optimal experiences can happen when we're engaged in work paid and unpaid, in sports, in music, in art. The researchers Maria Allison and Margaret Duncan have studied the role of flow in women's lives and looked at factors that contributed to what they call "antiflow." Antiflow was associated with repetitive household tasks, repetitive tasks at work, unchallenging tasks, and work we see as meaningless. But there's an element of chaos when it comes to flow. Even if we're doing meaningful and challenging work, that sense of total absoprtion can elude us. We might get completely and beautifully lost in something today, and, try as we might to re-create the same conditions tomorrow, our task might jsut feel like, well, work. In A Life of One's Own, Marion Milner described her effort to re-create teh conditions of her own recorded moments of happiness, saying, "Often when I felt certain that I had discovered the little mental act which produced the change I walked on air, exulting that I had found the key to my garden of delight and could slip through the door whenever I wished. But most often when I came again the place seemed different, the door overgrown with thorns and my key stuck in the lock. It was as if the first time I had said 'abracadabra' the door had opened, but the next time I must use a different word. (123-124).

I hope it's the good kind of dilemma," Reginald broke Patricia's reverie. "Whatever one you're on the horns of." ... "I was just thinking," she said. "There are so many scary problems in the world. Like, I was just reading that we could be seeing the last of the bees in North America soon. And if that happened, food webs would just collapse, and tons more people would starve. But suppose you had the power to change things? You still might not be able to fix anything, because every time you solve a problem you'd create another problem. And maybe all these plagues and droughts are nature's way of striking a balance. We humans don't have any natural predators left, so nature has to find another way to handle us." ... "I am, as you know, a fan of nature," said Reginald. "And yet, nature doesn't 'find ways' to do anything. Nature has no opinion, no agenda. Nature provides a playing field, a not particularly level one, on which we compete with all creatures great and small. It's more that nature's playing field is full of traps.

Balance your thoughts with action.

Vitalism can be seen as striking a dynamic balance between the intuitive faculties of the heart and the rational nature of the mind.

No, the key takeaway, I now realize, is to strike the right balance between spending on the present (and only on what you value) and saving smartly for the future.

key challenge for managers is how to strike a balance between being decisive and being collegial,

The goal of attunement is not simply continual meshing, with an utter entrainment of every thought and feeling; it also includes giving each other space to be alone as needed. This cycle of connectedness strikes a balance between the individual’s needs and the couple’s. As one family therapist put it, “The more a couple can be apart, the more they can be together.

But the rites do not offer this opportunity invariably, or automatically. They relate to particular phases in the life of an individual, or of a group, and unless they are properly understood and translated into a new way of life, the moment can pass. Initiation is, essentially, a process that begins with a rite of submission, followed by a period of containment, and then by a further rite of liberation. In this way every individual can reconcile the conflicting elements of his personality: He can strike a balance that makes him truly human, and truly the master of himself.

Effective leaders learn to strike a balance between micromanaging and laissez-faire managing. Leaders have to be in the Goldilocks zone of leadership: not too much and not too little management.

It’s so hard to get life right, she thinks, pulling the blanket tight around her shoulders. All the small balances are impossible to strike most of the time. And then there are the larger choices.

It's very difficult to strike that balance - and I'm not convinced that many Christian filmmakers, writers, ect, are willing to take the risks necessary to even try. It's much safer and more profitable to tell a wholesome, feel good story (not that there's anything wrong with wholesome stories). But doing the opposite could mean offending potentially large swaths of your target audience by forcing them to confront the ugly truth that's present in each of our lives. I hate to say it, but a good number of Christians would rather feel safe, and good about themselves, than truly examine humanity's desperation and our need for the cross.

When we train, our performance improves as we adapt to stress. Over time, however, if the stresses are too great or we don't incorporate sufficient recovery time, gains begin to diminish. To grow and adapt, we require stress, but equally, we need periods of rest and recovery. This is a delicate balance to strike: if we rest too frequently or for too long, we will become soft and move backward. We need stress to create adaptation.

Knowing God without knowing our own wretchedness makes for pride. Knowing our own wretchedness without God makes for despair. Knowing Jesus Christ strikes the balance because he shows us both God and our own wretchedness.

Even more important is the way complex systems seem to strike a balance between the need for order and the imperative for change. Complex systems tend to locate themselves at a place we call “the edge of chaos.” We imagine the edge of chaos as a place where there is enough innovation to keep a living system vibrant, and enough stability to keep it from collapsing into anarchy. It is a zone of conflict and upheaval, where the old and new are constantly at war. Finding the balance point must be a delicate matter—if a living system drifts too close, it risks falling over into incoherence and dissolution; but if the system moves too far away from the edge, it becomes rigid, frozen, totalitarian. Both conditions lead to extinction. . . . Only at the edge of chaos can complex systems flourish.8 This threshold line, that edge between anarchy and frozen rigidity, is not a like a fence line, it is a fractal line; it possesses nonlinearity.

Why? Did you ever wonder? Why people gather when others die? Why people feel they should? "It is because the human spirit knows, deep down, that all lives intersect. That death doesn't just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed. "You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole.

Our task is to strike a balance, to find a middle way, to learn not to overstretch ourselves with extraneous activities and preoccupations, but to simplify our lives more and more. The key to finding a happy balance in modern lives is simplicity.

Elizabeth Mattis-Namgyel, when asked how to strike a better balance between family, work and self-realisation says: "You need the intention, good scheduling, and you have to be creative. If you don't find time to practice, one of the three is missing.

My eyes trip over a man and get stuck. He’s looking at me, and it’s hard not to look back. He’s striking in a dark, magnetic way, his size, weapons, and bearing all telling me he’s a tribal warlord. His build is strong and masculine, his gait perfectly balanced and fluid. He walks with predatory confidence, unhurried, and yet there’s no mistaking his potential for swift, explosive violence. It’s not latent or hidden, just leashed. Watchful, alert, he’s aware of everything in his vicinity. Especially me.

Life is a funny, funny thing. Not the ‘ha-ha’ kind of funny, but an odd kind of funny. The kind of funny that you know exists, yet you can’t place your finger on. You know it’s there, and when the funny strikes, you feel it, but you can’t categorize it. It’s almost a feeling of melancholy, fixed with a tickle in your stomach and an odd loss of balance. This feeling catches you when you least expect it. Sometimes it’s better that way, sometimes it may feel like a curse. Regardless, once it passes, you feel different. You may even look different, though not to the naked eye. It may takes days or even months until you recognize the change within yourself, however apparent it may seem. One thing’s for sure: Once this funny thing strikes, you will never be the same.

From the line, watching, three things are striking: (a) what on TV is a brisk crack is here a whooming roar that apparently is what a shotgun really sounds like; (b) trapshooting looks comparatively easy, because now the stocky older guy who's replaced the trim bearded guy at the rail is also blowing these little fluorescent plates away one after the other, so that a steady rain of lumpy orange crud is falling into the Nadir's wake; (c) a clay pigeon, when shot, undergoes a frighteningly familiar-looking midflight peripeteia -- erupting material, changing vector, and plummeting seaward in a corkscrewy way that all eerily recalls footage of the 1986 Challenger disaster. All the shooters who precede me seem to fire with a kind of casual scorn, and all get eight out of ten or above. But it turns out that, of these six guys, three have military-combat backgrounds, another two are L. L. Bean-model-type brothers who spend weeks every year hunting various fast-flying species with their "Papa" in southern Canada, and the last has got not only his own earmuffs, plus his own shotgun in a special crushed-velvet-lined case, but also his own trapshooting range in his backyard (31) in North Carolina. When it's finally my turn, the earmuffs they give me have somebody else's ear-oil on them and don't fit my head very well. The gun itself is shockingly heavy and stinks of what I'm told is cordite, small pubic spirals of which are still exiting the barrel from the Korea-vet who preceded me and is tied for first with 10/10. The two brothers are the only entrants even near my age; both got scores of 9/10 and are now appraising me coolly from identical prep-school-slouch positions against the starboard rail. The Greek NCOs seem extremely bored. I am handed the heavy gun and told to "be bracing a hip" against the aft rail and then to place the stock of the weapon against, no, not the shoulder of my hold-the-gun arm but the shoulder of my pull-the-trigger arm. (My initial error in this latter regard results in a severely distorted aim that makes the Greek by the catapult do a rather neat drop-and-roll.) Let's not spend a lot of time drawing this whole incident out. Let me simply say that, yes, my own trapshooting score was noticeably lower than the other entrants' scores, then simply make a few disinterested observations for the benefit of any novice contemplating trapshooting from a 7NC Megaship, and then we'll move on: (1) A certain level of displayed ineptitude with a firearm will cause everyone who knows anything about firearms to converge on you all at the same time with cautions and advice and handy tips. (2) A lot of the advice in (1) boils down to exhortations to "lead" the launched pigeon, but nobody explains whether this means that the gun's barrel should move across the sky with the pigeon or should instead sort of lie in static ambush along some point in the pigeon's projected path. (3) Whatever a "hair trigger" is, a shotgun does not have one. (4) If you've never fired a gun before, the urge to close your eyes at the precise moment of concussion is, for all practical purposes, irresistible. (5) The well-known "kick" of a fired shotgun is no misnomer; it knocks you back several steps with your arms pinwheeling wildly for balance, which when you're holding a still-loaded gun results in mass screaming and ducking and then on the next shot a conspicuous thinning of the crowd in the 9-Aft gallery above. Finally, (6), know that an unshot discus's movement against the vast lapis lazuli dome of the open ocean's sky is sun-like -- i.e., orange and parabolic and right-to-left -- and that its disappearance into the sea is edge-first and splashless and sad.

Knowing God without knowing our own wretchedness makes for pride. Knowing our own wretchedness without knowing God makes for despair. Knowing Jesus Christ strikes the balance because he shows us both God and our own wretchedness.3 What do you see in your own heart?

Arren was silent, pondering this. Presently the mage said, speaking softly, “Do you see, Arren, how an act is not, as young men think, like a rock that one picks up and throws, and it hits or misses, and that’s the end of it. When that rock is lifted, the earth is lighter; the hand that bears it heavier. When it is thrown, the circuits of the stars respond, and where it strikes or falls the universe is changed. On every act the Balance of the Whole depends. The winds and seas, the powers of water and earth and light, all that these do, and all that the beasts and green things do, is well done, and rightly done. All these act within the Equilibrium. From the hurricane and the great whale’s sounding to the fall of a dry leaf and the gnat’s flight, all they do is done within the Balance of the Whole. But we, insofar as we have power over the world and over one another, we must learn to do what the leaf and the whale and the wind do of their own nature. We must learn to keep the Balance. Having intelligence, we must not act in ignorance. Having choice, we must not act without responsibility. Who am I—though I have the power to do it—to punish and reward, playing with men’s destinies?” “But then,” the boy said, frowning at the stars, “is the Balance to be kept by doing nothing? Surely a man must act, even not knowing all the consequences of his act, if anything is to be done at all?” “Never fear. It is much easier for men to act than to refrain from acting. We will continue to do good and to do evil. . . . But if there were a king over us all again and he sought counsel of a mage, as in the days of old, and I were that mage, I would say to him: My lord, do nothing because it is righteous or praiseworthy or noble to do so; do nothing because it seems good to do so; do only that which you must do and which you cannot do in any other way.

The art of maintaining a good relationship can be compared to sitting by a fireplace. If we sit too close for too long, we become hot and possibly burned. If we sit too far away, we cannot feel the warmth. Similarly, no matter how well we get along with someone, if we stick too close without building in some personal space, we soon feel trapped and burned out. It is easy to take the relationship for granted and feel resentful about not having enough privacy and independence. On the other hand, if we put in too little effort to stay in touch with friends and family, we can’t feel the warmth of their love. Striking a balance is key.

To keep his mind sweet, the modern scientific man should be saturated with the Bible and Plato, with Homer, Shakespeare, and Milton; to see life through their eyes may enable him to strike a balance between the rational and the emotional, which is the most serious difficulty of the intellectual life. SCIENCE AND IMMORTALITY, 42.

But even more important,” he said, “is the way complex systems seem to strike a balance between the need for order and the imperative to change. Complex systems tend to locate themselves at a place we call ‘the edge of chaos.’ We imagine the edge of chaos as a place where there is enough innovation to keep a living system vibrant, and enough stability to keep it from collapsing into anarchy. It is a zone of conflict and upheaval, where the old and the new are constantly at war. Finding the balance point must be a delicate matter—if a living system drifts too close, it risks falling over into incoherence and dissolution; but if the system moves too far away from the edge, it becomes rigid, frozen, totalitarian. Both conditions lead to extinction. Too much change is as destructive as too little. Only at the edge of chaos can complex systems flourish.” He paused. “And, by implication, extinction is the inevitable result of one or the other strategy—too much change, or too little.

The truly correct proof is one that strikes a harmonious balance between strength and flexibility. There are plenty of proofs that are technically correct but are messy and inelegant or counterintuitive. But it’s not something you can put into words—explaining why a formula is beautiful is like trying to explain why the stars are beautiful.

It is not worth it being a public success and a private failure. You can stand out of the crowd, but not at the expense of your family and friends. Find the balance and strike it. Hold onto it dearly and carefully, like the way you cup something delicate like a butterfly in your hands. Hold it too tight and you will crush it, hold it lightly and it will fly away.

As with most things in life, it’s about striking a balance between self-interest and social responsibility. Too much Groupthink, you get totalitarianism. Too much individualism, you get Lord of the Flies. We still place value on morality in this country. And most theories of morality are predicated on the good of the many. Whether it’s Mill’s “greatest good for the greatest number,” or Kant’s Categorical Imperative: “Act only according to that maxim by which you can at the same time will that it should become a universal law.” Even Mr. Spock’s poignant self-sacrifice at the end of Star Trek II: The Wrath of Khan was marked by his declaration that “the needs of the many outweigh the needs of the few. Or the one.” We need each other to survive, and thrive. Free-for-all isn’t liberty. It’s anarchy. But

Be honest with yourself. You were at your lowest and broken down. You were unsure and lost hope. You were hiding your fears until you showed them on your sleeve. You felt like everything and everyone was the hammer and you were the nail as they were beating down on you, and it was never-ending. Their empty threats had you scared and you were always running because your weakness was exposed. You were their prey. You didn’t know who to believe because of their mixed signals. You might not see it now, but you are stronger than you can ever imagine. You cannot become comfortable in your pain. You have to let the pain that you feel turn you into a rose without thorns. There are sixteen pieces on the chessboard. The king is the most important piece, but the difference is that the queen is the most powerful piece! You are a queen, you can maneuver around your opponents; they do not have the power over your life, your mind or soul. You might think you’ve been a prisoner, but that is your past’. Look in the now and work your way to how you want your future to be. Exercise your thoughts into a pattern of letting go, and think positively about more of what you want than what you do not want. Queen! You are a queen! As a matter of fact, you are the queen! Act as if you know it! You are powerful, determined, strong, and you can make the biggest and most extravagant move and put it into action. Lights, camera, strike a pose and own it! It is yours to own! Yes, you loved and loved so much. You also lost as well, but you lost hurt, pain, agony, and confusion. You’ve lost interest in wanting to know answers to unanswered questions. You’ve lost the willingness to give a shit about what others think. You’ve surrendered to being fine, that you cannot change the things you have no control over. You’ve lost a lot, but you’ve gained closure. You are now balanced, centered, focused, and filled with peace surrounding you in your heart, mind, body, and soul. Your pride was hurt, but you would rather walk alone and be more willing to give and learn more about the queen you are. You lost yourself in the process, but the more you learn about the new you, the more you will be so much in love with yourself. The more you learn about the new you, the more you will know your worth. The more you learn about the new you, the happier you are going to be, and this time around you will be smiling inside and out! The dots are now connecting. You feel alive! You know now that all is not lost. Now that you’ve cut the cord it is time to give your heart a second chance at loving yourself. Silence your mind. Take a deep breath and close your eyes. As you open your eyes, look at your reflection in the mirror. Aren’t you beautiful, Queen? Embrace who you are. Smile, laugh, welcome the new you and say, “My world is just now beginning.

No, he thought, I’m not cool and collected, and I’m not always doing things at my own pace. It’s just a question of balance. I’m just good at habitually shifting the weight I carry around from one side of the fulcrum to the other, distributing it. Maybe this strikes others as cool. But it isn’t an easy operation. It takes more time than it seems. And even if I do find the right balance, that doesn’t lessen the total weight one bit.

No, he thought, I'm not cool and collected, and I'm not always doing things at my own pace. It's just a question of balance. I'm just good at habitually shifting the weight I carry around from one side of the fulcrum to the other, distributing it. Maybe this strikes others as cool. But it isn't an easy operation. It takes more time than it seems. And even if I do find the right balance, that doesn't lessen the total weight one bit.

My funeral," the Blue Man said. "Look at the mourners. Some did not even know me well, yet they came. Why? Did you ever wonder? Why people gather when others die? Why people feel they should? It is because the human spirit knows, deep down, that all lives intersect. That death doesn't just take someone, it misses someone else, and in the small distance between being taken and being missed, lives are changed. You say you should have died instead of me. But during my time on earth, people died instead of me, too. It happens every day. When lightning strikes a minute after you are gone, or an airplane crashes that you might have been on. When your colleague falls ill and you do not. We think such things are random. But there is a balance to it all. One withers, another grows. Birth and death are part of a whole. It is why we are drawn to babies..." he turned to the mourners. "And to funerals.

There is great danger in this Golden Mean, one of whose main objects is to steer clear of shipwreck, Scylla being as fatal as Charybdis. No, this lofty and equable attitude is worse than wrong unless it derives from striking the balance between two very distant opposites. One of the worst perils of the present time is that, in the reaction against ignorant bigotry, people no longer dare to make up their minds about anything. The very practice, which the A∴A∴ so strongly and persistently advocates, tends to make people feel that any positive attitude or gesture is certainly wrong, whatever may be right. They forget that the opposite may, within the limit of the universe of discourse, amount to nothing. [....] Of course, in no case does the Golden Mean advise hesitating, trimming, hedging, compromising; the very object of ensuring an exact balance in your weapon is that its blow may be clean and certain.

That the Old Testament represents God chiefly as angry Judge and vicious Warrior is a false stereotype. While these images are not absent, they are more than balanced by striking portrayals of God as Lover or Husband, infatuated with Israel beyond all reason or deserving. God is not too proud to grieve terribly over Israel's unfaithfulness, nor to be giddy over her return home. ... [This covenant's] primary quality is love at the highest pitch of intensity.

I am akin to something that rests beneath the sun, having felt its warmth like the delicate petals of a flower, and I harbor no desire to become anything else. Happiness may forever elude me, yet tonight, I find solace in contentment. If life is to have purpose, it must encompass the truth of human connection, or risk being devoid of meaning. Striking a delicate balance amidst the myriad challenges—pain, loss, sorrow, solitude, foolishness, compromise, and awkwardness—that define the human experience is essential for nurturing relationships with kindred souls. In moments of introspection, I envision the vast expanse of the night sky as a cosmic map of my existence. With closed eyes and a bared heart, I dare to imagine that perhaps someone beyond the stars is listening, lending credence to my words. As I pen these lines, I find reassurance in the knowledge that there exists at least one receptive heart eager to absorb every sentiment I express—yours!

The broad principle, which appears throughout this book, bears repeating. Healthy parenting can be boiled down to those two essential ingredients: love and control. They must operate in a system of checks and balances. Any concentration on love to the exclusion of control usually breeds disrespect and contempt. Conversely, an authoritarian and oppressive home atmosphere is deeply resented by the child who feels unloved or even hated. The objective for the toddler years is to strike a balance between mercy and justice, affection and authority, love and control.

Harriet turned round, and we both saw a girl walking towards us. She was dark-skinned and thin, not veiled but dressed in a sitara, a brightly coloured robe of greens and pinks, and she wore a headscarf of a deep rose colour. In that barren place the vividness of her dress was all the more striking. On her head she balanced a pitcher and in her hand she carried something. As we watched her approach, I saw that she had come from a small house, not much more than a cave, which had been built into the side of the mountain wall that formed the far boundary of the gravel plateau we were standing on. I now saw that the side of the mountain had been terraced in places and that there were a few rows of crops growing on the terraces. Small black and brown goats stepped up and down amongst the rocks with acrobatic grace, chewing the tops of the thorn bushes. As the girl approached she gave a shy smile and said, ‘Salaam alaikum, ’ and we replied, ‘Wa alaikum as salaam, ’ as the sheikh had taught us. She took the pitcher from where it was balanced on her head, kneeled on the ground, and gestured to us to sit. She poured water from the pitcher into two small tin cups, and handed them to us. Then she reached into her robe and drew out a flat package of greaseproof paper from which she withdrew a thin, round piece of bread, almost like a large flat biscuit. She broke off two pieces, and handed one to each of us, and gestured to us to eat and drink. The water and the bread were both delicious. We smiled and mimed our thanks until I remembered the Arabic word, ‘Shukran.’ So we sat together for a while, strangers who could speak no word of each other’s languages, and I marvelled at her simple act. She had seen two people walking in the heat, and so she laid down whatever she had been doing and came to render us a service. Because it was the custom, because her faith told her it was right to do so, because her action was as natural to her as the water that she poured for us. When we declined any further refreshment after a second cup of water she rose to her feet, murmured some word of farewell, and turned and went back to the house she had come from. Harriet and I looked at each other as the girl walked back to her house. ‘That was so…biblical,’ said Harriet. ‘Can you imagine that ever happening at home?’ I asked. She shook her head. ‘That was charity. Giving water to strangers in the desert, where water is so scarce. That was true charity, the charity of poor people giving to the rich.’ In Britain a stranger offering a drink to a thirsty man in a lonely place would be regarded with suspicion. If someone had approached us like that at home, we would probably have assumed they were a little touched or we were going to be asked for money. We might have protected ourselves by being stiff and unfriendly, evasive or even rude.

Roxy snatched up a fallen branch and, wielding it like a quarterstaff, jammed the end into the face of the soldier knocked off balance. They grunted, then yelped as she followed up her first attack with the electric baton. There was a crackle of power, a gurgle from the soldier, and then a thud as they dropped to the ground. Zach and Gina picked off the last two in several quick moves, Gina rendering both opponents unconscious with a sharp strike from the butt of her newly acquired rifle. Roxy slammed the end of her stick into the first soldier’s sternum as they attempted

Miss Wooding turned the nervous shade of pink that Rosaline found people often turned when her sexuality went from an idea they could support to a reality they had to confront. “I appreciate this is a sensitive topic and one that different people have different beliefs about. Which is why I have to be guided by the policies of our academy trust, and they make it quite clear that learners shouldn’t be taught about LGBTQ until year six.” “Oh do they?” asked Rosaline, doing her best to remember that Miss Wooding was probably a very nice person and not just a fuzzy cardigan draped over some regressive social values. “Because Amelie’s in year four and she manages to cope with my existence nearly every day.” Having concluded this was going to be one of those long grown-up conversations, Amelie had taken her Panda pencil case out of her bag and was diligently rearranging the contents. “I do,” she said. “I’m very good.” Miss Wooding actually wrung her hands. “Yes, but the other children—” “Are allowed to talk about their families as much as they like.” “Yes, but—” “Which,” Rosaline went on mercilessly, “when you think about it, is the definition of discrimination.” Amelie looked up again. “Discrimination is bad. We learned that in year three.” The d-word made Miss Wooding visibly flinch. “Now Mrs. Palmer—” “Ms. Palmer.” “I’m sure this is a misunderstanding.” “I’m sure it is.” Taking advantage of the fact that Miss Wooding had been temporarily pacified by the spectre of the Equality Act, Rosaline tried to strike a balance between defending her identity and catching her train. “I get that you have a weird professional duty to respect the wishes of people who want their kids to stay homophobic for as long as possible. But hopefully you get why that isn’t my problem. And if you ever try to make it Amelie’s problem again, I will lodge a formal complaint with the governors.” Miss Wooding de-flinched slightly. “As long as she doesn’t—” “No ‘as long as she doesn’t.’ You’re not teaching my daughter to be ashamed of me.” There was a long pause. Then Miss Wooding sighed. “Perhaps it’s best that we draw a line under this and say no more about it.” In Rosaline’s experience this was what victory over institutional prejudice looked like: nobody actually apologising or admitting they’d done anything wrong, but the institution in question generously offering to pretend that nothing had happened. So—win?

They drove back to Paris on the assumption that they would be far less obvious among the crowds of the city than in an isolated country inn. A blond-haired man wearing tortoise-shell glasses, and a striking but stern-faced woman, devoid of makeup, and with her hair pulled back like an intense graduate student at the Sorbonne, were not out of place in Montmartre. They took a room at the Terrasse on the rue de Maistre, registering as a married couple from Brussels. In the room, they stood for a moment, no words necessary for what each was seeing and feeling. They came together, touching, holding, closing out the abusive world that refused them peace, that kept them balancing on taut wires next to one another, high above a dark abyss; if either fell, it was the end for both. Bourne could not change his color for the immediate moment. It would be false, and there was no room for artifice. “We need some rest,” he said. “We’ve got to get some sleep. It’s going to be a long day.” They made love. Gently, completely, each with the other in the warm, rhythmic comfort of the bed. And there was a moment, a foolish moment, when adjustment of an angle was breathlessly necessary and they laughed. It was a quiet laugh, at first even an embarrassed laugh, but the observation was there, the appraisal of foolishness intrinsic to something very deep between them. They held each other more fiercely when the moment passed, more and more intent on sweeping away the awful sounds and the terrible sights of a dark world that kept them spinning in its winds. They were suddenly breaking out of that world, plunging into a much better one where sunlight and blue water replaced the darkness. They raced toward it feverishly, furiously, and then they burst through and found it. Spent, they fell asleep, their fingers entwined.

Soon thereafter, a maid brought Poppy a tray of neat boxes tied with ribbons. Opening them, Poppy discovered that one was filled with toffee, another with boiled sweets, and another with Turkish delight. Best of all, one box was filled with a new confection called "eating-chocolates" that had been all the rage at the London Exhibition. "Where did these come from?" Poppy asked Harry when he returned to her room after a brief visit to the front offices. "From the sweet shop." "No, these," Poppy showed him the eating-chocolates. "No one can get them. The makers, Fellows and Son, have closed their shop while they moved to a new location. The ladies at the philanthropic luncheon were talking about it." "I sent Valentine to the Fellows residence to ask them to make a special batch for you." Harry smiled as he saw the paper twists scattered across the counterpane. "I see you've sampled them." "Have one," Poppy said generously. Harry shook his head. "I don't like sweets." But he bent down obligingly as she gestured for him to come closer. She reached out to him, her fingers catching the knot of his necktie. Harry's smile faded as Poppy exerted gentle tension, drawing him down. He was suspended over her, an impending weight of muscle and masculine drive. As her sugared breath blew against his lips, she sensed the deep tremor within him. And she was aware of a new equilibrium between them, a balance of will and curiosity. Harry held still, letting her do as she wished. She tugged him closer until her mouth brushed his. The contact was brief but vital, striking a glow of heat. Poppy released him carefully, and Harry drew back. "You won't kiss me for diamonds," he said, his voice slightly raspy, "but you will for chocolates?" Poppy nodded. As Harry turned his face away, she saw his cheek tauten with a smile. "I'll put in a daily order, then.

My point is that bias is not advertised by a glowing sign worn around jurors’ necks; we are all guilty of it, because the brain is wired for us to see what we believe, and it usually happens outside of everyone’s awareness. Affective realism decimates the ideal of the impartial juror. Want to increase the likelihood of a conviction in a murder trial? Show the jury some gruesome photographic evidence. Tip their body budgets out of balance and chances are they’ll attribute their unpleasant affect to the defendant: “I feel bad, therefore you must have done something bad. You are a bad person.” Or permit family members of the deceased to describe how the crime has hurt them, a practice known as a victim impact statement, and the jury will tend to recommend more severe punishments. Crank up the emotional impact of a victim impact statement by recording it professionally on video and adding music and narration like a dramatic film, and you’ve got the makings of a jury-swaying masterpiece.45 Affective realism intertwines with the law outside the courtroom as well. Imagine that you are enjoying a quiet evening at home when suddenly you hear loud banging outside. You look out the window and see an African American man attempting to force open the door of a nearby house. Being a dutiful citizen, you call 911, and the police arrive and arrest the perpetrator. Congratulations, you have just brought about the arrest of Harvard professor Henry Louis Gates, Jr., as it happened on July 16, 2009. Gates was trying to force open the front door of his own home, which had become stuck while he was traveling. Affective realism strikes again. The real-life eyewitness in this incident had an affective feeling, presumably based on her concepts about crime and skin color, and made a mental inference that the man outside the window had intent to commit a crime.

He’d never played in Wrigley Field—the Cubs had still been out at old West Side Grounds when he came through as a catcher for the Cardinals before the First World War. But seeing the ballpark in ruins brought the reality of this war home to him like a kick in the teeth. Sometimes big things would do that, sometimes little ones; he remembered a doughboy breaking down and sobbing like a baby when he found some French kid’s dolly with its head blown off. Muldoon’s eyes slid over toward Wrigley for a moment. “Gonna be a long time before the Cubs win another pennant,” he said, as good an epitaph as any for the park—and the city.

I quickly scrambled back up to my feet just in time to see Vinny’s big hand coming right at me. I swiftly ducked underneath it and then swung my sword at the giant’s arm, grazing his right arm. “Ooof!” Vinny groaned and reeled back. I took the opportunity to swing at him with another strike, this time at his feet. Vinny stumbled and shook as he tried to keep his balance. As sneaky as he sometimes can be, Jack had already finished digging a hole behind the giant while he was busy fighting me. Vinny, as he kept taking his steps backwards, tripped on the hole and came crashing down on the ground below. Jack and I both jumped on top of the giant. I smacked him a little with the blunt side of my sword, while Jack slapped the giant with a porkchop. “Ready to answer questions now?” I asked the giant. The giant opened his mouth to reply but was promptly slapped by Jack with another porkchop. “Jack, you have to let him talk first, then smack him if he refuses to answer,” I explained. “Oh, right. My bad. I was really into it,” Jack apologized, “To be fair, I was just tossed through a barn. I feel like I deserve a bit of vengeance.” “Okay, okay. Stop with the porkchop slapping,” Vinny pleaded, “I’m a vegan.” “Oh, sorry,” Jack reached into his pocket and pulled out a roll of bread and then slapped the giant with the bread instead.

He thought again about the poison. He remembered that one of the animal handlers had been bitten by a compy in a cage. The handler had said the poison was like a narcotic—peaceful, dreamy. No pain. You just wanted to go to sleep. The hell with that, he thought. Hammond picked up a rock, aimed carefully, and threw it, striking one compy flat in the chest. The little animal shrieked in alarm as it was knocked backward, and rolled over its tail. The other animals immediately backed away. Better. Hammond turned away, and started to climb the hill once more. Holding branches in both hands, he hopped on his left leg, feeling the ache in his thigh. He had not gone more than ten feet when one of the compys jumped onto his back. He flung his arms wildly, knocking the animal away, but lost his balance and slid back down the hillside. As he came to a stop, a second compy sprang forward, and took a tiny nip from his hand. He looked with horror, seeing the blood flow over his fingers. He turned and began to scramble up the hillside again. Another compy jumped onto his shoulder, and he felt a brief pain as it bit the back of his neck. He shrieked and smacked the animal away. He turned to face the animals, breathing hard, and they stood all around him, hopping up and down and cocking their heads, watching him. From the bite on his neck, he felt warmth flow through his shoulders, down his spine. Lying on his back on the hillside, he began to feel strangely relaxed, detached from himself. But he realized that nothing was wrong. No error had been made. Malcolm was quite incorrect in his analysis. Hammond lay very still, as still as a child in its crib, and he felt wonderfully peaceful. When the next compy came up and bit his ankle, he made only a halfhearted effort to kick it away. The little animals edged closer. Soon they were chittering all around him, like excited birds. He raised his head as another compy jumped onto his chest, the animal surprisingly light and delicate. Hammond felt only a slight pain, very slight, as the compy bent to chew his neck.

To-do list: 1. Science – stop people from getting sick and dying. 2. Keep people economically solvent – as you request their help in fighting the pandemic. Some states do better at one. Others, at the other. None strike the right balance. Everything collapses. Utter failure. One party is full of bad ideas that their rivals merely rubber-stamp. Like a reverse Robin Hood, they scapegoat the powerless, while simultaneously handing out checks to the richest stakeholders. The other party has few ideas, except for a few bad ones of their own that they throw into the mix. Businesses, flush with cash, appear almost embarrassed to take public money. But they soon get over their initial shame.

The firm’s fourth partner, Jeff Nussbaum, had carved out a niche writing jokes for public figures. It was he who taught me about the delicate balance all public-sector humorists hope to strike. Writing something funny for a politician, I learned, is like designing something stunning for Marlon Brando past his prime. The qualifier is everything. At first I didn’t understand this. In June, President Obama’s speechwriters asked Jeff to pitch jokes for an upcoming appearance at the Radio and Television Correspondents’ Dinner. I sent him a few ideas, including one about the president and First Lady’s recent trip to see a Broadway show: “My critics are upset it cost taxpayer dollars to fly me and Michelle to New York for date night. But let me be clear. That wasn’t spending. It was stimulus.” Unsurprisingly, my line about stimulating America’s first couple didn’t make it into the script. But others did. The morning after the speech, I watched on YouTube as President Obama turned to NBC reporter Chuck Todd. “Chuck embodies the best of both worlds: he has the rapid-fire style of a television correspondent, and the facial hair of a radio correspondent.” That was my joke! I grabbed the scroll bar and watched again. The line wasn’t genius. The applause was largely polite. Still, I was dumbfounded. A thought entered my brain, and then, just a few days later, exited the mouth of the president of the United States. This was magic. Still, even then, I had no illusions of becoming a presidential speechwriter. When friends asked if I hoped to work in the White House, I told them Obama had more than enough writers already. I meant it.

This is where these writers placed their bets, striking a dangerous balance between silence and art. How do writers and readers find each other under such dangerous circumstances? Reading, like writing, under these conditions is disobedience to a directive in which the reader, our Eve, already knows the possible consequences of eating that apple but takes a bold bite anyway. How does that reader find the courage to take this bite, open that book? After an arrest, an execution? Of course he or she may find it in the power of the hushed chorus of other readers, but she can also find it in the writer’s courage in having stepped forward, in having written, or rewritten, in the fi rst place. Create dangerously, for people who read dangerously. Th is is what I’ve always thought it meant to be a writer. Writing, knowing in part that no matter how trivial your words may seem, someday, somewhere, someone may risk his or her life to read them. Coming from where I come from, with the history I have—having spent the first twelve years of my life under both dictatorships of Papa Doc and his son, JeanClaude—this is what I’ve always seen as the unifying principle among all writers. This is what, among other things, might join Albert Camus and Sophocles to Toni Morrison, Alice Walker, Osip Mandelstam, and Ralph Waldo Emerson to Ralph Waldo Ellison. Somewhere, if not now, then maybe years in the future, a future that we may have yet to dream of, someone may risk his or her life to read us. Somewhere, if not now, then maybe years in the future, we may also save someone’s life, because they have given us a passport, making us honorary citizens of their culture.

That we have separate and distinct mechanisms for appreciating the structural and the emotional aspects of music is brought home by the wide variety of responses (and even “dissociations”) that people have to music.146 There are many of us who lack some of the perceptual or cognitive abilities to appreciate music but nonetheless enjoy it hugely, and enthusiastically bawl out tunes, sometimes shockingly off-key, in a way that gives us great happiness (though it may make others squirm). There are others with an opposite balance: they may have a good ear, be finely sensitive to the formal nuances of music, but nevertheless do not care for it greatly or consider it a significant part of their lives. That one may be quite “musical” and yet almost indifferent to music, or almost tone-deaf yet passionately sensitive to music, is quite striking. While

In the value-framework of his age the verbal expression of Hallaj's ecstatic state existed as a totality, and the meaning of the expression rested on the biographical evidence and on the dimensions available within the ecstatic state. It was perhaps for this reason that the phrase ana al-haqq could not derive any other meaning except the one dictated by the academic discipline of the Divine Unity. Consequently, al-Haqq became synonymous with the Divinity, and the phrase ana al-haqq was understood to carry suggestions towards the unification of God and man. Thus, "I am the Truth" became transformed to the startling expression of "I am God". However, in the first two hundred years of the controversy, it was Kashf al-Mahjub which had attempted to strike a balance and had indicated that the expression could be made a subject of literary treatment.

TRUST IN ONE’S ORGANISM A second characteristic of the persons who emerge from therapy is difficult to describe. It seems that the person increasingly discovers that his own organism is trustworthy, that it is a suitable instrument for discovering the most satisfying behavior in each immediate situation. If this seems strange, let me try to state it more fully. Perhaps it will help to understand my description if you think of the individual as faced with some existential choice: “Shall I go home to my family during vacation, or strike out on my own?” “Shall I drink this third cocktail which is being offered?” “Is this the person whom I would like to have as my partner in love and in life?” Thinking of such situations, what seems to be true of the person who emerges from the therapeutic process? To the extent that this person is open to all of his experience, he has access to all of the available data in the situation, on which to base his behavior. He has knowledge of his own feelings and impulses, which are often complex and contradictory. He is freely able to sense the social demands, from the relatively rigid social “laws” to the desires of friends and family. He has access to his memories of similar situations, and the consequences of different behaviors in those situations. He has a relatively accurate perception of this external situation in all of its complexity. He is better able to permit his total organism, his conscious thought participating, to consider, weigh and balance each stimulus, need, and demand, and its relative weight and intensity. Out of this complex weighing and balancing he is able to discover that course of action which seems to come closest to satisfying all his needs in the situation, long-range as well as immediate needs.

I strongly believe in the fact that there’s still plenty of money and plenty of private equity capital available around the globe. What are in short supply are great entrepreneurs and great teams. A trading opportunity or a company’s biggest challenge is and has always been the team behind it. There’s enormous change under way in every facet of the world. Some is technology driven, some is market driven. All that change creates unprecedented opportunity, but to take full advantage of such opportunities I mostly focus on the team. The right teams and right people behind those opportunities always win. There is no secret sauce. Trading and investing has, in my experience, boiled down to building relationships and exchanging value. It consists of striking the right balance between backing and interacting with the right teams with the right business model at the right time and with the right amount of money.

I am your wife, but I will do as I please, I raged, and the spell rose in my head without effort. Belt that holds my husband’s pants, Loosen now and make him dance. Tiras’s belt flew from his breeches like a sea serpent, slithering through the air only to strike at him with its tail. He stepped back from me, his eyes growing wide as he gripped the gyrating length of leather, holding it at arm’s length with one hand as he held up his pants with the other. But I wasn’t finished. Boots upon my husband’s feet, Kick him so he’ll take a seat. Tiras fell flat on his behind as his boots shimmied and wriggled free, throwing him off balance. His boots then proceeded to kick him on his back and his thighs as he yowled in stunned outrage. “Lark!” Shirt upon my husband’s chest, Wrap yourself around his head. His tunic promptly rose like Tiras was shrugging it off, only it wrapped itself around him, obscuring his angry face. I started to laugh then. I couldn’t help it. He looked so ridiculous sitting on the floor of the library, his socks hanging from his feet, his breeches falling around his hips, his shirt over his head, and his boots and belt attacking him. Tiras lashed out and grabbed my skirts, yanking me down beside him. “Call off the hounds, Lark!” he bellowed, and I laughed even harder, shaking with mirth even as he rolled himself on top of me and valiantly fought the tunic that kept wrapping itself around his face. The tunic was slightly dangerous, the boots weren’t very accurate, and the tail end of the belt had made a welt across my cheek. I decided enough was enough. I performed a sloppy rhyme, and Tiras let out a stream of profanities as the shirt ceased its murderous attempts and the belt and boots fell to the floor, inanimate once again. Tiras’s breathing was harsh and fast, his hair mussed and falling over his eyes as he braced his forearms on either side of my head. His big body pressed me into the floor, making it hard to draw breath. I was well and truly trapped, but I felt like the victor regardless. Are you injured, husband? He was glaring and angry for all of three seconds. Then the lines around his eyes deepened and a smile broke out across his face. He laughed with me, but he kept me pinned beneath him, his face inches from mine. “You enjoyed that, didn’t you?” Immensely. “Tell me this, wife. Is there a spell to quickly remove your dress?” he whispered, still smiling, his breath tickling my mouth. I felt my face grow hot, and I closed my eyes, trying to retreat, even as I immediately considered a spell to render us both naked.

Let us pause for a moment and consider the structure of the atom as we know it now. Every atom is made from three kinds of elementary particles: protons, which have a positive electrical charge; electrons, which have a negative electrical charge; and neutrons, which have no charge. Protons and neutrons are packed into the nucleus, while electrons spin around outside. The number of protons is what gives an atom its chemical identity. An atom with one proton is an atom of hydrogen, one with two protons is helium, with three protons is lithium, and so on up the scale. Each time you add a proton you get a new element. (Because the number of protons in an atom is always balanced by an equal number of electrons, you will sometimes see it written that it is the number of electrons that defines an element; it comes to the same thing. The way it was explained to me is that protons give an atom its identity, electrons its personality.) Neutrons don't influence an atom's identity, but they do add to its mass. The number of neutrons is generally about the same as the number of protons, but they can vary up and down slightly. Add a neutron or two and you get an isotope. The terms you hear in reference to dating techniques in archeology refer to isotopes—carbon-14, for instance, which is an atom of carbon with six protons and eight neutrons (the fourteen being the sum of the two). Neutrons and protons occupy the atom's nucleus. The nucleus of an atom is tiny—only one millionth of a billionth of the full volume of the atom—but fantastically dense, since it contains virtually all the atom's mass. As Cropper has put it, if an atom were expanded to the size of a cathedral, the nucleus would be only about the size of a fly—but a fly many thousands of times heavier than the cathedral. It was this spaciousness—this resounding, unexpected roominess—that had Rutherford scratching his head in 1910. It is still a fairly astounding notion to consider that atoms are mostly empty space, and that the solidity we experience all around us is an illusion. When two objects come together in the real world—billiard balls are most often used for illustration—they don't actually strike each other. “Rather,” as Timothy Ferris explains, “the negatively charged fields of the two balls repel each other . . . were it not for their electrical charges they could, like galaxies, pass right through each other unscathed.” When you sit in a chair, you are not actually sitting there, but levitating above it at a height of one angstrom (a hundred millionth of a centimeter), your electrons and its electrons implacably opposed to any closer intimacy.

Punishment cells were set up in the two-story cathedral ... Poles the thickness of an arm were set from wall to wall and prisoners were ordered to sit on these poles all day ... one's feet could not reach the ground. And it was not so easy to keep balance ... the prisoner spent the entire day just trying to maintain his perch. If he fell, the jailers jumped in and beat him ... Every little island and every little hillock of the Archipelago had to be encircled by a hostile, stormy Soviet seascape ... Escapes multiplied ... For half a year the sea was frozen over, but not solidly, and in places there was open water, and the snowstorms raged, and the frost bit hard, and things were enveloped in mists and darkness. And in the spring ... there were the long white nights with clear visibility over long distances for the patrolling cutters ... it was only when the nights began to lengthen, in the late summer and the autumn, that the time was right ... for those who were out in work parties, where a prisoner might have freedom of movement and time to build a boat or a raft near the shore ... and to cast off at night ... and strike out at random, hoping above all to encounter a foreign ship ... The whole long history of the Archipelago, about which it has fallen to me to write this home-grown, homemade book, has, in the course of half a century, found in the Soviet Union almost no expression whatever in the printed word. In this a role was played by that same unfortunate happenstance by which camp watchtowers never got into scenes in films nor into landscapes painted by our artists ...

Catherine broke off as she saw something among the drafts of structures and landscapes and the pages of notes. A pencil sketch of a woman … a naked woman reclining on her side, light hair flowing everywhere. One slender thigh rested coyly over the other, partially concealing the delicate shadow of a feminine triangle. And there was an all-too-familiar pair of spectacles balanced on her nose. Catherine picked up the sketch with a trembling hand, while her heart lurched in hard strikes against her ribs. It took several attempts before she could speak, her voice high and airless. “That’s me.” Leo had lowered to the carpeted floor beside her. He nodded, looking rueful. His own color heightened until his eyes were startlingly blue in contrast. “Why?” she whispered. “It wasn’t meant to be demeaning,” he said. “It was for my own eyes, no one else’s.” She forced herself to look at the sketch again, feeling horribly exposed. In fact, she couldn’t have been more embarrassed had he actually been viewing her naked. And yet the rendering was far from crude or debasing. The woman had been drawn with long, graceful lines, the pose artistic. Sensuous. “You … you’ve never seen me like this,” she managed to say, before adding weakly, “Have you?” A self-deprecating smile touched his lips. “No, I haven’t yet descended to voyeurism.” He paused. “Did I get it right? It’s not easy, guessing what you look like beneath all those layers.” A nervous giggle struggled through her mortification. “If you did, I certainly wouldn’t admit it.” She put the sketch onto the pile, facedown. Her hand was shaking. “Do you draw other women this way?” she asked timidly. Leo shook his head. “I started with you, and so far I haven’t moved on.” Her flush deepened. “You’ve done other sketches like this? Of me unclothed?” “One or two.” He tried to look repentant. “Oh, please, please destroy them.” “Certainly. But honesty compels me to tell you that I’ll probably only do more. It’s my favorite hobby, drawing you naked.” Catherine moaned and buried her face in her hands. Her voice slipped out between the tense filter of her fingers. “I wish you would take up collecting something instead.

Often we are told, and rightly so, that we can know God by knowing ourselves, for we are made in His image. We are not base, it is said, but divine. Yet this, perhaps, is saying too much. For even in our baseness—in our excrement—we might discern the work of our Creator. All things come from God, Crivano says. Even shit can be sublimed. But should it be? Tristão fixes Crivano with a fierce glare. Then he steps to the windows, and with a smooth sudden motion slings the chamberpot’s contents into the canal below. The liquid strikes the surface with a weak slap. Should it be sublimed? Tristão says. Should it be transcended? When we seek to do this, is our desire truly to know God? Or is it to know that God truly is as we always have imagined him: the perfect distillate of our corrupt selves? So—we are made in the image of God. Have we considered what this might mean? Innumerable are the egos in man, Paracelsus writes, and in him are angels and devils, heaven and hell. Perhaps God too is like this. Pure and impure. Is it so difficult to imagine? A God of flesh and bone? A God that shits? His voice chokes off, as if overwhelmed by some passion: rage, sorrow, Crivano can’t guess which. Tristão drifts away, toward his own approaching form in the mirror-talisman; the image of his torso gradually fills the glass. With the silver window eclipsed the room seems to grow smaller; Crivano shuffles his feet to keep his balance. I want to know, Tristão says, how God is unlike us. I want to know how our eyes become traitors. To know what they refuse to see. I no longer seek to transcend, nor even to understand. I want only to dirty my hands. To smell. To feel. Like a child who plays with mud. I believe the key is here— His fingers brush the flat glass before him; they’re met by fingers from the opposite side. —but not in the way that others have said. The Nolan warned us of this. Do you remember? He said the image in the mirror is like the image in a dream: only fools and infants mistake it for the true likeness of the world, but likewise it is foolish to ignore what it shows us. Therein lies the danger. Do we look upon these reflections without delusion, like bold Actaeon? Or, like Narcissus, do we see only what we wish to see? How can we be certain? With love in our hearts, we creep toward each shining surface, but we are all haunted, always, by ourselves.

Dunyasha lunged. Inej stayed close, using every opportunity to keep inside the mercenary’s guard and deny her the advantage of her longer reach. She was stronger than she’d been when they’d faced each other on the wire, well rested, well fed. But she was still a girl trained on the streets, not in the towers of some Shu monastery. Inej’s first mistake was a slow recoil. She paid for it in a deep slash to her left bicep. It cut through the padding and made it hard to keep a good grip on the blade in her left hand. Her second error was putting too much force into an upward jab. She leaned in too far and felt Dunyasha’s knife skim her ribs. A shallow cut that time, but it had been a close thing. She ignored the pain and focused on her opponent, remembering what Kaz had told her. Find her tells. Everyone has them. But Dunyasha’s movements seemed unpredictable. She was equally comfortable with her left and right hands, she favored neither foot, and waited until the last moment to strike, giving no early indication of her intent. She was extraordinary. “Growing weary, Wraith?” Inej said nothing, conserving her energy. Though Dunyasha’s breathing seemed clear and even, Inej could feel herself dragging slightly. It wasn’t much, but it was enough to give the mercenary the advantage. Then she saw it—the slightest hitch of Dunyasha’s chest, followed by a lunge. A hitch, then another lunge. The tell was in her breathing. She took in a deep breath before an attack. There. Inej dodged left, struck quickly, a rapid jab of her blade to Dunyasha’s side. There. Inej attacked again, and blood flowered on Dunyasha’s arm. Inej drew back, waited as the girl advanced. The mercenary liked to hide her direct assaults with other movement, the whirl of her blades, an unnecessary flourish. It made her hard to read, but there. The quick burst of breath. Inej sank low and swept her left leg wide, knocking the mercenary off balance. This was her chance. Inej shot to her feet, using her upward momentum and Dunyasha’s descent to shove her blade under the leather guard protecting the girl’s sternum. Inej felt blood on her hand as she wrenched the knife free and Dunyasha released a shocked grunt. The girl stared at her now, clutching her chest with one hand. Her eyes narrowed. There was still no fear there, only a hard, bright resentment, as if Inej had ruined an important party. “The blood you spill is the blood of kings,” seethed Dunyasha. “You are not fit for such a gift.” Inej almost felt sorry for her. Dunyasha

Skiddy Cottontail—that was his name—and he defended LGBT equality. He was a flamboyant, colorful striped rabbit, with a headdress of a rainbow crown on his forehead. The radiance of his energy was violet, scarlet, and turquoise; as it represented his love for everyone. In the infancy years of his existence, he was abandoned—alone—unwanted—unloved; rejected by a world that disdains him. His father wished him deceased, his family exiled him from the warren, he was physically mistreated and preyed on by homophobic mobs in the surrounding community by Elephants—Hyenas—rats. They splashed spit at his face, advising him that God condemns homosexuality—as Christ did not. They would slam him on the pavement with their Bibles, strike him in the stomach with their feet, throw boulders of stone at his body: imploring—abusing—condemning him to a tyrannical sentence. Skiddy Cottontail thought that his existence would end with this case of cruelty—violence—assault that was perpetrated against him. He wanted to cease to exist— he wanted to commit the ultimate murder on himself—he no more desired to go on living— he realized hope is already deceased. He yearned to have the courage to emerge, to discover his bravery that would sever this spiral of sensations of oppression. Being a victim made him a slave to his opponent—as his adversaries have full leverage against him. Life has become a thread of light, which he longed to be liberated from its shackles. His demon—a voice that keeps blaming him for his crimes in the back of his mind—a glass that continually cracks in his heart—will keep breaking him if he does not devise a way out of this crisis. He was conscious by his innermost conviction that there was candlelight with a key that had the potential to illuminate a new chapter that will erase this trail of obscurity behind him. He sees a new horizon with greater comprehension, a journey that can give him the roses of affection than a handful of dead birds that his adversaries handed him along the way. The stunning blossoming trees did have a forest—beautiful greenery that was colorful like the rainbow in the Heavens. This home will embrace him with a warm embrace of open arms, where cruelty is forbidden; where adoration can forever abound. Dawn will know him when he arrives. No more hurricanes or strife will be here—no crying of a sad humanity are here—only a gift of harmony and devotion, beyond all explanation, will abide in the heart of Skiddy Cottontail—when he finds his way out from this opponent world for a beautiful existence that is called liberation. Skiddy Cottontail has found a happiness that can only bring him contentment like nothing in this hurtful world can. Find your own sense of balance like him, Skiddy Cottontail, and you will experience serenity as much as him.

Another common form of mental illness is bipolar disorder, in which a person suffers from extreme bouts of wild, delusional optimism, followed by a crash and then periods of deep depression. Bipolar disorder also seems to run in families and, curiously, strikes frequently in artists; perhaps their great works of art were created during bursts of creativity and optimism. A list of creative people who were afflicted by bipolar disorder reads like a Who’s Who of Hollywood celebrities, musicians, artists, and writers. Although the drug lithium seems to control many of the symptoms of bipolar disorder, the causes are not entirely clear. One theory states that bipolar disorder may be caused by an imbalance between the left and right hemispheres. Dr. Michael Sweeney notes, “Brain scans have led researchers to generally assign negative emotions such as sadness to the right hemisphere and positive emotions such as joy to the left hemisphere. For at least a century, neuroscientists have noticed a link between damage to the brain’s left hemisphere and negative moods, including depression and uncontrollable crying. Damage to the right, however, has been associated with a broad array of positive emotions.” So the left hemisphere, which is analytical and controls language, tends to become manic if left to itself. The right hemisphere, on the contrary, is holistic and tends to check this mania. Dr. V. S. Ramachandran writes, “If left unchecked, the left hemisphere would likely render a person delusional or manic.… So it seems reasonable to postulate a ‘devil’s advocate’ in the right hemisphere that allows ‘you’ to adopt a detached, objective (allocentric) view of yourself.” If human consciousness involves simulating the future, it has to compute the outcomes of future events with certain probabilities. It needs, therefore, a delicate balance between optimism and pessimism to estimate the chances of success or failures for certain courses of action. But in some sense, depression is the price we pay for being able to simulate the future. Our consciousness has the ability to conjure up all sorts of horrific outcomes for the future, and is therefore aware of all the bad things that could happen, even if they are not realistic. It is hard to verify many of these theories, since brain scans of people who are clinically depressed indicate that many brain areas are affected. It is difficult to pinpoint the source of the problem, but among the clinically depressed, activity in the parietal and temporal lobes seems to be suppressed, perhaps indicating that the person is withdrawn from the outside world and living in their own internal world. In particular, the ventromedial cortex seems to play an important role. This area apparently creates the feeling that there is a sense of meaning and wholeness to the world, so that everything seems to have a purpose. Overactivity in this area can cause mania, in which people think they are omnipotent. Underactivity in this area is associated with depression and the feeling that life is pointless. So it is possible that a defect in this area may be responsible for some mood swings.

LEAD PEOPLE TO COMMITMENT We have seen that nonbelievers in worship actually “close with Christ” in two basic ways: some may come to Christ during the service itself (1 Cor 14:24 – 25), while others must be “followed up with” by means of after-service meetings. Let’s take a closer look at both ways of leading people to commitment. It is possible to lead people to a commitment to Christ during the service. One way of inviting people to receive Christ is to make a verbal invitation as the Lord’s Supper is being distributed. At our church, we say it this way: “If you are not in a saving relationship with God through Christ today, do not take the bread and the cup, but as they come around, take Christ. Receive him in your heart as those around you receive the food. Then immediately afterward, come up and tell an officer or a pastor about what you’ve done so we can get you ready to receive the Supper the next time as a child of God.” Another way to invite commitment during the service is to give people a time of silence or a period of musical interlude after the sermon. This affords people time to think and process what they have heard and to offer themselves to God in prayer. In many situations, it is best to invite people to commitment through after-meetings. Acts 2 gives an example. Inverses 12 and 13 we are told that some folks mocked after hearing the apostles praise and preach, but others were disturbed and asked, “What does this mean?” Then, we see that Peter very specifically explained the gospel and, in response to the follow-up question “What shall we do?” (v. 37), he explained how to become a Christian. Historically, many preachers have found it effective to offer such meetings to nonbelievers and seekers immediately after evangelistic worship. Convicted seekers have just come from being in the presence of God and are often the most teachable and open at this time. To seek to “get them into a small group” or even to merely return next Sunday is asking a lot. They may also be “amazed and perplexed” (Acts 2:12), and it is best to strike while the iron is hot. This should not be understood as doubting that God is infallibly drawing people to himself (Acts 13:48; 16:14). Knowing the sovereignty of God helps us to relax as we do evangelism, knowing that conversions are not dependent on our eloquence. But it should not lead us to ignore or minimize the truth that God works through secondary causes. The Westminster Confession (5.2 – 3), for example, tells us that God routinely works through normal social and psychological processes. Therefore, inviting people into a follow-up meeting immediately after the worship service can often be more conducive to conserving the fruit of the Word. After-meetings may take the shape of one or more persons waiting at the front of the auditorium to pray with and talk with seekers who wish to make inquiries right on the spot. Another way is to host a simple Q&A session with the preacher in or near the main auditorium, following the postlude. Or offer one or two classes or small group experiences targeted to specific questions non-Christians ask about the content, relevance, and credibility of the Christian faith. Skilled lay evangelists should be present who can come alongside newcomers, answer spiritual questions, and provide guidance for their next steps.

Develop a rapid cadence. Ideal running requires a cadence that may be much quicker than you’re used to. Shoot for 180 footfalls per minute. Developing the proper cadence will help you achieve more speed because it increases the number of push-offs per minute. It will also help prevent injury, as you avoid overstriding and placing impact force on your heel. To practice, get an electronic metronome (or download an app for this), set it for 90+ beats per minute, and time the pull of your left foot to the chirp of the metronome. Develop a proper forward lean. With core muscles slightly engaged to generate a bracing effect, the runner leans forward—from the ankles, not from the waist. Land underneath your center of gravity. MacKenzie drills his athletes to make contact with the ground as their midfoot or forefoot passes directly under their center of gravity, rather than having their heels strike out in front of the body. When runners become proficient at this, the pounding stops, and the movement of their legs begins to more closely resemble that of a spinning wheel. Keep contact time brief. “The runner skims over the ground with a slithering motion that does not make the pounding noise heard by the plodder who runs at one speed,” the legendary coach Percy Cerutty once said.7 MacKenzie drills runners to practice a foot pull that spends as little time as possible on the ground. His runners aim to touch down with a light sort of tap that creates little or no sound. The theory is that with less time spent on the ground, the foot has less time to get into the kind of trouble caused by the sheering forces of excessive inward foot rolling, known as “overpronation.” Pull with the hamstring. To create a rapid, piston-like running form, the CFE runner, after the light, quick impact of the foot, pulls the ankle and foot up with the hamstring. Imagine that you had to confine your running stride to the space of a phone booth—you would naturally develop an extremely quick, compact form to gain optimal efficiency. Practice this skill by standing barefoot and raising one leg by sliding your ankle up along the opposite leg. Perform up to 20 repetitions on each leg. Maintain proper posture and position. Proper posture, MacKenzie says, shifts the impact stress of running from the knees to larger muscles in the trunk, namely, the hips and hamstrings. The runner’s head remains up and the eyes focused down the road. With the core muscles engaged, power flows from the larger muscles through to the extremities. Practice proper position by standing with your body weight balanced on the ball of one foot. Keep the knee of your planted leg slightly bent and your lifted foot relaxed as you hold your ankle directly below your hip. In this position, your body is in proper alignment. Practice holding this position for up to 1 minute on each leg. Be patient. Choose one day a week for practicing form drills and technique. MacKenzie recommends wearing minimalist shoes to encourage proper form, but not without taking care of the other necessary work. A quick changeover from motion-control shoes to minimalist shoes is a recipe for tendon problems. Instead of making a rapid transition, ease into minimalist shoes by wearing them just one day per week, during skill work. Then slowly integrate them into your training runs as your feet and legs adapt. Your patience will pay off.