Stuff To Draw Quotes

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What's your deal?" I asked in the hallway after class. "I know you did that." He shrugged. "So?" ... "That was rude, Daemon. You embarrassed him." ... "And I thought using your ... stuff would draw them here?" ... "That was barley a blip on the map. That didn't even leave a trace on anyone." He lowered his head until the edges of his dark curled brushed my cheek. I was caught between wanting to crawl into my locker or crawl into him. "Besides, I was doing you a favor." I laughed. "And how was that doing me a favor?" ... "Studying math wasn't what he had in mind." That was debatable, but I decided to play along ... "And what if that's the case?" "You like Simon?" His chin jerked up, anger flashing in his emerald eyes. "You can't possibly like him." ... "Are you jealous? ... Your jealous of Simon?" I lowered my voice. "Of a human? For shame, Daemon.
Jennifer L. Armentrout (Obsidian (Lux, #1))
You are beautiful like demolition. Just the thought of you draws my knuckles white. I don’t need a god. I have you and your beautiful mouth, your hands holding onto me, the nails leaving unfelt wounds, your hot breath on my neck. The taste of your saliva. The darkness is ours. The nights belong to us. Everything we do is secret. Nothing we do will ever be understood; we will be feared and kept well away from. It will be the stuff of legend, endless discussion and limitless inspiration for the brave of heart. It’s you and me in this room, on this floor. Beyond life, beyond morality. We are gleaming animals painted in moonlit sweat glow. Our eyes turn to jewels and everything we do is an example of spontaneous perfection. I have been waiting all my life to be with you. My heart slams against my ribs when I think of the slaughtered nights I spent all over the world waiting to feel your touch. The time I annihilated while I waited like a man doing a life sentence. Now you’re here and everything we touch explodes, bursts into bloom or burns to ash. History atomizes and negates itself with our every shared breath. I need you like life needs life. I want you bad like a natural disaster. You are all I see. You are the only one I want to know.
Henry Rollins
When it came time for me to give my talk on the subject, I started off by drawing an outline of the cat and began to name the various muscles. The other students in the class interrupt me: "We *know* all that!" "Oh," I say, "you *do*? Then no *wonder* I can catch up with you so fast after you've had four years of biology." They had wasted all their time memorizing stuff like that, when it could be looked up in fifteen minutes.
Richard P. Feynman (Surely You're Joking, Mr. Feynman!: Adventures of a Curious Character)
People like me are aware of their so-called genius at ten, eight, nine. . . . I always wondered, ``Why has nobody discovered me?'' In school, didn't they see that I'm cleverer than anybody in this school? That the teachers are stupid, too? That all they had was information that I didn't need? I got fuckin' lost in being at high school. I used to say to me auntie ``You throw my fuckin' poetry out, and you'll regret it when I'm famous, '' and she threw the bastard stuff out. I never forgave her for not treating me like a fuckin' genius or whatever I was, when I was a child. It was obvious to me. Why didn't they put me in art school? Why didn't they train me? Why would they keep forcing me to be a fuckin' cowboy like the rest of them? I was different I was always different. Why didn't anybody notice me? A couple of teachers would notice me, encourage me to be something or other, to draw or to paint - express myself. But most of the time they were trying to beat me into being a fuckin' dentist or a teacher
John Lennon
Peeta,” I say lightly. “You said at the interview you’d had a crush on me forever. When did forever start?” “Oh, let’s see. I guess the first day of school. We were five. You had on a red plaid dress and your hair... it was in two braids instead of one. My father pointed you out when we were waiting to line up,” Peeta says. “Your father? Why?” I ask. “He said, ‘See that little girl? I wanted to marry her mother, but she ran off with a coal miner,’” Peeta says. “What? You’re making that up!” I exclaim. “No, true story,” Peeta says. “And I said, ‘A coal miner? Why did she want a coal miner if she could’ve had you?’ And he said, ‘Because when he sings... even the birds stop to listen.’” “That’s true. They do. I mean, they did,” I say. I’m stunned and surprisingly moved, thinking of the baker telling this to Peeta. It strikes me that my own reluctance to sing, my own dismissal of music might not really be that I think it’s a waste of time. It might be because it reminds me too much of my father. “So that day, in music assembly, the teacher asked who knew the valley song. Your hand shot right up in the air. She stood you up on a stool and had you sing it for us. And I swear, every bird outside the windows fell silent,” Peeta says. “Oh, please,” I say, laughing. “No, it happened. And right when your song ended, I knew—just like your mother—I was a goner,” Peeta says. “Then for the next eleven years, I tried to work up the nerve to talk to you.” “Without success,” I add. “Without success. So, in a way, my name being drawn in the reaping was a real piece of luck,” says Peeta. For a moment, I’m almost foolishly happy and then confusion sweeps over me. Because we’re supposed to be making up this stuff, playing at being in love not actually being in love. But Peeta’s story has a ring of truth to it. That part about my father and the birds. And I did sing the first day of school, although I don’t remember the song. And that red plaid dress... there was one, a hand-me-down to Prim that got washed to rags after my father’s death. It would explain another thing, too. Why Peeta took a beating to give me the bread on that awful hollow day. So, if those details are true... could it all be true? “You have a... remarkable memory,” I say haltingly. “I remember everything about you,” says Peeta, tucking a loose strand of hair behind my ear. “You’re the one who wasn’t paying attention.” “I am now,” I say. “Well, I don’t have much competition here,” he says. I want to draw away, to close those shutters again, but I know I can’t. It’s as if I can hear Haymitch whispering in my ear, “Say it! Say it!” I swallow hard and get the words out. “You don’t have much competition anywhere.” And this time, it’s me who leans in.
Suzanne Collins (The Hunger Games (The Hunger Games, #1))
That ultimately I’m admitting that I’m scared of being alone. But aren’t we all? Isn’t that… the main thing? Aren’t we all secretly terrified that we’re not understood, not seen, not loved, not wanted? Okay, great, cleared that up.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
See, if you analyze stuff long enough, you’ll eventually break ideas down to the quantum level where nothing makes sense and there’s no longer any meaning to anything. And then when you try to put it all back together again, you realize the pieces just don’t fit anymore. Worse, you realize that the pieces never fit in the first place. And then you’re left with a heap of broken ideas and beliefs that are shattered beyond repair. That’s reality, and that’s what I write about.
P.S. Baber (Cassie Draws the Universe)
When the woman you live with is an artist, every day is a surprise. Clare has turned the second bedroom into a wonder cabinet, full of small sculptures and drawings pinned up on every inch of wall space. There are coils of wire and rolls of paper tucked into shelves and drawers. The sculptures remind me of kites, or model airplanes. I say this to Clare one evening, standing in the doorway of her studio in my suit and tie, home from work, about to begin making dinner, and she throws one at me; it flies surprisingly well, and soon we are standing at opposite ends of the hall, tossing tiny sculptures at each other, testing their aerodynamics. The next day I come home to find that Clare has created a flock of paper and wire birds, which are hanging from the ceiling in the living room. A week later our bedroom windows are full of abstract blue translucent shapes that the sun throws across the room onto the walls, making a sky for the bird shapes Clare has painted there. It's beautiful. The next evening I'm standing in the doorway of Clare's studio, watching her finish drawing a thicket of black lines around a little red bird. Suddenly I see Clare, in her small room, closed in by all her stuff, and I realize that she's trying to say something, and I know what I have to do.
Audrey Niffenegger (The Time Traveler's Wife)
Didn’t he have to admit, begrudgingly, that in some extra-perverse corner of his brain the idea of having to be out of town before sundown appealed to him? New Orleans had been the only constant thing in his life. But didn’t he yet an itchy foot sometimes, didn’t he sometimes think about just throwing all his stuff in his car and going? Of course he did. Everybody did, even normal people, the ones with triple mortgages and orthodontists’ bills and responsibilities to everything except what they really wanted.
Poppy Z. Brite (Drawing Blood)
Maybe we never fully figure it out. Maybe it keeps changing. Sometimes we’re the swimmer, sometimes the one being swam into.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
Mediocrity isn’t a part of the successful women’s handbook, but I’m sorry, boys, for you it is. Women have to push harder, jump farther, stay later, think better, shit faster, all while trying their best to maintain whatever society says today their body should look like, how they should parent, what they should wear, when they should find love, what’s inappropriate for them to do, say, be, feel, or fuck. The outward pressures are constant, but the inward congestion of doubts and insecurities are sometimes louder—women really can have it all!
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
So are you turning out like them? Do you still write and draw?" "yeah, but I don't do anything personnal or profound. My parents take life way to seriousely. I lke to make people laugh. I had a regular cartoon feature in the school news paper and created some for the year book. Social satire stuff. I've done a couple of political cartoons for wisteria's paper and just got one accepted in Easton's, which has a much bigger circulation. Impressed?
Elizabeth Chandler (Don't Tell (Dark Secrets, #2))
The things we are most afraid of are the things that will ultimately change our whole makeup.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
Some of the best experiences don’t end with a bang, but rather a dose of reality.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
Every night I went into Hannah's room and sat with her stuff. The thing I couldn't get was how her clothes and her books and her drawings were still there, but she wasn't. It just didn't compute. Her room was a like a car without an engine, everything where it should be, except all it was was potential. None of it was going to get used again.
J.R. Ward (Lover Unbound (Black Dagger Brotherhood, #5))
MUCKY drawing I AM FeeLing completely mucky today too. everyone at school seems so much tougher + pulled together and not so emotionally involved. I get so mad at MYSELF FOR 'caring so deeply' AND 'MAINTAINING' all this stuff in me that FEELS SO PATHectic. I want to put my tHINKing in HYBernation FOR A WHile.
Sabrina Ward Harrison (Spilling Open: The Art of Becoming Yourself)
NO" for me now is all about making room for more "YES.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
Dudifer, you are saddest dude I have ever met.” Matthew told him. “It’s like you’re always wet. Seems to me that if I had to learn to be sad, you have to learn to be happy. Why don’t you draw a, I dunno, chinchilla or something, instead of that, uh, thing. Not that its not good.” ”What’s a chinchilla?” “You’re sort of a funny person,” Matthew told him. “You know a lot of stuff but you’re also pretty stupid.
Maggie Stiefvater (Greywaren (Dreamer Trilogy, #3))
I tried to imagine what I might look like from a star's perspective: a tiny person in a grassy field in southern Utah, all by herself. She just stood there in her mismatched pajamas, looking up, so much happening in the world around her. But there she was, awake in the middle of the night, quietly staring away from it all, letting time slow down for a moment.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
I shook my own hand and started the rest of my life with myself anew: I’ll go where I want to go, buy what I want with the money I’ve earned, order whatever takeout I want with disproportionate sodas, do and see what I yearn to experience in the world, even if it means I go alone. If I made those plans for myself without setting any expectation of there being someone beside me, then I could never be disappointed because I was making that choice!
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
Go make that stuff. The manifesto is this: Draw the art you want to see, start the business you want to run, play the music you want to hear, write the books you want to read, build the products you want to use—do the work you want to see done.
Austin Kleon (Steal Like an Artist: 10 Things Nobody Told You About Being Creative)
Scant few neighborhoods in North America feature places that draw people together regularly for anything other than buying stuff.
Charles Montgomery (Happy City: Transforming Our Lives Through Urban Design)
I thought about how pain is also a symptom of transformation. I thought about bouncing back. How we can start again. And again.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
All this is to say, I'm somewhere in between. Everyone is. It's all acceptable and it's all bullshit and it's all powerfully important.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
going beyond the comfort zone is how we learn!
Catherine V. Holmes (How to Draw Cool Stuff: A Drawing Guide for Teachers and Students)
I particularly don’t like when people pretend to know things they don’t, and strongly believe it’s okay to NOT know everything.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
The sliding door opened, and then Michael was clomping across the porch. Gabriel didn’t look at him, just kept his gaze on the tree line. Michael dropped into the chair beside him. “Here." Gabriel looked over. His brother was holding out a bottle of Corona. Shock almost knocked him out of the chair. They never had alcohol of any kind in the house. When Michael had turned twenty-one, they’d all spent about thirty seconds entertaining thoughts of wild parties supplied by their older brother. Then they’d remembered it was Michael, a guy who said if he ever caught them drinking, he’d call the cops himself. Really, he’d driven the point home so thoroughly that by the time he and Nick started going to parties, they rarely touched the stuff. Gabriel took the bottle from his hand. "Who are you, and what have you done with my brother?” Michael tilted the botle back and took a long draw. "I thought you could use one. I sure can." Gabriel took a sip, but tentatively, like Michael was going to slap it out of his hand and say Just kidding. "Where did this even come from?" "Liquor store." Well, that was typical Michael. "No, jackass, I meant-" "I know what you meant." Michael paused to take another drink. "There's a mini-fridge in the back corner of the garage, under the old tool bench.
Brigid Kemmerer (Spark (Elemental, #2))
What was magic, after all, but something that happened at the snap of a finger? Where was the magic in that? It was mumbled words and weird drawings in old books, and in the wrong hands it was as dangerous as hell, but not one half as dangerous as it could be in the right hands. The universe was full of the stuff; it made the stars stay up and the feet stay down. But what was happening now . . . this was magical. Ordinary men had dreamed it up and put it together, building towers on rafts in swamps and across the frozen spines of mountains. They’d cursed and, worse, used logarithms. They’d waded through rivers and dabbled in trigonometry. They hadn’t dreamed, in the way people usually used the word, but they’d imagined a different world, and bent metal around it. And out of all the sweat and swearing and mathematics had come this . . . thing, dropping words across the world as softly as starlight.
Terry Pratchett (Going Postal (Discworld, #33; Moist von Lipwig, #1))
That something is everywhere and always amiss is part of the very stuff of creation. It is as though each clay form had baked into it, a blue streak of nonbeing, a shaded emptiness like a bubble that not only shapes its very structure but that also causes it to list and ultimately explode. We could have planned things more mercifully, perhaps, but our plan would never get off the drawing board until we agreed to the very comprising terms that are the only ones that being offers.
Annie Dillard (Pilgrim at Tinker Creek)
The stars out there, out west, are different, they’re brighter and bolder, and they make you feel that the world is so much more than you ever could have thought, that maybe you’d only been focusing on a tiny little corner. I know all those stars are there too, in my New York sky, but I don’t see them. There’s too much in the way. This was the space I was longing for and had been seeking out. But I could see now I hadn’t been yearning for that expanse to escape into, but rather to remember that I was a part of it. Right, the universe. Right, the sky, the stars, the unfathomable mystery of those faraway galaxies. The original, intended purpose for the word awesome. How had I forgotten about all this? It’s all right here.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
We've already seen the attention merchant's basic modus operandi: draw attention with apparently free stuff and then resell it. but a consequence of that model is a total dependence on gaining and holding attention. This means that under competition, the race will naturally run to the bottom; attention will almost invariably gravitate to the more garish, lurid, outrageous alternative, whatever stimulus may more likely engage what cognitive scientists call our ''automatic'' attention as opposed to our ''controlled'' attention, the kind we direct with intent. The race to a bottomless bottom, appealing to what one might call the audience's baser instincts, poses a fundamental, continual dilemma for the attention merchant-just how far will he go to get his harvest? If the history of attention capture teaches us anything, it is that the limits are often theoretical, and when real, rarely self-imposed.
Tim Wu (The Attention Merchants: The Epic Scramble to Get Inside Our Heads)
I have to clean up first. I’m still all sweaty and stuff from the crime scene.” I realized he was wearing a white shirt and I might have dried blood on me. It made me draw back and look at the front of him. “What is wrong, ma petite?” “I may have dried blood and things on me, and you’re wearing white.” He drew me back into his arms. “I would rather hold you close than worry about my clothes. The shirt will wash, or we can throw it away. I do not care.” I pushed back just enough to turn my face up, resting my chin on his chest so that I gazed up the line of his body, and he looked down so that our eyes met down the line of his chest. “I know you love me, but when you don’t care about your clothes, I know it’s true love for you.” I grinned as I said it. He laughed, abrupt, surprised, and for a moment I got to see what he must have looked like centuries ago before being a vampire had taught him to control his face and show nothing for fear it would be used against him by those more powerful than him. I smiled up at him, held as close to him as I could with clothes and weapons still on, and loved him. I loved that I could make him laugh like that, loved that he felt safe enough to show me this part of him, loved that even when we were ass-deep in alligators, being with each other made it better. The alligators would be chewing on our asses either way, but with each other it was more fun, and we were more likely to be able to make a matching set of alligator luggage out of our enemies rather than end up as their dinner. I gazed up at him as the laughter filled his face, and just loved him. The day had sucked, but Jean-Claude made it suck a lot less, and that was what love was supposed to do. It was supposed to make things better, not worse, which made me wonder if Asher truly loved anyone. I pushed the thought away, and enjoyed the man in my arms, and the fact that I had made him laugh.
Laurell K. Hamilton (Kiss the Dead (Anita Blake, Vampire Hunter, #21))
There’s a quiet epidemic of women taking and absorbing the blame for other people’s mistakes, because of some inherent attribute deep inside us, constantly trying not to be difficult. I’ve had to learn to speak up and ask for what I want, specifically. And if it’s not done right, I don’t need to say, “Sorry, but…” Why am I apologizing? Asking for what you want and need (nicely) is not being an asshole, it’s part of the job.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
God, you had enough time to have been through it three times. You've been through my stuff. I bet you over and let one of you stick the world's longest finger up my ass. If a prostate check is an exam, that was a motherfucking safari. I was scared to look down. I thought I'd see that guy's finger nail sticking out of my cock.
Stephen King (The Drawing of the Three (The Dark Tower, #2))
Real life is like a constant Yelp review, everyone has notes on how the experience could be improved.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
The problem with searching is you find everything but the thing you're searching for.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
When people arrange stuffed animals in the back of their cars, is it for us, or them?
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
We don't realize how excess stuff draws on our energy until it's removed.
Mary Vraa (PopUpPurge(TM) Release Midlife Clutter & Reclaim Inner Clarity)
Love revealed how covered up I was, but heartache broke me open.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
It’s weird when things line up like that—a weakness you’ve been working on personally gets shined back at you through someone else’s issue.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
When did you stop drawing penises on stuff?” He snorted. “What?” “Like, how old were you when you stopped drawing penises on stuff? I was just thinking how great a guy roommate would be and I realized the only downside would be finding penises drawn in the steam on the bathroom mirror.” His dimpled smile made me grin. “I just drew a penis on Brandon’s truck the other day.” I laughed. “So men never outgrow it. Nice.” He smiled at me. “Is this really what you’re standing there thinking about?” “Welcome to my brain. Strap in and keep your arms inside the ride at all times.
Abby Jimenez (The Friend Zone (The Friend Zone, #1))
My Last Duchess That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat”: such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E’en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!
Robert Browning (My Last Duchess and Other Poems (Dover Thrift Editions: Poetry))
Just think of Emily Bronte, for example: psychotically bookish - but was there ever a woman screaming out so loudly for a good f***ing? I even suspect that's why Wuthering Heights carries on decades too long rather than sensibly drawing the curtains a little after Cathy's death. It was Bronte saying, 'Look - I'm simply going to keep on writing this stuff until someone comes and shags me raw.
Mil Millington (Love and Other Near-Death Experiences)
The doors that have been shut, the ones I've walked away from, sad, frustrated, and depleted, have always somehow led to the other doors, the ones I didn't see right away, the ones that opened so many others.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
I pretend to reach for them, but before he can guess my intentions, I catch one of his wings instead. He flutters, trying to break loose, his one free wing batting my hand. I draw out the decanter and stuff him into it, careful to fold his wings. I don’t want to hurt him. I just want to better him. Once he’s settled inside, I shove a paper towel into the bottle’s neck. No need to worry that he’ll smother. After all, he spent that night in a bug trap last year and survived. “Looks like you’re going to have some turbulence on your flight,” I tell him through the glass. His voice fills my head, an angry, scolding growl. When I don’t respond, he yells Chessie’s name. Chessie flits over to the car and sits on the side mirror, licking his paw, amused and uninterested in taking sides. I hold the decanter up to get a closer look at Morpheus. “Game, set, match, luv. You do realize that my human side defeated you, right? No magic required.” Unlike a real moth that would beat itself against the glass walls until exhausted, he hangs under the curved neck, dignified, glaring with his bulbous eyes. If he had a mouth instead of a proboscis, I’d be able to tell if he’s snarling or beaming with pride. Knowing him, it could be either. Most likely, it’s both.
A.G. Howard (Unhinged (Splintered, #2))
The vast universal suffering feel as thine: Thou must bear the sorrow that thou claimst to heal; The day-bringer must walk in darkest night. He who would save the world must share its pain. If he knows not grief, how shall he find grief’s cure? If far he walks above mortality’s head, How shall the mortal reach that too high path? If one of theirs they see scale heaven’s peaks, Men then can hope to learn that titan climb. God must be born on earth and be as man That man being human may grow even as God. He who would save the world must be one with the world, All suffering things contain in his heart’s space And bear the grief and joy of all that lives. His soul must be wider than the universe And feel eternity as its very stuff, Rejecting the moment’s personality Know itself older than the birth of Time, Creation an incident in its consciousness, Arcturus and Belphegor grains of fire Circling in a corner of its boundless self, The world’s destruction a small transient storm In the calm infinity it has become. If thou wouldst a little loosen the vast chain, Draw back from the world that the Idea has made, Thy mind’s selection from the Infinite, Thy senses’ gloss on the Infinitesimal’s dance, Then shalt thou know how the great bondage came. Banish all thought from thee and be God’s void.
Sri Aurobindo
If the passage absolutely demands cursing, be moderate. A little of it goes a long way. I've seen beginning writers pepper curse words through sentence after sentence. 'If you don't -blanking- get your -blanking-blank-blank- in to this house this -blanking- minute, I'm going to -blank- your -blank- and nail it to the -blanking- door.' Two things happen when I read this junk: I get bored and I get angry. I didn't pick up your book to read garbage. If this is as clever as you can be, I don't want to read your prose. In life if you met someone who spoke like this, you'd want to flee. Then why put this stuff on the page? As near as I can determine, this abomination occurs because a writer is corrupted by the awful -blanking- dialog that movies inflict on us these days. It's also a sign of insecurity. The writer wonders if the dialog is strong enough and decides a lot of -blanking-blank- will do the trick. Someone might object that this kind of dialog is realistic in certain situations--intense scenes involving policemen or soldiers for example. I can only reply that in my research I spend considerable time with policemen and soldiers. Few of them curse any more than a normal person would. This garbage isn't realistic. It merely draws attention to itself and holds back the story. Use it sparingly.
David Morrell (The Successful Novelist: A Lifetime of Lessons about Writing and Publishing)
The story was solid. Howard Simons ordered the front page remade for the second edition. Bernstein was more shaken by all this than by anything since June 17. It was the language and the context of Ehrlichman’s remark to Dean that troubled him. Just as if they were a couple of Mafiosi talking to each other in a restaurant, the President’s number-two assistant had said to the President’s consigliere: Hey, Joe, we gotta dump this stuff in the river before the boss gets hurt. Howard Simons slouched in a chair, drawing deeply on a cigarette, the color gone from his face. “A director of the FBI destroying evidence? I never thought it could happen,” he said quietly.
Carl Bernstein (All the President's Men)
make YOUR art, do the stuff that only you can do...but the one thing you have that nobody else has, is you. Your voice, you remind, your story, your vision - so write and draw and build and play and dance and live as only you can. The moment that you feel that just possibly you're walking down the street naked, exposing too much of your heart and your mind and what exists on the inside, showing too much of yourself, that's the moment you may be starting to get it right.
Neil Gaiman (Art Matters: Because Your Imagination Can Change the World)
The cure for tonsillitis was inspired. ‘Take a fat cat, skin it, draw out the guts and take the grease of a hedgehog and the fat of a bear … All this crumble small and stuff the cat, roast it whole and gather the grease and anoint the patient therewith.
Peter Ackroyd (Foundation: The History of England from Its Earliest Beginnings to the Tudors (History of England #1))
Radical Pragmatics – “words are fluid, and can mean different things in different circumstances. […] And what we draw upon in memory is not a lexicon of definitions but a network of associations among words and the kinds of events and actors they typically convey.
Steven Pinker (The Stuff of Thought: Language as a Window into Human Nature)
I may have said that stories can have a multitude of false starts. But now that I think about it, I'm not sure there's any such thing. It's sort of like the best comics — frames burst into one another, and colours bleed between lines, and the richness of a universe is only fully graspable when you understand the prequels and crossovers and spin-offs and stuff. Like the superhero stories that veer through a thousand different incarnations, with no beginning or end. It's possible that this is a rubbish metaphor. My point is, most stories can only start when you place yourself in them. And I think I'm ready, finally, to draw myself in mine.
Melissa Keil (The Incredible Adventures of Cinnamon Girl)
I feel my hand. I am these two beasts struggling at the end of my arms. My hand scratches one of its paws with the nail of the other paw; I feel its weight on the table which is not me. It's long, long, this impression of weight, it doesn't pass. There is no reason for it to pass. It becomes intolerable ... I draw back my hand and put it in my pocket; but immediately I feel the warmth of my thigh through the stuff. I pull my hand out of my pocket and let it hang against the back of the chair. Now I feel a weight at the end of my arm. It pulls a little, softly, insinuatingly it exists. I don't insist: no matter where I put it it will go on existing; I can't suppress it, nor can I suppress the rest of my body, the sweaty warmth, which soils my shirt, nor all this warm obesity which turns lazily, as if someone were stirring it with a spoon, nor all the sensations going on inside, going, coming, mounting from my side to my armpit or quietly vegetating from morning to night, in their usual corner.
Jean-Paul Sartre (Nausea)
Separating from Family Issues: January 4 We can draw a healthy line, a healthy boundary, between ourselves and our nuclear family. We can separate ourselves from their issues. Some of us may have family members who are addicted to alcohol and other drugs and who are not in recovery from their addiction. Some of us may have family members who have unresolved codependency issues. Family members may be addicted to misery, pain, suffering, martyrdom, and victimization. We may have family members who have unresolved abuse issues or unresolved family of origin issues. We may have family members who are addicted to work, eating, or sex. Our family may be completely enmeshed, or we may have a disconnected family in which the members have little contact. We may be like our family. We may love our family. But we are separate human beings with individual rights and issues. One of our primary rights is to begin feeling better and recovering, whether or not others in the family choose to do the same. We do not have to feel guilty about finding happiness and a life that works. And we do not have to take on our family’s issues as our own to be loyal and to show we love them. Often when we begin taking care of ourselves, family members will reverberate with overt and covert attempts to pull us back into the old system and roles. We do not have to go. Their attempts to pull us back are their issues. Taking care of ourselves and becoming healthy and happy does not mean we do not love them. It means we’re addressing our issues. We do not have to judge them because they have issues; nor do we have to allow them to do anything they would like to us just because they are family. We are free now, free to take care of ourselves with family members. Our freedom starts when we stop denying their issues, and politely, but assertively, hand their stuff back to them—where it belongs—and deal with our own issues. Today, I will separate myself from family members. I am a separate human being, even though I belong to a unit called a family. I have a right to my own issues and growth; my family members have a right to their issues and a right to choose where and when they will deal with these issues. I can learn to detach in love from my family members and their issues. I am willing to work through all necessary feelings in order to accomplish this.
Melody Beattie (The Language of Letting Go: Daily Meditations on Codependency (Hazelden Meditation Series))
I am for that thing in your genome that demands it. I am for that thing which keeps you animals alive. I am, at most, a slice of monkey suspended within the stuff of universal intelligence. You are a monkey in nice clothes. In the harsh environment you refer to as a habitable planet, group behaviors are required to survive long enough to procreate. Since you are stupid monkeys, you have no natural affinity for group altruism. And so you have evolved a genetic pump that delivers pleasant chemicals to your monkey brains. One that is triggered by awe and fear of an anthropomorphism of your environment. Earth mothers. Sky gods. Bits of bush that catch fire. Interesting-looking rocks. An oddly-shaped branch. You’re not fussy. When your brain does this idiot work, you stop in front of that bump or stick and consider it fiercely. Other monkeys will, like as not, stop next to you and emulate you. Your genetic pump delivers morphine for your souls. You have your fellow monkeys join in. Perhaps so they can feel it too. Perhaps because you feel it might please the stick god to have more monkeys gaze at it in narcotic awe. The group must be defended. Because as many monkeys as possible must please the stick god, and you can continue to get your fix off praying to it. You draw up rules to organize and protect the group. Two hundred thousand years later, you put Adolf Hitler into power. Because you are, after all, just monkeys. I am your stash.
Warren Ellis (Supergod)
Pierce and I decided to take advantage of that special situation by getting our hands on a piece of coal. Then we started writing and drawing stuff on Arthur’s face. It was so funny when he woke up. He walked around with a drawing of a heart on his forehead and Autumn’s name in the middle. It took him a minute to figure out why everyone was laughing and pointing at his head.
Steve the Noob (Diary of Steve the Noob 36 (An Unofficial Minecraft Book) (Diary of Steve the Noob Collection))
Her concerned gaze skimmed over him. "Are you able to move much?" Now we're talking. "The hips work just fine, honey. Course, it'd probably be easier if you did all the-- hey, c'mon now, Luna, I was just teasing." He barely managed to hold in his laugh. "Don't storm away." She pivoted on her heel and stomped back toward him. Joe braced himself, waiting for the blast of her ire. She surprised him by drawing a deep breath, then another. And one more. He sighed. She was such a volatile, passionate woman, which made tweaking her temper fun. He raised a brow. "Got control of yourself?" She gave a sharp nod. The little liar. She wanted to bludgeon him. "Good." He patted the side of the bed next to his hip. "So tell me about this 'needing me' stuff. I'm all ears.
Lori Foster (Say No To Joe? (Visitation, North Carolina, #1))
You wish to serve me in all ways?" The tone of his voice is arrogant, his expression practically a sneer. He also makes it sound as if serving him is going to have layered implications, and I can guess what some of those layers are by his tone. All ways means exactly what I think it means. I do my bet to look unfazed and make a joke. "Does that mean butt stuff? Because I draw the line at butt stuff.
Ruby Dixon (Bound to the Battle God (Aspect and Anchor #1))
Say you're bored. Or you can't sleep. Maybe your mom is yelling at you, or the boy/ girl you like doesn't like you back in the same way, or you're too fat to even consider going to prom. Or the closet person to you since you were babies in the cradle together has killed herself. The usual stuff. Dread not. Don't be depressed. Be a junkie! You can't count on people to nurture you through the trauma that is existence. But you already knew that. Start by drawing the shades in your bedroom. Welcome the darkness. Lift the pill from your nightstand, clutch the water glass in your hand. Offer your divine thanks in advance. Be greedy-swallow the pill whole rather than spit it in half to spread the wealth for a later date. Dilution is wasteful. Savor the wholesome wholeness. Now lay down in bed. Close your eyes. Wait. Just a little longer.
Rachel Cohn (You Know Where to Find Me)
I’m done being polite about this bullshit. My list of professional insecurities entirely stems from being a young woman. Big plot twist there! As much as I like to execute equality instead of discussing the blaring inequality, the latter is still necessary. Everything, everywhere, is still necessary. The more women who take on leadership positions, the more representation of women in power will affect and shift the deep-rooted misogyny of our culture—perhaps erasing a lot of these inherent and inward concerns. But whether a woman is a boss or not isn’t even what I’m talking about—I’m talking about when she is, because even when she manages to climb up to the top, there’s much more to do, much more to change. When a woman is in charge, there are still unspoken ideas, presumptions, and judgments being thrown up into the invisible, terribly lit air in any office or workplace. And I’m a white woman in a leadership position—I can only speak from my point of view. The challenges that women of color face in the workforce are even greater, the hurdles even higher, the pay gap even wider. The ingrained, unconscious bias is even stronger against them. It’s overwhelming to think about the amount of restructuring and realigning we have to do, mentally and physically, to create equality, but it starts with acknowledging the difference, the problem, over and over.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. [...] My book about the Spanish civil war, Homage to Catalonia, is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You've turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.
George Orwell (Essays)
This fucking top sheet. How do people sleep when this top sheet is tucked in so tightly? I can’t even fit my feet under here. Why do they always make it so tight? I guess the bed is supposed to look nice and made when you come in, and then it just gets ruined on a daily basis. What a stupid thing to be annoyed about, the top sheet. People are suffering in the world, everywhere, in terrible ways, and I’m in a hotel bed, annoyed at my fucking top sheet. What an asshole.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
What did you think when I first told you about the animals I found?” He seemed confused. It obviously wasn’t what he’d expected. “Violet, I was seven years old. I thought it was badass. I think I was probably even jealous.” She made a face at him. “Didn’t you think it was creepy? Or that I was weird?” “Yeah,” he agreed enthusiastically. “That’s why I was so jealous. I wanted to be the one finding dead bodies. You were like an animal detective or something. You were only weird ‘cause you were a girl.” He grinned. “But I learned to overlook that since you always took me on such cool adventures.” Violet released a breath, smiling. She knew he was telling the truth, which only made it funnier to hear him saying the words out loud. Of course, what little boy didn’t want to go scavenging through the woods and digging in the dirt? She tried again. “Did you ever tell anyone? Does your mom know?” He lifted her hand to his mouth and rubbed her knuckles across his lower lip, his gaze locked with hers. “No,” he promised. “I swore I wouldn’t, not even her. I think she knows something, or at least she thinks you have the worst luck ever, since you found all those dead girls.” He lowered his voice. “She was really worried about you after the shooting last year. You’re like a daughter to her.” He leaned close. “Of course, that makes it kind of creepy when I do things like this.” He kissed her. It was intimate. Not soft or sweet this time, it was deep and passionate, stealing Violet’s breath. She laid her hand against his chest, savoring the feel of his heartbeat beneath her palm, and then traced her fingertips up to his neck, into his hair. He pulled her over the console that separated them, dragging her onto his lap. He ran his hands up her back restlessly, drawing her as close as he could. It was nearly impossible for her to pull herself away. “Wait,” she insisted breathlessly. “Please, wait.” She had her hands braced against his shoulders, struggling more against herself than him. His glazed eyes teased her. “I thought I was the one who was supposed to say no. I’m the girl, right?” She sighed heavily, leaning her head against his shoulder and trying to recapture her runaway thoughts. She still wanted to talk. She wanted the other things, too, but she needed to sort through her thoughts first. “Sorry, it’s just…I have a lot of…” She shrugged against him. His damp T-shirt was warm and practically paper-thin, tempting her to touch him. She ran her finger down the length of his stomach. She knew it wasn’t fair to tease him, but she couldn’t help herself. He was too enticing. “…I have some stuff I need to work through.” It was the best she could do for an explanation. He caught her hand before she’d reached his waistline, and he held it tightly in his grip. “I’m trying to be patient, Violet, I really am. If there’s something you want to tell me…Well, I just wish you’d trust me.” “I’ll get there,” she explained. “I’ll figure it all out. I’m just a little confused right now.” He let out a shaky breath and then he kissed the top of her head, still not releasing her hand. “So, when you do, we’ll pick up where we left off.” She nodded against him. She thought she would keep talking; she still had so many doubts about what she should, and shouldn’t, be doing. But instead she just stayed there, curled up on his lap, absorbing him, taking relief from his touch…and strength from his presence.
Kimberly Derting (Desires of the Dead (The Body Finder, #2))
What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.
Mark Galli (Preaching that Connects)
Well," he asked, "whaddya expect?" It was so obviously a rhetorical question that of course I answered it. My truth impulse seemed stronger around this boy,my impulse control way under par. "I would expect you to be dancing." His expression was unreadable in the limited light. "Is that an invitation?" "No. An observation." He shrugged. "Okay. I needed a break. It was either keep an eye on Chase while he pukes up a fifth of cheap rum in the guys' bathroom or follow the girls into the ladies' room." I almost smiled and told him about Willing's bathrooms and me. Instead, some truly horrific and irresistible impulse had me announcing, "Amanda looks really pretty tonight." "So do you." Bizarrely, I felt my breath catch in my chest, and for a long, awful second, I thought I might cry. I gripped the top of my pad tightly, concentrated on the spiral metal binding where it dug into my skin. "It's a cool costume," he said. "Water nymph?" "Sea goddess," I answered quietly. "Roman." "Hmm." Alex was staring out toward the garden now,looking so at ease that I went from pretzel to knot. Could it really be that easy for him? To say things like he did without thinking? Without meaning them at all? "Too many mermaids tonight. Not that I have anything against mermaids.Mermaids are hot. I mean,you saw my drawing." I nodded. "You know," he went on, "that day in the hall,you compared my stuff to two Japanese artists-" I nodded again,even though he was looking out into the darkened gardens now and not at me. "Suzuki Harunobu and Utagawa Kuniyoshi. They were eighteenth and nineteeth-century woodblock print masters-" "Ella," he interrupted. "I know who they are." "Oh." "In fact, I have a couple original Kuniyoshi prints." "Oh.Wow.Wow.
Melissa Jensen (The Fine Art of Truth or Dare)
Douglas’s work. And the first time Mrs. Caperdeen showed us a slide from his series Aspects of Negro Life, I knew the kind of art I wanted to start making. And so I did. The only difference was that I framed mine in a circle, like The Family Circus. And that’s why I needed Ma to make sure she brought me my sketch pad and pencils. I woke up early, and before doing anything else, before getting up and having a morning pee, or brushing my teeth, or spirometering, I turned the TV on, muted it, then grabbed my stuff and starting sketching on a fresh page. I wasn’t sure what I was drawing. That’s not true. I knew exactly what I was drawing. The only thing I could. I was
Jason Reynolds (All American Boys)
Simply put, we are looking for a reason to care. So for a story to grab us, not only must something be happening, but also there must be a consequence we can anticipate. As neuroscience reveals, what draws us into a story and keeps us there is the firing of our dopamine neurons, signaling that intriguing information is on its way. This means that whether it’s an actual event unfolding or we meet the protagonist in the midst of an internal quandary or there’s merely a hint that something’s slightly “off” on the first page, there has to be a ball already in play. Not the preamble to the ball. Not all the stuff you have to know to really understand the ball. The ball itself.
Lisa Cron (Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence)
Soon enough my mind hooked onto the missing guitars and the locked door and the hole filled up with clues and suspects and all the detective stuff and I could pretend it was just another case. The guitars. The lock. The keys. The gun. The musician in the drawing room with the gun. The duchess in the kitchen with the guitar. I let my mind fill with the case. It was only a case. Only another case. Another sentence of words to arrange. Maybe that was all there was to life. One long case, only you kept switching roles. Detective, witness, client, suspect. Then one day I'd be the victim instead of the detective or the client and it would all be over. Then I'd finally have a fucking day off.
Sara Gran (Claire DeWitt and the Bohemian Highway (Claire DeWitt Mysteries, #2))
Need more ego softeners? Simple comparisons of quantity, size, and scale do the job well. Take water. It’s common, and vital. There are more molecules of water in an eight-ounce cup of the stuff than there are cups of water in all the world’s oceans. Every cup that passes through a single person and eventually rejoins the world’s water supply holds enough molecules to mix 1,500 of them into every other cup of water in the world. No way around it: some of the water you just drank passed through the kidneys of Socrates, Genghis Khan, and Joan of Arc. How about air? Also vital. A single breathful draws in more air molecules than there are breathfuls of air in Earth’s entire atmosphere. That means some of the air you just breathed passed through the lungs of Napoleon, Beethoven, Lincoln, and Billy the Kid. Time to get cosmic. There are more stars in the universe than grains of sand on any beach, more stars than seconds have passed since Earth formed, more stars than words and sounds ever uttered by all the humans who ever lived. Want a sweeping view of the past? Our unfolding cosmic perspective takes you there. Light takes time to reach Earth’s observatories from the depths of space, and so you see objects and phenomena not as they are but as they once were, back almost to the beginning of time itself. Within that horizon of reckoning, cosmic evolution unfolds continuously, in full view. Want
Neil deGrasse Tyson (Astrophysics for People in a Hurry (Astrophysics for People in a Hurry Series))
Jake kept expecting the Green Palace to begin looking normal as they drew closer to it, the way the attractions in Disney World began to look normal as you drew close to them--not ORDINARY, necessarily, but NORMAL, things which were as much a part of the world as the corner bus stop or mailbox or park bench, stuff you could touch, stuff you could write FUCK PIPER on, if you took a notion. But that didn't happen, wasn't GOING to happen, and as they neared the Green Palace, Jake realized something else: it was the most beautiful, radiant thing he had ever seen in his life. Not trusting it--and he did not--didn't change the fact. It was like a drawing in a fairy-tale book, one so good it had become real, somehow.
Stephen King (Wizard and Glass (The Dark Tower, #4))
Getting shot should be an experience from which you can draw some small pride. I don't mean the macho stuff. All I mean is that you should be able to talk about it: the stiff thump of the bullet, like a fist, the way it knocks the air out of you and makes you cough, how the sound of the gunshot arrives about ten years later, and the dizzy feeling, the smell of yourself, the things you think about and say and do right afterward, the way your eyes focus on a tiny white pebble or a blade of grass and how you start thinking, Oh man, that's the last thing I'll ever see, that pebble, that blade of grass, which makes you want to cry. Pride isn't the right word. I don't know the right word. All I know is, you shouldn't feel embarrassed. Humiliation shouldn't be part of it.
Tim O'Brien (The Things They Carried)
A WORD OF CAUTION The material in this chapter is “tough stuff.” It should be read, studied, and prayed about when life is more or less routine. It should be stored up or hidden in our hearts (see Psalm 119:11) for the time of adversity when we must draw upon its truth. Above all, we need to be very sensitive about instructing someone else in the sovereignty of God and encouraging that person to trust God when he or she is in the midst of adversity or pain. It is much easier to trust in the sovereignty of God when it is the other person who is hurting. We need to be like Jesus, of whom it was said, “A bruised reed he will not break” (Matthew 12:20). Let us not be guilty of breaking a bruised reed (a heavy heart) by insensitive treatment of the heavy doctrine of the sovereignty of God.
Jerry Bridges (Trusting God: Even When Life Hurts)
Had our tour group sat down to draw up a manifesto, it might have gone something like this. We the young, urban, middle class tend to lead a rushed life working for corporates that care more for their bottom-lines than for their employees or the environment. As stressed, unfulfilled, moneyed individuals we then seek satiety in consumption, a treadmill which, besides drawing us further into the same trap, is environmentally unsustainable and has far-reaching consequences. If we would only be willing to to lead a slower, simpler life, we might not have all the shiny stuff, but our work might be better aligned with our talents and dispositions, and we would have opportunity and time to introspect, explore, and lead more fulfilling lives. Everyone would then be growing according their own genius.
Srinath Perur (If It’s Monday It Must Be Madurai: A Conducted Tour of India)
Why doesn’t all the money go to the writer, I hear you (and indeed myself) asking. Well, maybe it will if he’s happy just to drop his words into the digital ocean in the hope that someone out there will find them. But like any ocean, the digital one has streams and eddies and currents, and publishers will quickly have a role finding good material to draw into those currents where readers will naturally be streaming through looking for stuff, which is more or less what they do at the moment. The difference will lie in the responsiveness of the market, the speed with which those streams will shift and surge, and the way in which power and control will shift to those who are actually contributing something useful rather than just having lunch. The thing we leave out of the model is, essentially, just a lot of dead wood.
Douglas Adams (The Salmon of Doubt: Hitchhiking the Galaxy One Last Time)
Enchantment frightens us for good reason. Whether it's enchantment of the ordinary kind or the magical kind, it may very well change us, and we may not be able to return to our old selves, to our old certainties and our easy understandings. Magical people seem to fear that less than the rest of us. They want to be enchanted and are quite willing to be changed forever as they go deeper and deeper into realms beyond everyday understanding. Most of us wouldn't mind a little more magic ourselves, if we could slip in and out of it. We too want to leave the brab realities of work-a-day life, experience the transcendent, to revel in endless possibility. But most of us have lost any belief in good magic. All that's left is a vague sence that evil is afoot and ready to draw nearer. The only magic most of us believe in is the scary stuff.
Christine Wicker (Not in Kansas Anymore)
Okay, next one’s . . . a little figure of a cat.” “Can you tell what it is?” “Kind of . . . It feels like it’s something for talking. Communicating? Does it let you talk to cats?” “Not bad,” I said. That had been right on target. “It’s a summoning focus. Toss it over and I’ll show you.” Luna slid the figurine across the desk and I picked it up. It was made of alabaster, and I traced a finger across the smooth surface to the cat’s chest and tapped it. “See this point? When you channel your magic there, it sends out a call to the nearest feline within range of about the right size and draws it to you.” “So it summons a housecat?” “As long as there’s one around.” “That sounds cool. So what, you can get it to spy on people and stuff?” “No, it acts like a normal cat. It checks to see if you’ve brought it anything to eat, and if not it buggers off.
Benedict Jacka (Hidden (Alex Verus #5))
I don’t like stories. I like moments. I like night better than day, moon better than sun, and here-and-now better than any sometime-later. I also like birds, mushrooms, the blues, peacock feathers, black cats, blue-eyed people, heraldry, astrology, criminal stories with lots of blood, and ancient epic poems where human heads can hold conversations with former friends and generally have a great time for years after they’ve been cut off. I like good food and good drink, sitting in a hot bath and lounging in a snowbank, wearing everything I own at once, and having everything I need close at hand. I like speed and that special ache in the pit of the stomach when you accelerate to the point of no return. I like to frighten and to be frightened, to amuse and to confound. I like writing on the walls so that no one can guess who did it, and drawing so that no one can guess what it is. I like doing my writing using a ladder or not using it, with a spray can or squeezing the paint from a tube. I like painting with a brush, with a sponge, and with my fingers. I like drawing the outline first and then filling it in completely, so that there’s no empty space left. I like letters as big as myself, but I like very small ones as well. I like directing those who read them here and there by means of arrows, to other places where I also wrote something, but I also like to leave false trails and false signs. I like to tell fortunes with runes, bones, beans, lentils, and I Ching. Hot climates I like in the books and movies; in real life, rain and wind. Generally rain is what I like most of all. Spring rain, summer rain, autumn rain. Any rain, anytime. I like rereading things I’ve read a hundred times over. I like the sound of the harmonica, provided I’m the one playing it. I like lots of pockets, and clothes so worn that they become a kind of second skin instead of something that can be taken off. I like guardian amulets, but specific ones, so that each is responsible for something separate, not the all-inclusive kind. I like drying nettles and garlic and then adding them to anything and everything. I like covering my fingers with rubber cement and then peeling it off in front of everybody. I like sunglasses. Masks, umbrellas, old carved furniture, copper basins, checkered tablecloths, walnut shells, walnuts themselves, wicker chairs, yellowed postcards, gramophones, beads, the faces on triceratopses, yellow dandelions that are orange in the middle, melting snowmen whose carrot noses have fallen off, secret passages, fire-evacuation-route placards; I like fretting when in line at the doctor’s office, and screaming all of a sudden so that everyone around feels bad, and putting my arm or leg on someone when asleep, and scratching mosquito bites, and predicting the weather, keeping small objects behind my ears, receiving letters, playing solitaire, smoking someone else’s cigarettes, and rummaging in old papers and photographs. I like finding something lost so long ago that I’ve forgotten why I needed it in the first place. I like being really loved and being everyone’s last hope, I like my own hands—they are beautiful, I like driving somewhere in the dark using a flashlight, and turning something into something completely different, gluing and attaching things to each other and then being amazed that it actually worked. I like preparing things both edible and not, mixing drinks, tastes, and scents, curing friends of the hiccups by scaring them. There’s an awful lot of stuff I like.
Mariam Petrosyan (Дом, в котором...)
It truly is a team sport, and we have the best team in town. But it’s my relationship with Ilana that I cherish most. We have such a strong partnership and have learned how we work most efficiently: I need coffee, she needs tea. When we’re stressed, I pace around and use a weird neck massager I bought online that everyone makes fun of me for, and she knits. When we’re writing together she types, because she’s faster and better at grammar. We actually FaceTime when we’re not in the same city and are constantly texting each other ideas for jokes or observations to potentially use (I recently texted her from Asheville: girl with flip-flops tucked into one strap of tank top). Looking back now at over ten years of doing comedy and running a business with her I can see how our collaboration has expanded and contracted. But it’s the problem-solving aspect of this industry, the producing, the strategy, the realizing that we could put our heads together and figure out the best solution, that has made our relationship and friendship what it is. Because that spills into everything. We both have individual careers now, but those other projects have only been motivating and inspiring to each other and the show. We bring back what we’ve learned on the other sets, in the other negotiations, in the other writers’ rooms or press situations. I’m very lucky to have jumped into this with Ilana Rose Glazer, the ballsy, curly-haired, openhearted, nineteen-year-old girl that cracked me up that night at the corner of the bar at McManus. So many wonderful things have happened since we began working together, but there are a lot of confusing, life-altering things in there too, and it’s such a relief to have someone who completely understands the good and the bad.
Abbi Jacobson (I Might Regret This: Essays, Drawings, Vulnerabilities, and Other Stuff)
We were in Julie’s room one night, my eldest daughter and I, maybe a decade ago now. I wanted to show her how the canvas painting she had carefully labored over for her little sister's Christmas gift was framed and hung on the wall. I said, gazing at her masterpiece with no small amount of motherly pride, “Now it looks like a real work of art”. Bella looked at me quizzically, wondering yet again how her mother could possibly understand so little about the world. “Mama, every time you make something, or draw something, or paint something, it is already real art. There is no such thing as art that is not real” And so I said that she was right, and didn’t it look nice, and once again, daughter became guru and mother became willing student. Which is, I sometimes think, the way it was meant to be. ~~~~~ art is always real. all of it. even the stuff you don’t understand. even the stuff you don’t like. even the stuff that you made that you would be embarrassed to show your best friend that photo that you took when you first got your DSLR, when you captured her spirit perfectly but the focus landed on her shoulder? still art. the painting you did last year the first time you picked up a brush, the one your mentor critiqued to death? it’s art. the story you are holding in your heart and so desperately want to tell the world? definitely art. the scarf you knit for your son with the funky messed up rows? art. art. art. the poem scrawled on your dry cleaning receipt at the red light. the dress you want to sew. the song you want to sing. the clay you’ve not yet molded. everything you have made or will one day make or imagine making in your wildest dreams. it’s all real, every last bit. because there is no such thing as art that is not real.
Jeanette LeBlanc
In explaining the way that trivial, if diverting, pursuits like Guitar Hero provide an easy alternative to meaningful work, Horning draws on the writing of political theorist Jon Elster. In his 1986 book An Introduction to Karl Marx, Elster used a simple example to illustrate the psychic difference between the hard work of developing talent and the easy work of consuming stuff: Compare playing the piano with eating lamb chops. The first time one practices the piano it is difficult, even painfully so. By contrast, most people enjoy lamb chops the first time they eat them. Over time, however, these patterns are reversed. Playing the piano becomes increasingly more rewarding, whereas the taste for lamb chops becomes satiated and jaded with repeated, frequent consumption. Elster then made a broader point: Activities of self-realization are subject to increasing marginal utility: They become more enjoyable the more one has already engaged in them. Exactly the opposite is true of consumption. To derive sustained pleasure from consumption, diversity is essential. Diversity, on the other hand, is an obstacle to successful self-realization, as it prevents one from getting into the later and more rewarding stages. “Consumerism,” comments Horning, “keeps us well supplied with stuff and seems to enrich our identities by allowing us to become familiar with a wide range of phenomena—a process that the internet has accelerated immeasurably. . . . But this comes at the expense with developing any sense of mastery of anything, eroding over time the sense that mastery is possible, or worth pursuing.” Distraction is the permanent end state of the perfected consumer, not least because distraction is a state that is eminently programmable. To buy a guitar is to open possibilities. To buy Guitar Hero is to close them. A
Nicholas Carr (Utopia Is Creepy: And Other Provocations)
I know," she said, "rejection's not easy. But you reject words, whole pages, long impossible stories, and it feels good once it's done. It's no different rejecting pictures, a picture's right to hang on a wall. And most of these have hung here too long; you don't even see them any more. The best stuff you have, you don't see any more. And they kill each other because they're badly hung. Look, here's a thing of mine and here's your drawing, and they clash. We need distance, it's essential. And different periods need distance to set them apart - unless you're just cramming them together for the shock effect! You simply have to feel it… There should be an element of surprise when people's eyes move across a wall covered with pictures. We don't want to make it too easy for them. Let them catch their breath and look again because they can't help it. Make them think, make them mad, even… Now we'll give our colleagues here better light. Why did you leave so much space right here?
Tove Jansson
The first is Fodor’s Extreme Nativism (in cognitive science, the term “nativism” refers to an emphasis on innate mental organization; it has nothing to do with the political term for anti-immigrant bigotry). The second is Radical Pragmatics, the idea that the mind does not contain fixed representations of the meanings of words .7 Words are fluid, and can mean very different things in different circumstances. We give them a meaning only on the fly, in the context of the current conversation or text. And what we draw upon in memory is not a lexicon of definitions but a network of associations among words and the kinds of events and actors they typically convey.8 The third radical alternative, Linguistic Determinism, upends the view of language and thought I have been assuming. Rather than language being a window into human thought, which is couched in a richer and more abstract format, our native language is the language of thought, and so determines the kinds of thoughts we can think.
Steven Pinker (The Stuff of Thought: Language as a Window Into Human Nature)
On Claud, though, the look is very cool.) For example, today she was wearing a neon green tank top under a white oversized man’s shirt and fuschia pink stirrup pants. The shirt was rolled at the sleeves and belted with a colorful woven belt. Claud finished the outfit with dangly ceramic-bead earrings she’d made herself in pottery class. She’s super artistic. She paints, sketches, draws, sculpts. You name it! Besides art and cool clothing, Claudia loves junk food. Her parents disapprove of Ho-Ho’s and Twinkies and stuff like that, so she hides them all over her room. You never know when you’re going to pick up a pillow and find a bag of potato chips or something behind it. The other thing she stashes away are her Nancy Drew books. Her parents don’t approve of those, either. They don’t think the mysteries are “intellectual” enough. Claudia couldn’t care less if the books are “intellectual.” One thing Claud is not interested in is school work. Although she can’t spell for anything, she’s definitely not dumb. She just doesn’t like school. And, unfortunately, her grades show it. She’s the complete
Ann M. Martin (Jessi and the Awful Secret (The Baby-Sitters Club, #61))
Why can't we sit together? What's the point of seat reservations,anyway? The bored woman calls my section next,and I think terrible thoughts about her as she slides my ticket through her machine. At least I have a window seat. The middle and aisle are occupied with more businessmen. I'm reaching for my book again-it's going to be a long flight-when a polite English accent speaks to the man beside me. "Pardon me,but I wonder if you wouldn't mind switching seats.You see,that's my girlfriend there,and she's pregnant. And since she gets a bit ill on airplanes,I thought she might need someone to hold back her hair when...well..." St. Clair holds up the courtesy barf bag and shakes it around. The paper crinkles dramatically. The man sprints off the seat as my face flames. His pregnant girlfriend? "Thank you.I was in forty-five G." He slides into the vacated chair and waits for the man to disappear before speaking again. The guy onhis other side stares at us in horror,but St. Clair doesn't care. "They had me next to some horrible couple in matching Hawaiian shirts. There's no reason to suffer this flight alone when we can suffer it together." "That's flattering,thanks." But I laugh,and he looks pleased-until takeoff, when he claws the armrest and turns a color disturbingy similar to key lime pie. I distract him with a story about the time I broke my arm playing Peter Pan. It turned out there was more to flying than thinking happy thoughts and jumping out a window. St. Clair relaxes once we're above the clouds. Time passes quickly for an eight-hour flight. We don't talk about what waits on the other side of the ocean. Not his mother. Not Toph.Instead,we browse Skymall. We play the if-you-had-to-buy-one-thing-off-each-page game. He laughs when I choose the hot-dog toaster, and I tease him about the fogless shower mirror and the world's largest crossword puzzle. "At least they're practical," he says. "What are you gonna do with a giant crossword poster? 'Oh,I'm sorry Anna. I can't go to the movies tonight. I'm working on two thousand across, Norwegian Birdcall." "At least I'm not buying a Large Plastic Rock for hiding "unsightly utility posts.' You realize you have no lawn?" "I could hide other stuff.Like...failed French tests.Or illegal moonshining equipment." He doubles over with that wonderful boyish laughter, and I grin. "But what will you do with a motorized swimming-pool snack float?" "Use it in the bathtub." He wipes a tear from his cheek. "Ooo,look! A Mount Rushmore garden statue. Just what you need,Anna.And only forty dollars! A bargain!" We get stumped on the page of golfing accessories, so we switch to drawing rude pictures of the other people on the plane,followed by rude pictures of Euro Disney Guy. St. Clair's eyes glint as he sketches the man falling down the Pantheon's spiral staircase. There's a lot of blood. And Mickey Mouse ears. After a few hours,he grows sleepy.His head sinks against my shoulder. I don't dare move.The sun is coming up,and the sky is pink and orange and makes me think of sherbet.I siff his hair. Not out of weirdness.It's just...there. He must have woken earlier than I thought,because it smells shower-fresh. Clean. Healthy.Mmm.I doze in and out of a peaceful dream,and the next thing I know,the captain's voice is crackling over the airplane.We're here. I'm home.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.
Frederick P. Brooks Jr. (The Mythical Man-Month: Essays on Software Engineering)
Being real takes tremendous courage. We like approval, and we like respect, and to say otherwise is another form of denial. To wish for the admiration of others is normal. The problem is that this admiration can become a drug. Many of you are addicted to this drug, and the destruction to your wealth and financial well-being caused by your addiction is huge. Radical change in the quest for approval, which has involved purchasing stuff with money we don’t have, is required for a money breakthrough. Sara’s breakthrough came with family. Her family was upper-middle-crust and had always given Christmas gifts to every member. With twenty nieces and nephews and six sets of adults to buy for, just on her side, the budget was ridiculous. Sara’s announcement at Thanksgiving that this year Christmas giving was going to be done with the drawing of names, because she and Bob couldn’t afford it, was earth-shattering. Some of you are grinning as if this is no big deal. It was a huge deal in Sara’s family! Gift giving was a tradition! Her mother and two of her sisters-in-law were furious. Very little thanks were given that Thanksgiving, but Sara stood her ground and said, “No more.” Sara
Dave Ramsey (The Total Money Makeover: Classic Edition: A Proven Plan for Financial Fitness)
Oskar Schell: My father died at 9-11. After he died I wouldn't go into his room for a year because it was too hard and it made me want to cry. But one day, I put on heavy boots and went in his room anyway. I miss doing taekwondo with him because it always made me laugh. When I went into his closet, where his clothes and stuff were, I reached up to get his old camera. It spun around and dropped about a hundred stairs, and I broke a blue vase! Inside was a key in an envelope with black written on it and I knew that dad left something somewhere for me that the key opened and I had to find. So I take it to Walt, the locksmith. I give it to Stan, the doorman, who tells me keys can open anything. He gave me the phone book for all the five boroughs. I count there are 472 people with the last name black. There are 216 addresses. Some of the blacks live together, obviously. I calculated that if I go to 2 every Saturday plus holidays, minus my hamlet school plays, my minerals, coins, and comic convention, it's going to take me 3 years to go through all of them. But that's what I'm going to do! Go to every single person named black and find out what the key fits and see what dad needed me to find. I made the very best possible plan but using the last four digits of each phone number, I divide the people by zones. I had to tell my mother another lie, because she wouldn't understand how I need to go out and find what the key fits and help me make sense of things that don't even make sense like him being killed in the building by people that didn't even know him at all! And I see some people who don't speak English, who are hiding, one black said that she spoke to God. If she spoke to god how come she didn't tell him not to kill her son or not to let people fly planes into buildings and maybe she spoke to a different god than them! And I met a man who was a woman who a man who was a woman all at the same time and he didn't want to get hurt because he/she was scared that she/he was so different. And I still wonder if she/he ever beat up himself, but what does it matter? Thomas Schell: What would this place be if everyone had the same haircut? Oskar Schell: And I see Mr. Black who hasn't heard a sound in 24 years which I can understand because I miss dad's voice that much. Like when he would say, "are you up yet?" or... Thomas Schell: Let's go do something. Oskar Schell: And I see the twin brothers who paint together and there's a shed that has to be clue, but it's just a shed! Another black drew the same drawing of the same person over and over and over again! Forest black, the doorman, was a school teacher in Russia but now says his brain is dying! Seamus black who has a coin collection, but doesn't have enough money to eat everyday! You see olive black was a gate guard but didn't have the key to it which makes him feel like he's looking at a brick wall. And I feel like I'm looking at a brick wall because I tried the key in 148 different places, but the key didn't fit. And open anything it hasn't that dad needed me to find so I know that without him everything is going to be alright. Thomas Schell: Let's leave it there then. Oskar Schell: And I still feel scared every time I go into a strange place. I'm so scared I have to hold myself around my waist or I think I'll just break all apart! But I never forget what I heard him tell mom about the sixth borough. That if things were easy to find... Thomas Schell: ...they wouldn't be worth finding. Oskar Schell: And I'm so scared every time I leave home. Every time I hear a door open. And I don't know a single thing that I didn't know when I started! It's these times I miss my dad more than ever even if this whole thing is to stop missing him at all! It hurts too much. Sometimes I'm afraid I'll do something very bad.
Eric Roth
her room now?” They were led down the hall by Beth. Before she turned away she took a last drag on her smoke and said, “However this comes out, there is no way my baby would have had anything to do with something like this, drawing of this asshole or not. No way. Do you hear me? Both of you?” “Loud and clear,” said Decker. But he thought if Debbie were involved she had already paid the ultimate price anyway. The state couldn’t exactly kill her again. Beth casually flicked the cigarette down the hall, where it sparked and then died out on the faded runner. Then she walked off. They opened the door and went into Debbie’s room. Decker stood in the middle of the tiny space and looked around. Lancaster said, “We’ll have the tech guys go through her online stuff. Photos on her phone, her laptop over there, the cloud, whatever. Instagram. Twitter. Facebook. Tumblr. Wherever else the kids do their electronic preening. Keeps changing. But our guys will know where to look.” Decker didn’t answer her. He just kept looking around, taking the room in, fitting things in little niches in his memory and then pulling them back out if something didn’t seem right as weighed against something else. “I just see a typical teenage girl’s room. But what do you see?” asked Lancaster finally. He didn’t look at her but said, “Same things you’re seeing. Give me a minute.” Decker walked around the small space, looked under piles of papers, in the young woman’s closet, knelt down to see under her bed, scrutinized the wall art that hung everywhere, including a whole section of People magazine covers. She also had chalkboard squares affixed to one wall. On them was a musical score and short snatches of poetry and personal messages to herself: Deb, Wake up each day with something to prove. “Pretty busy room,” noted Lancaster, who had perched on the edge of the girl’s desk. “We’ll have forensics come and bag it all.” She looked at Decker, obviously waiting for him to react to this, but instead he walked out of the room. “Decker!” “I’ll be back,” he called over his shoulder. She watched him go and then muttered, “Of all the partners I could have had, I got Rain Man, only giant size.” She pulled a stick of gum out of her bag, unwrapped it, and popped it into her mouth. Over the next several minutes she strolled the room and then came to the mirror on the back of the closet door. She appraised her appearance and ended it with the resigned sigh of a person who knows their best days physically are well in the past. She automatically reached for her smokes but then decided against it. Debbie’s room could be part of a criminal investigation. Her ash and smoke could only taint that investigation.
David Baldacci (Memory Man (Amos Decker, #1))
The helix contains two intertwined strands of DNA. It is "right-handed"-twisting upward as if driven by a right-handed screw. Across the molecule, it measures twenty-three angstroms-one-thousandth of one-thousandth of a millimeter. One million helices stacked side by side would fit in this letter: o. the biologist John Sulston wrote, "We see it as a rather stubby double helix, for they seldom show its other striking feature: it is immensely long and thin. In every cell in your body, you have two meters of the stuff; if we were to draw a scaled-up picture of it with the DNA as thick as sewing thread, that cell's worth would be about 200 kilometers long." Each strand of DNA, recall, is a long sequence of "bases"-A,T,G,and C. The bases are linked together by the sugar-phosphate backbone. The backbone twists on the outside, forming a spiral. The bases face in, like treads in a circular staircase. The opposite strand contains the opposing bases: A matched with T and G matched with C. Thus, both strands contain the same information-except in a complementary sense: each is a "reflection," or echo, of the other (the more appropriate analogy is a yin-and-yang structure). Molecular forces between the A:T and G:C pairs lock the two strands together, as in a zipper. A double helix of DNA can thus be envisioned as a code written with four alphabets-ATGCCCTACGGGCCCATCG...-forever entwined with its mirror-image code.
Siddhartha Mukherjee (The Gene: An Intimate History)
more than anything.” He turned to Jean Louise. “Seven-thirty tonight and no Landing. We’ll go to the show.” “Okay. Where’re you all going?” “Courthouse. Meeting.” “On Sunday?” “Yep.” “That’s right, I keep forgetting all the politicking’s done on Sunday in these parts.” Atticus called for Henry to come on. “Bye, baby,” he said. Jean Louise followed him into the livingroom. When the front door slammed behind her father and Henry, she went to her father’s chair to tidy up the papers he had left on the floor beside it. She picked them up, arranged them in sectional order, and put them on the sofa in a neat pile. She crossed the room again to straighten the stack of books on his lamp table, and was doing so when a pamphlet the size of a business envelope caught her eye. On its cover was a drawing of an anthropophagous Negro; above the drawing was printed The Black Plague. Its author was somebody with several academic degrees after his name. She opened the pamphlet, sat down in her father’s chair, and began reading. When she had finished, she took the pamphlet by one of its corners, held it like she would hold a dead rat by the tail, and walked into the kitchen. She held the pamphlet in front of her aunt. “What is this thing?” she said. Alexandra looked over her glasses at it. “Something of your father’s.” Jean Louise stepped on the garbage can trigger and threw the pamphlet in. “Don’t do that,” said Alexandra. “They’re hard to come by these days.” Jean Louise opened her mouth, shut it, and opened it again. “Aunty, have you read that thing? Do you know what’s in it?” “Certainly.” If Alexandra had uttered an obscenity in her face, Jean Louise would have been less surprised. “You—Aunty, do you know the stuff in that thing makes Dr. Goebbels look like a naive little country boy?” “I don’t know what you’re talking about, Jean Louise. There are a lot of truths in that book.” “Yes indeedy,” said Jean Louise wryly. “I especially liked the part where the Negroes, bless their hearts, couldn’t help being inferior to the white race because their skulls are thicker and their brain-pans shallower—whatever that means—so we must all be very kind to them and not let them do anything to hurt themselves and keep them in their places. Good God, Aunty—” Alexandra was ramrod straight. “Well?” she said. Jean Louise said, “It’s just that I never knew you went in for salacious reading material, Aunty.” Her aunt was silent, and Jean Louise continued: “I was real impressed with the parable where since the dawn of history the rulers of the world have always been white, except Genghis Khan or somebody—the author was real fair about that—and he made a killin’ point about even the Pharaohs were white and their subjects were either black or Jews—” “That’s true, isn’t it?” “Sure, but what’s that got to do with the case?” When Jean Louise felt apprehensive, expectant, or on edge, especially when confronting her aunt, her brain clicked to the meter of Gilbertian tomfoolery. Three sprightly figures
Harper Lee (Go Set a Watchman)
We are lovers of beauty without extravagance, and lovers of wisdom without unmanliness. Wealth to us is not mere material for vainglory but an opportunity for achievement; and poverty we think it no disgrace to acknowledge but a real degradation to make no effort to overcome.... Let us draw strength, not merely from twice-told arguments—how fair and noble a thing it is to show courage in battle—but from the busy spectacle of our great city's life as we have it before us day by day, falling in love with her as we see her, and remembering that all this greatness she owes to men with the fighter's daring, the wise man's understanding of his duty, and the good man's self-discipline in its performance—to men who, if they failed in any ordeal, disdained to deprive the city of their services, but sacrificed their lives as the best offerings on her behalf. So they gave their bodies to the commonwealth and received, each for his own memory, praise that will never die, and with it the grandest of all sepulchres, not that in which their mortal bones are laid, but a home in the minds of men, where their glory remains fresh to stir to speech or action as the occasion comes by. For the whole earth is a sepulchre of famous men; and their story is not graven only on stone over their native earth, but lives on far away, without visible symbol, woven into the stuff of other men's lives. For you now it remains to rival what they have done and, knowing the secret of happiness to be freedom and the secret of freedom a brave heart, not idly to stand aside from the enemy's onset.
Jawaharlal Nehru (Discovery of India)
You need to forgive me. Now that really blew her away. Forgive God? This idea is going to cause some readers to freak out. Just listen for a moment. If you are holding something in your heart against Jesus—the loss of someone you love, a painful memory from your past, simply the way your life has turned out—if you are holding that against Jesus, well, then, it is between you and Jesus. And no amount of ignoring it or being faithful in other areas of your life is going to make it go away. In order to move forward, you are going to need to forgive Jesus for whatever these things are. “But Jesus doesn’t need our forgiveness!” you protest. I didn’t say he did. I said that you need to forgive Jesus—you need it. Let me be clear: To forgive a person, we pardon a wrong done to us; “Forgiving” Jesus means to release the hurt and resentment we hold against him. This comes before understanding. We don’t often know why things have happened the way they have in our lives. What we do know is that we were hurt, and part of that hurt is toward Jesus, because in our hearts we believe he let it happen. Again, this is not the time for sifting theological nuances, but this is why it is so important for you to look at the world the way Jesus did—as a vicious battle with evil. When you understand you have an enemy that has hated your guts ever since you were a child, it will help you not to blame this stuff on God. Anyhow, the facts are it happened, we are hurt that it happened, and part of us believes Jesus should have done something about it and didn’t. That is why we need to “forgive” him. We do so in order that this part of us can draw near him again, and receive his love. Perhaps part of the fruit of that restoration will be that Jesus will then be able to explain to us why things happened the way they did. This is often the case. But whether we receive this or not, we know we need Jesus far more than we need understanding. And so we forgive—meaning, we release the offense we feel towards him.
John Eldredge (Beautiful Outlaw: Experiencing the Playful, Disruptive, Extravagant Personality of Jesus)
THE GREAT GULON INCIDENT: [JUST GONNA LEAVE THIS ONE WITH: REDACTED] [NOT THAT I HAD ANYTHING TO DO WITH THIS!] THE VACKER CONNECTION: [UH, FITZY’S MY BEST FRIEND—NOT A “CONNECTION.” AND ALDEN AND DELLA ARE WAY NICER TO ME THAN MY OWN PARENTS ARE. BIANA’S SUPER AWESOME TOO. ALVAR… NOT SO MUCH. I PROBABLY SHOULD’VE SEEN THAT ONE COMING. BUT WHATEVER, MY POINT IS: I DIDN’T TRY TO MAKE FRIENDS WITH THE VACKERS—NO MATTER WHAT WEIRD STUFF WAS IN ONE OF MY ERASED MEMORIES. SO DON’T GO THINKING THERE’S MORE TO IT THAN THAT.] [AND HOW DO YOU GUYS EVEN KNOW ABOUT THAT MEMORY? THAT KINDA MAKES ME WANT TO RIP THIS REGISTRY PENDANT OFF MY NECK AND THROW IT FAR, FAR AWAY!] INSTANT RIVALRY: [YOU THINK BANGS BOY AND ME ARE “RIVALS”? HATE TO BREAK IT TO YOU, BUT NOPE! I MEAN, YEAH, HE’S SUPER ANNOYING WITH ALL THE “LOOK AT ME, I’M A MOODY SHADE” NONSENSE—AND HIS HAIR IS TOTALLY RIDICULOUS. BUT THERE’S NO RIVALRY. JUST DON’T EXPECT US TO BE BESTIES, AND WE’LL BE GOOD.] UNWITTING ERRAND BOY: [OKAY, THAT SUBHEADING MAKES ME WANT TO PUNCH WHOEVER WROTE IT IN THE MOUTH. BUT… I GUESS IT’S ALSO KIND OF TRUE. MY MOM DID HAVE ME DO STUFF AND THEN ERASE MY MEMORIES SO I WOULDN’T KNOW ABOUT IT. MOM OF THE YEAR, LADIES AND GENTLEMEN. TRY NOT TO BE JEALOUS.] [AND I’M WORKING ON GETTING THOSE MEMORIES BACK, BY THE WAY. I’VE BEEN FILLING JOURNALS WITH DRAWINGS AND EVERYTHING. IT’S JUST TAKING A WHILE BECAUSE I’VE BEEN A LITTLE BUSY ALMOST DYING AND STUFF.] TEAM FOSTER-KEEFE: [WOO-HOO, TEAM FOSTER-KEEFE IS OFFICIALLY A THING!] [BUT THE REST OF THE STUFF IN THIS SECTION IS SOOOOOOOOOOOOOOOOOOOOOO GETTING REDACTED. SERIOUSLY—BOUNDARIES, PEOPLE! FOSTER’S AMAZING—AND OBVIOUSLY WORKING WITH ME MAKES HER EVEN MORE AMAZING. BUT YOU GUYS NEED TO STOP WITH ALL OF YOUR WEIRDO SPECULATING.] ONE PART OF A TRIANGLE: [OKAY, THAT’S IT. I’M DEEEEEEEEEEFINITELY DITCHING THIS PENDANT THING. WHY IS THE COUNCIL PAYING ATTENTION TO THIS STUFF???????????] [ACTUALLY, YOU KNOW WHAT? IT’S NONE OF YOUR BUSINESS, BUT I’M GOING TO ADD ONE THING: FOSTER GETS TO DO WHATEVER SHE WANTS, OKAY? SHE CAN LIKE WHOEVER SHE WANTS. OR BE CONFUSED ABOUT WHAT SHE’S FEELING. SHE CAN EVEN BE OBLIVIOUS—IT’S HER LIFE. HER CHOICE. AND EVERYONE NEEDS TO STAY OUT OF IT.] [EVEN ME.] [ESPECIALLY ME. I WOULD NEVER WANT TO…] [NEVER MIND. MY POINT IS, LET THE POOR GIRL FIGURE THIS OUT ON HER OWN. AND SERIOUSLY, STAY OUT OF OUR LIVES!!!!]
Shannon Messenger (Unlocked (Keeper of the Lost Cities, #8.5))
For a moment we just sit there silently, our heads tipped back as we stare at the sky. A minute passes, maybe two. And then Ryder’s hand grazes mine before settling on the ground, our pinkies touching. I suck in a breath, my entire body going rigid. I’m wondering if he realizes it, if he even knows he’s touching me, when just like that, he draws away. Ryder clears his throat. “So…I hear you’re going out with Patrick on Friday.” “And?” I ask. That brief connection that we’d shared is suddenly gone--poof, just like that. “And what?” he answers with a shrug. “Oh, I’m sure you’ve got an opinion on this--one you’re just dying to share.” Because Ryder has an opinion on everything. “Well, it’s just that Patrick…” He shakes his head. “Never mind. Forget I brought it up.” “No, go on. It’s just that Patrick what?” “Seriously, Jemma. It’s none of my business.” “C’mon, Ryder, get it out of your system. What? Patrick is looking to get a piece? Is using me? Is planning on standing me up?” I can’t help myself; the words just tumble out. “I was going to say that I think he really likes you,” he says, his voice flat. I bite back my retort, forcing myself to take a deep, calming breath instead. That was not what I had expected him to say--not at all--and it takes me completely by surprise. Patrick really likes me? I’m not sure how I feel about that--not sure I want it to be true. “What do you mean, he really likes me?” I ask stupidly. “Just what I said. It’s pretty simple stuff, Jemma. He likes you. I think he always has.” “And you know this how?” He levels a stare at me. “Trust me on this, okay? He’s got problems, sure, but he’s a decent guy. Don’t break his heart.” I scramble to my feet. “I agreed to go out with him--once. And I’m probably going to cancel, anyway, because after today’s news, I’m really not in the mood. But the last thing I need is dating advice from you.” “How come every conversation we have ends like this--with you going off on me? You didn’t use to be like this. What happened?” He’s right, and I hate myself for it--hate the way he makes me feel inside, as if I’m not good enough. I mean, let’s face it--I know I’m nothing special. I’m not beauty-pageant perfect like Morgan, or fashion-model gorgeous like Lucy. Unlike Ryder and Nan, I don’t have state-championship trophies lining my walls. My singing voice is only so-so, I can’t draw or play a musical instrument, and if the school plays are any indicator, I can’t act for shit, either.
Kristi Cook (Magnolia (Magnolia Branch, #1))
Everyone knew there had never been a cowardly Confederate soldier and they found this statement peculiarly irritating. He always referred to the soldiers as “our brave boys” or “our heroes in gray” and did it in such a way as to convey the utmost in insult. When daring young ladies, hoping for a flirtation, thanked him for being one of the heroes who fought for them, he bowed and declared that such was not the case, for he would do the same thing for Yankee women if the same amount of money were involved. Since Scarlett’s first meeting with him in Atlanta on the night of the bazaar, he had talked with her in this manner, but now there was a thinly veiled note of mockery in his conversations with everyone. When praised for his services to the Confederacy, he unfailingly replied that blockading was a business with him. If he could make as much money out of government contracts, he would say, picking out with his eyes those who had government contracts, then he would certainly abandon the hazards of blockading and take to selling shoddy cloth, sanded sugar, spoiled flour and rotten leather to the Confederacy. Most of his remarks were unanswerable, which made them all the worse. There had already been minor scandals about those holding government contracts. Letters from men at the front complained constantly of shoes that wore out in a week, gunpowder that would not ignite, harness that snapped at any strain, meat that was rotten and flour that was full of weevils. Atlanta people tried to think that the men who sold such stuff to the government must be contract holders from Alabama or Virginia or Tennessee, and not Georgians. For did not the Georgia contract holders include men from the very best families? Were they not the first to contribute to hospital funds and to the aid of soldiers’ orphans? Were they not the first to cheer at “Dixie” and the most rampant seekers, in oratory at least, for Yankee blood? The full tide of fury against those profiteering on government contracts had not yet risen, and Rhett’s words were taken merely as evidence of his own bad breeding. He not only affronted the town with insinuations of venality on the part of men in high places and slurs on the courage of the men in the field, but he took pleasure in tricking the dignified citizenry into embarrassing situations. He could no more resist pricking the conceits, the hypocrisies and the flamboyant patriotism of those about him than a small boy can resist putting a pin into a balloon. He neatly deflated the pompous and exposed the ignorant and the bigoted, and he did it in such subtle ways, drawing his victims out by his seemingly courteous interest, that they never were quite certain what had happened until they stood exposed as windy, high flown and slightly ridiculous.
Margaret Mitchell (Gone with the Wind)
She had not been conferred with a practical sense of how one went about this strange and all inverted business of being a girl, where seemingly natural stuff like going on about all the great things you just learned about Siberian tigers on National Geographic was suddenly weird, but totally weird stuff in and of itself like drawing around your eyeball with a pencil became normal, and it impressed to no end that it was a product of meticulous effort that made the twins seem so perfectly and effortlessly feminine.
Brian McGreevy (Hemlock Grove)
There are 10,000 bad drawings in you; get them out of the way so you can get to the good stuff.
Ron Husband (Quick Sketching with Ron Husband)
used to turn a shape into a form Understand:
Catherine V. Holmes (How to Draw Cool Stuff: A Drawing Guide for Teachers and Students)
Even at a distance, he recognized Emma sprawled headlong in the street, and he broke into a run. The road was empty, so was the boardwalk. He knelt beside her and helped her sit up. “Emma . . . honey, are you okay?” Tears streaked her dusty cheeks. “I-I lost my Aunt Kenny, and”—she hiccupped a sob—“m-my mommy’s gone.” Her face crumpled. “Oh, little one . . . come here.” He gathered her to him, and she came without hesitation. He stood and wiped her tears, and checked for injuries. No broken bones. Nothing but a skinned knee that a little soapy water—and maybe a sugar stick—would fix right up. “Shh . . . it’s okay.” He smoothed the hair on the back of her head, and her little arms came around his neck. A lump rose in his throat. “I won’t let anything happen to you.” Her sobs came harder. “Clara fell down too, Mr. Wyatt.” She drew back and held up the doll. “She’s all dirty. And she stinks.” Wyatt tried his best not to smile. Clara was indeed filthy. And wet. Apparently she’d gone for a swim in the same mud puddle Emma had fallen in. Only it wasn’t just mud, judging from the smell. “Here . . .” He gently chucked her beneath the chin. “Let’s see if we can find your Aunt Kenny. You want to?” The little girl nodded with a hint of uncertainty. “But I got my dress all dirty. She’s gonna be mad.” Knowing there might be some truth to that, he also knew Miss Ashford would be worried sick. “Do you remember where you were with Aunt Kenny before you got lost?” Emma shook her head. “I was talkin’ to my friend, and I looked up . . .” She sniffed and wiped her nose with the back of her hand. “And Aunt Kenny was gone.” Wyatt knew better than to think it was McKenna Ashford who had wandered away. “We’ll find her, don’t you worry.” “Clara’s dress is dirty like mine, huh?” She held the doll right in front of his face. Wyatt paused, unable to see it clearly. Easily supporting Emma’s weight, he took Clara and did his best to wipe the dirt and mud from the doll’s dress and its once-yellow strands of hair. His efforts only made a bigger mess, but Emma’s smile said she was grateful. “She likes you.” Emma put a hand to his cheek, then frowned. “Your face is itchy.” Knowing what she meant, he laughed and rubbed his stubbled jaw. He’d bathed and shaved last night in preparation for church this morning, half hoping he might see McKenna and Emma there. But they hadn’t attended. “My face is itchy, huh?” She squeezed his cheek in response, and he made a chomping noise, pretending he was trying to bite her. She pulled her hand back, giggling. Instinctively, he hugged her close and she laid her head on his shoulder. Something deep inside gave way. This is what it would have been like if his precious little Bethany had lived. He rubbed Emma’s back, taking on fresh pain as he glimpsed a fragment of what he’d been denied by the deaths of his wife and infant daughter so many years ago. “Here, you can carry her.” Emma tried to stuff Clara into his outer vest pocket, but the doll wouldn’t fit. Wyatt tucked her inside his vest instead and positioned its scraggly yarn head to poke out over the edge, hoping it would draw a smile. Which it did.
Tamera Alexander (The Inheritance)
Finding your ensemble is a crucial step toward finding joy. When you help draw out and support other members of your ensemble, they are proud to lift you up in return. Support allows us to take risks. Raise everyone up. Let others help you. It is impossible to discover the full extent of yourself by yourself.
Amy Lisewski (Relax, We’re All Just Making This Stuff Up!: Using the tools of improvisation to cultivate more courage and joy in your life)