Suits Series Quotes

True self-confidence is “the courage to be open—to welcome change and new ideas regardless of their source.” Real self-confidence is not reflected in a title, an expensive suit, a fancy car, or a series of acquisitions. It is reflected in your mindset: your readiness to grow.

Which was just well: goodbyes had never been my strong suit anyway, and lately my life had felt like an unbroken series of them. Goodbye, goodbye, goodbye.

The expression "following suit" is a curious one, because it has nothing to do with walking behind a matching set of clothing. If you follow suit, it means you do the same thing somebody else has just done. If all of your friends decided to jump off a bridge into the icy waters of an ocean or river, for instance, and you jumped in right after them, you would be following suit. You can see why following suit can be a dangerous thing to do, because you could end up drowning simply because somebody else thought of it first.

Kowkosvki? You handling this?” “I am.” The suit turned and stared at me with his dark eyes. “Detective Hayden. I take it you’re the shooter?” “I am.” “And you are?” “Jack Ludefance. I’m a PI hired by Mr. Kingsley to investigate the murder of Professor Zambear.” “Oh, yeah, I heard about you. Who’s in the bedroom?” “Rudy Orkut. My computer tech.” “Computer tech, huh? Any idea who this dead body is?” “Not a clue.

The expression "following suit" is a curious one, because it has nothing to do with walking behind a matching set of clothing.

Although 'jumping to conclusions' is an expression, rather than an activity, it is as dangerous as jumping off a cliff, jumping in front of a moving train, and jumping for joy. If you jump off a cliff, you have a very good chance of experiencing a painful landing unless there is something below you to cushion your fall, such as a body of water or an immense pile of tissue paper, If you jump in front of moving train, you have a very good chance of experiencing a painful voyage unless you are wearing some sort of train-proof suit. And if you jump for joy, you have a very good chance of experiencing a painful bump on the head, unless you make sure you are standing someplace with very high ceilings, which joyous people rarely do. Clearly, the solution to anything involving jumping is either to make sure you are jumping to a safe place, or not jumping at all. But it is hard not to jump at all when you are jumping to conclusions, and it is impossible to make sure that you are jumping to a safe place, because all 'jumping to conclusions' means is that you are believing something is true even though you don't actually know whether it is or not.

I don’t think you ever wanted to be happy anyway. It don’t suit you, so you managed to avoid it.

He was mocked by his critics for being an empty suit, yet he was a careful, studious chief executive—a voracious reader and talented writer who often left his speechwriters in awe.

Limitation has success . . . . Unlimited possibilities are not suited to man; if they existed, his life would only dissolve in the boundless. To become strong a man’s life needs the limitations ordained by duty and voluntarily accepted.

He was wrong in thinking that by saying 'Nnphnn!' Sunny had been complaining about getting undressed in front of her siblings. Sunny's oversized suit had muffled the word she was really saying, and it was a word that still haunts me in my dreams as I toss and turn each night, images of Beatrice and her legacy filling my weary, grieving brain no matter where in the world I travel and no matter what important evidence I discover.

Real self-confidence is not reflected in a title, an expensive suit, a fancy car, or a series of acquisitions. It is reflected in your mindset: your readiness to grow.

Sometimes I wonder if men and women really suit each other. Perhaps they should live next door and just visit now and then.” ~Katharine Hepburn

a triumphant grin on his face, dressed in a familiar suit made of slippery-looking material, but with a portrait of another author whom only a very devoted reader would recognize,

Well, the only reason we’re friends is because you can rock a tweed suit,” she informed, tone mock serious. “So if you want to keep me around, I expect more tweed.

If you have read this far in the chronicle of the Baudelaire orphans - and I certainly hope you have not - then you know we have reached the thirteenth chapter of the thirteenth volume in this sad history, and so you know the end is near, even though this chapter is so lengthy that you might never reach the end of it. But perhaps you do not yet know what the end really means. "The end" is a phrase which refers to the completion of a story, or the final moment of some accomplishment, such as a secret errand, or a great deal of research, and indeed this thirteenth volume marks the completion of my investigation into the Baudelaire case, which required much research, a great many secret errands, and the accomplishments of a number of my comrades, from a trolley driver to a botanical hybridization expert, with many, many typewriter repairpeople in between. But it cannot be said that The End contains the end of the Baudelaires' story, any more than The Bad Beginning contained its beginning. The children's story began long before that terrible day on Briny Beach, but there would have to be another volume to chronicle when the Baudelaires were born, and when their parents married, and who was playing the violin in the candlelit restaurant when the Baudelaire parents first laid eyes on one another, and what was hidden inside that violin, and the childhood of the man who orphaned the girl who put it there, and even then it could not be said that the Baudelaires' story had not begun, because you would still need to know about a certain tea party held in a penthouse suite, and the baker who made the scones served at the tea party, and the baker's assistant who smuggled the secret ingredient into the scone batter through a very narrow drainpipe, and how a crafty volunteer created the illusion of a fire in the kitchen simply by wearing a certain dress and jumping around, and even then the beginning of the story would be as far away as the shipwreck that leftthe Baudelaire parents as castaways on the coastal shelf is far away from the outrigger on which the islanders would depart. One could say, in fact, that no story really has a beginning, and that no story really has an end, as all of the world's stories are as jumbled as the items in the arboretum, with their details and secrets all heaped together so that the whole story, from beginning to end, depends on how you look at it. We might even say that the world is always in medias res - a Latin phrase which means "in the midst of things" or "in the middle of a narrative" - and that it is impossible to solve any mystery, or find the root of any trouble, and so The End is really the middle of the story, as many people in this history will live long past the close of Chapter Thirteen, or even the beginning of the story, as a new child arrives in the world at the chapter's close. But one cannot sit in the midst of things forever. Eventually one must face that the end is near, and the end of The End is quite near indeed, so if I were you I would not read the end of The End, as it contains the end of a notorious villain but also the end of a brave and noble sibling, and the end of the colonists' stay on the island, as they sail off the end of the coastal shelf. The end of The End contains all these ends, and that does not depend on how you look at it, so it might be best for you to stop looking at The End before the end of The End arrives, and to stop reading The End before you read the end, as the stories that end in The End that began in The Bad Beginning are beginning to end now.

It hadn’t happened in a moment, but a series of moments, as slow and insidious as the melting of the ice caps. Women had been ushered out of the workplace, so subtly that few noticed until it was too late. There had been no grand lowering of an iron curtain, with passports voided and bank accounts emptied. There had been a few men in sharp suits quoting scripture with silver tongues, but it was cursory, just enough to wrangle part of the Christian vote. Really, they were afraid of women. Or hated them. Wasn’t that much the same thing? The country saw those angry men as a fringe movement right up until one was elected president.

Cleansing and clearing are two words which suit the essence of Imbolc, as this is February, the Roman month of purification. This can be a cleansing of the self, in undertaking a good ‘detox’, or a clearing and cleansing of the home, in keeping with the tradition of spring-cleaning.

Such incidents usually move me to try to find relief in the building of a maxim. It is a good way, because if you have luck you can get the venom out of yourself and into the maxim; then comfort and a healed spirit follow. Maxims are not easy to make; they do not come in right shape at the first call; they are creatures of evolution, of development; you have to try several plans before you get one that suits you, or even comes fairly near to suiting you.

It was a quiet, sorrowful piece that began with a slow, memorable theme played out as single notes, then proceeded into a series of tranquil variations. Tsukuru looked up from the book he was reading and asked Haida what it was. “Franz Liszt’s ‘Le mal du pays.’ It’s from his Years of Pilgrimage suite ‘Year 1: Switzerland.’ 

Deciding on the right thing to do in a situation is a bit like deciding on the right thing to wear to a party. It is easy to decide on what is wrong to wear to a party, such as deep-sea diving equipment or a pair of large pillows, but deciding what is right is much trickier. It might seem right to wear a navy blue suit, for instance, but when you arrive there could be several other people wearing the same thing, and you could end up being handcuffed due to a case of mistaken identity. It might seem right to wear your favorite pair of shoes, but there could be a sudden flood at the party, and your shoes would be ruined. And it might seem right to wear a suit of armor to the party, but there could be several other people wearing the same thing, and you could end up being caught in a flood due to a case of mistaken identity, and find yourself drifting out to sea wishing that you were wearing deep-sea diving equipment after all. The truth is that you can never be sure if you have decided on the right thing until the party is over, and by then it is too late to go back and change your mind, which is why the world is filled with people doing terrible things and wearing ugly clothing, and so few volunteers who are able to stop them.

goodbyes had never been my strong suit anyway, and lately my life had felt like an unbroken series of them. Goodbye, goodbye, goodbye.

Do I strike you as a frivolous man, Kelly?" I look at him, sitting there in another thousand dollar suit. Pompous? Yes. Self-centered? Yes. Careless? "No.

My body is yours. I am your shield. I am your armor. I will kill anyone who tries to take you from me, I promise.

If this is where you ask me to run around in my birthday suit, I’m not entirely comfortable with that,” I said, smirking.

He wore his personality like a suit that was too tight.

I don't have dreams, I have goals. Now I'm aiming to the next one.

His girl was an adrenaline junkie. Who knew? That beautiful little angel face liked to do crazy shit. He was all kinds of crazy. He might just suit her. Hell, he fucking hoped so.

The Swords are the suit of intellect, thought, and reason. They are concerned with justice, truth, and ethical principles.

I love him too. And it does hurt, but it’s the good kind. Loving someone this much, always wanting the best for them, no matter what. A love that is so consuming every inch of my skin begs for his touch.

if you have ever wondered why horse-drawn carriages and dogsleds are far more common modes of travel than sheep-dragged sleighs, it is because sheep are not well-suited for employment in the transportation industry.

I’ve taken control of your suit, creeper,” said Marie. “Well, I’m going to take control of your face,” said Carl. “What does that even mean?” said Marie. “I’m not sure,” said Carl. “It sounded a lot cooler in my head.

In religious matters she was no fanatic except when her sons and their birthright were concerned. The Catholic Mass suited her, a lifelong habit that she found comforting, almost as though it were another talisman to ward off evil.

I walked back to the window to look down at the people who shared this city with me. The people who made every day a series of mediocrities. The unreformed murderers masquerading as businessmen in borrowed suits and debt-laden cars. The voluptuous bimbos floating around in an inexplicable mix of vacuity and despair. The crumbling face of my building looked pretty enough from across the street, but from here I could see how worn it was. I peeled off a satisfying chunk of paint, cement and matter. And I let it fall to the street below.

very tall and very thin, dressed in a gray suit that had many dark stains on it. His face was unshaven, and rather than two eyebrows, like most human beings have, he had just one long one. His eyes were very, very shiny, which made him look both hungry and angry. “Hello, my children.

My friends, you constrain me unto that which I was altogether resolved never to do, considering how hard a thing it is to find a wife whose fashions sort well within one’s own humour and how great an abundance there is of the contrary sort and how dour a life is his who happeneth upon a woman not well suited unto him.

At the top of the Queen’s Staircase at the Tuileries, there is a series of communicating chambers, crowded every day with clerks, secretaries, messengers, with army officers and purveyors, officials of the Commune and officers of the courts: with government couriers, booted and spurred, waiting for dispatches from the last room in the suite. Look down: outside there are cannon and files of soldiers. The room at the end was once the private office of Louis the Last. You cannot go in. That room is now the office of the Committee of Public Safety. The Committee exists to supervise the Council of Ministers and to expedite its decisions.

Someone else is looking for him?" "That's right, two men." Mrs. Brody softly laughed and said "They look just like those men in that alien movie. Dressed in black suits and sunglasses. They don't have much of a sense of humor though. When they came to my door, I asked them if they were seeking aliens and I assured them I wasn't one. They didn't laugh at my joke.

My lord, I don’t believe that you sincerely want to marry me as much as you want to have your way.” “I want you to marry me so that I don’t have my way all the time,” he said, which was the truth. “It’s not good for me to be indulged. And you tell me no quite frequently.” She gave a huff of wry amusement. “I haven’t said it to you nearly enough lately.” “Then let’s practice in your hotel suite. I’ll try to have my way with you, and you can try to refuse me.” “No.” “There, you see? You’re sharpening your skills already.

The Language of the Birds" 1 A man saw a bird and found him beautiful. The bird had a song inside him, and feathers. Sometimes the man felt like the bird and sometimes the man felt like a stone—solid, inevitable—but mostly he felt like a bird, or that there was a bird inside him, or that something inside him was like a bird fluttering. This went on for a long time. 2 A man saw a bird and wanted to paint it. The problem, if there was one, was simply a problem with the question. Why paint a bird? Why do anything at all? Not how, because hows are easy—series or sequence, one foot after the other—but existentially why bother, what does it solve? And just because you want to paint a bird, do actually paint a bird, it doesn’t mean you’ve accomplished anything. Who gets to measure the distance between experience and its representation? Who controls the lines of inquiry? We do. Anyone can. Blackbird, he says. So be it, indexed and normative. But it isn’t a bird, it’s a man in a bird suit, blue shoulders instead of feathers, because he isn’t looking at a bird, real bird, as he paints, he is looking at his heart, which is impossible. Unless his heart is a metaphor for his heart, as everything is a metaphor for itself, so that looking at the paint is like looking at a bird that isn’t there, with a song in its throat that you don’t want to hear but you paint anyway. The hand is a voice that can sing what the voice will not, and the hand wants to do something useful. Sometimes, at night, in bed, before I fall asleep, I think about a poem I might write, someday, about my heart, says the heart. 3 They looked at the animals. They looked at the walls of the cave. This is earlier, these are different men. They painted in torchlight: red mostly, sometimes black—mammoth, lion, horse, bear—things on a wall, in profile or superimposed, dynamic and alert. They weren’t animals but they looked like animals, enough like animals to make it confusing, meant something but the meaning was slippery: it wasn’t there but it remained, looked like the thing but wasn’t the thing—was a second thing, following a second set of rules—and it was too late: their power over it was no longer absolute. What is alive and what isn’t and what should we do about it? Theories: about the nature of the thing. And of the soul. Because people die. The fear: that nothing survives. The greater fear: that something does. The night sky is vast and wide. They huddled closer, shoulder to shoulder, painted themselves in herds, all together and apart from the rest. They looked at the sky, and at the mud, and at their hands in the mud, and their dead friends in the mud. This went on for a long time. 4 To be a bird, or a flock of birds doing something together, one or many, starling or murmuration. To be a man on a hill, or all the men on all the hills, or half a man shivering in the flock of himself. These are some choices. The night sky is vast and wide. A man had two birds in his head—not in his throat, not in his chest—and the birds would sing all day never stopping. The man thought to himself, One of these birds is not my bird. The birds agreed.

I pulled my chair up to the table and Alex sat down, following suit, unable to guard a smile from breaking onto his lips. He was handsome; I had to give him that. His hair was perfectly gelled and his face was smooth and free of stubble. I could even detect the scent of cologne, something I knew him to rarely wear. “I didn’t expect you to show up,” he admitted. “Then why’d you invite me?” I hoped that I hadn’t sounded rude. He chuckled and tucked his napkin into his lap. I did the same. “I guess I’m just a glutton for punishment.

The hours passed by in a series of clanking glasses and perfect card suites, group singing sessions and tales of lands far and near, and as the clock was silenced by the never-ending music, Celaena found herself leaning into Sam’s shoulder, laughing as Rolfe finished his crude and absurd story of the farmer’s wife and her stallions. She banged her fist on the table, howling—and that wasn’t entirely an act, either. As Sam slipped a hand around her waist, his touch somehow sending a bright-hot flame through her, she had to wonder if he was still pretending, too.

they had to do it anyway. They had to try. They had taken an oath, and they would be faithful to the end. On the bank of surveillance monitors in front of her, she saw a dozen of her best agents—guns drawn—suddenly rush the convention stage, surround the president, grab him by the arms, and literally carry him away, his feet barely touching the ground. Sanchez then bolted out of the command post and met the president’s protective detail backstage and ordered them downstairs, into the makeshift bunker. “Go, go, go,” she yelled as they raced the president down one corridor after another, into a heavily guarded stairwell, and down five flights, eventually bursting into the basement, where all the convention center’s HVAC systems were housed. They turned one corner and then another, ducking pipes and ducts along the way. A moment later, they raced the president into a large storage freezer, slammed the door shut behind them, and worked feverishly to put him in a protective suit, gloves, and mask, pre-positioned there by the army’s nuclear, biological, and chemical fast-reaction team. That done, Sanchez and her agents began to suit up themselves. But just then, Sanchez felt the

Saturday morning brought an Imbolc gift of thick fog, as our select company of three set off onto the rain-sodden moor. ‘Here we are,’ said Mrs Darley, as the well appeared before us after a ten minute climb. She immediately began to unwrap a joint offering from Phyllis and herself of an ivy swag interwoven with white ribbons and laid it across the lintel of the well. I followed suit but with a far more modest bunch of pine branches and silver honesty. ‘Drinks, dear?’ Mrs Darley looked at Phyllis, who right on cue produced three paper cups from her bag and filled them with whiskey from a hip flask.

Saturday evening, on a quiet lazy afternoon, I went to watch a bullfight in Las Ventas, one of Madrid's most famous bullrings. I went there out of curiosity. I had long been haunted by the image of the matador with its custom made torero suit, embroidered with golden threads, looking spectacular in his "suit of light" or traje de luces as they call it in Spain. I was curious to see the dance of death unfold in front of me, to test my humanity in the midst of blood and gold, and to see in which state my soul will come out of the arena, whether it will be shaken and stirred, furious and angry, or a little bit aware of the life embedded in every death. Being an avid fan of Hemingway, and a proponent of his famous sentence "About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after,” I went there willingly to test myself. I had heard atrocities about bullfighting yet I had this immense desire to be part of what I partially had an inclination to call a bloody piece of cultural experience. As I sat there, in front of the empty arena, I felt a grandiose feeling of belonging to something bigger than anything I experienced during my stay in Spain. Few minutes and I'll be witnessing a painting being carefully drawn in front of me, few minutes and I will be part of an art form deeply entrenched in the Spanish cultural heritage: the art of defying death. But to sit there, and to watch the bull enter the arena… To watch one bull surrounded by a matador and his six assistants. To watch the matador confronting the bull with the capote, performing a series of passes, just before the picador on a horse stabs the bull's neck, weakening the neck muscles and leading to the animal's first loss of blood... Starting a game with only one side having decided fully to engage in while making sure all the odds will be in the favor of him being a predetermined winner. It was this moment precisely that made me feel part of something immoral. The unfair rules of the game. The indifferent bull being begged to react, being pushed to the edge of fury. The bull, tired and peaceful. The bull, being teased relentlessly. The bull being pushed to a game he isn't interested in. And the matador getting credits for an unfair game he set. As I left the arena, people looked at me with mocking eyes. Yes, I went to watch a bull fight and yes the play of colors is marvelous. The matador’s costume is breathtaking and to be sitting in an arena fills your lungs with the sands of time. But to see the amount of claps the spill of blood is getting was beyond what I can endure. To hear the amount of claps injustice brings is astonishing. You understand a lot about human nature, about the wars taking place every day, about poverty and starvation. You understand a lot about racial discrimination and abuse (verbal and physical), sex trafficking, and everything that stirs the wounds of this world wide open. You understand a lot about humans’ thirst for injustice and violence as a way to empower hidden insecurities. Replace the bull and replace the matador. And the arena will still be there. And you'll hear the claps. You've been hearing them ever since you opened your eyes.

As for the world beyond my family—well, what they would see for most of my teenage years was not a budding leader but rather a lackadaisical student, a passionate basketball player of limited talent, and an incessant, dedicated partyer. No student government for me; no Eagle Scouts or interning at the local congressman’s office. Through high school, my friends and I didn’t discuss much beyond sports, girls, music, and plans for getting loaded. Three of these guys—Bobby Titcomb, Greg Orme, and Mike Ramos—remain some of my closest friends. To this day, we can laugh for hours over stories of our misspent youth. In later years, they would throw themselves into my campaigns with a loyalty for which I will always be grateful, becoming as skilled at defending my record as anyone on MSNBC. But there were also times during my presidency—after they had watched me speak to a big crowd, say, or receive a series of crisp salutes from young Marines during a base tour—when their faces would betray a certain bafflement, as if they were trying to reconcile the graying man in a suit and tie with the ill-defined man-child they’d once known. That guy? they must have said to themselves. How the hell did that happen? And if my friends had ever asked me directly, I’m not sure I’d have had a good answer.

He finishes up the call, and takes a few steps closer to me. “Cari.” He looks at me appreciatively from head to toe making me tingle all over. “You look absolutely stunning.” “Thank you. You don’t look too bad yourself Mr. Blake.” I smooth out the lapels of his suit jacket. He catches my wrists and kisses each one. “I have something for you.” He takes my hand and tugs me with him down the corridor to his home office. “Close your eyes.” I do as he requests and I hear him open and close a drawer. “Open them.” I open my eyes. Oh my gosh! He holds open a box containing a glittering diamond scroll bracelet. “It’s beautiful, but I can’t –” “Don’t tell me you cannot accept it. You can and you will because it’s my gift to you.” I shake my head. “It’s too much.” “Nothing will ever be too much for you angel.

We sit here and we talk about sports. We talk about our home improvement projects. We gossip about family members we don’t care about. We self-victimize and complain about petty problems we've created ourselves. We work like dogs to keep up with the Joneses but have no time to enjoy the things we work for. We work purposeless jobs that keep us mildly happy, never really enjoying what we do, but we also never get the balls to leave the job. We drink on the weekends to numb the pain but it never really cures it. We criticize anyone who tries to break away from the rat race, because the idea that there is a way out scares us more than dying in the state we’re in. We only give to causes that affect us personally, only follow religions that suit us, only listen to people who agree with us, and worst of all,” he paused, and in a sad, defeated finale to his rant, he said, “We lie to ourselves.

the power of faith as it is was demonstrated by a man well known to all of civilisation, Mahatma Gandhi of India. In this man the world experienced one of the most astounding examples of the possibilities of FAITH. Gandhi wielded more potential power than any man living in his time, and this despite the fact that he had none of the orthodox tools of power, such as money, battleships, soldiers and materials of warfare. Gandhi had no money. He had no home. He didn’t even own a suit of clothes but he did have power. How did he come by that power? HE CREATED IT OUT OF HIS UNDERSTANDING OF THE PRINCIPLE OF FAITH. AND THROUGH HIS ABILITY TO TRANSPLANT THAT FAITH INTO THE MINDS OF 200 MILLION PEOPLE. Gandhi accomplished, through the influence of faith, something that the strongest military power on earth could not, and never will, achieve through soldiers and military equipment. He accomplished the astounding feat of influencing 200 million minds to coalesce and move in unison, as a single mind. What other force on earth, except faith, could do as much?

WHODUNIT BY BRUCE TIERNEY | 838 words A slippery situation in the Gulf Black Horizon (Harper, $25.99, 384 pages, ISBN 9780062109880), the 11th book in James Grippando's popular series featuring Florida attorney Jack Swyteck, opens with the two most important words of the lawyer's life: "I do." (Ha, ha—you thought I was going to say, "Not guilty.") The beach wedding in scenic Key Largo goes wildly awry when an epic storm arises in the Gulf, launching manifold repercussions for Swyteck and his new bride. One of the victims of the storm is a young Cuban oil rig worker whose wife emigrated to the U.S. ahead of him. He had planned to follow, but the deadly combination of high winds and an explosive oil spill have put paid to those plans forever. Now his wife would like Swyteck to file a wrongful death suit against the Chinese/Russian/Venezuelan/Cuban consortium that owns the oil rig. This is no easy feat, since the rig is in Cuban waters, and the only tenuous tie to the U.S. legal system is the wife's residency in Key West. The situation is volatile; the adversaries are lethal; and the backdrop is a toxic oil slick poised to slime the Florida coast. Black Horizon is timely, relentlessly paced and a thrill ride of the first

Every Sunday he arrived in his wine-dark Buick, a tall, prune-faced, sad-seeming man with an incongruously vital head of wavy hair. He was not interested in children. A proponent of the Great Books series—which he had read twice—Uncle Pete was engaged with serious thought and Italian opera. He had a passion, in history, for Edward Gibbon, and, in literature, for the journals of Madame de Staël. He liked to quote that witty lady’s opinion on the German language, which held that German wasn’t good for conversation because you had to wait to the end of the sentence for the verb, and so couldn’t interrupt. Uncle Pete had wanted to become a doctor, but the “catastrophe” had ended that dream. In the United States, he’d put himself through two years of chiropractic school, and now ran a small office in Birmingham with a human skeleton he was still paying for in installments. In those days, chiropractors had a somewhat dubious reputation. People didn’t come to Uncle Pete to free up their kundalini. He cracked necks, straightened spines, and made custom arch supports out of foam rubber. Still, he was the closest thing to a doctor we had in the house on those Sunday afternoons. As a young man he’d had half his stomach surgically removed, and now after dinner always drank a Pepsi-Cola to help digest his meal. The soft drink had been named for the digestive enzyme pepsin, he sagely told us, and so was suited to the task.

BEYOND THE GAME In 2007 some of the Colorado Rockies’ best action took place off the field. The Rocks certainly boasted some game-related highlights in ’07: There was rookie shortstop Troy Tulowitzki turning the major league’s thirteenth unassisted triple play on April 29, and the team as a whole made an amazing late-season push to reach the playoffs. Colorado won 13 of its final 14 games to force a one-game wild card tiebreaker with San Diego, winning that game 9–8 after scoring three runs in the bottom of the thirteenth inning. Marching into the postseason, the Rockies won their first-ever playoff series, steamrolling the Phillies three games to none. But away from the cheering crowds and television cameras, Rockies players turned in a classic performance just ahead of their National League Division Series sweep. They voted to include Amanda Coolbaugh and her two young sons in Colorado’s postseason financial take. Who was Amanda Coolbaugh? She was the widow of former big-leaguer Mike Coolbaugh, a coach in the Rockies’ minor league organization who was killed by a screaming line drive while coaching first base on July 22. Colorado players voted a full playoff share—potentially worth hundreds of thousands of dollars—to the grieving young family. Widows and orphans hold a special place in God’s heart, too. Several times in the Old Testament, God reminded the ancient Jews of His concern for the powerless—and urged His people to follow suit: “Learn to do right; seek justice. Defend the oppressed. Take up the cause of the fatherless; plead the case of the widow” (Isaiah 1:17). Some things go way beyond the game of baseball. Will you?

The crime was discovered when Trina became pregnant. As is often the case, the correctional officer was fired but not criminally prosecuted. Trina remained imprisoned and gave birth to a son. Like hundreds of women who give birth while in prison, Trina was completely unprepared for the stress of childbirth. She delivered her baby while handcuffed to a bed. It wasn’t until 2008 that most states abandoned the practice of shackling or handcuffing incarcerated women during delivery. Trina’s baby boy was taken away from her and placed in foster care. After this series of events—the fire, the imprisonment, the rape, the traumatic birth, and then the seizure of her son—Trina’s mental health deteriorated further. Over the years, she became less functional and more mentally disabled. Her body began to spasm and quiver uncontrollably, until she required a cane and then a wheelchair. By the time she had turned thirty, prison doctors diagnosed her with multiple sclerosis, intellectual disability, and mental illness related to trauma. Trina had filed a civil suit against the officer who raped her, and the jury awarded her a judgment of $62,000. The guard appealed, and the Court reversed the verdict because the correctional officer had not been permitted to tell the jury that Trina was in prison for murder. Consequently, Trina never received any financial aid or services from the state to compensate her for being violently raped by one of its “correctional” officers. In 2014, Trina turned fifty-two. She has been in prison for thirty-eight years. She is one of nearly five hundred people in Pennsylvania who have been condemned to mandatory life imprisonment without parole for crimes they were accused of committing when they were between the ages of thirteen and seventeen. It is the largest population of child offenders condemned to die in prison in any single jurisdiction in the world.

Men traveling alone develop a romantic vertigo. Bech had already fallen in love with a freckled embassy wife in Russia, a buck-toothed chanteuse in Rumania, a stolid Mongolian sculptress in Kazakhstan. In the Tretyakov Gallery he had fallen in love with a recumbent statue, and at the Moscow Ballet School with an entire roomful of girls. Entering the room, he had been struck by the aroma, tenderly acrid, of young female sweat. Sixteen and seventeen, wearing patchy practice suits, the girls were twirling so strenuously their slippers were unraveling. Demure student faces crowned the unconscious insolence of their bodies. The room was doubled in depth by a floor-to-ceiling mirror. Bech was seated on a bench at its base. Staring above his head, each girl watched herself with frowning eyes frozen, for an instant in the turn, by the imperious delay and snap of her head. Bech tried to remember the lines of Rilke that expressed it, this snap and delay: did not the drawing remain/that the dark stroke of your eyebrow/swiftly wrote on the wall of its own turning? At one point the teacher, a shapeless old Ukrainian lady with gold canines, a prima of the thirties, had arisen and cried something translated to Bech as, “No, no, the arms free, free!” And in demonstration she had executed a rapid series of pirouettes with such proud effortlessness that all the girls, standing this way and that like deer along the wall, had applauded. Bech had loved them for that. In all his loves, there was an urge to rescue—to rescue the girls from the slavery of their exertions, the statue from the cold grip of its own marble, the embassy wife from her boring and unctuous husband, the chanteuse from her nightly humiliation (she could not sing), the Mongolian from her stolid race. But the Bulgarian poetess presented herself to him as needing nothing, as being complete, poised, satisfied, achieved. He was aroused and curious and, the next day, inquired about her of the man with the vaguely contemptuous mouth of a hare—a novelist turned playwright and scenarist, who accompanied him to the Rila Monastery. “She lives to write,” the playwright said. “I do not think it is healthy.

The Pakistani film International Gorillay (International guerillas), produced by Sajjad Gul, told the story of a group of local heroes - of the type that would, in the language of a later age, come to be known as jihadis, or terrorists - who vowed to find and kill an author called "Salman Rushdie" . The quest for "Rushdie" formed the main action of the film and "his" death was the film's version of happy ending. "Rushdie" himself was depicted as a drunk, constantly swigging from a bottle, and a sadist. He lived in what looked very like a palace on what looked very like an island in the Philippines (clearly all novelists had second homes of this kind), being protected by what looked very like the Israeli Army (this presumably being a service offered by Israel to all novelists), and he was plotting the overthrow of Pakistan by the fiendish means of opening chains of discotheques and gambling dens across that pure and virtuous land, a perfidious notion for which, as the British Muslim "leader" Iqbal Sacranie might have said, death was too light a punishment. "Rushdie" was dressed exclusively in a series of hideously coloured safari suits - vermilion safari suits, aubergine safari suits, cerise safari suits - and the camera, whenever it fell upon the figure of this vile personage, invariably started at his feet and then panned [sic] with slow menace up to his face. So the safari suits got a lot of screen time, and when he saw a videotape of the film the fashion insult wounded him deeply. It was, however, oddly satisfying to read that one result of the film's popularity in Pakistan was that the actor playing "Rushdie" became so hated by the film-going public that he had to go into hiding. At a certain point in the film one of the international gorillay was captured by the Israeli Army and tied to a tree in the garden of the palace in the Philippines so that "Rushdie" could have his evil way with him. Once "Rushdie" had finished drinking form his bottle and lashing the poor terrorist with a whip, once he had slaked his filthy lust for violence upon the young man's body, he handed the innocent would-be murderer over to the Israeli soldiers and uttered the only genuinely funny line in the film. "Take him away," he cried, "and read to him from The Satanic Verses all night!" Well, of course, the poor fellow cracked completely. Not that, anything but that, he blubbered as the Israelis led him away. At the end of the film "Rushdie" was indeed killed - not by the international gorillay, but by the Word itself, by thunderbolts unleashed by three large Qurans hanging in the sky over his head, which reduced the monster to ash. Personally fried by the Book of the Almighty: there was dignity in that.

All the many successes and extraordinary accomplishments of the Gemini still left NASA’s leadership in a quandary. The question voiced in various expressions cut to the heart of the problem: “How can we send men to the moon, no matter how well they fly their ships, if they’re pretty helpless when they get there? We’ve racked up rendezvous, docking, double-teaming the spacecraft, starting, stopping, and restarting engines; we’ve done all that. But these guys simply cannot work outside their ships without exhausting themselves and risking both their lives and their mission. We’ve got to come up with a solution, and quick!” One manned Gemini mission remained on the flight schedule. Veteran Jim Lovell would command the Gemini 12, and his space-walking pilot would be Buzz Aldrin, who built on the experience of the others to address all problems with incredible depth and finesse. He took along with him on his mission special devices like a wrist tether and a tether constructed in the same fashion as one that window washers use to keep from falling off ledges. The ruby slippers of Dorothy of Oz couldn’t compare with the “golden slippers” Aldrin wore in space—foot restraints, resembling wooden Dutch shoes, that he could bolt to a work station in the Gemini equipment bay. One of his neatest tricks was to bring along portable handholds he could slap onto either the Gemini or the Agena to keep his body under control. A variety of space tools went into his pressure suit to go along with him once he exited the cabin. On November 11, 1966, the Gemini 12, the last of its breed, left earth and captured its Agena quarry. Then Buzz Aldrin, once and for all, banished the gremlins of spacewalking. He proved so much a master at it that he seemed more to be taking a leisurely stroll through space than attacking the problems that had frustrated, endangered, and maddened three previous astronauts and brought grave doubts to NASA leadership about the possible success of the manned lunar program. Aldrin moved down the nose of the Gemini to the Agena like a weightless swimmer, working his way almost effortlessly along a six-foot rail he had locked into place once he was outside. Next came looping the end of a hundred-foot line from the Agena to the Gemini for a later experiment, the job that had left Dick Gordon in a sweatbox of exhaustion. Aldrin didn’t show even a hint of heavy breathing, perspiration, or an increased heartbeat. When he spoke, his voice was crisp, sharp, clear. What he did seemed incredibly easy, but it was the direct result of his incisive study of the problems and the equipment he’d brought from earth. He also made sure to move in carefully timed periods, resting between major tasks, and keeping his physical exertion to a minimum. When he reached the workstation in the rear of the Gemini, he mounted his feet and secured his body to the ship with the waist tether. He hooked different equipment to the ship, dismounted other equipment, shifted them about, and reattached them. He used a unique “space wrench” to loosen and tighten bolts with effortless skill. He snipped wires, reconnected wires, and connected a series of tubes. Mission Control hung on every word exchanged between the two astronauts high above earth. “Buzz, how do those slippers work?” Aldrin’s enthusiastic voice came back like music. “They’re great. Great! I don’t have any trouble positioning my body at all.” And so it went, a monumental achievement right at the end of the Gemini program. Project planners had reached all the way to the last inch with one crucial problem still unsolved, and the man named Aldrin had whipped it in spectacular fashion on the final flight. Project Gemini was

Unlike many superheroes who have an inherently superhuman ability or others who use external weapons and technology, Marvel Comics’ Iron Man has an electromagnetic power source implanted in his chest as part of a medical procedure to save his life. The device has so much power to spare that it allows him to deploy a suit of armor that protects him and affords him additional superhuman abilities. Iron Man is unique in that he is a regular human being transformed and saved from death by a foreign power source placed within him that not only saves his life

You’re a pirate?” Obviously. Still, hard to believe. He pressed forward, forcing on her a series of blows meant to test her strength and will. She parried and blocked his every move with an aptitude that amazed. “Aye. A pirate, and captain of the Sea Sprite,” she boasted, a wry smile upon her full lips. Indeed, she appeared very much a pirate in her men’s garb—a threadbare, brown suit with overly long sleeves she’d had to roll up. Her ebony hair had been pulled back in a queue and was half hidden beneath a rumpled tricorn. Also, like her men, was her look of desperation and the grim cast to her countenance that bespoke of a hard existence. “We offered you quarter,” she said as she evaded his thrust with ease. “Why didn’t you surrender? You had to know we outnumbered you.” He didn’t answer. In all honesty, he’d thought they could defeat the pirates, if not with cannon fire, then with skill. After hearing of all the pirate attacks of late, they’d hired on additional hands, men who could fight. If it hadn’t been for the damn illness… “It’s not too late. You can save what’s left of your crew. Surrender now, Captain Glanville, and we’ll see that your men are ransomed back.” A wicked gleam brightened her eyes as if victory would soon be hers. He should do as she asked. It would be the sensible thing, but pride kept him from saying the words. Not yet. He still had another opponent to defeat, and so far she hadn’t been an easy one to overcome. Despite his steady attack, she kept her muscles relaxed, her balance sure. Her attention followed his movements no matter how small, adjusting her stance, looking for weaknesses. “How do you know I’m Captain Glanville?” When work was at hand, he didn’t dress any differently than his men. “I know much about you.” Stepping clear of two men battling to their left, she blocked his sword with her own and lunged with her dagger. He jumped from the blade, avoiding injury by the barest inch. This one relied on speed and accuracy rather than power. Smart woman. “What do you want from us?” he asked, launching an attack of his own, this time with so much force and speed, she had no choice but to retreat until her back came up against the railing. “We only just left London four days ago. Our cargo is mainly iron and ale.” Her gaze sharpened even as her expression became strained. His assault was wearing her down. “I want the Ruby Cross.” How the hell did she know he had the cross? And did she believe he’d simply hand it over? Hand over a priceless antiquity of the Knights Templar? Absurd. He swung his sword all the harder. The clang of steel rang through the air. Her reactions slowed, and her arms trembled. He made a final cut, putting all his strength behind the blow, and knocked her sword from her hand. Triumph surged through his veins. She attempted to slash out with her dagger. He grabbed her arm before her blade could reach him and hauled her close, their faces nose to nose. “You’ll never take the cross from me,” he vowed as he towered over her, his grip strong. The point of a sword touched his back. Thomas tensed, he swore beneath his breath, self-disgust heavy in his chest. The distraction of this one woman had sealed his fate. Bloody hell.

Chase located North in the break room. Instead of a flight suit or cammies, he was dressed in a white T-shirt and his dress blue trousers with the blood stripe running along the outer legs. Blood stripes represented the bloodshed of Marines during the Mexican-American battle at Chapultepec in 1847.

Believe me, for any writer, you’re going to have more fun and learn more and be more productive writing in television than in the movies. You’re not going to have to share credit with 15 other idiots. You’re not going to be abused and disrespected by 15 jerks in suits who have too much time on their hands and all they want to do is eat lunch. Television is a job — you got to get it on, you got to get it out, the writers are going to write their scripts, they’re going to get on the tube. And that’s great. If you’re lucky enough to get on a successful show, you’re going to do more credited writing in two years than most movie writers do in a lifetime.

He wore a gorilla suit and an incredibly realistic Big Foot mask, which had been ruined by a gigantic bullet hole in the middle of the forehead.

We have been dreaming of robots since Homer. In Book 18 of the Iliad , Achilles’ mother, the nymph Thetis, wants to order a new suit of armor for her son, and so she pays a visit to the Olympian atelier of the blacksmith-god Hephaestus, whom she finds hard at work on a series of automata: . . . He was crafting twenty tripods to stand along the walls of his well-built manse, affixing golden wheels to the bottom of each one so they might wheel down on their own [automatoi] to the gods’ assembly and then return to his house anon: an amazing sight to see. These are not the only animate household objects to appear in the Homeric epics. In Book 5 of the Iliad we hear that the gates of Olympus swivel on their hinges of their own accord, automatai , to let gods in their chariots in or out, thus anticipating by nearly thirty centuries the automatic garage door. In Book 7 of the Odyssey , Odysseus finds himself the guest of a fabulously wealthy king whose palace includes such conveniences as gold and silver watchdogs, ever alert, never aging. To this class of lifelike but intellectually inert household helpers we might ascribe other automata in the classical tradition. In the Argonautica of Apollonius of Rhodes, a third-century-BC epic about Jason and the Argonauts, a bronze giant called Talos runs three times around the island of Crete each day, protecting Zeus’s beloved Europa: a primitive home alarm system.

began. A chief element in positioning the new Barbie was her promotion. In 1984, after a campaign that featured "Hey There, Barbie Girl" sung to the tune of "Georgy Girl," Mattel launched a startling series of ads that toyed with female empowerment. Its slogan was "We Girls Can Do Anything," and its launch commercial, driven by an irresistibly upbeat soundtrack, was a sort of feminist Chariots of Fire. Responding to the increased number of women with jobs, the ad opens at the end of a workday with a little girl rushing to meet her business-suited mother and carrying her mother's briefcase into the house. A female voice says, "You know it, and so does your little girl." Then a chorus sings, "We girls can do anything." The ad plays with the possibility of unconventional gender roles. A rough-looking Little Leaguer of uncertain gender swaggers onscreen. She yanks off her baseball cap, her long hair tumbles down, and—sigh of relief—she grabs a particularly frilly Barbie doll. (The message: Barbie is an amulet to prevent athletic girls from growing up into hulking, masculine women.) There are images of gymnasts executing complicated stunts and a toddler learning to tie her shoelaces. (The message: Even seemingly minor achievements are still achievements.) But the shot with the most radical message takes place in a laboratory where a frizzy-haired, myopic brunette peers into a microscope. Since the seventies, Barbie commercials had featured little girls of different races and hair colors, but they were always pretty. Of her days in acting school, Tracy Ullman remarked in TV Guide that she was the "ugly kid with the brown hair and the big nose who didn't get [cast in] the Barbie commercials." With "We Girls," however, Barbie extends her tiny hand to bookish ugly ducklings; no longer a snooty sorority rush chairman, she is "big-tent" Barbie.

My next novel will be the third volume in the John Dies at the End series, and in fact may already exist, again depending on when you’re reading this.

you can still create powerful videos that get shared widely. Consider using screen recording software such as EasyVideoSuite or Camtasia to create “How to” videos that walk viewers through a series of useful tips or strategies on a certain topic.

February 4–15: The couple visits holy places, Osaka, Mount Fuji, Yokohama, and the Izu Peninsula. Marilyn looks especially comfortable among a group of women dressed in traditional Japanese clothing. In some shots she wears a hat and a modestly cut suit. Marilyn accepts the Japanese emperor’s gift of a natural pearl necklace. In Korea to entertain the troops General John E. Hull invites Marilyn to entertain American troops in Korea. A disturbed DiMaggio opposes the invitation, but Marilyn accepts it. Marilyn writes photographer Bruno Bernard from Japan: “I’m so happy and in love. . . . I’ve decided for sure that it’ll be better if I only make one or two more films after I shoot There’s No Business Like Show Business and then retire to the simple good life of a housewife and, hopefully, mother. Joe wants a big family. He was real surprised when we were met at the airport by such gigantic crowds and press. He said he never saw so much excitement, not even when the Yankees won the World Series.

Well honey, as the saying goes…you can either fight or fuck.”  She grabbed a Louis Vuitton bag and began filling it with what seemed to be two-dozen bathing suits, skirts, dresses and heeled sandals. “And fucking is just more fun…”  

In the finance sector, the annual bonus is calculated from a complex series of interconnecting variables, ranging from snappiness of suit, garishness of tie, and pointitude of shoe, to number of small businesses destroyed, quantity of third-world children indirectly starved, and number of puffs of cigar smoke blown in waitresses’ eyes during business lunches in titty bars with dubious Russian billionaires. For high-ranking executives, bonuses should be big enough to amaze and appal the watching world, but small enough not to bankrupt the entire company.22 For maximum satisfaction, any bonus over £250,000 should be presented as a suitcase full of used £10 notes, handed over by a large Eastern European or Colombian man in sunglasses, while a colleague in an overcoat brandishes a gun smiles and nods cockishly. Though such rewards are beyond the reach, comprehension and calculators of most ordinary people, there is no reason to miss out on the Age Of The Ludicrous Pay-Off: you simply need to declare yourself self-employed, and then award yourself an extravagantly gargantuan Christmas bonus.

Amanda sat on a satin-tufted stool in one of the back rooms of the Community Center theater that had been made over into a bridal suite for her and her bridesmaids to get ready in. She marveled at the work that Kyle Austen Reed’s contacts had done. If she didn’t know for a fact where she was, she never would have believed it. The interior of the theater was the same way. She had taken a peek earlier and been extremely pleasantly surprised.

Soon, I found myself criss-crossing the country with Steve, in what we called our “dog and pony show,” trying to drum up interest in our initial public offering. As we traveled from one investment house to another, Steve (in a costume he rarely wore: suit and tie) pushed to secure early commitments, while I added a professorial presence by donning, at Steve’s insistence, a tweed jacket with elbow patches. I was supposed to embody the image of what a “technical genius” looks like—though, frankly, I don’t know anyone in computer science who dresses that way. Steve, as pitch man, was on fire. Pixar was a movie studio the likes of which no one had ever seen, he said, built on a foundation of cutting-edge technology and original storytelling. We would go public one week after Toy Story opened, when no one would question that Pixar was for real. Steve turned out to be right. As our first movie broke records at the box office and as all our dreams seemed to be coming true, our initial public offering raised nearly $140 million for the company—the biggest IPO of 1995. And a few months later, as if on cue, Eisner called, saying that he wanted to renegotiate the deal and keep us as a partner. He accepted Steve’s offer of a 50/50 split. I was amazed; Steve had called this exactly right. His clarity and execution were stunning. For me, this moment was the culmination of such a lengthy series of pursuits, it was almost impossible to take in. I had spent twenty years inventing new technological tools, helping to found a company, and working hard to make all the facets of this company communicate and work well together. All of this had been in the service of a single goal: making a computer-animated feature film. And now, we’d not only done it; thanks to Steve, we were on steadier financial ground than we’d ever been before. For the first time since our founding, our jobs were safe. I

In Memories, Dreams, and Reflections, Jung upholds an approach that tries to find what suits each patient: “Psychotherapy and analysis are as varied as are human individuals. I treat every patient as individually as possible because the solution to the problem is always an individual one"... In my analysis, I am unsystematic very much by intention. We need a different language for every patient.

In Memories, Dreams, and Reflections, Jung upholds an approach that tries to find what suits each patient: “Psychotherapy and analysis are as varied as are human individuals. I treat every patient as individually as possible because the solution to the problem is always an individual one" ... In my analysis, I am unsystematic very much by intention. We need a different language for every patient.

Dean Martin, and Sammy Davis Jr. The cool kids of the 1960s invited the old man who had been cool before they knew cool was cool to join them in a musical romp that nobody took particularly seriously. Crosby enjoys himself. He has nothing at stake, since he’s not the star who has to carry the film. He’s very casual, and appears to be ad-libbing all his lines in the old Road tradition with a touch of W. C. Fields’s colorful vocabulary thrown in: “You gentlemen find my raiment repulsive?” he asks Sinatra and Martin when they object to his character’s lack of chic flash in clothing. Crosby plays a clever con man who disguises himself as square, and his outfits reflect a conservative vibe in the eyes of the cats who are looking him over. The inquiry leads into a number, “Style,” in which Sinatra and Martin put Crosby behind closet doors for a series of humorous outfit changes, to try to spruce him up. Crosby comes out in a plaid suit with knickers and then in yellow pants and an orange-striped shirt. Martin and Sinatra keep on singing—and hoping—while Crosby models a fez. He finally emerges with a straw hat, a cane, and a boutonniere in his tuxedo lapel, looking like a dude. In his own low-key way, taking his spot in the center, right between the other two, Crosby joins in the song and begins to take musical charge. Sinatra is clearly digging Crosby, the older man he always wanted to emulate.*17 Both Sinatra and Martin are perfectly willing to let Crosby be the focus. He’s earned it. He’s the original that the other two wanted to become. He was there when Sinatra and Martin were still kids. He’s Bing Crosby! The three men begin to do a kind of old man’s strut, singing and dancing perfectly together (“…his hat got a little more shiny…”). The audience is looking at the three dominant male singers of the era from 1940 to 1977. They’re having fun, showing everyone exactly not only what makes a pro, not only what makes a star, but what makes a legend. Three great talents, singing and dancing about style, which they’ve all clearly got plenty of: Frank Sinatra, Bing Crosby, and Dean Martin in Robin and the 7 Hoods

Perfect for fans of George Mahood’s Not Tonight Josephine and Cheryl Strayed’s Wild. Readers on mid-life journeys of their own will cheer Walsh on as he reminds them that a journey doesn’t have to be a means to an end —it’s the trip itself that matters. —BookLife ...it was remarkable how Walsh not only overcame the physical journey but overcame the sadness of his mind. In a society where so many are struggling with mental health, I think his message and story of moving forward are so important. Any reader would love Walsh’s story...! —★★★★★ Manhattan Book Review

There’s no need to say anything. I want my mouth on her pussy, and that’s what will happen. Meadow’s eyes are huge when I glance up to them. I’ve always maintained eating pussy is a forgotten art form, and I pride myself on being the master of it. Like any art, it must tell a story, follow the structure. There’s intrigue and mystery in the beginning, as the action slowly builds. The climax is well, the climax, then the conclusion. What she doesn’t know, is I plan on this being a series. When one story ends, the sequel begins, because I plan on fucking her until I can’t breathe.

Death in “Suite 606” (#27.5, In Death series) 2009 Promises in Death (#28, In Death series) Kindred in Death (#29, In Death series) Missing in Death (#29.5, In Death series) 2010 Fantasy in Death (#30, In Death series) Indulgence in Death (#31, In Death series) Possession in Death (#31.5, In Death series) 2011 Treachery in Death (#32, In Death series) New York to Dallas (#33, In Death series) Chaos in Death in “The Unquiet” (#33.5, In Death series) 2012 Celebrity in Death (#34, In Death series) Delusion in Death (#35, In Death series) 2013 Calculated in Death (#36, In Death series)

she pointed across the room at the suits hanging a few feet off the ground, “and there are the guards,” she pointed to a squadron of ninja-looking, knife-wielding robots standing in front of the suits.

​“A man calling himself the Phantom, wearing a purple suit, green eyes, and large set of wings. Does that strike anyone else as odd?” Jenny joined the conversation. ​“What do you mean? Literally everything about that is odd,” I replied. ​“Really? You guys have never heard about phantoms?” Jenny asked the room. ​We all turned and looked at each other, unsure of what Jenny was talking about. ​“I guess you cityfolk don’t have that bedtime story here. The story of the phantoms.” ​“What story Jenny-bunny?” Paul asked. ​“There’s a story back from my home village about ancient mobs that flew in the sky with bright green eyes, dark purple skin, and wide wings. They were called phantoms. The legend goes that the phantoms only appear when children don’t sleep for days.

in “Suite 606” (#27.5, In Death series) 2009 Promises in Death (#28, In Death series) Kindred in Death (#29, In Death series) Missing in Death (#29.5, In Death series) 2010 Fantasy in Death (#30, In Death series) Indulgence in Death (#31, In Death series) Possession in Death (#31.5, In Death series) 2011 Treachery in Death (#32, In Death series) New York to Dallas (#33, In Death series) Chaos in Death in “The Unquiet” (#33.5, In Death series) 2012 Celebrity in Death (#34, In Death series) Delusion in Death (#35, In Death series) 2013 Calculated in Death (#36, In Death series)

Suite

It’s easy to assume that the person closest to the problem you hope to solve is the one most suited to lead the workshop. This is never the case. Instead, the best workshop facilitators are individuals who can lead a discussion, keep a conversation on track, and ask provocative questions without bias. They also expertly summarize the discussion, recapping any action items and ensuring that everyone who spent their precious time participating understands what they collectively achieved and what needs to happen next.

There’s actually some very persuasive leadership research that supports the idea that asking for support is critical, and that vulnerability and courage are contagious. In a 2011 Harvard Business Review article, Peter Fuda and Richard Badham use a series of metaphors to explore how leaders spark and sustain change. One of the metaphors is the snowball. The snowball starts rolling when a leader is willing to be vulnerable with his or her subordinates. Their research shows that this act of vulnerability is predictably perceived as courageous by team members and inspires others to follow suit.

Because of the picture's constant theatrical circulation all during the forties, two presentations on the Lux Radio Theatre, and finally as a staple of early television, the tale was familiar to almost two generations of moviegoers. Hart's task was to preserve the potent appeal of this Hollywood myth while making it viable for a modern-day audience. The problem was complicated by the necessity of rewriting the part of Esther/Vicki to suit Judy Garland. The original film had walked a delicate dramatic path in interweaving the lives and careers of Vicki and Norman Maine. In emphasizing the "star power" of Lester/Garland, more screen time would have to be devoted to her, thus altering the careful balance of the original. Hart later recalled: "It was a difficult story to do because the original was so famous and when you tamper with the original, you're inviting all sorts of unfavorable criticism. It had to be changed because I had to say new things about Hollywood-which is quite a feat in itself as the subject has been worn pretty thin. The attitude of the original was more naive because it was made in the days when there was a more wide-eyed feeling about the movies ... (and) the emphasis had to be shifted to the woman, rather than the original emphasis on the Fredric March character. Add to that the necessity of making this a musical drama, and you'll understand the immediate problems." To make sure that his retelling accurately reflected the Garland persona, Hart had a series of informal conversations with her and Luft regarding experiences of hers that he might be able to incorporate into the script. Luft recalls: "We were having dinner with Moss and Kitty [Carlisle], and Judy was throwing ideas at Moss, cautiously, and so was I. I remember Judy telling the story of when she was a kid, she was on tour with a band and they were in Kansas City at the Mulebach Hotel-all the singers and performers stayed there. And I think her mother ran into a big producer who was traveling through and she invited him to come and see the act, and supposedly afterward he was very interested in Judy's career. Nothing happened, though. Judy thought it would be a kind of a cute idea to lay onto Moss-that maybe it might be something he could use in his writing.

Princess! Well, that suits on you.

If a networked product can begin to win over a series of networks faster than its competition, then it develops an accumulating advantage. These advantages, naturally, manifest as increasing network effects across customer acquisition, engagement, and monetization. Smaller networks might unravel and lose their users, who might switch over. Naturally, it becomes important for every player to figure out how to compete in this type of high-stakes environment. But how does the competitive playbook work in a world with network effects? First, I’ll tell you what it’s not: it’s certainly not a contest to see who can ship more features. In fact, sometimes the products seem roughly the same—just think about food-delivery or messaging apps—and if not, they often become undifferentiated since the features are relatively easy to copy. Instead, it’s often the dynamics of the underlying network that make all the difference. Although the apps for DoorDash and Uber Eats look similar, the former’s focus on high-value, low-competition areas like suburbs and college towns made all the difference—today, DoorDash’s market share is 2x that of Uber Eats. Facebook built highly dense and engaged networks starting with college campuses versus Google+’s scattered launch that built weak, disconnected networks. Rarely in network-effects-driven categories does a product win based on features—instead, it’s a combination of harnessing network effects and building a product experience that reinforces those advantages. It’s also not about whose network is bigger, a counterpoint to jargon like “first mover advantage.” In reality, you see examples of startups disrupting the big guys all the time. There’s been a slew of players who have “unbundled” parts of Craigslist, cherry-picking the best subcategories and making them apps unto themselves. Airbnb, Zillow, Thumbtack, Indeed, and many others fall into this category. Facebook won in a world where MySpace was already huge. And more recently, collaboration tools like Notion and Zoom are succeeding in a world where Google Suite, WebEx, and Skype already have significant traction. Instead, the quality of the networks matters a lot—which makes it important for new entrants to figure out which networks to cherry-pick to get started, which I’ll discuss in its own chapter.

When I have pictorially captured smell, the most palpable of the senses, the next thing will be to imprison sound- vulgarly speaking, to bottle it. Just think a moment. Force is as imperishable as matter; indeed, as I have been somewhat successful in showing, it is matter. Now, when a sound wave is once started, it is only lost through an indefinite extension of its circumference. Catch that sound wave, sir! Catch it in a bottle, then its circumference cannot extend. You may keep the sound wave forever if you will only keep it corked up tight. The only difficulty is in bottling it in the first place. I shall attend to the details of that operation just as soon as I have managed to photograph the confounded rotten-egg smell of sulphydric acid." The professor stirred up the offensive mixture with a glass rod, and continued: "While my object in bottling sound is mainly scientific, I must confess that I see in success in that direction a prospect of considerable pecuniary profit. I shall be prepared at no distant day to put operas in quart bottles, labeled and assorted, and contemplate a series of light and popular airs in ounce vials at prices to suit the times. You know very well that it costs a ten-dollar bill now to take a lady to hear Martha or Mignon, rendered in first-class style. By the bottle system, the same notes may be heard in one's own parlor at a comparatively trifling expense. I could put the operas into the market at from eighty cents to a dollar a bottle. For oratorios and symphonies I should use demijohns, and the cost would of course be greater. I don't think that ordinary bottles would hold Wagner's music. It might be necessary to employ carboys. Sir, if I were of the sanguine habit of you Americans, I should say that there were millions in it. Being a phlegmatic Teuton, accustomed to the precision and moderation of scientific language, I will merely say that in the success of my experiments with sound I see a comfortable income, as well as great renown. A SCIENTIFIC MARVEL By this time the professor had another negative, but an eager examination of it yielded nothing more satisfactory than before. He sighed and continued: "Having photographed smell and bottled sound, I shall proceed to a project as much higher than this as the reflective faculties are higher than the perceptive, as the brain is more exalted than the ear or nose. "I am perfectly satisfied that elements of mind are just as susceptible of detection and analysis as elements of matter. Why, mind is matter. "The soul spectroscope, or, as it will better be known, Dummkopf's duplex self-registering soul spectroscope, is based on the broad fact that whatever is material may be analyzed and determined by the position of the Frauenhofer lines upon the spectrum. If soul is matter, soul may thus be analyzed and determined. Place a subject under the light, and the minute exhalations or

You’re the only person I’d allow to kill me. But deep down, I know that’s not what you want to do, is it, my love?

I take a step out, and the overwhelming smell of man surrounds me. How can the smell of him feel like the biggest hug?

Amore mio?” A smirk appears on his lips. “Non sembra che devo provare.

Do you like anything?” “You,” he moans into my mouth. “You’ll be the death of me.

She makes me strong.” I shoot him once more in the leg. I don’t know how I missed it before, but it’s true. I have someone to protect now, and that makes me strong. The love I have for her is something I’d start a war for.

This is the man I knew was beneath the layers of hurt. The layers of anger. “And there is nothing more in the world I love more than you.” His eyes look deep into mine.

He sighs deeply, kneeling on the ground before me. “I love you so much it hurts. I have never loved anything in life more than you. For years, I have wanted you to be mine, Donnina. I want to do this the right way.” His words strike through my chest, making my heart beat fast. “I know things still aren’t safe, but I will do everything to keep you safe.

You’re happy to see me.” I immediately regret the words that fly from my lips so fast and easily. I slam my eyes shut, hoping I can travel back in time and take my words back. It’s the alcohol. I won’t remember any of this in the morning. “That’s my gun, Nina.

His hands brush over his chin. “Is that what you think this is?” He closes the gap between us. “You think that this is hate?” His thumb presses down on my bottom lip, making me tremble. “Then why? Why are you doing all of this? Why are you messing with me? None of it makes sense!” “Non sei ancora mio.

Giovanni looks pleased by his actions. There’s a smile on his lips as he looks me up and down. “You look good in red.” His voice is coated with anger.

Strawberries and chocolate have been our comfort food for years. Whatever the occasion

Just the simple sound of my mother’s voice makes me feel so much better

A spade. “Gio.” I touch the raw skin on my collar bone. “What did you just do?” “Sei mio.

In a few seconds the golem suit is gonna be in the lava!” said Carl. “So either you stay with the gold and get fried by lava, or you leave the gold and escape with your life.” “Hmm, it tough decision,” said Boggo. “Can Boggo have a few minutes to think about it?” “GET OUT OF THE SUIT NOW, YOU IDIOT!

Across the English Channel, the biggest champion of the new mechanical worldview was René Descartes. Bacon was entirely ignorant of mathematics. Descartes was steeped in it. Reducing the operations of the universe to a series of lines, circles, numbers, and equations suited his reclusive personality. His most famous saying, “I think, therefore I am” (cogito, ergo sum), could be stated less succinctly but more accurately as “Because we are the only beings who do math, we rule.