Talent Appreciation Quotes

There are scores of people waiting for someone just like us to come along; people who will appreciate our compassion, our encouragement, who will need our unique talents. Someone who will live a happier life merely because we took the time to share what we had to give.

Some people are born to make great art and others are born to appreciate it. Don't you think? It is a kind of talent in itself, to be an audience, whether you are the spectator in the gallery or you are listening to the voice of the world's greatest soprano. Not everyone can be the artist. There have to be those who witness the art, who love and appreciate what they have been privileged to see.

If this book has a lesson, it is that we are awfully lucky to be here-and by 'we' I mean every living thing. To attain any kind of life in this universe of ours appears to be quite an achievement. As humans we are doubly lucky, of course: We enjoy not only the privilege of existence but also the singular ability to appreciate it and even, in a multitude of ways, to make it better. It is a talent we have only barely begun to grasp.

Sometimes we fight who we are, struggling against ourselves and our natures. But we must learn to accept who we are and appreciate who we become. We must love ourselves for what and who we are, and believe in our talents.

The majority of us lead quiet, unheralded lives as we pass through this world. There will most likely be no ticker-tape parades for us, no monuments created in our honor. But that does not lessen our possible impact, for there are scores of people waiting for someone just like us to come along; people who will appreciate our compassion, our unique talents. Someone who will live a happier life merely because we took the time to share what we had to give. Too often we underestimate the power of a touch, a smile, a kind word a listening ear, an honest compliment, or the smallest act of caring, all of which have a potential to turn a life around. It’s overwhelming to consider the continuous opportunities there are to make our love felt.

She respected her husband in the same way as she respected the General Post Office, as something large, secure and fixed: and though she knew the small number of his talents she appreciated his abstract value as a male.

She'd never mastered the talent for apologizing, but she appreciated it in other people.

The talent for being happy is appreciating and liking what you have, instead of what you don't have.

I have met many minds able to store and translate a pregnantly large amount of information, yet they haven't an ounce of talent for wisdom or the appreciation of passion.

Ingratitude to God does not rely only on our refusal to give the verbal thanksgiving due to Him, but also recides in our inability to appreciate his gifts and potentials in us by leaving them untapped.

To leading a great life, it’s obvious that we must understand and appreciate our own self, our innate capabilities, talents, weak spots and, of course, strengths.

What drove me? I think most creative people want to express appreciation for being able to take advantage of the work that's been done by others before us. I didn't invent the language or mathematics I use. I make little of my own food, none of my own clothes. Everything I do depends on other members of our species and the shoulders that we stand on. And a lot of us want to contribute something back to our species and to add something to the flow. It's about trying to express something in the only way that most of us know how-because we can't write Bob Dylan songs or Tom Stoppard plays. We try to use the talents we do have to express our deep feelings, to show our appreciation of all the contributions that came before us, and to add something to that flow. That's what has driven me.

Confidence is the profound yet frequently overlooked dimension of development that boils down to trusting and appreciating one’s talents and abilities.

They were Englishmen and, to them, the decline of other nations was the most natural thing in the world. They belonged to a race blessed with so sensitive an appreciation of its own talents (and so doubtful an opinion of anybody else's) that they would not have been at all surprised to learn that the Venetians themselves had been entirely ignorant of the merits of their own city - until Englishmen had come to tell them it was delightful.

To wake up every morning is miracle. To make a good use of every day is an appreciation of miracle. To waste the entire hours of each day is ungratefulness towards a miracle already given and received!

In music, recording, writing, photography, design, film-making and any other creative endeavour, it may be true that anyone can do it, but it is not quite as true as punk sometimes seemed to suggest that anyone can do it in a way that is appreciated by others. The key point is that, without determination and application, talent and ideas are just unrealised potential. That lesson-there for anyone who wishes to learn it-is perhaps punk's , and the Clash's, greatest legacy.

She respected her husband in the same way as she respected the General Post Office, as something large, secure and fixed; and though she knew the small number of his talents she appreciated his abstract value as a male.

Here is to all the brilliant minds that love deeply, for they write the stories that make us dream of true love. Here is to all the visionaries that create a miracle when others give up hope. Here is to all the artists, musicians, actors, singers, songwriters, dancers, screenwriters, philosophers, inventors and poetic hearts that create a perspective of heaven we can experience in this lifetime. But most of all, here is to the wild souls that the world calls broken, insane, abnormal, weird or different because they are the ones that renew our faith, by what they overcome and create, in a world that needs a sign that God doesn’t forget the least of us.

Art Is One if Life's Richest Offerings. For those who have not the talent to create, there is appreciation.

I wouldn't call Musashi ordinary. But he is. That's what's extraordinary about him. He's not content with relying on whatever natural gifts he may have. Knowing he's ordinary, he's always trying to improve himself. No one appreciates the agonizing effort he's had to make. Now that his year's of training have yielded such spectacular results, everybody's talking about his 'god-given talent.' That's how men who don't try very hard comfort themselves.

A lot of aspiring writers are actually very talented and just have to continue polishing their craft till opportunity knocks. All writers have to persevere, have a story they want to share and push till it's in a form others can understand and appreciate. To my fans and readers, I love you all and say a great big THANK YOU!

Appreciate all people for their talents. Everyone has something positive to contribute. If a rainbow only had one color, it wouldn't be as beautiful or spectacular to see.

the truth is that nobody can truly appreciate world-class talent unless they themselves have spent a great deal of time trying to be even a fraction as good.

The biggest spur to my interest in art came when I played van Gogh in the biographical film Lust For Life. The role affected me deeply. I was haunted by this talented genius who took his own life, thinking he was a failure. How terrible to paint pictures and feel that no one wants them. How awful it would be to write music that no one wants to hear. Books that no one wants to read. And how would you like to be an actor with no part to play, and no audience to watch you. Poor Vincent—he wrestled with his soul in the wheat field of Auvers-sur-Oise, stacks of his unsold paintings collecting dust in his brother's house. It was all too much for him, and he pulled the trigger and ended it all. My heart ached for van Gogh the afternoon that I played that scene. As I write this, I look up at a poster of his "Irises"—a poster from the Getty Museum. It's a beautiful piece of art with one white iris sticking up among a field of blue ones. They paid a fortune for it, reportedly $53 million. And poor Vincent, in his lifetime, sold only one painting for 400 francs or $80 dollars today. This is what stimulated my interest in buying works of art from living artists. I want them to know while they are alive that I enjoy their paintings hanging on my walls, or their sculptures decorating my garden

You’re a Bennett.” “I don’t know that I appreciate the derision in your voice. It’s a nice name. One I’m proud of despite everything.” “Joe is your son. Which makes him a Bennett.” “Yes. That’s usually how it works.” “Which means Kelly is a Bennett.” “It’s good to know your talent for stating the obvious remains remarkably intact,” she said dryly.

Remember that He who created you to be creative gave you the things with which to make beauty and gave you the sensitivity to appreciate and respond to His creation. Creativity is His gift to you and the 'raw materials' to be put together in various ways are His gift to you as well.

I mention all this to make the point that if you were designing an organism to look after life in our lonely cosmos, to monitor where it is going and keep a record of where it has been, you wouldn't choose human beings for the job. But here's an extremely salient point: we have been chosen, by fate or Providence or whatever you wish to call it. It's an unnerving thought that we may be living the universe's supreme achievement and its worst nightmare simultaneously. Because we are so remarkably careless about looking after things, both when alive and when not, we have no idea-- really none at all-- about how many things have died off permanently, or may soon, or may never, and what role we have played in any part of the process. In 1979, in the book The Sinking Ark, the author Norman Myers suggested that human activities were causing about two extinctions a week on the planet. By the early 1990s he had raised the figure to about some six hundred per week. (That's extinctions of all types-- plants, insects, and so on as well as animals.) Others have put the figure ever higher-- to well over a thousand a week. A United Nations report of 1995, on the other hand, put the total number of known extinctions in the last four hundred years at slightly under 500 for animals and slightly over 650 for plants-- while allowing that this was "almost certainly an underestimate," particularly with regard to tropical species. A few interpreters think most extinction figures are grossly inflated. The fact is, we don't know. Don't have any idea. We don't know when we started doing many of the things we've done. We don't know what we are doing right now or how our present actions will affect the future. What we do know is that there is only one planet to do it on, and only one species of being capable of making a considered difference. Edward O. Wilson expressed it with unimprovable brevity in The Diversity of Life: "One planet, one experiment." If this book has a lesson, it is that we are awfully lucky to be here-- and by "we" i mean every living thing. To attain any kind of life in this universe of ours appears to be quite an achievement. As humans we are doubly lucky, of course: We enjoy not only the privilege of existence but also the singular ability to appreciate it and even, in a multitude of ways, to make it better. It is a talent we have only barely begun to grasp. We have arrived at this position of eminence in a stunningly short time. Behaviorally modern human beings-- that is, people who can speak and make art and organize complex activities-- have existed for only about 0.0001 percent of Earth's history. But surviving for even that little while has required a nearly endless string of good fortune. We really are at the beginning of it all. The trick, of course, is to make sure we never find the end. And that, almost certainly, will require a good deal more than lucky breaks.

To give someone a blessing is the most significant affirmation we can offer. It is more than a word of praise or appreciation; it is more than pointing out someone’s talents or good deeds; it is more than putting someone in the light. To give a blessing is to affirm, to say ‘yes’ to a person’s Belovedness.

If you wish to give chance on others' abilities and capabilities then give them respected time to grow and express themselves. Share a path for everyone to grow and glow!

Well, that was fun,” Grandpa said as he climbed to his feet. “Anyone dead?” “Does my pride count?” Draulin asked, dusting herself off. “I don’t think so,” Grandpa said. “I killed that years ago. Dif, I appreciate your enthusiasm, but shoving my grandson out of planes is usually my job. So next time, kindly refrain until I give the word.” “Sorry, sir,” Dif said, looking abashed.

Because when a teacher appreciates you, you think "I am something!" In a society where people believe girls are weak, and not capable of anything except cooking and cleaning, you think "I have a talent." When a teacher tells you that all great leaders and scientists were once children, too, you think, "Maybe we can be the great ones tomorrow." In a country where so many people consider it a waste to send girls to school, it is a teacher who helps you believe in your dreams.

They were too focused on their own inner lives to appreciate the subtleties of character that might have alerted them to the true motives of those who did not share in their beliefs. Time and time again during their preparations to sail for America, the Pilgrims demonstrated an extraordinary talent for getting duped.

Sir, come quick. They've found a body in the canal." I blew out my breath. Saved by the corpse. ...The corpse in question was Nigel Nicabar. The watchers had collected the bodies found in Nigel's house, garden, and canal, and put them in the greenhouse located at the back of the garden. The necromancer's talents weren't with living things, so the greenhouse's tables were pretty much empty - at least of plants. Dead goblins lay under sheets and tarps. I couldn't help feeling that Nigel would have approved. What he wouldn't have approved of was being included among them. Nigel wouldn't have been caught dead surrounded by goblins, yet that's exactly how and where he was. I don't think he would have appreciated the irony.

There's a reason why I tell this story. To me these Sunday painters represent myo—the strangeness of beauty—an idea that transcendence can be found in what's common and small. Rather than wishing for singularity and celebrity and genius (and growing all gloomy in its absence), these painters recognize the ordinariness of their talents and remain undaunted. It's the blessings in life, not in self, that they mean to express. And therein lies the transcendence. For as people pursue their plain, decent goals, as they whittle their crude flutes, paint their flat landscapes, make unexceptional love to their spouses—in their numbers across cultures and time, in their sheer tenacity as in the face of a random universe they perform their small acts of awareness and appreciation—there is a mysterious, strange beauty.

No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must see him, for contrast and comparison, among the dead. I mean this as a principle of aesthetic, not merely historical criticism...What happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it...The poet who is aware of this will be aware of great difficulties and responsibilities.

You are loved by your Father in Heaven, of whose divine nature you have partaken. And He desires that His Holy Spirit will be near you wherever you go if you will invite it and cultivate it. There is something of divinity within each of you. You have such tremendous potential with that quality as a part of your inherited nature. Every one of you was endowed by your Father in Heaven with a tremendous capacity to do good in the world. Train your minds and your hands that you may be equipped to serve well in the society of which you are a part. Cultivate the art of being kind, of being thoughtful, of being helpful. Refine within you the quality of mercy which comes as a part of the divine attributes you have inherited. Some of you may feel that you are not as attractive and and glamorous as you would like to be. Rise above any such feelings, cultivate the light you have within you, and it will shine through as a radiant expression that will be seen by others. You need never feel inferior. You need never feel that you were born without talents or without opportunities to give them expression. Cultivate whatever talents you have, and they will grow and refine and become an expression of your true self appreciated by others.

Leonardo’s willingness to question and then abandon the enticing analogy between the circulation of water on the earth and the circulation of blood in the human body shows his curiosity and ability to be open-minded. Throughout his life, he was brilliant at discerning patterns and abstracting from them a framework that could be applied across disciplines. His geology studies show an even greater talent: not letting these patterns blind him. He came to appreciate not only nature’s similarities but also its infinite variety. Yet even as he abandoned the simplistic version of the microcosm-macrocosm analogy, he retained the aesthetic and spiritual concept underlying it: the harmonies of the cosmos are reflected in the beauty of living creatures.

You need to be focused, Reaylin. You must determine your objective. Know your purpose. Recognize your talents and capitalize on them. If you live your life for the sole purpose of seeking the approval of others, you will live no life at all. You will indubitably fail, for if that person cannot appreciate you for who you are, then he or she will never truly appreciate you at all. You will always be trying to prove yourself, and it will never be enough.

I didn’t invent the language or mathematics I used. I make little of my one food, none of my own clothes. Everything I do depends on other members of our species and the shoulders that we stand on. And a lot of us want to contribute something back to our species and to add something to the flow. It’s about trying to express something in the only way that most of us know how because we can’t write Bob Dylan songs or Tom Stoppard plays. We try to use the talents we do have to express our deep feelings, to show our appreciation of all the contributions that came before us, and to add something to that flow. That’s what has driven me.

Prayer is an essential part of conveying appreciation to our Heavenly Father. He awaits our expressions of gratefulness each morning and night in sincere, simple prayer from our hearts for our many blessings, gifts, and talents. Through expression of prayerful gratitude and thanksgiving, we show our dependence upon a higher source of wisdom and knowledge—God the Father and his Son, our Lord and Savior Jesus Christ. We are taught to ‘live in thanksgiving daily.’ (Alma 34:38.)

From the lowest depths of his jail cell, Joseph identifies himself for the first time with forefathers, reconnecting to his heritage despite being cut off from his family for years. Despite living in a foreign land alone amidst a foreign people, Joseph declares that he has remained true to his people’s core values. One of those values is gratitude, and for the first time Joseph acknowledges that his talents are God-given rather than earned. He has ended up in prison because of unwavering gratitude to a human master who selflessly cared for him, a devotion that mirrors his gratitude to the Divine Master. In this terrible low moment, Joseph sounds fulfilled for the first time in his life, as the principled decision to accept imprisonment provides an uplifting sense of purpose. With renewed appreciation for God’s care, Joseph challenges his fellow inmates to reject backstabbing pagan deities whose flaring egos drive them to relentlessly pursue self-aggrandizement at the expense of others. As humans naturally emulate the characteristics of their deities, Joseph prefers an ethical and compassionate Divine Mentor.

You may have found your tribe or you may still be searching, but either way Divine Will is going to tap you on the shoulder. And when you turn around to see what’s going on, it will be abundantly clear to you which direction your life should take. If you appreciate your talent and above all else have a longing to live unshackled, if you’re bold and have the gallantry of true Wrong Planet people ….. even though from time to time you may tend to howl at the moon ….. you’ll take it.

There’s mystery in raising children: As our children grow and develop their unique talents, we can’t control every aspect of their lives. For example, we can offer children music lessons and do all we can to encourage them to appreciate music, but if making music isn’t their way of expressing themselves, we have to trust they’ll find their own ways.

Many Pisces possess musical or artistic talents. At the very least, they have an appreciation for the arts.

Cease partiicipation, if only for one day this year --- if only to make sure that we don't lose forever the rare and vanishing human talent of appreciating ease.

Put the right people in the right positions to ensure their personal strengths and talents are being utilized and appreciated.

...you have a talent and I appreciate it immensely. Your gift is safe with me. Let it out, it wants to shine.

Talent in itself meant little; having the right people to appreciate it was everything.

You know when you’re in yoga and you’re looking around, thinking, Wow, I wish I were that flexible, or How come she can hold that pose? Well, my friend has a saying: “Stay on your own mat.” Not physically, but mentally. In life, we’re all made differently: our families, our frames, our personalities and talents. Appreciate how you were made, and stay on your mat. That’s where happiness lies.

Your Creative Autobiography 1. What is the first creative moment you remember? 2. Was anyone there to witness or appreciate it? 3. What is the best idea you’ve ever had? 4. What made it great in your mind? 5. What is the dumbest idea? 6. What made it stupid? 7. Can you connect the dots that led you to this idea? 8. What is your creative ambition? 9. What are the obstacles to this ambition? 10. What are the vital steps to achieving this ambition? 11. How do you begin your day? 12. What are your habits? What patterns do you repeat? 13. Describe your first successful creative act. 14. Describe your second successful creative act. 15. Compare them. 16. What are your attitudes toward: money, power, praise, rivals, work, play? 17. Which artists do you admire most? 18. Why are they your role models? 19. What do you and your role models have in common? 20. Does anyone in your life regularly inspire you? 21. Who is your muse? 22. Define muse. 23. When confronted with superior intelligence or talent, how do you respond? 24. When faced with stupidity, hostility, intransigence, laziness, or indifference in others, how do you respond? 25. When faced with impending success or the threat of failure, how do you respond? 26. When you work, do you love the process or the result? 27. At what moments do you feel your reach exceeds your grasp? 28. What is your ideal creative activity? 29. What is your greatest fear? 30. What is the likelihood of either of the answers to the previous two questions happening? 31. Which of your answers would you most like to change? 32. What is your idea of mastery? 33. What is your greatest dream?

In 1761, we moved to the town of Marlow, where we remained until we had four children. When we moved there it was no other than a desolate and dreary wilderness. Only four families resided within forty miles. Here I was thrown into a situation to appreciate more fully the talents and virtues of my excellent wife; for, as our children were deprived of schools, she assumed the charge of their education, and performed the duties of an instructress as none, save a mother, is capable of. Precepts accompanied with examples such as hers, were calculated to make impressions on the minds of the young, never to be forgotten.

Gratitude brings a peace that helps us overcome the pain of adversity and failure. Gratitude on a daily basis means we express appreciation for what we have now without qualification for what we had in the past or desire in the future. A recognition of and appreciation for our gifts and talents which have been given also allows us to acknowledge the need for help and assistance from the gifts and talents possessed by others.

The greatest accomplishment of all is to recognize that we were freely handed two extraordinary gifts that we had no part in creating. The first is a talent to cultivate, and the second is the opportunity to cultivate it.

Time and talents are the most expensive gifts God gave to us at no cost. However, they are the main things that are easily abused. To abuse something time and talents is to take them for granted and not appreciate their values.

How are you supposed to know what to read next? This is the question that keeps us up at night, so at Day One our mission is to feed an audience of literature-hungry, time-constrained readers like you with a weekly lineup of talented authors, poets, and artists that we believe you will love. And if we can identify some of the next generation of literary stars, and cultivate an appreciation for transformative poetry and fiction, then frankly we will sleep better at night.

When life hands you questions, answer them. When life hands you mysteries, unravel them. When life hands you enigmas, decipher them. When life hands you tasks, accomplish them. When life hands you problems, tackle them. When life hands you skills, develop them. When life hands you talents, sharpen them. When life hands you friends, cherish them. When life hands you family, value them. When life hands you acquaintances, treasure them. When life hands you opponents, confront them. When life hands you acquaintances, celebrate them. When life hands you allies, support them. When life hands you riches, multiply them. When life hands you possessions, protect them. When life hands you pleasures, ration them. When life hands you experiences, relish them. When life hands you students, instruct them. When life hands you mentors, study them. When life hands you teachers, esteem them. When life hands you disciples, inspire them. When life hands you gurus, honor them. When life hands you lessons, remember them. When life hands you teachings, impart them. When life hands you demands, tackle them. When life hands you obstacles, challenge them. When life hands you troubles, overcome them. When life hands you burdens, conquer them. When life hands you titles, cherish them. When life hands you degrees, employ them. When life hands you medals, welcome them. When life hands you awards, appreciate them. When life hands you blessings, count them.

[Ulysses] appears to have been written by a perverted lunatic who has made a speciality of the literature of the latrine… I have no stomach for Ulysses… James Joyce is a writer of talent, but in Ulysses he has ruled out all the elementary decencies of life and dwells appreciatively on things that sniggering louts of schoolboys guffaw about. In addition to this stupid glorification of mere filth, the book suffers from being written in the manner of a demented George Meredith. There are whole chapters of it without any punctuation or other guide to what the writer is really getting at. Two-thirds of it is incoherent, and the passages that are plainly written are devoid of wit, displaying only a coarse salacrity intended for humour.

Tell me about someone who is better than you in an area that really matters to you.” Look for the candidate to demonstrate a genuine appreciation for others who have more skill or talent. Humble people are comfortable with this. Ego-driven people often are not.

I learned that Bill himself has long appreciated the importance of competencies other than talent. Back in the days when he had a more direct role in hiring software programmers at Microsoft, for instance, he said he’d give applicants a programming task he knew would require hours and hours of tedious troubleshooting. This wasn’t an IQ test, or a test of programming skills. Rather, it was a test of a person’s ability to muscle through, press on, get to the finish line. Bill only hired programmers who finished what they began.

Forever, Tom thought. Maybe he’d never go back to the States. It was not so much Europe itself as the evenings he had spent alone, here and in Rome, that made him feel that way. Evenings by himself simply looking at maps, or lying around on sofas thumbing through guidebooks. Evenings looking at his clothes - his clothes and Dickie’s - and feeling Dickie’s rings between his palms, and running his fingers over the antelope suitcase he had bought at Gucci’s. He had polished the suitcase with a special English leather dressing, not that it needed polishing because he took such good care of it, but for its protection. He loved possessions, not masses of them, but a select few that he did not part with. They gave a man self-respect. Not ostentation but quality, and the love that cherished the quality. Possessions reminded him that he existed, and made him enjoy his existence. It was as simple as that. And wasn’t that worth something? He existed. Not many people in the world knew how to, even if they had the money. It really didn’t take money, masses of money, it took a certain security. He had been on the road to it, even with Marc Priminger. He had appreciated Marc’s possessions, and they were what had attracted him to the house, but they were not his own, and it had been impossible to make a beginning at acquiring anything of his own on forty dollars a week. It would have taken him the best years of his life, even if he had economised stringently, to buy the things he wanted. Dickie’s money had given him only an added momentum on the road he had been travelling. The money gave him the leisure to see Greece, to collect Etruscan pottery if he wanted (he had recently read an interesting book on that subject by an American living in Rome), to join art societies if he cared to and to donate to their work. It gave him the leisure, for instance, to read his Malraux tonight as late as he pleased, because he did not have to go to a job in the morning. He had just bought a two-volume edition of Malraux’s Psychologic de I’art which he was now reading, with great pleasure, in French with the aid of a dictionary.

With self-appreciation, we don’t need to put others down to feel good about ourselves. I can appreciate my own achievements at the same time that I recognize yours. I can rejoice in your talents while also celebrating my own. Appreciation involves acknowledging the light in everyone, ourselves included.

That’s what I believe,” said Ruth. “Peter didn’t. Here was a man who was given everything. Talent, love, a peaceful place to live and create. And all he had to do was appreciate it.” “And if he didn’t?” “He would remain stone. And the deities would turn on him. They do, you know. They’re generous, but they demand gratitude.

So rather than spending time wondering why I don’t hear audible voices, I just try to listen harder with my heart, and I’ve realized a couple of things that seem kind of obvious now. God doesn’t talk to me in an audible voice because God isn’t a human being; He’s God. That makes sense to me, because human beings are limited and God isn’t limited at all. He can communicate to us in any way He wants to anytime He wants to. Through flowers, other people, an uncomfortable sense, a feeling of joy, goose bumps, a newfound talent, or an appreciation we acquire over time. It doesn’t need to be a big mystical thing like my surfer buddies made it out to be.

He had never sought her out or made himself to be anything more than any other member of the audience. He did not assume his appreciation for her talent exceeded anyone else’s. He was more inclined to believe that only a fool would not feel about her exactly how he felt. There was nothing more to want than the privilege to sit and listen.

No more than any other talent, is that for music susceptible of complete enjoyment where there is no second party to appreciate its exercise; and it is only in common with other talents that it produces effects which may be fully enjoyed in solitude... the higher order of music is the most thoroughly estimated when we are exclusively alone.

They were excessively pleased with the Campo Santa Maria Formosa. They thought the façades of the houses very magnificent – they could not praise them highly enough. But the sad decay, which buildings, bridges and church all displayed, seemed to charm them even more. They were Englishmen and, to them, the decline of other nations was the most natural thing in the world. They belonged to a race blessed with so sensitive an appreciation of its own talents (and so doubtful an opinion of any body else's) that they would not have been at all surprized to learn that the Venetians themselves had been entirely ignorant of the merits of their own city – until Englishmen had come to tell them it was delightful.

My advice is: Don’t take yourself too seriously, laugh a lot, enjoy your time with family, and appreciate the unique talents of others. Trust in God, love your neighbor, say you’re sorry, forgive, and work hard. Sit down to a good meal, turn off your cell phone, respect your elders, and, of course, get out in the woods and enjoy some good ol’ frog legs. That’s the Robertson way!

Some people are born to make great art and others are born to appreciate it. Don’t you think? It is a kind of talent in itself, to be an audience, whether you are the spectator in the gallery or you are listening to the voice of the world’s greatest soprano. Not everyone can be the artist. There have to be those who witness the art, who love and appreciate what they have been privileged to see.

So,” Viking continued, roving his eyes over Ruth. “You ever need your pussy licked, you know where to come. Just putting the offer out there.”   “Shut the fuck up, Vike!” AK said, exasperated. “What?” Viking asked, arms wide. “Can’t a brother offer his services without getting shit for it. I’m good at licking pussy, is that a fucking crime? We all have our fucking talents. You can shoot from miles away, Flame can kill with one blade, and I can make a bitch cream in two point five seconds. All talents are fucking valid, AK. I’m a lover, not a fighter.” Viking turned back to Ruth. “You know where to find me, Ruthie girl.” “Okay,” she said and frowned. “Thank you… I think?” “You’re fucking welcome.” Viking nudged AK when he faced forward again. “See? Some people appreciate my giving nature, unlike you, you moody fucker.

There had never been any talent, any talent to draw or paint or to make music or to write or to make any of the wonderful and beautiful things he'd loved. There was only the keen eye to appreciate it, the heartbreaking capacity to perceive talent in others all around...only a gentleman's means could have kept him close to the talent of others, kept him close to all that was fine and enduring and filled life with daily grace.

They were properly mad in the Shakespearean sense, talking sense when you least expected it. In North London, where councillors once voted to change the name of the area to Nirvana, it is not unusual to walk the streets and be suddenly confronted by sage words from the chalkfaced, blue-lipped, or eyebrowless. From across the street or from the other end of a tube carriage they will use their schizophrenic talent for seeing connections in the random (for discerning the whole world in a grain of sand, for deriving narrative from nothing) to riddle you, to rhyme you, to strip you down, to tell you who you are and where you’re going (usually Baker Street—the great majority of modernday seers travel the Metropolitan Line) and why. But as a city we are not appreciative of these people. Our gut instinct is that they intend to embarrass us, that they’re out to shame us somehow as they lurch down the train aisle, bulbous-eyed and with carbuncled nose, preparing to ask us, inevitably, what we are looking at. What the fuck we are looking at. As a kind of preemptive defense mechanism, Londoners have learned not to look, never to look, to avoid eyes at all times so that the dreaded question “What you looking at?” and its pitiful, gutless, useless answer —“Nothing”—might be avoided.

Let me speak first of the matters I observed as a critic. Your world has several pleasures. There is eating.” He reached out and pulled off from its bunch a muscat grape, fat and sugar-sweet, and ate it appreciatively. “An odd one, that. And very remarkable. No one ever before thought of making an art of the simple business of obtaining the necessary energy. Your Artist has very real talent. “And there is sleeping. A strange reflexive business in which the Artist’s own creations are allowed to create more worlds of their own. You see now, don’t you,” he said, smiling, “why the critic must be a man in truth—else he could not dream as a man does? “There is drinking—which mixes both eating and dreaming. “There is the exquisite pleasure of conversing together, friend with friend, as we are doing. That is not new, but it goes to the credit of the Artist that He included it. “And there is sex. Sex is ridiculous. As a critic I would have disregarded it entirely had not you, my friends, let me see something which had not come to the attention of Jonathan Hoag, something which, in my own artistic creations, I had never had the wit to invent. As I said, your Artist has talent.” He looked at them almost tenderly. “Tell me, Cynthia, what do you love in this world and what is it that you hate and fear?

No matter how talented and successful you are, you have to go through what you have to go through. So learn to accept pain and be happy despite the circumstances. Be happy with what you have. Also, learn to appreciate the impermanence of everything: Of Life itself surely. Also, of name, fame, wealth, success and glory. And of failure too. Focus instead on what you love doing and do it very, very well. Simply, if you create great, unputdownable work, both you and your work will be remembered. Forever.

Every talent, every feeling, every acquirement; nay, even every tendency towards virtue, was used up as materials for fireworks; the hidden, sacred fire, exhausted itself in sparkle and crackle. They talked about art in a merely sensuous way, dwelling on outside effects, instead of allowing themselves to learn what it has to teach. They lashed themselves up into an enthusiasm about high subjects in company, and never thought about them when they were alone; they squandered their capabilities of appreciation into a mere flow of appropriate words.

The impression given us by a person or a work (or an interpretation of a work) of marked individuality is peculiar to that person or work. We have brought with us the ideas of “beauty,” “breadth of style,” “pathos” and so forth which we might at a pinch have the illusion of recognising in the banality of a conventional face or talent, but our critical spirit has before it the insistent challenge of a form of which it possesses no intellectual equivalent, in which it must disengage the unknown element. It hears a sharp sound, an oddly interrogative inflexion. It asks itself: “Is that good? Is what I am feeling now admiration? Is that what is meant by richness of colouring, nobility, strength?” And what answers it again is a sharp voice, a curiously questioning tone, the despotic impression, wholly material, caused by a person whom one does not know, in which no scope is left for “breadth of interpretation.” And for this reason it is the really beautiful works that, if we listen to them with sincerity, must disappoint us most keenly, because in the storehouse of our ideas there is none that responds to an individual impression.

What are ten words your spouse or partner or friend would use to describe you?” • “What’s the most courageous thing you’ve done?” • “If you joined us and then in three to six months you were no longer here, why would that be?” Or ask the same question about five years down the line as well and see how the two answers differ. • “What did you like to do as a child?” This gets at what they really like to do, because it harks back to a time before the world started bossing them around.7 • “Did you feel appreciated at your last job? What was the biggest way in which you did not feel appreciated?

It’ll be a test of strength between a man who’s a genius, but really somewhat conceited, and an ordinary man who’s polished his talents to the utmost, won’t it?” “I wouldn’t call Musashi ordinary.” “But he is. That’s what’s extraordinary about him. He’s not content with relying on whatever natural gifts he may have. Knowing he’s ordinary, he’s always trying to improve himself. No one appreciates the agonizing effort he’s had to make. Now that his years of training have yielded such spectacular results, everybody’s talking about his ‘god-given talent.’ That’s how men who don’t try very hard comfort themselves.

The world is changing faster than ever in our history. Our best hope for the future is to develop a new paradigm of human capacity to meet a new era of human existence. We need to evolve a new appreciation of the importance of nurturing human talent along with an understanding of how talent expresses itself differently in every individual. We need to create environments—in our schools, in our workplaces, and in our public offices—where every person is inspired to grow creatively. We need to make sure that all people have the chance to do what they should be doing, to discover the Element in themselves and in their own way.

teacher in Detroit asked Stevie Morris to help her find a mouse that was lost in the classroom. You see, she appreciated the fact that nature had given Stevie something no one else in the room had. Nature had given Stevie a remarkable pair of ears to compensate for his blind eyes. But this was really the first time Stevie had been shown appreciation for those talented ears. Now, years later, he says that this act of appreciation was the beginning of a new life. You see, from that time on he developed his gift of hearing and went on to become, under the stage name of Stevie Wonder, one of the great pop singers and songwriters of the seventies.*

Jowell fell back on the same justification for funding the arts that the first chairman of the Arts Council, John Maynard Keynes, had deployed in 1945. Art was something produced by people with special skills, who set their own standards of excellence; they needed to be supported to do this, and the audience needed to be encouraged to appreciate this excellence, by being given subsidised access to it. And for all of Jowell’s attempts to transcend instrumentalism, the purpose of culture continued to be to help the government ‘to transform our society into a place of justice, talent and ambition where individuals can fulfil their true potential’.22

Getting pampered can be addictive. If you are talented, people will pamper you, make you feel high and then get you to help them. When you will be busy thinking of some new thing to be done so that you will again get your moments of getting appreciated, pampered, at that time those who pamper you, get busy to focus on what they want to achieve. And slowly and steadily you see then going ahead of you and then you wonder - how can they achieve what you failed to.. They played and you let them play with you. Become aware. Be talented. Yet be strong. Learn to say NO. You are there to do your part and attain what you have set out to. Don't let pampering take you off your feet. It is difficult to handle. Because we are deep inside wired to like getting pampered..

What drove me? I think most creative people want to express appreciation for being able to take advantage of the work that’s been done by others before us. I didn’t invent the language or mathematics I use. I make little of my own food, none of my own clothes. Everything I do depends on other members of our species and the shoulders that we stand on. And a lot of us want to contribute something back to our species and to add something to the flow. It’s about trying to express something in the only way that most of us know how—because we can’t write Bob Dylan songs or Tom Stoppard plays. We try to use the talents we do have to express our deep feelings, to show our appreciation of all the contributions that came before us, and to add something to that flow. That’s what has driven me.

UNDERLYING NEED “COPING” MECHANISM To have support in figuring out your talents Getting stoned to avoid thinking about it To be loved, held, appreciated Negativity, pessimism to “control” expectations To have feelings received Overeating as an attempt at self-soothing To be recognized as mattering Overwork to prove worth To forgive yourself Becoming perfectionistic to try and avoid mistakes To avoid punishment or disapproval Focusing solely on the needs of others so you don’t take care of yourself by exercising Rest and rejuvenation Drinking alcohol to excess, “rewarding” yourself with fatty or sweet foods Solitude and contemplation Picking fights so you end up alone Stability in chaos Worrying as a way to feel in control A sense of purpose Overspending in an attempt to find meaning in material things

5236 rue St. Urbain The baby girl was a quick learner, having synthesized a full range of traits of both of her parents, the charming and the devious. Of all the toddlers in the neighbourhood, she was the first to learn to read and also the first to tear out the pages. Within months she mastered the grilling of the steaks and soon thereafter presented reasons to not grill the steaks. She was the first to promote a new visceral style of physical comedy as a means of reinvigorate the social potential of satire, and the first to declare the movement over. She appreciated the qualities of movement and speed, but also understood the necessity of slowness and leisure. She quickly learned the importance of ladders. She invented games with numerous chess-boards, matches and glasses of unfinished wine. Her parents, being both responsible and duplicitous people, came up with a plan to protect themselves, their apartment and belongings, while also providing an environment to encourage the open development of their daughter's obvious talents. They scheduled time off work, put on their pajamas and let the routines of the apartment go. They put their most cherished books right at her eye-level and gave her a chrome lighter. They blended the contents of the fridge and poured it into bowls they left on the floor. They took to napping in the living room, waking only to wipe their noses on the picture books and look blankly at the costumed characters on the TV shows. They made a fuss for their daughter's attention and cried when she wandered off; they bit or punched each other when she out of the room, and accused the other when she came in, looking frustrated. They made a mess of their pants when she drank too much, and let her figure out the fire extinguisher when their cigarettes set the blankets smoldering. They made her laugh with cute songs and then put clothes pins on the cat's tail. Eventually things found their rhythm. More than once the three of them found their faces waxened with tears, unable to decide if they had been crying, laughing, or if it had all been a reflex, like drooling. They took turns in the bath. Parents and children--it is odd when you trigger instinctive behaviour in either of them--like survival, like nurture. It's alright to test their capabilities, but they can hurt themselves if they go too far. It can be helpful to imagine them all gorging on their favourite food until their bellies ache. Fall came and the family went to school together.

The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis. We appreciate them only in their effects. We know of them, among other things, that they are always to their possessor, when inordinately possessed, a source of the liveliest enjoyment. As the strong man exults in his physical ability, delighting in such exercises as call his muscles into action, so glories the analyst in that moral activity which disentangles. He derives pleasure from even the most trivial occupations bringing his talents into play. He is fond of enigmas, of conundrums, of hieroglyphics; exhibiting in his solutions of each a degree of acumen which appears to the ordinary apprehension preternatural. His results, brought about by the very soul and essence of method, have, in truth, the whole air of intuition.

Embrace yourself. Choose to fully appreciate all that is good within you. Accept your imperfections and embrace the following practices: • Create the intention to trust your heart implicitly. • Be grateful for being the person you are. Appreciate your strengths and talents. • Develop your skills and talents, out of which will come self-confidence and happiness. If you have a real feeling for doing or making something, pursue that, work on it, and improve it. • Be kind to yourself. Make it a habit to articulate positive thoughts about yourself, so that everything you do is supported by the universe. Stop saying negative things about yourself. • Do a kindness every day for someone else. • Try not to worry too much. Worrying rarely solves problems. It just takes you away from the beauty life offers. If you are prone to worry, get physically active. Take a walk. Exercise. Do yoga. Moving your body helps clear your mind.

Courageous Leadership Simply Means I’ve Developed: 1. Convictions that are stronger than my fears. 2. Vision that is clearer than my doubts. 3. Spiritual sensitivity that is louder than popular opinion. 4. Self-esteem that is deeper than self-protection. 5. Appreciation for discipline that is greater than my desire for leisure. 6. Dissatisfaction that is more forceful than the status quo. 7. Poise that is more unshakeable than panic. 8. Risk taking that is stronger than safety seeking. 9. Right actions that are more robust than rationalization. 10. A desire to see potential reached more than to see people appeased. You don’t have to be great to become a person of courage. You just need to want to reach your potential and to be willing to trade what seems good in the moment for what’s best for your potential. That’s something you can do regardless of your level of natural talent. —Talent Is Never Enough MAKE A SMALL DECISION TODAY THAT WILL INCREASE YOUR CONFIDENCE AND LEADERSHIP COURAGE.

The book originated in the suggestion of a publisher; as many more good books have done than the arrogance of the man of letters is commonly inclined to admit. Very much is said in our time about Apollo and Admetus, and the impossibility of asking genius to work within prescribed limits or assist an alien design. But after all, as a matter of fact, some of the greatest geniuses have done it, from Shakespeare botching up bad comedies and dramatising bad novels down to Dickens writing a masterpiece as the mere framework for a Mr. Seymour’s sketches. Nor is the true explanation irrelevant to the spirit and power of Dickens. Very delicate, slender, and bizarre talents are indeed incapable of being used for an outside purpose, whether of public good or of private gain. But about very great and rich talent there goes a certain disdainful generosity which can turn its hand to anything. Minor poets cannot write to order; but very great poets can write to order. The larger the man’s mind, the wider his scope of vision, the more likely it will be that anything suggested to him will seem significant and promising; the more he has a grasp of everything the more ready he will be to write anything. It is very hard (if that is the question) to throw a brick at a man and ask him to write an epic; but the more he is a great man the more able he will be to write about the brick.

Key to the success of many with ADHD is finding the “right life” in which to live. This means a job in which their particular talents for nonlinear thinking and quick emergency response are prized, and a spouse who can appreciate, or at least learn to live with, an often uneven distribution of work within the relationship. Without these things, many with ADHD feel that they don’t really fit into the world, or that the face that they put forward in order to fit in is false. The other critical factor for the success of an ADHD spouse in a relationship is for both partners to continue to respect differences and act on that respect. Here’s what one woman with ADHD says about living a life in which others assume that “different” is not worthy of respect: I think [my husband] uses the ADD as an excuse to be bossy and stuff sometimes but I find it very upsetting and hard on my self esteem to have my disorder and learning disabilities used that way. We do have very different perspectives but reality is perspective. Just because I see things differently from someone else doesn’t make one wrong or right…how I experience life is colored by my perception, it is what it is. I hate how people try to invalidate my thoughts feelings and perceptions because they are different from theirs. Like telling me [since] they feel…different[ly] from me [that their feelings] should make me magically change! It doesn’t work that way. Even if my ADD makes me see or remember something “not right” it’s still MY reality. It is like those movies where the hero has something crazy going on where they experience reality differently from everyone else.

Even at this point, say Ressler and others, these potential hosts of monsters can be turned around through the (often unintentional) intervention of people who show kindness, support, or even just interest. I can say from experience that it doesn’t take much. Ressler’s theories on the childhoods of the worst killers in America have an unlikely ideological supporter, psychiatrist and child-advocate Alice Miller. Her emotionally evocative books (including The Drama Of The Gifted Child and The Untouched Key) make clear that if a child has some effective human contact at particularly significant periods, some recognition of his worth and value, some “witness” to his experience, this can make an extraordinary difference. I have learned that the kindness of a teacher, a coach, a policeman, a neighbor, the parent of a friend, is never wasted. These moments are likely to pass with neither the child nor the adult fully knowing the significance of the contribution. No ceremony attaches to the moment that a child sees his own worth reflected in the eyes of an encouraging adult. Though nothing apparent marks the occasion, inside that child a new view of self might take hold. He is not just a person deserving of neglect or violence, not just a person who is a burden to the sad adults in his life, not just a child who fails to solve his family’s problems, who fails to rescue them from pain or madness or addiction or poverty or unhappiness. No, this child might be someone else, someone whose appearance before this one adult revealed specialness or lovability, or value. This value might be revealed through appreciation of a child’s artistic talent, physical ability, humor, courage, patience, curiosity, scholarly skills, creativity, resourcefulness, responsibility, energy, or any of the many attributes that children bring us in such abundance.

THIS IS A BOOK ABOUT FRENCH CINEMA, specifically the women of today’s French cinema—a subject as vital as life and as irresistible as movies. Yet many Americans, unfamiliar with French film, will hear “women of today’s French cinema” and immediately imagine something forbidding or austere. Other more refined cineastes may know and appreciate the French movies that play at art houses and arrive on DVD in this country, but they can’t know the full story. They are not in a position to know that what they are seeing is just a hint of something vast and extraordinary. The full story is that for the last two decades France has been in the midst of an explosion of female talent. What is happening in France today is a blossoming of female brilliance and originality of a kind that has never happened anywhere or at any period of film history, with but one glorious exception—in the Hollywood of the 1930s. Indeed, today’s Hepburns, Davises, Crawfords, Garbos, and Stanwycks are not American. They’re French. They are working constantly, appearing up to three or four times each year in films geared to their star personalities and moral meaning. These films, often intelligent, personal, and insightful investigations into what it means to be human in the twenty-first century, are the kinds of films that many Americans want to see. And they wonder why no one is making them. But people are making them, just not in the United States. Moreover, women are not only working in front of the camera in France but behind it, too. Important actresses are writing and directing films, and many of the country’s biggest and most acclaimed directors are women. Truly, this is a halcyon period, happening as we speak, and to miss this moment would be like living in 1920 and never seeing a silent comedy, or like living in 1950 and never seeing a film noir. It would be to miss one of the most enriching cinematic movements of your time. Yet most Americans, virtually all Americans, have been missing it.

The old theological problem of "Faith" and "Knowledge," or more plainly, of instinct and reason―the question whether, in respect to the valuation of things, instinct deserves more authority than rationality, which wants to appreciate and act according to motives, according to a "Why," that is to say, in conformity to purpose and utility―it is always the old moral problem that first appeared in the person of Socrates, and had divided men's minds long before Christianity. Socrates himself, following, of course, the taste of his talent―that of a surpassing dialectician―took first the side of reason; and, in fact, what did he do all his life but laugh at the awkward incapacity of the noble Athenians, who were men of instinct, like all noble men, and could never give satisfactory answers concerning the motives of their actions? In the end, however, though silently and secretly, he laughed also at himself: with his finer conscience and introspection, he found in himself the same difficulty and incapacity. "But why"―he said to himself― "should one on that account separate oneself from the instincts! One must set them right, and the reason ALSO―one must follow the instincts, but at the same time persuade the reason to support them with good arguments." This was the real FALSENESS of that great and mysterious ironist; he brought his conscience up to the point that he was satisfied with a kind of self-outwitting: in fact, he perceived the irrationality in the moral judgment.―Plato, more innocent in such matters, and without the craftiness of the plebeian, wished to prove to himself, at the expenditure of all his strength―the greatest strength a philosopher had ever expended―that reason and instinct lead spontaneously to one goal, to the good, to "God"; and since Plato, all theologians and philosophers have followed the same path―which means that in matters of morality, instinct (or as Christians call it, "Faith," or as I call it, "the herd") has hitherto triumphed. Unless one should make an exception in the case of Descartes, the father of rationalism (and consequently the grandfather of the Revolution), who recognized only the authority of reason: but reason is only a tool, and Descartes was superficial.

I regret the passing of the studio system,” Lucille Ball once said. “I was very appreciative of it because I had no talent. Believe me. What could I do? I couldn’t dance. I couldn’t sing. I could talk. I could barely walk. I had no flair. I wasn’t a beauty, that’s for sure.

You are here because you are talented,” I said. “But that’s not enough. Between today and the time you walk between the brass anchors out front after graduation, you have to find the courage to release your talent into the world. Not everyone will appreciate the beauty flowing out of your hearts, and that will hurt, but it’s also okay. You don’t need or want everyone’s acceptance or approval. You will be appreciated by the ones who matter most—the ones who will find something captivating and profound in your work. If you stay true to what you’ve been given to do, you will have lived well. I came here an unknown teacher. Today I am known by a few . . . by you. That is how I define success. You aren’t just enough, you are more than enough to keep my heart full and my creative juices flowing. I love you all dearly. I am grateful you are my students—the students of my heart.

Art Is One if Life's Richest Offerings. For those who have not the talent to create, there is appreciation.

Sometimes we find new reasons to appreciate the same things in a different way.” He pointed out across the creek. “Like this. I haven’t been in a place like this since my childhood. Didn’t think I’d ever care to. But here with you. It’s different. Maybe you’ll find that one day. You shouldn’t waste your talent. It’s a gift. It should be shared.

Novelty is stimulating, for we are all apt to be bored; familiarity is restful for we are all apt to be lazy; and these two weaknesses infect all our activities, intellectual, moral, and aesthetic. But perhaps no counterfeit aesthetic experience is so obvious as that of the man who only likes what is old or what is the latest novelty or the latest archaism. No taste is more worthless than one confined to plays that are all the rage, or to the book of the year, or to the picture exhibition which is a succès de scandale, the chatter of all the studios and bitterly controverted in the Press. To be merely and eagerly in the fashion shows little taste in dress. Yet here again it is impossible to be quite certain about other people and difficult about oneself. It admittedly requires as much talent to appreciate the poetry or painting of an age whose history and civilization are unknown to us as to accept the innovations of original genius.

Talented people want recognition and respect for their skills and their achievements even more than they want money. They need and appreciate acceptance and respect.

Mariabella is divine,” Maximus said, leaning in toward Cass. “Beautiful and talented. She used to assist me in my act from time to time. I wouldn’t be surprised if she was the beauty your brother fell in love with.” “What did--does--she look like?” Cass asked. Maximus pulled a rose out of thin air. “She has silky dark hair and the most delicious set of lips.” He reached out his index finger as though to touch Cass’s lips and then seemed to think better of it. “You resemble her, in a way. Except you don’t have her birthmark.” He traced the shape of a heart in the air. Cass’s blood accelerated in her veins. A heart-shaped birthmark. It had to be the same girl. Mariabella. A maid missing from Joseph Dubois’s estate, and now a dead courtesan, one of his chosen companions. Could it possibly be a coincidence? Emotions churned together in her stomach--excitement and wonder and fear. And more excitement. She leaned in to give the conjurer an impulsive peck on the cheek. The conjurer pressed the rose into her palm. “I think your master is watching us.” Cass glanced up and saw Falco staring at her--no, at them--from the doorway of the portego. Cass hadn’t even heard the front doors open. “I see you’ve met my beautiful signorina,” Falco said, nodding to the conjurer as he snaked his fingers around one of Cass’s small wrists. The conjurer winked at Cass. “Indeed. There’s something magical about her, wouldn’t you say?” “You’ve no idea,” Falco said. He pulled her across the room, out of the conjurer’s earshot. “Is it safe to leave you alone for a few minutes while I go speak to the owner of the house?” “No need,” Cass said. She couldn’t help but smile triumphantly. “I’ve not only learned the name of the dead girl, but I also know where she lives.” Falco arched an eyebrow. “All that, and you still found the time to bat your eyelashes at some traveling con man? That is impressive.” “I wasn’t batting anything,” Cass said. “I was appreciating his performance. Come on. I’ll fill you in on the way to her place.” As the two passed the conjurer, Falco’s grip on her was so tight, she was afraid he was going to leave a bruise. “Good-bye, Maximus,” she called behind her. “Thank you for the magic.

Self-proud and pseudo-intellectuals do not write or say even a word of praise to appreciate the talent of others.