Terrible Famous Quotes

You think too much.' 'I suppose I do; but I can’t help it, my mind is so terribly active. When I give myself, I give myself. I pay the penalty in my headaches, my famous headaches--a perfect circlet of pain! But I carry it as a queen carries her crown.

Now, all these years later, I’m certain that I got famous so I would not waste my entire life trying to get famous. You have to get famous to know that it’s not the answer. And nobody who is not famous will ever truly believe that.

Don’t be scared,” said a voice behind me. Those must certainly fall into the category of Famous Last Words, the sort that are the last thing you hear before your death. (Along with “it isn’t loaded” and “he only wants to play.”) Of course I was terrible scared.

The night before her wedding, Daisy taught me that after the world ended, you still had to get up in the morning, and the things that you ruined would still be there, needing to be fixed. When I looked at famous Jay Gatsby, soul gone and some terrible engine he called love driving him now, I could see that for him, the world was always ending. For him, it was all a wreck and a ruin, and he had no idea why the rest of us weren't screaming.

The disorientation of meeting one’s sagging contemporaries, memories of a younger face crashing into the reality of jowls, under-eye pouches, unexpected lines, and then the terrible realization that one probably looks just as old as they do. Do you remember when we were young and gorgeous? Clark wanted to ask. Do you remember when everything seemed limitless? Do you remember when it seemed impossible that you’d get famous and I’d get a PhD? But instead of saying any of this he wished his friend a happy birthday.

When I looked at famous Jay Gatsby, soul gone and some terrible engine he called love driving him now, I could see that for him, the world was always ending. For him, it was all a wreck and a ruin, and he had no idea why the rest of us weren’t screaming.

there are three kinds of men: those who make it their aim, as they say, to live their lives, eat, drink, make love, grow rich, and famous; then come those who make it their aim not to live their own lives but to concern themselves with the lives of all men – they feel that all men are one and they try to enlighten them, to love them as much as they can and do good to them; finally there are those who aim at living the life of the entire universe – everything, men, animals, trees, stars, we are all one, we are all one substance involved in the same terrible struggle. What struggle?…Turning matter into spirit.

It is a well-known established fact throughout the many-dimensional worlds of the multiverse that most really great discoveries are owed to one brief moment of inspiration. There's a lot of spadework first, of course, but what clinches the whole thing is the sight of, say, a falling apple or a boiling kettle or the water slipping over the edge of the bath. Something goes click inside the observer's head and then everything falls into place. The shape of DNA, it is popularly said, owes its discovery to the chance sight of a spiral staircase when the scientist‘s mind was just at the right receptive temperature. Had he used the elevator, the whole science of genetics might have been a good deal different. This is thought of as somehow wonderful. It isn't. It is tragic. Little particles of inspiration sleet through the universe all the time traveling through the densest matter in the same way that a neutrino passes through a candyfloss haystack, and most of them miss. Even worse, most of the ones that hit the exact cerebral target, hit the wrong one. For example, the weird dream about a lead doughnut on a mile-high gantry, which in the right mind would have been the catalyst for the invention of repressed-gravitational electricity generation (a cheap and inexhaustible and totally non-polluting form of power which the world in question had been seeking for centuries, and for the lack of which it was plunged into a terrible and pointless war) was in fact had by a small and bewildered duck. By another stroke of bad luck, the sight of a herd of wild horses galloping through a field of wild hyacinths would have led a struggling composer to write the famous Flying God Suite, bringing succor and balm to the souls of millions, had he not been at home in bed with shingles. The inspiration thereby fell to a nearby frog, who was not in much of a position to make a startling contributing to the field of tone poetry. Many civilizations have recognized this shocking waste and tried various methods to prevent it, most of them involving enjoyable but illegal attempts to tune the mind into the right wavelength by the use of exotic herbage or yeast products. It never works properly.

I am thinking of Achilles’ grief, he said. That famous, terrible, grief. Let me tell you boys something. Such grief can only be told in form. Form is everything. Without it you’ve got nothing but a stubbed-toe cry—sincere, maybe, for what that’s worth, but with no depth or carry. No echo. You may have a grievance but you do not have grief, and grievances are for petitions, not poetry.

...one or both of those babies could be president one day. Or they could discover the cure for a terrible disease, or one could be a famous musician or even a preacher.' I stopped and considered for a minute, wondering what would impress her more than that. 'Or just be fine and decent men or women, or man and woman, who would be a blessing to you in your old age. There's a purpose for every soul that comes into this world...

You burn to have your photograph in a tennis magazine.” “I’m afraid so.” “Why again exactly, now?” “I guess to be felt about as I feel about those players with their pictures in magazines.” “Why?” “Why? I guess to give my life some sort of meaning, Lyle.” “And how would this do this again?” “Lyle, I don’t know. I do not know. It just does. Would. Why else would I burn like this, clip secret pictures, not take risks, not sleep or pee?” “You feel these men with their photographs in magazines care deeply about having their photographs in magazines. Derive immense meaning.” “I do. They must. I would. Else why would I burn like this to feel as they feel?” “The meaning they feel, you mean. From the fame.” “Lyle, don’t they?” “LaMont, perhaps they did at first. The first photograph, the first magazine, the gratified surge, the seeing themselves as others see them, the hagiography of image, perhaps. Perhaps the first time: enjoyment. After that, do you trust me, trust me: they do not feel what you burn for. After the first surge, they care only that their photographs seem awkward or unflattering, or untrue, or that their privacy, this thing you burn to escape, what they call their privacy is being violated. Something changes. After the first photograph has been in a magazine, the famous men do not enjoy their photographs in magazines so much as they fear that their photographs will cease to appear in magazines. They are trapped, just as you are.” “Is this supposed to be good news? This is awful news.” “LaMont, are you willing to listen to a Remark about what is true?” “Okey-dokey.” “The truth will set you free. But not until it is finished with you.” “Maybe I ought to be getting back.” “LaMont, the world is very old. You have been snared by something untrue. You are deluded. But this is good news. You have been snared by the delusion that envy has a reciprocal. You assume that there is a flip-side to your painful envy of Michael Chang: namely Michael Chang’s enjoyable feeling of being-envied-by-LaMont-Chu. No such animal.” “Animal?” “You burn with hunger for food that does not exist.” “This is good news?” “It is the truth. To be envied, admired, is not a feeling. Nor is fame a feeling. There are feelings associated with fame, but few of them are any more enjoyable than the feelings associated with envy of fame.” “The burning doesn’t go away?” “What fire dies when you feed it? It is not fame itself they wish to deny you here. Trust them. There is much fear in fame. Terrible and heavy fear to be pulled and held, carried. Perhaps they want only to keep it off you until you weigh enough to pull toward yourself.” “Would I sound ungrateful if I said this doesn’t make me feel very much better at all?” “LaMont, the truth is that the world is incredibly, incredibly, unbelievably old. You suffer with the stunted desire caused by one of its oldest lies. Do not believe the photographs. Fame is not the exit from any cage.” “So I’m stuck in the cage from either side. Fame or tortured envy of fame. There’s no way out.” “You might consider how escape from a cage must surely require, foremost, awareness of the fact of the cage.

Men in public life did their best to avoid accidental events or actions from being seen as unlucky. On a famous occasion during the civil war, Caesar tripped when disembarking from a ship on the shores of Africa and fell flat on his face. With his talent for improvisation, he spread out his arms and embraced the earth as a symbol of conquest. By quick thinking he turned a terrible omen of failure into one of victory.

Civil War general Robert E. Lee said famously that it was a good thing war was so terrible, “otherwise we should grow too fond of it.

You have to get famous to know that it’s not the answer. And nobody who is not famous will ever truly believe that.

I don’t know what ‘the big time’ is really, except that it’s probably some terrible place you can’t get out of, you know… or you fall from it and break all your bones, or you try to go further and burn up.

So now here we were with David's second big bout against whatever it was, and it had pretty well gotten him. He was taking a lot of morphine for the paid and looked terrible, although the spirit was still in his eyes, weak as it was. "Do you have any advice for me on my music going forward?" I asked David. "Just make sure to have as much of you in the recording as you can," he said. "Stay simple. No one gives a shit about anything else." He tole me to keep it simple and focused, have as much of my playing and singing as possible, and not to hide it with other things. Don't embellish it with other people I don't need or hide it in any way. Simple and focused. That is what I took away. He didn't exactly say that, but I got the message. I have failed to do that in some instances. "Be great or be gon," his famous phrase, choes in my head. I have to remember that for sure. Damn. So I left the apartment after a hug. It was devastating. He died a week later. He wanted to go. His body was all fucked up and it was not easy. His tenacious spirit would not let him go.

The reason for any omission lies, perhaps, in what Dumbledore said about truth, many years ago, to his favourite and most famous pupil: ‘It is a beautiful and terrible thing, and should therefore be treated with great caution.

The Ranee was killed in a hand to hand fight before Gwalior. This famous queen, who was devoted to the Nabob, and was his most faithful companion during the insurrection, fell by the hand of Sir Edward Munro. Nana Sahib, by the dead body of Lady Munro at Cawnpore, the colonel, by the dead body of the Ranee at Gwalior, represent the revolt and the suppression, and were thus made enemies whose hatred would find terrible vent if they ever met face to face!   The

I had the most beautiful, famous woman in the world as my girlfriend; I was on the number one TV show in America; I was making a lot of money shooting a movie that could only be a number one box-office smash. I revved that Jet Ski hard,

Often people who commit terrible acts are empathic and caring in other parts of their lives. One manifestation of this, often pointed out by those who want to mock vegetarians, was the concern that many Nazis had for nonhuman animals. Hitler famously loved dogs and hated hunting, but this was nothing compared to Hermann Göring, who imposed rules restricting hunting, the shoeing of horses, and the boiling of lobsters and crabs—and mandated that those who violated these rules be sent to concentration camps!

The idea of being famous, the idea of being rich, the idea of being me—I can’t enjoy any of it unless I’m high. And I can’t think of love without wanting to be high. I lack a spiritual connection that protects me from these feelings. That’s why I’m a seeker.

This, to be sure, is not the entire truth. For there were individuals in Germany who from the very beginning of the regime and without ever wavering were opposed to Hitler; no one knows how many there were of them—perhaps a hundred thousand, perhaps many more, perhaps many fewer—for their voices were never heard. They could be found everywhere, in all strata of society, among the simple people as well as among the educated, in all parties, perhaps even in the ranks of the N.S.D.A.P. Very few of them were known publicly, as were the aforementioned Reck-Malleczewen or the philosopher Karl Jaspers. Some of them were truly and deeply pious, like an artisan of whom I know, who preferred having his independent existence destroyed and becoming a simple worker in a factory to taking upon himself the “little formality” of entering the Nazi Party. A few still took an oath seriously and preferred, for example, to renounce an academic career rather than swear by Hitler’s name. A more numerous group were the workers, especially in Berlin, and Socialist intellectuals who tried to aid the Jews they knew. There were finally, the two peasant boys whose story is related in Günther Weisenborn’s Der lautlose Aufstand (1953), who were drafted into the S.S. at the end of the war and refused to sign; they were sentenced to death, and on the day of their execution they wrote in their last letter to their families: “We two would rather die than burden our conscience with such terrible things. We know what the S.S. must carry out.” The position of these people, who, practically speaking, did nothing, was altogether different from that of the conspirators. Their ability to tell right from wrong had remained intact, and they never suffered a “crisis of conscience.” There may also have been such persons among the members of the resistance, but they were hardly more numerous in the ranks of the conspirators than among the people at large. They were neither heroes nor saints, and they remained completely silent. Only on one occasion, in a single desperate gesture, did this wholly isolated and mute element manifest itself publicly: this was when the Scholls, two students at Munich University, brother and sister, under the influence of their teacher Kurt Huber distributed the famous leaflets in which Hitler was finally called what he was—a “mass murderer.

What's he so damn arrogant about? Just because he made that fortune himself? Does he have to be such a damn snob just because he came from Hell's Kitchen? It isn't other people's fault if they weren't lucky enough to be born in Hell's Kitchen to rise out of! Nobody understands what a terrible handicap it is to be born rich. Because people just take for granted that because you were born that way you'd just be no good if you weren't. What I mean is if I'd had Gail Wynand's breaks, I'd be twice as rich as he is by now and three times as famous. But he's so conceited he doesn't realize this at all!

Out of nowhere, I found myself getting to my knees, closing my eyes tightly, and praying. I had never done this before. “God, you can do whatever you want to me. Just please make me famous.” Three weeks later, I got cast in Friends. And God has certainly kept his side of the bargain—but the Almighty, being the Almighty, had not forgotten the first part of that prayer as well. Now, all these years later, I’m certain that I got famous so I would not waste my entire life trying to get famous. You have to get famous to know that it’s not the answer. And nobody who is not famous will ever truly believe that.

As time passed there was no more buying food, no money, no supplies. On some days, we wouldn’t even have a crumb to eat. There’s a vivid scene in Nanni Loy’s The Four Days of Naples, a movie made after the war about the uprising of the Neapolitans against the occupying Germans, in which one of the young characters sinks his teeth into a loaf of bread so voraciously, so desperately, I can still identify with him. In those four famous days in late September, when Naples rose up against the Germans—even before the Allies arrived, it was the climax of a terrible period of deprivation and marked the beginning of the end of the war in Italy.

Few people can be happy," says a famous philosopher, "unless they hate some other person, nation or creed." "Creed" refers to what people believe, and I believe that everyone in the world should feel as welcome and safe as I did in that library. But of course that is not how the story goes. People are unwelcome and unsafe all over the world, and it is other people who make them feel that way. We all do. We are miserable at home, or at school, scared when we walk the streets, and we are terrorized in all sorts of places, ghastly and desperate, all over the globe. Not all suffering is the same, and we are not all suffering at the same time, but every person or nation or creed as had their turn, or is waiting their turn to suffer to to force suffering on us, sometimes so terribly that for some of us, at some moment somewhere in the world, the only escape is into the world of the imagination, because we cannot really imagine what is happening and what we have done.

During his illness he had spent every minute of consciousness calling upon God, every second of every minute. Ya Allah whose servant lies bleeding do not abandon me now after watching oven me so long. Ya Allah show me some sign, some small mark of your favour, that I may find in myself the strength to cure my ills. O God most beneficent most merciful, be with me in this my time of need, my most grievous need. Then it occurred to him that he was being punished, and for a time that made it possible to suffer the pain, but after a time he got angry. Enough, God, his unspoken words demanded, why must I die when I have not killed, are you vengeance or are you love? The anger with God carried him through another day, but then it faded, and in its place there came a terrible emptiness, an isolation, as he realized he was talking to _thin air_, that there was nobody there at all, and then he felt more foolish than ever in his life, and he began to plead into the emptiness, ya Allah, just be there, damn it, just be. But he felt nothing, nothing nothing, and then one day he found that he no longer needed there to be anything to feel. On that day of metamorphosis the illness changed and his recovery began. And to prove to himself the non-existence of God, he now stood in the dining-hall of the city's most famous hotel, with pigs falling out of his face.

The school song at Accrington High School for Girls was 'Let Us Now Praise Famous Men,' a terrible choice for an all-girls' school, but one that helped turn me into a feminist. Where were the famous women--indeed any women--and why weren't we praising them? I vowed to myself that I would be famous and that I would come back and be praised.

A startling chain of events had caused this forced emergence of Marston-le-Willows from its pastoral seclusion, its almost mediaeval English passivity and quietude into the hustle and noise of twentieth-century publicity. That chain of events had culminated in a mysterious murder and apparently there are few people who are not immediately interested in a mysterious murder. It is said that even such exalted personages as prime ministers, chancellors of the exchequer, law lords, headmasters of famous schools and secretly a bishop or two are addicted to the reading of fictional murders as an invigorating relaxation from the terrible strain of their stupendous mental activities.

Eventually they [Sarunas Marciulionis and Don Nelson] got a call from a representative of the Grateful Dead, whose members had been inspired by Lithuania's struggle for independence. Nelson and Marciulionis showed up at the address they were given in San Francisco, which was a small, nondescript garage. 'I thought we were the victim of a practical joke until we opened the door and there was a state-of-the-art recording studio' says Nelson. 'I still remember the Dead were trying out Beatles covers, doing stuff like "Here Comes the Sun" and "Hey Jude"... but they were just kind of working through things and sounding kind of nasally and, well, maybe there was a little pot going on. So Sarunas pulls me aside and says 'Donnie, no way these guys are famous. They're terrible.' '.

From insomnia and as a result of the intense struggle against mounting weakness, something strange is happening to me. In the midst of a lecture, tears suddenly choke me, my eyes begin to itch, and I feel a passionate, hysterical desire to stretch my arms out and complain loudly. I want to cry in a loud voice that fate has sentenced me, a famous man, to capital punishment, and that in six months or so another man will be master of this auditorium. I want to cry out that I've been poisoned; new thoughts such as I have never known before have poisoned the last days of my life and go on stinging my brain like mosquitoes. And at such times my situation seems so terrible that I want all my listeners to be horrified, to jump up from their seats and, in panic fear, rush for the exit with a desperate cry. It is not easy to live through such moments.

Fortunately, the great king did not have to deal with Set on his own. The Egyptians also worshipped Horus, the son of Osiris. Horus took the twin forms of a falcon, the most visually acute of all creatures, and the still-famous hieroglyphic single Egyptian eye (as alluded to in Rule 7). Osiris is tradition, aged and willfully blind. Horus, his son, could and would, by contrast, see. Horus was the god of attention. That is not the same as rationality. Because he paid attention, Horus could perceive and triumph against the evils of Set, his uncle, albeit at great cost. When Horus confronts Set, they have a terrible battle. Before Set’s defeat and banishment from the kingdom, he tears out one of his nephew’s eyes. But the eventually victorious Horus takes back the eye. Then he does something truly unexpected: he journeys voluntarily to the underworld and gives the eye to his father.

When Marsyas was 'torn from the scabbard of his limbs' - DELLA VAGINA DELLA MEMBRE SUE, to use one of Dante's most terrible Tacitean phrases - he had no more song, the Greek said. Apollo had been victor. The lyre had vanquished the reed. But perhaps the Greeks were mistaken. I hear in much modern Art the cry of Marsyas. It is bitter in Baudelaire, sweet and plaintive in Lamartine, mystic in Verlaine. It is in the deferred resolutions of Chopin's music. It is in the discontent that haunts Burne- Jones's women. Even Matthew Arnold, whose song of Callicles tells of 'the triumph of the sweet persuasive lyre,' and the 'famous final victory,' in such a clear note of lyrical beauty, has not a little of it; in the troubled undertone of doubt and distress that haunts his verses, neither Goethe nor Wordsworth could help him, though he followed each in turn, and when he seeks to mourn for THYRSIS or to sing of the SCHOLAR GIPSY, it is the reed that he has to take for the rendering of his strain. But whether or not the Phrygian Faun was silent, I cannot be. Expression is as necessary to me as leaf and blossoms are to the black branches of the trees that show themselves above the prison walls and are so restless in the wind. Between my art and the world there is now a wide gulf, but between art and myself there is none. I hope at least that there is none.

There is one terrible weakness you can have if you amusedly and self-deprecatingly describe yourself as an artist and become famous. One letdown if you become loved by millions and your work is meaningful work and that is if some of the millions that know you and love you are teenage girls. There is nothing more shaming than to be loved by teenage girls. The love of teenage girls is not merely substandard or worthless it is an active mortification to an artist. Our language is full of how little we think of artists that are loved by teenage girls, we talk of mad fans and teenyboppers and little girls wetting their knickers. Ohh, you can take those girls' money and become elevated on their devotion and enjoy them putting you at number one. You can do all those things, no band ever refused them but you do not respect those girls, you do not want to talk to them or look them in the eye, or hang out with them or love them back. You do not talk about them unless it is to turn to your cool fans, the men, and mouth "Sorry, these mad girls have crushed the party. So embarrassing!" (...)Men are the right fans to have. This is why rock is cooler than pop, acid house is cooler than disco, prog is cooler than boy bands. Things boys love are cooler than things girls love. That is a simple fact. Boys love clever things cleverly, girls love foolish things foolishly. How awful it would be love bands like teenage girls do? How awful it would be to be the wrong kind of fan? A girl. How awful it would be to be a dumb, hysterical, screaming teenage girl? How amazing it is to be a dumb, hysterical, screaming teenage girl? ...

A reflection on Robert Lowell Robert Lowell knew I was not one of his devotees. I attended his famous “office hours” salon only a few times. Life Studies was not a book of central importance for me, though I respected it. I admired his writing, but not the way many of my Boston friends did. Among poets in his generation, poems by Elizabeth Bishop, Alan Dugan, and Allen Ginsberg meant more to me than Lowell’s. I think he probably sensed some of that. To his credit, Lowell nevertheless was generous to me (as he was to many other young poets) just the same. In that generosity, and a kind of open, omnivorous curiosity, he was different from my dear teacher at Stanford, Yvor Winters. Like Lowell, Winters attracted followers—but Lowell seemed almost dismayed or a little bewildered by imitators; Winters seemed to want disciples: “Wintersians,” they were called. A few years before I met Lowell, when I was still in California, I read his review of Winters’s Selected Poems. Lowell wrote that, for him, Winters’s poetry passed A. E. Housman’s test: he felt that if he recited it while he was shaving, he would cut himself. One thing Lowell and Winters shared, that I still revere in both of them, was a fiery devotion to the vocal essence of poetry: the work and interplay of sentences and lines, rhythm and pitch. The poetry in the sounds of the poetry, in a reader’s voice: neither page nor stage. Winters criticizing the violence of Lowell’s enjambments, or Lowell admiring a poem in pentameter for its “drill-sergeant quality”: they shared that way of thinking, not matters of opinion but the matter itself, passionately engaged in the art and its vocal—call it “technical”—materials. Lowell loved to talk about poetry and poems. His appetite for that kind of conversation seemed inexhaustible. It tended to be about historical poetry, mixed in with his contemporaries. When he asked you, what was Pope’s best work, it was as though he was talking about a living colleague . . . which in a way he was. He could be amusing about that same sort of thing. He described Julius Caesar’s entourage waiting in the street outside Cicero’s house while Caesar chatted up Cicero about writers. “They talked about poetry,” said Lowell in his peculiar drawl. “Caesar asked Cicero what he thought of Jim Dickey.” His considerable comic gift had to do with a humor of self and incongruity, rather than wit. More surreal than donnish. He had a memorable conversation with my daughter Caroline when she was six years old. A tall, bespectacled man with a fringe of long gray hair came into her living room, with a certain air. “You look like somebody famous,” she said to him, “but I can’t remember who.” “Do I?” “Yes . . . now I remember!— Benjamin Franklin.” “He was a terrible man, just awful.” “Or no, I don’t mean Benjamin Franklin. I mean you look like a Christmas ornament my friend Heather made out of Play-Doh, that looked like Benjamin Franklin.” That left Robert Lowell with nothing to do but repeat himself: “Well, he was a terrible man.” That silly conversation suggests the kind of social static or weirdness the man generated. It also happens to exemplify his peculiar largeness of mind . . . even, in a way, his engagement with the past. When he died, I realized that a large vacuum had appeared at the center of the world I knew.

At this point, perhaps you Hushlanders are beginning to doubt the truth of this narrative. You have seen several odd and inexplicable things happen. (Though, just as a warning, the story so far has actually been quite tame. Just wait until we get to the part with the talking dinosaurs.) Some readers might even think that I’m just making this story up. You might think that everything in this book is dreamy silliness. This book is serious. Terribly serious. Your skepticism results from a lifetime of training in the Librarians’ school system, where you were taught all kinds of lies. Indeed, you’d probably never even heard of the Smedrys, despite the fact that they are the most famous family of Oculators in the entire world. In most parts of the Free Kingdoms, being a Smedry is considered equivalent to being nobility. (If you wish to perform a fun test, next time you are in history class, ask your teacher about the Smedrys. If your teacher is a Librarian spy, he or she will get red-faced and give you a detention. If, on the other hand, your teacher is innocent, he or she will simply be confused, then likely give you a detention.)

It won't work. You see, he is a liar and a thief. And he's been one for too long. He can't retire now. In addition to which. He has become, I'm afraid, a hack.' 'He may be all those things but she knows he's not.' 'What gives her that curious idea?' 'She's been with him constantly for the last few days. She's seen him shaking with terror, exhausted, ready to quit. She's watched him pull himself together again and she's also seen him be warm and tender. And funny. Not famous-international-wit funny but really funny.' 'Do you think she's an idiot? Do you think she doesn't know what kind of man he is? Or what he needs?' 'And what he needs is L-O-V-E? Uh-uh it's too late. He is 43 years old. Or will be this October. He's been married twice, both times disastrously and there have been too many years of... too much dough, too much bad writing and too much whiskey. He's got nothing left inside to give. Even if he could, which he can't.' 'But that's not true. You can, you have. I just know it.' 'No, you don't. It's lousy. In any case, the problem is you're not in love with the script. You're in love with me. And why shouldn't you be? When suddenly, waltzing into your life comes this charming and relatively handsome stranger. Me. Smooth as silk, with a highly practised line of chatter, specifically designed to knock relatively unsophisticated chicks like you Miss Simpson, right on their ears. Which I'm terribly afraid I've done. Well if it's the last decent thing I do in this world, and it very well may be, I'm going to fix that. I'm going to send you packing Miss Simpson before I cause you serious and irrevocable harm. You want the truth? Of course you don't. I'll give it to you anyway. I do not give one damn about anything.

Still, in my struggles over my feelings of anger and repugnance, I have sometimes been able to break through my blinders and view Hitler as another human being, imperfect, and suffering like myself. Only then could I see beyond his terrible rage to the suffering, traumatized child within. At those times, I understood the feelings of the child subject to violent verbal and physical abuse by his father. My own military service in World War II and my later professional working in treating traumatized war veterans has helped me as well to empathetically recognize Hitler's immense suffering in World War I

Oh, we solved that long ago!” Rubedo chuckled. “I believe that was Greengallows, Henrik Greengallows? Is that right, my love? Ancient history has never been my subject. A famous case study even reported a method for turning straw into gold! The young lady who discovered it wrote a really rather thin paper—but she toured the lecture circuit for years! Her firstborn refined it, so that she could make straw from gold and solve the terrible problem of housing for destitute brownies.” “Hedwig Greengallows, my dear,” mused Citrinitas. “Henrik was just her mercurer. Men are so awfully fond of attributing women’s work to their brothers!

This new turn of events prompted them to philosophize more than ever. There lived in the vicinity a famous dervish who was known as the best philosopher in Turkey; they went to consult him. Acting as their spokesman, Pangloss said to the dervish, “Sir, we've come to ask you why such a strange animal as man was ever created.” “Why are you concerned about that?” said the dervish. “Is it any of your business?” “But, Reverend Father,” said Candide, “there's a terrible amount of evil in the world.” “What does it matter whether there's evil or good?” said the dervish. “When His Highness sends a ship to Egypt, does he worry about whether the mice in it are comfortable?” “Then what ought we to do?” asked Pangloss. “Keep quiet,” said the dervish.

human designers, being farsighted but blinkered, tend to find their designs thwarted by unforeseen side effects and interactions, so they try to guard against them by giving each element in the system a single function, and insulating it from all the other elements. In contrast, Mother Nature (the process of natural selection) is famously myopic and lacking in goals. Since she doesn’t foresee at all, she has no way of worrying about unforeseen side effects. Not “trying” to avoid them, she tries out designs in which many such side effects occur; most such designs are terrible (ask any engineer), but every now and then there is a serendipitous side effect: two or more unrelated functional systems interact to produce a bonus: multiple functions for single elements.

Doth pride lead to vanity? Doth vanity form imaginary wants? Do these wants prompt men to exert their power in requiring more from others than they would be willing to perform themselves, were the same required of them? Do these proceedings beget hard thoughts? Do hard thoughts, when ripe, become malice? Does malice, when ripe, become revengeful, and in the end inflict terrible pains on our fellow-creatures and spread desolations in the world? "Do mankind, walking in uprightness, delight in each other's happiness? And do those who are capable of this attainment, by giving way to an evil spirit, employ their skill and strength to afflict and destroy one another? Remember then, O my soul! the quietude of those in whom Christ governs, and in all thy proceedings feel after it.

Then at last, when he could stand it no longer, he would peel back a tiny bit of the paper wrapping at one corner to expose a tiny bit of chocolate, and then he would take a tiny nibble – just enough to allow the lovely sweet taste to spread out slowly over his tongue. The next day, he would take another tiny nibble, and so on, and so on. And in this way, Charlie would make his sixpenny bar of birthday chocolate last him for more than a month. But I haven’t yet told you about the one awful thing that tortured little Charlie, the lover of chocolate, more than anything else. This thing, for him, was far, far worse than seeing slabs of chocolate in the shop windows or watching other children munching bars of creamy chocolate right in front of him. It was the most terrible torturing thing you could imagine, and it was this: In the town itself, actually within sight of the house in which Charlie lived, there was an ENORMOUS CHOCOLATE FACTORY! Just imagine that! And it wasn’t simply an ordinary enormous chocolate factory, either. It was the largest and most famous in the whole world! It was WONKA’S FACTORY, owned by a man called Mr Willy Wonka, the greatest inventor and maker of chocolates that there has ever been. And what a tremendous, marvellous place it was! It had huge iron gates leading into it, and a high wall surrounding it, and smoke belching from its chimneys, and strange whizzing sounds coming from deep inside it. And outside the walls, for half a mile around in every direction, the air was scented with the heavy rich smell of melting chocolate! Twice a day, on his way to and from school, little Charlie Bucket had to walk right past the gates of the factory. And every time he went by, he would begin to walk very, very slowly, and he would hold his nose high in the air and take long deep sniffs of the gorgeous chocolatey smell all around him. Oh, how he loved that smell! And oh, how he wished he could go inside the factory and see what it was like!

J. R. R. Tolkien’s famous essay, “On Fairy-Stories,” in Tree and Leaf (New York: HarperCollins, 2001), pp. 1–82. The consolation . . . the joy of the happy ending . . . the sudden joyous ‘turn’ . . . this joy which . . . stories can produce supremely well, is not essentially ‘escapist’ nor ‘fugitive.’ . . . It is a sudden and miraculous grace: never to be counted on to recur. It does not deny the existence of dyscatastrophe, of sorrow and failure. Indeed, the possibility of these is necessary to the joy of deliverance. Rather, it denies (in the face of much evidence, if you will) universal final defeat, and thus is evangelium, giving a fleeting glimpse of Joy, Joy beyond the walls of the world, poignant as grief. It is the mark of a good story, of the higher or more complete kind, that however wild its events, however fantastic or terrible the adventures, it can give . . . when the ‘turn’ comes, a catch of the breath, a beat and lifting of the heart, near to (or indeed accompanied by) tears, as keen as that given by any form of literary art, and having a peculiar quality. In . . . the ‘turn’ . . . we get a piercing glimpse of joy, and heart’s desire, that for a moment passes outside the frame, rends indeed the very web of story, and lets a gleam come through.” Tolkien, “On Fairy-Stories,” pp. 68–69. Later Tolkien argues that the ultimate story—the gospel—is the essence of all other stories with the joy-giving happy ending. “This ‘joy’ . . . merits more consideration. The peculiar quality of the ‘joy’ in a successful Fantasy can . . . be explained as a sudden glimpse of an underlying . . . Reality. . . . The Gospels contain . . . a story of a larger kind which embraces all the essence of fairy-stories. They contain . . . the greatest and most complete conceivable eucatastrophe. But this story has entered history and the primary world. . . . The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story ends in joy. . . . There is no tale ever told that men would rather find was true, and none which so many skeptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath. . . . [T]his story is supreme; and it is true. Art has been verified. God is Lord, of angels, and of men—and of elves. Legend and History have met and fused.” Tolkien, “On Fairy-Stories,” pp. 71–73.

Fortunate beyond measure… wise and provident in counsel, well-learned in law, history, humanity and divinity. He understood Latin, French, Spanish, Italian, and High and Low-Dutch, besides his native language. He was of quick apprehension, judicious and skillful in nature, elegant in speech, sweet, familiar and affable in behaviour; stern to the obstinate, but calm and meek to the humble. Magnanimous and courageous above all the princes of his days; apt for war but a lover of peace; never puffed up with prosperity nor dismayed at adversity. He was of an exalted, glorious, and truly royal spirit, which never entertained anything vulgar or trivial, as may appear by the most excellent laws which he made, by those two famous jubilees he kept, and by the most honourable Order of the Garter, which he first devised and founded. His recreations were hawking, hunting and fishing, but chiefly he loved the martial exercise of jousts and tournaments. In his buildings he was curious, splendid and magnificent, in bestowing of graces and donations, free and frequent; and to the ingenious and deserving always kind and liberal; devout to God, bountiful to the clergy, gracious to his people, merciful to the poor, true to his word, loving to his friends, terrible to his enemies… In short he had the most virtues and the fewest vices of any prince that ever I read of. He was valiant, just, merciful, temperate, and wise; the best lawgiver, the best friend, the best father, and the best husband in his days.5

Are his letters to Diana downstairs?" She sighed. "What is it about girls and letters? My husband left me messages in soap on the bathroom mirror. Utterly impermanent.Really wonderful-" She broke off and scowled. I would have thought she looked a little embarrassed, but I didn't think embarrassment was in her repertoire. "Anyway. Most of the correspondence between the Willings is in private collections. He had their letters with him in Paris when he died. In a noble but ultimately misguided act, his attorney sent them to his neice. Who put them all in a ghastly book that she illustrated. Her son sold them to finance the publication of six even more ghastly books of poetry. I trust there is a circle of hell for terrible poets who desecrate art." "I've seen the poetry books in the library," I told her. "The ones with Edward's paintings on the covers. I couldn't bring myself to read them." "Smart girl. I suppose worse things have been done, but not many.Of course, there was that god-awful children's television show that made one of his landscapes move.They put kangaroos in it. Kangaroos. In eastern Pennsylvania." "I've seen that,too," I admitted. I'd hated it. "Hated it.Not quite as much as the still life where Tastykakes replaced one orange with a cupcake, or the portrait of Diana dressed in a Playtex sports bra, but close." "Oh,God. I try to forget about the bra." Dr. Rothaus shuddered. "Well, I suppose they do far worse to the really famous painters.Poor van Gogh. All those hearing-aid ads." "Yeah." We shared a moment of quiet respect for van Gogh's ear.

God famously doesn't afflict Job because of anything Job has done, but because he wants to prove a point to Satan. Twenty years later, I am sympathetic with my first assessment; to me, in spite of the soft radiant beauty of many of its passages, the Bible still has a mechanical quality, a refusal to brook complexity that feels brutal and violent. There has been a change, however. When I look at Revelation now, it still seems frightening and impenetrable, and it still suggests an inexorable, ridiculous order that is unknowable by us, in which our earthly concerns matter very little. However, it not longer reads to me like a chronicle of arbitrarily inflicted cruelty. It reads like a terrible abstract of how we violate ourselves and others and thus bring down endless suffering on earth. When I read And they blasphemed the God of heaven because of their pain and their sores, and did not repent of their deeds, I think of myself and others I've known or know who blaspheme life itself by failing to have the courage to be honest and kind—and how then we rage around and lash out because we hurt. When I read the word fornication, I don't read it as a description of sex outside legal marriage: I read it as sex done in a state of psychic disintegration, with no awareness of one's self or one's partner, let alone any sense of honor or even real playfulness. I still don't know what to make of much of it, but I'm inclined to read it as a writer's primitive attempt to give form to his moral urgency, to create a structure that could contain and give ballast to the most desperate human confusion.

The dinosaurs, built of concrete, were a kind of bonus attraction. On New Year’s Eve 1853 a famous dinner for twenty-one prominent scientists was held inside the unfinished iguanodon. Gideon Mantell, the man who had found and identified the iguanodon, was not among them. The person at the head of the table was the greatest star of the young science of palaeontology. His name was Richard Owen and by this time he had already devoted several productive years to making Gideon Mantell’s life hell. A double-tailed lizard, part of the vast collection of natural wonders and anatomical specimens collected by the Scottish-born surgeon John Hunter in the eighteenth century. After Hunter’s death in 1793, the collection passed to the Royal College of Surgeons. (credit 6.8) Owen had grown up in Lancaster, in the north of England, where he had trained as a doctor. He was a born anatomist and so devoted to his studies that he sometimes illicitly borrowed limbs, organs and other parts from corpses and took them home for leisurely dissection. Once, while carrying a sack containing the head of a black African sailor that he had just removed, Owen slipped on a wet cobble and watched in horror as the head bounced away from him down the lane and through the open doorway of a cottage, where it came to rest in the front parlour. What the occupants had to say upon finding an unattached head rolling to a halt at their feet can only be imagined. One assumes that they had not formed any terribly advanced conclusions when, an instant later, a fraught-looking young man rushed in, wordlessly retrieved the head and rushed out again.

It had been hard enough to drive past the area. It was harder to imagine what it was like living there. Yet people lived with the stench and the terrible air, and had careers there. Even lawyers lived there, I was told. Was the smell of excrement only on the periphery, from the iridescent black lake? No; that stench went right through Dharavi. Even more astonishing was to read in a Bombay magazine an article about Papu's suburb of Sion, in which the slum of Dharavi was written about almost as a bohemian feature of the place, something that added spice to humdrum middle-class life. Bombay clearly innoculated its residents in some way. I had another glimpse of Dharavi some time later, when I was going in a taxi to the domestic airport at Santa Cruz. The taxi-driver - a Muslim from Hyderabad, full of self-respect, nervous about living in Bombay, fearful of sinking, planning to go back home soon, and in the meantime nervously particular about his car and his clothes - the taxi-driver showed the apartment blocks on one side of the airport road where hutment dwellers had been rehoused. In the other direction he showed the marsh on which Dharavi had grown and, away in the distance, the low black line of the famous slum. Seen from here, Dharavi looked artificial, unnecessary even in Bombay: allowed to exist because, as people said, it was a vote-bank, and hate-bank, something to be drawn upon by many people. All the conflicting currents of Bombay flowed there as well; all the new particularities were heightened there. And yet people lived there, subject to this extra exploitation, because in Bombay, once you had a place to stay, you could make money.

It turns out that in that terrible year Andrei Yanuaryevich (one longs to blurt out, “Jaguaryevich”) Vyshinsky, availing himself of the most flexible dialectics (of a sort nowadays not permitted either Soviet citizens or electronic calculators, since to them yes is yes and no is no), pointed out in a report which became famous in certain circles that it is never possible for mortal men to establish absolute truth, but relative truth only. He then proceeded to a further step, which jurists of the last two thousand years had not been willing to take: that the truth established by interrogation and trial could not be absolute, but only, so to speak, relative. Therefore, when we sign a sentence ordering someone to be shot we can never be absolutely certain, but only approximately, in view of certain hypotheses, and in a certain sense, that we are punishing a guilty person. Thence arose the most practical conclusion: that it was useless to seek absolute evidence—for evidence is always relative—or unchallengeable witnesses—for they can say different things at different times. The proofs of guilt were relative, approximate, and the interrogator could find them, even when there was no evidence and no witness, without leaving his office, “basing his conclusions not only on his own intellect but also on his Party sensitivity, his moral forces” (in other words, the superiority of someone who has slept well, has been well fed, and has not been beaten up) “and on his character” (i.e., his willingness to apply cruelty!). In only one respect did Vyshinsky fail to be consistent and retreat from dialectical logic: for some reason, the executioner’s bullet which he allowed was not relative but absolute. . . . Thus it was that the conclusions of advanced Soviet jurisprudence, proceeding in a spiral, returned to barbaric or medieval standards. Like medieval torturers, our interrogators, prosecutors, and judges agreed to accept the confession of the accused as the chief proof of guilt.

And one of the things that has most obstructed the path of discipleship in our Christian culture today is this idea that it will be a terribly difficult thing that will certainly ruin your life. A typical and often-told story in Christian circles is of those who have refused to surrender their lives to God for fear he would “send them to Africa as missionaries.” And here is the whole point of the much misunderstood teachings of Luke 14. There Jesus famously says one must “hate” all their family members and their own life also, must take their cross, and must forsake all they own, or they “cannot be my disciple” (Luke 14:26–27, 33). The entire point of this passage is that as long as one thinks anything may really be more valuable than fellowship with Jesus in his kingdom, one cannot learn from him. People who have not gotten the basic facts about their life straight will therefore not do the things that make learning from Jesus possible and will never be able to understand the basic points in the lessons to be learned. It is like a mathematics teacher in high school who might say to a student, “Verily, verily I say unto thee, except thou canst do decimals and fractions, thou canst in no wise do algebra.” It is not that the teacher will not allow you to do algebra because you are a bad person; you just won’t be able to do basic algebra if you are not in command of decimals and fractions. So this counting of the cost is not a moaning and groaning session. “Oh how terrible it is that I have to value all of my ‘wonderful’ things (which are probably making life miserable and hopeless anyway) less than I do living in the kingdom! How terrible that I must be prepared to actually surrender them should that be called for!” The counting of the cost is to bring us to the point of clarity and decisiveness. It is to help us to see. Counting the cost is precisely what the man with the pearl and the hidden treasure did. Out of it came their decisiveness and joy. It is decisiveness and joy that are the outcomes of the counting.

You're a Parselmouth. Why didn't you tell us?" "I'm a what?" said Harry. "A Parselmouth!" said Ron. "You can talk to snakes!" "I know," said Harry. "I mean, that's only the second time I've ever done it. I accidentally set a boa constrictor on my cousin Dudley at the zoo once- long story- but it was telling me it had never seen Brazil and I sort of set it free without meaning to- that was before I knew I was a wizard-" "A boa constrictor told you it had never seen Brazil?" Ron repeated faintly. "So?" said Harry. "I bet loads of people here can do it." "Oh, no they can't," said Ron. "It's not a very common gift. Harry, this is bad." "What's bad?" said Harry, starting to feel quite angry. "What's wrong with everyone? Listen, if I hadn't told that snake not to attack Justin-" "Oh, that's what you said to it?" "What d'you mean? You were there- you heard me-" "I heard you speaking Parseltongue," said Ron. "Snake language. You could have been saying anything- no wonder Justin panicked, you sounded like you were egging the snake on or something- it was creepy, you know-" Harry gaped at him. "I spoke a different language? But- I didn't realize- how can I speak a language without knowing I can speak it?" Ron shook his head. Both he and Hermione were looking as though someone had died. Harry couldn't see what was so terrible. "D'you want to tell me what's wrong with stopping a massive snake biting off Justin's head?" he said. "What does it matter how I did it as long as Justin doesn't have to join the Headless Hunt?" "It matters," said Hermione, speaking at last in a hushed voice, "because being able to talk to snakes was what Salazar Slytherin was famous for. That's why the symbol of Slytherin House is a serpent." Harry's mouth fell open. "Exactly," said Ron. "And now the whole school's going to think you're his great-great-great-great-grandson or something..." "But I'm not," said Harry, with a panic he couldn't quite explain. "You'll find that hard to prove," said Hermione. "He lived about a thousand years ago; for all we know, you could be.

This, in turn, has given us a “unified theory of aging” that brings the various strands of research into a single, coherent tapestry. Scientists now know what aging is. It is the accumulation of errors at the genetic and cellular level. These errors can build up in various ways. For example, metabolism creates free radicals and oxidation, which damage the delicate molecular machinery of our cells, causing them to age; errors can build up in the form of “junk” molecular debris accumulating inside and outside the cells. The buildup of these genetic errors is a by-product of the second law of thermodynamics: total entropy (that is, chaos) always increases. This is why rusting, rotting, decaying, etc., are universal features of life. The second law is inescapable. Everything, from the flowers in the field to our bodies and even the universe itself, is doomed to wither and die. But there is a small but important loophole in the second law that states total entropy always increases. This means that you can actually reduce entropy in one place and reverse aging, as long as you increase entropy somewhere else. So it’s possible to get younger, at the expense of wreaking havoc elsewhere. (This was alluded to in Oscar Wilde’s famous novel The Picture of Dorian Gray. Mr. Gray was mysteriously eternally young. But his secret was the painting of himself that aged horribly. So the total amount of aging still increased.) The principle of entropy can also be seen by looking behind a refrigerator. Inside the refrigerator, entropy decreases as the temperature drops. But to lower the entropy, you have to have a motor, which increases the heat generated behind the refrigerator, increasing the entropy outside the machine. That is why refrigerators are always hot in the back. As Nobel laureate Richard Feynman once said, “There is nothing in biology yet found that indicates the inevitability of death. This suggests to me that it is not at all inevitable and that it is only a matter of time before biologists discover what it is that is causing us the trouble and that this terrible universal disease or temporariness of the human’s body will be cured.

This way please,' said a voice. In the door stood Dr Sesame, the famous Dr Sesame, whose reputation as a sympathetic and, according to some, also a kind-hearted man had spread throughout the town and beyond. He had also written a popular pamphlet on sexual problems, which had given Pinneberg the courage to write making an appointment for Emma and himself. This, then, was the Dr Sesame at present standing in the doorway, and saying 'This way, please.' Dr Sesame searched on his desk for the letter. 'You wrote to me, Mr Pinneberg... saying you couldn't have any children just yet because you couldn't afford it?' 'Yes,' said Pinneberg, dreadfully embarrassed. 'You can start undressing,' said the doctor to Emma, and carried on: 'And you want to know an entirely reliable means of prevention. Hm, an entirely reliable means...' He smiled sceptically behind his gold-rimmed spectacles. 'I read about it in your book... These pessoirs...' 'Pessaries,' said the doctor. 'Yes, but they don't suit every woman. And it's always a bit of a business. It depends on whether your wife would be nimble-fingered enough...' He looked up at her. She had already taken off her blouse and skirt. Her slim legs made her look very tall. 'Well, let's go next door,' said the doctor. 'You needn't have taken your blouse off for this, young lady.' Emma went a deep red. 'Oh well, leave it off now. Come this way. One moment, Mr Pinneberg.' The two of them went into the next room. Pinneberg watched them go. The top of the doctor's head reached no farther than the 'young lady's' shoulders. How beautiful she was! thought Pinneberg yet again; she was the greatest girl in the world, the only one for him. He worked in Ducherow, and she worked here in Platz, and he never saw her more than once a fortnight, so his joy in her was always fresh, and his desire for her absolutely inexpressible. Next door he heard the doctor asking questions on and off in a low voice, and an instrument clinking on the side of a bowl. He knew that sound from the dentist's; it wasn't a pleasant one. Then he winced violently. Never had he heard that tone from Emma. She was saying in a high, clear voice that was almost a shriek - 'No, no, no!' And once again, 'No!' And then, very softly, but he still heard it: 'Oh God.' Pinneberg took three steps to the door - What was that? What could it be? What about these rumours that those kind of doctors were terrible lechers? But then Dr Sesame spoke again - impossible to hear what he said - and the instrument clinked again. There was a long silence.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

You're a terrible feller,” said Butcher. “If you had your way, you'd leave us stark naked. We should all be standing on our little island in the savage state of the Ancient Britons; figuratively.” He hiccuped. “Yes, figuratively. But in reality the country would be armed better than it ever had been before. And by the sacrifice of these famous 'national characteristics' we cling to sentimentally, and which are merely the accident of a time, we should lay a soil and foundation of unspecific force on which new and realler 'national flavours' would very soon sprout.” “I quite agree,” Butcher jerked out energetically. He ordered another Laager. “I agree with what you say. If we don't give up dreaming, we shall get spanked. I have given up my gypsies. That was very public-spirited of me?” He looked coaxingly. "If every one would give up their gypsies, their jokes and their gentlemen—. 'Gentlemen' are worse than gypsies.

through the biblical stories and realized that serving YHWH always seemed to come at great personal cost. So did YHWH send the testing, or did it come as a natural course of events when one was willing to serve? With those conflicting thoughts battling each other, the words of Yeshua came to mind—the words spoken on that famous night when the Son of God petitioned the Father to allow him to pass on the terrible events he knew were coming: Not my will but thine, YHWH, Zane thought. “Not my will, but thine,” he repeated, aloud this time.

No one lives on Hobe's Hill today. Only a few abandoned shacks remain. The land has greatly changed. When Walker Evans took his pictures, it was a grand, open place, full of cotton. Now forest has reclaimed the land. There is still some field, planted in soybeans, and this provides some sense of how things once were. These soybeans, as well as those down by the main highway, were planted by Joe Bridges and his son Huey. Amid the soybeans, the ground is stony, and the water-starved beans grow with more courage than success. This same dust was breathed by Fred Ricketts as he plowed behind the seat rump of a mule fifty years ago. He and his children stared at this ground as they chopped weeds and, later, hunched over the long rows to pick. They knew this same sun, this silence, the awful loneliness of this red plateau. The heat dulls the senses. Even sulfur butterflies, those neurotic field strutters, are slothful. The whole South seems under a hot Augustan pause--all the highways blurry beneath the burden of hear, be they four-lane marchers, two-lane winders, single-track dirt poems. From this hill, it's hard to imagine life going on in this hear anywhere across the six hundred miles of the South, in any of those terrible little towns...

Africa had free markets and a thriving entrepreneurial culture and tradition centuries before these became the animating ideas of the United States or Western Europe. Timbuktu, the legendary city in northern Mali, was a famous trading post and marketplace as far back as the twelfth century, as vital to the commerce of North and West Africa as ports on the Mediterranean were to Europe and the Levant. In Africa Unchained, George Ayittey offers myriad examples of industrial activity in precolonial Africa, from the indigo-dye cloth trade of fourteenth-century Kano, Nigeria, to the flourishing glass industry of precolonial Benin to the palm oil businesses of southern Nigeria to the Kente cotton trade of the Asante of Ghana in the 1800s: “Profit was never an alien concept to Africa. Throughout its history there have been numerous entrepreneurs. The aim of traders and numerous brokers or middlemen was profit and wealth.”2 The tragedy is what happened next. These skills and traditions were destroyed, damaged, eroded or forced underground, first during centuries of slave wars and colonialism and, later, through decades of corrupt postindependence rule, usually in service to foreign ideologies of socialism or communism. No postcolonial leader in Africa who fought for independence has ever adequately explained why liberation from colonial rule necessarily meant following the ideas and philosophies of Karl Marx, a gray-bearded nineteenth-century German academic who worked out of the British Library and never set foot in Africa. At the same time, neither should we have ever allowed ourselves to become beholden to paternalistic aid organizations that were sending their representatives to build our wells and plant our food for us. Nor, for that matter, should we have relied on the bureaucrats of the Western world telling us how to be proper capitalists or—as is happening now—to Party officials in Beijing telling us what they want in exchange for this or that project. It was this outside influence—starting with colonialism but later from our own terrible and corrupt policies and leaderships—that the stereotype of the lazy, helpless, unimaginative and dependent African developed. The point is that we Africans have to take charge of our own destiny, and to do this we can call on our own unique culture and traditions of innovation, free enterprise and free trade. We are a continent of entrepreneurs.

What is interesting is that the term Aryan was adopted by the Nazis and Adolf Hitler in the early 20th century to describe a people group they deemed as purely Germanic (must be of one people group) and more “evolved” than the rest of European peoples and the rest of the world. And yet, the true Aryans were one of the most famous groups of people who were of mixed descent. Hitler and the Nazis were playing off of Charles Darwin’s model of higher and lower races. This idea, claimed by this humanistic religion, has been a cause of terrible atrocities in WWI, WWII, and mass exterminations of people by leaders like Stalin (Soviet Union) and Mao (China), among others.

Matajura wanted to become a great swordsman, but his father said he could never learn, because he wasn’t quick enough. So Matajura went to the famous dueler Banzo and asked to become his pupil. “How long will it take me to become a master?” he asked. “Suppose I become your servant, to be with you every minute, how long?” “Ten years,” said Banzo. “My father is getting old,” pleaded Matajura. “Before ten years have passed I will have to return home to take care of him. Suppose I work twice as hard. How long will it take me?” “Thirty years,” said Banzo. “How is that?” asked Matajura. “When I offer to work twice as hard, you say it will take three times as long. Let me make myself clear. I will work unceasingly. No hardship will be too much. How long will it take?” “Seventy years,” said Banzo. “A pupil in such a hurry learns slowly.” Matajura understood. Without asking for any promises in terms of time, he became Banzo’s servant. Three years passed. Matajura cleaned, cooked, washed, and gardened. He was ordered never to speak of fencing or to touch a sword. He was very sad at this, but he had given his promise to the master and resolved to keep his word. One day while Matajura was gardening, Banzo came up quietly behind him and gave him a terrible whack with a wooden sword. The next day in the kitchen, the same blow fell again. Thereafter, day in and day out, from every corner and at any moment, Matajura was attacked by Banzo’s wooden sword. He learned to live on the balls of his feet, ready to dodge at any moment. He became a body with no desires, no thought, only external readiness and quickness. Banzo smiled and started lessons. Soon, Matajura was the greatest swordsman in Japan. THE

The third thing I would say is, whatever you write, it should feel deeply necessary to you to write it. I mean, really, don’t write it just to make money. Don’t write it to be famous. Those are, in my view, terrible reasons to write. Write because it comes from some very deep place inside you that you, really, really, really need to express. And I’ve always thought the world is full of books. There are zillions of books out there. And none of us in a lifetime will read all the great books there are to read. So nobody needs your book. If you’re going to add to the mountain, make sure it feels essential to you to do so. Make sure that you can’t not write it. If you can find a reason for not writing a book, don’t write it. Write the books that you can’t avoid writing.

Like other assassins, Bardo had stalked several famous people, including a client of mine whom he decided was too inaccessible. He gave up on her and switched his attention to Rebecca Schaeffer. For assassins, it is the act and not the target, the destination, not the journey that matters. Because targets are interchangeable, I asked Bardo how the security precautions taken by some public figures affected his choice. He said, “If I read in an article that they have security and they have bodyguards, it makes you look at that celebrity different and makes a person like me stand back. It kind of stands against this hope of a romantic relationship.” Though Bardo’s defense tried to sell the idea that he expected a romantic relationship with Rebecca Schaeffer, he never really did. Bardo expected exactly what he got, an unenthusiastic reception and ultimately a rejection. He used that rejection as an excuse to do what he had long wanted to do: release his terrible anger against women, against his family, and against the rest of us.

Meanwhile, I was kind of detached, despite the terrible pain. I was watching all the drama unfold. Later they told me I was in shock, but I remember enjoying the ride to the hospital because I never thought I’d ride in an ambulance with the sirens wailing. It was one of those things I had always wanted to do when I was growing up. When we got there, they told me there were news crews outside, so I asked for my glove. There’s a famous shot of me waving from the stretcher with my glove on.

These people have already attained, at whatever age, a degree of celebrity you a--holes will never reach, and you feel, deep down, that because there is no life before or after this, that fame is, essentially, God -- all you people know that, believe it, even if you don't admit it. As children you watched him, in the basement, cross-legged in front of the TV, and you thought you should be him, that his lines were yours, that his spot on Battle of the Network Stars was yours, that you'd be so good on the obstacle course - you'd win for sure! So doing all this, when he's no longer such the world-conquering celebrity, gives you power over him, the ability to embarrass him, to equalize the terrible imbalance you feel about your relationship to those who project their charisma directly, not sublimated through snarky little magazines. You and everyone like you, with your Q&As or columns or Web sites - you all want to be famous, you want to be rock stars, but you're stuck in this terrible bind, where you also want to be thought of as smart, legitimate, permanent. So you do your little thing, are read by your little coterie, while secretly seething about the Winona Ryders and Ethan Hawkes.

ECAPE OF THE LOVELY LADY JULIA DE GONZAGA Stories that he heard on his progress of the lovely Julia Gonzaga, Duchess of Trajetto and Countess of Fondi, next tempted him to an exploit of a somewhat different character. The young widow was the most famous beauty in Italy; no fewer than two hundred and eight Italian poets had written verses in her honour and the device emblazoned on her shield was the Flower of Love. It occurred to the corsair that she would make an excellent token of his devotion to his new lord, Suleyman the Magnificent. The lady was at Fondi. Thither the pirate travelled, swiftly and by night. But the fame of his presence preceded him and the lady had just time to leap from her bed and gallop off on horseback dressed in the flimsiest of night garments and accompanied by one male attendant. She managed to escape, and afterwards condemned the attendant to death because, she alleged, he had been unduly familiar during that desperate nocturnal ride. Kheyr-ed-din, annoyed at the escape of his sultan’s fair prize, gave over the town of Fondi to a terrible four hours’ punishment at the hands of his men.

The father of the modern conservative movement, Barry Goldwater, recognized and feared the inflexibility of religion in politics in 1994 when he famously insisted, “If and when these preachers get control of the [Republican] party, and they’re sure trying to do so, it’s going to be a terrible damn problem. Frankly, these people frighten me. Politics and governing demand compromise. But these Christians believe they are acting in the name of God, so they can’t and won’t compromise.

The Tiger King’s Gift Long ago, in the days of the ancient Pandya kings of South India, a father and his two sons lived in a village near Madura. The father was an astrologer, but he had never become famous, and so was very poor. The elder son was called Chellan; the younger Gangan. When the time came for the father to put off his earthly body, he gave his few fields to Chellan, and a palm leaf with some words scratched on it to Gangan. These were the words that Gangan read: ‘From birth, poverty; For ten years, captivity; On the seashore, death. For a little while happiness shall follow.’ ‘This must be my fortune,’ said Gangan to himself, ‘and it doesn’t seem to be much of a fortune. I must have done something terrible in a former birth. But I will go as a pilgrim to Papanasam and do penance. If I can expiate my sin, I may have better luck.’ His only possession was a water jar of hammered copper, which had belonged to his grandfather. He coiled a rope round the jar, in case he needed to draw water from a well. Then he put a little rice into a bundle, said farewell to his brother, and set out. As he journeyed, he had to pass through a great forest. Soon he had eaten all his food and drunk all the water in his jar. In the heat of the day he became very thirsty. At last he came to an old, disused well. As he looked down into it, he could see that a winding stairway had once gone round it down to the water’s edge, and that there had been four landing places at different heights down this stairway, so that those who wanted to fetch water might descend the stairway to the level of the water and fill their water pots with ease, regardless of whether the well was full, or three-quarters full, or half full or only one-quarter full. Now the well was nearly empty. The stairway had fallen away. Gangan could not go down to fill his water jar so he uncoiled his rope, tied his jar to it and slowly let it down. To his amazement, as it was going down past the first landing place, a huge striped paw shot out and caught it, and a growling voice called out: ‘Oh Lord of Charity, have mercy! The stair is fallen. I die unless you save me! Fear me not.

Are all perpetrators alike? No; not everyone feels the need to reduce dissonance by denigrating the victim. Who do you imagine would be most likely to blame the victim: perpetrators who think highly of themselves and have strong feelings of self-worth, or those who are insecure and have low self-worth? Dissonance theory makes the nonobvious prediction that it will be the former. For people who have low self-esteem, treating others badly or going along mindlessly with what others tell them to do is not terribly dissonant with their self-concept. Moreover, they are more likely to be self-deprecating and modest, because they don't think they are especially wonderful. It is the people who think the most of themselves who, if they cause someone pain, must convince themselves the other guy is a rat. Because terrific guys like me don't hurt innocent people, that guy must deserve every nasty thing I did to him. An experiment by David Glass confirmed this prediction: The higher the perpetrators' self-esteem, the greater their denigration of their victims. Are all victims alike in the eyes of the perpetrator? No; they differ in their degree of helplessness. Suppose you are a marine in a hand-to-hand struggle with an armed enemy soldier. You kill him. Do you feel much dissonance? Probably not. The experience may be unpleasant, but it does not generate dissonance and needs no additional justification: "It was him or me ... I killed an enemy ... We are in this to win ... I have no choice here." But now suppose that you are on a mission to firebomb a house that you were told contains enemy troops. You and your team destroy the place, and then discover you have blown up a household of old men, children, and women. Under these circumstances, most soldiers will try to find additional self-justifications to reduce the dissonance they feel about killing innocent civilians, and the leading one will be to denigrate and dehumanize their victims: "Stupid jerks, they shouldn't have been there ... they were probably aiding the enemy ... All those people are vermin, gooks, subhuman." Or, as General William Westmoreland famously said of the high number of civilian casualties during the Vietnam War, "The Oriental doesn't put the same high price on life as does a Westerner. Life is plentiful. Life is cheap in the Orient.

We’re eight around the table. After we finish the soup the others stop talking, and she and I carry on. We’re discussing a film, which I liked, so I defend it. But she insists that the actor, a famous leading man, gave a terrible performance. Though I’m not drunk I can’t help it, I say: “Do you realize you have no idea what the fuck you’re talking about?” She doesn’t reply, and after that she erases me out of her evening. The others exchange embarrassed glances. I’ve never exploded like that at a small dinner among friends. The husband looks at me, gelid.

Then he came to a work by an anonymous artist of the late nineteenth century—it was a Last Judgment. He could not understand why he had not heard of the painting before, for it was clearly a masterpiece. The image was not so complex or populated with grotesque characters as Bosch’s famous painting of the same title. No, its power was magnified through simplicity. The artist had portrayed the second coming of Christ as the return of the Lord to a world devoured by evil. In the upper half a luminous divine order descended into a field of demonic energy and universal abomination. People staggered about the desolate landscape, unable to look up to the light. They could no longer see; they could no longer believe. They thought that ruin was the sum total of reality. He could see it in their faces, their despair, their fear, their terrible loneliness. The loneliness of the apocalypse. And in those faces he saw his own face. Pawel burst into tears and wept openly in front of the painting. It seemed to him that the artist had captured his experience perfectly. How had he done that? Had he, too, felt what Pawel had felt, had he once been where Pawel now was?

When Lizzie Borden was acquitted of her parents’ murder in 1893, the people of New England were outraged — but Lizzie didn’t taunt the public for failing to convict her. She just moved into a nice house with her sister and became a recluse. A century later, Borden is “hated” by no one; anyone captivated by her life is predisposed to think about the murders from her perspective (and to hunt for any clue that might validate her improbable innocence). Over time, the public will grow to accept almost any terrible act committed by a celebrity; everything eventually becomes interesting to those who aren’t personally involved. But Simpson does not allow for uninvolvement. He exceeds the acceptable level of self-directed notoriety and changes the polarity of the event; by writing this book, he makes it seem like the worst part of Brown and Goldman’s murder was what happened to him, and that he perversely wants the world to remember that he killed them (even if he’s somehow internally convinced himself that he did not, which is what I always assumed during the trial). He keeps reminding people that he is famous because two other people are dead.

What I could have explored is how the human mind – our minds – continually try to soften and hide bad experience, by deliberately forgetting or distorting. The way not only individual minds, but collective minds – a country’s, a continent’s – will forget a horror. The most famous example is the Great Flu Epidemic of 1919–1920, when twenty-nine million people all over the world died, but it is left out of the history books, is not in the collective consciousness. Humanity’s mind is set to forget disaster. That was the contention of Velikovsky, whose story of our solar system’s possible history is dismissed by the professionals, though surely some of what he said has turned out to be true. There is certainly nothing in the human consciousness of the successive calamitous ice ages, and we – humanity – lived through more than one. There are glimpses in old tales of great floods, but that is about it. In the book which I failed to write would be implicit the question: Is it a good thing that every generation decides to forget the bad or cruel experience of the one before? That the Great War (for instance), such a calamity for Europe, became the ‘Great Unmentionable’ – which made my father and other soldiers, of France and Germany, feel as if they were being nullified, discounted, were just so much human rubbish. That five or six years after that terrible civil war in Southern Rhodesia, the new young generation had forgotten and ‘didn’t want to know’. Well … it could have been a good book.

...of the sheets held up around the terrible car crash he saw, so people couldn't see the dead bodies when they pulled them out. Was dead bodies redundant? When do people ever refer to it as a body unless it's a dead one? Pop songs, maybe? Get your body on the dance floor- that's what I was doing now, but it had to be qualified, the body had to belong to someone. No one sang about "the body"- just "your body" or "my body" and if you were addressing someone about their body on yours, you were both alive, right? Get the body on the dance floor was way more sinister. The implied emptiness. The body was vacant. No one was home.

I realize this is quite a surprise, as a live performance wasn’t in the program tonight,” Alex said. “And if you know me, you know I’m not famous for my patronage of the arts—or my singing skills.” Soft laughter rippled through the crowd, along with a few knowing looks. Alex waited for the chuckles to die down before he continued, his gaze burning into mine. “Whether it’s music, photography, film, or painting, the arts reflect the world around us, and for too long, I only saw the dark side. The seedy underbellies, the ugly truths. Photographs reminded me of moments in time that never lasted. Songs reminded me that words have the power to rip one’s heart out. Why, then, would I care about art when it was so terrible and destructive?” It was a bold statement to make in front of London’s art world, but no one heckled. No one so much as breathed. Alex had us all under the spell of his words. “Then someone came into my life and upended everything I thought I knew. She was everything I wasn’t—purehearted, trusting, optimistic. She showed me the beauty that existed in this world, and through her, I learned the power of faith. Joy. Love. But I’m afraid I’ve tainted her with my untruths, and I’m hoping, with all my heart, that one day she’ll find her way out of the darkness and into the light again.

For the emotional tension of a frustrated passion there is no better cure than to spend an hour or two in the presence of terrible bodily anguish. Mat Dekker was not an idealist, but he was a man of a proud and stormy heart, and what he had seen tonight had had the famous Aristotelian effect upon him.

It was all we cared about because, at least for me, I figured being famous would fill the great hole that was endlessly growing inside of me.

There are old poops who will say that you do not become a grown-up until you have somehow survived, as they have, some famous calamity—the Great Depression, the Second World War, Vietnam, whatever. Storytellers are responsible for this destructive, not to say suicidal, myth. Again and again in stories, after some terrible mess, the character is able to say at last, “Today I am a woman. Today I am a man. The end.” When I got home from the Second World War, my Uncle Dan clapped me on the back, and he said, “You’re a man now.” So I killed him. Not really, but I certainly felt like doing it.

Love is terrible, isn’t it?” Ianto said, over the sound of the churning water below. “That’s why the one line became so famous. ‘I will love you to ruination.’ I think we all understand what it’s like to be wrecked by it. Even me.

Chang had turned to a young student next to him to point out a spry elderly woman lost under the spell of tai-chi, when the boy’s chest exploded and he dropped to the ground. The People’s Liberation Army soldiers had begun firing on the crowd in Tiananmen Square. The tanks came through a moment later, driving the people in front of them, crushing many beneath the treads (the famous televised image of the student stopping the tank with a flower was the rare exception that terrible night). Chang could never watch tai-chi without thinking of that moment, which solidified his stance as an outspoken dissident and changed his life – and that of his father and family – forever.

During his illness he had spent every minute of consciousness calling upon God, every second of every minute. Ya Allah whose servant lies bleeding do not abandon me now after watching over me so long. Ya Allah show me some sign, some small mark of your favour, that I may find in myself the strength to cure my ills. O God most beneficent most merciful, be with me in this my time of need, my most grievous need. Then it occurred to him that he was being punished, and for a time that made it possible to suffer the pain, but after a time he got angry. Enough, God, his unspoken words demanded, why must I die when I have not killed, are you vengeance or are you love? The anger with God carried him through another day, but then it faded, and in its place there came a terrible emptiness, an isolation, as he realized he was talking to thin air, that there was nobody there at all, and then he felt more foolish than ever in his life, and he began to plead into the emptiness, ya Allah, just be there, damn it, just be. But he felt nothing, nothing nothing, and then one day he found that he no longer needed there to be anything to feel. On that day of metamorphosis the illness changed and his recovery began. And to prove to himself the non-existence of God, he now stood in the dining-hall of the city’s most famous hotel, with pigs falling out of his face. He looked up from his plate to find a woman watching him. Her hair was so fair that it was almost white, and her skin possessed the colour and translucency of mountain ice. She laughed at him and turned away. ‘Don’t you get it?’ he shouted after her, spewing sausage fragments from the corners of his mouth. ‘No thunderbolt. That’s the point.’ She came back to stand in front of him. ‘You’re alive,’ she told him. ‘You got your life back. That’s the point.

I realize this is quite a surprise, as a live performance wasn’t in the program tonight. And if you know me, you know I’m not famous for my patronage of the arts—or my singing skills. Whether it’s music, photography, film, or painting, the arts reflect the world around us, and for too long, I only saw the dark side. The seedy underbellies, the ugly truths. Photographs reminded me of moments in time that never lasted. Songs reminded me that words have the power to rip one’s heart out. Why, then, would I care about art when it was so terrible and deconstructive? Then someone came into my life and upended everything I thought I knew. She was everything I wasn’t—pure-hearted, trusting, optimistic. She showed me the beauty that existed in this world, and through her, I learned the power of faith. Joy. Love. But I’m afraid I’ve tainted her with my untruths, and I’m hoping with all of my heart, that one day she’ll find her way out of the darkness and into the light again.

And what about Lily Anne? What terrible damage would it do to such a bright and sensitive child, growing up with a famous monster for a father? What if it pushed her off the edge and into a life on the Dark Side, along with Cody and Astor? How could I live with the knowledge that I had destroyed such a potentially beautiful life? It

The whole modern world has divided itself into Conservatives and Progressives. The business of Progressives is to go on making mistakes. The business of the Conservatives is to prevent the mistakes being corrected.24 The Conservative Party suddenly becomes the Liberal Party the instant it is liberated from responsibility. The Liberal Party suddenly becomes the Conservative Party the instant it has anything to conserve.25 Both modern parties believe in a government by the few; the only difference is whether it is the Conservative few or the Progressive few.26 When Conservatives, Liberals, and Socialists all agree, it is time for the larger and more harmless part of mankind to look after its pockets.27 And it was while in America that he made his famous comment: “It is terrible to contemplate how few politicians are hanged.”28 The irony of this gallows humor lies in the fact that it is the politicians who are supposed to be upholding justice that should instead be brought to justice. They should be upholding the right to life, but they have done just the opposite. While the right to life is the most ignored, and the right to liberty the most abused, the right to pursue happiness is the most misunderstood. Obviously the third is dependent on the first two. With no life and no liberty there is no pursuit of happiness.

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Through the decade of the 1880s and into the early 1890s, Tolstoy and Fedorov met many times, and Tolstoy frequently refers to him in his letters and notebooks. For Tolstoy these were years of spiritual unrest. Never a complacent person unaware of his own self-development, Tolstoy in the late 1870S and early 1880s was passing through a stage of especially intense spiritual torment and particularly ruthless self-examination. His earlier religious faith, never terribly strong, had collapsed utterly, and he was seeking a new faith to live by. That he could not live a life strictly consistent with his deeply felt (and widely publicized) principles had always troubled him, and now tormented him. He had turned against the ideal of family life that he had so memorably depicted in War and Peace, but he still lived as-and at times very much enjoyed being-a family man. Theoretically he had turned against his own social class and against all art that did not illustrate some simple moral truth-and yet his biographers give us a charming picture of Tolstoy at age fifty and his old aesthetic and ideological enemy Turgenev, age sixty, sitting at opposite ends of a child's teeter-totter, seesawing up and down as children from the neighborhood laugh and applaud. Even during his famous "peasant" phase, in which he allowed himself to be portrayed by the artist Repin à la moujik behind a plow, we learn from his wife's diary that under his peasant smock he always wore silk underwear.

Chris Tarrent, OBE British radio broadcaster and television presenter Chris Tarrant is perhaps best known for his role as host on Who Wants to Be a Millionaire? A hugely successful entertainment personality, Chris Tarrant is also active in many charitable causes, including homelessness and disadvantaged children. He was honored with an OBE in 2004 for his extensive work in these areas. The first time I met her I was terribly nervous. I was working on the breakfast show at Capital Radio in London in those days, and I’d been seated next to her at a charity lunch. She’d become the patron of Capital’s charity for needy children in London, and her appearance at our big lunch of the year made it a guaranteed sellout. She was already probably the most famous person in the world, and I was terrified about what on earth I was going to say to her. I needn’t have worried--she immediately put me at ease with an incredibly rude joke about Kermit the Frog. Because she was our patron, we saw a lot of her over the next few years. She was great fun, and brilliant with the kids. She used to listen to my show in the mornings while she was swimming or in the gym, and she’d often say things like “Who on earth was that loopy woman that you had on the phone this morning?” There was a restaurant in Kensington that had a series of alcoves where she’d often go to hide, perhaps with just a detective for company. I remember chatting to her one lunchtime while I was waiting for my boss to join me at my table, and she disappeared round the corner. “Hello, Richard,” I said, when he turned up. “I’ve just been chatting with Lady Di.” “Yes, of course you have,” said Richard. “And there goes a flying pig!” When she reappeared a few moments later and just said, “Good-bye,” on her way out, this big, tough, hard-nosed media executive was absolutely incapable of speech.

Mario Cuomo famously said that we campaign in poetry and govern in prose. We also critique the government in poetry—angsty, adolescent poetry, but poetry nonetheless. The

Recognizing these patterns has a number of important implications. First, obviously, accusing people of racism or calling them the “deplorables,” as Hillary Clinton famously did, is a terrible idea. It assaults people’s moral sense of themselves and puts their backs up. They immediately stop listening. Conversely, one can see why calling egregious racists “fine people,” and emphasizing there are bad people “on both sides,” as President Trump did, is clearly an effective strategy (however morally reprehensible) to gain popularity, since it makes those who make these remarks feel better about themselves.

Then Jim the cabbage man said, ‘Who in God’s name is going to tell Ephraim?’ And everyone started talking again. ‘He won’t take kindly to it…’ ‘Never known him live anywhere else, not since his family died…’ ‘That was a terrible winter, that was. The churchyard was full to bursting.’ ‘The lighthouse is his family these days…’ It made me realise how little I knew of Ephraim. Though I didn’t know how or when his family had died, I understood what it felt like to lose someone. Yet to lose all your family at once must be terrible, and sadness welled up in my throat. He had no one left; we had our mum, and even then it still hurt, knowing Dad would never be back. No wonder poor Ephraim never smiled. Mr. Spratt clapped his hands for quiet. ‘I’ll be visiting Mr Pengilly directly to inform him of my plans.’ ‘Good luck – you’ll need it,’ said Jim, shaking his head. The crowd dispersed soon after that. Glad to be going home, we walked down the hill, falling back into an even gloomier silence. Home. I’d already started thinking of the lighthouse in that way. Poor Ephraim: it’d be a hundred times worse for him and Pixie. Nor could I believe Mr. Spratt could just get rid of a lighthouse or indeed how he’d do it. Yet who’d have thought they’d evacuate all the zoo animals out of London or the famous paintings from the National Gallery? And what about us school children, sent from our families to the middle of nowhere? If you had a family: from what Queenie’d said, Esther didn’t even have that. All sorts were happening because of this war, not to mention missing sisters and codes I couldn’t break. There was so much I still didn’t understand. Maybe it was possible to remove a lighthouse, though I still wasn’t sure how.

Iron Man‘s success more than made up for that July’s Incredible Hulk. The result of Marvel’s most difficult production right up to the present, the second Hulk film starred Ed Norton, who proved a terrible fit for Maisel and Feige’s philosophy that studio executives should be the ultimate creative authority. Undeniably one of the best actors of his generation, Norton is also famous in Hollywood for being “difficult” and highly opinionated, refusing to allow artistic choices he disagrees with and seeking to rewrite scripts he doesn’t like, which is what he did on The Incredible Hulk. The clashes intensified in post-production, and the director, Louis Letterier, sided with Norton over the studio. They both learned who has the ultimate power at Marvel, though, when Feige took control of editing. He excised many of the darkest scenes, including a suicide attempt meant to portray how much the scientist Bruce Banner wants to rid himself of the curse of transforming into the Hulk when he’s mad. The resulting movie was still darker and more dramatic than any other Marvel Studios production and not different enough from the Hulk movie of 2003. It grossed only $263 million at the box office and barely broke even, the worst performance for any Marvel Studios film to date. The Incredible Hulk never got a sequel, but the character has returned in Avengers films, played by the easygoing Mark Ruffalo. The usually cheerful Feige stated that the decision to recast the role was “rooted in the need for an actor who embodies the creativity and collaborative spirit of our other talented cast members.

Howard looked annoyed but nodded. “Go ahead, audience member. I’ll repeat the question: What were the famous last words of Arthur Conan Doyle?” Nina stood up tall. “His last words were, ‘I have made a terrible mistake, Tom. There is room for you in my life, plenty of room. Please give me a second chance.’” Total silence. QuizDick frowned and flipped over the card in his hand. “Uh, that’s not what I have here.” “Wait,” said Tom, “he also said, ‘What about the next time you freak out? I don’t want to be with someone who’s ready to throw me under the bus every time she loses her composure.’” “He has a point,” muttered Lydia. “Shut up,” said Nina. The Quizzly Bear captain said, “Wait a minute, are you allowed two guesses?” “I know,” replied Nina. “I’m sorry. I can only promise to try harder.” She swallowed and raised her voice. “Being with you is as good as being alone.

Dante, as you might know, had originally titled his book The Comedy of Dante Alighieri, A Florentine by birth but not in character. The title Divine Comedy only came later, when the book became regarded as a masterpiece. It’s a work that can be approached in a thousand different ways, and over the centuries it has been,” he said, his voice gaining strength once he was on firm and familiar ground. “But what we’re going to focus on today is the use of natural imagery in the poem. And this Florentine edition which was recently donated to the Newberry collection—and which I think most of you have now seen in the central display case—is a particularly good way to do that.” He touched a button on the lectern’s electronic panel and the first image—an etching of a deep forest, with a lone figure, head bent, entering a narrow path—appeared on the screen. “ ‘In the middle of the journey of our life,’ ” he recited from memory, “ ‘I came to myself in a dark wood where the straight way was lost.’ ” Looking up, he said, “With the possible exception of ‘Jack and Jill went up the hill,’ there is probably no line of poetry more famous and easily identifiable than that. And you will notice that right here, at the very start of the epic that is to follow, we have a glimpse of the natural world that is both realistic—Dante spends a terrible night in that wood—and metaphorical.” Turning to the etching, he elaborated on several of its most salient features, including the animals that animated its border—a leopard with a spotted coat, a lion, and a skulking wolf with distended jaws. “Confronted by these creatures, Dante pretty much turns tail and runs, until he bumps into a figure—who turns out of course to be the Roman poet Virgil—who offers to guide him ‘through an eternal place where thou shalt hear the hopeless shrieks, shalt see the ancient spirits in pain so that each calls for a second death.’ ” A new image flashed on the screen, of a wide river—Acheron with mobs of the dead huddled on its shores, and a shrouded Charon in the foreground, pointing with one bony finger at a long boat. It was a particularly well-done image and David noted several heads nodding with interest and a low hum of comments. He had thought there might be. This edition of the Divine Comedy was one of the most powerful he had ever seen, and he was making it his mission to find out who the illustrator had been. The title pages of the book had sustained such significant water and smoke damage that no names could be discerned. The book had also had to be intensively treated for mold, and many of the plates bore ineradicable green and blue spots the circumference of a pencil eraser.

Michelet has done a good deal, it is true, to make Jeanne d’Arc popular and famous; but it was as the spokesman for the national sense of the people, not as a mystic or a saint, that she interested him. “What legend is more beautiful,” he writes, “than this incontestable story? But one must be careful not to make it into a legend. One must piously preserve all its circumstances, even the most human; one must respect its touching and terrible humanity…However deeply the historian may have been moved in writing this gospel, he has kept a firm hold on the real and never yielded to the temptation of idealism.” And he insisted that Jeanne d’Arc had established the modern type of hero of action, “contrary to passive Christianity.” His approach was thus entirely rational, based squarely on the philosophy of the eighteenth century – anti-clerical, democratic. And for this reason, the History fo the Middle Ages, important as it is, and for all its acute insight and its passages of marvelous eloquence, seems to me less satisfactory than the other parts of Michelet’s history.What Michelet admires are not the virtues which the chivalrous and Christian centuries cultivated, but the heroisms of the scientist and the artist, the Protestant in religion and politics, the efforts of man to understand his situation and rationally to control his development. Throughout the Middle Ages, Michelet is impatient for the Renaissance.

But those who appear to be incurable by reason of the greatness of their crimes—who have committed many and terrible deeds of sacrilege, murders foul and violent, or the like—such are hurled into Tartarus which is their suitable destiny, and they never come out.

Longstreet’s men took up on Marye’s Heights. The Northern soldiers were mowed down again and again. As men lay dying on the field that night, the Northern Lights made a rare appearance. Southern soldiers took it as a divine omen and wrote about it frequently in their diaries. The Union soldiers saw less divine inspiration in the Northern Lights and mentioned it less in their own. The Battle of Fredericksburg also spawned one of Lee’s most memorable quotes. During the battle, Lee turned to Longstreet and commented, “It is well that war is so terrible, otherwise we would grow too fond of it.”[28]

The Sad Boy Ay, his old mother was a glad one. And his poor old father was a mad one. The two begot this sad one. Alas for the single shoe The Sad Boy pulled out of the rank green pond, Fishing for fairies On the prankish advice Of two disagreeable lovers of small boys. Pity the unfortunate Sad Boy With a single magic shoe And a pair of feet And an extra foot With no shoe for it. This was how the terrible hopping began That wore the Sad Boy thin and through To his only shoe And started the great fright in the provinces above Brent Where the Sad Boy became half of himself To match the beautiful boot He had dripped from the green pond. Wherever he went weeping and hopping And stamping and sobbing, Pounding a whole earth into a half-heaven, Things split where he stood Into the left side for the left magic, Into no side for the missing right boot. Mercy be to the Sad Boy Scamping exasperated After a wide boot To double the magic Of a limping foot. Mercy to the melancholy folk On the Sad Boy's right. It was not for want of wandering He lost the left boot too And the knowledge of his left side, But because one awful Sunday This dear boy dislimbed Went back to the old pond To fish up another shoe And was quickly (being too light for his line) Fished in. Gracious how he kicks now All the little ripples up! The quiet population of Brent has settled down, And the perfect surface of the famous pond Is slightly pocked, marked with three signs, For visitors come to fish for souvenirs, Where the Sad Boy went in And his glad mother and his mad father after him.

Increasingly, a new generation of artists were finding the creative projects which so excited them systematically rebuffed by the official art bodies. It was exasperating. Did the jury of the Salon, that ‘great event’ of the artistic world, never tire of the tedious repertoire of historical events and myths that had formed the mainstay of Salon paintings for so long? Did they not feel ridiculed being sold the blatant lie of highly finished paint surfaces, of bodies without a blemish, of landscapes stripped of all signs of modernity? Was contemporary life, the sweat and odour of real men and women, not deserving of a place on the Salon walls? Young artists huddled around tables in Montmartre’s cafés, sharing their deepest frustrations, breathing life into their most keenly held ideas. Just a few streets away from the Cimetière de Montmartre, Édouard Manet, the enfant terrible of the contemporary art world, could be found at his regular table in the Café Guerbois surrounded by reverent confrères, who would in time become famous in their own right. When Manet spoke, his blue eyes sparkled, his body leant forwards persuasively, and an artistic revolution felt achievable. The atmosphere was electric, the conversation passionate – often heated, but always exciting. The discussions ‘kept our wits sharpened,’ Claude Monet later recalled, ‘they encouraged us with stores of enthusiasm that for weeks and weeks kept us up.’ And though the war caused many of the artists to leave the capital, it proved merely a temporary migration. At the time Madeleine and her daughters arrived in Montmartre, the artists had firmly marked their patch.

As the modern scholar Alan Cameron has put it: ‘In 529 the philosophers of Athens were threatened with the destruction of their entire way of life.’ The Christians were behind this – yet you will search almost in vain for the word ‘Christian’ in most of the writings of the philosophers. That is not to say that evidence of them is not there. It is. The miasmatic presence of the religion is keenly felt on countless pages: it is Christians who are driving persecutions, torturing their colleagues, pushing philosophers into exile. Damascius and his fellow scholars loathed the religion and its uncompromising leaders. Even Damascius’s famously mild and gentle teacher, Isidore, ‘found them absolutely repulsive’; he considered them ‘irreparably polluted, and nothing whatever could constrain him to accept their company’. But the actual word Christian is missing. As if the very syllables were too distasteful for them to pronounce, the philosophers resorted to elaborate circumlocutions. At times, the names they gave them were muted. With a masterful understatement, the present system of Christian rule, with its torture, murder and persecution, was referred to as ‘the present situation’ or ‘the prevailing circumstances’. At another time the Christians became – perhaps a reference to those stolen and desecrated statues – ‘the people who move the immovable’. At other times the names were blunter: the Christians were ‘the vultures’ or, more simply still, ‘the tyrant’. Other phrases carried a contemptuous intellectual sneer. Greek literature is awash with hideously rebarbative creatures, and the philosophers turned to these to convey the horror of their situation: the Christians started to be referred to as ‘the Giants’ and the ‘Cyclops’. These particular names seem, at first sight, an odd choice. These are not the most repellent monsters in the Greek canon; Homer alone could have offered the man-eating monster Scylla as a more obvious insult. That would have missed the point. The Giants and the Cyclops of Greek myth aren’t terrible because they are not like men – they are terrible because they are. They belong to the uncanny valley of Greek monsters: they look, at first glance, like civilized humans yet they lack all the attributes of civilization. They are boorish, base, ill-educated, thuggish. They are almost men, but not quite – and all the more hideous for that. It was, for these philosophers, the perfect analogy. When that philosopher had been beaten till the blood ran down his back, the precise insult that he hurled at the judge had been: ‘There, Cyclops. Drink the wine, now that you have devoured the human flesh.

The journalist Mason Currey, who spent half a decade cataloging the habits of famous thinkers and writers (and from whom I learned the previous two examples), summarized this tendency toward systematization as follows: There is a popular notion that artists work from inspiration—that there is some strike or bolt or bubbling up of creative mojo from who knows where… but I hope [my work] makes clear that waiting for inspiration to strike is a terrible, terrible plan. In fact, perhaps the single best piece of advice I can offer to anyone trying to do creative work is to ignore inspiration.