Transition Words Between Quotes

[A]s people are beginning to see that the sexes form in a certain sense a continuous group, so they are beginning to see that Love and Friendship which have been so often set apart from each other as things distinct are in reality closely related and shade imperceptibly into each other. Women are beginning to demand that Marriage shall mean Friendship as well as Passion; that a comrade-like Equality shall be included in the word Love; and it is recognised that from the one extreme of a 'Platonic' friendship (generally between persons of the same sex) up to the other extreme of passionate love (generally between persons of opposite sex) no hard and fast line can at any point be drawn effectively separating the different kinds of attachment. We know, in fact, of Friendships so romantic in sentiment that they verge into love; we know of Loves so intellectual and spiritual that they hardly dwell in the sphere of Passion.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

Bridges are thresholds to other realities, archetypal, primal symbols of shifting consciousness. They are passageways, conduits, and connectors that connote transitioning, crossing borders, and changing perspectives. Bridges span liminal spaces between worlds, spaces I call nepantla, a Nahuatl word meaning tierra entre medio.

Learn to enjoy this tidying process. I don’t like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I’m coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that won the game.

There is a progression from pictographic, writing the picture; to ideographic, writing the idea; and then logographic, writing the word. Chinese script began this transition between 4,500 and 8,000 years ago: signs that began as pictures came to represent meaningful units of sound. Because the basic unit was the word, thousands of distinct symbols were required. This is efficient in one way, inefficient in another. Chinese unifies an array of distinct spoken languages: people who cannot speak to one another can write to one another. It employs at least fifty thousand symbols, about six thousand commonly used and known to most literate Chinese. In swift diagrammatic strokes they encode multidimensional semantic relationships. One device is simple repetition: tree + tree + tree = forest; more abstractly, sun + moon = brightness and east + east = everywhere. The process of compounding creates surprises: grain + knife = profit; hand + eye = look.

I love the quiet beauty of the night sky," she continued thoughtfully, "filled with mystery and starlight, but there is something magical about the dawn. It is strange, When the sky begins to lighten and soft colors first appear, the transition is so gentle you hardly notice it. But if you are aware enough to observe, if you take the time to really be a part of the transformation, it feels..." Her explanation trailed off. She found it difficult to find the words to properly describe the wonder she felt as she experienced the very common daily occurrence. "It feels like it possesses all the possibilities of life," Avenell offered quietly. Lily turned in place. She slipped her arms around his naked torso and tipped her head back to look into his face. Her smile was so wide her cheeks ached, but she did not hold back. Her joy in the past few months had grown by leaps and bounds, and only because of how much she had seen her happiness reflected in the man she loved. Love flowed freely between them as he lowered his head to take her mouth in a kiss that was slow and deep.

It might be useful here to say a word about Beckett, as a link between the two stages, and as illustrating the shift towards schism. He wrote for transition, an apocalyptic magazine (renovation out of decadence, a Joachite indication in the title), and has often shown a flair for apocalyptic variations, the funniest of which is the frustrated millennialism of the Lynch family in Watt, and the most telling, perhaps, the conclusion of Comment c'est. He is the perverse theologian of a world which has suffered a Fall, experienced an Incarnation which changes all relations of past, present, and future, but which will not be redeemed. Time is an endless transition from one condition of misery to another, 'a passion without form or stations,' to be ended by no parousia. It is a world crying out for forms and stations, and for apocalypse; all it gets is vain temporality, mad, multiform antithetical influx. It would be wrong to think that the negatives of Beckett are a denial of the paradigm in favour of reality in all its poverty. In Proust, whom Beckett so admires, the order, the forms of the passion, all derive from the last book; they are positive. In Beckett, the signs of order and form are more or less continuously presented, but always with a sign of cancellation; they are resources not to be believed in, cheques which will bounce. Order, the Christian paradigm, he suggests, is no longer usable except as an irony; that is why the Rooneys collapse in laughter when they read on the Wayside Pulpit that the Lord will uphold all that fall. But of course it is this order, however ironized, this continuously transmitted idea of order, that makes Beckett's point, and provides his books with the structural and linguistic features which enable us to make sense of them. In his progress he has presumed upon our familiarity with his habits of language and structure to make the relation between the occulted forms and the narrative surface more and more tenuous; in Comment c'est he mimes a virtually schismatic breakdown of this relation, and of his language. This is perfectly possible to reach a point along this line where nothing whatever is communicated, but of course Beckett has not reached it by a long way; and whatever preserves intelligibility is what prevents schism. This is, I think, a point to be remembered whenever one considers extremely novel, avant-garde writing. Schism is meaningless without reference to some prior condition; the absolutely New is simply unintelligible, even as novelty. It may, of course, be asked: unintelligible to whom? --the inference being that a minority public, perhaps very small--members of a circle in a square world--do understand the terms in which the new thing speaks. And certainly the minority public is a recognized feature of modern literature, and certainly conditions are such that there may be many small minorities instead of one large one; and certainly this is in itself schismatic. The history of European literature, from the time the imagination's Latin first made an accommodation with the lingua franca, is in part the history of the education of a public--cultivated but not necessarily learned, as Auerbach says, made up of what he calls la cour et la ville. That this public should break up into specialized schools, and their language grow scholastic, would only be surprising if one thought that the existence of excellent mechanical means of communication implied excellent communications, and we know it does not, McLuhan's 'the medium is the message' notwithstanding. But it is still true that novelty of itself implies the existence of what is not novel, a past. The smaller the circle, and the more ambitious its schemes of renovation, the less useful, on the whole, its past will be. And the shorter. I will return to these points in a moment.

The trouble is that such categories do not take us much further. They are academic abstractions that do not do justice to the process-character of the observable social data to which they refer. Underlying them is the idea that the tidy division into epochs we usually find in history books best fits the actual course of social development. Each figure who is known through the magnitude of his or her achievement is then allocated to one epoch or the other as its high point. On closer examination, however, it not uncommonly emerges that outstanding achievements occur most frequently at times which could at most be called transitional phases if static concepts of epochs are used. In other words, such achievements arise from the dynamics of the conflict between the canons of older declining classes and newer rising ones.

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

the boundaries between different categories are often arbitrary, but once some arbitrary boundary exists, we forget that it is arbitrary and get way too impressed with its importance. For example, the visual spectrum is a continuum of wavelengths from violet to red, and it is arbitrary where boundaries are put for different color names (for example, where we see a transition from “blue” to “green”); as proof of this, different languages arbitrarily split up the visual spectrum at different points in coming up with the words for different colors. Show someone two roughly similar colors. If the color-name boundary in that person’s language happens to fall between the two colors, the person will overestimate the difference between the two. If the colors fall in the same category, the opposite happens. In other words, when you think categorically, you have trouble seeing how similar or different two things are. If you pay lots of attention to where boundaries are, you pay less attention to complete pictures.

Niflheim: the world of primordial darkness, cold, mist, and ice Norns: the three sisters who control the fate of men and women Ormstunga: means serpent’s tongue, from orm (serpent) and stunga (tongue) Prow: the front end of a ship or boat Ragnarök: the final battle between the gods and giants which will bring an end to the gods of Asgard. Sax-knife: a large single-edged knife Skald: a poet, a storyteller Skjaldborg: a shield wall Sleipnir: Odin’s eight-legged horse Snekkja: a viking longship used for battle Stern: the back end of a ship or boat Suðrikaupstefna: Southern Market, from the words suðr (south) and kaupstefna (market) Surtr: a fire giant who leads his kin into battle against the gods of Asgard during Ragnarök Svartalfheim: the world inhabited by the dwarves Tafl: a strategy board game Thrall: a slave Valhalla: Odin’s hall where those who died in battle reside Valknut: a symbol made of three interlocked triangles, also known as Odin’s Knot. It is thought to represent the transition from life to death, Odin, and the power to bind and unbind

Erroneous plurals of nouns, as vallies or echos. Barbarous compound nouns, as viewpoint or upkeep. Want of correspondence in number between noun and verb where the two are widely separated or the construction involved. Ambiguous use of pronouns. Erroneous case of pronouns, as whom for who, and vice versa, or phrases like “between you and I,” or “Let we who are loyal, act promptly.” Erroneous use of shall and will, and of other auxiliary verbs. Use of intransitive for transitive verbs, as “he was graduated from college,” or vice versa, as “he ingratiated with the tyrant.” Use of nouns for verbs, as “he motored to Boston,” or “he voiced a protest.” Errors in moods and tenses of verbs, as “If I was he, I should do otherwise,” or “He said the earth was round.” The split infinitive, as “to calmly glide.” The erroneous perfect infinitive, as “Last week I expected to have met you.” False verb-forms, as “I pled with him.” Use of like for as, as “I strive to write like Pope wrote.” Misuse of prepositions, as “The gift was bestowed to an unworthy object,” or “The gold was divided between the five men.” The superfluous conjunction, as “I wish for you to do this.” Use of words in wrong senses, as “The book greatly intrigued me,” “Leave me take this,” “He was obsessed with the idea,” or “He is a meticulous writer.” Erroneous use of non-Anglicised foreign forms, as “a strange phenomena,” or “two stratas of clouds.” Use of false or unauthorized words, as burglarize or supremest. Errors of taste, including vulgarisms, pompousness, repetition, vagueness, ambiguousness, colloquialism, bathos, bombast, pleonasm, tautology, harshness, mixed metaphor, and every sort of rhetorical awkwardness. Errors of spelling and punctuation, and confusion of forms such as that which leads many to place an apostrophe in the possessive pronoun its. Of all blunders, there is hardly one which might not be avoided through diligent study of simple textbooks on grammar and rhetoric, intelligent perusal of the best authors, and care and forethought in composition. Almost no excuse exists for their persistent occurrence, since the sources of correction are so numerous and so available.

The first stage is claiming the intention: “I am Word through this intention to do whatever you wish. Word I am Word,” “I am Word through this intention to do whatever I want. Word I am Word,” and then you fill in the blank. “I am Word through my desire to know myself more.” “I am Word through my intention to believe in my abilities.” “I am Word through my intention to create the perfect job.” “Word I am Word through these intentions. Word I am Word,” is how we present it. Now once this is stated, the energy moves and we go forward in consciousness and we create with the vibration. So the first stage is the intention. The next stage is acclimation to the frequency. Once you have stated an intention and it goes forth, then you have to acclimate to it. And that means to respect it and to believe it and to honor it. You cannot set out an intention to clean your apartment and then throw a bottle of garbage on the floor and sit back and expect it to be cleaned. You have to take the actions that correspond to the intentions. But that doesn’t mean blind action. It simply means staying conscious and present as your intention is set forth: “If I move as I am moved, I will then make the choices that are in honor of the intention I have created and set forward.” That is different than acting blindly; it is different than running around acting as if you don’t truly believe it’s so. But when we say acclimate, we simply mean you have set the intention and now you have to let it settle in, and honor it, and believe it, and trust that it is coming into fruition. That is part two. The third part is reception: “I am in my reception of my intentions, reaping the benefits of that which I have called forth into being. Word I am Word through this intention. Word I am Word.” Here we have just given you a hint that you can actually call forth your intention and then set the intention to receive the benefits of it as well, which will actually anchor it in more fully in vibration if you wish to do it this way. But you can also just trust in faith, in cosmic truth, that when you set out an intention in light it is returned to the sender in fullness. Prayer is a form of intention; however, there is a difference between begging for something and stating your own worth as the receiver of an answered prayer. However, in order to do this fully you have to believe you are supported in prayer, or in your intention, or whichever way you want to describe this process for yourself given your history and your vocabulary. If you believe that there is a God who is saying no all the time, that will be your experience.

When they come to explain about the two Transits of Venus, and the American Work filling the Years between, “By Heaven, a ‘Sandwich,’” cries Mr. Edgewise. “Take good care, Sirs, that something don’t come along and eat it!” His pleasure at being able to utter a recently minted word, is at once much curtailed by the volatile Chef de Cuisine Armand Allègre, who rushes from the Kitchen screaming. “Sond-weech-uh! Sond-weech-uh!,” gesticulating as well, “To the Sacrament of the Eating, it is ever the grand Insult!” Cries of “Anti-Britannic!” and “Shame, Mounseer!” Mitzi clutches herself. “No Mercy! Oh, he’s so ’cute!” Young Dimdown may be seen working himself up to a level of indignation that will allow him at least to pull out his naked Hanger again, and wave it about a bit. “Where I come from,” he offers, “Lord Sandwich is as much respected for his nobility as admired for his Ingenuity, in creating the great modern Advance in Diet which bears his name, and I would suggest,— without of course wishing to offend,— that it ill behooves some bloody little toad-eating foreigner to speak his name in any but a respectful manner.” “Had I my batterie des couteaux,” replies the Frenchman, with more gallantry than sense, “before that ridiculous little blade is out of his sheath, I can bone you,— like the Veal!

One of the most effective ways to quicken your story’s pace is to move from a static description of an object, place or person to an active scene. The classic method for accomplishing this is to have your character interact with the subject that’s been described. For instance, let’s say you’ve just written three paragraphs describing a wedding dress in a shop window. You’ve detailed the Belgian lace veil, the beaded bodice, the twelve-foot train, even the row of satin buttons down the sleeves. Instinctively you feel it’s time to move into an action scene, but how do you do it without making your transition obvious? A simple, almost seamless way is to initiate an action between your character (let’s call her Miranda) and the dress you’ve just described. Perhaps Miranda could be passing by on the sidewalk when the dress in the window catches her attention. Or she could walk into the shop and ask the shopkeeper how much the dress costs. This method works well to link almost any static description with a scene of action. Describe an elegant table, for instance, complete with crystal goblets, damask tablecloth, monogrammed napkins and sterling silver tableware; then let the maid pull a cloth from her apron and begin to polish one of the forks. Or describe a Superman kite lying beside a tree, then watch as a little girl grabs the string and begins to run. You will still be describing, but the nature of your description will have changed from static to active, thus quickening the story’s pace. Throughout

Numbers express quantities. In the submissions to my online survey, however, respondents frequently attributed qualities to them. Noticeably, colors. The number that was most commonly described as having its own color was four (52 votes), which most respondents (17) said was blue. Seven was next (28 votes), which most respondents (9) said was green, and in third place came five (27 votes), which most respondents (9) said was red. Seeing colors in numbers is a manifestation of synesthesia, a condition in which certain concepts can trigger incongruous responses, and which is thought to be the result of atypical connections being made between parts of the brain. In the survey, numbers were also labeled “warm,” “crisp,” “chagrined,” “peaceful,” “overconfident,” “juicy,” “quiet” and “raw.” Taken individually, the descriptions are absurd, yet together they paint a surprisingly coherent picture of number personalities. Below is a list of the numbers from one to thirteen, together with words used to describe them taken from the survey responses. One Independent, strong, honest, brave, straightforward, pioneering, lonely. Two Cautious, wise, pretty, fragile, open, sympathetic, quiet, clean, flexible. Three Dynamic, warm, friendly, extrovert, opulent, soft, relaxed, pretentious. Four Laid-back, rogue, solid, reliable, versatile, down-to-earth, personable. Five Balanced, central, cute, fat, dominant but not too much so, happy. Six Upbeat, sexy, supple, soft, strong, brave, genuine, courageous, humble. Seven Magical, unalterable, intelligent, awkward, overconfident, masculine. Eight Soft, feminine, kind, sensible, fat, solid, sensual, huggable, capable. Nine Quiet, unobtrusive, deadly, genderless, professional, soft, forgiving. Ten Practical, logical, tidy, reassuring, honest, sturdy, innocent, sober. Eleven Duplicitous, onomatopoeic, noble, wise, homey, bold, sturdy, sleek. Twelve Malleable, heroic, imperial, oaken, easygoing, nonconfrontational. Thirteen Gawky, transitional, creative, honest, enigmatic, unliked, dark horse. You don’t need to be a Hollywood screenwriter to spot that Mr. One would make a great romantic hero, and Miss Two a classic leading lady. The list is nonsensical, yet it makes sense. The association of one with male characteristics, and two with female ones, also remains deeply ingrained.

Lenin, therefore, begins from the firm and definite principle that the State dies as soon as the socialization of the means of production is achieved and the exploiting class has consequently been suppressed. Yet, in the same pamphlet, he ends by justifying the preservation, even after the socialization of the means of production and, without any predictable end, of the dictatorship of a revolutionary faction over the rest of the people. The pamphlet, which makes continual reference to the experiences of the Commune, flatly contradicts the contemporary federalist and anti-authoritarian ideas that produced the Commune; and it is equally opposed to the optimistic forecasts of Marx and Engels. The reason for this is clear; Lenin had not forgotten that the Commune failed. As for the means of such a surprising demonstration, they were even more simple: with each new difficulty encountered by the revolution, the State as described by Marx is endowed with a supplementary prerogative. Ten pages farther on, without any kind of transition, Lenin in effect affirms that power is necessary to crush the resistance of the exploiters "and also to direct the great mass of the population, peasantry, lower middle classes, and semi-proletariat, in the management of the socialist economy." The shift here is undeniable; the provisional State of Marx and Engels is charged with a new mission, which risks prolonging its life indefinitely. Already we can perceive the contradiction of the Stalinist regime in conflict with its official philosophy. Either this regime has realized the classless socialist society, and the maintenance of a formidable apparatus of repression is not justified in Marxist terms, or it has not realized the classless society and has therefore proved that Marxist doctrine is erroneous and, in particular, that the socialization of the means of production does not mean the disappearance of classes. Confronted with its official doctrine, the regime is forced to choose: the doctrine is false, or the regime has betrayed it. In fact, together with Nechaiev and Tkachev, it is Lassalle, the inventor of State socialism, whom Lenin has caused to triumph in Russia, to the detriment of Marx. From this moment on, the history of the interior struggles of the party, from Lenin to Stalin, is summed up in the struggle between the workers' democracy and military and bureaucratic dictatorship; in other words, between justice and expediency.

[T]he ancients, knowing nothing about vaporisation, drew an absolute line between solids and liquids on the one hand and what we call gases on the other. The name they gave to what we call gas was spiritus (Latin), pneuma (Greek) or ruach and neshama (Hebrew). In each case the word could mean air, breath or wind. The ancients thought of the wind as the breath of God. So when the Hebrews offered their account of the world’s origin, they said the powerful wind (ruach) of God fluttered over the waters. And when they told of the origin of humankind, they said that God made humans out of the dust of the earth, breathed his gentle breath (neshama) into them and they became living persons. Further, it was as obvious to ancients as it is to us that the best way of distinguishing between a living person and a corpse is to look for breath— for a living person breathes. Breath was believed to be the very essence of what constitutes a living human being, and thus the very principle of life. But for the ancients breath, air and wind were all the same. When a man dies, said Ecclesiastes, “the dust returns to the earth and the breath returns to God”. When Jesus died on the cross, according to Luke, he said, “Father into your hands I commit my spirit (pneuma)” and, “having said this he breathed his last”. Of course we are used to hearing the word ‘spirit’ in one place and ‘breath’ in the other, but in the Greek original the same word, pneuma, is used. Similarly in the King James Version (still nearer to the medieval world-view than we are) Matthew reports that “Jesus cried with a loud voice and gave up the ghost (pneuma)”. During the transition to the modern world people continued to speak about spirit without realising that they were no longer talking about something originally conceived to be as tangible as the air we breathe. Christians continued to speak of God as spirit and referred to what they called the power of the Holy Spirit. Preachers continued to expound the story of Jesus and Nicodemus in John’s Gospel (where being born again of the spirit is described in terms of the blowing of the wind), but failed to draw attention to the fact that in this story the same word is sometimes translated ‘wind’ and sometimes ‘spirit’. Only slowly has it dawned upon us that in talking about spirit we are talking about something far less substantial than wind or the air that we breathe. Indeed, spirit has no substance at all. It has become a purely abstract term that has no external referent. It continues in usage as a frozen metaphor from a now obsolete worldview, and its only possible meaning is a metaphorical or symbolic one. Conservative Christians continue to speak about the Holy Spirit, the power of the spirit and so on, as if it were an oozy something that operates like the wind. Without being wholly aware of the fact, they live in the medieval world for religious purposes and return to the modern world for the mundane business of daily living.

As I mentioned, I look at death differently now. I have experienced the death of six people who were close to me, five in the last ten years. My father, my daughter, my mother, my husband’s parents and finally my sister all left this earth to move on. I know there will be more over the course of my lifetime. It is a fact of life that we all leave this world at some time. I now use the word transition, for though our body may cease to be, our soul lives on, transitioning from this physical plane back to the heavenly dimension from which it came. Our souls never die, they simply return Home to the infinite Source of all life. And yes, for those left behind, the pain can be overwhelming. We miss our loved ones when they move on. We miss the physical aspect of them, touching them, interacting with them. More than anything though, it really boils down to missing the connection we have with Spirit and losing a loved one seems to amplify that feeling of disconnect, of separation. The good news is we can still connect with them, now more easily then ever, as the veils are being lifted between this dimension and others. My granddaughter Hampton spends more time now with her Auntie Moonie than she ever did when Moonie was alive. I, too, find it is getting easier to tune in and connect to my sister and my daughter. They are both just a thought away.

In her book Asperger Syndrome and Adolescence: Practical Solutions for School Success, Brenda Smith Myles identifies six areas of difficulty for adolescents with Asperger’s: • Lack of understanding that nonverbal cues express meaning and attitudes. Teens miss out on many social opportunities because they don’t understand that a smile and glances from another person could mean they like him, or that teachers give a “look” that is a warning and should be interpreted as meaning to calm down and get to work. • Problems with using language to initiate or maintain a conversation. AS teens will often start a conversation with a comment that seems irrelevant, or may walk up to a group of teens and want to join in, but does not because he doesn’t know how or when to join in. • Tendency to interpret words or phrases concretely. AS teens often only understand the literal meanings of words and phrases and not expressions such as “You’re pulling my leg” and “Pull yourself together.” Or, as in the example from Luke Jackson’s book quoted earlier, they will do exactly as told and will not understand the implied statement, which leads teachers to think the teen is a smart aleck. • Difficulty understanding that other people’s perspective in conversation need to be considered. This can lead to one-sided monologues, because the AS student is talking about his area of interest and is not monitoring whether or not the listener is interested. • Failure to understand the unspoken rules of the hidden curriculum or a set of rules everyone knows, but that has not been specifically taught. Things that are important to teens, such as how to dress, what to say to whom, how to act, and how to know the difference between gentle teasing and bullying. • Lack of awareness that what you say to a person in one conversation may influence how that individual relates to you in the future. A teen may make a candid remark to another teen, not realizing it was hurtful, and may be puzzled by the person’s lack of response later that day.

Be they words, images, or notes, few tools facilitate the transition between the inner and outer worlds as seamlessly as the tip of a pen.

The received wisdom about compounds is that they start out as two words, acquire a transitional hyphen, and then lose the hyphen, becoming one word. “Today” used to be hyphenated. “Ringtone” was two words for about a nanosecond before solidifying, skipping the hyphen stage completely.

In the original production, after the first factory whistle, almost the entire cast appeared onstage to sing the opening song, the first words of which are, “Attend the tale of Sweeney Todd” (F 333).44 These words immediately establish that what we are to see over the next two and a half hours is not the story of Sweeney Todd but the narration of the story of Sweeney Todd, presumably by the actors assembled on the stage.45 That we are watching a narration, a performance, is reinforced by the periodic reprises of “The Ballad of Sweeney Todd” that assist the transitions between scenes and comment on the action. This emphasis of the storytelling aspect of the play, its narrativity, gains importance if we recall some of the connections between narrative and time discussed in the section on Company. Narratives, because of their connection to time’s arrow, move toward death. The desire for completed narrative-epistemological structures implies specifically a desire for death and, more generally, a desire for the transcendent, the ideal, absolutes that exist outside the completed structures and, implicitly, outside of time.

However, I understand the word as it is used here to mean not regeneration but the transition from physical death to life in heaven with Christ during the time between death and the resurrection (pp. 170-71).

Does anybody really know what time it is? Does anybody really care—about time? If so, I can’t imagine why We’ve all got time enough to cry.” —Chicago, Does Anybody Really Know What Time It Is? “For those who think the world is obsessed with ‘time,’ the Oxford dictionary added support to the theory Thursday when they announced that the word time is the most often used noun in the English language.” —NBCNEWS.com (6/22/2016)—based on an analysis of almost three billion words culled from the Internet. With respect to knowing what time it is, or caring, the currently accepted worldwide definition of one second is: “The duration of 9,192,631,770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the cesium-133 atom.” This is measured by atomic clocks that are accurate to within one second over a period of fifteen billion years—roughly the age of the universe.

Revolutionary theory also enshrined the living utopian hope that the State would wither away, and that the political sphere would negate itself as such, in the apotheosis of a finally transparent social realm. None of this has come to pass. The political sphere has disappeared, sure enough - but so far from doing so by means of a self-transcendence into the strictly social realm, it has carried that realm into oblivion with it. We are now in the transpolitical sphere; in other words, we have reached the zero point of politics, a stage which also implies the reproduction of politics, its endless simulation. For everything that has not successfully transcended itself can only fall prey to revivals without end. So politics will never finish disappearing - nor will it allow anything else to emerge in its place. A kind of hysteresis of the political reigns. Art has likewise failed to realize the utopian aesthetic of modern times, to transcend itself and become an ideal form of life. (In earlier times, of course, art had no need of self-transcendence, no need to become a totality, for such a totality already existed - in the shape of religion.) Instead of being subsumed in a transcendent ideality, art has been dissolved within a general aestheticization of everyday life, giving way to a pure circulation of images, a transaesthetics of banality. Indeed, art took this route even before capital, for if the decisive political event was the strategic crisis of 1929, whereby capital debouched into the era of mass trans politics, the crucial moment for art was undoubtedly that of Dada and Duchamp, that moment when art, by renouncing its own aesthetic rules of the game, debouched into the transaesthetic era of the banality of the image. Nor has the promised sexual utopia materialized. This was to have consisted in the self-negation of sex as a separate activity and its self-realization as total life. The partisans of sexual liberation continue to dream this dream of desire as a totality fulfilled within each of us, masculine and feminine at once, this dream of sexuality as an assumption of desire beyond the difference between the sexes. In point of fact sexual liberation has succeeded only in helping sexuality achieve autonomy as an undifferentiated circulation of the signs of sex. Although we are certainly in transition towards a transsexual state of affairs, this has nothing to do with a revolution of life through sex - and everything to do with a confusion and promiscuity that open the door to virtual indifference (in all senses of the word) in the sexual realm.

Psychologists have a special word for uncomfortable life transitions: “liminality.”[3] It means the time between work roles, organizations, career paths, and relationship stages.

Patrick’s final message to Yvette was this: “My time in the in-between is done. I’m getting ready to transition and I’m happy and I’m okay. I want you to know that there is life beyond this, and you’re not going to see me again, like this, anymore.” What I want to consider with his entire final goodbye—the collective energy, the unfinished business, the clear message that life does exist beyond this one—is how Patrick’s story connects with what I am doing right now. I’m writing and you’re reading his story in his words. Maybe he even knew one day his story would be used in a bigger way so that it would affect more people than his one dear friend.

Although the move from Calvinism to Arminianism began in the seminary classroom, it came to have a profound influence on American culture through the events of the Second Great Awakening. The revivals of the first Great Awakening were supernatural events, wrought by the power of God’s Spirit. The same could be said of the new wave of revivals that began in the 1790s and continued well into the nineteenth century. Like its predecessor, the Second Great Awakening began and flourished in Calvinist churches, where it was believed that because revival is a work of God alone, it is “peculiarly illustrative of the glorious doctrines of grace.”29 However, since it was only natural to want the awakening to continue, some Christian leaders—especially Methodists—sought to devise methods for promoting revival. Their concern for personal salvation was commendable. However, rather than relying on God to bless the ordinary means of grace (prayer, the ministry of the Word, and the sacraments), they adopted the “New Measures” associated with the invitation system: the protracted camp meeting, the “anxious bench,” the altar call. These pragmatic techniques were susceptible to manipulation, especially where it was considered important to count the number of converts. Preachers stressed the necessity of “coming forward to receive Christ,” with the unintended consequence of con-fusing a human decision (to come forward) with a divine transformation (spiritual conversion). In short, there was a shift from revival to revivalism.30 This transition was rooted in an Arminian theology of conversion, which maintained that sinners were neutral—free to choose their own spiritual destiny. Whereas the Puritans had insisted that depravity prevented anyone from choosing for Christ apart from the prior work of the Holy Spirit, the new revivalists called on people to exercise their own ability to receive the gospel. Gardiner Spring described this as the difference between a revival that is “got up by man’s device” and one that is “brought down by the Spirit of God.”31 The difference can be illustrated by comparing Jonathan Edwards, who described revival as “a very extraordinary dispensation of Providence,”32 with Charles Finney, who insisted that a revival is not supernatural but the natural “result of the right use of the constituted means.” Like most revivalists, Finney explicitly rejected the doctrines of grace. Early in his ministry he left the Presbyterian church and repudiated Calvin’s views “on the subject of atonement, regeneration, faith, repentance, the slavery of the will, or any of the kindred doctrines.”33 The view he eventually adopted was not merely Arminian but actually Pelagian. Finney believed that sinners could initiate their own conversion: “Instead of telling sinners to use the means of grace and pray for a new heart, we called on them to make themselves a new heart and a new spirit and pressed the duty of instant surrender to God.

The late Archbishop Desmond Tutu, chairing South Africa’s Truth and Reconciliation Commission during the country’s transition away from apartheid in the 1990s, cited ubuntu along with his Christian principles as inspiration for his approach. He believed that the oppressive relationships of apartheid had damaged oppressor and oppressed alike, destroying the natural bonds of humanity that should exist within and between people. His hope was to create a process that would reestablish those connections, rather than focus on avenging wrongs. He defined ubuntu with these words: “We belong in a bundle of life. We say, ‘a person is a person through other people.

In nineteenth century Europe (and later in other parts of the world) the transition from a subsistence to a market economy based on the use of wage labor caused a net loss of autonomy for kin-based groups and households. Individuals became more dependent on external political, economic, and ideological forces. A profound contradiction resulted from the increasing individuation of the labor force and the need to maintain collective mechanisms for the reproduction of the working class through preexisting but constantly evolving patterns of family, household, and kinship organization. In other words, the advance of capitalism created a dynamic opposition between productive and reproductive spheres.

In the early days of the country, before we had railroads, telegraphs and steamboats—in a word, rapid transit of any sort—the States were each almost a separate nationality. At that time the subject of slavery caused but little or no disturbance to the public mind. But the country grew, rapid transit was established, and trade and commerce between the States got to be so much greater than before, that the power of the National government became more felt and recognized and, therefore, had to be enlisted in the cause of this institution.

A whole spectrum of possible relationships comes to light, beginning at one pole with the pious and inert quotation that is isolated and set off like an icon, and ending at the other pole with the most ambiguous, disrespectful, parodic-travestying use of a quotation. The transitions between various nuances on this spectrum are to such an extent flexible, vacillating and ambiguous that it is often difficult to decide whether we are confronting a reverent use of a sacred word or more familiar, even parodic playing with it.

Ask your client to recall a time that he or she was able to successfully manage a time of transition or change—a time that he or she was able to “bounce back” from adversity or “survive in a changing world.” Together with your client, create a “causal loop map” of this ‘story of change’ by going through the following steps: 1.While the client is speaking, note down 7-10 key words from the story or example on a piece of paper. Key words may be of any type: behaviors, people, beliefs, values, phenomena, etc. 2.Draw arrows connecting the key words which illustrate the influences between key words and capture the flow of the story. (The arrows should be in the form of an arc or semi-circle rather than a straight line.) A positive or strengthening influence can be indicated by adding a (+) under the arrow. Negative or weakening influences can be shown by placing a (-) under the arrow. 3.When your client has finished telling his or her story, go over your initial map, checking the key words and giving him or her the chance to edit them, or add other key words you may have missed. Also review and check the links you have drawn between the key words. 4.Make sure that you have “closed” feedback loops (as a rule of thumb all key words should have at least one arrow going from them, and another arrow pointing to them). 5.Refine the map by considering the delays that may be involved between links, and searching for other missing links that may be an important part of the story. 6.Find out what beliefs are behind the map (what assumptions do these links presuppose?). Frequently, you will find that managing change involves several loops relating to the how (the steps and strategies involve), the why (the beliefs, values and motivation related to the change) and who (the role and identity issues).

A thermodynamic chart reveals these to be transitions at a constant temperature at which the entropy of a material changes dramatically. In other words, paradoxically, during phase transitions materials can absorb heat without getting hotter and can reject heat without getting colder.

Psychologists have a special word for uncomfortable life transitions: “liminality.”[3] It means the time between work roles, organizations, career paths, and relationship stages. The author Bruce Feiler wrote a popular book in 2020 on liminality called Life Is in the Transitions: Mastering Change at Any Age.[4]

parallel to all other ages, not a chronological series of events. Indeed, one of the great marvels of God’s gracious activity toward us is that it occurs in real time without being prejudiced in favor of any particular age. Just because we are the latest does not mean we are the best. The effects of sin prevent any age—including ours—from being “golden,” at least in the spiritual sense. Every Christian generation learns equally the lessons of Revelation—that God is in control, that the powers of the world are minuscule when compared with God, that God is as likely to work through apparent weakness and failure as through strength and success, and that in the end God’s people will prevail. Revelation is the last book of the Bible. It reveals important truths about the end times. But it is also last in another important sense—it calls on all the hermeneutical courage, wisdom, and maturity one can muster in order to be understood properly. In many ways it serves as a graduation exercise for the NIV Application Commentary Series, an opportunity to fully apply the many lessons we have learned in the Bridging Contexts sections of previous volumes. God’s time is his, not ours. The story of God’s gracious activity on our behalf will be fulfilled in a great and glorious conclusion. But all Christians, everywhere and at all times, have equal access to the time. That access has been and is made possible by God’s message in the book of Revelation. Terry C. Muck Author’s Preface AS A NEW CHRISTIAN recently converted from atheism, I eagerly hurried through Paul’s letters, reaching Revelation as soon as possible. Once I reached it, however, I could hardly understand a word of it. I listened attentively to the first few “prophecy teachers” I heard, but even if they had not contradicted one another, over the years I watched as most of their detailed predictions failed to materialize. Perhaps six years after my conversion, as I began to read Revelation in Greek for the first time, the book came alive to me. Because I was now moving through the text more carefully, I noticed the transitions and the structure, and I realized it was probably addressing something much different from what I had first supposed. At the same time, I catalogued parallels I found between Revelation and biblical prophets like Daniel, Ezekiel, and Zechariah. I also began reading an apocalypse contemporary with Revelation, 4 Ezra (2 Esdras in the Apocrypha), to learn more about the way Revelation’s original, first-century audience may have heard its claims. Yet even in my first two years as a Christian, Revelation and other end-time passages proved a turning point for me. As a young Christian, I was immediately schooled in a particular, popular end-time view, which I respectfully swallowed (the

All forces are multi-dimensional vibrations. The geometry and dynamics of dimensions will become important going forward. In a hologram, what is the location of the information? The holomovement is not static and the information is not perfectly distributed. Space and time are built up from entanglement. Consciousness is also entangled. The fractal nesting of event horizons For the photon, the dimensions involved are not the same as they are for the electron. The idea that all behaviors occupy the same spacetime is probably not correct. These forces and fields shape the spacetime they occupy in particular ways. In other words dimensions are dynamic and could also be virtual in some respect. There is a dynamic tension between space and time. Could the density of time create the pressure we call gravity? Does scale have a fractal quality? The fractal nesting of the relationship between space and time at different scales causes phase transitions as the influence of one force changes with respect to another. From this we get the astonishing variety of behaviors in the material world. I suspect that as the complexity increases, the dynamics of the dimensions is affected. The photon or electron is not a thing, it is a description of a relationship. The universe appears to be differentiating into a fractal computational geometry. Spacetime is fractal in the golden mean.

He spoke through an interpreter, but the discussion flowed easily. He acknowledged concerns I raised about the situation in Tripoli. He smiled but offered no assurances when I said I hoped he would make the transition from rebel commander to politician. Libya would need more talented politicians than soldiers, I argued, in what would surely be a difficult transition from a family-run kleptocracy to a nascent democracy. His commitment and the commitment of other devout Muslims to peaceful political change would be essential to building a functioning and lasting democratic polity. “We might have disagreements between us,” I acknowledged, “about political issues and the future of the region. But as long as you’re committed to the democratic process, we can have a good relationship.” At the end of the meeting, in a quieter voice, I mentioned I had recently learned that Americans had detained and interrogated him using tactics that should not have been allowed and were not allowed any longer. I knew about his rendition to Libya, and the years of torture he had suffered in prison. I assumed someone had briefed him on my military background and service in Vietnam, and I tried to relate to him as a former military officer who had entered politics and as one torture victim to another. I told him it had always been important to me that my country act honorably in war and peace, even when our enemies did not. “Some of us in the delegation have worked to outlaw mistreatment of our prisoners because it doesn’t befit a great nation.” He looked me in the eyes the entire time I was speaking, but I don’t remember him nodding his head or in any other way acknowledging my words. But when I added that I knew his wife had been mistreated, his eyes welled with tears. “I’m sorry,” I told him, “and as an elected representative of my country, I apologize for what happened, for the way you and especially your wife were treated, and for all you suffered because of it.” He leaned toward me and expressed through the interpreter his appreciation for the apology. “We regret all that happened,” he said, “but we don’t think of revenge. We will behave responsibly in Libya. Our actions will be governed by law and we will live up to universal standards.” I thanked him for that assurance, and the meeting ended. I never saw him again after our meeting. He did, in fact, become a leading Islamist politician in Libya, and, I’ve heard, quite a wealthy man. I don’t for a moment assume his views and career decisions were influenced by my brief conversation with him. He’ll have had his own reasons, political, religious, and personal, for the course he has chosen to follow. I do believe, though, that he genuinely appreciated the apology I offered him.

3.​A new general manager arrives at a manufacturing plant and finds that there are multiple layers of supervision and management between him and the hourly workers. Real-time updates take too long to move up or down the line and are often inaccurate. Decisions are delayed until, finally, someone acts. Then implementation slows as it filters down level by level. “Too many managers,” he announces. “We’re going to trim the workforce and flatten the pyramid.” Of the 30 managers and supervisors, 8 are close to retirement, so they are offered enhanced benefits to retire. Three others are poor performers and are laid off, and five more are “reassigned”—which means “demoted,” although no one will admit that. “There,” says the GM. “Now we’re trim and efficient.” But as months go by the results get worse and worse. People are dragging their feet. Rumors abound. The GM keeps talking about how much better the new structure is than the old, hoping that somehow he can convince people to make it work. In logical terms it is better, but he doesn’t realize that his words sound hollow to people who have lost their familiar turf, their sense of self-worth, and many of their good friends.

isn’t a vehicle subscription just another word for a lease? Well, no. A lease still binds you to a specific vehicle, whereas a subscription can potentially offer you access to a range of vehicles. “Simply flip between vehicles via the app as your needs change,” says Porsche on its website. You’re signing up with the company, not the car. Another difference: With subscriptions, all the potentially annoying aspects of owning a vehicle (registration, insurance, maintenance) simply go away. With leases, you still have to get your own insurance. Also, many car subscriptions give you the option to subscribe on a month-to-month basis. As Christina Bonnington of Slate notes, “You could theoretically not have a car for ten months of the year when you’re working and using public transit and then get a car subscription for two months when you’ll be travelling more often.

make them progress more smoothly. As you write, be sure that the transitions between one idea and another are clear. If you move from one idea to another too abruptly, the reader may miss the connection between them and lose your train of thought. Pay particular attention to the transitions from one paragraph to another. Often, you’ll need to write transition sentences that explicitly lead the reader from one paragraph to the next. Clarity Perhaps the fundamental requirement of scientific writing is clarity. Unlike some forms of fiction in which vagueness enhances the reader’s experience, the goal of scientific writing is to communicate information. It is essential, then, that the information is conveyed in a clear, articulate, and unclouded manner. This is a very difficult task, however. You don’t have to read many articles published in scientific journals to know that not all scientific writers express themselves clearly. Often writers find it difficult to step outside themselves and imagine how readers will interpret their words. Even so, clarity must be a writer’s first and foremost goal. Two primary factors contribute to the clarity of one’s writing: sentence construction and word choice. SENTENCE CONSTRUCTION. The best way to enhance the clarity of your writing is to pay close attention to how you construct your sentences; awkwardly constructed sentences distract and confuse the reader. First, state your ideas in the most explicit and straightforward manner possible. One way to do this is to avoid the passive voice. For example, compare the following sentences: The participants were told by the experimenter to press the button when they were finished (passive voice). The experimenter told the participants to press the button when they finished (active voice). I think you can see that the second sentence, which is written in the active voice, is the better of the two. Second, avoid overly complicated sentences. Be economical in the phrases you use. For example, the sentence, “There were several different participants who had not previously been told what their IQ scores were,” is terribly convoluted. It can be streamlined to, “Several participants did not know their IQ scores.” (In a moment, I’ll share with you one method I use to identify wordy and awkwardly constructed sentences in my own writing.) WORD CHOICE. A second way to enhance the clarity of one’s writing is to choose one’s words carefully. Choose words that convey precisely the idea you wish to express. “Say what you mean and mean what you say” is the scientific writer’s dictum. In everyday language, we often use words in ways that are discrepant from their dictionary definition. For example, we tend to use theory and hypothesis interchangeably in everyday language, but they mean different things to researchers. Similarly, people talk informally about seeing a therapist or counselor, but psychologists draw a distinction between therapists and counselors. Can you identify the problem in this