Translation Favorite Quotes

Tuan volgen oketh ama. I said, using on eof my favorite Siaru idioms. It meant 'don't let it make you crazy' but it translated literally as: 'don't put a spoon in your eye over it.

Adventure comes with no guarantees or promises. Risk and reward are conjoined twins—and that’s why my favorite piece of advice needs translation but no disclaimers: Fortes fortuna juvat. ‘Fortune favors the brave,’ the ancient Roman dramatist Terrence declared. In other words, there are many good reasons not to toss your life up in the air and see how it lands. Just don’t let fear be one of them.

There's this word in Japanese: tsundoku. It's my favorite word in any language. It mean acquiring more books than you could ever realistically read. There's not direct translation." -Neil

When the web started, I used to get really grumpy with people because they put my poems up. They put my stories up. They put my stuff up on the web. I had this belief, which was completely erroneous, that if people put your stuff up on the web and you didn’t tell them to take it down, you would lose your copyright, which actually, is simply not true. And I also got very grumpy because I felt like they were pirating my stuff, that it was bad. And then I started to notice that two things seemed much more significant. One of which was… places where I was being pirated, particularly Russia where people were translating my stuff into Russian and spreading around into the world, I was selling more and more books. People were discovering me through being pirated. Then they were going out and buying the real books, and when a new book would come out in Russia, it would sell more and more copies. I thought this was fascinating, and I tried a few experiments. Some of them are quite hard, you know, persuading my publisher for example to take one of my books and put it out for free. We took “American Gods,” a book that was still selling and selling very well, and for a month they put it up completely free on their website. You could read it and you could download it. What happened was sales of my books, through independent bookstores, because that’s all we were measuring it through, went up the following month three hundred percent. I started to realize that actually, you’re not losing books. You’re not losing sales by having stuff out there. When I give a big talk now on these kinds of subjects and people say, “Well, what about the sales that I’m losing through having stuff copied, through having stuff floating out there?” I started asking audiences to just raise their hands for one question. Which is, I’d say, “Okay, do you have a favorite author?” They’d say, “Yes.” and I’d say, “Good. What I want is for everybody who discovered their favorite author by being lent a book, put up your hands.” And then, “Anybody who discovered your favorite author by walking into a bookstore and buying a book raise your hands.” And it’s probably about five, ten percent of the people who actually discovered an author who’s their favorite author, who is the person who they buy everything of. They buy the hardbacks and they treasure the fact that they got this author. Very few of them bought the book. They were lent it. They were given it. They did not pay for it, and that’s how they found their favorite author. And I thought, “You know, that’s really all this is. It’s people lending books. And you can’t look on that as a loss of sale. It’s not a lost sale, nobody who would have bought your book is not buying it because they can find it for free.” What you’re actually doing is advertising. You’re reaching more people, you’re raising awareness. Understanding that gave me a whole new idea of the shape of copyright and of what the web was doing. Because the biggest thing the web is doing is allowing people to hear things. Allowing people to read things. Allowing people to see things that they would never have otherwise seen. And I think, basically, that’s an incredibly good thing.

Aut viam inveniam aut faciam,” he murmurs. “What does that mean? You’ve written it on several notes, and you’ve got it stuck to your desk at the office, too.” I raise my brows, surprised he noticed that. “It roughly translates to I’ll either find a way or create one. It’s my favorite quote, and it’s the one that kept me going throughout the years.

I have always been interested in this man. My father had a set of Tom Paine's books on the shelf at home. I must have opened the covers about the time I was 13. And I can still remember the flash of enlightenment which shone from his pages. It was a revelation, indeed, to encounter his views on political and religious matters, so different from the views of many people around us. Of course I did not understand him very well, but his sincerity and ardor made an impression upon me that nothing has ever served to lessen. I have heard it said that Paine borrowed from Montesquieu and Rousseau. Maybe he had read them both and learned something from each. I do not know. But I doubt that Paine ever borrowed a line from any man... Many a person who could not comprehend Rousseau, and would be puzzled by Montesquieu, could understand Paine as an open book. He wrote with a clarity, a sharpness of outline and exactness of speech that even a schoolboy should be able to grasp. There is nothing false, little that is subtle, and an impressive lack of the negative in Paine. He literally cried to his reader for a comprehending hour, and then filled that hour with such sagacious reasoning as we find surpassed nowhere else in American letters - seldom in any school of writing. Paine would have been the last to look upon himself as a man of letters. Liberty was the dear companion of his heart; truth in all things his object. ...we, perhaps, remember him best for his declaration: 'The world is my country; to do good my religion.' Again we see the spontaneous genius at work in 'The Rights of Man', and that genius busy at his favorite task - liberty. Written hurriedly and in the heat of controversy, 'The Rights of Man' yet compares favorably with classical models, and in some places rises to vaulting heights. Its appearance outmatched events attending Burke's effort in his 'Reflections'. Instantly the English public caught hold of this new contribution. It was more than a defense of liberty; it was a world declaration of what Paine had declared before in the Colonies. His reasoning was so cogent, his command of the subject so broad, that his legion of enemies found it hard to answer him. 'Tom Paine is quite right,' said Pitt, the Prime Minister, 'but if I were to encourage his views we should have a bloody revolution.' Here we see the progressive quality of Paine's genius at its best. 'The Rights of Man' amplified and reasserted what already had been said in 'Common Sense', with now a greater force and the power of a maturing mind. Just when Paine was at the height of his renown, an indictment for treason confronted him. About the same time he was elected a member of the Revolutionary Assembly and escaped to France. So little did he know of the French tongue that addresses to his constituents had to be translated by an interpreter. But he sat in the assembly. Shrinking from the guillotine, he encountered Robespierre's enmity, and presently found himself in prison, facing that dread instrument. But his imprisonment was fertile. Already he had written the first part of 'The Age of Reason' and now turned his time to the latter part. Presently his second escape cheated Robespierre of vengeance, and in the course of events 'The Age of Reason' appeared. Instantly it became a source of contention which still endures. Paine returned to the United States a little broken, and went to live at his home in New Rochelle - a public gift. Many of his old companions in the struggle for liberty avoided him, and he was publicly condemned by the unthinking. {The Philosophy of Paine, June 7, 1925}

There’s this word in Japanese: tsundoku,” Neil says suddenly. “It’s my favorite word in any language.” “What does it mean?” He grins. “It means acquiring more books than you could ever realistically read. There’s no direct translation.

The llama was wearing a bridle with a rope attached where you might expect to find reins. A greeting card was hanging from his neck: 'Hola Como se llama? Yo me llamo C. Llama.' During his preschool years, Clay's favorite cartoon had featured a Spanish-speaking boy naturalist who was always saving animals with his girl cousin, and Clay still knew enough of the language to translate: 'Hello. How do you call yourself? I call myself Como C. Llama.' The llama's name is What is your name?

I mean, I've never actually been friends with a guy first," Max continued. "Like, even in fiction, friends to lovers? Never my thing. I'm more star-crossed tragedy, supernatural soul mates, enemies to lovers. Epic, you know?"... "You like him," I translated. "A lot." "Let's just say I am definitely reconsidering my favorite tropes.

Well?" Occipus said. Without an announcer translating his words, he possessed a flat, froggy voice. The announcer, who had long, curly blond hair that hug to his shoulders, reminded Brendan of Roger Daltrey, the vain lead singer of his dad's favorite band, the Who. He whipped back his long mane and said, "Emperor Occipus says, 'Well?

After boxing and translation, provoking him was my favorite pastime.

favorite edition of The Thousand and One Nights is The Annotated Arabian Nights. Yasmine Seale’s translation is beautiful, and the accompanying art and background information is not to be missed.

Though griffe literally translates as 'claw,' Parisians have redefined it to mean 'stamp,' 'label,' or 'signature.' It describes the pattern of favorite cafes, shops, walks, meeting places, which each of us imposes on the city and which makes it uniquely 'our Paris.' A griffe is no trivial thing. As surely as a passport, it identifies one as a bona fide resident, with loves, hates, tastes, and prejudices.

We which were Ovids five books, now are three, For these before the rest preferreth he: If reading five thou plainst of tediousnesse, Two tane away, thy labor will be lesse: With Muse upreard I meant to sing of armes, Choosing a subject fit for feirse alarmes: Both verses were alike till Love (men say) Began to smile and tooke one foote away. Rash boy, who gave thee power to change a line? We are the Muses prophets, none of thine. What if thy Mother take Dianas bowe, Shall Dian fanne when love begins to glowe? In wooddie groves ist meete that Ceres Raigne, And quiver bearing Dian till the plaine: Who'le set the faire treste sunne in battell ray, While Mars doth take the Aonian harpe to play? Great are thy kingdomes, over strong and large, Ambitious Imp, why seekst thou further charge? Are all things thine? the Muses Tempe thine? Then scarse can Phoebus say, this harpe is mine. When in this workes first verse I trod aloft, Love slackt my Muse, and made my numbers soft. I have no mistris, nor no favorit, Being fittest matter for a wanton wit, Thus I complaind, but Love unlockt his quiver, Tooke out the shaft, ordaind my hart to shiver: And bent his sinewy bow upon his knee, Saying, Poet heers a worke beseeming thee. Oh woe is me, he never shootes but hits, I burne, love in my idle bosome sits. Let my first verse be sixe, my last five feete, Fare well sterne warre, for blunter Poets meete. Elegian Muse, that warblest amorous laies, Girt my shine browe with sea banke mirtle praise. -- P. Ovidii Nasonis Amorum Liber Primus ELEGIA 1 (Quemadmodum a Cupidine, pro bellis amores scribere coactus sit)

Jane’s favorite line is from the novel Love in the Time of Cholera by Gabriel García Márquez. Roughly, it translates, “Humans are not born forever on the day their mothers have them; life necessitates giving birth to themselves over and over again.

It’s a bit ironic, you know,” Henry says, gazing up at it. “Me, the cursed gay heir, standing here in Victoria’s museum, considering how much she loved those sodomy laws.” He smirks. “Actually … you remember how I told you about the gay king, James I?” “The one with the dumb jock boyfriend?” “Yes, that one. Well, his most beloved favorite was a man named George Villiers. ‘The handsomest-bodied man in all of England,’ they called him. James was completely besotted. Everyone knew. This French poet, de Viau, wrote a poem about it.” He clears his throat and starts to recite: “‘One man fucks Monsieur le Grand, another fucks the Comte de Tonnerre, and it is well known that the King of England, fucks the Duke of Buckingham.’” Alex must be staring, because he adds, “Well, it rhymes in French. Anyway. Did you know the reason the King James translation of the Bible exists is because the Church of England was so displeased with James for flaunting his relationship with Villiers that he had the translation commissioned to appease them?” “You’re kidding.” “He stood in front of the Privy Council and said, ‘Christ had John, and I have George.’” “Jesus.” “Precisely.” Henry’s still looking up at the statue, but Alex can’t stop looking at him and the sly smile on his face, lost in his own thoughts. “And James’s son, Charles I, is the reason we have dear Samson. It’s the only Giambologna that ever left Florence. He was a gift to Charles from the King of Spain, and Charles gave it, this massive, absolutely priceless masterpiece of a sculpture, to Villiers. And a few centuries later, here he is. One of the most beautiful pieces we own, and we didn’t even steal it. We only needed Villiers and his trolloping ways with the queer monarchs. To me, if there were a registry of national gay landmarks in Britain, Samson would be on it.

Translation: Total hipster. Although insanely good-looking, this guy would probably end up an NYC transplant in Portland within the next year. But I wasn’t ruling out seeing his gorgeous mug on one of my favorite Instagram accounts, Hot Dudes Reading. Because who doesn’t love seeing man candy nose deep in a book? My

And this?” he asks, pointing toward one of my sticky notes. “Aut viam inveniam aut faciam,” he murmurs. “What does that mean? You’ve written it on several notes, and you’ve got it stuck to your desk at the office, too.” I raise my brows, surprised he noticed that. “It roughly translates to I’ll either find a way or create one. It’s my favorite quote, and it’s the one that kept me going throughout the years.

Dissecting the rishta sites quickly becomes me and Fiz's favorite pastime. 'Look at this one, Fiz, look at this one. "i am looking for simple, obedient girl." Vom!' 'Why doesn't he just advertise for a chief chapati maker and be done with it.' 'I know, right! This guy says "only virgin!", "no party girls!" He also loves exclamation marks.' 'Translation: I can't be with a woman who has met other men because then she'll know how rubbish I am.

I have given a brief explanation of the various meanings of dharma according to the Abhidharma, but what I want to say next is much more important. In Mahayana Buddhism, and especially in Dōgen Zenji's teachings, the meaning of dharma has more depth. According to the concepts we accept, we think that everything exists as objects outside the self. For example, we usually think that all phenomenal things that appear before our eyes, or this twentieth-century human society, have existence outside our individual self. We believe that when we are born we appear on this world's stage, and when we die we leave that stage. All of us think this way. But the truth is that this common-sense concept is questionable. Mahayana Buddhism began from a reexamination of this common-sense attitude. I'll give you one of my favorite examples. I am looking at this cup now. You are also looking at the same cup. We think that we are looking at the very same cup, but this is not true. I am looking at it from my angle, with my eyesight, in the lighting that occurs where I am sitting, and with my own feelings or emotions. Furthermore, the angle, my feeling, and everything else is changing from moment to moment. This cup I am looking at now is not the same one that I will be looking at in the next moment. Each of you is also looking at it from your own angle, with your eyesight, with your own feelings, and these also are constantly changing. This is the way actual life experience is. However, if we use our common-sense way of thinking, we think we are looking at the very same cup. This is an abstraction and not the reality of life. Abstract concepts and living reality are entirely different. The Buddhist view is completely different from our ordinary thinking. Western philosophy's way of thinking is also based on abstractions. It assumes that all of us are seeing the same cup. Greek philosophers went further and further in their abstractions until they came up with the concept of the idea that cannot be seen or felt. One example is Venus, the goddess of beauty. In the real world, no woman is as well-proportioned as Venus, or embodies perfect beauty as she does. Yet the Greeks idealized beauty and created a statue of Venus, just as they had thought of the "idea" of a circle that is abstracted from something round. In other words, the Greek way of thinking is abstraction to the highest degree. Buddhism is different. Buddhism puts emphasis on life, the actual life experience of the reality of the self.

I read aloud from my phone. “‘A cappuccino with low-quality milk … the only good things is the kindness of the bartenders…’” “Are you reading the online reviews?” “Of course. This is a good one. ‘What is gruesome is the disorganization and rudeness of the staff.’ And here’s another. ‘Business lunch with pork sandwich, dirty toilets, and hallucinating prices.’” Elisa let out a laugh. “Internet translations have made Italians sound like lunatics.” “Or like a nation with a head injury. Here’s my favorite one: ‘The collation leaves it to be desired and the girl was alone and in trouble to manage everything. Sandwich was inexplicable.

GENERAL BOOKS ABOUT LANGUAGE Highly readable, witty, and provocative is Roger Brown’s Words and Things. Also readable, magnificent, though sometimes too dogmatic, is Eric H. Lenneberg’s Biological Foundations of Language. The deepest and most beautiful explorations of all are to be found in L. S. Vygotsky’s Thought and Language, originally published in Russian, posthumously, in 1934, and later translated by Eugenia Hanfmann and Gertrude Vahar. Vygotsky has been described—not unjustly—as “the Mozart of psychology.” A personal favorite of mine is Joseph Church’s Language and the Discovery of Reality: A Developmental Psychology of Cognition, a book one goes back to again and again.

We’ve told you before—rollwhen you land a fancy jump,” Wilford squinted in the sunlight as he yelled. “Use your shoulder to take the brunt of your fall and move with it, or you’re going to twist an ankle or break a wrist one of these days!” Tari—impressively—managed to sound like an angry bear as she translated it into Elvish. Gwendafyn nodded as she stood and gave her sword a test twirl, then yipped when her opponent wrapped a meaty hand around her left ankle and pulled it out from under her. “Stay aware of your surroundings,” Thad instructed as he narrowed his eyes. “No opponent is going to stop and let you catch your breath!” Gwendafyn kicked like a jackrabbit, yanking her leg free, then rolled away from the soldier. “For the love of Lady Tari’s favorite lemon bars,” Grygg grumbled. “What part of ‘fight dirty’ isn’t translating correctly?” “Don’t hold back, Princess,” Wilford advised. “We know you’ve got the edge—you’ve broken Grygg’s nose three times. That’s a new record. Phelps, here, could use a little bone re-arrangement, too.” “Shut up, Wilford!” Gwendafyn’s opponent—Phelps, apparently—growled as he staggered to his feet. Gwendafyn crisply nodded when Tari finished translating, then promptly turned and flung her wooden practice sword at Phelps with deadly accuracy. The soldier swore and had to throw himself to the ground to avoid it. Gwendafyn closed the distance between them with the blink of an eye, extended her elbow, and rammed the soldier in the spine with the hardest bone of her elbow. All of Phelps’ air left him in a painful-sounding exhale, and for a moment, he went limp. “Ouch,” Grygg winced in sympathy. “That had to hurt.

In one of my favorite scenes from one of my favorite movies, Amadeus, Salieri looks with wide-eyed astonishment at a manuscript of Mozart's and says, "Displace one note and there would be diminishment. Displace one phrase and the structure would fall." In this, Salieri captured the essence of perfection. His two sentences define precisely what we mean by perfection in many contexts, including theoretical physics. You might say it's a perfect definition. A theory begins to be perfect if any change makes it worse. That's Salieri's first sentence, translated from music to physics. And it's right on point. But the real genius comes with Salieri's second sentence. A theory becomes perfectly perfect if it's impossible to change it significantly without ruining it entirely-that is, if changing the theory significantly reduces it to nonsense.

It is a sunny fall afternoon and I’m engaged in one of my favorite pastimes—picking chestnuts. I’m playing alone under the spreading, leafy, protective tree. My mother is sitting on a bench nearby, rocking the buggy in which my sister is asleep. The city, beyond the lacy wall of trees, is humming with gentle noises. The sun has just passed its highest point and is warming me with intense, oblique rays. I pick up a reddish brown chestnut, and suddenly, through its warm skin, I feel the beat as if of a heart. But the beat is also in everything around me, and everything pulsates and shimmers as if it were coursing with the blood of life. Stooping under the tree, I’m holding life in my hand, and I am in the center of a harmonious, vibrating transparency. For that moment, I know everything there is to know. I have stumbled into the very center of plenitude, and I hold myself still with fulfillment, before the knowledge of my knowledge escapes me.

The most obvious difference between Japanese and American ice cream bars is that if the Japanese bar promises something crispy, it will damn well be crispy. The Haagen-Dazs Crispy Sandwich, for example, is a slim bar of ice cream between two delicate wafers. How do they keep the wafers from getting soggy? Is it a layer of shellac? Maybe it's best not to ask. Crepes, soft but not mushy, are also a frequent player in ice cream bars. Near the end of the month I discovered my single favorite ice cream treat, the Black Thunder bar, a chocolate ice cream bar on a stick filled with crunchy chocolate cookie chunks. I also tried its sister product, the vanilla White Thunder, but in the immortal words of Wesley Snipes:always bet on Black Thunder. Iris and I also became mildly obsessed with Zachrich, a triangular Choco Taco-like bar that looked like a run-over sugar cone, coated with chocolate on the inside and filled with mint ice cream. And Iris often selected Coolish, a foil canteen of soft-serve that you warm with your hands until it's just melted enough to suck out through the spout. (All of these names, incidentally, are in English; I'm not translating them).

So...what are you working on now?" “Right now, an essay about Don Quixote.” “One of my favorite books.” “Mine too.” “What’s the gist?” “It has to do with the authorship of the books.” “Is there any question?” “I mean the book inside the book Cervantes wrote, the one he imagined he was writing.” “Ah.” “Cervantes claims he is not the author, that the original text was in Arabic.” “Right. It’s an attack on make-believe, so he must claim it was real.” “Precisely. Therefore, the story has to be written by an eyewitness yet Cid Hamete Benengeli, the acknowledged author, never makes an appearance. So who is he? Sancho Panza is of course the witness – illiterate, but with a gift for language. He dictated the story to the barber and the priest, Don Quixote’s friends. They had the manuscript translated into Arabic. Cervantes found the translation and had it rendered back into Spanish. The idea was to hold up a mirror to Don Quixote’s madness so that when he finally read the book himself, he would see the error of his ways. But Don Quixote, in my view, was no mad. He only pretended to be. He engineered the collaboration, and the translation from Arabic back into Spanish. I like to imagine Cervantes hiring Don Quixote in disguise to decipher the story of Don Quixote.” “But why did Quixote go to such lengths?” “He wanted to test the gullibility of man. To what extent would people tolerate blasphemies, lies, and nonsense if they gave them amusement? The answer: to any extent. For the book is still amusing us today. That’s finally all anyone wants out of a book. To be amused.

I’ve worn Niki’s pants for two days now. I thought a third day in the same clothes might be pushing it.” Ian shrugged with indifference. “It might send Derian through the roof, but it doesn’t bother me. Wear what you want to wear.” Eena wrinkled her nose at him. “Do you really feel that way or are you trying to appear more laissez-faire than Derian?” “More laissez-faire?” “Yes. That’s a real word.” “Two words actually,” he grinned. “Laissez faire et laissez passer, le monde va de lui même!" He coated the words with a heavy French accent. Eena gawked at him. “Since when do you speak French?” “I don’t.” Ian chuckled. “But I did do some research in world history the year I followed you around on Earth. Physics was a joke, but history—that I found fascinating.” Slapping a hand against her chest, Eena exclaimed, “I can’t believe it! Unbeknownst to me, Ian actually studied something in high school other than the library’s collection of sci-fi paperbacks!” He grimaced at her exaggerated performance before defending his preferred choice of reading material. “Hey, popular literature is a valuable and enlightening form of world history. You would know that if you read a book or two.” She ignored his reproach and asked with curiosity, “What exactly did you say?” “In French?” “Duh, yes.” “Don’t ‘duh’ me, you could easily have been referring to my remark about enlightening literature. I know the value of a good book is hard for you to comprehend.” He grinned crookedly at her look of offense and then moved into an English translation of his French quote. “Let it do and let it pass, the world goes on by itself.” “Hmm. And where did that saying come from?” Ian delivered his answer with a surprisingly straight face. “That is what the French Monarch said when his queen began dressing casually. The French revolution started one week following that famous declaration, right after the queen was beheaded by the rest of the aristocracy in her favorite pair of scroungy jeans.” “You are such a brazen-tongued liar!

Perceptive and valuable personal explorations of time alone include A Book of Silence by Sara Maitland, Party of One by Anneli Rufus, Migrations to Solitude by Sue Halpern, Journal of a Solitude by May Sarton, The Point of Vanishing by Howard Axelrod, Solitude by Robert Kull, Pilgrim at Tinker Creek by Annie Dillard, The Diving Bell and the Butterfly by Jean-Dominique Bauby, A Field Guide to Getting Lost by Rebecca Solnit, The Story of My Heart by Richard Jefferies, Thoughts in Solitude by Thomas Merton, and the incomparable Walden by Henry David Thoreau. Adventure tales offering superb insight into solitude, both its horror and its beauty, include The Long Way by Bernard Moitessier, The Strange Last Voyage of Donald Crowhurst by Nicholas Tomalin and Ron Hall, A Voyage for Madmen by Peter Nichols, Into the Wild by Jon Krakauer, and Alone by Richard E. Byrd. Science-focused books that provided me with further understanding of how solitude affects people include Social by Matthew D. Lieberman, Loneliness by John T. Cacioppo and William Patrick, Quiet by Susan Cain, Neurotribes by Steve Silberman, and An Anthropologist on Mars by Oliver Sacks. Also offering astute ideas about aloneness are Cave in the Snow by Vicki Mackenzie, The Life of Saint Anthony by Saint Athanasius, Letters to a Young Poet by Rainer Maria Rilke, the essays of Ralph Waldo Emerson (especially “Nature” and “Self-Reliance”) and Friedrich Nietzsche (especially “Man Alone with Himself”), the verse of William Wordsworth, and the poems of Han-shan, Shih-te, and Wang Fan-chih. It was essential for me to read two of Knight’s favorite books: Notes from the Underground by Fyodor Dostoyevsky and Very Special People by Frederick Drimmer. This book’s epigraph, attributed to Socrates, comes from the C. D. Yonge translation of Diogenes Laërtius’s third-century A.D. work The Lives and Opinions of Eminent Philosophers. The Hermitary website, which offers hundreds of articles on every aspect of hermit life, is an invaluable resource—I spent weeks immersed in the site, though I did not qualify to become a member of the hermit-only chat groups. My longtime researcher, Jeanne Harper, dug up hundreds of reports on hermits and loners throughout history. I was fascinated by the stories of Japanese soldiers who continued fighting World War II for decades on remote Pacific islands, though none seemed to be completely alone for more than a few years at a time. Still, Hiroo Onoda’s No Surrender is a fascinating account.

It’s nice to see you.” Stupid, silly, banal little words. Luca smiles, his dark blue eyes sparking. “Nice?” he says, and he starts to take off his shoes. “This is a very strong word in English, non è vero?” “No,” I say quickly. “It’s not a strong word at all.” “Oh, peccato,” he says cheerfully, which means “what a shame.” He’s pulling off his socks. “What are you doing?” I ask, which is stupid too, as it’s obvious; he’s standing up now, his hands at his waistband, unbuckling his belt. The sight is incredibly disconcerting. I back away, into deeper water, on the tips of my toes now. “Luca--” “I am hot,” he says. “That’s correct, isn’t it? Not ‘I have hot.’” I know what he means: in Italian, you say you “have” hot or cold, not that you “are.” It takes a bit of getting used to. Especially with the double meaning, which I’m certainly not going to explain to him now. “Yes,” I say even more feebly as Luca’s jeans drop to the ground and he steps out of them. Thank goodness he’s wearing boxers! His legs are long and almost too thin, a bit stork-like. I’m ridiculously glad to have found a defect in him. As he starts to unbutton his shirt, I take another step back and find myself treading water frantically, out of my depth now. I can’t look at his mostly bare body: I turn away, feeling a blush suffusing my cheeks. So I hear, rather than see, him dive into the river. He surfaces next to me, shaking his wet hair back from his face. It plasters down to his skull, and that makes his bone structure much more pronounced, his cheekbones sharp as knives. I stare at him, tongue-tied, as he treads water easily next to me. “Now you must be cross with me,” he says, a thread of laughter in his voice. “You must tell me that I’m wrong, that we must not be alone together.” “We mustn’t,” I say, suddenly angry. “You know we mustn’t.” I can’t keep treading water; my legs feel too wobbly. I put my head down and swim away from him, a couple of strokes to the far bank, where I can stand. He follows me; he swims right to me, and when he comes up, he’s so close, so tall, that he blocks out the moon. His bare chest is dappled with drops of water clinging to his skin. I can’t look anymore, so I raise my eyes, and then I’m looking into his, and oh no, that’s a really terrible idea, that’s the worst idea in the world… “Se scorre un fiume dentro ad ogni cuore, arriveremo al mare prima o poi,” he says, looking down at me. “More Jovanotti,” he adds, smiling, as he sees me staring at him in confusion. Jovanotti is Luca’s favorite singer; he’s quoted songs of his before to me. But I don’t know this one. “‘If a river runs inside every heart, we will arrive at the sea,’” he translates. “I think of this because we are in a river.” “It’s very pretty,” I mumble. “The rest of the song is maybe not so pretty,” he says. “It is a love song, but Jovanotti tells the truth about love. That it is sometimes not pretty at all.” I nod, even though hearing the word “love” spoken by Luca is enough to make me feel as if I’m blushing all over.

Se scorre un fiume dentro ad ogni cuore, arriveremo al mare prima o poi,” he says, looking down at me. “More Jovanotti,” he adds, smiling, as he sees me staring at him in confusion. Jovanotti is Luca’s favorite singer; he’s quoted songs of his before to me. But I don’t know this one. “‘If a river runs inside every heart, we will arrive at the sea,’” he translates.

Se scorre un fiume dentro ad ogni cuore, arriveremo al mare prima o poi,” he says, looking down at me. “More Jovanotti,” he adds, smiling, as he sees me staring at him in confusion. Jovanotti is Luca’s favorite singer; he’s quoted songs of his before to me. But I don’t know this one. “‘If a river runs inside every heart, we will arrive at the sea,’” he translates. “I think of this because we are in a river.” “It’s very pretty,” I mumble. “The rest of the song is maybe not so pretty,” he says. “It is a love song, but Jovanotti tells the truth about love. That it is sometimes not pretty at all.” I nod, even though hearing the word “love” spoken by Luca is enough to make me feel as if I’m blushing all over.

Se scorre un fiume dentro ad ogni cuore, arriveremo al mare prima o poi,” he says, looking down at me. “More Jovanotti,” he adds, smiling, as he sees me staring at him in confusion. Jovanotti is Luca’s favorite singer; he’s quoted songs of his before to me. But I don’t know this one. “‘If a river runs inside every heart, we will arrive at the sea,’” he translates. “I think of this because we are in a river.” “It’s very pretty,” I mumble. “The rest of the song is maybe not so pretty,” he says. “It is a love song, but Jovanotti tells the truth about love. That it is sometimes not pretty at all.” I nod, even though hearing the word “love” spoken by Luca is enough to make me feel as if I’m blushing all over. He reaches out to stroke my wet hair, smoothing it back from my face. “Just once,” he says softly. “Just now, just for a few moments…” We lean into each other at the same time, wet skin pressed against wet skin, cold water over cold skin, warming each other, heating up so fast it feels as if the river droplets are burning off us already as our lips meet. I’ve never kissed anyone in the water before, never been so---comparatively--naked as I press against someone, and it’s dizzying. My hands slip over his shoulders, run over his back, feel the lean muscles there, the strength as his arms tighten around my waist, pulling me up toward him, onto the tips of my toes again. He’s kissing me hard, his tongue cool in my mouth, and I can’t help kissing him back just as hard.

The Things They Carried has sold over two million copies internationally, won numerous awards, and is an English classroom staple. Isabel Allende was the first writer to hold me inside a sentence, rapt and wondrous. It's no surprise that her most transformative writing springs from personal anguish. Her first book, The House of the Spirits, began as a letter to her dying grandfather whom she could not reach in time. Eva Luna, one of my favorite novels, is about an orphan girl who uses her storytelling gift to survive and thrive amid trauma, and Allende refers to the healing power of writing in many of her interviews. Allende's books have sold over fifty-six million copies, been translated into thirty languages, and been made into successful plays and movies. Such is the power of mining your deep. Jeanette Winterson acknowledges that her novel Oranges Are Not the Only Fruit is her own story of growing up gay in a fundamentalist Christian household in the 1950s. She wrote it to create psychic space from the trauma. In her memoir, she writes of Oranges, “I wrote a story I could live with. The other one was too painful. I could not survive it.” Sherman Alexie, who grew up in poverty on an Indian reservation that as a child he never dreamed he could leave, does something similar in his young adult novel, The Absolutely True Diary of a Part-time Indian, named one of the “Best Books of 2007” by School Library Journal. He has said that fictionalizing life is so satisfying because he can spin the story better than real life did. Nora Ephron's roman à clef Heartburn is a sharply funny, fictionalized account of Ephron's own marriage to Carl Bernstein. She couldn't control his cheating during her pregnancy or the subsequent dissolution of their marriage, but through the novelization of her experience, she got to revise the ending of that particular story. In Heartburn, Rachel, the character based on Ephron, is asked

Her favorite author was Gogol, and I read every translation I could find. So she was into villains and folklore—I smiled as I read Viy—then ordered the books in Russian and put them in my library.

My favorite emotion word is German: kummerspeck, the extra weight we gain from emotional overeating when we’re sad. The literal translation of that one: “grief bacon.

Rogers’s favorite quotation, which he often cited and which he kept framed near his desk in his office, came from The Little Prince, by the French author, airplane pilot, and war hero Antoine de Saint-Exupéry: “L’essentiel est invisible pour les yeux.” In English translation, the full passage reads: “And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.”6

such as “comparing mind,” and “wanting mind.” They had a term, too, for that thing I did where something would bother me and I would immediately project forward to an unpleasant future (e.g., Balding → Unemployment → Flophouse). The Buddhists called this prapañca (pronounced pra-PUN-cha), which roughly translates to “proliferation,” or “the imperialistic tendency of mind.” That captured it beautifully, I thought: something happens, I worry, and that concern instantaneously colonizes my future. My favorite Buddhist catchphrase, however, was the one they used to describe the churning of the ego: “monkey mind.” I’ve always been a sucker for animal metaphors, and I thought this one was perfect. Our minds are like furry little gibbons: always agitated, never at rest.

The notion of implicit communication also has deep roots in Zen, another of Boyd’s primary influences. Thomas Cleary, in his The Japanese Art of War (which may have been Boyd’s all time favorite book, next to Sun Tzu itself) emphasizes the importance Zen places on mind-to-mind communication. As Cleary notes, this has nothing to do with telepathy or other mystical nonsense but clearly means the transmission of Zen through objective experience, that is, through actions in the real world, which is how Boyd and the maneuver warfare theorists build mutual trust and unit cohesion.63 It is true that the Germans did not always apply these principles well, and sometimes forgot them entirely. Len Deighton even claims that there was only one true Blitzkrieg, the May 1940 attack on France.64 Defense analyst and Boyd acolyte Pierre M. Sprey,65 who translated and assisted in several of Boyd’s interviews with the German generals, estimated that the climate was only fully implemented by maybe one-half of one percent of the army—the small circle around Heinz Guderian that Sprey calls “brilliant rebels.” In this sense, the Israeli Army of 1956 and 1967 was superior, man for man, to the German Army of 1940.66

The New Yorker (The New Yorker) - Clip This Article on Location 1510 | Added on Wednesday, June 10, 2015 5:42:23 PM FICTION THE DUNIAZáT BY SALMAN RUSHDIE   In the year 1195, the great philosopher Ibn Rushd, once the qadi , or judge, of Seville and most recently the personal physician to the Caliph Abu Yusuf Yaqub in his home town of Córdoba, was formally discredited and disgraced on account of his liberal ideas, which were unacceptable to the increasingly powerful Berber fanatics who were spreading like a pestilence across Arab Spain, and was sent to live in internal exile in the small village of Lucena, a village full of Jews who could no longer say they were Jews because they had been forced to convert to Islam. Ibn Rushd, a philosopher who was no longer permitted to expound his philosophy, all of whose writing had been banned and burned, felt instantly at home among the Jews who could not say they were Jews. He had been a favorite of the Caliph of the present ruling dynasty, the Almohads, but favorites go out of fashion, and Abu Yusuf Yaqub had allowed the fanatics to push the great commentator on Aristotle out of town. The philosopher who could not speak his philosophy lived on a narrow unpaved street in a humble house with small windows and was terribly oppressed by the absence of light. He set up a medical practice in Lucena, and his status as the ex-physician of the Caliph himself brought him patients; in addition, he used what assets he had to enter modestly into the horse trade, and also financed the making of tinajas , the large earthenware vessels, in which the Jews who were no longer Jews stored and sold olive oil and wine. One day soon after the beginning of his exile, a girl of perhaps sixteen summers appeared outside his door, smiling gently, not knocking or intruding on his thoughts in any way, and simply stood there waiting patiently until he became aware of her presence and invited her in. She told him that she was newly orphaned, that she had no source of income, but preferred not to work in the whorehouse, and that her name was Dunia, which did not sound like a Jewish name because she was not allowed to speak her Jewish name, and, because she was illiterate, she could not write it down. She told him that a traveller had suggested the name and said it was Greek and meant “the world,” and she had liked that idea. Ibn Rushd, the translator of Aristotle, did not quibble with her, knowing that it meant “the world” in enough tongues to make pedantry unnecessary. “Why have you named yourself after the world?” he asked her, and she replied, looking him in the eye as she spoke, “Because a world will flow from me and those who flow from me will spread across the world.” Being a man of reason, Ibn Rushd did not guess that the girl was a supernatural creature, a jinnia, of the tribe of female jinn: a grand princess of that tribe, on an earthly adventure, pursuing her fascination with human men in general and brilliant ones in particular.

For Kierkegaard has an answer. Human existence is possible as existence not in despair, as existence not in tragedy—it is possible as existence in faith. The opposite of Sin—to use the traditional term for existence purely in society—is not virtue; it is faith. Faith is the belief that in God the impossible is possible, that in Him time and eternity are one, that both life and death are meaningful. In my favorite among Kierkegaard’s books, a little volume called Fear and Trembling[published in 1843], Kierkegaard raises the question: What is it that distinguishes Abraham’s willingness to sacrifice his son, Isaac, from ordinary murder? If the distinction would be that Abraham never intended to go through with the sacrifice but intended all the time only to make a show of his obedience to God, then Abraham indeed would not have been a murderer, but he would have been something more despicable: a fraud and a cheat. If he had not loved Isaac but had been indifferent, he would have been willing to be a murderer. But Abraham was a holy man, and God’s command was for him an absolute command to be executed without reservation. And we are told that he loved Isaac more than himself. But Abraham had faith. He believed that in God the impossible would become possible, that he could execute God’s order and yet retain Isaac. If you looked into this little volume on Fear and Trembling, you may have seen from the introduction of the translator that it deals symbolically with Kierkegaard’s innermost secret, his great and tragic love. When he talks of himself, then he talks of Abraham. But this meaning as a symbolic autobiography is only incidental. The true, the universal meaning is that human existence is possible, only possible, in faith. In faith, the individual becomes the universal, ceases to be isolated, becomes meaningful and absolute; hence in faith there is a true ethic. And in faith existence in society becomes meaningful too as existence in true charity. This faith is not what today so often is called a “mystical experience”—something that can apparently be induced by the proper breathing exercises, by fasting, by narcotic drugs or by prolonged exposure to Bach with closed eyes and closed ears. It is something

We shouldn't confuse grief over the passing of our favorite technology with resentment because some digital alchemy failed to preserve analog experiences. Whether or not we admit it, the internet and its artifacts are not just like their cultural precedents. They're not even a rough translation -- or a strong misreading -- of those precedents.

We have to be careful, however, to distinguish between evidence and artifacts. The testimony of an eyewitness can be properly viewed as evidence, but anything added to the account after the fact should be viewed with caution as a possible artifact (something that exists in the text when it shouldn’t). The Gospels claim to be eyewitness accounts, but you may be surprised to find that there are a few added textual artifacts nestled in with the evidential statements. It appears that scribes, in copying the texts over the years, added lines to the narrative that were not there at the time of the original writing. Let me give you an example. Most of us are familiar with the biblical story in the gospel of John in which Jesus was presented with a woman who had been accused of committing adultery (John 8:1–11). The Jewish men who brought the woman to Jesus wanted her to be stoned, but Jesus refused to condemn her and told the men, “He who is without sin among you, let him be the first to throw a stone at her.” When the men leave, Jesus tells the woman, “I do not condemn you, either. Go. From now on sin no more.” This story is one of my favorite passages in all of Scripture. Too bad that it appears to be an artifact. While the story may, in fact, be absolutely true, the earliest copies of John’s gospel recovered over the centuries fail to contain any part of it. The last verse of chapter 7 and the first eleven verses of chapter 8 are missing in the oldest manuscripts available to us. The story doesn’t appear until it is discovered in later copies of John’s gospel, centuries after the life of Jesus on earth. In fact, some ancient biblical manuscripts place it in a different location in John’s gospel. Some ancient copies of the Bible even place it in the gospel of Luke. While there is much about the story that seems consistent with Jesus’s character and teaching, most scholars do not believe it was part of John’s original account. It is a biblical artifact, and it is identified as such in nearly every modern translation of the Bible (where it is typically noted in the margin or bracketed to separate it from the reliable account).

Meredith Etherington-Smith Meredith Etherington-Smith became an editor of Paris Vogue in London and GQ magazine in the United States during the 1970s. During the 1980s, she served as deputy and features editor of Harpers & Queen magazine and has since become a leading art critic. Currently, she is editor in chief of Christie’s magazine. She is also a noted artist biographer; her book on Salvador Dali, The Persistence of Memory, was an international bestseller and was translated into a dozen languages. Her drawing room that morning was much like any comfortable, slightly formal drawing room to be found in country houses throughout England: the paintings, hung on pale yellow walls, were better; the furniture, chintz-covered; the flowers, natural garden bouquets. It was charming. And so was she, as she swooped in from a room beyond. I had never seen pictures of her without any makeup, with just-washed hair and dressed in jeans and a white T-shirt. She looked more vital, more beautiful, than any photograph had ever managed to convey. She was, in a word, staggering; here was the most famous woman in the world up close, relaxed, funny, and warm. The tragic Diana, the royal Diana, the wronged Diana: a clever, interesting person who wasn’t afraid to say she didn’t know how an auction sale worked, and would it be possible to work with me on it? “Of course, ma’am,” I said. “It’s your sale, and if you would like, then we’ll work on it together to make the most money we can for your charities.” “So what do we do next?” she asked me. “First, I think you had better choose the clothes for sale.” The next time I saw her drawing room, Paul Burrell, her butler, had wheeled in rack after rack of jeweled, sequined, embroidered, and lacy dresses, almost all of which I recognized from photographs of the Princess at some state event or gala evening. The visible relics of a royal life that had ended. The Princess, in another pair of immaculately pressed jeans and a stripy shirt, looked so different from these formal meringues that it was almost laughable. I think at that point the germ of an idea entered my mind: that sometime, when I had gotten to know her better and she trusted me, I would like to see photographs of the “new” Princess Diana--a modern woman unencumbered by the protocol of royal dress. Eventually, this idea led to putting together the suite of pictures of this sea-change princess with Mario Testino. I didn’t want her to wear jewels; I wanted virtually no makeup and completely natural hair. “But Meredith, I always have people do my hair and makeup,” she explained. “Yes ma’am, but I think it is time for a change--I want Mario to capture your speed, and electricity, the real you and not the Princess.” She laughed and agreed, but she did turn up at the historic shoot laden with her turquoise leather jewel boxes. We never opened them. Hair and makeup took ten minutes, and she came out of the dressing room looking breathtaking. The pictures are famous now; they caused a sensation at the time. My favorite memory of Princess Diana is when I brought the work prints round to Kensington Palace for her to look at. She was so keen to see them that she raced down the stairs and grabbed them. She went silent for a moment or two as she looked at these vivid, radiant images. Then she turned to me and said, “But these are really me. I’ve been set free and these show it. Don’t you think,” she asked me, “that I look a bit like Marilyn Monroe in some of them?” And laughed.

And there no favoritism with God.  

9 Masters, treat your slaves in the same way. Don’t threaten them; remember, you both have the same Master in heaven, and he has no favorites.

Peter is a very interesting guy.  He is one of Jesus’ favorite people and a trusted friend.  He saw most of Jesus’ miracles firsthand and was trained by Him.  Peter was a Christian who knew Jesus was God and served Him in full-time Christian ministry, yet we see him make some unbelievable blunders.  He lacked faith, displayed when he sank in the water (Matt 14:31). He was prideful and thought he belonged with Jesus, Moses, and Elijah (Matt 17:4).  He famously denied Jesus three times (Mark 14:29-31), and even after Jesus was raised and the Holy Spirit had come, and Peter had become a mature leader in the Christian church, he had to be called out by the apostle Paul for refusing to even eat with Gentiles.  That one is particularly interesting because it’s exactly what a great deal of modern Christians do.  They refuse to eat with Gentiles.  Translation: Hang out with Democrats, go to rock concerts, have a beer with their coworkers, go to their neighborhood’s Halloween party.

One of the most unexpected findings of my research was that introverted pastors felt very comfortable preaching, irrespective of congregation size. Many of them actually considered it their biggest strength and favorite part of the job. They found that their natural tendencies toward study, scholarship and writing translated into effective preaching and teaching.

Again, I beg to differ with your opinion. I’d hardly call the lives of the immortals quiet. And why is it that God can write a fucking book and I can’t?” I shot back, leaning back in my chair and waiting for her to play favorites in favor of my brother—again. My mother was the only one in the Universe that could get away with calling me a little shit and live to speak of it. The only reason I let it go was because I’d heard her call God the same thing. I knew the bastard phoned her on a regular basis. It chafed my ass that my brother had racked up more brownie points with our certifiable matriarch than I had. God was the ultimate kiss ass and I was the ultimate bad boy. “God didn’t write a tell all,” Mother Nature said, confused. “Lucifer’s referring to the bible,” my father explained, fondly patting her bottom. “Oh for the love of everything good, evil, and somewhere in between,” my mother groused and stamped her tiny Jimmy Choo clad foot causing a small tremble in Hell. “God wrote a history book.” “And I did as well,” I said, defending my life story. “At least my book wasn’t passed down by word of mouth for hundreds of years and then written in a dead language only to be translated innumerable times and interpreted by halfwits. Mine is straight from the guilty bastard’s mouth.” “Little harsh on your brother there—not to mention yourself,” Bill muttered. “Yes, well the truth hurts,” I informed him, doing my best imitation of my mother’s raised brow. “This is why lies are so much more fun.

authorsusancain quietrev.com SUSAN CAIN is the co-founder of Quiet Revolution and the author of the bestsellers Quiet Power: The Secret Strengths of Introverted Kids, and Quiet: The Power of Introverts in a World That Can’t Stop Talking, which has been translated into 40 languages and been on the New York Times bestseller list for more than four years. Quiet was named the best book of the year by Fast Company magazine, which also named Susan one of its “Most Creative People in Business.” Susan is the co-founder of the Quiet Schools Network and the Quiet Leadership Institute, and her writing has appeared in The New York Times, The Atlantic, The Wall Street Journal, and other publications. Her TED Talk has been viewed more than 17 million times and was named by Bill Gates as one of his all-time favorite talks.

This translation is perhaps my favorite because an Ikigai is often one’s primary source of intrinsic motivation.

Since the evolution of the human race shifted from a mother-centered to a father-centered structure of society, as well as of religion, we can trace the development of a maturing love mainly in the development of patriarchal religion. In the beginning of this development we find a despotic, jealous God, who considers man, whom he created, as his property, and is entitled to do with him whatever he pleases. This is the phase of religion in which God drives man out of paradise, lest he eat from the tree of knowledge and thus could become God himself; this is the phase in which God decides to destroy the human race by the flood, because none of them pleases him, with the exception of the favorite son, Noah; this is the phase in which God demands from Abraham that he kill his only, his beloved son, Isaac, to prove his love for God by the act of ultimate obedience. But simultaneously a new phase begins; God makes a covenant with Noah, in which he promises never to destroy the human race again, a covenant by which he is bound himself. Not only is he bound by his promises, he is also bound by his own principle, that of justice, and on this basis God must yield to Abraham's demand to spare Sodom if there are at least ten just men. But the development goes further than transforming God from the figure of a despotic tribal chief into a loving father, into a father who himself is bound by the principles which he has postulated; it goes in the direction of transforming God from the figure of a father into a symbol of his principles, those of justice, truth and love. God is truth, God is justice. In this development God ceases to be a person, a man, a father; he becomes the symbol of the principle of unity behind the manifoldness of phenomena, of the vision of the flower which will grow from the spiritual seed within man. God cannot have a name. A name always denotes a thing, or a person, something finite. How can God have a name, if he is not a person, not a thing? The most striking incident of this change lies in the Biblical story of God's revelation to Moses. When Moses tells him that the Hebrews will not believe that God has sent him, unless he can tell them God's name (how could idol worshipers comprehend a nameless God, since the very essence of an idol is to have a name?), God makes a concession. He tells Moses that his name is 'I am becoming that which I am becoming.' 'I-am-becoming is my name.' The 'I-am-becoming' means that God is not finite, not a person, not a 'being.' The most adequate translation of the sentence would be: tell them that 'my name is nameless'. The prohibition to make any image of God, to pronounce his name in vain, eventually to pronounce his name at all, aims at the same goal, that of freeing man from the idea that God is a father, that he is a person. In the subsequent theological development, the idea is carried further in the principle that one must not even give God any positive attribute. To say of God that he is wise, strong, good implies again that he is a person; the most I can do is to say what God is not, to state negative attributes, to postulate that he is not limited, not unkind, not unjust. The more I know what God is not, the more knowledge I have of God. Following the maturing idea of monotheism in its further consequences can lead only to one conclusion: not to mention God's name at all, not to speak about God. Then God becomes what he potentially is in monotheistic theology, the nameless One, an inexpressible stammer, referring to the unity underlying the phenomenal universe, the ground of all existence; God becomes truth, love, justice. God is inas much as I am human.

Since the evolution of the human race shifted from a mother-centered to a father-centered structure of society, as well as of religion, we can trace the development of a maturing love mainly in the development of patriarchal religion. In the beginning of this development we find a despotic, jealous God, who considers man, whom he created, as his property, and is entitled to do with him whatever he pleases. This is the phase of religion in which God drives man out of paradise, lest he eat from the tree of knowledge and thus could become God himself; this is the phase in which God decides to destroy the human race by the flood, because none of them pleases him, with the exception of the favorite son, Noah; this is the phase in which God demands from Abraham that he kill his only, his beloved son, Isaac, to prove his love for God by the act of ultimate obedience. But simultaneously a new phase begins; God makes a covenant with Noah, in which he promises never to destroy the human race again, a covenant by which he is bound himself. Not only is he bound by his promises, he is also bound by his own principle, that of justice, and on this basis God must yield to Abraham's demand to spare Sodom if there are at least ten just men. But the development goes further than transforming God from the figure of a despotic tribal chief into a loving father, into a father who himself is bound by the principles which he has postulated; it goes in the direction of transforming God from the figure of a father into a symbol of his principles, those of justice, truth and love. God is truth, God is justice. In this development God ceases to be a person, a man, a father; he becomes the symbol of the principle of unity behind the manifoldness of phenomena, of the vision of the flower which will grow from the spiritual seed within man. God cannot have a name. A name always denotes a thing, or a person, something finite. How can God have a name, if he is not a person, not a thing? The most striking incident of this change lies in the Biblical story of God's revelation to Moses. When Moses tells him that the Hebrews will not believe that God has sent him, unless he can tell them God's name (how could idol worshipers comprehend a nameless God, since the very essence of an idol is to have a name?), God makes a concession. He tells Moses that his name is 'I am becoming that which I am becoming.' 'I-am-becoming is my name.' The 'I-am-becoming' means that God is not finite, not a person, not a 'being.' The most adequate translation of the sentence would be: tell them that 'my name is nameless'. The prohibition to make any image of God, to pronounce his name in vain, eventually to pronounce his name at all, aims at the same goal, that of freeing man from the idea that God is a father, that he is a person. In the subsequent theological development, the idea is carried further in the principle that one must not even give God any positive attribute. To say of God that he is wise, strong, good implies again that he is a person; the most I can do is to say what God is not, to state negative attributes, to postulate that he is not limited, not unkind, not unjust. The more I know what God is not, the more knowledge I have of God. Following the maturing idea of monotheism in its further consequences can lead only to one conclusion: not to mention God's name at all, not to speak about God. Then God becomes what he potentially is in monotheistic theology, the nameless One, an inexpressible stammer, referring to the unity underlying the phenomenal universe, the ground of all existence; God becomes truth, love, justice. God is inasmuch as i am human.

Engaging the Kingdom – The Cloud of Witnesses Tell the Lord that you would like to engage Heaven. Ask Him to allow interaction with the cloud of witnesses. Is there a favorite Bible character that you admire or relate to? Perhaps someone that if you had the chance you like to pose questions to?

For someone who, like James Redd, prefers the simplicity and straightforwardness of Dunkin’ Donuts coffee, a trip to Starbucks is like a journey into another dimension. In much the same way, one-size-fits-all coffee does not cut it for the Bleus. Phoebe’s favorite order is the “grande two-pump skinny vanilla latte.” Finn almost always gets a “grande skim latte with mocha and peppermint, 4.5 pumps, nonfat, no water, no foam, with extra hot chai.” Although people with fluid worldviews talk about these drinks among their friends fully believing that everyone knows what they mean, the Redds would probably need a translator to learn that Phoebe has ordered a large skim-milk latte with a half shot of sugar-free vanilla syrup, while Finn has asked for a medium nonfat latte with four and a half pumps of chai syrup, no water added, the foam taken off the top, and the cup filled with extra-hot steamed milk.

William Shakespeare was age 46 when the Bible was translated in England. Look at Psalms: 46 the 46th word is "shake" and count back 46 words from the end, and the word is "spear.

Roommates ...the door opened and the most improbable trio walked in: a tiny dark-haired man, a very tall and big-nosed guy with long hair like a rock star, and a girl in a white nightgown with a toilet seat around her neck. They were Edmondo Zanolini, Michael Laub, and a fifteen-year-old girl named Brigitte—an Italian, a Belgian, and a Swede— and they were the performance-art trio who called themselves Maniac Productions. They gave themselves this name because, among other things, they would enlist people from their own families to do strange things. For instance, Edmondo’s grandfather was a pyromaniac. And since he was also a bit senile, he was very dangerous—he had set his house on fire a number of times. His family was very careful to keep matches out of his reach at all times, except when Maniac Productions was performing. Then Edmondo would invite his grandfather to the theater and give him a big box of matches; the grandfather would wander around the theater lighting fires while the group performed and pretended not to notice him. This was his maniac thing. It was very original theater, and very satisfying to Edmondo’s grandfather. He didn’t care if the audience was looking at him or not, because he had his box of matches. Edmondo and Brigitte moved into our flat. Michael came from a family of diamond merchants in Brussels and stayed in five-star hotels. Another tenant was Piotr from Poland. Piotr had a book of logic—I think it was Wittgenstein translated into Polish—and for reasons best known to himself, he kept it in the freezer. This book was his favorite thing in the world. And every morning he would wake up with this imbecilic smile on his face, take his book out of the freezer, wait patiently until the page he wanted to read unfroze, read to us from it in Polish, then turn the page and put the book back in the freezer for the next day. Brigitte’s father had started the pornography industry in Sweden—a very big deal; the porn revolution really began there—and she hated her father; she hated everybody. She was a deeply depressed person: she literally never spoke a word. All of us in the flat ate all our meals together, and she would just sit there, completely silent. Then in the middle of the night one night, Edmondo knocked on our door. I opened it and said, “What’s wrong?” “She talks, she talks!” he said. “What did she say?” I asked. “She said, ‘Boo,’ ” he said. “That’s not much,” I said. The next morning, she packed and left. (...) “I’m so happy,” Michael told us one day, about his pair of girlfriends. “The two of them complement each other perfectly.” Marinka and Ulla knew (and liked) each other, and knew (but didn’t like) the arrangement. Then Ulla got pregnant—not only pregnant, but pregnant with twins. When Michael told Marinka about it, she moved to Australia. And Piotr followed her there, and committed suicide on her birthday.

His favorite was a translation of 1984. He marveled that George Orwell could have so understood the North Korean brand of totalitarianism.

obvious Greek term for “loyalty” is one of Paul’s favorite words, pistis, regularly translated “faith,” but often carrying the overtones of “faithfulness,” “reliability,” and, yes, “loyalty.

The ceremony was beautiful, and as Hope and Mark stood beneath the towering floral arch, I couldn't help but think this scene truly looked like something out of a fairytale wedding. I even started feeling a little emotional--- until they started to recite their vows. Hope had told me earlier that she and Mark had written their own vows but failed to say more about them. At first, I thought my hearing had failed or I was having some kind of stroke. "What language is that?" I whispered to Dom from our perch in the back. "I... I actually think it's a pretend language," he replied. "What are you talking about?" I asked. "What do you mean pretend language?" "Do you have one of the programs with you?" he asked. "I bet there's a note in there about it." "No, but let me grab one." I didn't have to go far before I found the table at the back of the aisle and a basket full of programs. Each program was iridescent, in the shape of a flower with a beautiful lilac ribbon tied at the bottom. Under the order of service, a small line read: "The bride and groom have chosen to recite their own vows to one another in their favorite mythical tongue: Sindarin, one of the Elvish languages of Tolkein." My eyes were wide as saucers. Both the Elvish and English translations were printed below for everyone to follow along. Dom was going to lose it for sure. I quietly moved back to my seat next to Dom, who was still filming. "You're not going to believe what I'm about to tell you," I whispered as I casually fanned myself with the floral program. "What is it?" he asked. "It's Elvish," I said, holding back a laugh. "What?" he replied a little too loud. "Keep your voice down," I said, now pointing to the line in the program as proof. "Like, from The Lord of the Rings?" "I can't believe she didn't mention this to me earlier," I said. "But yes, I think so. This wedding is just full of surprises." "For once, I'm at a loss for words," Dom said. "They are clearly perfect for each other if this was something they both enjoyed. I bet they go to all those conferences for people who like fantasy stuff." "Maybe that's what they're doing for their honeymoon," I added. "I haven't asked them about it yet. If it is, I'm going to die." We were both holding back giggles at this point, but thankfully the couple finished reciting whatever it was they were saying to each other. I wondered whether we'd need to add subtitles to our video if we showed this part of the ceremony. As soon as the officiant pronounced them man and wife, the ceremony musicians played a set of chimes and the officiant asked for every guest to open the small box that was placed at the base of every bench. Inside each box was a butterfly that flew into the air and fluttered around the entire area above all the guests. I supposed that since real fairies weren't available, butterflies were the next best option. It was actually the perfect ending to this mythical ceremony, and everyone cheered in delight.

On one of those nights in January 2014, we sat next to each other in Maria Vostra, happy and content, smoking nice greens, with one of my favorite movies playing on the large flat-screen TVs: Once Upon a Time in America. I took a picture of James Woods and Robert De Niro on the TV screen in Maria Vostra's cozy corner, which I loved to share with Martina. They were both wearing hats and suits, standing next to each other. Robert de Niro looked a bit like me and his character, Noodles, (who was a goy kid in the beginning of the movie, growing up with Jewish kids) on the picture, was as naive as I was. I just realized that James Woods—who plays an evil Jewish guy in the movie, acting like Noodles' friend all along, yet taking his money, his woman, taking away his life, and trying to kill him at one point—until the point that Noodles has to escape to save his life and his beloved ones—looks almost exactly like Adam would look like if he was a bit older. “All the world's a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts.” – William Shakespeare That sounds like an ancient spell or rather directions, instructions to me, the director instructing his actors, being one of the actors himself as well, an ancient spell, that William Shakespeare must have read it from a secret book or must have heard it somewhere. Casting characters for certain roles to act like this or like that as if they were the director’s custom made monsters. The extensions of his own will, desires and actions. The Reconquista was a centuries-long series of battles by Christian states to expel the Muslims (Moors), who had ruled most of the Iberian Peninsula since the 8th century. The Reconquista ended on January 2, 1492. The same year Columbus, whose statue stands atop a Corinthian custom-made column down the Port at the bottom of the Rambla, pointing with his finger toward the West, had discovered America on October 12, 1492. William Shakespeare was born in April 1564. He had access to knowledge that had been unavailable to white people for thousands of years. He must have formed a close relationship with someone of royal lineage, or used trick, who then permitted him to enter the secret library of the Anglican Church. “A character has to be ignorant of the future, unsure about the past, and not at all sure what he/she’s supposed to be doing.” – Anthony Burgess Martina proudly shared with me her admiration for the Argentine author Julio Cortazar, who was renowned across South America. She quoted one of his famous lines, saying: “Vida es como una cebolla, hay que pelarla llorando,” which translates to “Life is like an onion, you have to peel it crying.” Martina shared with me her observation that the sky in Europe felt lower compared to America. She mentioned that the clouds appeared larger in America, giving a sense of a higher and more expansive sky, while in Europe, it felt like the sky had a lower and more limiting ceiling. “The skies are much higher in Argentina, Tomas, in all America. Here in Europe the sky is so low. In Argentina there are huge clouds and the sky is huge, Tomas.” – Martina Blaterare “It was curious to think that the sky was the same for everybody, in Eurasia or Eastasia as well as here. And the people under the sky were also very much the same--everywhere, all over the world, hundreds or thousands of millions of people just like this, people ignorant of one another’s existence, held apart by walls of hatred and lies, and yet almost exactly the same--people who had never learned to think but were storing up in their hearts and bellies and muscles the power that would one day overturn the world.” – George Orwell, 1984

If I died in a freak accident while hurrying through Shibuya's notorious "scramble" intersection, where thousands of pedestrians crossed from all directions at once when the WALK light shifted to green, I hoped whoever performed my funeral service would know I died satisfied. Shibuya felt like being in the center of the vertical world, with tall buildings flashing advertisements, neon lights, and level after level of stores and restaurants visible through glass windows. So many people, so hurried, so much to look at and experience. Fashionista women wearing skinny pants with stiletto pumps riding bikes down crowded sidewalks. Harajuku girls with pink hair and crazy outfits. Loud izakaya bars where men's conversations and laughter spilled onto the street, and women walking by wearing kimonos with white socks tucked into flip-flops. Young people strutting around dressed in kosupure ("cosplay," Nik translated) outfits from their favorite anime, like it was Halloween every day here. TOO MUCH FUN. I didn't want to die, but if I did, I would tell the souls I met in the afterlife: Don't feel bad about my premature end. I saw it all in my short time down in the upworld of Tokyo.

The children’s craze for the series provided us with a good opportunity to introduce the Chinese and French versions to them, first by reading to them, then reading together with them and finally encouraging them to read some of the translations on their own. Because the children were so interested in Harry Potter, it was no struggle for them to try the home-language versions. In fact, the boys voluntarily looked at the French and Chinese versions and compared their favorite parts with the English version.

Despite all the solo vocals, each using the others as a back-up group, the White Album still sounds haunted by memories of friendship—that “dreamlike state” they could still zoom into hearing each other sing. They translated Rishikesh into their own style of English pagan pastoral—so many talking animals, so many changes in the weather. One of my favorite British songwriters, Luke Haines from the Auteurs and Black Box Recorder, once told me in an interview that his band was making “our Wicker Man album.” He was miffed I had no idea what he meant. “You can’t understand British bands without seeing The Wicker Man. Every British band makes its Wicker Man album.” So I rented the classic 1973 Hammer horror film, and had creepy dreams about rabbits for months, but he’s right, and the White Album is the Beatles’ Wicker Man album five years before The Wicker Man, a rustic retreat where nature seems dark and depraved in a primal English sing-cuckoo way. They also spruced up their acoustic guitar chops in India, learning folkie fingerpicking techniques from fellow pilgrim Donovan, giving the songs some kind of ancient mystic chill.