Unfinished Thoughts Quotes

I'm a mess of unfinished thoughts.

Offer it up personally,then. Right now. I thought of how many people go to their graves unforgiven and unforgiving. I thought of how many people have had siblings or friends or children or lovers disappear from their lives before precious words of clemency or absolution could be passed along. How do the survivors of terminated relationships ever endure the pain of unfinished business? From that place of meditation, I found the answer-you can finish the business yourself, from within yourself. It's not only possible, it's essential.

Baby, you stare at my dick any longer, Miss Mildred’s gonna have to send out a search party.” … “I was staring at your hip muscles,” I corrected. “Whatever,” he muttered, his lips now smiling too, then louder, “just sayin’, anything in that vicinity, your eyes on it, it’ll get thoughts on its own.” “So noted,” I mumbled.

How can I tell a story we already know too well? Her name was Africa. His was France. He colonized her, exploited her, silenced her, and even decades after it was supposed to have ended, still acted with a high hand in resolving her affairs in places like Côte d'Ivoire, a name she had been given because of her export products, not her own identity. Her name was Asia. His was Europe. Her name was silence. His was power. Her name was poverty. His was wealth. Her name was Her, but what was hers? His name was His, and he presumed everything was his, including her, and he thought be could take her without asking and without consequences. It was a very old story, though its outcome had been changing a little in recent decades. And this time around the consequences are shaking a lot of foundations, all of which clearly needed shaking. Who would ever write a fable as obvious, as heavy-handed as the story we've been given? ... His name was privilege, but hers was possibility. His was the same old story, but hers was a new one about the possibility of changing a story that remains unfinished, that includes all of us, that matters so much, that we will watch but also make and tell in the weeks, months, years, decades to come.

When will I ever learn to accept what is given instead of always yearning for more? My lavish expectations too often tarnish my blessings.

I jump up: it would be much better if I could only stop thinking. Thoughts are the dullest things. Duller than flesh. They stretch out and there's no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns: "I have to fi. . . I ex. . . Dead . . . M. de Roll is dead . . . I am not ... I ex. . ." It goes, it goes . . . and there's no end to it. It's worse than the rest because I feel responsible and have complicity in it. For example, this sort of painful rumination: I exist, I am the one who keeps it up. I. The body lives by itself once it has begun. But though I am the one who continues it, unrolls it. I exist. How serpentine is this feeling of existing, I unwind it, slowly. ... If I could keep myself from thinking! I try, and succeed: my head seems to fill with smoke . . . and then it starts again: "Smoke . . . not to think . . . don't want to think ... I think I don't want to think. I mustn't think that I don't want to think. Because that's still a thought." Will there never be an end to it? My thought is me: that's why I can't stop. I exist because I think . . . and I can't stop myself from thinking. At this very moment, it's frightful, if I exist, it is because I am horrified at existing. I am the one who pulls myself from the nothingness to which I aspire: the hatred, the disgust of existing, there are as many ways to make myself exist, to thrust myself into existence. Thoughts are born at the back of me, like sudden giddiness, I feel them being born behind my head ... if I yield, they're going to come round in front of me, between my eyes, and I always yield, the thought grows and grows and there it is, immense, filling me completely and renewing my existence.

A poetess is a collection of unfinished thoughts. She is a tormented phantom, a harbinger of life and death. Those who peer deep inside her catacombs will learn that even madness is a virtue.

He was trying to pay close attention to his surroundings as a way to avert thought and anxiety.

Be definite in everything you do and never leave unfinished thoughts in the mind. Form the habit of reaching definite decisions on all subjects.

PART 2 I felt doomed to death, But in a flash, Before I could reduce my thoughts To an emotion, I felt a mass leave my body: Departing. Then my mind becomes anonymous As is each night. Just unfinished thoughts, and a deep sickness inside, As I was forced to swallow it, Something I've tried to bury deep inside my psyche to this day. (poem written by alter personality)

You are an unfinished work in progress. One of the good things about life's challenges: you get to find out that you're capable of being far more than you ever thought possible.

I thought of how many people go to their graves unforgiven and unforgiving. I thought of how many people have had siblings or friends or children or lovers disappear from their lives before precious words of clemency or absolution could be passed along. How do the survivors of terminated relationships ever endure the pain of unfinished business?

Nobody ever realized that Celia was shy. They thought she was haughty and conceited. Nobody realized how humble this pretty girl was feeling—how bitterly conscious of her social defects.

We can't choose the family we were born into. But we can choose our actions. We all want to take care of the people we are closest to, those sitting at our table. But is there a world in which those who are blessed with more might build a larger table rather than building a higher fence?

Your thoughts make me miss you. I feel pain. And I feel restless. As if a part of me is incomplete without you. Then I feel deeper pain. And then I become soulful! You will always be an unfinished part of me.

Life bullies us son, but God don't. He had good reasons for fixin' it where if'n you git too sick or too hurt to live, why, you can die, same as a sick chicken. I've knowed a few really sick chickens to git well, and lots a-folks git well thet nobody ever thought to see out a-bed agin cept in a coffin. Still and all, common sense tells you this much: everwhat makes a wheel run over a track will make it run over a boy if'n he's in the way. If'n you'd a got kilt, it'd mean you jest didn't move fast enough, like a rabbit that gits caught by a hound dog... When it comes to prayin' we got it all over the other animals, but we ain't no different when it comes to livin' and dyin'. If'n you give God the credit when somebody don't die, you go'n blame Him when they do die? Call it His Will? Ever noticed we git well all the time and don't die but once't? Thet has to mean God always wants us to live if'n we can.

You are an unfinished work in progress. One of the good things about life’s challenges: You get to find out that you’re capable of being far more than you ever thought possible.

It occurs to me that being in the fog does not have to mean being altogether lost.

too often I’ve used up precious time preparing for experiences rather than just having them.

Woman must come of age by herself. She must find her true center alone. —Anne Morrow Lindbergh,

You and I will always be unfinished business. There are too many words unsaid, too many thoughts unfelt and too many feelings unexpressed.

I have twenty tabs open, each an endless journey, an unfinished thought. I can’t go to sleep yet: there are too many tabs open in my brain.

It would be much better if I could only stop thinking. Thoughts are the dullest things. Duller than flesh. They stretch out and there's no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns ... It goes, it goes ... and there's no end to it. It's worse than the rest because I feel responsible and have complicity in it. For example, this sort of painful rumination: I exist, I am the one who keeps it up. I.

It was my turn to let my eyes travel over his features. Take in his male beauty. Memorize it. Do it knowing that as crazy as it sounded, I’d never forget him. For reasons I didn’t know and would never have the opportunity to understand, there would always be a part of me that would long for him. There would always be thoughts in the back of my mind plaguing me, haunting me, making me wonder, if he let me in, even just a little, how it could have been. I stopped thinking these thoughts when the pad of his thumb whispered across my lips. That was when the tears pricked my eyes. Because I knew that was when he was going to let me go. For always.

Barbara appraised her with critical eyes. ‘Oh my. Well, this is going to need some work.’ She went right to Carmen’s hips and pulled the unfinished seams open. ‘Yes, we’ll have to take this way out. I’m not sure I have enough fabric. I’ll check when I get back to my office.’ You are a horrible witch, Carmen thought. She knew she looked absolutely awful in the dress. She was part Bourbon Street whore and part Latina first-communion spectacle.

I think it was Picasso who said he spent the first half of his life becoming an adult and the last half learning to be a child.

I’m curious about everyone, hungry for everything, greedy for all ideas. My awareness that not everything can be seen, not everything read and not everything thought torments me like the loss of ..... But I don’t see with fixed attention, I don’t read with great care, and I don’t think with continuity. I’m an ardent and inconsequential dilettante in everything. My soul is too weak to sustain the force of its own enthusiasm. Made out of ruins of the unfinished, I’m definable as a landscape of resignations.

Why am I more cautious as I age instead of the other way around? I wonder if it’s all tied in to failure. I tend to forget my gains and remember only the losses. The failures have piled up, wreaking havoc with my confidence until, as an adult, I’ve become afraid to take chances.

My only one! In your last letter "My head aches my heart is stunned!" you say. "If they hang you, if I lose you;" you say; "I can't live!" You'll live my dearest wife, like a black smoke in the wind my memory will vanish; you'll live, the red-haired sister of my heart at most one year it lasts in the twentieth century the grief of death.. Death a dead body swinging on a rope. My heart doesn't accept such a death.. But be sure that, my love, if some pitiable gypsy's hairy black spider like hand slips the rope around my neck, to see the fear in my blue eyes they'll look in vain at Nâzım! And I, in the twilight of my last morning, shall see my friends and you, and carry only the grief of an unfinished song to the soil... My wife! Good hearted, golden coloured, with eyes sweeter than honey, my bee; why did I write you that they want to hang me, the trial is in the first step and they don't pluck like a turnip the head of a man. Come, forget them all. These are so far away probabilities. If you have some money buy me a flannel underwear, my sciatica is acting up. And don't forget that always there should be good thoughts in the mind of a prisoner's wife.

To alter the amnesia of our times, we must be willing to look into the face of the loss and keep it nearby. In this way, we may be able to honor the losses and live our lives as carriers of their unfinished stories. This is an ancient thought - how we tend the dead is as important as how we tend the living.

I have learned to pay attention to my instincts and take notice when I feel anxious—to remove the pebble from my shoe before it blisters, get the chicken bone out of my throat—in short, to be mindful of feelings and emotions and work with them, not run from them.

Good things seem just to happen along. The state of feeling satisfied occurs most often when I haven’t sought it.

I knew I was ignorant trying to be wise, lazy pretending to work hard, and over-sensitive to what others thought of me.

I steady my nerves, knowing the moment of high tide is just that, a brief time that will always reverse itself and diminish.

Today’s adventure taught me how simple it is to be involved and uplifted by nothing more complicated than the unexpected.

giving him a tide clock instead of the proverbial watch men are so often given at retirement. We

Each day was an unfinished thought. Night was a secret bursting to be told. ~Ai’sha

dreams are unfinished thoughts.

NINA Your life is beautiful. TRIGORIN I see nothing especially lovely about it. [He looks at his watch] Excuse me, I must go at once, and begin writing again. I am in a hurry. [He laughs] You have stepped on my pet corn, as they say, and I am getting excited, and a little cross. Let us discuss this bright and beautiful life of mine, though. [After a few moments' thought] Violent obsessions sometimes lay hold of a man: he may, for instance, think day and night of nothing but the moon. I have such a moon. Day and night I am held in the grip of one besetting thought, to write, write, write! Hardly have I finished one book than something urges me to write another, and then a third, and then a fourth--I write ceaselessly. I am, as it were, on a treadmill. I hurry for ever from one story to another, and can't help myself. Do you see anything bright and beautiful in that? Oh, it is a wild life! Even now, thrilled as I am by talking to you, I do not forget for an instant that an unfinished story is awaiting me. My eye falls on that cloud there, which has the shape of a grand piano; I instantly make a mental note that I must remember to mention in my story a cloud floating by that looked like a grand piano. I smell heliotrope; I mutter to myself: a sickly smell, the colour worn by widows; I must remember that in writing my next description of a summer evening. I catch an idea in every sentence of yours or of my own, and hasten to lock all these treasures in my literary store-room, thinking that some day they may be useful to me. As soon as I stop working I rush off to the theatre or go fishing, in the hope that I may find oblivion there, but no! Some new subject for a story is sure to come rolling through my brain like an iron cannonball. I hear my desk calling, and have to go back to it and begin to write, write, write, once more. And so it goes for everlasting. I cannot escape myself, though I feel that I am consuming my life. To prepare the honey I feed to unknown crowds, I am doomed to brush the bloom from my dearest flowers, to tear them from their stems, and trample the roots that bore them under foot. Am I not a madman? Should I not be treated by those who know me as one mentally diseased? Yet it is always the same, same old story, till I begin to think that all this praise and admiration must be a deception, that I am being hoodwinked because they know I am crazy, and I sometimes tremble lest I should be grabbed from behind and whisked off to a lunatic asylum. The best years of my youth were made one continual agony for me by my writing. A young author, especially if at first he does not make a success, feels clumsy, ill-at-ease, and superfluous in the world. His nerves are all on edge and stretched to the point of breaking; he is irresistibly attracted to literary and artistic people, and hovers about them unknown and unnoticed, fearing to look them bravely in the eye, like a man with a passion for gambling, whose money is all gone. I did not know my readers, but for some reason I imagined they were distrustful and unfriendly; I was mortally afraid of the public, and when my first play appeared, it seemed to me as if all the dark eyes in the audience were looking at it with enmity, and all the blue ones with cold indifference. Oh, how terrible it was! What agony!

It is not quite as dark here as we thought. On the contrary, the interior is pulsating with light. It is, of course, the internal light of roots, a wandering phosphorescence, tiny veins of a light marbling the darkness, an evanescent shimmer of nightmarish substances. Likewise, when we sleep, severed from the world, straying into deep introversion, on a return journey into ourselves, we can see clearly through our closed eyelids, because thoughts are kindled in us by internal tapers and smolder erratically. This is how total regressions occur, retreats into self, journeys to the roots. This is how we branch out into anamnesis and are shaken by underground subcutaneous shivers. For it is only above ground, in the light of day, that we are a trembling, articulate bundle of tunes; in the depth we disintegrate again into black murmurs, confused purring, a multitude of unfinished stories.

Be patient toward all that is unsolved in your heart and try to love the questions themselves. Do not now seek the answers, which cannot be given you because you would not be able to live them. And the point is to live everything. Live the questions now. Perhaps you will then gradually, without noticing it, live along some distant day into the answers. —Rainer Maria Rilke, LETTER TO A YOUNG POET T

When one is freshly informed, has a serendipitous experience, one’s mood is changed, one’s heart is changed. That is why taking time to see, hear, be present to images and language that arise from new experiences have the power to change one from one way to another. —Clarissa Pinkola Estés, WOMEN WHO RUN WITH THE WOLVES I

For years I thought, real life was about to begin. For years I thought something big, something grand was going to happen in my life and I would suddenly start feeling happier. I thought what I was living was not my real life, that I was meant to do something else. And one day I would be free of all shackles, I would be free of all my engagements. Then I would embark upon this journey of discovering myself, of being happy, of always being fulfilled. But there was always some unfinished business. There was a bill to be paid, there was a call to be made, and there was an email to be replied to … so, no matter how much I ticked off, there was always some stuff still left. There was always some obstacle on the path of my happiness. One day, it dawned that these obstacles were my life.

Sitting here alone is satisfying enough, but the night would be far better if shared with another—with someone whose mood meets mine, who relishes moments, whose wonder remains untainted, who appreciates simple things and says so, who laughs much, indulges heartily, is spontaneous in spirit, is quick to embrace, and sees joy as a duty! Oh,

Real connection seems to happen that way—two like-minded souls meet and sniff around one another like puppy dogs, then whoosh, a moment of fission occurs, pleasantries are dropped, closely twined feelings surface, and a relationship is born.

He was inefficient in the old sense of the word; not incapable, but unwilling to be seduced by work--unwilling to be singleminded. Those things that needed to be done were constantly put off for those things that needed to be thought about. And unfinished projects did not pester him to be completed, but represented, in themselves, thoughts he had not finished thinking....

First, I don't traipse, and second, Helen's- devil take you, that hurts!" Exhausted, he dropped his head to his chest. Helen regarded him sympathetically, knowing how he hated not being in control. Rhys was always well dressed and in command of himself. His very name connoted success, luxury, and elegance. None of that was consistent with finding himself on the floor, battered, bruised, and forcibly divested of his clothing. "And second?" she prompted gently, bringing him back to his unfinished thought. "You're not ruined," he said gruffly, his head still down. "You're perfect." Helen's heart twisted with painful sweetness. She wanted badly to comfort and cradle him. Instead she had to settle for stroking his black hair very lightly. He pushed his head against the caress, like an affectionate wolf.

People in Japan and the Faeroe Islands kill dolphins and pilot whales by running steel rods into their spinal columns while they squeal in pain and terror and thrash in agony. (In Japan, it’s illegal to kill cows and pigs as painfully and inhumanely as they kill dolphins.) The lack of compassion for dolphins and whales indicates that humans’ “theory of mind” is incomplete. We have an empathy shortfall, a compassion deficit. And human-on-human violence, abuse, and ethnic and religious genocide are all too pervasive in our world. No elephant will ever pilot a jetliner. And no elephant will ever pilot a jetliner into the World Trade Center. We have the capacity for wider compassion, but we don’t fully live up to ourselves. Why do human egos seem so threatened by the thought that other animals think and feel? Is it because acknowledging the mind of another makes it harder to abuse them? We seem so unfinished and so defensive. Maybe incompleteness is one of the things that “makes us human.

Outside, the night was settling fast. I liked the peace and the silence of the countryside, with its fading alpenglow and darkling view of the river. Oliver country, I thought. The mottled lights from across the other bank beamed on the water, reminding me of Van Gogh’s 'Starlight Over the Rhone.' Very autumnal, very beginning of school year, very Indian summer, and as always at Indian summer twilight, that lingering mix of unfinished summer business and unfinished homework and always the illusion of summer months ahead, which wears itself out no sooner than the sun has set.

That day on the set, after talking to Carl, she came over to me and asked, “What did Carl mean when he said that you’re an angel?” I didn’t know what he had said, but I was naturally dying to hear more. Jane went on, “I was telling him how sweet you are and how easy you are to work with, and he said, ‘Well, she’s an angel.’ I kinda laughed and said, ‘Yeah, she is.’ But he looked me right in the eye and said, ‘No, you don’t get it. She’s a real angel.’” I was flattered and honored that Carl thought that. It’s just like him to say it to somebody else, figuring I’ll never hear about it.

It has all cost so much, and come to so little. There’s so much unfinished. But I cannot stay here. I thought I could, but I was mistaken. The world is sea-changed now, and I fear I belong to the Old World. “But this world has marvels in it too. Never doubt it.” Now he looked straight at Collum. “They are of a different kind now. No one will hand them to you. You can’t pull them out of a stone, the way I did, but they’re still there. It’s not too late.

Most of the books I have are indicators of my insecurity. I really wanted to be an intellectual. I really wanted to understand Sartre. I thought that was what made people smart. I have tried to read Being and Nothingness no fewer than twenty times in my life. I really thought that every answer had to be in that book. Maybe it is. The truth is, I can’t read anything with any distance. Every book is a self-help book to me. Just having them makes me feel better. I underline profusely but I don’t retain much. Reading is like a drug. When I am reading from these books it feels like I am thinking what is being read, and that gives me a rush. That is enough. I glean what I can. I finish some of the unfinished thoughts lingering around in my head by adding the thoughts of geniuses and I build from there. There are bookmarks in most of the denser tomes at around page 20 to 40 because that was where I said, “I get it.” Then I put them back on the shelf.

I spoke your true name. It's not what I thought it would be. And I don't feel easy about it. As if I'd left something unfinished. But it is your name. If it betrays you, then that's the truth of it." Rose hesitated and then spoke less angrily, more coldly: "If you want the power to betray me, Irian, I'll give you that. My name is Etaudis." "Dragonfly

You mustn’t fret. There is no arriving, ever. It is all a continual becoming.

It seems to me that the task of the unfinished woman is to acknowledge her life as a work in progress, allowing each passage, evolution, experience to offer wisdom for her soul.

Instead, I mind my own business, speak when I’m spoken to, cut their fish, and pretend to like serving them. My

reticent,

are as malleable as the mermaid in the sand—unfinished men and women making new creations out of our old selves.

nourishment I feel can only be maintained if I stay close to the elements—fire, air, water, earth. If I surround myself with them, I shall always feel the stirrings of my soul.

learning that what’s important is not so much what I do to make a living as who I become in the process.

I’ve come to believe that love happens when you want it to. It is an intention, rather than a serendipitous occurrence. Only when one is open to receive and absorb love can it occur.

I sing along, uplifted by the words, reminded of the way my favorite minister taught me how to pray, or rather, yield my thoughts: “Offer praise first,” she said, “then thanksgiving. Follow it with petition, asking for your need to be met, and then conclude by relinquishing control.” I find that once I do the first part, the reason for my prayer usually diminishes.

This so frequent abortion of man's dearest projects must be taken as a proof that the deeds of earth, however etherealized by piety or genius, are without value, except as exercises and manifestations of the spirit. In heaven, all ordinary thought is higher and more melodious than Milton's song. Then, would he add another verse to any strain that he had left unfinished here?

Kilvin’s face broke into a great white smile. “Good. I would not have wanted to lose you to the other side of the river. Music is a fine thing, but metal lasts.” He struck the table with two huge fingers to emphasize his point. Then he made a shooing motion with the hand that held his unfinished lamp. “Go. Do not be late for work or I will keep you polishing bottles and grinding ore for another term.” As I left, I thought about what Kilvin had said. It was the first thing he had said to me that I did not agree with wholeheartedly. Metal rusts, I thought, music lasts forever. Time will eventually prove one of us right.

We cannot write in water … we cannot carve in water. Water’s nature is to flow and that is how we should treat life … emotion, negative or positive. Do not deny it but always let it flow through and then away. —Anonymous D

Juniper never thought much about her sisters’ lives after they left Crow County—they’d just walked off the edge of the page and vanished, a pair of unfinished sentences—but she thought a lot about what she’d say if she ever saw them again.

We each have old stories we make new again, the things we tell and twine from time to time. Everything we constantly connect to everything else to enter some sort of cosmic passive-aggressive buzz passing over the planet. Entirely original thoughts are as rare as the diamonds born of asteroids. There's talk about talk. For each of us has his or her own amalgam of tales rife with memories, the anecdotes and yarns we spin like rag strips shorn and woven on the tapestry loom of our own histories.

I have a lot of, unfinished poems. And all of them are like, some love affair, that started too quick, and died too young. Each incomplete art to me, is like a memory lane, of an insane passion, that words, couldn't explain, and colors couldn't contain.

I tried every diet in the book. I tried some that weren’t in the book. I tried eating the book. It tasted better than most of the diets. I tried the Scarsdale diet and the Stillman water diet (you remember that one, where you run weight off trying to get to the bathroom). I tried Optifast, Juicefast, and Waterfast. I even took those shots that I think were made from cow pee. I endured every form of torture anybody with a white coat and a clipboard could devise for a girl who really liked fried pork chops. One night while I was on some kind of liquid-protein diet made from bone marrow, or something equally appetizing, I was with a group of friends at a Howard Johnson’s and some of them were having fried clams. I’ll never forget sitting there with all of that glorious fried fat filling my nostrils and feeling completely left out. I went home and wrote one of my biggest hits, “Two Doors Down.” I also went off my diet and had some fried clams. There were times when I thought of chucking it all in. “Damn the movie,” I would say. “I’m just gonna eat everything and go ahead and weigh five hundred pounds and have to be buried in a piano case.” Luckily, a few doughnuts later, that thought would pass and I would be back to the goal at hand. I remember something in a book I read called Gentle Eating. The author said you should pretend the angels are eating with you and that you want to save some for them. I loved that idea, because I love angels. I have to admit, though, there were times I would slap those angels out of the way and have their part too. A true hog will do that.

Human being" is more a verb than a noun. Each of us is unfinished, a work in progress. Perhaps it would be most accurate to add the word "yet" to all our assessments of ourselves and each other . . . If life is process, all judgments are provisional, we can't judge something until it is finished. No one has won or lost until the race is over . . . In our instinctive attachments, our fear of change, and our wish for certainty and permanence, we may undercut the impermanence which is our greatest strength, our most fundamental identity. Without impermanence, there is no process. The nature of life is change. All hope is based on process . . . It is taken me somewhat longer to recognize that a diagnosis is simply another form of judgment. Naming a disease has limited usefulness. It does not capture life or even reflect it accurately. Illness, on the other hand, is a process, like life is. Much in the concept of diagnosis and cure is about fixing, and the narrow-bore focus on fixing people's problems can lead to denial of the power of their process. Years ago, I took full credit when people became well; their recovery was testimony to my skill and knowledge as a physician. I never recognized that without their biological, emotional, and spiritual process which could respond to my interventions, nothing could have changed at all. All the time I thought I was repairing, I was collaborating.

I asked him if he thought “there” was better than “here.” “Not better,” he said. “I mean, my great-great-grandpap got his leg shot off. But I feel like it was bigger somehow.” Hawkins flipped through pages of Civil War pictures. “At work, I mix dyes and put them in a machine. I’m thirty-six and I’ve spent almost half my life in Dye House No. 1. I make eight dollars sixty-one cents an hour, which is okay, ’cept everyone says the plant will close and go to China.” He put the book back on the shelf. “I just feel like the South has been given a bum deal ever since that War.

it would be much better if I could only stop thinking. Thoughts are the dullest things. Duller than flesh. They stretch out and there’s no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns:

I tune the radio to a classical station playing Vivaldi’s Four Seasons, music I used to run to, a good omen, as I am running to a new life. I once heard that Olympic coaches play baroque music in the locker room before big meets to quell their athletes’ anxiety. I take a deep breath and wish for such a calm to overtake me. Still,

On stormy days, when the boat traffic was light, we would slip off our bathing suits and skinny-dip, letting the rush of water and sea lettuce caress our bodies. Our glee was punctuated with high-pitched squeals as one or the other hit a cold spot or chanced a foot on the sandy bottom, where crabs lay in wait to nibble on our toes. We

Emotional intelligence is knowledge of the “Self,” understanding who we are, and employing this knowledge to exercise self-control in our relationships with other beings and the world. Only by knowing ourselves can we responsibly and efficiently manage our senses, thoughts, words and actions, and behave in a benevolent manner toward other beings and the world.

As a young bride I sent my parents letters filled with lies, wanting to convince not only them, but myself, that I was happy. It occurs to me that I will continue to know my children less if they think I want them to be more. Seeking perfection is a terrible thing when it robs you of truth. I wonder if role-playing and being careful are the chief causes of loneliness.

The Winding Stair My Soul. I summon to the winding ancient stair; Set all your mind upon the steep ascent, Upon the broken, crumbling battlement, Upon the breathless starlit air, 'Upon the star that marks the hidden pole; Fix every wandering thought upon That quarter where all thought is done: Who can distinguish darkness from the soul My Self. The consecretes blade upon my knees Is Sato's ancient blade, still as it was, Still razor-keen, still like a looking-glass Unspotted by the centuries; That flowering, silken, old embroidery, torn From some court-lady's dress and round The wodden scabbard bound and wound Can, tattered, still protect, faded adorn My Soul. Why should the imagination of a man Long past his prime remember things that are Emblematical of love and war? Think of ancestral night that can, If but imagination scorn the earth And intellect is wandering To this and that and t'other thing, Deliver from the crime of death and birth. My Self. Montashigi, third of his family, fashioned it Five hundred years ago, about it lie Flowers from I know not what embroidery - Heart's purple - and all these I set For emblems of the day against the tower Emblematical of the night, And claim as by a soldier's right A charter to commit the crime once more. My Soul. Such fullness in that quarter overflows And falls into the basin of the mind That man is stricken deaf and dumb and blind, For intellect no longer knows Is from the Ought, or knower from the Known - That is to say, ascends to Heaven; Only the dead can be forgiven; But when I think of that my tongue's a stone. II My Self. A living man is blind and drinks his drop. What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies? - How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest

Thoughts are the dullest things. Duller than flesh. They stretch out and there's no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns: "I have to fi... I ex... Dead... M. de Roll is dead... I am not... I ex..." It goes, it goes... and there's no end to it. It's worse than the rest because I feel responsible and have complicity in it.

In her uncomfortable position, his mother cocked her head on one side as she prepared to listen. It was a habit Stephen himself had adopted. He could see their faces, the lined expressions of tenderness and anxiety. It was the aging, the essential selves enduring while the bodies withered away. He felt the urgency of contracting time, of unfinished business. There were conversations he had not yet had with them and for which he had always thought there would be time.

I leave behind unfinished puzzles, pieces never put back together. It feels wasteful. Not of the objects, but myself. So much time spent stripping wire or counting screws. For what? For knowledge I will never use? Knowledge that is cursed, inferior, stupid, to everyone else? What have I done with myself for fifteen years? A great construct of nothing. I suppose I miss the old house because it was with me in my emptiness, in my silence. I thought I hated the estate, but I think I hate the capital more.

I’m still mad no one but Carla cared. Patricia tried a little, but to the men, I’m a rock in their shoe. A splinter. I don’t like feeling like this, like there’s something missing. An unfinished puzzle. A Lego set with pieces missing. When the adults ignored me and they got to talk to their families, it made me miss my family. My real family. I thought they cared about me. Chino called me his hermanito, but he didn’t do anything. I want them to care like how Mali cares about me. Instead, I look outside—

Not they indeed," cried Thorpe; "for, as we turned into Broad Street, I saw them—does he not drive a phaeton with bright chestnuts?" "I do not know indeed." "Yes, I know he does; I saw him. You are talking of the man you danced with last night, are not you?" "Yes. "Well, I saw him at that moment turn up the Lansdown Road, driving a smart-looking girl." "Did you indeed?" "Did upon my soul; knew him again directly, and he seemed to have got some very pretty cattle too." "It is very odd! But I suppose they thought it would be too dirty for a walk.

Future generations will struggle to understand how philosophical reactionaries such as Jean-François Lyotard, Richard Rorty and Foucault, working with concepts rummaged from the “basement of bourgeois thought,”27 came to exert such an unwarranted and dangerous influence in the last decades of the twentieth century and the first decade of the twenty-first. I would be very pleased if the lectures and essays in this volume that deal with philosophical issues help future scholars understand the political and social pathology of the postmodernist pandemic.

Do you do that on purpose? The unfinished thought as a way to drive me mad?” “I don’t know if I can explain it right.” “Please try.” I took a deep breath. “Okay. You’re claiming I don’t bore you and you aren’t thinking of moving on to Jeremy anytime soon.” She nodded, fighting a grin. “But last night… it was like…” She was anxious now. The rest came out in a rush. “Like you were already looking for a way to say goodbye.” “Perceptive,” she whispered. And there was the anguish again, leaving. Well, they are related, but inversely.” The necessity of leaving. My stomach plunged. “I don’t understand.” She stared into my eyes again, and hers burned, mesmerizing. Her voice was barely audible. “The more I care about you, the more crucial it is that I find a way to… keep you safe. From me. Leaving would be the right thing to do.” I shook my head. “No.” She took a deep breath, and her eyes seemed to darken in an odd way. “Well, I wasn’t very good at leaving you alone when I tried. I don’t know how to do it.” “Will you do me a favor? Stop trying to figure that one out.” She half-smiled. “I suppose, given the frequency of your near-death experiences, it’s actually safer for me to stay close.” “True story. You never know when another rogue van might attack.

The new artistic urge often led to cathedrals being left unfinished or, if finished, to their giving us the feeling, of which Goethe was the first to become conscious, that they are somehow incomplete, indeed impossible to complete, because in the process of endless, interminable development. This impulse into the unlimited, this inability to be content with any conclusion, comes out all the more clearly in the Passion plays because of their extreme naïvety. It is in the ‘drama of movement’ of the Middle Ages that its dynamic sense of life, its unrest, dissolving traditional modes of thought and feeling, its nominalistic turning to the multiplicity of changing and transitory particulars, are most directly apprehended.

Something touched her shoulder. a light touch, as if a butterfly had landed there. She stiffened, but something told her not to open her eyes. "Grace." A soft voice, unmistakable. She sucked in her breath. "Oh--Christopher--" "Don't turn around," he said. "Or look at me." I am only a very little bit here, Grace. It is taking all my strength for you to hear me. I cannot also make myself seen." Don't turn around. She thought of Orpheus in the Greek tales, who had been forbidden from turning to look behind him at his dead wife as he escorted her from the underworld. He had failed, and lost her. Grace had always thought he was silly-- surely it could not be that difficult simply not to turn around and look at someone. But it was. She felt the ache inside her like pain, the loss of Christopher. Who had understood her, and not judged her. "I thought," she whispered, "ghosts could only return if they had unfinished business. Are the fire-messages yours?" "I think," she whispered, "ghosts could only return if they had unfinished business. Are the fire-messages yours?" "I think," he said, "that you are my unfinished business." "What do you mean?" "You don't need my help to solve this," said Christopher, and she could seehim, behind her eyelids, looking at her with his funny quizzical smile, his eyes such a dark violet behind his spectacles. You only need to believe that you can solve it. And you can. You are a natural scientist, Grace, and a solver of puzzles. All you have to do is silence the voice in your head that says you aren't good enough, don't know enough. I have faith in you.

I might be an atheist—driven more by my reaction to the politics of religion than its practical theology—but I am also the progeny of the mystical Jesus and the mystical salmon. I would argue that Jesus is made of salmon and each salmon is made of many parts of Jesus. And, yes, I know these are contradictory thoughts for an atheist to express. So what? If you believers want to corner me—if you force me to choose the Word—then I am going to choose only one word. And that one word is going to be a verb. And that one verb will be “return,” for I am always compelled to return, return, return to my place of birth, to my reservation, to my unfinished childhood home, and ultimately to my mother, my ultimate salmon. I return to her, my mother, who, in these pages, dies and dies and dies and is continually reborn.

Philosophy has an image problem. Philosophers are thought to be mystics, religious figures, bullshit artists—anything divorced from reality... Why is philosophy held in such contempt by many physicists? ... one part of the answer probably lies in the split between the two major branches of modern Western philosophy, Analytic and Continental philosophy. Continental philosophers tend to be much more suspicious of scientific claims about knowledge and truth than are their analytic colleagues. Yet the distinction between the two kinds of philosophy is not apparent from a distance—most scientists have never heard of the analytic-Continental divide. So, given that most of the highly visible philosophers in the public sphere today are Continental, and given the attitude that some (not all) Continental philosophers have toward science, it’s not terribly surprising that scientists often have disdain for all philosophers, and sometimes even think that they can do philosophy better than the philosophers can.

Apple Core   Outside the morning is cold. He sits at his desk, his fingers motionless on the keyboard. A blanket covers his shoulders and a coffee mug half full of soy milk and Folgers loiters to his right. The surrounding room is strewn with papers, some failed attempts, some nothing at all. Unsealed envelopes and empty packs of cigarettes, unfinished books and drained beer bottles, a dictionary and a worn notebook mixed in with laundry, plastic bags, and cardboard boxes. He sits and stares at his   computer screen, no more than a title punched out along the top of the page. Thoughts swirl around him and the clock face blinks overhead. His speakers lie silent, his printer still. A burned out candle sits next to unopened whiskey. Notes taped to every surface are lorded over by an Easter card signed with familiar names. They speak to the urgency of the world around him. His breakfast is left unfinished, except for the apple, whose core he has wrapped in a napkin and tossed on top of his overflowing wastebasket.

89 We’ve Arrived; Turn Here “But what happened with Simonopio?” Nico the taxi driver asks eagerly while he follows my directions. This is his first intervention since we left Monterrey. I realize now that he had been silent not from boredom, as I had thought at the beginning, nor from a desire to be elsewhere or to turn on his radio, but so that he would not interrupt my flow or the story that I began to tell us this morning, after we closed his taxi’s doors and set off. And I know that, had we met before, had we had more time, this young man—who has been told very few stories or tales in his life—could have become my friend. But there’s no time. There’s no choice: we’ve arrived, and the could haves don’t exist. Nico has nothing to worry about; I’m not trying to delay my story anymore. All the versions of this story, which besieged me for years inside the walls of oblivion that I put up, took me by storm today. They’re other people’s versions, they’re mine, and together they’re a sphere: I see the whole, and I can no longer ignore it or leave it unfinished. I feel compelled

What matter if the ditches are impure? What matter if I live it all once more? Endure that toil of growing up; The ignominy of boyhood; the distress Of boyhood changing into man; The unfinished man and his pain Brought face to face with his own clumsiness; The finished man among his enemies?— How in the name of Heaven can he escape That defiling and disfigured shape The mirror of malicious eyes Casts upon his eyes until at last He thinks that shape must be his shape? And what's the good of an escape If honour find him in the wintry blast? I am content to live it all again And yet again, if it be life to pitch Into the frog-spawn of a blind man's ditch, A blind man battering blind men; Or into that most fecund ditch of all, The folly that man does Or must suffer, if he woos A proud woman not kindred of his soul. I am content to follow to its source Every event in action or in thought; Measure the lot; forgive myself the lot! When such as I cast out remorse So great a sweetness flows into the breast We must laugh and we must sing, We are blest by everything, Everything we look upon is blest.

He was walking back through the cemetery to his car when he came upon a black man digging a grave with a shovel. The man was standing about two feet down in the unfinished grave and stopped shoveling and hurling the dirt out to the side as the visitor approached him. He wore dark coveralls and an old baseball cap, and from the gray in his mustache and the lines in his face he looked to be at least fifty. His frame, however, was still thick and strong. "I thought they did this with a machine," he said to the gravedigger. "In big cemeteries, where they do many graves, a lot of times they use a machine, that's right." He spoke like a Southerner, but very matter-of-factly, very precisely, more like a pedantic schoolteacher than a physical laborer. "I don't use a machine," the gravedigger continued, "because it can sink the other graves. THe soil can give and it can crush in on the box. And you have the gravestones you have to deal with. It's just easier in my case to do everything by hand. Much neater. Easier to take the dirt away without ruining anything else. I use a real small tractor that I can maneuver easily, and I dig by hand.

A hurricane raged through my chest. She understood. Not only the painting. The painting didn't matter. She perceived my creation. And even though that realization might never be painted in words and framed with an interpretation, I felt that her premonition understood me. Meaninglessness as the main meaning. Nonbeing as the most powerful form of being, present in its absence as a simultaneous negation and confirmation of everything that exists. A moment as the only sure reality that cannot be grasped because the last heartbeat is already a second-old memory. The future is a fantasy because nothing has to happen, even though it can. The past is a memory that we must re-invent in the same form so we don't forget it.  Thus, what does really exist except nonexistence? And what is a man but a being crucified by the wedges of the past and the future in the point of the elusive present? Maybe he is a fantasy, just like the rest of the existence to which he belongs. An unfinished painting that someone is painting forever. However, I didn't intend to tell her that because it would be too freaky for our first conversation. I wanted to show at least a semblance of normality for the moment.

What do we mean by thought? When do you think? Obviously, thought is the result of a response, neurological or psychological, is it not? It is the immediate response of the senses to a sensation, or it is psychological, the response of stored-up memory. There is the immediate response of the nerves to a sensation, and there is the psychological response of stored-up memory, the influence of race, group, guru, family, tradition, and so on—all of which you call thought. So, the thought process is the response of memory, is it not? You would have no thoughts if you had no memory, and the response of memory to a certain experience brings the thought process into action. What, then, is memory? If you observe your own memory and how you gather memory, you will notice that it is either factual, technical, having to do with information, with engineering, mathematics, physics, and all the rest of it—or, it is the residue of an unfinished, uncompleted experience, is it not? Watch your own memory and you will see. When you finish an experience, complete it, there is no memory of that experience in the sense of a psychological residue. There is a residue only when an experience is not fully understood, and there is no understanding of experience because we look at each experience through past memories, and therefore we never meet the new as the new, but always through the screen of the old. Therefore, it is clear that our response to experience is conditioned, always limited.

I don’t believe a word of the whole thing,” said Heisenberg upon hearing the news. “I don’t believe it has anything to do with uranium.” Hahn jeered, “If the Americans have a uranium bomb then you’re all second raters. Poor old Heisenberg.” After they heard the BBC report the news in great detail later that night, Heisenberg and the others accepted the truth: they had been beaten. Over the next few days, Heisenberg attempted to work out how his project had fallen so far behind; his fumbling calculations show that he had never really understood how to even build a bomb in the first place, though he had certainly thought he’d understood it. And the bickering of the other scientists at Farm Hall confirmed what documents captured by Alsos had already suggested: the Nazi bomb program, unlike the Manhattan Project, was a disorganized mess, with vital information compartmentalized and no clear vision of how to proceed. Yet, in those same few days, the Farm Hall transcripts make it clear that Heisenberg and his student, Carl von Weizsäcker, purposefully constructed a revisionist narrative of their wartime activities. According to them, while the Americans had built a weapon of death and destruction on unprecedented scales, they, the Germans, had deliberately pursued only a nuclear reactor, being unwilling to build a massive new weapon for Hitler’s Reich—thereby placing the responsibility for their failure on their supposed moral clarity, rather than their sheer incompetence.

I jump up: it would be much better if I could only stop thinking. Thoughts are the dullest things. Duller than flesh. They stretch out and there's no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns: "I have to fi...I ex...Dead...M. de Roll is dead...I am not...I ex..." It goes, it goes ... and there's no end to it. It's worse than the rest because I feel responsible and complicity in it. For example, this sort of painful rumination: I exist, I am the one who keeps it up. I. The body lives by itself once it has begun. But thought-I am the one who continues it, unrolls it. I exist. How serpentine is this feelling of existing-I unwind it, slowly... If I could keep myself from thinking! I try, and succed: my head seems to fill with smoke...and it starts again: "Smoke ... not to think ... don't want to think ... I think I don't want to think. I musn'tthink that I don't want to think. Because that's still a thought". Will there never be an end to this? My thought is me: that's why I can't stop. I exist because I think ... and I can't stop myself from thinking. At this very moment-it's frightful-if I exist, it is because I am horrified at existing. I am the one who pulls myself from the nothingness to which I aspire: the hatred, the disgust of existing, there are as may ways to make myself exist, to thrust myself into existence. Thoughts are born at the back of me, like sudden giddiness, I feel them being born behind my back ... If I yield, there're going to come round in front of me, between my eyes - and I always yield, the thought grows and grows and there it is, immense, filling me completely and renewing my existence.

I jump up: it would be much better if I could only stop thinking. Thoughts are the dullest things. Duller than flesh. They stretch out and there’s no end to them and they leave a funny taste in the mouth. Then there are words, inside the thoughts, unfinished words, a sketchy sentence which constantly returns: “I have to fi. . . I ex. . . Dead . . . M. de Roll is dead . . . I am not . . . I ex. . .” It goes, it goes . . . and there’s no end to it. It’s worse than the rest because I feel responsible and have complicity in it. For example, this sort of painful rumination: I exist, I am the one who keeps it up. I. The body lives by itself once it has begun. But thought—I am the one who continues it, unrolls it. I exist. How serpentine is this feeling of existing—I unwind it, slowly. . . . If I could keep myself from thinking! I try, and succeed: my head seems to fill with smoke . . . and then it starts again: “Smoke . . . not to think . . . don’t want to think . . . I think I don’t want to think. I mustn’t think that I don’t want to think. Because that’s still a thought.” Will there never be an end to it? My thought is me: that’s why I can’t stop. I exist because I think . . . and I can’t stop myself from thinking. At this very moment—it’s frightful—if I exist, it is because I am horrified at existing. I am the one who pulls myself from the nothingness to which I aspire: the hatred, the disgust of existing, there are as many ways to make myself exist, to thrust myself into existence. Thoughts are born at the back of me, like sudden giddiness, I feel them being born behind my head . . . if I yield, they’re going to come round in front of me, between my eyes—and I always yield, the thought grows and grows and there it is, immense, filling me completely and renewing my existence.

You have asked a question: "Are we by chance a lie?" you say. The possibility disturbs you, but it is necessary for you to reconcile yourselves to being part of an unfinished set of events. You might, for example, be the characters in a literary work of the fantastic genre who have suddenly gained autonomous life. On the other hand, we might be a conglomeration of dreams dreamt by various people in different parts of the world. We are somebody else's dream. Why not? Or a lie. Or perhaps we are the materialization, in human terms, of a chess game ending in a stalemate. Or perhaps we are a film, a film that lasts barely an instant. Or the image of others, not ourselves, in a mirror. Perhaps we are the thoughts of a madman. Perhaps one of us is real and others, his hallucination, There is still another possibility. Perhaps we are a printing error that has inadvertently slipped by, that makes an otherwise clear text, confusing. Perhaps it is the transposition of the lines of a text that brings us to life in this prodigious manner. Or perhaps we are a text that being revealed in a mirror takes on a totally different meaning from the one it really has. Perhaps we are a premonition - the image formed in someone's mind long before the events in which we participate in real life take place. Perhaps we are a fortuitous event that has not yet occurred, which is barely gestating in the cracks of time, or a future event that has not yer occurred. We are an incomprehensible sign drawn on a moist windowpane on a rainy afternoon. We are the memory, nearly lost, of a remote event. We are beings and objects invoked by a magician's spell. We are something has been forgotten. We are an accumulation of words, an event told by means of illegible writing, a testimony no one hears. We are part of an entertaining magic show. A bill sent to the wrong address. We are the fleeting, involuntary image that crosses the minds of lovers as they meet, at the instant they lust, at the moment they die. We are a secret thought. . .

I’m sure we can manage to tolerate each other’s company for one meal.” “I won’t say anything about farming. We can discuss other subjects. I have a vast and complex array of interests.” “Such as?” Mr. Ravenel considered that. “Never mind, I don’t have a vast array of interests. But I feel like the kind of man who does.” Amused despite herself, Phoebe smiled reluctantly. “Aside from my children, I have no interests.” “Thank God. I hate stimulating conversation. My mind isn’t deep enough to float a straw.” Phoebe did enjoy a man with a sense of humor. Perhaps this dinner wouldn’t be as dreadful as she’d thought. “You’ll be glad to hear, then, that I haven’t read a book in months.” “I haven’t gone to a classical music concert in years,” he said. “Too many moments of ‘clap here, not there.’ It makes me nervous.” “I’m afraid we can’t discuss art, either. I find symbolism exhausting.” “Then I assume you don’t like poetry.” “No . . . unless it rhymes.” “I happen to write poetry,” Ravenel said gravely. Heaven help me, Phoebe thought, the momentary fun vanishing. Years ago, when she’d first entered society, it had seemed as if every young man she met at a ball or dinner was an amateur poet. They had insisted on quoting their own poems, filled with bombast about starlight and dewdrops and lost love, in the hopes of impressing her with how sensitive they were. Apparently, the fad had not ended yet. “Do you?” she asked without enthusiasm, praying silently that he wouldn’t offer to recite any of it. “Yes. Shall I recite a line or two?” Repressing a sigh, Phoebe shaped her mouth into a polite curve. “By all means.” “It’s from an unfinished work.” Looking solemn, Mr. Ravenel began, “There once was a young man named Bruce . . . whose trousers were always too loose.” Phoebe willed herself not to encourage him by laughing. She heard a quiet cough of amusement behind her and deduced that one of the footmen had overheard. “Mr. Ravenel,” she asked, “have you forgotten this is a formal dinner?” His eyes glinted with mischief. “Help me with the next line.” “Absolutely not.” “I dare you.” Phoebe ignored him, meticulously spreading her napkin over her lap. “I double dare you,” he persisted. “Really, you are the most . . . oh, very well.” Phoebe took a sip of water while mulling over words. After setting down the glass, she said, “One day he bent over, while picking a clover.” Ravenel absently fingered the stem of an empty crystal goblet. After a moment, he said triumphantly, “. . . and a bee stung him on the caboose.” Phoebe almost choked on a laugh. “Could we at least pretend to be dignified?” she begged. “But it’s going to be such a long dinner.

In their eagerness to eliminate from history any reference to individuais and individual events, collectivist authors resorted to a chimerical construction, the group mind or social mind. At the end of the eighteenth and beginning of the nineteenth centuries German philologists began to study German medieval poetry, which had long since fallen into oblivion. Most of the epics they edited from old manuscripts were imitations of French works. The names of their authors—most of them knightly warriors in the service of dukes or counts—were known. These epics were not much to boast of. But there were two epics of a quite different character, genuinely original works of high literary value, far surpassing the conventional products of the courtiers: the Nibelungenlied and the Gudrun. The former is one of the great books of world literature and undoubtedly the outstanding poem Germany produced before the days of Goethe and Schiller. The names of the authors of these masterpieces were not handed down to posterity. Perhaps the poets belonged to the class of professional entertainers (Spielleute), who not only were snubbed by the nobility but had to endure mortifying legal disabilities. Perhaps they were heretical or Jewish, and the clergy was eager to make people forget them. At any rate the philologists called these two works "people's epics" (Volksepen). This term suggested to naive minds the idea that they were written not by individual authors but by the "people." The same mythical authorship was attributed to popular songs (Volkslieder) whose authors were unknown. Again in Germany, in the years following the Napoleonic wars, the problem of comprehensive legislative codification was brought up for discussion. In this controversy the historical school of jurisprudence, led by Savigny, denied the competence of any age and any persons to write legislation. Like the Volksepen and the Volkslieder, a nation s laws, they declared, are a spontaneous emanation of the Volksgeist, the nations spirit and peculiar character. Genuine laws are not arbitrarily written by legislators; they spring up and thrive organically from the Volksgeist. This Volksgeist doctrine was devised in Germany as a conscious reaction against the ideas of natural law and the "unGerman" spirit of the French Revolution. But it was further developed and elevated to the dignity of a comprehensive social doctrine by the French positivists, many of whom not only were committed to the principies of the most radical among the revolutionary leaders but aimed at completing the "unfinished revolution" by a violent overthrow of the capitalistic mode of production. Émile Durkheim and his school deal with the group mind as if it were a real phenomenon, a distinct agency, thinking and acting. As they see it, not individuais but the group is the subject of history. As a corrective of these fancies the truism must be stressed that only individuais think and act. In dealing with the thoughts and actions of individuais the historian establishes the fact that some individuais influence one another in their thinking and acting more strongly than they influence and are influenced by other individuais. He observes that cooperation and division of labor exist among some, while existing to a lesser extent or not at ali among others. He employs the term "group" to signify an aggregation of individuais who cooperate together more closely.