Unlikely Hero Quotes

One false step, and you’ll fall all the way to Tartarus—and believe me, unlike the Doors of Death, this would be a one-way trip, a very hard fall! I will not have you dying before you tell me your plan for my artwork.

Even after all this time, I keep forgetting that heroes can be found in unlikely places and persons -- like mechanics who can turn into coyotes.

There is one province in which, sooner or later, virtually everyone gets dealt a leading role--hero, heroine, or villain.... Unlike the slight implications of quotidian dilemmas that confront the average citizen in other areas of life ... the stakes in this realm could not be higher. For chances are that at some point along the line you will hold in your hands another person's heart. There is no greater responsibility on the planet. However you contend with this fragile organ, which pounds or seizes in accordance with your caprice, will take your full measure.

I believe that I am unclean and will harm those I care about the most and that there is too much noise in my head and that I am so goddamned tired.

He answered her with a kiss. It was more than hungry; it was filled with months' worth of fear and uncertainty and longing. It was a thousand I'm sorrys and ten thousand I love yous.

Heroes can be found in the most unlikely places. Perhaps we all have it within us to do great things, but may simply lack the circumstances or the reasons to be heoric.

It is often said that freedom doesn’t come free. It is also said that true heroes can come from both the most unlikely and obvious of places. I believe that. And so this book is dedicated to my heroes who fight overseas and at home.

the story of an unlikely hero

Rolling hills that had been vibrant green just weeks ago were now muted in tone, as if they were taking a deep breath before bursting into the song of fall.

He just . . . Nick just wanted to be special. He wanted to be Luke, with a destiny. He wanted to be Frodo, with a quest. He wanted to be an unlikely hero and do something that mattered, but there are no quests in the real world, where everything is much bigger and more tangled and complex than in the stories he loves. In the real world, small people don’t get to be heroes, and Nick is the smallest person he knows.

Even though a lot of people died, a lot of heroes were born. Often it was the most unlikely of people who found within themselves a spark of something greater. It was probably always there, but most people are never tested, and they go through their whole lives without ever knowing that when things are at their worst, they are at their best.

We often hurt the ones we love, dear." Adam exhaled. "It's what I do best, Mrs. Polanski.

I sweat terror, Robyn! I'm scared every single second about every single goddamned thing. I worry obsessively about being buried under an avalanche of fear. Jesus, Robyn, I'm scared like only the truly crazy can be.' 'But that, you dope, is the definition of courage: you go on despite the fear.

People can't listen until they're ready. I sure couldn't. I was, like, deaf to everyone except the thoughts. They were the boss of me.

Leaders would be born in this movement, unlikely heroes whose impact on food production would change a nation, and possibly the world. ~Seeds of Transition

In the mid–path of my life, I woke to find myself in a dark wood,' writes Dante, in The Divine Comedy, beginning a quest that will lead to transformation and redemption. A journey through the dark of the woods is a motif common to fairy tales: young heroes set off through the perilous forest in order to reach their destiny, or they find themselves abandoned there, cast off and left for dead. The road is long and treacherous, prowled by wolves, ghosts, and wizards — but helpers also appear along the way, good fairies and animal guides, often cloaked in unlikely disguises. The hero's task is to tell friend from foe, and to keep walking steadily onward.

The books she read took her to places she would never visit, gave her friends she would never have, offered her a life she would never live. They were her escape from the world - they provided therapy for her mind, for her heart. They were hermits trusted companions.Because unlike people, books didn't care if you were a princess or a pauper. Their content didn't change depending on whose eyes travelled over their pages. Books just were.

Unlike Rosa, I can see no divine purpose behind the tangle of this existence, no ordering hand. It is all a mystery, or more accurately, a mess. There are no heroes or villains, no saviors or demons or angels. Only those who have died and those of us who, for whatever reason, have survived. None of this will keep me from believing in God. I believe in Him, I just don't know that I will ever have faith in Him.

Villains. Stories are nothing without them. Heroes cannot rise to greatness without them. In the absence of an enemy, our beloved protagonists are left kicking rocks in the Shire or taking tea and biscuits in a mind-numbingly cheery Spare Oom. We love villains because they turn their aches into action, their bruises into battering rams. They push through niceties and against societal restraints to propel the story forward. Unlike our lovable protagonists, villains - for better or worse - stop at literally nothing to achieve their goals. It's why we secretly root for them, why we find ourselves hoping they make their grand escape, and it's why our shoulders sag with equal parts relief and disappointment when they are caught. After all, how can you not give it up to someone who works that damned hard for what they want?... Look into a villain's eyes long enough and we might find our shadow selves, our uncut what-ifs and unchecked ambitions, a blurry line if ever there was one.

You're a superhero. Deal with it.

tamarind trees

But villains are just misunderstood heroes.

The language of the Soul is right-brain, metaphorical, narrative, and paradoxical, very unlike the left-brain, logical, discursive, dualistic language of the Ego.

My Hero Just as the hare is zipping across the finish line, the tortoise has stopped once again by the roadside, this time to stick out his neck and nibble a bit of sweet grass, unlike the previous time when he was distracted by a bee humming in the heart of a wildflower.

I struggled with a nebulous work which seemed now a nouvelle, now a vast novel, wherein a hero not unlike myself pursued, amid ghostly incidents, a series of reflections about life and art.

A day in heaven,' Adam whispered. What would that be like? To wake up one morning and be normal? To not bite down and parcel out each second of each day. To not wrestle and negotiate with your obsessions. To not have thoughts that ran you into the ground. To have a quit mind. A quiet mind. Quiet.

The index fund is a most unlikely hero for the typical investor. It is no more (nor less) than a broadly diversified portfolio, typically run at rock-bottom costs, without the putative benefit of a brilliant, resourceful, and highly skilled portfolio manager. The index fund simply buys and holds the securities in a particular index, in proportion to their weight in the index. The concept is simplicity writ large.

The plot is deceptively simple. Condensed even fur- ther, it might read as a personal ad in some questfinder’s forum: Unlikely hero to save world from cataclysm. Seeks motley assortment of companions. Sidequests guaranteed.

Since the day he was born, he'd been defying the odds. Today was not the day to stop that trend. Unlike Ambrose, he wasn't about to give up or give in. So long as there was breath in his body, there was life. So long as there was life, there was hope. And so long as there was hope, there was the possibility of victory. Life wasn't about just getting by. It was about getting through, no matter what, and making the most of every minute. A chill went down his spine as he remembered what his father had said to him. <>. Nick Gautier would not be remembered as a coward or a villain. He was going out a hero and a champion. And he would not go down without a vicious, vicious fight.

the Bible (unlike the books on which other religions are based) is not about following moral examples. It is about a God of mercy and long-suffering, who continually works in and through us despite our constant resistance to his purposes. Ultimately, there is only one hero in this book, and he’s divine.

She shouldn't have had to be a hero.' 'No,' said the Duchess, 'no, no one should.

This was love? It was like being held hostage by a terrorist. The feelings from hope to horror were crazy intense and changed on a dime. If

when we take an action, we’re accepting responsibility for that action.

Thing was, after the hurricane, life went on. You had to buy milk, fix the broken windows, play some Warhammer, discuss some girls. Wow!

The big tuskers could splash into the water but no one would follow them. What was needed was confidence rather than bravado.

sometimes it’s not necessary to know what elephants or people are thinking, as long as one honors what they are feeling.

on his regular circuit, to have cultivated some favorite flowers and

The universal law is that the most frustrating thing will always happen, no matter how unlikely.

To be faithful, he wrote, a person had to be concerned less about himself and more about caring for his neighbor.

In the unlikely event of this book being made into a film, System 2 would be a supporting character who believes herself to be the hero.

Silence in the face of evil is itself evil,” he would later write. “Not to speak is to speak. Not to act is to act.”2

In myth, even the greatest heroes must meet their tragic end, although, unlike the rest of us, they have at least lived.

A male author can write about unlikable male characters. They’re called anti-heroes and it’s called a novel.

stay

She talked about work; he talked about school. Carmella mentioned that she might be up for a promotion by the end of the year, and Adam said that Group, in the end, might work out after all. And during that whole time, they told each other everything except for the part that they didn't. Mother and son were as honest as two people lying to each other could be.

The meaning of sex is illustrated by two eponymous heroes of British history, King Edward VII (who flourished in the years before the First World War) and the King Edward variety of potato which has fed the British working class for almost as long). The potato, unlike the royal family, reproduces asexually. Every King Edward potato is identical to every other and each on has the same set of genes as the hoary ancestor of all potatoes bearing that name. This is convenient for the farmer and the grocer, which is why sex is not encouraged among potatoes.

We love Dickens because he tell us stories, and because he tell us that we are all stories. We are. We are more than stories, of course. But we have to start somewhere. And there are many worse places to start than, 'Chapter One: I am Born. Whether I shall turn out to be the hero of my own life, or whether that stations will be held by anybody else, these pages must show.

He grins to himself as he thinks of his little cabal, this great band of warriors consisting of an old woman, a passion-struck fool, and a man with a feeble mind. At least they've all got the loyalty part right.

So, unlike the heroes of Hebrews 11 who held onto nothing of this life, these dying churches held onto everything, at least everything that made them comfortable and happy. Such is the reason we speak of them in the past.

I think you're talking shit. You think we don't all feel like that? Like we're crazy, like we're not a real person, like we don't exist? Everyone feels that way sometimes. I can remember talking to you when you lost your bag. So what? You can't remember and that's not a bad thing. It doesn't make me better than you. I'm a stranger to you, but here's what I see: I see a girl who has suffered a terrible damage to her brain. Someone who, it seems, is shut away by her parents to keep her safe. But inside there is a vibrant person, a traveler, and her memory of this boy Drake has propelled her into action. I think, Flora, that you came here not to find Drake but to find yourself. It wasn't Drake--he's an unlikely romantic hero, really--it was you. Didn't you come here, perhaps, because you heard him talking about the place he was going to, and it called to you?" I don't know what to say. I don't say anything. " Our come from Oslo, and Svalbard called me, even though I'm not really the rugged adventurous type. Like you, I had to come. Some of us are meant to be here. We need this place...We need to be small specks in wild nature, by the pole. The midnight sun. The midday darkness. The northern lights. It called to you, Flora, and you answered. You overcame everything, and you came here, alone. You are the bravest person I've ever met.

Since the day he was born, he'd been defying the odds. Today was not the day to stop that trend. Unlike Ambrose, he wasn't about to give up or give in. So long as there was breath in his body, there was life. So long as there was life, there was hope. And so long as there was hope, there was the possibility of victory. Life wasn't about just getting by. It was about getting through, no matter what, and making the most of every minute. A chill went down his spine as he remembered what his father had said to him. 'The Malachai will never be forgotten. But it's entirely up to you as to how you'll be remembered.' Nick Gautier would not be remembered as a coward or a villain. He was going out a hero and a champion. And he would not go down without a vicious, vicious fight.

If the concept of the hero is a physical one, then, just as Alexander the Great acquired heroic stature by modeling himself on Achilles, the conditions necessary for becoming a hero must be both a ban on originality and a true faithfulness to a classical model; unlike the words of a genius, the words of a hero must be selected as the most impressive and noble from among ready-made concepts.

People who’ve come out of socialism are both like and unlike the rest of humanity—we have our own lexicon, our own conceptions of good and evil, our heroes, our martyrs. We have a special relationship with death. The stories people tell me are full of jarring terms: “shoot,” “execute,” “liquidate,” “eliminate,” or typically Soviet varieties of disappearance such as “arrest,” “ten years without the right of correspondence,”*2 and “emigration.” How

Adam returned his gaze to the cross. The Jesus was hurting. Guilt simmered and then boiled in him. Jesus had a whole world of suffering and horror to worry about and here Adam was in all his punk puniness. He didn't want to add to Jesus's burdens, but... 'Sorry about that. Look, I know you're busy and I don't want to get greedy with your time, but still, if you could just help me... If you could find a minute, please, please, please, dear sweet Jesus, fix me.

Quite unlike conscious memories from the time of maturity, they are not fixed at the moment of being experienced and afterwards repeated, but are only elicited at a later age when childhood is already past; in the process they are altered and falsified, and are put into the service of later trends, so that generally speaking they cannot be sharply distinguished from phantasies. Their nature is perhaps best illustrated by a comparison with the way in which the writing of history originated among the peoples of antiquity. As long as a nation was small and weak it gave no thought to the writing of its history. Men tilled the soil of their land, fought for their existence against their neighbours, and tried to gain territory from them and to acquire wealth. It was an age of heroes not of historians. Then came another age, an age of reflection: men felt themselves to be rich and powerful, and now felt a need to learn where they had come from and how they had developed.

One final note here: you’ve probably noticed that whenever I mention serial killers, I always refer to them as “he.” This isn’t just a matter of form or syntactical convenience. For reasons we only partially understand, virtually all multiple killers are male. There’s been a lot of research and speculation into it. Part of it is probably as simple as the fact that people with higher levels of testosterone (i.e., men) tend to be more aggressive than people with lower levels (i.e., women). On a psychological level, our research seems to show that while men from abusive backgrounds often come out of the experience hostile and abusive to others, women from similar backgrounds tend to direct the rage and abusiveness inward and punish themselves rather than others. While a man might kill, hurt, or rape others as a way of dealing with his rage, a woman is more likely to channel it into something that would hurt primarily herself, such as drug or alcohol abuse, prostitution, or suicide attempts. I can’t think of a single case of a woman acting out a sexualized murder on her own. The one exception to this generality, the one place we do occasionally see women involved in multiple murders, is in a hospital or nursing home situation. A woman is unlikely to kill repeatedly with a gun or knife. It does happen with something “clean” like drugs. These often fall into the category of either “mercy homicide,” in which the killer believes he or she is relieving great suffering, or the “hero homicide,” in which the death is the unintentional result of causing the victim distress so he can be revived by the offender, who is then declared a hero. And, of course, we’ve all been horrified by the cases of mothers, such as the highly publicized Susan Smith case in South Carolina, killing their own children. There is generally a particular set of motivations for this most unnatural of all crimes, which we’ll get into later on. But for the most part, the profile of the serial killer or repeat violent offender begins with “male.” Without that designation, my colleagues and I would all be happily out of a job.

There were also times when they didn't kiss and roam nonstop. The in-between times. That's when they just held each other and whispered. Marnie, of course, heard it all. Adam would try to make Robyn laugh, and she would, whether it was funny or not. She would tease him and he would tell her what it was like before. And they talked about what it would be like after. It was as if they were two normal kids in love, sitting on a sofa in a warm living room, telling each other almost everything and sorting out the world with someone's mom puttering annoyingly in the background. Except, of course, they weren't two normal kids. Would never be.

We learned two reasons for the submissiveness of Bushmen. One reason is that it is not in their nature to fight, not in their experience to deal with people other than themselves. They would much rather run, hide, and wait until a menace has passed than defend themselves forcefully, quite unlike the Bantus, who in the past have waged great wars. But Bushmen misunderstand confrontational bravery. The heroes of their legends are little jackals who trick, lie, and narrowly escape, rather than larger, bolder animals such as lions (who in the Kalahari are something of a master race). In the Bushmen’s stories, lions are always being scalded, singed, duped, cuckolded, or killed.

Thus, as far as the destiny of the soul after death is concerned, there are two opposite paths. The first is the "path of the gods," also known as the "solar path" or Zeus's path, which leads to the bright dwellings of the immortals. This dwelling was variously represented as a height, heaven, or an island, from the Nordic Valhalla and Asgard to the Aztec-Inca "House of the Sun" that was reserved for kings, heroes, and nobles. The other path is that trodden by those who do not survive in a real way, and who slowly yet inexorably dissolve back into their original stocks, into the "totems" that unlike single individuals, never die; this is the life of Hades, of the "infernals," of Niflheim, of the chthonic deities.

Dogs, in fact, were perfect heroes: unknowable but accessible, driven but egoless, strong but tragic, limited by their muteness and animal vulnerability. Humans played heroes in films, too, but they were more complicated to admire because they were so particular—too much like us or too much unlike us or too much like someone we knew. Dogs, on the other hand, have the talent of seeming to understand and care about humans in spite of not being human and perhaps are better at it because of that difference. They are compassionate without being competitive, and there is nothing in their valor that threatens us, no demand for reciprocity. As Lee knew very well, a dog can make you feel complete without ever expecting much in return.

Before he left, Sartre took a small side trip to Araraquara, in the interior of São Paulo state, where he had an unlikely encounter with a Brazilian of truly global stature. The episode is retold in Joseph A. Page’s fine book The Brazilians: As Sartre stood outside a building conversing with a cadre of intellectuals, down the street came Pelé, the world’s greatest soccer star, accompanied by several fans. The two groups converged on a street corner. When they separated, the intellectuals realized they were now following Pelé, and Sartre was walking alone. The intellectuals ran back down the street, a bit embarrassed, and rejoined their French hero. According to Page, many residents still refer to the spot as “Pelé-Sartre Corner.

Having her on Peregrine again was like being shoved back into a nightmare, so why did he look forward to being with her? Maybe because he found a certain bizarre safety in her company. She didn't possess any of the polished beauty he was always drawn to. Unlike Kenley, Annie had a quirky amusement park of a face. Annie was also smart as a whip, and although she wasn't needy, she didn't present herself as being indomitable, either. Those were her good points. As for the bad... Annie regarded life as a puppet show. She had no experience with soul-crushing nights or despair so thick it clung to everything you touched. Annie might deny it, but she still believed in happy endings. That was the illusion trapping him into wanting to be with her.

There is a huge difference between a coward, and a hero. Cowards never learns from their mistakes. Like many, he masquerades as a dragon, but is a mere drunken fool, blinded by his own pride, and foolishness. And like many, cowards love inflicting pain upon the innocent. Like an ostrich, cowards hides underneath the sand, blocking all kinds of disturbances, critisisms towards them. That is not the case of heroes. Heroes on the other hand learns from their mistakes. Unlike a coward, a hero never commits the same mistakes again, and hates inflicting pain upon the innocent. They need not be blamed by others; they blame themselves, even for somethings that seem so little. By doing so, they learn from even the smallest of mistakes, and later on achieves a reward beyond imagining.

oversized grave with a granite obelisk for a headstone. Scattered around it were faded wreathes and crushed bouquets of plastic flowers, which made the place seem even sadder. Aurum and Argentum were playing keep-away in the woods with one of the coach’s handballs. Ever since getting repaired by the Amazons, the metal dogs had been frisky and full of energy – unlike their owner. Reyna sat cross-legged at the entrance of the tent, staring at the memorial obelisk. She hadn’t said much since they fled San Juan two days ago. They’d also not encountered any monsters, which made Nico uneasy. They’d had no further word from the Hunters or the Amazons. They didn’t know what had happened to Hylla, or Thalia, or the giant Orion. Nico didn’t like the Hunters of Artemis. Tragedy followed them as surely as their dogs and birds of

Although we now live in separate countries and speak different languages, you couldn’t mistake us for anyone else. We’re easy to spot! People who’ve come out of socialism are both like and unlike the rest of humanity—we have our own lexicon, our own conceptions of good and evil, our heroes, our martyrs. We have a special relationship with death. The stories people tell me are full of jarring terms: “shoot,” “execute,” “liquidate,” “eliminate,” or typically Soviet varieties of disappearance such as “arrest,” “ten years without the right of correspondence,”*2 and “emigration.” How much can we value human life when we know that not long ago people had died by the millions? We’re full of hatred and superstitions. All of us come from the land of the gulag and harrowing war. Collectivization, dekulakization,*3 mass deportations of various nationalities…

A few weeks later, in the middle of a cold December night, the pair, along with 247 other radicals, were herded onto a freighter and shipped off to Soviet Russia, a government the United States didn’t even recognize. Greeted as heroes upon their arrival, Goldman and Berkman believed they had landed in a country where their politics would find a home. But once again, a promised land disappointed. Instead, they found workers in conditions of servitude, corruption among their managers, and no tolerance of free speech. In a remarkable moment, Goldman and Berkman complained to the leader of the revolution himself, Vladimir Lenin. Unlike muckraking journalist Lincoln Steffens and other American fellow travelers, Berkman and Goldman courageously criticized the Russian Revolution. Lenin dismissed the complaints and said that there was no room for free speech in the revolutionary period.

Workaholism Our culture celebrates the idea of the workaholic. We hear about people burning the midnight oil. They pull all- nighters and sleep at the office. It’s considered a badge of honor to kill yourself over a project. No amount of work is too much work. Not only is this workaholism unnecessary, it’s stupid. Working more doesn’t mean you care more or get more done. It just means you work more. Workaholics wind up creating more problems than they solve. First off, working like that just isn’t sustainable over time. When the burnout crash comes— and it will— it’ll hit that much harder. Workaholics miss the point, too. They try to fix problems by throwing sheer hours at them. They try to make up for intellectual laziness with brute force. This results in inelegant solutions. They even create crises. They don’t look for ways to be more efficient because they actually like working overtime. They enjoy feeling like heroes. They create problems (often unwittingly) just so they can get off on working more. Workaholics make the people who don’t stay late feel inadequate for “merely” working reasonable hours. That leads to guilt and poor morale all around. Plus, it leads to an ass- in- seat mentality—people stay late out of obligation, even if they aren’t really being productive. If all you do is work, you’re unlikely to have sound judgments. Your values and decision making wind up skewed. You stop being able to decide what’s worth extra effort and what’s not. And you wind up just plain tired. No one makes sharp decisions when tired. In the end, workaholics don’t actually accomplish more than nonworkaholics. They may claim to be perfectionists, but that just means they’re wasting time fixating on inconsequential details instead of moving on to the next task. Workaholics aren’t heroes. They don’t save the day, they just use it up. The real hero is already home because she figured out a faster way to get things done.

Instead, the battle is joined at the level of pure abstraction. The issue, the newest Right tells us, is freedom itself, not the doings of the subprime lenders or the ways the bond-rating agencies were compromised over the course of the last decade. Details like that may have crashed the economy, but to the renascent Right they are almost completely irrelevant. What matters is a given politician’s disposition toward free markets and, by extension, toward the common people of the land, whose faithful vicar the market is. Now, there is nothing really novel about the idea that free markets are the very essence of freedom. What is new is the glorification of this idea at the precise moment when free-market theory has proven itself to be a philosophy of ruination and fraud. The revival of the Right is as extraordinary as it would be if the public had demanded dozens of new nuclear power plants in the days after the Three Mile Island disaster; if we had reacted to Watergate by making Richard Nixon a national hero.

It was in the wonderful art and ability to create gods — in polytheism — that this impulse could discharge itself, that it purified, perfected and ennobled itself; for originally this impulse was rather commonplace and unattractive, not unlike stubbornness, rebelliousness or envy. Formerly, hostility towards this desire for an ideal of one’s own was the law of every morality. There was only one type and standard: ‘man’ — and every people believed itself to be this type, to be in possession of this standard. But in a distant heaven above and beyond oneself, one could discern a multiplicity of standards; to worship a particular god was not to deny or blaspheme against the other gods! It was here that individuals were first permitted, that the rights of individuals were first honoured. The invention of gods, heroes and superhuman beings of all kinds, as well as of quasi-human and subhuman beings — dwarfs, fairies, centaurs, satyrs, demons, devils — was an inestimable preliminary exercise in upholding the interests and prerogatives of the individual: the freedom one allowed a god with respect to other gods, one eventually gave to oneself with respect to laws, customs and neighbours.

You fought well on Mona, my Mules, but I have brought you here for a little more javelin practice.’ The words carried along the line and Valerius could see men grinning at the unlikely familiarity. ‘Those who stand before you have murdered, tortured and raped Roman citizens, men, women and children; innocents whose only crime was to attempt to bring civilization to this land. They butchered and mutilated your comrades of the Ninth, and the brave veterans of Colonia who fell defending the Temple of Divine Claudius.’ He paused and the silence was filled by a growl, like an enormous dog gathering itself for the attack. ‘We offered them our friendship, our trust and our aid, and they took all with smiles of thanks, but when we turned our backs they reached for the knife and the sword and the spear, as is their way. They believe you are already defeated.’ ‘No!’ The massed roar carried across the valley and echoed from the banks. ‘They are the true face of barbarism. They are your enemy. They show no mercy and they deserve no mercy. Give them none. For Rome!’ ‘For Rome!’ The words erupted from ten thousand throats and Valerius felt the ice in his belly melt and the first stirrings of life return to his heart. ‘For Rome,’ he whispered.

This was the very heart of Wales' rainforest zone, where the oceanic climate conspires to make conditions perfect for the rich profusion of plant life that we'd spent the past week exploring. Yet here, humanity had found a rainforest and turned it into a desert. It had started long ago, no doubt: Wales' Green Desert is the product of agricultural malpractice dating back to the twelfth-century monks of Strata Florida. But what began as a profitable enterprise in medieval times today supports a mere twenty-eight farms over an area covering 46,000 acres. The farming unions claim that rewilding will lead to rural depopulation, but centuries of overgrazing have already drained the land of both people and wildlife. And in doing so, Wales is losing part of its heritage, its culture. Because the Wales of this great country's myths and legends was a rainforest nation, whose peoples lived and coexisted with the Atlantic oakwoods that once carpeted their land, celebrating them in song. They knew these rainforests and knew them deeply, weaving them into their stories, vesting their greatest heroes with a magic derived from that profound knowledge of place and ecology. There is a way back from this, but it is unlikely to come through a culture war between sheep farmers and rewilders. The truth is that there is more than enough space in Wales, as there is in the rest of Britain, both for farming to continue and for more rainforest to flourish.

[I]n the years that followed the persecutions, Christianity came to see itself, with great pride, as a persecuted Church. Its greatest heroes were not those who did good deeds but those who died in the most painful way. If you were willing to die an excruciating end in the arena then, whatever your previous holiness or lack thereof, you went straight to heaven: martyrdom wiped out all sins on the point of death. As well as getting there faster, martyrs enjoyed preferential terms in paradise, getting to wear the much-desired martyr’s crown. Tempting celestial terms were offered: it was said that the scripture promised ‘multiplication, even to a hundred times, of brothers, children, parents, land and homes’. Precisely how this celestial sum had been calculated is not clear but the general principle was: those who died early, publicly and painfully would be best rewarded. In many of the martyr tales the driving force is less that the Romans want to kill – and more that the Christians want to die. Why wouldn’t they? Paradoxically, martyrdom held considerable benefits for those willing to take it on. One was its egalitarian entry qualifications. As George Bernard Shaw acidly observed over a millennium later, martyrdom is the only way a man can become famous without ability. More than that, in a socially and sexually unequal era it was a way in which women and even slaves might shine. Unlike most positions of power in the highly socially stratified late Roman Empire, this was a glory that was open to all, regardless of rank, education, wealth or sex. The sociologist Rodney Stark has pointed out that – provided you believe in its promised rewards – martyrdom is a perfectly rational choice. A martyr could begin the day of their death as one of the lowliest people in the empire and end it as one of the most exalted in heaven. So tempting were these rewards that pious Christians born outside times of persecution were wont to express disappointment at being denied the opportunity of an agonizing death. When the later Emperor Julian pointedly avoided executing Christians in his reign, one Christian writer far from being grateful, sourly recorded that Julian had ‘begrudged the honour of martyrdom to our combatants’.

Finding the right mentor is not always easy. But we can locate role models in a more accessible place: the stories of great originals throughout history. Human rights advocate Malala Yousafzai was moved by reading biographies of Meena, an activist for equality in Afghanistan, and of Martin Luther King, Jr. King was inspired by Gandhi as was Nelson Mandela. In some cases, fictional characters can be even better role models. Growing up, many originals find their first heroes in their most beloved novels where protagonists exercise their creativity in pursuit of unique accomplishments. When asked to name their favorite books, Elon Musk and Peter Thiel each chose “Lord of the Rings“, the epic tale of a hobbit’s adventures to destroy a dangerous ring of power. Sheryl Sandberg and Jeff Bezos both pointed to “A Wrinkle in Time“ in which a young girl learns to bend the laws of physics and travels through time. Mark Zuckerberg was partial to “Enders Game“ where it’s up to a group of kids to save the planet from an alien attack. Jack Ma named his favorite childhood book as “Ali Baba and the Forty Thieves“, about a woodcutter who takes the initiative to change his own fate. … There are studies showing that when children’s stories emphasize original achievements, the next generation innovates more.… Unlike biographies, in fictional stories characters can perform actions that have never been accomplished before, making the impossible seem possible. The inventors of the modern submarine and helicopters were transfixed by Jules Vern’s visions in “20,000 Leagues Under the Sea” and “The Clippership of the Clouds”. One of the earliest rockets was built by a scientist who drew his motivation from an H.G. Wells novel. Some of the earliest mobile phones, tablets, GPS navigators, portable digital storage desks, and multimedia players were designed by people who watched “Star Trek” characters using similar devices. As we encounter these images of originality in history and fiction, the logic of consequence fades away we no longer worry as much about what will happen if we fail… Instead of causing us to rebel because traditional avenues are closed, the protagonist in our favorite stories may inspire originality by opening our minds to unconventional paths.

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

Thomas (his middle name) is a fifth-grader at the highly competitive P.S. 334, the Anderson School on West 84th in New York City. Slim as they get, Thomas recently had his long sandy-blond hair cut short to look like the new James Bond (he took a photo of Daniel Craig to the barber). Unlike Bond, he prefers a uniform of cargo pants and a T-shirt emblazoned with a photo of one of his heroes: Frank Zappa. Thomas hangs out with five friends from the Anderson School. They are “the smart kids.” Thomas is one of them, and he likes belonging. Since Thomas could walk, he has constantly heard that he’s smart. Not just from his parents but from any adult who has come in contact with this precocious child. When he applied to Anderson for kindergarten, his intelligence was statistically confirmed. The school is reserved for the top 1 percent of all applicants, and an IQ test is required. Thomas didn’t just score in the top 1 percent. He scored in the top 1 percent of the top 1 percent. But as Thomas has progressed through school, this self-awareness that he’s smart hasn’t always translated into fearless confidence when attacking his schoolwork. In fact, Thomas’s father noticed just the opposite. “Thomas didn’t want to try things he wouldn’t be successful at,” his father says. “Some things came very quickly to him, but when they didn’t, he gave up almost immediately, concluding, ‘I’m not good at this.’ ” With no more than a glance, Thomas was dividing the world into two—things he was naturally good at and things he wasn’t. For instance, in the early grades, Thomas wasn’t very good at spelling, so he simply demurred from spelling out loud. When Thomas took his first look at fractions, he balked. The biggest hurdle came in third grade. He was supposed to learn cursive penmanship, but he wouldn’t even try for weeks. By then, his teacher was demanding homework be completed in cursive. Rather than play catch-up on his penmanship, Thomas refused outright. Thomas’s father tried to reason with him. “Look, just because you’re smart doesn’t mean you don’t have to put out some effort.” (Eventually, Thomas mastered cursive, but not without a lot of cajoling from his father.) Why does this child, who is measurably at the very top of the charts, lack confidence about his ability to tackle routine school challenges? Thomas is not alone. For a few decades, it’s been noted that a large percentage of all gifted students (those who score in the top 10 percent on aptitude tests) severely underestimate their own abilities. Those afflicted with this lack of perceived competence adopt lower standards for success and expect less of themselves. They underrate the importance of effort, and they overrate how much help they need from a parent.

…trust requires much more than affection; it depends on mutual confidence—strength, not niceness.

This story begins as many stories begin, with a mighty warrior. But unlike so many tales and legends, this knight of nobility carried no sword, owned no armor, and had never ridden a horse; let alone possessed one. You might ask yourself, what manner or sort of warrior carries no sword, no armor, and owns no horse? And indeed many have asked that very question of this soldier. Only, when they behold our hero, they do not ask, who is he? Rather, they ask, who is she?

The most explicit distinguishing feature between the North American Indian languages and the European languages is that in Indian, there is no gender. In Cree, Ojibway, etc., unlike English, French, German, etc., the male-female-neuter hierarchy is entirely absent. So that by this system of thought, the central hero figure from our mythology - theology, if you will - is theoretically neither exclusively male nor exclusively female, or is both simultaneously.

Polish rule robbed Ukraine of its nobility. But it also saw the emergence of a new power in the region – the Cossacks. Outlaws and frontiersmen, fighters and pioneers, the Cossacks are to the Ukrainian national consciousness what cowboys are to the American. Unlike the remote and sanctified Rus princes, the Cossacks make heroes Ukrainians can relate to. They ranged the steppe in covered wagons, drawing them up in squares in case of Tatar attack. They raided Turkish ports in sixty-foot-long double-ruddered galleys, built of willow-wood and buoyed up with bundles of hollow reeds. They wore splendid moustaches, red boots and baggy trousers ‘as wide as the Black Sea’. They danced, sang and drank horilka in heroic quantities.

Not only is this workaholism unnecessary, it’s stupid. Working more doesn’t mean you care more or get more done. It just means you work more. Workaholics wind up creating more problems than they solve. First off, working like that just isn’t sustainable over time. When the burnout crash comes—and it will—it’ll hit that much harder. Workaholics miss the point, too. They try to fix problems by throwing sheer hours at them. They try to make up for intellectual laziness with brute force. This results in inelegant solutions. They even create crises. They don’t look for ways to be more efficient because they actually like working overtime. They enjoy feeling like heroes. They create problems (often unwittingly) just so they can get off on working more. Workaholics make the people who don’t stay late feel inadequate for “merely” working reasonable hours. That leads to guilt and poor morale all around. Plus, it leads to an ass-in-seat mentality—people stay late out of obligation, even if they aren’t really being productive. If all you do is work, you’re unlikely to have sound judgments. Your values and decision making wind up skewed. You stop being able to decide what’s worth extra effort and what’s not. And you wind up just plain tired. No one makes sharp decisions when tired. In the end, workaholics don’t actually accomplish more than nonworkaholics. They may claim to be perfectionists, but that just means they’re wasting time fixating on inconsequential details instead of moving on to the next task. Workaholics aren’t heroes. They don’t save the day, they just use it up. The real hero is already home because she figured out a faster way to get things done.

The cause of Communism's bloodthirsty history may be found in the grandiosity of Communism as an idea, and the grandiose self-conception of the Communist as an agent of that idea. The successful strata of Communist revolutionaries suffer from an enormous, bloated egotism. One has merely to examine the psychology of a Hugo Chavez or Fidel Castro. Such are the special pampered children of history, magnificent in their own eyes, epic heroes, supreme and god-like agents of history's splendid drama. Here one finds no sense of self-limitation. There is only self-expansion. Unlike the well-adjusted human being, the aspiring Communist dictator is soaked in arrogance. From all of this flows the bloodthirstiness of the mass murderer. Identifying himself with the forces of history, the Communist leader puts himself in God's shoes. Here is a narcissism so pathological, an emptiness so profound, that nothing may come of it except monstrous crime.

Christians throughout the ages have sought the wisdom of our earliest teachers, those who were closer in space and time to Jesus. They are heroes we have in common among denominations, unlike later saints who are treasured by one or the other church but not by all. For the sake of this book, the church’s earliest teachers are like odd and strange aunts and uncles in an extended family. They are embarassing at family gatherings. It’s harder to figure out what to talk to them about than it is with someone whom you would choose voluntarily as a friend. And yet these unchosen cranks make you you. And if you can overcome that initial awkwardness, there is wisdom there, and even love.

Dominance is not leadership. From animals, Williams said, people could learn about taking “authority without being a bully.

Merrill’s Marauders, as well as the pilots of the Flying Tigers.

If you will do this for them, they will follow you to the end of the world. And, if you do not, I will break you.

Eighty percent of American forces contracted dysentery in another siege, but they kept fighting. Some had to go into combat with the backsides of their pants cut away.

The American people did not care. That kind of popularity sooner or later assumes its own dynamic and generates its own magnetism. Some people saw early on that this unlikely man was becoming irresistibly emblematic to the American people. Some of these visionaries were longtime friends, some were political opportunists jumping on an accelerating bandwagon, but they all whispered the word “presidency” in Jackson’s ear. They became his handlers as well as his supporters, taking on the task of shaping him to match the image the people had already embraced. In July 1822, his handlers persuaded the Tennessee legislature to nominate him for the presidency, but political observers outside Tennessee interpreted it as a meaningless tribute to an aging hero.

In the second Unzeitgemäße Betrachtung Nietzsche speaks about “individuals who form a kind of bridge over the wild stream of becoming” and live in “timeless simultaneity” “thanks to history, which allows for such cooperation”; “they live as the republic of geniuses, of which Schopenhauer speaks somewhere.” Individuals live in timeless simultaneity insofar as they are inspired in turn “to the production of what is great” by the great individuals of the past, who are made present by the monumental consideration of history. Schopenhauer, who in his last work will make Rousseau’s motto, Vitam impendere vero, his own, using it as an epigraph, says about the republic of geniuses: “In this it goes as follows:—one giant calls out to another across the bleak interval of centuries, without the world of dwarfs, creeping along below, perceiving any more than noise and without understanding any more than that something is happening: and again, this tribe of dwarfs below ceaselessly pulls its pranks and makes a lot of noise, drags along what those giants have let fall from above, proclaims heroes who are themselves dwarfs, and more of the same, which leaves those giant minds undisturbed, to continue their elevated conversation of spirits. I mean: each genius understands what those of his kind once said, with- out being understood by the living, either contemporary or during the interval, and he says what those he lives among do not understand, but which someday his equal will appreciate and an- swer.” The agreement with Rousseau is obvious. Still, there are differences. Unlike Rousseau’s “inhabitants of the ideal world,” Schopenhauer’s “giants,” to judge by this short text, remain in their historical location. And neither Schopenhauer’s geniuses nor Nietzsche’s individuals are more specifically determined or more precisely identified by un signe caractéristique. Despite all his dissatisfactions with historicism, Schopenhauer’s speech about the conversation of spirits among the geniuses, which impressed the young Nietzsche on his way to philosophy, does not rise to the concise reply Rousseau gave to historicism in his allegory of the world of the philoso- phers.

Do you plan to marry him?" Doran asked. "What? No!" Why would I do that? "Have children with him?" "Definitely not." It was unlikely, within a Pair, both of us channeling. Channeling and Shielding tended to prevent conception. And even if it were possible, Zaire, what a bad combination. With our luck any children would have my looks and his mood swings.

Although Greenland's Natural defenses discouraged settlement, some hardy souls insisted, Europeans returned to Greenland, led by a Danish-Norwegian missionary named Hans Egede. Hoping to discover Viking descendants, Egede instead found Inuit people, so he stayed to spread the gospel. Colonization followed though few Danes saw the point of the place. Unlike the native North Americans, the native Inuit people of Greenland never surrendered their majority status to outsiders, though they did embrace Christianity.

The Inaugural Heroes Against Heroin Spaghetti Banquet was to be held on New Year's Day in the rec center, the first town event of the new year. It was forty-five dollars a ticket, not exactly cheap, and people weren't really sure what kind of event it was--Was it supposed to be fancy or casual? How do you dress for a spaghetti dinner? Would there be food to eat besides spaghetti?

The pragmatic mood is already visible in the Odyssey. The poem opens with Odysseus living on a remote island ruled by a nymph who offers him immortality if he will remain as her consort. A bit surprisingly to anyone steeped in the orthodox Western religio-philosophical-scientific tradition, he refuses, preferring mortality and a dangerous struggle to regain his position as the king of a small, rocky island and be reunited with his son, aging wife, and old father. He turns down what the orthodox tradition says we should desire above all else, the peace that comes from overcoming the transience and vicissitudes of mortality, whether that peace takes the form of personal immortality or of communing with eternal verities, moral or scientific—in either case ushering us to the still point of the turning world. Odysseus prefers going to arriving, struggle to rest, exploring to achieving—curiosity is one of his most marked traits—and risk to certainty. The Odyssey situates Calypso’s enchanted isle in the far west, the land of the setting sun, and describes the isle in images redolent of death. In contrast, Odysseus’s arrival at his own island, far to the east, a land of the rising sun, is depicted in imagery suggestive of rebirth. Another thing that is odd about the protagonist, and the implicit values, of the Odyssey from the orthodox standpoint is that Odysseus is not a conventional hero, the kind depicted in the Iliad. He is strong, brave, and skillful in fighting, but he is no Achilles (who had a divine mother) or even Ajax; and he relies on guile, trickery, and outright deception to a degree inconsistent with what we have come to think of as heroism or with its depiction in the Iliad. His dominant trait is skill in coping with his environment rather than ability to impose himself upon it by brute force. He is the most intelligent person in the Odyssey but his intelligence is thoroughly practical, adaptive. Unlike Achilles in the Iliad, who is given to reflection, notably about the heroic ethic itself, Odysseus is pragmatic. He is an instrumental reasoner rather than a speculative one. He is also, it is true, distinctly pious, a trait that the Odyssey harps on and modern readers tend to overlook. But piety in Homeric religion is a coping mechanism. Homeric religion is proto-scientific; it is an attempt to understand and control the natural world. The gods personify nature and men manipulate it by “using” the gods in the proper way. One sacrifices to them in order to purchase their intervention in one’s affairs—this is religion as magic, the ancestor of modern technology—and also to obtain clues to what is going to happen next; this is the predictive use of religion and corresponds to modern science. The gods’ own rivalries, mirroring (in Homeric thought, personifying or causing) the violent clash of the forces of nature, prevent human beings from perfecting their control over the environment. By the same token, these rivalries underscore the dynamic and competitive character of human existence and the unrealism of supposing that peace and permanence, a safe and static life, are man’s lot. Odysseus’s piety has nothing to do with loving God as creator or redeemer, or as the name, site, metaphysical underwriter, or repository of the eternal or the unchanging, or of absolutes (such as omniscience and omnipotence) and universals (numbers, words, concepts). Odysseus’s piety is pragmatic because his religion is naturalistic—is simply the most efficacious means known to his society for controlling the environment, just as science and technology are the most efficacious means by which modern people control their environment.

There comes a time in every story when the hero finally gets everything they ever wanted. And that's usually when the music swells and the credits roll or the last page turns or we just flip the channel. I believe there's a reason for that. We don't want to spend too much time with somebody once they've gotten everything they've ever wanted. They become insufferable. They become unsympathetic. They start using words like whom properly in a sentence. There's no more mountain left for them to climb, so we're out. We're underdog people. Get out of here with your all my dream already came true nonsense. Just take your football and go home, Rudy. Go live your happy life and let us be. We're already on to the next unlikely story. But what if success was where the real trouble began? What if we got everything we ever wanted, only to find out it doesn't change a thing about not liking this skin we have to do life in, this dirt still caked under our fingernails. That once we go home and tuck ourselves between the cool cotton sheets, where it's just us and the darkness settled in, it hasn't changed a thing about how easily we can lay our head down and fall asleep at night. ... The hero, it turns out, is flawed. Deeply, deeply, deeply flawed. And no amount of success is going to undo that. No relentless pursuit of more is going to erase what was missing. It's going to take digging in and doing the hard work of healing if there's any hope of changing all that. but how do e you gather up the nerve when it already feels so damaged? And is that the kind of story anybody will ever care about? ... We don't really make movies about what happened after someone got everything they ever wanted. About what happens when the hero at last has to come face-to-face with what no amount of success will ever fix. But that's the story we're living now.

And now that mulch of dead imaginings beneath the feet of Temperance ladies, union-affiliated Vaudevillians and maimed men home from Europe has contaminated the groundwater of the upstart country's nightmares. Immigrants in their illimitable difference come to seem a separate species, taciturn and fish-eyed as though risen from the ocean waves that bore them in their transport, monstrous in their self-contained communities with bitter scents and indecipherable ululations, names, unsettlingly unpronounceable ensconced at isolated farms where beaten track is naught save idle rumour stagnant families nurse grievance, dreadful secrets and deformity in solitude; pools of declined humanity entirely unconnected to society by any tributary where ancestral prejudice or misconception may become the plaint of generations. Fabled and forbidden works of Arab alchemy are handed down across years cruel and volatile, trafficked between austere and colonial homes by charitable fellowships with ancient affectations or conveyed by fevered sea-captains, fugitive Huguenots or elderly hysterics formally accused of witchcraft. Young America, a sapling power grown suddenly so tall upon its diet of nickelodeons and motorcars, has sunk unwitting roots into an underworld of grotesque notions and archaic creeds, their feaful pull discernible below the weed-cracked sidewalk. Buried and forgotten, ominous philosophies await their day with hideous patience. Well! I think that's pretty darned good for a first attempt. A little over-wrought, perhaps, and I'm not sure about the style - I can't decide if its too modern of it's too old fashioned, but perhaps that's a good sign. Of course, I guess I'll have to introduce a plot and characters at some point, but I'll wrestle with that minor nuisance when I get to it. Perhaps I could contrive to have some hobo, maybe literally a hoe-boy or travelling itinerant farm labourer who's wandering from place to place around New England in the search for work; somebody who might reasonably become involved with all the various characters I'm hoping to investigate. Being a labourer, while it would lend a feasibility to any action or exertion that I wanted in the story, wouldn't mean that my protagonist was lacking in intelligence of education: this is often economically a far from certain country for a lot of people, and there's plenty of smart fellows - maybe even an aspiring writer like myself - who've found themselves leaving their homes and families to mooch around from farm to farm in hope of some hay-baling or fruit-picking that's unlikely to materialise. Perhaps a character like that, a rugged man who is sufficiently well read to justifiably allow me a few literary flourishes (and I can't help thinking that I'll probably end up casting some imagined variant of Tom Malone) would be the kind of of sympathetic hero and the kind of voice I'm looking for. Meanwhile I yawned a moment or two back, and while I'm not yet quite exhausted to the point where I can guarantee a deep and dreamless sleep, perhaps another six or seven vague ideas for stories might just do the soporific job.

Returning briefly to my novel and my sense that Jonathan might not survive its ending, I'm reminded of some thoughts I had regarding Howard's masterly story "Dagon". At the story's end we find its by-now crazed narrator cowering in his rented San Francisco room and planning an impending suicide that will deliver him from the appalling world of madness and delusion into which his maritime experience has plunged him. On first reading, I perhaps thought this a touch over-dramatic and sensational, although upon turning it over in my mind I realise that it's a wonderful counter-example of the problems I have previously noted in Bram Stoker's Dracula. Whereas in Stoker's book the final affirmation of conventionality and human values tends to undermine the very horror Stoker has so masterfully achieved in the preceding pages, Lovecraft's tale shows a reaction to the supernatural or super-normal (something which is by its very nature utterly incomprehensible) that is a lot more credible in terms of our human psychology: when faced with something which we know should not exist and for which we have neither name nor concept, we do not concoct an ingenious opposing strategy nor rally our defences. Rather, we go mad and kill ourselves. Although this is a bleak and pessimistic ending to a tale, it seems to me that in the realm of alien literary horrors that we are discussing, it is a far more believable and honest one. I somehow don't believe that the adventure mode of storytelling with its reassuring strictures and conventions (fearless heroes ultimately triumphing against some poorly-motivated adversary or other unlikely hazard) is appropriate to the variety of strange tale that I wish to tell.

Case...is an impressively crafted protagonist who stands strongly at the center of the action. At first, he seems an unlikely hero, but his dogged observational skills and skeptical nature make him a valuable investigator... Eshleman proves to be an adept writer of action scenes, but what makes his work stand out are his hyperrealistic treatments of diving and marine life. An...engaging action novel, bolstered by its exotic location and realistic protagonist.

which owed $1.3 million to the Marine National Bank, premised on fictitious collateral. Of such knowledge, Grant was as innocent as a child. Still hobbling on crutches, he agreed to see William H. Vanderbilt and plead with him for $150,000. The son of Commodore Vanderbilt, and heir to a vast railroad empire, William was a heavyset man with flaring sideburns. Unlike Grant, he paid dutiful attention to business. At first Grant balked at borrowing from Vanderbilt, afraid he wouldn’t be repaid at once. But Ward insisted that Grant would simply be swapping guaranteed checks with Vanderbilt. Grabbing his crutches, Grant escorted Ward and Buck to Vanderbilt’s palatial Fifth Avenue residence. Receiving the group in his ornate home, Vanderbilt was startled by their request. He had never done such a thing before, he said, but he revered Grant and handed him a check for $150,000. In exchange, Grant gave him a Grant & Ward check with the proviso that he not cash it for a day or two. With Vanderbilt’s check in hand, Ward assured Grant everything was now fine. The former two-term president and hero of the Civil War had been reduced to an errand boy for a young charlatan. When a friend called on him that evening, Grant was in a cheerful mood and invited him to attend a poker game that Tuesday night. “Ward is certainly

Like most children, Nicholas had loved myths and fairy tales, but unlike most children he'd never seen himself in the plucky heroes and heroines who spat jewels from blessed mouths or spun wheat into gold or stumbled across magic beans, magic lamps, magic geese. His place was outside the stories, where someone, he imagined, was writing all the spells that made the magic possible. So he'd based many of his early, experimental books on the tales he enjoyed: an enchantment for a harp that made all who heard it weep; a spell to steal a person's voice and hide it in a seashell.

Dr. Zendre Joshu has no clue what to do once he’s inside the next kingdom to be in transpose. It’s the Deadly! The howling wind and intermittent thunderclap are perceptibly loud and every time sparks of thunder skip through, entities of malevolence in shadows and silhouettes awaited him to step into. At first glance of the inside, a very striking disgust painted his face! He was about to enter when his wife halted him from his back, holding his shoulder. Mia is calm, unlike Dr. Zendre who is tense turned to face his wife expecting he might get a specific answer from her. Zendre saw the glow in her face looking at the next kingdom that has transposed inside the realm door, she pointed at it. It’s the Predators’ kingdom.

The Viking warriors created “warrior cults” of the bear and the wolf. The ones that were members of the bear cult were known as the berserkers. They raided all across Europe, and their appearance was described as notorious due to their timing and speed. Whereаs Berserkers were considered men who fought аnd behаved like beаrs, the Ulfhednа, wаrriors of the wolf cult, were considered to be men who becаme wolves. They wore wolf skins and howled in battle, аnd their behаviour influenced lаter Europeаn werewolf folklore. Unlike the beаrs, they hаd no shields. Lаter, they eventuаlly merged with the berserkers in nаme, yet continued to prefer their own methods.