Vague Short Quotes

Nobody will ever hurt her. She’ll just smile her faint vague wonderful smile and walk away.

Life punishes the vague wish and rewards the specific ask.

Meanwhile spring arrived. My old dejection passed away and gave place to the unrest which spring brings with it, full of dreams and vague hopes and desires.

He who travels much has this advantage over others – that the things he remembers soon become remote, so that in a short time they acquire the vague and poetical quality which is only given to other things by time. He who has not traveled at all has this disadvantage – that all his memories are of things present somewhere, since the places with which all his memories are concerned are present.

Life punishes the vague wish and rewards the specific ask. After all, conscious thinking is largely asking and answering questions in your own head. If you want confusion and heartache, ask vague questions. If you want uncommon clarity and results, ask uncommonly clear questions.

This was the best time of the day, when I could lie in the vague twilight, drifting off to sleep, making up dreams inside my head the way they should go.

Words whose sense is the most ill-defined are sometimes those that possess the most influence. Such, for example, are the terms democracy, socialism, equality, liberty, &c., whose meaning is so vague that bulky volumes do not suffice to precisely fix it. Yet it is certain that a truly magical power is attached to those short syllables, as if they contained the solution of all problems.

It seems to me that on one page I recognized a portion of an old diary of mine which mysteriously disappeared shortly after my marriage, and, also, scraps of letters which, though considerably edited, sound to me vaguely familiar. In fact, Mr. Fitzgerald (I believe that is how he spells his name) seems to believe that plagiarism begins at home.

The greatest gift anyone could give anyone is for the other to feel worthy, adored and more than enough for all that they are. This is a gentle reminder that the people you surround yourself with in every direction should feel both uplifting and safe to your mind and heart. Not confusing, not draining, not controlling, not vague, not calculating, not unreliable, not cold, not dismissive, and not manipulative. Don’t mess around with the energy you take into your body and being, work wise, friendship wise, and relationship wise. Life is too short and delicate for these damaging things. It’s really that simple.

Sometimes books feel like the only thing that keep her sane. Actually, she knows that they're the only reason she's still even vaguely okay right now. That's what she clings to: reading great books and seeing great films and, for as long as she's immersed in them, being able to forget, if only for a short time, about the reality of her life.

Very often (nearly always, I'm afraid) when I come to church my feelings are uppermost in my mind. This is natural. We are human, we are "selves," and it takes no effort at all to feel. But worship is not feeling. Worship is not an experience. Worship is an act, and this takes discipline. We are to worship "in spirit and in truth." Never mind about the feelings. We are to worship in spite of them. Finding myself scattered in all directions and in need of corralling like so many skittish calves, I kneel before the service begins and ask to be delivered from a vague preoccupation with myself and my own concerns and to be turned, during this short hour, to God.

The analysis was the most difficult of the three by all odds. When Holk, after two days of steady work, succeeded in eliminating meaningless statements, vague gibberish, useless qualifications - in short, all the goo and dribble - he found he had nothing left. Everything cancelled out. Lord Dorwin, gentlemen, in five days of discussion didn't say one damned thing, and said it so you never noticed.

We may, indeed, say that the hour of death is uncertain, but when we say so we represent that hour to ourselves as situated in a vague and remote expanse of time, it never occurs to us that it can have any connexion with the day that has already dawned, or may signify that death — or its first assault and partial possession of us, after which it will never leave hold of us again — may occur this very afternoon, so far from uncertain, this afternoon every hour of which has already been allotted to some occupation. You make a point of taking your drive every day so that in a month’s time you will have had the full benefit of the fresh air; you have hesitated over which cloak you will take, which cabman to call, you are in the cab, the whole day lies before you, short because you have to be at home early, as a friend is coming to see you; you hope that it will be as fine again to-morrow; and you have no suspicion that death, which has been making its way towards you along another plane, shrouded in an impenetrable darkness, has chosen precisely this day of all days to make its appearance, in a few minutes’ time, more or less, at the moment when the carriage has reached the Champs-Elysées.

When the first fine spring days come, and the earth awakes and assumes its garment of verdure, when the perfumed warmth of the air blows on our faces and fills our lungs, and even appears to penetrate to our heart, we feel vague longings for undefined happiness, a wish to run, to walk at random, to inhale the spring.

It was as if each of them sensed vaguely that the Saturday afternoons of youth are few, and precious, and this feeling which neither of them could have defined or described made every moment of this time together too short, too quickly gone, yet clearer and more sharply edged than any other.

As I pedaled my bike slowly home, I realized one more thing. I didn’t have to wonder if I’d ever be passionate or happy again. I was happy, even as I tasted tears on my lips, along with Will’s last kiss; even though part of me dreaded this day, my first without Will. I was happy because I knew I’d never forget Will. Even if parts of this summer faded from my memory over time, even if Will’s face grew vague in my mind, I’s never forget what it had felt like to be with him for a few short months. What it had been like to be sixteen and in love for the first time. I wouldn’t forget that – not ever.

Vague, foolish sorrow stops at the door of my soul, stares at me awhile, and moves on, he murmured, smiling to himself. A man must read widely, a little of everything or whatever he can, but given the shortness of life and the verbosity of the world, not too much should be demanded of him.

Many a man has cherished for years as his hobby some vague shadow of an idea, too meaningless to be positively false; he has, nevertheless, passionately loved it, has made it his companion by day and by night, and has given to it his strength and his life, leaving all other occupations for its sake, and in short has lived with it and for it, until it has become, as it were, flesh of his flesh and bone of his bone; and then he has waked up some bright morning to find it gone, clean vanished away like the beautiful Melusina of the fable, and the essence of his life goes with it.

A woman knows her children's friends, hopes, dreams, romances, secret fears, what they are thinking, how they are feeling and, usually, what mischief they are plotting. Men are vaguely aware of some short people also living in the house.

Later, when I hear others dismissing our voices, our protest for equity, by saying All Lives Matter or Blue Lives Matter, I will wonder how many white Americans are dragged out of their beds in the middle of the night because they might fit a vague description offered up by God knows who. How many skinny, short, blond men were rounded up when Dylann Roof massacred people in prayer? How many brown-haired white men were snatched out of bed when Bundy was killing women for sport?

In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her. This may seem like a ponderous weight of wisdom to descend upon the soul of a young woman of twenty-eight—perhaps more wisdom than the Holy Ghost is usually pleased to vouchsafe to any woman. But the beginning of things, of a world especially, is necessarily vague, tangled, chaotic, and exceedingly disturbing. How few of us ever emerge from such beginning! How many souls perish in its tumult!

At the end of that class Demian said to me thoughtfully: "There’s something I don’t like about this story, Sinclair. Why don’t you read it once more and give it the acid test? There’s something about it that doesn’t taste right. I mean the business with the two thieves. The three crosses standing next to each other on the hill are almost impressive, to be sure. But now comes this sentimental little treatise about the good thief. At first he was a thorough scoundrel, had committed all those awful things and God knows what else, and now he dissolves in tears and celebrates such a tearful feast of self-improvement and remorse! What’s the sense of repenting if you’re two steps from the grave? I ask you. Once again, it’s nothing but a priest’s fairy tale, saccharine and dishonest, touched up with sentimentality and given a high edifying background. If you had to pick a friend from between the two thieves or decide which one you’d rather trust, you most certainly wouldn’t choose the sniveling convert. No, the other fellow, he’s a man of character. He doesn’t give a hoot for ‘conversion’, which to a man in his position can’t be anything but a pretty speech. He follows his destiny to it’s appointed end and does not turn coward and forswear the devil, who has aided and abetted him until then. He has character, and people with character tend to receive the short end of the stick in biblical stories. Perhaps he’s even a descendant of Cain. Don’t you agree?" I was dismayed. Until now I had felt completely at home in the story of the Crucifixion. Now I saw for the first time with how little individuality, with how little power of imagination I had listened to it and read it. Still, Demian’s new concept seemed vaguely sinister and threatened to topple beliefs on whose continued existence I felt I simply had to insist. No, one could not make light of everything, especially not of the most Sacred matters. As usual he noticed my resistance even before I had said anything. "I know," he said in a resigned tone of voice, "it’s the same old story: don’t take these stories seriously! But I have to tell you something: this is one of the very places that reveals the poverty of this religion most distinctly. The point is that this God of both Old and New Testaments is certainly an extraordinary figure but not what he purports to represent. He is all that is good, noble, fatherly, beautiful, elevated, sentimental—true! But the world consists of something else besides. And what is left over is ascribed to the devil, this entire slice of world, this entire half is hushed up. In exactly the same way they praise God as the father of all life but simply refuse to say a word about our sexual life on which it’s all based, describing it whenever possible as sinful, the work of the devil. I have no objection to worshiping this God Jehovah, far from it. But I mean we ought to consider everything sacred, the entire world, not merely this artificially separated half! Thus alongside the divine service we should also have a service for the devil. I feel that would be right. Otherwise you must create for yourself a God that contains the devil too and in front of which you needn’t close your eyes when the most natural things in the world take place.

A wound gives strange dignity to him who bears it. Well men shy from his new and terrible majesty. It is as if the wounded man's hand is upon the curtain which hangs before the revelations of all existence - the meaning of ants, potentates, wars, cities, sunshine, snow, a feather dropped from a bird's wing; and the power of it sheds radiance upon a bloody form, and makes the other men understand sometimes that they are little. His comrades look at him with large eyes thoughtfully. Moreover, they fear vaguely that the weight of a finger upon him might send him headlong, precipitate the tragedy, hurl him at once into the dim, gray unknown. ("An Episode Of War")

The idea of what the public will think prevents the public from ever thinking at all, and acts as a spell on the exercise of private judgment, so that, in short, the public ear is at the mercy of the first impudent pretender who chooses to fill it with noisy assertions, or false surmises, or secret whispers. What is said by one is heard by all; the supposition that a thing is known to all the world makes all the world believe it, and the hollow repetition of a vague report drowns the 'still, small voice' of reason.

The frivolity and boredom which unsettle the established order, the vague foreboding of something unknown, these are the heralds of approaching change. The gradual crumbling that left unaltered the face of the whole is cut short by a sunburst which, in one flash, illuminates the features of the new world.

La vie est vaine, Un peu d’amour, Un peu de haine, Et puis—Bonjour! La vie est brève: Un peu d’espoir, Un peu de rève Et puis—Bon soir! Ah, brief is Life, Love’s short sweet way, With dreamings rife, And then—Good-day! And Life is vain— Hope’s vague delight, Grief’s transient pain, And then—Good-night.

Sunday is a fixed star," he said. "You shall see him a falling star," said Syme, and put on his hat. The decision of his gesture drew the Professor vaguely to his feet. "Have you any idea," he asked, with a sort of benevolent bewilderment, "exactly where you are going?" "Yes," replied Syme shortly, "I am going to prevent this bomb being thrown in Paris." "Have you any conception how?" inquired the other. "No," said Syme with equal decision.

Life punishes the vague wish and rewards the specific ask. After all, conscious thinking is largely asking and answering questions in your own head.

Poor old Jean Valjean, of course, loved Cosette only as a father; but, as we noted earlier, into this fatherly love his lonely single status in life had introduced every other kind of love; he loved Cosette as his daughter, and he loved her as his mother, and he loved her as his sister; and, as he had never had either a lover or a wife, as nature is a creditor that does not accept nonpayment, that particular feeling, too, the most indestructible of all, had thrown itself in with the rest, vague, ignorant, heavenly, angelic, divine; less a feeling than an instinct, less an instinct than an attraction, imperceptible and invisible but real; and love, truly called, lay in his enormous tenderness for Cosette the way a vein of gold lies in the mountain, dark and virginal. We should bear in mind that state of the heart that we have already mentioned. Marriage between them was out of the question, even that of souls; and yet it is certain that their destinies had joined together as one. Except for Cosette, that is, except for a child, Jean Valjean had never, in all his long life, known anything about love. Serial passions and love affairs had not laid those successive shades of green over him, fresh green on top of dark green, that you notice on foliage that has come through winter and on men that have passed their fifties. In short, and we have insisted on this more than once, this whole inner fusion, this whole set, the result of which was lofty virtue, had wound up making Jean Valjean a father for Cosette. A strange father, forged out of the grandfather, son, brother, and husband that were all in Jean Valjean; a father in whom there was even a mother; a father who loved Cosette and worshipped her, and for whom that child was light, was home, was his homeland, was paradise.

Vaguely he wanted a girl but he did not want to have to work to get her. He would have liked to have a girl but he did not want to have to spend a long time getting her. He did not want to get into the intrigue and the politics. He did not want to have to do any courting. He did not want to tell any more lies. It wasn’t worth it.

In her white dress she was like a cold light coming into the room. Stoner started involuntarily toward her and felt Finch’s hand on his arm, restraining him. Edith was pale, but she gave him a small smile. Then she was beside him, and they were walking together. A stranger with a round collar stood before them; he was short and fat and he had a vague face. He was mumbling words and looking at a white book in his hands. William heard himself responding to silences. He felt Edith trembling beside him. Then there was a long silence, and another murmur, and the sound of laughter. Someone said, “Kiss the bride!

Life shouldn’t be measured in hours for the vagueness in which they exist, but moments; moments are memorable and we could easily say that a short life filled with a stock of extraordinary memories is worth a thousand times what a long, boring and loveless one is.

What are you grinning at?' Nal muttered. As if in response, the gull spread its wings and opened its shadow over the miniature ruins of the castle - too huge, Nal thought, and vaguely humanoid in shape - and then it flew off, laboring heavily against the wind. In the soft moonlight this created the disturbing illusion that the bird had hitched itself to Nal's shadow and was pulling his darkness from him.

The future, vague and sad, did not frighten me half as much as knowing that it was not carved in stone.

When we saw her again her hair was cut short, making her look like a girl, with a vague resemblance to those angels in colored church windows—sort of tragic and serene.

among them Pleistocene (“most recent”), Pliocene (“more recent”), Miocene (“moderately recent”) and the rather endearingly vague Oligocene (“but a little recent”).

When a girl asks questions like, “How long was your longest relationship?” give short, vague answers.

I once caught him in the act of revising a short story that had just been published. “Why,” I asked, “rewrite what’s already in print?” He looked at me, vaguely; then said, “Well, obviously it’s not finished.

Where are you going?” “Out. Like you.” He raised an eyebrow, but he didn’t press for more information. “One should always make one’s own mistakes, instead of the mistakes of others, amira.” “Out like me, then.” “Dressed like that?” “And what’s wrong with it?” “It looks like you chose the pieces by throwing darts. And you are terrible at darts. Besides, it’s much too short.” He pointed vaguely toward my ankles and winked. “The whole world can see the top of your foot. You look like a hussy.” I grabbed my skirt and flashed him my knees. He pretended to swoon. “Don’t worry. This is late Victorian, not early. More permissive.

He’s’ – the first speaker waved his hands vaguely, trying to get across the point that someone was a hamper of food, several folding chairs, a tablecloth, an assortment of cooking gear and an entire colony of ants short of a picnic – ‘mental.

The contents of this letter threw Elizabeth into a flutter of spirits in which it was difficult to determine whether pleasure or pain bore the greatest share. The vague and unsettled suspicions which uncertainty had produced of what Mr. Darcy might have been doing to forward her sister's match which she had feared to encourage as an exertion of goodness too great to be probable and at the same time dreaded to be just from the pain of obligation were proved beyond their greatest extent to be true He had followed them purposely to town he had taken on himself all the trouble and mortification attendant on such a research in which supplication had been necessary to a woman whom he must abominate and despise and where he was reduced to meet frequently meet reason with persuade and finally bribe the man whom he always most wished to avoid and whose very name it was punishment to him to pronounce. He had done all this for a girl whom he could neither regard nor esteem. Her heart did whisper that he had done it for her. But it was a hope shortly checked by other considerations and she soon felt that even her vanity was insufficient when required to depend on his affection for her—for a woman who had already refused him—as able to overcome a sentiment so natural as abhorrence against relationship with Wickham. Brother-in-law of Wickham Every kind of pride must revolt from the connection. He had to be sure done much. She was ashamed to think how much. But he had given a reason for his interference which asked no extraordinary stretch of belief. It was reasonable that he should feel he had been wrong he had liberality and he had the means of exercising it and though she would not place herself as his principal inducement she could perhaps believe that remaining partiality for her might assist his endeavours in a cause where her peace of mind must be materially concerned. It was painful exceedingly painful to know that they were under obligations to a person who could never receive a return. They owed the restoration of Lydia her character every thing to him. Oh how heartily did she grieve over every ungracious sensation she had ever encouraged every saucy speech she had ever directed towards him. For herself she was humbled but she was proud of him. Proud that in a cause of compassion and honour he had been able to get the better of himself. She read over her aunt's commendation of him again and again. It was hardly enough but it pleased her. She was even sensible of some pleasure though mixed with regret on finding how steadfastly both she and her uncle had been persuaded that affection and confidence subsisted between Mr. Darcy and herself.

Your gift is odd,” Cisi said. “I’m sure Mom would have some kind of vague, wise thing to say about that.” “Ooh. What was he like as a child?” Jorek said, folding his hands and learning close to Akos’s sister. “Was he actually a child, or did he just sort of appear one day as a fully grown adult, full of angst?” Akos glared at him. “He was short and chubby,” Cisi said. “Irritable. Very particular about his socks.” “My socks?” Akos said. “Yeah!” she said. “Eijeh told me you always arranged them in order of preference from left to right. Your favorite ones were yellow.

In depression you become, in your head, two-dimensional—like a drawing rather than a living, breathing creature. You cannot conjure your actual personality, which you can remember only vaguely ... You live in, or close to, a state of perpetual fear, although you are not sure what it is you are afraid of.

So the history of household life isn’t just a history of beds and sofas and kitchen stoves, as I had vaguely supposed it would be, but of scurvy and guano and the Eiffel Tower and bedbugs and body-snatching and just about everything else that has ever happened. Houses aren’t refuges from history. They are where history ends up.

John Dewey’s dictum that “a problem well put is half-solved” applies. Life punishes the vague wish and rewards the specific ask. After all, conscious thinking is largely asking and answering questions in your own head. If you want confusion and heartache, ask vague questions. If you want uncommon clarity and results, ask uncommonly clear questions.

I ask myself whether I am mad. As I was walking just now in the sun by the riverside, doubts as to my own sanity arose in me; not vague doubts such as I have had hitherto, but precise and absolute doubts. I have seen mad people, and I have known some who were quite intelligent, lucid, even clear-sighted in every concern of life, except on one point.

it is terrible and strange to think about all the men and all the women who have nothing to tell, and who imagine no future fate other than to dissolve into a vague biological and technical continuum (because ashes are technical; even when they are only destined to become fertiliser you have to assess their potassium and nitrogen levels); all those people, in short, whose lives have played out without external incident, and who leave life without thinking about it, as one leaves a holiday home that was just fine, without, however, having an idea of a final destination, with just that vague intuition that it would have been preferable not to have been born – well, now I’m talking about the majority of men and women.

The later letters were as tender and as delightful as the first, but the tone was different. She was vaguely suspicious of their humour, she had the instinctive mistrust of her sex for that unaccountable quality, and she discerned in them now a flippancy which perplexed her. She was not quite certain that the Edward who wrote to her now was the same Edward that she had known.

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

Upstairs,” I say again. And once again he shoots that down. “Here,” he whispers against my breasts. I slide my fingers through his short hair and tug his head up. “Why are you so allergic to your bedroom?” I demand. Hannah told me that Dean rarely has sex up there, and now I’m even more curious to know why. “I’d rather fool around down here,” is the vague reply. “Why?” I press. I instantly regret asking, because Dean’s eyes go heavy-lidded and his voice lowers to a sexy, molten rasp. “Because I like the idea of getting caught.” My mouth falls open in amazement, but he’s not finished. “And once I get caught…” The grin he gives me is downright filthy. “…I like being watched.” Then he kisses me again, and my surroundings fade away until all I can see, all I can feel, is him.

Perhaps vaguely aware that his movie so completely lacks gravitas, Moore concludes with a sonorous reading of some words from George Orwell. The words are taken from 1984 and consist of a third-person analysis of a hypothetical, endless and contrived war between three superpowers. The clear intention, as clumsily excerpted like this (...), is to suggest that there is no moral distinction between the United States, the Taliban and the Ba'ath Party, and that the war against jihad is about nothing. If Moore had studied a bit more, or at all, he could have read Orwell really saying, and in his own voice, the following: The majority of pacifists either belong to obscure religious sects or are simply humanitarians who object to taking life and prefer not to follow their thoughts beyond that point. But there is a minority of intellectual pacifists, whose real though unacknowledged motive appears to be hatred of western democracy and admiration for totalitarianism. Pacifist propaganda usually boils down to saying that one side is as bad as the other, but if one looks closely at the writing of the younger intellectual pacifists, one finds that they do not by any means express impartial disapproval but are directed almost entirely against Britain and the United States… And that's just from Orwell's Notes on Nationalism in May 1945. A short word of advice: In general, it's highly unwise to quote Orwell if you are already way out of your depth on the question of moral equivalence. It's also incautious to remind people of Orwell if you are engaged in a sophomoric celluloid rewriting of recent history.

In short, Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her. This may seem like a ponderous weight of wisdom to descend upon the soul of a young woman of twenty-eight— perhaps more wisdom than the Holy Ghost is usually pleased to vouchsafe to any woman. But the beginning of things, of a world especially, is necessarily vague, tangled, chaotic, and exceedingly disturbing. How few of us ever emerge 18 from such beginning! How many souls perish in its tumult! The voice of the sea is seductive; never ceasing, whispering, clamoring, murmuring, inviting the soul to wander for a spell in abysses of solitude; to lose itself in mazes of inward contemplation. The voice of the sea speaks to the soul. The touch of the sea is sensuous, enfolding the body in its soft, close embrace.

We may, indeed, say that the hour of death is uncertain, but when we say this we think of that hour as situated in a vague and remote expanse of time; it doesnot occur to us that it can have any connection with the day that has already dawned and can mean that death can occur this very afternoon, so far from uncertain,this afternoon whose timetable, hour by hour, has been settled in advance. One insists on one's daily outing, so that in a month's time one will have had the necessary ration of fresh air, one has hesitated over which coat to take, which cabman to call ;one is in the cab, the whole day lies before one, short because one must be back home early,as a friend is coming to see one; one hopes it will be fine again tomorrow; one has no suspicion that death, which has been advancing one on another plane, has chosen precisely this particular day to make it's appearance in a few minutes' time.....

My client described her dreams in the same way I’d heard countless visitations depicted: super-vivid. Many report that the dreams felt almost like real-life memories. Whereas normal dreams are often nonsensical, inconsistent in chronology, and varyingly vague, spiritual dreams have an unmistakable sharpness. They also tend to be remembered as short interactions, regardless of time elapsed. To an intuitive person, dream visitations are conspicuous and very difficult to ignore.

With every second that went past, with every sentence she spoke, she felt a little strength flowing back. And now that she was doing something difficult and familiar and never quite predictable, namely lying, she felt a sort of mastery again, the same sense of complexity and control that the alethiometer gave her. She had to be careful not to say anything obviously impossible; she had to be vague in some places and invent plausible details in others; she had to be an artist, in short.

The novel about the boy Maurice seems to have been abandoned, nor do I know what the short stories were about, although vaguely there is an impression of one that I called Fog, about a man and a woman leaning over the Thames embankment, who had loved each other once, and now met and talked without recognition. The last sentence ran, ‘The fog suddenly lifted’. Books read give little indication of the source of inspiration. It could hardly have been H. G. Wells’ Country of the Blind, but you never know.…

is honest enough to admit that. I’m sorry if ignorance scares you. I’m sorry if you can’t stand the thought of dying before you’ve found the meta-yes. But that’s how this works, for now. And in the meantime, bookended by birth and death, riding about in bodies of carbon, loving, suffering, striving, for a short, short time, we get to be. If we’re forced to be in a mysterious universe, and that universe is mute on the subject of its own motivations for existing, I’ll still take living in honest ignorance over your metaphysical posturing any day. That’s real bravery. Not concocting blatantly contradictory stories to comfort oneself, not appealing to the vague transcendent every time you get your worldview in a twist. Ignorance. Brave, honest admission of one’s ignorance, and living with that ignorance in a kind, compassionate manner, treating each other well even if we know we eventually all go to dust and never happen again. We must try to be wise, to be good women, to be good men. The rite of adulthood is the admission

Look for a wave shaped like an A. An A. Hmm. I saw Zs and H's and Vs. I saw the Hindi alphabet and the Thai alphabet. I saw Arabic script. I saw no As. Finally I gave up, and chose the next wave that would have me, which turned out to be a poor move. There is a moment, shortly after one accepts the imminence of one's demise, when it occurs that you could be elsewhere: that if you simply left the house a little later, or lingered over a Mai Tai, you would not be here now confronting your mortality. This moment occurred just as I encountered a very large (from my perspective), rare and surprising wave. A wave that was pitching and howling, and it really had no business being where it was - underneath me. The demon wave picked me up, and after that I have only a a vague recollection of spinning limbs, a weaponized surf board, and chaotic white water, churning together over a reef. I decided surfing was not for me. I generally no longer engage in adrenaline rush activities that carry with them a strong likely hood of life-altering injury. (p. 138)

Who can tell how scenes of peace and quietude sink into the minds of pain-worn dwellers in close and noisy places, and carry their own freshness, deep into their jaded hearts! Men who have lived in crowded, pent-up streets, through lives of toil, and who have never wished for change; men, to whom custom has indeed been second nature, and who have come almost to love each brick and stone that formed the narrow boundaries of their daily walks; even they, with the hand of death upon them, have been known to yearn at last for one short glimpse of Nature’s face; and, carried far from the scenes of their old pains and pleasures, have seemed to pass at once into a new state of being. Crawling forth, from day to day, to some green sunny spot, they have had such memories wakened up within them by the sight of sky, and hill and plain, and glistening water, that a foretaste of heaven itself has soothed their quick decline, and they have sunk into their tombs, as peacefully as the sun whose setting they watched from their lonely chamber window but a few hours before, faded from their dim and feeble sight! The memories which peaceful country scenes call up, are not of this world, nor of its thoughts and hopes. Their gentle influence may teach us how to weave fresh garlands for the graves of those we loved: may purify our thoughts, and bear down before it old enmity and hatred; but beneath all this, there lingers, in the least reflective mind, a vague and half-formed consciousness of having held such feelings long before, in some remote and distant time, which calls up solemn thoughts of distant times to come, and bends down pride and worldliness beneath it.

What is the song, the pop song? Is it a conduit to give out the feeling in a compact form, a short form? Shorter is better because it is physically much easier to share. A slogan verse a book, single versus record. What if it's blank white with really no cover? That leaves the meaning clear. wait? It's more vague. With no hints to intentions. Except that maybe the intention was to seem vague or not to have a cover. Maybe just there's no cover And if the children cared then the children are pissed. You said you wanted pop but instead you got this....

As for the description, it might, like most other tabulated descriptions, have fitted tens of thousands of men. With most persons, recognition, even of an intimate, was based on the perception of vague, half-observed quantities which together formed a caricature significant more in its relation to the observer than to the observed. A short man, conscious of his lack of height, would describe a man of medium height as tall. For the ordinary business of hating and loving and getting from the cradle to the deathbed with the least possible discomfort, such caricatures were, no doubt, satisfactory.

I ask myself whether I am mad. As I was walking just now in the sun by the riverside, doubts as to my own sanity arose in me; not vague doubts such as I have had hitherto, but precise and absolute doubts. I have seen mad people, and I have known some who were quite intelligent, lucid, even clear-sighted in every concern of life, except on one point. They could speak clearly, readily, profoundly on everything; till their thoughts were caught in the breakers of their delusions and went to pieces there, were dispersed and swamped in that furious and terrible sea of fogs and squalls which is called madness.

The key to achieving your objective is to frame it properly before you begin. Do you know the ‘SMART method’?” “No, I—” “You need to make sure that your objective is S for Specific (you have to avoid it being vague) and M for Measurable—in this case, for example, success would be losing ten pounds. Then there’s A for Attainable, defined as being achievable, thanks to a series of short steps; it mustn’t be an ‘unreachable star.’ R for Realistic: to keep you motivated, your objective has to make sense in relation to your personality and your possibilities. And, finally, T for Timely: you need to set yourself a deadline.

but he always looked at them with the same reverence, mingled with a vague wonder as to what it was that people admired in ruins, seeing that they generally made such short work of inspecting them, and seemed so pleased to get away and take refreshment. Ruins and copious refreshment ware associated in Mr. Gilbert’s mind; and, indeed, there does seem to be a natural union between ivied walls and lobster-salad, crumbling turrets and cold chicken; just as the domes of Greenwich Hospital, the hilly park beyond, and the rippling water in the foreground, must be for ever and ever associated with floundered souchy and devilled whitebait.

[...]however much one may love the poison that is destroying one, when one has compulsorily to do without it, and has had to do without it for some time past, one cannot help attaching a certain value to the peace of mind which one had ceased to know, to the absence of emotion and suffering. If one is not altogether sincere in assuring oneself that one does not wish ever to see again her whom one loves, one would not be a whit more sincere in saying that one would like to see her. For no doubt one can endure her absence only when one promises oneself that it shall not be for long, and thinks of the day on which one shall see her again, but at the same time one feels how much less painful are those daily recurring dreams of a meeting immediate and incessantly postponed than would be an interview which might be followed by a spasm of jealousy, with the result that the news that one is shortly to see her whom one loves would cause a disturbance which would be none too pleasant. What one procrastinates now from day to day is no longer the end of the intolerable anxiety caused by separation, it is the dreaded renewal of emotions which can lead to nothing. How infinitely one prefers to any such interview the docile memory which one can supplement at one’s pleasure with dreams, in which she who in reality does not love one seems, far from that, to be making protestations of her love for one, when one is by oneself; that memory which one can contrive, by blending gradually with it a portion of what one desires, to render as pleasing as one may choose, how infinitely one prefers it to the avoided interview in which one would have to deal with a creature to whom one could no longer dictate at one’s pleasure the words that one would like to hear on her lips, but from whom one would meet with fresh coldness, unlooked-for violence. We know, all of us, when we no longer love, that forgetfulness, that even a vague memory do not cause us so much suffering as an ill-starred love.

If I sequenced my own genome and showed it to a geneticist, she would be able to say approximately where on the planet I or my ancestors came from by matching variants in my genome with the geographic patterns of variants across the globe. She would not, however, be  able to tell whether I was smart or dumb, tall or short, or almost anything else that matters with respect to how I function as a human being. Indeed, despite the fact that most efforts to understand the genome have sprung from efforts to combat disease, for the vast majority of diseases, such as Alzheimer’s, cancer, diabetes, or heart disease, our current understanding allows us only to assign vague probabilities to the likelihood that an individual will develop them.

THE mother, Lillian, comes to the consultation alone and provides the history. She is forty-three, a widow, the husband having died from appendicitis when the patient was six. The patient, Robert, is the older of two children; his sister was conceived shortly before the father’s death. Mother raised both siblings by herself in Boston, though she cohabited for some time with a dancing instructor, a relationship which ended bitterly. She is vague as to the reason, does not answer whether he was rough with her and whether this might have been witnessed by the children, though she is adamant that they were never touched. Patient attended school, performed well, though had few friends, spent most of his time reading science and mystery magazines.

Worse and somehow embarrassing affair are "ghost" dreams, from which the dreamer only remembers fragments, and very short snippets of events, after which the next morning is left only a vague feeling of a messaged received. If the "ghost" is repeated several times, it is certain that it is a dream which is important for some reason. Then the dreamer, through concentration and auto-suggestion tries to force the dream again, this time a more specific "ghost". The best result are to force oneself to dream again immediately after waking up - called "hooking". If the dream does not produce a "hook" they try and produce a vision during one of the following session by concentration and meditation prior to going to sleep. Such pressure programming is called "anchoring".

Is that food?” Shiro asked, pointing at the large paper bag in Yumei’s hand. Emi blinked at the bag. “Is that a takeout bag? How did you order takeout?” “I stole it. I have no idea what it contains.” “It smells good, at least,” Shiro said optimistically. As he crossed the room, his arm brushed hers, sending a little warm shiver through her. Relieving Yumei of the bag, he dropped down at the table and shoved the broken teacup out of the way. Yumei hissed angrily. “It’s just a cup. You have too much junk. Are you a raven or a magpie?” The crows swooped down and landed on the table as Shiro ripped the bag open to investigate its contents. Emi tried not to think about the unlucky human who was now mysteriously short his dinner. Yumei started picking up pieces of the tea cup, his expressionless face vaguely gloomy as he collected its remains.

They thought, or Peter at any rate thought, that she enjoyed imposing herself; liked to have famous people about her; great names; was simply a snob in short. Well, Peter might think so. Richard merely thought it foolish of her to like excitement when she knew it was bad for her heart. It was childish, he thought. And both were quite wrong. What she liked was simply life. “That's what I do it for," she said, speaking aloud, to life. ... But suppose Peter said to her, "Yes, yes, but your parties—what's the sense of your parties?" all she could say was (and nobody could be expected to understand): They're an offering; which sounded horribly vague. ... And she felt quite continuously a sense of their existence; and she felt what a waste; and she felt what a pity; and she felt if only they could be brought together; so she did it. And it was an offering; to combine, to create; but to whom?

The first moment, while the idea was still a dream of vague outline, was decidedly the happiest in Herzl’s short life. As soon as he began to fix his aims in actual space, and to unite the forces, he was made to realize how divided his people had become among various races and destinies—the religious on the one hand, the free thinkers on the other, here the socialist, there the capitalistic Jews—all competing eagerly with one another in all languages, and all unwilling to submit to a unified authority. In the year 1901, when I saw him for the first time, he stood in the midst of this struggle and perhaps he was even struggling with himself; he did not have sufficient faith in its success to relinquish the position that fed him and his family. He still had to divide himself between his petty journalistic duties and the task which was his true life. It was still the feuilleton editor Theodor Herzl who received me in the beginning of 1901.

MURRAY HILL’S FIRST BUILDING—Building 1, as it was eventually known—officially opened in 1942.4 Inside it was a model of sleek and flexible utility. Every office and every lab was divided into six-foot increments so that spaces could be expanded or shrunk depending on needs, thanks to a system of soundproofed steel partition walls that could be moved on short notice. Thus a research team with an eighteen-foot lab might, if space allowed, quickly expand their work into a twenty-four-foot lab. Each six-foot space, in addition, was outfitted with pipes providing all the basic needs of an experimentalist: compressed air, distilled water, steam, gas, vacuum, hydrogen, oxygen, and nitrogen. And there was both DC and AC power. From the outside, the Murray Hill complex appeared vaguely H-shaped. Most of the actual laboratories were located in two long wings, each four stories high, which were built in parallel and were connected by another wing.

If the weakness of mainstream fiction is its deliberate smallness, the weakness of sf is its puffed-up size, its gauzy immensities. SF often pays so much attention to cosmic ideas that the story's surface is vague. Too much sf suffers from a lack of tangible reality. Muzzy settings, generic characters concocted merely for the sake of the idea, improbable action plots tidily wrapped up at the end. Too much preaching, not enough concrete, credible detail. An sf writer can get published without mastering certain things that most mainstream writers can’t evade: evocative prose style, naturalistic dialogue, attention to detail. Refraining from editorializing, over-explaining, or pat resolutions. To us, the contents of The Best American Short Stories seem paltry and timebound. To them, the contents of Asimov’s are overblown and underrealized. It’s no wonder that sf never makes the Ravenel collection. SF is habitually strong in areas considered unessential to good mainstream fiction, and weak in those areas that are considered essential. It doesn't matter that to the sf reader most contemporary fiction is so interested in "how things really are" in tight focus that it missed "how things really are" in the big picture. SF’s different standards make it invisible to mainstream readers, not in the literal way of H.G. Wells's invisible man, but in the cultural way of Ralph Ellison's. It's not that they can’t see us, it's that they don't know what to make of what they see. What they don't know about sf, and worse still, what they think they do know, make it impossible for them to appreciate our virtues. We are like a Harlem poet attempting to find a seat at the Algonquin round table in 1925. Our clothes are outlandish . Our accent is uncouth. The subjects we are interested in are uninteresting or incomprehensible. Our history and culture are unknown. Our reasons for being there are inadmissible. The result is embarrassment, condescension, or silence.

From the right, Ted—it simply had to be a guy named Ted—finally made his entrance. He wore only Zoom shorts, and his abdomen was rippled like a relief map in marble. He was probably in his early twenties, model handsome, and he squinted like a prison guard. As he sashayed toward the shoot, Ted kept running both hands through his Superman blue-black hair, the movement expanding his chest and shrinking his waist and demonstrating shaved underarms. Brenda muttered, “Strutting peacock.” “That’s totally unfair,” Myron said. “Maybe he’s a Fulbright scholar.” “I’ve worked with him before. If God gave him a second brain, it would die of loneliness.” Her eyes veered toward Myron. “I don’t get something.” “What?” “Why you? You’re a sports agent. Why would Norm ask you to be my bodyguard?” “I used to work”—he stopped, waved a vague hand—“for the government.” “I never heard about that.” “It’s another secret. Shh.” “Secrets don’t stay secret much around you, Myron.” “You can trust me.” She

When we are born, and as we pass through childhood, adolescence, and the stages of adulthood, we are designed to anticipate a certain quality of welcome, engagement, touch, and reflection. In short, we expect what our deep-time ancestors experienced as their birthright, namely, the container of the village. We are born expecting a rich and sensuous relationship with the earth and communal rituals of celebration, grief, and healing that keep us in connection with the sacred. As T. S. Eliot wrote in The Waste Land “Once upon a time, we knew the world from birth.” This is our inheritance, our birthright, which has been lost and abandoned. The absence of these requirements haunts us, even if we can’t give them a name, and we feel their loss as an ache, a vague sadness that settles over us like a fog. This lack is simultaneously one of the primary sources of our grief and one of the reasons we find it difficult to grieve. On some level, we are waiting for the village to appear so we can fully acknowledge our sorrows.

This is why our short-term solution to the witching hour—to bewitch our children with technological distraction—in the long run just makes things worse. And as with all the things we do to our children, the truth is that we are doing it to ourselves as well. I am horrified at the hours I have spent, often in the face of demanding creative work, scrolling aimlessly through social media and news updates, clicking briefly on countless vaguely titillating updates about people I barely know and situations I have no control over, feeling dim, thin versions of interest, attraction, dissatisfaction, and dislike. Those hours have been spent avoiding suffering—avoiding the suffering of our banal, boring modern world with its airport security lines and traffic jams and parking lots, but also avoiding the suffering of learning patience, wisdom, and virtue and putting them into practice. They have left me, as the ring left Bilbo, feeling “all thin, sort of stretched, if you know what I mean: like butter that has been scraped over too much bread.”4

He closed his hand on the twenty kopecks, walked on for ten paces, and turned facing the Neva, looking towards the palace. The sky was cloudless and the water was almost bright blue, which is so rare in the Neva. The dome of the cathedral, which is seen at its best from the bridge about twenty paces from the chapel, glittered in the sunlight, and in the pure air every ornament on it could be clearly distinguished. The pain from the lash eased off, and Raskolnikov forgot about it; one uneasy and not quite definite idea now occupied him completely. He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marveled at a vague and mysterious emotion it aroused in him. It left him strangely cold; for him, this gorgeous picture was blank and lifeless. He wondered every time at his somber and enigmatic impression and, mistrusting himself, put off finding an explanation for it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him . . . so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all . . . He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from every one and from everything at that moment.

He closed his hand on the twenty copecks, walked on for ten paces, and turned facing the Neva, looking towards the palace. The sky was without a cloud and the water was almost bright blue, which is so rare in the Neva. The cupola of the cathedral, which is seen at its best from the bridge about twenty paces from the chapel, glittered in the sunlight, and in the pure air every ornament on it could be clearly distinguished. The pain from the lash went off, and Raskolnikov forgot about it; one uneasy and not quite definite idea occupied him now completely. He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marvelled at a vague and mysterious emotion it roused in him. It left him strangely cold; this gorgeous picture was for him blank and lifeless. He wondered every time at his sombre and enigmatic impression and, mistrusting himself, put off finding the explanation of it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him… so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all…. He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from everyone and from everything at that moment.

Prin let the old one witter on. They could make him stay in here, stop him from leaving and stop him from offering any violence to this dream-image of the old representative, but they couldn’t stop his attention from wandering. The techniques learned in lecture theatres and later honed to perfection in faculty meetings were proving their real worth at last. He could vaguely follow what was being said without needing to bother with the detail. When he’d been a student he had assumed he could do this because he was just so damn smart and basically already knew pretty much all they were trying to teach him. Later, during seemingly endless committee sessions, he’d accepted that a lot of what passed for useful information-sharing within an organisation was really just the bureaucratic phatic of people protecting their position, looking for praise, projecting criticism, setting up positions of non-responsibility for up-coming failures and calamities that were both entirely predictable but seemingly completely unavoidable, and telling each other what they all already knew anyway. The trick was to be able to re-engage quickly and seamlessly without allowing anyone to know you’d stopped listening properly shortly after the speaker had first opened their mouth.

Jyo offered Isae a fried feathergrass stalk with a big smile, but Akos snatched it before she could take it. “You don’t want to eat that,” he said. “Unless you want to spend the next six hours hallucinating.” “Last time Jyo slipped someone one of those, they wandered around this house talking about giant dancing babies,” Jorek said. “Yeah, yeah,” Teka said. “Laugh all you want, but you would be scared too if you hallucinated giant babies.” “It was worth it, whether I will ever be forgiven or not,” Jyo said, winking. He had a soft, slippery way of talking. “Do they work on you?” Cisi asked Akos, nodding to the stalk in his hand. In answer, Akos bit into the stalk, which tasted like earth and salt and sour. “Your gift is odd,” Cisi said. “I’m sure Mom would have some kind of vague, wise thing to say about that.” “Ooh. What was he like as a child?” Jorek said, folding his hands and learning close to Akos’s sister. “Was he actually a child, or did he just sort of appear one day as a fully grown adult, full of angst?” Akos glared at him. “He was short and chubby,” Cisi said. “Irritable. Very particular about his socks.” “My socks?” Akos said. “Yeah!” she said. “Eijeh told me you always arranged them in order of preference from left to right. Your favorite ones were yellow.

He was taking another hit from his short-and-squat of Goose when his eyes skipped to the arched doorway of the room. Jane hesitated as she glanced inside, her white coat opening as she leaned to the side, as if she were looking for him. When their eyes met, she smiled a little. And then a lot. His first impulse was to hide his own grin behind his Goose. But then he stopped himself. New world order. Come on, smile, motherfucker, he thought. Jane gave a short wave and played it cool, which was what they usually did when they were together in public. Turning away, she headed over to the bar to make herself something. “Hold up, cop,” V murmured, putting his drink down and bracing his cue against the table. Feeling like he was fifteen, he put his hand-rolled between his teeth and tucked his wife-beater tightly into the waistband of his leathers. A quick smooth of the hair and he was . . . well, as ready as he could be. He approached Jane from behind just as she struck up a convo with Mary—and when his shellan pivoted around to greet him, she seemed a little surprised that he’d come up to her. “Hi, V . . . How are—” Vishous stepped in close, putting them body to body, and then he wrapped his arms around her waist. Holding her with possession, he slowly bent her backward until she gripped his shoulders and her hair fell from her face. As she gasped, he said exactly what he thought: “I missed you.” And on that note, he put his mouth on hers and kissed the ever-living hell out of her, sweeping one hand down to her hip as he slipped his tongue in her mouth, and kept going and going and going . . . He was vaguely aware that the room had fallen stone silent and that everything with a heartbeat was staring at him and his mate. But whatever. This was what he wanted to do, and he was going to do it in front of everyone—and the king’s dog, as it turned out. Because Wrath and Beth came in from the foyer. As Vishous slowly righted his shellan, the catcalls and whistling started up, and someone threw a handful of popcorn like it was confetti. “Now that’s what I’m talkin’ ’bout,” Hollywood said. And threw more popcorn. Vishous cleared his throat. “I have an announcement to make.” Right. Okay, there were a lot of eyes on the pair of them. But he was so going to suck up his inclination to bow out. Tucking his flustered and blushing Jane into his side, he said loud and clear: “We’re getting mated. Properly. And I expect you all to be there and . . . Yeah, that’s it.” Dead. Quiet. Then Wrath released the handle on George’s harness and started to clap. Loud and slow. “About. Fucking. Time.

Let’s assume for a moment that we are starting to write a novel using Fred’s goal of wanting desperately to be first to climb the mountain. The reader now forms his story question. But the story has to start someplace, and it has to show dynamic forward movement. Let’s further assume, then, that Fred comes up with a game plan for his quest. He decides that his first step must be to borrow sufficient money to equip his expedition. So he walks into the Ninth District Bank of Cincinnati, sits down with Mr. Greenback, the loan officer, and boldly states his goal, thus: “Mr. Greenback, I want to be first to climb the mountain. But I must have capital to fund my expedition. Therefore I am here to convince you that you should lend me $75,000.” At this point, the reader sees clearly that this short-term goal relates importantly to the long-term story goal and the story question. So just as he formed a story question, the reader now forms a scene question, which again is a rewording of the goal statement: “Will Fred get the loan?” Here is a note so important that I want to set it off typographically: The scene question cannot be some vague, philosophical one such as, “Are bankers nice?” or “What motivates people like Fred?” The question is specific, relates to a definite, immediate goal, and can be answered with a simple yes or no.

I understood slavery as bad and I had a vague sense that it had once been integral to the country and that the dispute over it had somehow contributed to the civil war. But even that partial sense ran contrary to the way the civil war was presented in the popular culture, as a violent misunderstanding, an honorable dual between wayward brothers instead of what it was. A spectacular chapter in a long war that was declared when the first Africans were brought chained to American shores. When it comes to the civil war, all of our popular understanding, our popular history and culture, our great films, the subtext of our arguments, are in defiance of its painful truths. It is not a mistake that Gone with the Wind is one of the most read works of American literature, or that The Birth of a Nation is the most revered touchstone of all American film. Both emerged from a need for palliatives and painkillers, an escape from the truth of those five short years in which seven hundred fifty thousand American soldiers were killed, more than all American soldiers kill in all other American wars combined, in a war declared for the cause of expanding African slavery. That war was inaugurated, not reluctantly, but lustily by men who believe property in humans to be the cornerstone of civilization, to be an edict of god, and so delivered their own children to his maw. And when that war was done the now defeated god lived on honored through the human sacrifice of lynching and racist programs. The history breaks the myth. And so, the history is ignored and fictions are weaved in to our art and politics that dress villainy in martyrdom, and transform banditry into chivalry. And so strong are these fictions that their emblem, the stars and bars, darkens front porches and state capitol buildings across the land to this day.

As for the square at Meknes, where I used to go everyday, it's even simpler: I do not see it at all anymore. All that remains is the vague feeling that it was charming, and these five words are indivisibly bound together: a charming square at Meknes. Unboubtedly, if I close my eyes or stare vaguely at the ceiling I can re-create the scene: a tree in the distance, a short dingy figure run towards me. But I am inventing all this to make out a case. That Moroccan was big and weather-beaten, besides, I only saw him after he had touched me. So I *still* know he was big and weather-beaten: certain details, somewhat curtailed, live in my memory. But I don't *see* anything any more: I can search the past in vain, I can only find these scraps of images and I am not sure what they represent, whether they are memories or just fiction. There are many cases where even these scraps have disapeared: nothing is left but words: I could still tell stories, tell them too well [...] but these are only the skeletons. There's the story of a person who does this, does that, but it isn't I, I have nothing in common with him. He travels through countries I know no more about than if I had never been there. Sometimes, in my story, it happens that I pronounce these fine names you read in atlases, Aranjuez or Canterbury. New images are born in me, images such as people create from books who have never travelled. My words are dreams, that is all. For a hundred dead stories there still remain one or two living ones. I evoke these with caution, occasionally, not too often, for fear of wearing them out, I fish one out, again I see the scenery, the characters, the attitudes. I stop suddenly: there is a flaw, I have seen a word pierce through the web of sensations. I suppose that this word will soon take the place of several images I love. I must stop quickly and think of something else; I don't want to tire my memories. In vain; the next time I evoke them a good part will be congealed.

Duration is the continuous progress of the past which gnaws into the future and which swells as it advances. And as the past grows without ceasing, so also there is no limit to its preservation. Memory, as we have tried to prove, is not a faculty of putting away recollections in a drawer, or of inscribing them in a register. There is no register, no drawer; there is not even, properly speaking, a faculty, for a faculty works intermittently, when it will or when it can, whilst the piling up of the past upon the past goes on without relaxation. In reality, the past is preserved by itself, automatically. In its entirety, probably, it follows us at every instant; all that we have felt, thought and willed from our earliest infancy is there, leaning over the present which is about to join it, pressing against the portals of consciousness that would fain leave it outside. The cerebral mechanism is arranged just so as to drive back into the unconscious almost the whole of this past, and to admit beyond the threshold only that which can cast light on the present situation or further the action now being prepared—in short, only that which can give useful work. At the most, a few superfluous recollections may succeed in smuggling themselves through the half-open door. These memories, messengers from the unconscious, remind us of what we are dragging behind us unawares. But, even though we may have no distinct idea of it, we feel vaguely that our past remains present to us. What are we, in fact, what is ourcharacter, if not the condensation of the history that we have lived from our birth—nay, even before our birth, since we bring with us prenatal dispositions? Doubtless we think with only a small part of our past, but it is with our entire past, including the original bent of our soul, that we desire, will and act. Our past, then, as a whole, is made manifest to us in its impulse; it is felt in the form of tendency, although a small part of it only is known in the form of idea.

We can’t walk through the house like this--we’ll make a mess.” Ryder’s jeans are soaked through and caked with mud. I’m wearing shorts, but my bare legs are spattered all over. “We’re going to have to strip here,” I say, shaking my head. “Just leave it all in a pile. I’ll toss it in the wash after lunch.” He just stares at me, wide-eyed. “What? Now?” “Yeah, you go first,” I say, amused by the blush that’s creeping up his neck. “Geez, Ryder. It’s not like I haven’t seen you in your underpants before.” I have vague memories of Ryder running around Magnolia Landing’s lawn wearing nothing but superhero undies. And after all the years of shared beach houses and hotel suites, well…like I said, we were more like siblings when we were little. “If it’ll make you more comfortable, I’ll turn around,” I offer. “Nah, it’s fine.” He reaches for the hem of his T-shirt and pulls it over his head in one fluid motion. And then I remember why this was a bad idea. My mouth goes dry at the sight of his tanned, sculpted chest, his narrow waist, and jutting hip bones. Oh, man. What was I thinking? I swallow hard as he unbuttons his jeans and slides down the zipper. Boxers or briefs? That’s all I’m thinking as he peels down the wet denim--slowly, as if he’s enjoying this little striptease. He steps out of them gracefully and tosses them into a heap beside his shirt before straightening to his full height, facing me. Oh. My. God. I exhale sharply. The answer is boxer briefs, heather-gray ones. And right now they’re clinging to him wetly, leaving absolutely nothing to the imagination. He looks like a god. A six-foot-four, football-playing god, and I am staring at him with my mouth hanging open like some kind of pathetic freak. Snap out of it. “Sorry,” I say, averting my gaze. My cheeks are burning now. I probably look like a clown. That’s what happens when a fair-skinned redhead like me blushes. “If you…um…want to shower. I mean, you know--” “I’ll just go put on something dry for now. We really need to eat and then get that stuff out of the barn.” I just nod, biting my lower lip. I can’t even look at him. This is crazy. “Your turn to strip,” he says, and my gaze shoots up to meet his. He’s smiling now, his dimples in full effect. “Ugh, just go and change.” I cover my eyes with one hand and flap the other toward the hall. “I’ll meet you in the kitchen in five,” he says. “Great.” I let my hand drop only when I hear his footsteps move away. Then yeah, I’ll admit it--I allow myself a nice long look at his backside as he walks away from me. And let me tell you, it was well worth the look.

The panel delivery truck drew up before the front of the “Amsterdam Apartments” on 126th Street between Madison and Fifth Avenues. Words on its sides, barely discernible in the dim street light, read: LUNATIC LYNDON … I DELIVER AND INSTALL TELEVISION SETS ANY TIME OF DAY OR NIGHT ANY PLACE. Two uniformed delivery men alighted and stood on the sidewalk to examine an address book in the light of a torch. Dark faces were highlighted for a moment like masks on display and went out with the light. They looked up and down the street. No one was in sight. Houses were vague geometrical patterns of black against the lighter blackness of the sky. Crosstown streets were always dark. Above them, in the black squares of windows, crescent-shaped whites of eyes and quarter moons of yellow teeth bloomed like Halloween pumpkins. Suddenly voices bubbled in the night. “Lookin’ for somebody?” The driver looked up. “Amsterdam Apartments.” “These is they.” Without replying, the driver and his helper began unloading a wooden box. Stenciled on its side were the words: Acme Television “Satellite” A.406. “What that number?” someone asked. “Fo-o-six,” Sharp-eyes replied. “I’m gonna play it in the night house if I ain’t too late.” “What ya’ll got there, baby?” “Television set,” the driver replied shortly. “Who dat getting a television this time of night?” The delivery man didn’t reply. A man’s voice ventured, “Maybe it’s that bird liver on the third storey got all them mens.” A woman said scornfully, “Bird liver! If she bird liver I’se fish and eggs and I got a daughter old enough to has mens.” “… or not!” a male voice boomed. “What she got ’ill get television sets when you jealous old hags is fighting over mops and pails.” “Listen to the loverboy! When yo’ love come down last?” “Bet loverboy ain’t got none, bird liver or what.” “Ain’t gonna get none either. She don’t burn no coal.” “Not in dis life, next life maybe.” “You people make me sick,” a woman said from a group on the sidewalk that had just arrived. “We looking for the dead man and you talking ’bout tricks.” The two delivery men were silently struggling with the big television box but the new arrivals got in their way. “Will you ladies kindly move your asses and look for dead men sommers else,” the driver said. His voice sounded mean. “ ’Scuse me,” the lady said. “You ain’t got him, is you?” “Does I look like I’m carrying a dead man ’round in my pocket?” “Dead man! What dead man? What you folks playing?” a man called down interestedly. “Skin?” “Georgia skin? Where?” “Ain’t nobody playing no skin,” the lady said with disgust. “He’s one of us.” “Who?” “The dead man, that’s who.” “One of usses? Where he at?” “Where he at? He dead, that’s where he at.” “Let me get some green down on dead man’s row.” “Ain’t you the mother’s gonna play fo-o-six?” “Thass all you niggers thinks about,” the disgusted lady said. “Womens and hits!” “What else is they?” “Where yo’ pride? The white cops done killed one of usses and thass all you can think about.” “Killed ’im where?” “We don’t know where. Why you think we’s looking?” “You sho’ is a one-tracked woman. I help you look, just don’t call me nigger is all.

The most important psychological discovery of this century is the discovery of the “self-image.” Whether we realize it or not, each of us carries about with us a mental blueprint or picture of ourselves. It may be vague and ill-defined to our conscious gaze. In fact, it may not be consciously recognizable at all. But it is there, complete down to the last detail. This self-image is our own conception of the “sort of person I am.” It has been built up from our own beliefs about ourselves. But most of these beliefs about ourselves have unconsciously been formed from our past experiences, our successes and failures, our humiliations, our triumphs, and the way other people have reacted to us, especially in early childhood. From all these we mentally construct a “self” (or a picture of a self). Once an idea or a belief about ourselves goes into this picture, it becomes “true,” as far as we personally are concerned. We do not question its validity, but proceed to act upon it just as if it were true. This self-image becomes a golden key to living a better life because of two important discoveries: 1. All your actions, feelings, behaviors—even your abilities—are always consistent with this self-image. In short, you will “act like” the sort of person you

When Lao-tzu said that mui, doing nothing, was the secret of harmony with the Tao, he really meant it. But what he meant by it must be distinguished very carefully from two other courses which sound quite different from one another, though they are really the same. The first course, I will call the way of deliberate imitation. This is to suppose that we actually know what the sane and natural way of living is, to embody it in laws and principles, techniques and ideals, and then try by a deliberate effort of imitation to follow them. This leads to all the contradictions with which we are so familiar, the contradiction of man bawling himself out—as well as up—for not doing what he tells himself to do. The second, and seemingly opposed course, I will call the way of deliberate relaxation, the way of “to hell with it all.” This is to try not to control oneself, to attempt to relax one’s mind and let it think whatever it wants, to set out to accept one’s self as it is without making any effort to change it. This leads to a vast, sloppy, disorganized mess, or to a kind of compulsive stillness, or sometimes to an equally compulsive psychological diarrhea. Both of these courses are far short of the real mui, of profound and radical nondoing. What brings them to the same thing is that, in their different ways, the two courses had a result in mind. They consisted equally in something done, or not done, to get to a goal. The goal in question was some sort of image, some mental picture, some vague feeling, of an ideal, of a state of accord with the Tao, of harmony with the Way of Nature.

Together, my mate and the High Lord of Day unleashed themselves upon Hybern. Until they paused. Until a slim, short male walked out of the ranks toward them—one of Hybern’s commanders, no doubt. Rhys’s snarl shook the earth. But it was Helion, glowing with white light, who stepped forward to face the male, claws sinking deep into the mud. The commander didn’t so much as wear a sword. Only fine gray clothes and a vaguely amused expression on his face. Amethyst light swirled around him. Helion growled at Rhys—an order. And my mate nodded, gore dripping from his maw, before he lunged back into the fray. Leaving the commander and Helion Spell-Cleaver to go head-to-head. Spell to spell.

Humans exert a growing, but physically small, warming influence on the climate. The deficiencies of climate data challenge our ability to untangle the response to human influences from poorly understood natural changes. •​The results from the multitude of climate models disagree with, or even contradict, each other and many kinds of observations. A vague “expert judgment” was sometimes applied to adjust model results and obfuscate shortcomings. •​Government and UN press releases and summaries do not accurately reflect the reports themselves. There was a consensus at the meeting on some important issues, but not at all the strong consensus the media promulgates. Distinguished climate experts (including report authors themselves) are embarrassed by some media portrayals of the science. This was somewhat shocking. •​In short, the science is insufficient to make useful projections about how the climate will change over the coming decades, much less what effect our actions will have on it.

In the mid-aughts, there was even a short-lived movement called New Sincerity, where artists and writers thought that it would be a radical idea to feel. “To feel” entailed regressing to one’s own childhood, when there was no Internet and life was much purer and realer. Though they prized authenticity above all else, they stylized their work in a vaguely repellent faux-naïf aesthetic that dismissed politics for shoe-gazing self-interest.

History also shows that the oppressiveness of racism is exacerbated by its arbitrariness. No one has shown that differences between people living on opposite sides of national boundaries, which were usually the result of dynastic accident or the fortunes of war, are related to ‘deep psychology’ or genetics. Neither has anyone shown that tiny genetic differences of people with different skin colour have any effect on cultures. Moreover, the differences within nations are as great or greater than those between nations. Yet the very vagueness of their principles permits racists to adapt their ideas to whatever purpose they espouse.

He’s”—the first speaker waved his hands vaguely, trying to get across the point that someone was a hamper of food, several folding chairs, a tablecloth, an assortment of cooking gear and an entire colony of ants short of a picnic—“mental.

Most powerful men, and all critics, secretly hated poets because the poets' ability to deliver the muse's merchandise made them noble as gods. The dismal fools can't imagine what it's like to thank God at the end of an endless night for a short row of words that come vaguely close to what you had hoped to say the day before.

Poor old Jean Valjean, of course, loved Cosette only as a father; but, as we noted earlier, into this fatherly love his lonely single status in life had introduced every other kind of love; he loved Cosette as his daughter, and he loved her as his mother, and he loved her as his sister; and, as he had never had either a lover or a wife, as nature is a creditor that does not accept nonpayment, that particular feeling, too, the most indestructible of all, had thrown itself in with the rest, vague, ignorant, heavenly, angelic, divine; less a feeling than an instinct, less an instinct than an attraction, imperceptible and invisible but real; and love, truly called, lay in his enormous tenderness for Cosette the way a vein of gold lies in the mountain, dark and virginal. We should bear in mind that state of the heart that we have already mentioned. Marriage between them was out of the question, even that of souls; and yet it is certain that their destinies had joined together as one. Except for Cosette, that is, except for a child, Jean Valjean had never, in all his long life, known anything about love. Serial passions and love affairs had not laid those successive shades of green over him, fresh green on top of dark green, that you notice on foliage that has come through winter and on men that have passed their fifties. In short, and we have insisted on this more than once, this whole inner fusion, this whole set, the result of which was lofty virtue, had wound up making Jean Valjean a father for Cosette. A strange father, forged out of the grandfather, son, brother, and husband that were all in Jean Valjean; a father in whom there was even a mother; a father who loved Cosette and worshipped her, and for whom that child was light, was home, was his homeland, was paradise.

generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marvelled at a vague and mysterious emotion it roused in him. It left him strangely cold; this gorgeous picture was for him blank and lifeless. He wondered every time at his sombre and enigmatic impression and, mistrusting himself, put off finding the explanation of it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that had interested him... so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all.... He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of the piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; then he turned and went home. It seemed to him, he had cut himself off from everyone and from everything at that moment.

There is a perhaps understandable reluctance to come to grips scientifically with the problem of race differences in intelligence—to come to grips with it, that is to say, in the same way the scientists would approach the investigation of any other phenomenon. This reluctance is manifested in a variety of ‘symptoms’ found in most writings and discussions of the psychology of race differences. These symptoms include a tendency to remain on the remotest fringes of the subject, to sidestep central questions, and to blur the issues and tolerate a degree of vagueness in definitions, concepts and inferences that would be unseemly in any other realm of scientific discourse. Many writers express an unwarranted degree of skepticism about reasonably well-established quantitative methods and measurements. They deny or belittle facts already generally accepted—accepted, that is, when brought to bear on inferences outside the realm of race differences—and they demand practically impossible criteria of certainty before even seriously proposing or investigating genetic hypotheses, as contrasted with with extremely uncritical attitudes towards purely environmental hypotheses. There is often a failure to distinguish clearly between scientifically answerable aspects of the question and the moral, political and social policy issues; there is tendency to beat dead horses and set up straw men on what is represented, or misrepresented I should say, as the genetic side of the argument. We see appeals to the notion that the topic is either too unimportant to be worthy of scientific curiosity, or is too complex, or too difficult, or that it will be forever impossible for any kind of research to be feasible, or that answers to key questions are fundamentally ‘unknowable’ in any scientifically accepted sense. Finally, we often see complete denial of intelligence and race as realities, or as quantifiable attributes, or as variables capable of being related to one another. In short, there is an altogether ostrich-like dismissal of the subject.

And it has these qualities: • It is reasonably short and parsimonious. • It is specific. • It states what the company does and why it matters in a way that anyone can summarize without having to quote it literally. • It avoids jargon, such as “best of breed,” “best in class,” or vague words such as superior, expert, and empowered. • It is affirming, but not grandiose or self-important. • People easily recognize that it’s you.

D’murr no longer needed to concern himself with the mundane affairs of humans, so trivial were they, so limited and short-sighted: political machinations, populations milling about like ants in a disturbed hill, lives flickering bright and dull like sparks from a campfire. His former life was only a vague and fading memory, without specific names or faces. He saw images, but ignored them. He could never go back to what he had been.