Work Gaps Quotes

Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.

Ladies and gentlemen of the class of '97: Wear sunscreen. If I could offer you only one tip for the future, sunscreen would be it. The long-term benefits of sunscreen have been proved by scientists, whereas the rest of my advice has no basis more reliable than my own meandering experience. I will dispense this advice now. Enjoy the power and beauty of your youth. Oh, never mind. You will not understand the power and beauty of your youth until they've faded. But trust me, in 20 years, you'll look back at photos of yourself and recall in a way you can't grasp now how much possibility lay before you and how fabulous you really looked. You are not as fat as you imagine. Don't worry about the future. Or worry, but know that worrying is as effective as trying to solve an algebra equation by chewing bubble gum. The real troubles in your life are apt to be things that never crossed your worried mind, the kind that blindside you at 4 pm on some idle Tuesday. Do one thing everyday that scares you. Sing. Don't be reckless with other people's hearts. Don't put up with people who are reckless with yours. Floss. Don't waste your time on jealousy. Sometimes you're ahead, sometimes you're behind. The race is long and, in the end, it's only with yourself. Remember compliments you receive. Forget the insults. If you succeed in doing this, tell me how. Keep your old love letters. Throw away your old bank statements. Stretch. Don't feel guilty if you don't know what you want to do with your life. The most interesting people I know didn't know at 22 what they wanted to do with their lives. Some of the most interesting 40-year-olds I know still don't. Get plenty of calcium. Be kind to your knees. You'll miss them when they're gone. Maybe you'll marry, maybe you won't. Maybe you'll have children, maybe you won't. Maybe you'll divorce at 40, maybe you'll dance the funky chicken on your 75th wedding anniversary. Whatever you do, don't congratulate yourself too much, or berate yourself either. Your choices are half chance. So are everybody else's. Enjoy your body. Use it every way you can. Don't be afraid of it or of what other people think of it. It's the greatest instrument you'll ever own. Dance, even if you have nowhere to do it but your living room. Read the directions, even if you don't follow them. Do not read beauty magazines. They will only make you feel ugly. Get to know your parents. You never know when they'll be gone for good. Be nice to your siblings. They're your best link to your past and the people most likely to stick with you in the future. Understand that friends come and go, but with a precious few you should hold on. Work hard to bridge the gaps in geography and lifestyle, because the older you get, the more you need the people who knew you when you were young. Live in New York City once, but leave before it makes you hard. Live in Northern California once, but leave before it makes you soft. Travel. Accept certain inalienable truths: Prices will rise. Politicians will philander. You, too, will get old. And when you do, you'll fantasize that when you were young, prices were reasonable, politicians were noble, and children respected their elders. Respect your elders. Don't expect anyone else to support you. Maybe you have a trust fund. Maybe you'll have a wealthy spouse. But you never know when either one might run out. Don't mess too much with your hair or by the time you're 40 it will look 85. Be careful whose advice you buy, but be patient with those who supply it. Advice is a form of nostalgia. Dispensing it is a way of fishing the past from the disposal, wiping it off, painting over the ugly parts and recycling it for more than it's worth. But trust me on the sunscreen.

Hope is the gap between what if and what is, but you have to fill that gap with a lot of hard work. And that’s what we’re going to talk about this week. Hope. Dreams. Work.

Why do some people stop growing at age 30, just going from work to the couch and television, when others stay vibrant, curious, almost childlike into their nineties?

Enjoy the power and beauty of your youth; oh nevermind; you will not understand the power and beauty of your youth until they have faded. But trust me, in 20 years you’ll look back at photos of yourself and recall in a way you can’t grasp now how much possibility lay before you and how fabulous you really looked….You’re not as fat as you imagine. Don’t worry about the future; or worry, but know that worrying is as effective as trying to solve an algebra equation by chewing bubblegum. The real troubles in your life are apt to be things that never crossed your worried mind; the kind that blindside you at 4pm on some idle Tuesday. Do one thing everyday that scares you Sing Don’t be reckless with other people’s hearts, don’t put up with people who are reckless with yours. Floss Don’t waste your time on jealousy; sometimes you’re ahead, sometimes you’re behind…the race is long, and in the end, it’s only with yourself. Remember the compliments you receive, forget the insults; if you succeed in doing this, tell me how. Keep your old love letters, throw away your old bank statements. Stretch Don’t feel guilty if you don’t know what you want to do with your life…the most interesting people I know didn’t know at 22 what they wanted to do with their lives, some of the most interesting 40 year olds I know still don’t. Get plenty of calcium. Be kind to your knees, you’ll miss them when they’re gone. Maybe you’ll marry, maybe you won’t, maybe you’ll have children,maybe you won’t, maybe you’ll divorce at 40, maybe you’ll dance the funky chicken on your 75th wedding anniversary…what ever you do, don’t congratulate yourself too much or berate yourself either – your choices are half chance, so are everybody else’s. Enjoy your body, use it every way you can…don’t be afraid of it, or what other people think of it, it’s the greatest instrument you’ll ever own.. Dance…even if you have nowhere to do it but in your own living room. Read the directions, even if you don’t follow them. Do NOT read beauty magazines, they will only make you feel ugly. Get to know your parents, you never know when they’ll be gone for good. Be nice to your siblings; they are the best link to your past and the people most likely to stick with you in the future. Understand that friends come and go,but for the precious few you should hold on. Work hard to bridge the gaps in geography and lifestyle because the older you get, the more you need the people you knew when you were young.

And when the work of grieving is done, The wound of loss will heal And you will have learned To wean your eyes From that gap in the air And be able to enter the hearth In your soul where your loved one Has awaited your return All the time.

...no one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfilment.

My left brain is doing the best job it can with the information it has to work with. I need to remember, however, that there are enormous gaps between what I know and what I think I know.

Lucius smiled. "I'll tell my tailor his work is 'rockin' and 'supercool.' I'm sure he'll be gratified to learn that he can compete with the Gap.

People call me a philosopher or a scientist or an anthropologist. I am none of those things. I am an anamnesiologist. I study what has been forgotten. I divine what has disappeared utterly. I work with absences, with silences, with curious gaps between things. I am really more of a magician than anything else.’ Laurence Arne-Sayles, interview in The Secret Garden, May 1976

The real gap is between doing nothing and doing something.

If he was aware of anything beyond the fight, it was of an absence, a lack that persisted. The flashes of brilliance, the insouciant sword work, the bright presence at his side was instead a gap, half filled by Nikandros’s steadier, more practical style.

I want the peace in knowing that is wasn’t for lack of hustling that I missed a target for my dream. I want to know that the one thing in my control was under control.

You know what happens when someone dies?' Delia said suddenly, startling me a bit. I kept putting together my sandwich, though, not answering: I knew there was more. 'It's like, everything and everyone refracts, each person having a different reaction'...'When Wish died, it just knocked the wind out of me. Truly. It's like that stupid thing bert and Wes do, the leaping out thing, trying to scare each other: it was the biggest gotcha in the world.' She looked down at the sandwiches. 'I'd just assumed she'd be okay. It had never occurd to me she might actually just be... gone. You know?'...'And then she was,' Delia said, her hand on the bread bag. 'Gone. Gotcha. And suddenly I had these two boys to take care of, plus a newborn of my own. It was just this huge loss, this huge gap, you know'...'Some people... they can just move on, you know, mourn and cry and be done with it. Or at least seem to be. But for me... I don't know. I didn't want to fix it, to forget. It wasn't something that was broken. It's just ... something that happened. And like that hole, I'm just finding ways, every day, of working around it. Respecting and remebering and getting on at the same time.' I envied Delia. At least she knew what she was up against. Maybe that's what you got when you stood over your grief, facing it finally. A sense of its depths, its area, the distance across, and the way over or around it, whichever you chose in the end.

...strength is not the absence of vulnerability. Strength is knowing what your weaknesses are and working with them.

Homework, classes, running around, and then—bam—nothing but a life of work stretching out before you. No one prepares you for that feeling or even mentions it. You just suddenly have a gap and have to decide how to fill it.

Work on closing the gap between who the world thinks you are and who you know you are. Your mental health will change significantly.

There are an endless number of people who have left a love-shaped hole in the heart of someone else. Eventually someone brave and stupid will come along and try to fill that hole. But it never works, and so instead, that selfless soul winds up with a gap in his heart, too. And so on. It's a miracle that anyone survives, when so much of us is missing.

A certain amount of reverie is good, like a narcotic in discreet doses. It soothes the fever, occasionally high, of the brain at work, and produces in the mind a soft, fresh vapor that corrects the all too angular contours of pure thought, fills up the gaps and intervals here and there, binds them together, and dulls the sharp corners of ideas. But too much reverie submerges and drowns. Thought is the labor of the intellect, reverie it's pleasure. To replace thought with reverie is to confound poison with nourishment.

The gender pay gap in Korea is the highest among the OECD countries. According to 2014 data, women working in Korea earn only 63 percent of what men earn; the OECD average percentage is 84.13 Korea was also ranked as the worst country in which to be a working woman, receiving the lowest scores among the nations surveyed on the glass-ceiling index by the British magazine The Economist.14 8 “Repeated Protests against Tuition Increase,” Yonhap News, April 6, 2011.

A 2011 McKinsey report noted that men are promoted based on potential, while women are promoted based on past accomplishments.

The rule that surpasses all rules is that you must be connected, willing to see what's in front of you, and willing to move if what you're doing isn't working.

Women are one-half of the world’s people; they do two-thirds of the world’s work; they earn one-tenth of the world’s income; they own one one-hundredth of the world’s property.

The world is full of people who are trying to purchase self-confidence, or manufacture it, or who simply posture it. But you can’t fake confidence, you have to earn it. If you ask me, the only way to do that is work. You have to do the work.

Hope is the gap between what if and what is, but you have to fill that gap with a lot of hard work.

No, what's troubling is the gap between the magnitude of our challenges and the smallness of our politics--the ease with which we are distracted by the petty and trivial, our chronic avoidance of tough decisions, our seeming inability to build a working concensus to tackle any big problem.

All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer.

First, make sure you get into a relationship for the right reasons. (I’m using the word “right” here as a relative term. I mean “right” relative to the larger purpose you hold in your life.) As I have indicated before, most people still enter relationships for the “wrong” reasons—to end loneliness, fill a gap, bring themselves love, or someone to love—and those are some of the better reasons. Others do so to salve their ego, end their depressions, improve their sex life, recover from a previous relationship, or, believe it or not, to relieve boredom. None of these reasons will work, and unless something dramatic changes along the way, neither will the relationship.

Since at least the Great Depression, we’ve been hearing warnings that automation was or was about to be throwing millions out of work—Keynes at the time coined the term “technological unemployment,” and many assumed the mass unemployment of the 1930s was just a sign of things to come—and while this might make it seem such claims have always been somewhat alarmist, what this book suggests is that the opposite was the case. They were entirely accurate. Automation did, in fact, lead to mass unemployment. We have simply stopped the gap by adding dummy jobs that are effectively made up. A combination of political pressure from both right and left, a deeply held popular feeling that paid employment alone can make one a full moral person, and finally, a fear on the part of the upper classes, already noted by George Orwell in 1933, of what the laboring masses might get up to if they had too much leisure on their hands, has ensured that whatever the underlying reality, when it comes to official unemployment figures in wealthy countries, the needle should never jump too far from the range of 3 to 8 percent. But if one eliminates bullshit jobs from the picture, and the real jobs that only exist to support them, one could say that the catastrophe predicted in the 1930s really did happen. Upward of 50 percent to 60 percent of the population has, in fact, been thrown out of work.

Dread was always with her, an alarm system in her head, alert to her next disaster. Despite being resigned to a life of misfortune, she became resourceful. She grudgingly noticed that things always worked out, even when she claimed defeat. An inconvenient truth, yet it was right there, in her face, betraying her self-punishments and assumptions. She kept overcoming things, dammit, aggravating herself. She still felt so much joy, despite her efforts to be miserable. Her life was full of miracles and spectacles that she was afraid to rely on so she didn’t know how to enjoy, how to be thankful, without guilt. She didn’t want to win and she didn’t want to lose. Ambiguity intrigued her and she found passion in the gaps between hope and despair.

When you break up with someone, and I’m not talking casual breakups here, it’s hard to take the sudden absence of such an important person in your life. It reminded me of when I’d stopped going to school and the weird uneasy feeling I’d gotten afterward, like I was forgetting to do something. My life until that point had pivoted around some form of education, and all of a sudden, it was gone. Homework, classes, running around, and then – bam – nothing but a life of work stretching out before you. No one prepares you for that feeling or even mentions it. You just suddenly have a gap and have to decide how to fill it. A break up is like that gap, only much, much more painful. One day the person you talked to constantly or did stuff with is just absent. Gone. Poof. And even though I’m not one of those people who has to be in a relationship all the time, I was feeling at a loss.

Unquestionably, however, something else is at work, something that cuts deeper into the American psyche. We have a profound hatred of the weak and the poor, and a corresponding groveling terror before the rich and successful, and we’re building a bureaucracy to match those feelings.

She’s not alone. She has me.” “You work all the time. Besides, you’re not talkative enough for her taste.” “I can be talkative.” “No offense, sir, but no, you can’t. Let Yan fill that gap. She needs a friend and you’re well aware of it.

For businesses, it is vital to embed ethical checkpoints in workflows, allowing models to be stopped if unacceptable risks emerge. The apparent ease of building capable LLMs with existing foundations can mask serious robustness gaps. However unrealistic the scenario may seem under pressure, responsible LLM work requires pragmatic commitments to stop if red lines are crossed during risk assessment.

Third places are those needed spaces, neither home nor work, where we are known by our names and valued for being whatever we decide to be -- the clown, the intellectual, the quiet person. Being part of a family is a wonderful thing, and I'm all for team-building at work, but having a place where you don't have to be anything to anyone makes a pleasant breather.

The most fulfilling human projects appeared inseparable from a degree of torment, the sources of our greatest joys lying awkwardly close to those of our greatest pains… Why? Because no one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfillment. Nietzsche was striving to correct the belief that fulfillment must come easily or not at all, a belief ruinous in its effects, for it leads us to withdraw prematurely from challenges that might have been overcome if only we had been prepared for the savagery legitimately demanded by almost everything valuable.

But here's the first clue: the male-female pay gap is not a gap between men and women; it is a gap between moms and dads. Or more precisely, between men and women's work-life decisions when they become moms and dads.

The great nonprosecutions of Wall Street in the years since 2008, I would learn, were just symbols of this dystopian sorting process to which we’d already begun committing ourselves. The cleaving of the country into two completely different states—one a small archipelago of hyperacquisitive untouchables, the other a vast ghetto of expendables with only theoretical rights—has been in the works a long time. The Divide is a terrible story, and a crazy one. And it goes back a long, long way.

They caught up with each other's news casually, leaving long, cosy gaps of silence in which to go to work on their muffins and coffees. Jerome - after two months of having to be witty and brilliant in a strange town among strangers - appreciated the gift of it. People talk about the happy quiet that can exist between two lovers, but this too was great; sitting between his sister and his brother, saying nothing, eating. ~ on the comforts of home.

When the gap between the world of the city and the world my grandfather had presented to me as right and good became too wide and depressing to tolerate, I'd turn to my other great love, which was pulp adventure fiction. Despite the fact that [he] would have had nothing but scorn and loathing for all of those violent and garish magazines, there was a sort of prevailing morality in them that I'm sure he would have responded to. The world of Doc Savage and The Shadow was one of absolute values, where what was good was never in the slightest doubt and where what was evil inevitably suffered some fitting punishment. The notion of good and justice espoused by Lamont Cranston with his slouch hat and blazing automatics seemed a long way from that of the fierce and taciturn old man I remembered sitting up alone into the Montana night with no company save his bible, but I can't help feeling that if the two had ever met they'd have found something to talk about. For my part, all those brilliant and resourceful sleuths and heroes offered a glimpse of a perfect world where morality worked the way it was meant to. Nobody in Doc Savage's world ever killed themselves except thwarted kamikaze assassins or enemy spies with cyanide capsules. Which world would you rather live in, if you had the choice?

He asked what I made of the other students, so I told him. They were OK, but they were all very similar; they struggled to have different opinions because they’d never failed at anything or been nobodies, and they thought they would always win. But this isn’t most people’s experience of life. He asked me what could be done about it. I told him the answer was to send them all out for a year to do some dead-end job like working in a chicken-processing plant or spreading muck with a tractor. It would do more good than a gap year in Peru. He laughed and thought this tremendously witty. It wasn’t meant to be funny.

Somehow I feel that an ordinary person–the man in the street if you like–is a more challenging subject for exploration than people in the heroic mold. It is the half shades, the hardly audible notes that I want to capture and explore. […] My films are about human beings, human relationships, and social problems. I think it is possible for everyone to relate to these issues. On a certain level, foreign audiences can appreciate Indian works, but many details are missed. For example, when they see a woman with a red spot on her forehead, they don’t know that this is a sign showing that she is married, or that a woman dressed in a white sari is a widow. Indian audiences understand this at once; it is self-evident for them. So, on certain level, the cultural gap is too wide. But on a psychological level, on the level of social relations, it is possible to relate. I think I have been able to cross the barrier between cultures. My films are made for an Indian audience, but I think they have bridged the gap.

It's simple,' Kat told them. 'You bombard them with images of what they ought to be, and you make them feel grotty for being the way they are. You're working with the gap between reality and perception. That's why you have to hit them with something new, something they've never seen before, something they aren't. Nothing sells like anxiety.

Nothing is more dangerous than to stop working. It is a habit that can soon be lost, one that is easily neglected and hard to resume. A measure of day-dreaming is a good thing, like a drug prudently used; it allays the sometimes virulent fever of the over-active mind, like a cool wind blowing through the brain to smooth the harshness of untrammelled thought; it bridges here and there the gaps, brings things into proportion and blunts the sharper angles. But too much submerges and drowns. Woe to the intellectual worker who allows himself to lapse wholly from positive thinking into day-dreaming. He thinks he can easily change back, and tells himself that it is all one. He is wrong! Thought is the work of the intellect, reverie is its self-indulgence. To substitute day-dreaming for thought is to confuse poison with a source of nourishment.

The problem with the 'masculinity crisis' is not that women have excelled too much and therefore created a crisis for men, but that we have such a stein inability to let go of what it has traditionally meant to be a man...As long as we perpetuate the myth that men have inherent qualities that make them more suitable than women for certain types of work, the shifting nature of the economy (and women's attainment of better jobs) is going to continue to be interpreted as a crisis of masculinity.

All are architects of Fate, Working in these walls of Time; Some with massive deeds and great, Some with ornaments of rhyme. Nothing useless is, or low; Each thing in its place is best; And what seems but idle show Strengthens and supports the rest. For the structure that we raise, Time is with materials filled; Our todays and yesterdays Are the blocks with which we build. Truly shape and fashion these; Leave no yawning gaps between; Think not, because no man sees, Such things will remain unseen. In the elder days of Art, Builders wrought with greatest care Each minute and unseen part; For the gods see everywhere. Let us do our work as well, Both the unseen and the seen; Make the house where gods may dwell Beautiful, entire, and clean. Else our lives are incomplete, Standing in these walls of Time, Broken stairways, where the feet Stumble, as they seek to climb. Build today, then, strong and sure, With a firm and ample base; And ascending and secure Shall tomorrow find its place. Thus alone can we attain To those turrets, where the eye Sees the world as one vast plain, And one boundless reach of sky.

If you go door to door in our nation and talk to citizens about domestic violence, almost everyone will insist that they do not support male violence against women, that they believe it to be morally and ethically wrong. However, if you then explain that we cannot end male violence against women by challenging patriarchy, and that means no longer accepting the notion that men should have more rights and privileges than women because of biological difference or that men should have the power to rule over women, that is when the agreement stops. There is a gap between the values they claim to hold and their willingness to do the work of connecting thought and action, theory and practice to realize these values and thus create a more just society.

The Exodus from Egypt, the home of sacred monarchy, reinforces this idea [desacralization of creation]: it is the 'desacralization' of social praxis. . . . In Egypt, work is alienated and, far from building a just society, contributes rather to increasing injustice and to widening the gap between exploiters and exploited.

And so, because business leadership is still so dominated by men, modern workplaces are riddled with these kind of gaps, from doors that are too heavy for the average woman to open with ease, to glass stairs and lobby floors that mean anyone below can see up your skirt, to paving that’s exactly the right size to catch your heels. Small, niggling issues that aren’t the end of the world, granted, but that nevertheless irritate. Then there’s the standard office temperature. The formula to determine standard office temperature was developed in the 1960s around the metabolic resting rate of the average forty-year-old, 70 kg man.1 But a recent study found that ‘the metabolic rate of young adult females performing light office work is significantly lower’ than the standard values for men doing the same type of activity. In fact, the formula may overestimate female metabolic rate by as much as 35%, meaning that current offices are on average five degrees too cold for women. Which leads to the odd sight of female office workers wrapped up in blankets in the New York summer while their male colleagues wander around in summer clothes.

The gap that separates ancient cosmology from materialistic science is enormous. On one hand, we may interpret reality exclusively with mechanical causality, where everything is devoid of meaning and higher purpose. On the other hand, we may interpret reality exclusively through a cosmic language, where facts and events are the hosts of spiritual meaning. Neither of these worldviews is complete without the other. A purely material perspective knows how the universe works but perceives no higher reason for its existence, while a purely spiritual perspective knows the meaning of the universe without understanding how it technically works. Ideally, we should be able to adopt both perspectives without having to sacrifice one or the other.

The most damaging example of the systems archetype called “drift to low performance” is the process by which modern industrial culture has eroded the goal of morality. The workings of the trap have been classic, and awful to behold. Examples of bad human behavior are held up, magnified by the media, affirmed by the culture, as typical. This is just what you would expect. After all, we’re only human. The far more numerous examples of human goodness are barely noticed. They are “not news.” They are exceptions. Must have been a saint. Can’t expect everyone to behave like that. And so expectations are lowered. The gap between desired behavior and actual behavior narrows. Fewer actions are taken to affirm and instill ideals. The public discourse is full of cynicism. Public leaders are visibly, unrepentantly amoral or immoral and are not held to account. Idealism is ridiculed. Statements of moral belief are suspect. It is much easier to talk about hate in public than to talk about love.

Studying anthropology tends t change the way you look at the world. It leaves a distinctive chip in your brain, or lens over your eye. Your mind-set becomes instinctive: wherever you go to work, you start asking questions about how different elements of society interact, looks at the gap between rhetoric and reality, noting the concealed functions of rituals and symbols, and hunting out social silences. Anyone who has been immersed in anthropology is doomed to be an insider-outside for the rest of their life; they can never take anything entirely at face value, but are compelled to constantly ask: why?

This is a common theme in human progress. We make things beyond what we understand, and we always have done. Steam engines worked before we had a theory of thermodynamics; vaccines were developed before we knew how the immune system works; aircraft continue to fly to this day, despite the many gaps in our understanding of aerodynamics. When theory lags behind application, there will always be mathematical surprises lying in wait. The important thing is that we learn from these inevitable mistakes and don’t repeat them.

According to a 1995 study, a sample of Japanese eighth graders spent 44 percent of their class time inventing, thinking, and actively struggling with underlying concepts. The study's sample of American students, on the other hand, spent less than 1 percent of their time in that state. “The Japanese want their kids to struggle,” said Jim Stigler, the UCLA professor who oversaw the study and who cowrote The Teaching Gap with James Hiebert. “Sometimes the [Japanese] teacher will purposely give the wrong answer so the kids can grapple with the theory. American teachers, though, worked like waiters. Whenever there was a struggle, they wanted to move past it, make sure the class kept gliding along. But you don't learn by gliding.

I’ve watched it time and time again—a woman always slots into a man’s life better than he slots into hers. She will be the one who spends the most time at his flat, she will be the one who makes friends with all his friends and their girlfriends. She will be the one who sends his mother a bunch of flowers on her birthday. Women don’t like this rigmarole any more than men do, but they’re better at it—they just get on with it. This means that when a woman my age falls in love with a man, the list of priorities goes from this: Family Friends To this: Family Boyfriend Boyfriend’s family Boyfriend’s friends Girlfriends of the boyfriend’s friends Friends Which means, on average, you go from seeing your friend every weekend to once every six weekends. She becomes a baton and you’re the one at the very end of the track. You get your go for, say, your birthday or a brunch, then you have to pass her back round to the boyfriend to start the long, boring rotation again. These gaps in each other’s lives slowly but surely form a gap in the middle of your friendship. The love is still there, but the familiarity is not. Before you know it, you’re not living life together anymore. You’re living life separately with respective boyfriends then meeting up for dinner every six weekends to tell each other what living is like. I now understand why our mums cleaned the house before their best friend came round and asked them “What’s the news, then?” in a jolly, stilted way. I get how that happens. So don’t tell me when you move in with your boyfriend that nothing will change. There will be no road trip. The cycle works when it comes to holidays as well—I’ll get my buddy back for every sixth summer, unless she has a baby in which case I’ll get my road trip in eighteen years’ time. It never stops happening. Everything will change.

A HOW-TO ON DISAPPEARING No one understands the way we break. Not jagged. Not knife sliding between ribs. Not the spine, cracking. That would be too easy. That would be being able to know that you're broken. That would be X-rays showing the gaps, the fissures. Clean breaks are easier to heal. We do not break cleanly. We break without breaking. Not a crack, but a fog. We dissipate. Body here one moment and not here the next. Hands working one moment and a dead weight the next. We watch ourselves turn colourless. Watch ourselves become invisible / invincible. This way, at least the pain is our own. That's what I wanted all along, I guess.

I decided I would put off the novel until I had gone to Europe and had a lover, and that I would never learn a word of shorthand. If I never learned shorthand I would never have to use it. I thought I would spend the summer reading "Finnegan's Wake" and writing my thesis. Then I would be way ahead when college started at the end of September, and able to enjoy my last year instead of swotting away with no make up and stringy hair, on a diet of Benzedrine, the way most of the seniors taking honors did, until they finished their thesis. Then I thought I might put off college for a year and apprentice myself to a pottery maker. Or work my way to Germany and be a waitress, until I was bilingual. Then plan after plan started leaping through my head, like a family of scatty rabbits. I saw the years of my life spaced along a road in the form of telephone poles, threaded together by the wires. I counted one, two, three.... nineteen telephone poles dangled in space, and try as I would, I couldn't see a single pole beyond the nineteenth.

Sometimes it feels like moms are supposed to be invisible in society. Seen but not heard. We're supposed to quietly and quickly go about our task of raising perfectly mannered, groomed Gap babies who speak four languages before they're six without distracting the rest of the world from their important work.

And afterwards, you recall little, except the blows that so nearly killed you. You work and push and stab to make an opening in their shield wall. And then you grunt and lunge and slash to widen the gap. And only then does the madness take over. As the enemy breaks and you can begin to kill like a god. Because the enemy is scared and running or scared and frozen. And all they can do is die while you harvest souls.

It was Plato who bridged the gap between poetry and philosophy; for, in his work, appearance, despised by his Eleatic and Sophist predecessors, became a reflected image of perfection. He set poets the task of writing philosophically, not only in the sense of giving instruction, but in the sense of striving, by the imitation of appearance, to arrive at its true essence and to show its insufficiency measured by the beauty of the Idea.

In those days before the Great War when the events narrated in this book took place, it had not yet become a matter of indifference whether a man lived or died. When one of the living had been extinguished another did not at once take his place in order to obliterate him: there was a gap where he had been, and both close and distant witnesses of his demise fell silent whenever they became aware of his gap. When fire had eaten away a house from the row of others in a street, the burnt-out space remained long empty. Masons worked slowly and cautiously. Close neighbors and casual passers-by alike, when they saw the empty space, remembered the aspect and walls of the vanished house. That was how things were then. Everything that grew took its time in growing and everything that was destroyed took a long time to be forgotten. And everything that had once existed left its traces so that in those days people lived on memories, just as now they live by the capacity to forget quickly and completely.

Understand that friends come and go, but for the precious few you should hold on. Work hard to bridge the gaps in geography and lifestyle because the older you get, the more you need the people you knew when you were young. Live in New York City once, but leave before it makes you hard; live in Northern California once, but leave before it makes you soft. Travel. Accept certain inalienable truths, prices will rise, politicians will philander, you too will get old, and when you do you’ll fantasize that when you were young prices were reasonable, politicians were noble and children respected their elders. Respect your elders. Don’t expect anyone else to support you.

Great actions have shaped our society.’ Sindermann said. The greatest of these, physically, has been the Emperor's formal and complete unification of Terra, the outward sequel to which, this Great Crusade, we are now engaged upon. But the greatest, intellectually, has been our casting off of that heavy mantle called religion. Religion damned our species for thousands of years, from the lowest superstition to the highest conclaves of spiritual faith. It drove us to madness, to war, to murder, it hung upon us like a disease, like a shackle ball. I'll tell you what religion was... No, you tell me. You, there?' 'Ignorance, sir.’ Thank you, Khanna. Ignorance. Since the earliest times, our species has striven to understand the workings of the cosmos, and where that understanding has failed, or fallen short, we have filled in the gaps, plastered over the discrepancies, with blind faith. Why does the sun go round the sky? I don't know, so I will attribute it to the efforts of a sun god with a golden chariot. Why do people die? I can't say, but I will choose to believe it is the murky business of a reaper who carries souls to some afterworld.

Is that how we lived, then? But we lived as usual. Everyone does, most of the time. Whatever is going on is as usual. Even this is as usual, now. We lived, as usual, by ignoring. Ignoring isn't the same as ignorance, you have to work at it. Nothing changes instantaneously: in a gradually heating bathtub you'd be boiled to death before you knew it. There were stories in the newspapers, of course, corpses in ditches or the woods, bludgeoned to death or mutilated, interfered with, as they used to say, but they were about other women, and the men who did such things were other men. None of them were the men we knew. The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives. We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.

[…] there exists around the written world opened by the work a multitude of other possible worlds, which we can complete by means of our images and our words. Denying oneself this work of completion in the name of some hypothetical fidelity to the work is bound to fail: we can indeed reject filling these gaps in a conscious way, but we cannot prevent our unconscious from finishing the work, according to its priorities and those of the era in which it was written.

I get what he means, because I think I've played pretend my whole life. I don't know when, but a really long time ago, I decided who I wanted to be. And I've been acting like her -- whoever she is -- since. But I think the act is fading, and I don't know if I like the person I am beneath it all. I wish there were some kind of magic words that could bridge the gap between the person I am and the one I wish I could be. Because the whole fake it till you make it thing? It's not working for me.

The search for happiness is not about looking at life through rose-colored glasses or blinding oneself to the pain and imperfections of the world. Nor is happiness a state of exaltation to be perpetuated at all costs; it is the purging of mental toxins, such as hatred and obsession, that literally poison the mind. It is also about learning how to put things in perspective and reduce the gap between appearances and reality. To that end we must acquire a better knowledge of how the mind works and a more accurate insight into the nature of things, for in its deepest sense, suffering is intimately linked to a misapprehension of the nature of reality.

Once the primary bonds which gave security to the individual are severed, once the individual faces the world outside of himself as a completely separate entity, two courses re-open to him since he has to overcome the unbearable state of powerlessness and aloneness. By one course he can progress to “positive freedom”; he can relate himself spontaneously to the world in love and work, in the genuine expression of his emotional, sensuous and intellectual capacities; he can thus become one again with man, nature, and himself, without giving up the independence and integrity of his individual self. The other course open to him is to fall back, to give up his freedom, and to try to overcome his aloneness by eliminating the gap that has arisen between his individual self and the world. This second course never reunites him with the world in the way he was related to it before he merged as an “individual,” for the fact of his separateness cannot be reversed; it is an escape from an unbearable situation which would make life impossible if it were prolonged. This course of escape, therefore, is characterized by its compulsive character, like every escape from threatening panic; it is also characterized by the more or less complete surrender of individuality and the integrity of the self. Thus it is not a solution which leads to happiness and positive freedom; it is, in principle, a solution which is to be found in all neurotic phenomena. It assuages an unbearable anxiety and makes life possible by avoiding panic; yet it does not solve the underlying problem and is paid for by a kind of life that often consists only of automatic or compulsive activities.

The world is so big, so complicated, so replete with marvels and surprises that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research “childhood.” There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, failure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bitter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researcher’s heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ache first arises “adolescence.” The feeling haunts people all their lives. Everyone, sooner or later, gets a thorough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouin tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again. Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged bits—the bittersweet harvest of observation and experience—is to build a little world of our own. A scale model of that mysterious original, unbroken, half—remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and inaccurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models “works of art.

We have all spent many years building up a conditioned view of life. There is “me” and there is this “thing” out there that is either hurting me or pleasing me. We tend to run our whole life trying to avoid all that hurts or displeases us, noticing the objects, people, or situations that we think will give us pain or pleasure, avoiding one and pursuing the other. Without exception, we all do this. We remain separate from our life, looking at it, analyzing it, judging it, seeking to answer the questions, “What am I going to get out of it? Is it going to give me pleasure or comfort or should I run away from it?” We do this from morning until night. We have to see through the mirage that there is an “I” separate from “that.” Our practice is to close the gap. Only in that instant when we and the object become one can we see what our life is.

Ah, but it is an interesting thing, that these things can so seldom be proved. If I were to perform some piece of, hrmf, magic for you, here in this room, you would claim a thousand ways it could have been done. Indeed, those ways might be exceedingly unlikely, but you would cling to them rather than accept the, mmn, the chance that magic, the eternal inexplicable, might be the true agent, and if you were strong enough in yourself, unafraid, unthreatened, here in your own chambers, well perhaps there would be no magic worked at all. It is a subjective force, you see, whereas the physical laws of the artificers are objective. A gear-train will turn without faith, but magic may not. And so, when your people demand, mmn, proof, there is none, but when you have forgotten and dismissed it, then magic creeps back into the gaps where you do not look for it.

Even if we ourselves are not personally scandalized by the notion of other animals as close relatives, even if our age has accommodated to the idea, the passionate resistance of so many of us, in so many epochs and cultures, and by so many distinguished scholars, must say something important about us. What can we learn about ourselves from an apparent error so widespread, propagated by so many leading philosophers and scientists, both ancient and modern, with such assurance and self-satisfaction? One of several possible answers: A sharp distinction between humans and "animals" is essential if we are to bend them to our will, make them work for us, wear them, eat them--without any disquieting tinges of guilt or regret. With untroubled consciences, we can render whole species extinct--for our perceived short-term benefit, or even through simple carelessness. Their loss is of little import: Those beings, we tell ourselves, are not like us. An unbridgeable gap gas thus a practical role to play beyond the mere stroking of human egos. Darwin's formulation of this answer was: "Animals whom we have made our slaves, we do not like to consider our equals.

We lived, as usual, by ignoring. Ignoring isn't the same as ignorance, you have to work at it. Nothing changes instantaneously: in a gradually heating bathtub you'd be boiled to death before you knew it. There were stories in the newspapers, of course, corpses in ditches or the woods, bludgeoned to death or mutilated, interfered with, as they used to say, but they were about other women, and the men who did such things were other men. None of them were the men we knew. The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives. We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.

Perhaps there are events and things that work as a doorway into a mythical world, the world of first people, all the way back to the creation of the universe and the small quickenings of earth, the first stirrings of human beings at the beginnings of time. Our elders believe this to be so, that it is possible to wind a way backwards to the start of things, and in doing so find a form of sacred reason, different from ordinary reason, that is linked to forces of nature. In this kind of mind, like in the feather, is the power of sky and thunder and sun, and many have had alliances and partnerships with it, a way of thought older than measured time, less primitive than the rational present. Others have tried for centuries to understand the world by science and intellect but have not yet done so, not yet understood animals, finite earth, or even their own minds and behavior. The more they seek to learn the world, the closer they come to the spiritual, the magical origins of creation. There is a still place, a gap between the worlds, spoken by the tribal knowings of thousands of years. In it are silent flyings that stand aside from human struggles and the designs of our own makings. At times, when we are silent enough, still enough, we take a step into such mystery, the place of spirit, and mystery, we must remember, by its very nature does not wish to be known.

Considering the timespan of human evolution and the vast potential of humankind -- as evidenced by great genius and leadership, inventions and discoveries, works of art and literature -- it is lamentable that the economic and political systems of 'advanced' cultures are still based on the unenlightened rationales that 'more is better' and 'might makes right.' In the name of 'survival of the fittest' and ensuring 'vital interests,' our economic system creates an ever-widening gap between rich and poor as it dismantles the environment upon which we all depend. Even 'lower' animals generally do not foul their own nests.

In the end nothing matters but the work. You can’t control how it’s taken, and the act of telling a story always involves a gap. Sometimes confusion is the risk of ambiguity–I say that to students all the time. It’s true at the fireside and it’s true in the parlor, and it’s true in made-up towns and New York. Two humans face one another, words come out of one, words go into the other mind through the ears and eyes of the listener. It’s a story. It’s simple. The gap is the thing. Make sure you build the bridge.

Since the dawn of time, several billion human (or humanlike) beings have lived, each contributing a little genetic variability to the total human stock. Out of this vast number, the whole of our understanding of human prehistory is based on the remains, often exceedingly fragmentary, of perhaps five thousand individuals. You could fit it all into the back of a pickup truck if you didn't mind how much you jumbled everything up, Ian Tattersall, the bearded and friendly curator of anthropology at the American Museum of Natural History in New York, replied when I asked him the size of the total world archive of hominid and early human bones. The shortage wouldn't be so bad if the bones were distributed evenly through time and space, but of course they are not. They appear randomly, often in the most tantalizing fashion. Homo erectus walked the Earth for well over a million years and inhabited territory from the Atlantic edge of Europe to the Pacific side of China, yet if you brought back to life every Homo erectus individual whose existence we can vouch for, they wouldn't fill a school bus. Homo habilis consists of even less: just two partial skeletons and a number of isolated limb bones. Something as short-lived as our own civilization would almost certainly not be known from the fossil record at all. In Europe, Tattersall offers by way of illustration, you've got hominid skulls in Georgia dated to about 1.7 million years ago, but then you have a gap of almost a million years before the next remains turn up in Spain, right on the other side of the continent, and then you've got another 300,000-year gap before you get a Homo heidelbergensis in Germany and none of them looks terribly much like any of the others. He smiled. It's from these kinds of fragmentary pieces that you're trying to work out the histories of entire species. It's quite a tall order. We really have very little idea of the relationships between many ancient species which led to us and which were evolutionary dead ends. Some probably don't deserve to be regarded as separate species at all.

You’re . . .” I search for the right word. It’s rare that my vocabulary fails me like this. “Organized.” His eyes crackle with light as he laughs. “Organized?” “Extremely,” I deadpan. “Not to mention thorough.” “You make me sound like a contract,” he says, amused. “And you know how I feel about a good contract,” I say. His smirk pulls higher. “Actually, I only know how you feel about a bad one, written on a damp napkin.” He lies back fully on the mattress, and I do too, leaving a healthy gap between us. “A good contract is . . .” I think for a moment. “Adorable?” Charlie supplies, teasing. “No.” “Comely?” “At bare minimum,” I say. “Charming?” “Sexy as hell,” I reply. “Irresistible. It’s a list of great traits and working compromises that watch out for all parties involved. It’s . . . satisfying, even when it’s not what you expected, because you work for it. You go back and forth until every detail is just how it needs to be.

I don’t know myself,” he said. “I sit down with a white board before the spot that strikes me, and I say, ‘That white board must become something!’ I work for a long time, I come back home dissatisfied, I put it away in the closet. When I have rested a little I go to look at it with a kind of fear. I am still dissatisfied because I have too clearly in my mind the splendid original to be content with what I have made of it. But after all, I find in my work an echo of what struck me. I see that nature has told me something, has spoken to me, and that I have put it down in shorthand. In my shorthand there may be words that cannot be deciphered, there may be mistakes or gaps, but there is something in it of what the woods or beach or figure has told me. Do you understand?” “No.

I’d later read up on it, because understanding something meant being able to handle it, and my problems back then had been ones I could understand. The effect was a result of the mind’s idleness. We only really saw a little bit of what we looked at, and our brain worked constantly to fill in the gaps and unimportant spaces with its best guesses. In a dimly lit room, with the mind focused on the steady, hypnotic repetition, the brain would fill in spaces with the only reference points available to it, taking from features in its field of view to patch together the face. Fear, imagination and the recently-told scary story of having one’s entrails ripped out through their mouth did the rest. The mind was an amazing thing, but it had limits and weaknesses. I’d been taking in too much even before I added the clairvoyant.

A therapist who fears dependence will tell his patient, sometimes openly, that the urge to rely is pathologic. In doing so he denigrates a cardinal tool. A parent who rejects a child's desire to depend raises a fragile person. Those children, grown to adulthood, are frequently among those who come for help. Shall we tell them again that no one can find an art to lean on, that each alone must work to ease a private sorrow? Then we shall repeat and experiment already conducted; many know its result only too well. If patient and therapist are to proceed together down a curative path, they must allow limbic regulation and its companion moon, dependence, to make the revolutionary magic. Many therapists believe that reliance fosters a detrimental dependency. Instead, they say, patients should be directed to "do it for themselves" - as if they possess everything but the wit to throw that switch and get on with their lives. But people do not learn emotional modulation as they do geometry or the names of state capitals. They absorb the skill from living in the presence of an adept external modulator, and they learn it implicitly. Knowledge leaps the gap from one mind to the other, but the learner does not experience the transferred information as an explicit strategy. Instead, a spontaneous capacity germinates and becomes a natural part of the self, like knowing how to ride a bike or tie one's shoes. The effortful beginnings fade and disappear from memory. (171)

The most fulfilling human projects appeared inseparable from a degree of torment, the sources of our greatest joys lying awkwardly close to those of our greatest pains… Why? Because no one is able to produce a great work of art without experience, nor achieve a worldly position immediately, nor be a great lover at the first attempt; and in the interval between initial failure and subsequent success, in the gap between who we wish one day to be and who we are at present, must come pain, anxiety, envy and humiliation. We suffer because we cannot spontaneously master the ingredients of fulfillment. Nietzsche was striving to correct the belief that fulfillment must come easily or not at all, a belief ruinous in its effects, for it leads us to withdraw prematurely from challenges that might have been overcome if only we had been prepared for the savagery legitimately demanded by almost everything valuable.

We are at a time when old systems and ideas are being questioned and falling apart, and there is a great opportunity for something fresh to emerge. I have no idea what that will look like and no preconceptions about how things should turn out, but I do have a strong sense that the time we live in is a fertile ground for training in being open-minded and open-hearted. If we can learn to hold this falling apart–ness without polarizing and without becoming fundamentalist, then whatever we do today will have a positive effect on the future. Working with polarization and dehumanization won’t put an immediate end to the ignorance, violence, and hatred that plague this world. But every time we catch ourselves polarizing with our thoughts, words, or actions, and every time we do something to close that gap, we’re injecting a little bodhichitta into our usual patterns. We’re deepening our appreciation for our interconnectedness with all others. We’re empowering healing, rather than standing in its way. And because of this interconnectedness, when we change our own patterns, we help change the patterns of our culture as a whole.

I consider it an error in scientific communication that, most of the time, merely the polished and flawless results of natural research are displayed, as in an art show. And exhibit of the finished product alone has many drawbacks and dangers for both its creator and its users. The creator of the product will be only too ready to demonstrate perfection and flawlessness while concealing gaps, uncertainties and discordant contradictions of his insight into nature. He thus belittles the meaning of the real process of natural research. The user of the product will not appreciate the rigorous demands made on the natural scientist when the latter has to reveal and describe the secrets of nature in a practical way. He will never learn to think for himself and to cope by himself. Very few drivers have an accurate idea of the sum of human efforts, of the complicated thought processes and operations needed for manufacturing an automobile. Our world would be better off is the beneficiaries of work knew more about the process of work and the existence of the workers, if they did not pluck so thoughtlessly the fruits of labor performed by others.

One morning she at last succeeded in helping him to the foot of the steps, trampling down the grass before him with her feet, and clearing a way for him through the briars, whose supple arms barred the last few yards. Then they slowly entered the wood of roses. It was indeed a very wood, with thickets of tall standard roses throwing out leafy clumps as big as trees, and enormous rose bushes impenetrable as copses of young oaks. Here, formerly, there had been a most marvellous collection of plants. But since the flower garden had been left in abandonment, everything had run wild, and a virgin forest had arisen, a forest of roses over-running the paths, crowded with wild offshoots, so mingled, so blended, that roses of every scent and hue seemed to blossom on the same stem. Creeping roses formed mossy carpets on the ground, while climbing roses clung to others like greedy ivy plants, and ascended in spindles of verdure, letting a shower of their loosened petals fall at the lightest breeze. Natural paths coursed through the wood — narrow footways, broad avenues, enchanting covered walks in which one strolled in the shade and scent. These led to glades and clearings, under bowers of small red roses, and between walls hung with tiny yellow ones. Some sunny nooks gleamed like green silken stuff embroidered with bright patterns; other shadier corners offered the seclusion of alcoves and an aroma of love, the balmy warmth, as it were, of a posy languishing on a woman’s bosom. The rose bushes had whispering voices too. And the rose bushes were full of songbirds’ nests. ‘We must take care not to lose ourselves,’ said Albine, as she entered the wood. ‘I did lose myself once, and the sun had set before I was able to free myself from the rose bushes which caught me by the skirt at every step.’ They had barely walked a few minutes, however, before Serge, worn out with fatigue, wished to sit down. He stretched himself upon the ground, and fell into deep slumber. Albine sat musing by his side. They were on the edge of a glade, near a narrow path which stretched away through the wood, streaked with flashes of sunlight, and, through a small round blue gap at its far end, revealed the sky. Other little paths led from the clearing into leafy recesses. The glade was formed of tall rose bushes rising one above the other with such a wealth of branches, such a tangle of thorny shoots, that big patches of foliage were caught aloft, and hung there tent-like, stretching out from bush to bush. Through the tiny apertures in the patches of leaves, which were suggestive of fine lace, the light

The goodness of God fills all the gaps of the universe, without discrimination or preference. God is the gratuity of absolutely everything. The space in between everything is not space at all but Spirit. God is the “goodness glue” that holds the dark and light of things together, the free energy that carries all death across the Great Divide and transmutes it into Life. When we say that Christ “paid the debt once and for all,” it simply means that God's job is to make up for all deficiencies in the universe. What else would God do? Basically, grace is God's first name, and probably last too. Grace is what God does to keep all things he has made in love and alive—forever. Grace is God's official job description. Grace is not something God gives; grace is who God is. If we are to believe the primary witnesses, an unexplainable goodness is at work in the universe.

According to Massimo Maffei from the University of Turin, plants-and that includes trees-are perfectly capable of distinguishing their own roots from the roots of other species and even from the roots of related individuals. But why are trees such social beings? Why do they share food with their own species and sometimes even go so far as to nourish their competitors? The reasons are the same as for human communities: there are advantages to working together. A tree is not a forest. On its own, a tree cannot establish a consistent local climate. It is at the mercy of wind and weather. But together, many trees create an ecosystem that moderates extremes of heat and cold, stores a great deal of water, and generates a great deal of humidity. And in this protected environment, trees can live to be very old. To get to this point, the community must remain intact no matter what. If every tree were looking out only for itself, then quite a few of them would never reach old age. Regular fatalities would result in many large gaps in the tree canopy, which would make it easier for storms to get inside the forest and uproot more trees. The heat of summer would reach teh forest floor and dry it out. Every tree would suffer.

In a mass society where obtaining credit is as easy as it is, there’s probably no way to efficiently collect on delinquent accounts by writing real affidavits, filing legitimate, error-free lawsuits, and serving legitimate summonses in each and every individual case. Without the shortcuts, it doesn’t work. So techniques like robo-signing and sewer service are essential to the profitability of the business. Plenty of people—consumers and merchants both—are probably glad that so much credit is available, but they don’t realize that systematic fraud is part of what makes it available. Legally, there’s absolutely no difference between a woman on welfare who falsely declares that her boyfriend no longer lives in the home and a bank that uses a robo-signer to cook up a document swearing that he has kept regular records of your credit card account. But morally and politically, they’re worlds apart. When the state brings a fraud case against a welfare mom, it brings it with disgust, with rage, because in addition to committing the legal crime, she’s committed the political crime of being needy and an eyesore. Banks commit the legal crime of fraud wholesale; they do so out in the open, have entire departments committed to it, and have employees who’ve spent years literally doing nothing but commit, over and over again, the same legal crime that some welfare mothers go to jail for doing once. But they’re not charged, because there’s no political crime. The system is not disgusted by the organized, mechanized search for profit. It’s more like it’s impressed by it.

The hero of the following account, Homo immunologicus, who must give his life, with all its dangers and surfeits, a symbolic framework, is the human being that struggles with itself in concern for its form. We will characterize it more closely as the ethical human being, or rather Homo repetitious, Homo artista, the human in training. None of the circulating theories of behaviour or action is capable of grasping the practising human - on the contrary: we will understand why previous theories had to make it vanish systematically, regardless of whether they divided the field of observation into work and interaction, processes and communications, or active and contemplative life. With a concept of practice based on a broad anthropological foundation, we finally have the right instrument to overcome the gap, supposedly unbridgeable by methodological means, between biological and cultural phenomena of immunity - that is, between natural processes on the one hand and actions on the other.

At first glance, the stewardess appears to have been a reflection of conservative postwar gender roles—an impeccable airborne incarnation of the mythical homemaker of the 1950s who would happily abandon work to settle down with Mr. Right. A high-flying expert at applying lipstick, warming baby bottles, and mixing a martini, the stewardess was popularly imagined as the quintessential wife to be. Dubbed the “typical American girl,” this masterful charmer—known for pampering her mostly male passengers while maintaining perfect poise (and straight stocking seams) thirty thousand feet above sea level—became an esteemed national heroine for her womanly perfection. But while the the stewardess appears to have been an airborne Donna Reed, a closer look reveals that she was also popularly represented as a sophisticated, independent, ambitious career woman employed on the cutting edge of technology. This iconic woman in the workforce was in a unique position to bring acceptance and respect to working women by bridging the gap between the postwar domestic ideal and wage work for women. As both the apotheosis of feminine charm and American careerism, the stewardess deftly straddled the domestic ideal and a career that took her far from home. Ultimately, she became a crucial figure in paving the way for feminism in America.

I am optimistic that the so-called hard problem of consciousness will be solved by empirical and conceptual advances - working in tandem - made in cognitive neuroscience. What is the hard problem? No-one has a clue (at the moment) how to answer the question of why the neural basis of the phenomenal feel of my experience of, for example red, is the neural basis of that particular phenomenal feel rather than a different one or none at all. There is an explanatory gap here that we do not know how to close now, but I have faith that we will someday. The hard problem is conceptually and explanatorily prior to the issue of what the nature of the self is, as can be seen in part by noting that the problem would persist even for experiences that aren't organised into selves. No doubt solving the hard problem (i.e closing the explanatory gap) will require ideas we cannot now anticipate. The mind-body problem is so singular that no appeal to the closing of past explanatory gaps justifies optimism. But I remain optimistic nonetheless.

Resolution of the conflict between black and white women cannot begin until all women acknowledge that a feminist movement, which is both racist and classist, is a mere sham, a cover up for women’s continued bondage to materialistic, patriarchal principles, and passive acceptance of the status quo. The sisterhood that is necessary for the making of feminist revolution can be achieved only when all women disengage themselves from the hostility, jealousy, and competition with one another that has kept us vulnerable, weak, and unable to envision new realities. That sisterhood cannot be forged by the mere saying of words. It is the outcome of continued growth and change. It is a goal to be reached, a process of becoming. The process begins with action. With the individual woman’s refusal to accept any set of myths, stereotypes, and false assumptions that deny the shared commonness of her human experience. That deny her capacity to experience the unity of all life. That deny her capacity to bridge gaps created by racism, sexism or classism. That deny her ability to change. The process begins with the individual woman’s acceptance that American women, without exception, are socialized to be racist, classist, and sexist in varying degrees. And that labeling ourselves feminists, does not change the fact that we must consciously work to rid ourselves of the legacy of negative socialization.

Moral for psychologists. -- Not to go in for backstairs psychology. Never to observe in order to observe! That gives a false perspective, leads to squinting and something forced and exaggerated. Experience as the wish to experience does not succeed. One must not eye oneself while having an experience; else the eye becomes "an evil eye." A born psychologist guards instinctively against seeing in order to see; the same is true of the born painter. He never works "from nature"; he leaves it to his instinct, to his camera obscura, to sift through and express the "case," "nature," that which is "experienced." He is conscious only of what is general, of the conclusion, the result: he does not know arbitrary abstractions from an individual case. What happens when one proceeds differently? For example, if, in the manner of the Parisian novelists, one goes in for backstairs psychology and deals in gossip, wholesale and retail? Then one lies in wait for reality, as it were, and every evening one brings home a handful of curiosities. But note what finally comes of all this: a heap of splotches, a mosaic at best, but in any case something added together, something restless, a mess of screaming colors. The worst in this respect is accomplished by the Goncourts; they do not put three sentences together without really hurting the eye, the psychologist's eye. Nature, estimated artistically, is no model. It exaggerates, it distorts, it leaves gaps. Nature is chance. To study "from nature" seems to me to be a bad sign: it betrays submission, weakness, fatalism; this lying in the dust before petit faits [little facts] is unworthy of a whole artist. To see what is--that is the mark of another kind of spirit, the anti-artistic, the factual. One must know who one is. Toward a psychology of the artist. -- If there is to be art, if there is to be any aesthetic doing and seeing, one physiological condition is indispensable: frenzy. Frenzy must first have enhanced the excitability of the whole machine; else there is no art. All kinds of frenzy, however diversely conditioned, have the strength to accomplish this: above all, the frenzy of sexual excitement, this most ancient and original form of frenzy. Also the frenzy that follows all great cravings, all strong affects; the frenzy of feasts, contests, feats of daring, victory, all extreme movement; the frenzy of cruelty; the frenzy in destruction, the frenzy under certain meteorological influences, as for example the frenzy of spring; or under the influence of narcotics; and finally the frenzy of will, the frenzy of an overcharged and swollen will. What is essential in such frenzy is the feeling of increased strength and fullness. Out of this feeling one lends to things, one forces them to accept from us, one violates them--this process is called idealizing. Let us get rid of a prejudice here: idealizing does not consist, as is commonly held, in subtracting or discounting the petty and inconsequential. What is decisive is rather a tremendous drive to bring out the main features so that the others disappear in the process. In this state one enriches everything out of one's own fullness: whatever one sees, whatever one wills, is seen swelled, taut, strong, overloaded with strength. A man in this state transforms things until they mirror his power--until they are reflections of his perfection. This having to transform into perfection is--art. Even everything that he is not yet, becomes for him an occasion of joy in himself; in art man enjoys himself as perfection.

Nobody tells people who are beginners. I really wish someone had told this to me. Is that [if you are watching this video, you are somebody who wants o make videos right?] all of us who do creative work, we get into it. we get into it because we have good taste. you know what I mean? like you want to make TV, because you love TV. there is stuff you just like, love. ok so you got really good taste. you get into this thing … that i don’t even know how to describe it, but there is a gap. for the first couple of years you are making stuff, what you are making isn’t so good... ok, its not that great. it's really not that great. its trying to be good, it has ambition to be good, but not quite that good. but your taste, the thing get you into the game, your taste is still killer. your taste is good enough that you can tell what you are making is a kind of disappointment to you, you know what i mean? you can tell it is still sort of crappy. a lot of people never get past that phase. a lot of people at that point, they quit. the thing i would just like say to you with all my heart is that most everybody I know, who does interesting creative work, they went through a phase of years where they had really good taste, they could tell what they were making wasn’t as good as they wanted it to be. they knew it felt short. [some of us can admit that to ourselves, some of us less able to admit that to ourselves] we knew like, it didn’t have that special thing that we wanted it to have. [...] everybody goes through that. for you to go through it, if you are going through right now, just getting out of that phase, if you are just starting out and entering into that phase, you gotta know it is totally normal and the most important possible thing you can do is do a lot of work. do a huge volume of work. put yourself on a deadline so that every week or every month you know you’re gonna finish one story. you know what i mean? whatever its gonna be. you create the deadline. it is best if have somebody who is waiting work from you, expecting work from you. even if not somebody who pays you, but that you are in a situation where you have to turn out the work. because it is only by actually going through a volume of work that you are actually going to catch up and close that gap and the work you are making will be as good as your ambitions.

In Darwin's work, time moves at two speeds: there is the vast abyss of time in which generations change and animals mutate and evolve; and then there is the gnat's-breath, hummingbird-heart time of creaturely existence, where our children are born and grow and, sometimes, die before us...The space between the tiny but heartfelt time of human life and the limitless time of Nature became Darwin's implicit subject. Religion had always reconciled quick time and deep time by pretending that the one was in some way a prelude to the other - a prelude or a porlogue or a trial or a treatment. Artists of the Romantic period, in an increasingly secularized age, thought that through some vague kind of transcendence they could bridge the gap. They couldn't. Nothing could. The tragedy of life is not that there is no God but that the generations through which it progresses are too tiny to count very much. There isn't a special providence in the fall of a sparrow, but try telling that to the sparrows. The human challenge that Darwin felt, and that his work still presents, is to see both times truly - not to attempt to humanize deep time, or to dismiss quick time, but to make enough of both without overlooking either.

We have seen that imagining an act engages the same motor and sensory programs that are involved in doing it. We have long viewed our imaginative life with a kind of sacred awe: as noble, pure, immaterial, and ethereal, cut off from our material brain. Now we cannot be so sure about where to draw the line between them. Everything your “immaterial” mind imagines leaves material traces. Each thought alters the physical state of your brain synapses at a microscopic level. Each time you imagine moving your fingers across the keys to play the piano, you alter the tendrils in your living brain. These experiments are not only delightful and intriguing, they also overturn the centuries of confusion that have grown out of the work of the French philosopher René Descartes, who argued that mind and brain are made of different substances and are governed by different laws. The brain, he claimed, was a physical, material thing, existing in space and obeying the laws of physics. The mind (or the soul, as Descartes called it) was immaterial, a thinking thing that did not take up space or obey physical laws. Thoughts, he argued, were governed by the rules of reasoning, judgment, and desires, not by the physical laws of cause and effect. Human beings consisted of this duality, this marriage of immaterial mind and material brain. But Descartes—whose mind/body division has dominated science for four hundred years—could never credibly explain how the immaterial mind could influence the material brain. As a result, people began to doubt that an immaterial thought, or mere imagining, might change the structure of the material brain. Descartes’s view seemed to open an unbridgeable gap between mind and brain. His noble attempt to rescue the brain from the mysticism that surrounded it in his time, by making it mechanical, failed. Instead the brain came to be seen as an inert, inanimate machine that could be moved to action only by the immaterial, ghostlike soul Descartes placed within it, which came to be called “the ghost in the machine.” By depicting a mechanistic brain, Descartes drained the life out of it and slowed the acceptance of brain plasticity more than any other thinker. Any plasticity—any ability to change that we had—existed in the mind, with its changing thoughts, not in the brain. But now we can see that our “immaterial” thoughts too have a physical signature, and we cannot be so sure that thought won’t someday be explained in physical terms. While we have yet to understand exactly how thoughts actually change brain structure, it is now clear that they do, and the firm line that Descartes drew between mind and brain is increasingly a dotted line.

The explosion was deafening; a huge cloud of fire rolled out the window after us, its immense heat brushing my face as we tumbled into the snow. We hit the ground and rolled. Flaming debris from the house came down around us; Griffin shoved me flat on my back, covering us both with his heavy coat. The echoes of the explosion reflected back across the river, then slowly dwindled away, like dying thunder. The leaping flames threw warm light onto the falling snow, turning it into a storm of sparks pouring down from the heavens. Griffin started to push himself off of me, then stoped. His hands were braced on either side of my shoulders, his legs twined with mine. Mt heart pounded, my palms sweated, and I was suddenly, acutely aware of how close his face was to mine. "You're a madman," he whispered. "An utter madman." "Perhaps," I allowed. "But it worked." The leaping light from the burning house painted his features in gold, highlighting his patrician nose and finding threads of brown and blue in his green eyes. His pupils widened, the irises contracting to silver. "Whatever am I going to do with you?" he murmured. The warmth of his breath feathered over my skin. Heat collected in my groin, my lips. My mouth was dry, my voice hoarse, and perhaps he was right and it was madness when I whispered, "Whatever you want." A shiver went through his body, perhaps because we were lying on the cold ground. But instead of getting up, he leaned closer, his overlong hair tumbling over his forehead. He paused, his mouth almost touching mine, his eyes seeming to ask a question. It was madness; it was folly; it was sheer selfishness. I was delusional, misguided, wrong, out of control. I needed to pull back, to say something sane, to re-establish mastery over myself. I could not do this. I could not take the risk. Later tonight, I'd relive this moment in my lonely bed and wonder if I'd done the right thing. But at least that would be familiar, would be something I knew how to cope with. And yet the very thought felt like dying. I surged forward, crossing the final, tiny gap and pressing my lips to his. It was awkward and desperate and frantic, but the feel of his mouth against mine sent a bolt of electricity straight down my spine. Just a moment, just this one kiss, surely that would be enough... Then he kissed me back, and it would never be enough, a thousand years of this would not be enough. His mouth was hungry and insistent, his tongue probing my lips, asking for greater intimacy. I granted it, tongues swirling together, mine followed his when it retreated and tasting him in return. There came the clanging of bells in the distance, the fire company alerted to the explosion. Griffin drew back a fraction. His breath was as raged as mine, which left me dazed with wonder. "My dear," he whispered against my lips. Then he swallowed convulsively. "We should leave, before the fire companies come." "Y-Yes." It was amazing I managed that much coherence. He closed his eyes and leaned his forehead against mine, our breaths mingling. "Will you come home with me?" Was he asking...? "Yes." Oh, God, yes. His lips curved into a smile.

Although Daisy was the mildest-tempered of all the Bowmans, she was by no means a coward. And she would not accept defeat without a fight. “You’re forcing me to take desperate measures,” she said. His reply was very soft. “There’s nothing you can do.” He had left her no choice. Daisy turned the key in the lock and carefully withdrew it. The decisive click was abnormally loud in the silence of the room. Calmly Daisy tugged the top edge of her bodice away from her chest. She held the key above the narrow gap. Matthew’s eyes widened as he understood what she intended. “You wouldn’t.” As he started around the dresser, Daisy dropped the key into her bodice, making certain it slipped beneath her corset. She sucked in her stomach and midriff until she felt the cold metal slide to her navel. “Damn it!” Matthew reached her with startling speed. He reached out to touch her, then jerked his hands back as if he had just encountered open flame. “Take it out,” he commanded, his face dark with outrage. “I can’t.” “I mean it, Daisy!” “It’s fallen too far down. I’ll have to take my dress off.” It was obvious he wanted to kill her. But she could also feel the force of his longing. His lungs were working like bellows, and scorching heat radiated from his body. His whisper contained the ferocity of a roar. “Don’t do this to me.” Daisy waited patiently. The next move was his. He turned his back to her, the seams of his coat straining over bunched muscles. His fists clenched as he struggled to master himself. He took a shuddering breath, and another, and when he spoke his voice sounded thick, as if he had just awakened from a heavy sleep. “Take off your gown.” Trying not to antagonize him any more than was necessary, Daisy replied in an apologetic tone. “I can’t do it by myself. It buttons up the back.” Matthew said something in a muffled voice that sounded very foul. After an eternity of silence he turned to face her. His jaw could have been cast in iron. “I’m not going to fall apart that easily. I can resist you, Daisy. I’ve had years of practice. Turn around.” Daisy obeyed. As she bent her head forward, she could actually feel his gaze travel over the endless row of pearl buttons. “How do you ever get undressed?” he muttered. “I’ve never seen so many blasted buttons on one garment.” “It’s fashionable.” “It’s ridiculous.” “You can send a letter of protest to Godey’s Lady’s Book,” she suggested. Giving a scornful snort, Matthew began on the top button. He tried to unfasten it while avoiding contact with her body. “It helps if you slide your fingers beneath the placket,” Daisy said. “And then you can pop the button through the—” “Quiet,” he snapped. She closed her mouth.

They stood around a bleeding stump of a man lying on the ground. His right arm and left leg had been chopped off. It was inconceivable how, with his remaining arm and leg, he had crawled to the camp. The chopped-off arm and leg were tied in terrible bleeding chunks onto his back with a small wooden board attached to them; a long inscription on it said, with many words of abuse, that the atrocity was in reprisal for similar atrocities perpetrated by such and such a Red unit—a unit that had no connection with the Forest Brotherhood. It also said that the same treatment would be meted out to all the partisans unless, by a given date, they submitted and gave up their arms to the representatives of General Vitsyn’s army corps. Fainting repeatedly from loss of blood, the dying man told them in a faltering voice of the tortures and atrocities perpetrated by Vitsyn’s investigating and punitive squads. His own sentence of death had been allegedly commuted; instead of hanging him, they had cut off his arm and leg in order to send him into the camp and strike terror among the partisans. They had carried him as far as the outposts of the camp, where they had put him down and ordered him to crawl, urging him on by shooting into the air. He could barely move his lips. To make out his almost unintelligible stammering, the crowd around him bent low. He was saying: “Be on your guard, comrades. He has broken through.” “Patrols have gone out in strength. There’s a big battle going on. We’ll hold him.” “There’s a gap. He wants to surprise you. I know. ... I can’t go on, men. I am spitting blood. I’ll die in a moment.” “Rest a bit. Keep quiet.—Can’t you see it’s bad for him, you heartless beasts!” The man started again: “He went to work on me, the devil. He said: You will bathe in your own blood until you tell me who you are. And how was I to tell him, a deserter is just what I am? I was running from him to you.” “You keep saying ‘he.’ Who was it that got to work on you?” “Let me just get my breath. ... I’ll tell you. Hetman, Bekeshin. Colonel, Strese. Vitsyn’s men. You don’t know out here what it’s like. The whole town is groaning. They boil people alive. They cut strips out of them. They take you by the scruff of the neck and push you inside, you don’t know where you are, it’s pitch black. You grope about—you are in a cage, inside a freight car. There are more than forty people in the cage, all in their underclothes. From time to time they open the door and grab whoever comes first—out he goes. As you grab a chicken to cut its throat. I swear to God. Some they hang, some they shoot, some they question. They beat you to shreds, they put salt on the wounds, they pour boiling water on you. When you vomit or relieve yourself they make you eat it. As for children and women—O God!” The unfortunate was at his last gasp. He cried out and died without finishing the sentence. Somehow they all knew it at once and took off their caps and crossed themselves. That night, the news of a far more terrible incident flew around the camp. Pamphil had been in the crowd surrounding the dying man. He had seen him, heard his words, and read the threatening inscription on the board. His constant fear for his family in the event of his own death rose to a new climax. In his imagination he saw them handed over to slow torture, watched their faces distorted by pain, and heard their groans and cries for help. In his desperate anguish—to forestall their future sufferings and to end his own—he killed them himself, felling his wife and three children with that same, razor-sharp ax that he had used to carve toys for the two small girls and the boy, who had been his favorite. The astonishing thing was that he did not kill himself immediately afterward.

We are all poor; but there is a difference between what Mrs. Spark intends by speaking of 'slender means', and what Stevens called our poverty or Sartre our need, besoin. The poet finds his brief, fortuitous concords, it is true: not merely 'what will suffice,' but 'the freshness of transformation,' the 'reality of decreation,' the 'gaiety of language.' The novelist accepts need, the difficulty of relating one's fictions to what one knows about the nature of reality, as his donnée. It is because no one has said more about this situation, or given such an idea of its complexity, that I want to devote most of this talk to Sartre and the most relevant of his novels, La Nausée. As things go now it isn't of course very modern; Robbe-Grillet treats it with amused reverence as a valuable antique. But it will still serve for my purposes. This book is doubtless very well known to you; I can't undertake to tell you much about it, especially as it has often been regarded as standing in an unusually close relation to a body of philosophy which I am incompetent to expound. Perhaps you will be charitable if I explain that I shall be using it and other works of Sartre merely as examples. What I have to do is simply to show that La Nausée represents, in the work of one extremely important and representative figure, a kind of crisis in the relation between fiction and reality, the tension or dissonance between paradigmatic form and contingent reality. That the mood of Sartre has sometimes been appropriate to the modern demythologized apocalypse is something I shall take for granted; his is a philosophy of crisis, but his world has no beginning and no end. The absurd dishonesty of all prefabricated patterns is cardinal to his beliefs; to cover reality over with eidetic images--illusions persisting from past acts of perception, as some abnormal children 'see' the page or object that is no longer before them --to do this is to sink into mauvaise foi. This expression covers all comfortable denials of the undeniable--freedom --by myths of necessity, nature, or things as they are. Are all the paradigms of fiction eidetic? Is the unavoidable, insidious, comfortable enemy of all novelists mauvaise foi? Sartre has recently, in his first instalment of autobiography, talked with extraordinary vivacity about the roleplaying of his youth, of the falsities imposed upon him by the fictive power of words. At the beginning of the Great War he began a novel about a French private who captured the Kaiser, defeated him in single combat, and so ended the war and recovered Alsace. But everything went wrong. The Kaiser, hissed by the poilus, no match for the superbly fit Private Perrin, spat upon and insulted, became 'somehow heroic.' Worse still, the peace, which should instantly have followed in the real world if this fiction had a genuine correspondence with reality, failed to occur. 'I very nearly renounced literature,' says Sartre. Roquentin, in a subtler but basically similar situation, has the same reaction. Later Sartre would find again that the hero, however assiduously you use the pitchfork, will recur, and that gaps, less gross perhaps, between fiction and reality will open in the most close-knit pattern of words. Again, the young Sartre would sometimes, when most identified with his friends at the lycée, feel himself to be 'freed at last from the sin of existing'--this is also an expression of Roquentin's, but Roquentin says it feels like being a character in a novel. How can novels, by telling lies, convert existence into being? We see Roquentin waver between the horror of contingency and the fiction of aventures. In Les Mots Sartre very engagingly tells us that he was Roquentin, certainly, but that he was Sartre also, 'the elect, the chronicler of hells' to whom the whole novel of which he now speaks so derisively was a sort of aventure, though what was represented within it was 'the unjustified, brackish existence of my fellow-creatures.