Workshop Day Quotes

You may have noticed that the books you really love are bound together by a secret thread. You know very well what is the common quality that makes you love them, though you cannot put it into words: but most of your friends do not see it at all, and often wonder why, liking this, you should also like that. Again, you have stood before some landscape, which seems to embody what you have been looking for all your life; and then turned to the friend at your side who appears to be seeing what you saw -- but at the first words a gulf yawns between you, and you realise that this landscape means something totally different to him, that he is pursuing an alien vision and cares nothing for the ineffable suggestion by which you are transported. Even in your hobbies, has there not always been some secret attraction which the others are curiously ignorant of -- something, not to be identified with, but always on the verge of breaking through, the smell of cut wood in the workshop or the clap-clap of water against the boat's side? Are not all lifelong friendships born at the moment when at last you meet another human being who has some inkling (but faint and uncertain even in the best) of that something which you were born desiring, and which, beneath the flux of other desires and in all the momentary silences between the louder passions, night and day, year by year, from childhood to old age, you are looking for, watching for, listening for? You have never had it. All the things that have ever deeply possessed your soul have been but hints of it -- tantalising glimpses, promises never quite fulfilled, echoes that died away just as they caught your ear. But if it should really become manifest -- if there ever came an echo that did not die away but swelled into the sound itself -- you would know it. Beyond all possibility of doubt you would say "Here at last is the thing I was made for". We cannot tell each other about it. It is the secret signature of each soul, the incommunicable and unappeasable want, the thing we desired before we met our wives or made our friends or chose our work, and which we shall still desire on our deathbeds, when the mind no longer knows wife or friend or work. While we are, this is. If we lose this, we lose all.

The very first thing I tell my new students on the first day of a workshop is that good writing is about telling the truth. We are a species that needs and wants to understand who we are. Sheep lice do not seem to share this longing, which is one reason they write so very little. But we do. We have so much we want to say and figure out.

Mavis.’ He paled a bit. ‘Eve, tell me you’re not going shopping with Mavis.’ His reaction brightened her mood a little. ‘She has this friend. He’s a designer.’ ‘Dear Christ.’ ‘She says he’s mag. Just needs a break to make a name for himself. He has a little workshop in Soho.’ ‘Let’s elope. Now. You look fine.’ Her grin flashed. ‘Scared?’ ‘Terrified.’ ‘Good. Now we’re even.’ Delighted to be on level footing, she leaned in and kissed him. ‘Now you can worry about what I’ll be wearing on the big day for the next few weeks. Gotta go.’ She patted his cheek. ‘I’m meeting her in twenty minutes.’ ‘Eve.’ Roarke grabbed for her hand. ‘You wouldn’t do something ridiculous?’ She tugged her way free. ‘I’m getting married, aren’t I? What could be more ridiculous?

One day God felt he ought to give his workshop a spring clean... It was amazing what ragged bits and pieces came from under his workbench as he swept. Beginnings of creatures, bits that looked useful but had seemed wrong, ideas he'd mislaid and forgotten... There was even a tiny lump of sun. He scratched his head. What could be done with all this rubbish?

Even in your hobbies, has there not always been some secret attraction which the others are curiously ignorant of--something, not to be identified with, but always on the verge of breaking through, the smell of cut wood in the workshop or the clap-clap of water against the boat's side? Are not all lifelong friendships born at the moment when at last you meet another human being who has some inkling (but faint and uncertain even in the best) of that something which you were born desiring, and which, beneath the flux of other desires and in all the momentary silences between the louder passions, night and day, year by year, from childhood to old age, you are looking for, watching for, listening for? You have never had it. All the things that have ever deeply possesed your soul have been but hints of it--tantalizing glimspes, promises never quite fulfilled, echoes that died away just as they caught your ear. But if it should really become manifest--if there ever came an echo that did not die away but swelled into the sound itself--you would know it. Beyond all possibility of doubt you would say 'Here at last is the thing I was made for.' We cannot tell each other about it. It is the secret signature of each soul, the incommunicable and unappeasable want, the things we desired before we met our wives or made our friends or chose our work, and which we shall still desire on our deathbeds, when the mind no longer knows wife or friend or work. While we are, this is. If we lose this, we lose all.

Monogamy, in brief, kills passion -- and passion is the most dangerous of all the surviving enemies to what we call civilization, which is based upon order, decorum, restraint, formality, industry, regimentation. The civilized man -- the ideal civilized man -- is simply one who never sacrifices the common security to his private passions. He reaches perfection when he even ceases to love passionately -- when he reduces the most profound of all his instinctive experiences from the level of an ecstasy to the level of a mere device for replenishing the armies and workshops of the world, keeping clothes in repair, reducing the infant death-rate, providing enough tenants for every landlord, and making it possible for the Polizei to know where every citizen is at any hour of the day or night. Monogamy accomplishes this, not by producing satiety, but by destroying appetite. It makes passion formal and uninspiring, and so gradually kills it.

Many a forenoon have I stolen away, preferring to spend thus the most valued part of the day; for I was rich, if not in money, in sunny hours and summer days, and spent them lavishly; nor do I regret that I did not waste more of them in the workshop or the teacher’s desk.

The very first thing I tell my new students on the first day of a workshop is that good writing is about telling the truth. We are a species that needs and wants to understand who we are.

I’ll just tell you what I’ve learned that has helped me,” he said. “Shall I?” “Yes, tell me,” she said, growing still. “I broke my days into separate moments,” he said. “See, it’s true I didn’t have any more to look forward to. But on the other hand, there were these individual moments that I could still appreciate. Like drinking that first cup of coffee in the morning. Working on something fine in my workshop. Watching a baseball game on TV.” She thought that over. “But…” she said. He waited. “But…is that enough?” she asked him. “Well, yes, it turns out that it is,” he said.

It was like Santa’s workshop had exploded in the cabin. There were garlands, paper chains, even a giant tree in the corner. Jenna shuddered. It was her worst nightmare come to life. After being fully immersed in Christmas for the past 1,825 days—

They are now informing me that not only are they better than the powerful, the masters of the world whose spittle they have to lick (not from fear, not at all from fear! but because God orders them to honour those in authority) – not only are they better, but they have a “better time”, or at least will have a better time one day. But enough! enough! I can’t bear it any longer. Bad air! Bad air! This workshop where ideals are fabricated – it seems to me just to stink of lies.

No matter what, just let them write every day,even if you're not sure what to teach, just let them write. They'll do fine." -Lisa Cleaveland's words for her long-term substitute teacher.

I have spent many an hour, when I was younger, floating over its surface as the zephyr willed, having paddled my boat to the middle, and lying on my back across the seats, in a summer forenoon, dreaming awake, until I was aroused by the boat touching the sand, and I arose to see what shore my fates had impelled me to; days when idleness was the most attractive and productive industry. Many a forenoon have I stolen away, preferring to spend thus the most valued part of the day; for I was rich, if not in money, in sunny hours and summer days, and spent them lavishly; nor do I regret that I did not waste more of them in the workshop or the teacher's desk.

But the kitchen will not come into its own again until it ceases to be a status symbol and becomes again a workshop. It may be pastel. It may be ginghamed as to curtains and shining with copper like a picture in a woman's magazine. But you and I will know it chiefly by its fragrances and its clutter. At the back of the stove will sit a soup kettle, gently bubbling, one into which every day are popped leftover bones and vegetables to make stock for sauces or soup for the family. Carrots and leeks will sprawl on counters, greens in a basket. There will be something sweet-smelling twirling in a bowl and something savory baking in the oven. Cabinet doors will gape ajar and colored surfaces are likely to be littered with salt and pepper and flour and herbs and cheesecloth and pot holders and long-handled forks. It won't be neat. It won't even look efficient. but when you enter it you will feel the pulse of life throbbing from every corner. The heart of the home will have begun once again to beat.

I have spent many an hour, when I was younger, floating over its surface as the zephyr willed, having paddled my boat to the middle, and lying on my back across the seats, in a summer forenoon, dreaming awake, until I was aroused by the boat touching the sand, and I arose to see what shore my fates had impelled me to; days when idleness was the most attractive and productive industry. Many a forenoon have I stolen away, preferring to spend thus the most valued part of the day; for I was rich, if not in money, in sunny hours and summer days, and spent them lavishly; nor do I regret that I did not waste more of them in the workshop or the teacher's desk. But since I left those shores the woodchoppers have still further laid them waste, and now for many a year there will be no more rambling through the aisles of the wood, with occasional vistas through which you see the water. My Muse may be excused if she is silent henceforth. How can you expect the birds to sing when their groves are cut down?

am bringing back a report from the Dark Ages. In those days, the workshop still fostered the Cult of Insanity which has played such a big part in the mythology of being a writer and artist—that misery, mental illness, drug addiction, and alcoholism were proof of your sensitivity and talent. Or to put it another way, the worse you were, the better you were. We still believed in Papa in those days, in the righteous dominance of masculinity. We believed the hallmark of literary greatness was going to war, racking up a long string of wives, and then blowing your head off in Idaho.

spend the remainder of the day in the Library of the Patent Office. He will be home at Somerset Road, Ealing, in time for tea. He will spend the evening in the workshop, working on the current model. He has achieved the type of life that he desires; he wants no other. He is perfectly, supremely happy.

Experience alone, that supreme educator of peoples, will be at pains to show us our mistake. It alone will be powerful enough to prove the necessity of replacing our odious text-books and our pitiable examinations by industrial instruction capable of inducing our young men to return to the fields, to the workshop, and to the colonial enterprise which they avoid to-day at all costs.

A few hours later, worn out by the vigil, he went into Aureliano’s workshop and asked him: “What day is today?” Aureliano told him that it was Tuesday. “I was thinking the same thing,” José Arcadio Buendía said, “but suddenly I realized that it’s still Monday, like yesterday. Look at the sky, look at the walls, look at the begonias. Today is Monday too.” Used to his manias, Aureliano paid no attention to him. On the next day, Wednesday, José Arcadio Buendía went back to the workshop. “This is a disaster,” he said. “Look at the air, listen to the buzzing of the sun, the same as yesterday and the day before. Today is Monday too.

White people, you need to get this: you are racist. You uphold white supremacy in big and small ways every day, whether you mean to or not. The first step is admitting that you are part of the problem. If you want to understand how and why, read a book. Read a hundred books. Take a workshop. Read as many books and take as many workshops as you need to be able to stop pretending it’s other white people and not you. Trust me. It’s

A solemn sadness reigns. A great peace is around us. In its light our cares of the working day grow small and trivial, and bread and cheese—ay, and even kisses—do not seem the only things worth striving for. Thoughts we cannot speak but only listen to flood in upon us, and standing in the stillness under earth's darkening dome, we feel that we are greater than our petty lives. Hung round with those dusky curtains, the world is no longer a mere dingy workshop, but a stately temple wherein man may worship, and where at times in the dimness his groping hands touch God's.

One day God felt he ought to give his workshop a spring-clean…. It was amazing what ragged bits and pieces came out from under his workbench as he swept. Beginnings of creatures, bits that looked useful but had seemed wrong, ideas that he’d mislaid and forgotten…. There was even a tiny lump of sun. He scratched his head. What could be done with all this rubbish? Ted Hughes, “Leftovers,” from The Dreamfighter

As each guest entered, they were handed a long wand—actually a puppeteer’s arm rod—with a bright foam butterfly attached at the end, one of the thousands put together by the Muppet Workshop over the last three days.

The recipe for becoming a good novelist, for example is easy to give but to carry it out presupposes qualities one is accustomed to overlook when one says 'I do not have enough talent'. One has only to make a hundred or so sketches for novels, none longer than two pages but of such distinctness that every word in them is necessary; one should write down anecdotes each day until one has learned how to give them the most pregnant and effective form; one should be tireless in collecting and describing human types and characters; one should above all relate things to others and listen to others relate, keeping one's eyes and ears open for the effect produced on those present, one should travel like a landscape painter or costume designer; one should excerpt for oneself out of the individual sciences everything that will produce an artistic effect when it is well described, one should, finally, reflect on the motives of human actions, disdain no signpost to instruction about them and be a collector of these things by day and night. One should continue in this many-sided exercise some ten years: what is then created in the work­shop, however, will be fit to go out into the world. - What, however, do most people do? They begin, not with the parts, but with the whole. Per­haps they chance to strike a right note, excite attention and from then on strike worse and worse notes, for good, natural reasons.

Now I remember the story. A True Man stares at his old shoes and sheepskin jacket. Every day he goes up to his attic to look at his work-shoes and worn-out coat. This is his wisdom, to remember the original clay and not get drunk with ego and arrogance. To visit those shoes and jacket is praise. The Absolute works with nothing. The workshop, the materials are what does not exist. Try and be a sheet of paper with nothing on it. Be a spot of ground where nothing is growing, where something might be planted, a seed, possibly, from the Absolute.

Feir said, “All we have to do is find Ezra’s secret entrance to Black Barrow, find Ezra’s workshop and his gold tools, find seven broken mistarille swords, rediscover a forging technique every present-day Maker's day Mays is a myth, find one giant ruby, and avoid detection by a couple of hundred Vürdmeisters plotting gods know what.” “Oh,” Antoninus said, waggling his great, single kohled eyebrow, “here I thought it was going to take all winter.

I felt myself floating between two worlds. There was the ocean, effectively infinite, falling away forever to the horizon. This morning it was placid, its grip on me loose and languorous. But I was lashed to its moods now. The attachment felt limitless, irresistible. I no longer thought of waves being carved in celestial workshops. I was getting more hardheaded. Now I knew they originated in distant storms, which moved, as it were, upon the face of the deep. But my utter absorption in surfing had no rational content. It simply compelled me; there was a deep mine of beauty and wonder in it. Beyond that, I could not have explained why I did it. I knew vaguely that it filled a psychic cavity of some kind—connected, perhaps, with leaving the church, or with, more likely, the slow drift away from my family—and that it had replaced many things that came before it. I was a sunburnt pagan now. I felt privy to mysteries.

EVERY WEDNESDAY, I teach an introductory fiction workshop at Harvard University, and on the first day of class I pass out a bullet-pointed list of things the students should try hard to avoid. Don’t start a story with an alarm clock going off. Don’t end a story with the whole shebang having been a suicide note. Don’t use flashy dialogue tags like intoned or queried or, God forbid, ejaculated. Twelve unbearably gifted students are sitting around the table, and they appreciate having such perimeters established. With each variable the list isolates, their imaginations soar higher. They smile and nod. The mood in the room is congenial, almost festive with learning. I feel like a very effective teacher; I can practically hear my course-evaluation scores hitting the roof. Then, when the students reach the last point on the list, the mood shifts. Some of them squint at the words as if their vision has gone blurry; others ask their neighbors for clarification. The neighbor will shake her head, looking pale and dejected, as if the last point confirms that she should have opted for that aseptic-surgery class where you operate on a fetal pig. The last point is: Don’t Write What You Know. The idea panics them for two reasons. First, like all writers, the students have been encouraged, explicitly or implicitly, for as long as they can remember, to write what they know, so the prospect of abandoning that approach now is disorienting. Second, they know an awful lot. In recent workshops, my students have included Iraq War veterans, professional athletes, a minister, a circus clown, a woman with a pet miniature elephant, and gobs of certified geniuses. They are endlessly interesting people, their lives brimming with uniquely compelling experiences, and too often they believe those experiences are what equip them to be writers. Encouraging them not to write what they know sounds as wrongheaded as a football coach telling a quarterback with a bazooka of a right arm to ride the bench. For them, the advice is confusing and heartbreaking, maybe even insulting. For me, it’s the difference between fiction that matters only to those who know the author and fiction that, well, matters.

What would you have done in the old days?’ he asked. ‘If you’d been piloting a gnat with this kind of damage?’ ‘Flown it back to a workshop in the Peerless for repairs.’ ‘And if you couldn’t use the engines until the repairs were completed?’ Tarquinia said, ‘Then I’d call someone for a tow. See how a lifetime of experience has prepared me for this moment?

In May 2012, Anna attended one of my four-day progressive workshops held in upstate New York. On the third day, during the last of four meditations, she completely surrendered and finally let go. For the first time since she had started meditating, she found herself floating in an infinite black space, aware that she was aware of herself. She had moved beyond the memory of who she was and became pure consciousness, totally free of her body, of her association to the material world, and of linear time. She felt so free that she no longer cared about her health conditions. She felt so unlimited that she couldn’t identify with her present identity. She felt so elevated that she was no longer connected to her past.

Darius? Are you sure you’re all right?” Back turned to Nicole, he closed his eyes. Of course he wasn’t all right. The woman he loved was bound and determined to leave him in six days, and he had no feasible plan to stop her. His hands balled into fists. How had he thought working alongside her would make the waiting more bearable? It was killing him. One minute he wanted to storm across the workshop, confront her with what he knew, and demand answers. The next he wanted to pull her into his arms and make her promise never to leave him.

He’s been a bit grumpy since Potato Day.’ She heard Gethin choke back a laugh. ‘He set up an all-day workshop on all things potato after reading up about successful winter events at other nurseries,’ she went on, unable to hide her own amusement. ‘It was a terrible failure. Hardly anyone turned up apart from our poet, Wilfie, who wrote a Potat-Ode to celebrate the occasion.

...one of the main purposes of our assesment is to find evidence of the children using these ideas to make decisions about their writing work each day, catching them in the act [of writing].

She wanted to spend the majority of her days locked in her workshop and then come out and be with Stephen, and then go back to her workshop. Right before he’d left the city, Stephen told him that she had moved a second chair into the workshop so that he could knit in the same room with her, which, judging by Stephen’s reaction, was a declaration of affection unmatched in modern times.

To have a man kiss you in a women’s jail is a gift better than any birthday or Christmas present. It’s better than a bouquet of roses. It’s better than a warm shower. I could imagine living in this jail for years and living for every workshop day and that male kiss on my cheek. That kiss was rain, sunshine, and the sweet air of outside. Yes. I knew I’d even sit there and glue stupid things onto cardboard sheets just to get that kiss again.

I broke my days into separate moments,” he said. “See, it’s true I didn’t have any more to look forward to. But on the other hand, there were these individual moments that I could still appreciate. Like drinking that first cup of coffee in the morning. Working on something fine in my workshop. Watching a baseball game on TV.” She thought that over. “But…” she said. He waited. “But…is that enough?” she asked him. “Well, yes, it turns out that it is,” he said.

Ladies and gentlemen, I feel that this award was not made to me as a man, but to my work - a life's work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin. But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing. Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed - love and honor and pity and pride and compassion and sacrifice. Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands. Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last dingdong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail. He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet's, the writer's, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet's voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

Being a feminist in principle is easy compared to being a feminist in practice. For men and women, living each day in practical defiance of thousands of years of gender-based streaming is so much harder than walking in marches, running workshops, and writing blog posts. It means questioning everything you do, moment by moment, day by day. It means thinking differently and making dozens of conscious decisions every day that you might have made on auto-pilot before. It's hard. It's taxing. It's tiring.

The privilege of actually smoking cigarettes was reserved for the Capo, who had his assured quota of weekly coupons; or possibly for a prisoner who worked as a foreman in a warehouse or workshop and received a few cigarettes in exchange for doing dangerous jobs. The only exceptions to this were those who had lost the will to live and wanted to “enjoy” their last days. Thus, when we saw a comrade smoking his own cigarettes, we knew he had given up faith in his strength to carry on, and, once lost, the will to live seldom returned.

for oxygen with our gills. (At this stage, by the way, we’re not even thinking about quality. The idea that you and I might eventually produce something—a book, a film, a start-up—worthy of the attention of another human being… that’s so far off, we can’t even conceive of it.) What we’re doing in fact is learning (teaching ourselves, because they don’t have courses in this stuff at the Wharton School or the Iowa Writers’ Workshop) how to manage our emotions, control our impulse to self-sabotage, and keep on truckin’ in the face of adversity.

The unpredictability of symptoms and their severity that sets chronic illness apart from certain physical disabilities can also make for “unreliable activists,” individuals who might be able to run workshops or attend policy meetings one day and be bedridden the very next.3

I was drawing near to the curve of the track; already the twelve hooves of those dead horses were visible in the distance, jutting towards the sky like the columns in the cathedral crypt at Stará Boleslav. I thought of Masha, and of how we met for the first time, when I was still with the track superintendent. He gave us two buckets of red paint and told us to paint the fence round the entire state workshops. Masha began by the railway track, just as I did. We stood facing each other with the tall wire fence between us, at our feet we each had a bucket of cinnabar paint, we each had a brush, and we stippled away with our brushes opposite each other and painted that fence, she from her side and I from mine. There were four kilometres altogether of this fence; for five months we stood facing each other like this, and there wasn't anything we didn't say to each other, Masha and I, but always there was this fence between us. After we'd painted two kilometres of it, one day I'd done just as high as Masha's mouth with this red colour, and I told her that I loved her, and she, from her side, had painted just up to there, too, and she said that she loved me, too ... and she looked into my eyes, and, as this was in a ditch and among tall goosefoot plants, I put out my lips, and we kissed through the newly painted fence, and when we opened our eyes she had a sort of tiny red fence-pale striped across her mouth, and so had I, and we burst out laughing, and from that moment on we were happy.

In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk... I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up. Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief. It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers. To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret! And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!... Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long? The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!

Some bears are sold for amazing sums at auction. An example is a very old stuffed individual named Mabel that had belonged to Elvis Presley (as a child or an adult?) and had been sold at auction several times after the King's death; it was made in the Steiff workshop in 1909. Its end was exceedingly sinister. Lent by its owner for an exhibition of stuffed bears in Wells, England, in which it was to be the star attraction, it provoked a hatred or jealousy of a young Doberman accompanying the night watchman after the first day of the exhibition. The dog seized the precious relic and furiously bit and clawed it to pieces. (252)

I broke my days into separate moments,” he said. “See, it’s true I didn’t have any more to look forward to. But on the other hand, there were these individual moments that I could still appreciate. Like drinking that first cup of coffee in the morning. Working on something fine in my workshop. Watching a baseball game on TV.

On grieving: I broke my days into separate moments. See, it's true, I didn't have any more to look forward to. But on the other hand, there were these individual moments that I could still appreciate. Like drinking that first cup of coffee in the morning. Working on something fine in my workshop. Watching a baseball game on TV.

Here are three things I know for sure: 1. When I was born, someone- I like to think it was my mother- wrapped me in a blue ball gown. 2. There is a color in this world that was named after a king's daughter, who always wore gowns that were made of exactly the same shade of blue. The stories about her make me wish sometimes I could have been friends with her; she smoked in public (at a time when women didn't), once jumped fully clothed into a swimming pool with the captain of a ship, often wore a boa constrictor around her neck, and another time shot at telegraph poles from a moving train. 3. My favorite story goes like this: once, on an island not far from here, there was a queen who climbed a tree waiting for her husband to return from a battle. She tied herself to a branch and vowed to remain there until he returned. She waited for so long that she slowly transformed into an orchid, which was an exact replica of the pattern on the blue gown she was wearing. Here's one more thing that I know for sure is true. On the day June told us she was going to hospital to bring you home, I was in the workshop pressing blue lady orchids. I've always loved them best because their centres are my favorite color: the color of the gown I was once wrapped in. The color of a king's wayward daughter favored. A color called Alice blue.

Ive grew up in Chingford, a town on the northeast edge of London. His father was a silversmith who taught at the local college. “He’s a fantastic craftsman,” Ive recalled. “His Christmas gift to me would be one day of his time in his college workshop, during the Christmas break when no one else was there, helping me make whatever I dreamed up.

During a workshop in San Francisco, I’d spent the night at the house of a lawyer named Anne. On her nightstand there was a thin book by a guy named Joel Kramer. Unable to sleep, I picked it up and leafed through the pages. He explained the emotions Caroline and I were feeling best: We have this idea that love is supposed to last forever. But love isn’t like that. It’s a free-flowing energy that comes and goes when it pleases. Sometimes it stays for life; other times it stays for a second, a day, a month, or a year. So don’t fear love when it comes simply because it makes you vulnerable. But don’t be surprised when it leaves, either. Just be glad you had the opportunity to experience it. I’m

All of us believe you belong here,” I’d said to the Elizabeth Garrett Anderson girls as they sat, many of them looking a little awestruck, in the Gothic old-world dining hall at Oxford, surrounded by university professors and students who’d come out for the day to mentor them. I said something similar anytime we had kids visit the White House—teens we invited from the Standing Rock Sioux Reservation; children from local schools who showed up to work in the garden; high schoolers who came for our career days and workshops in fashion, music, and poetry; even kids I only got to give a quick but emphatic hug to in a rope line. The message was always the same. You belong. You matter. I think highly of you. An economist from a British university would later put out a study that looked at the test performances of Elizabeth Garrett Anderson students, finding that their overall scores jumped significantly after I’d started connecting with them—the equivalent of moving from a C average to an A. Any credit for improvement really belonged to the girls, their teachers, and the daily work they did together, but it also affirmed the idea that kids will invest more when they feel they’re being invested in. I understood that there was power in showing children my regard.

For a man who had gone out of his way to avoid her during the first few days of her employment, Darius Thornton had become annoyingly attentive of late. He’d dined with her each of the last three nights, to Mrs. Wellborn’s delight and Nicole’s dismay. He insisted she attend him in the workshop every afternoon, either to talk through his latest investigative hypothesis or to assist with his efforts at salvaging what parts he could from the exploded boilers. And tonight, he’d called her into the study hours after the sun had set to go over the article chronicling the results of the boiler plate experiment she’d been working on for submission to the Franklin Institute’s journal. How in the world was she supposed to maintain a healthy emotional distance from the man if he insisted on constantly thrusting his physical self into her presence day and night?

Her mother had certainly made her childhood interesting. In those days, the castle was always crowded with soldiers in spiked armor and creatures that scurried through shadows and hissed at her. Quality time with Mother had included sitting on her lap while the queen met with her generals and hatched plots to kill, conquer, and rule, orspending hours in the dungeon workshop, coughing on smoke and helping Mother make toxic potions and evil spells.

Because, to do manual work now, means in reality to shut yourself up for ten or twelve hours a day in an unhealthy workshop, and to remain chained to the same task for twenty or thirty years, and maybe for your whole life. It means to be doomed to a paltry wage, to the uncertainty of the morrow, to want of work, often to destitution, more often than not to death in a hospital, after having worked forty years to feed, clothe, amuse, and instruct others than yourself and your children. It means to bear the stamp of inferiority all your life; because, whatever the politicians tell us, the manual worker is always considered inferior to the brain worker, and the one who has toiled ten hours in a workshop has not the time, and still less the means, to give himself the high delights of science and art, nor even to prepare himself to appreciate them; he must be content with the crumbs from the table of privileged persons.

At the first sound of the drum, the revolutionary movement died down. The more active layers of the workers were mobilized. The revolutionary elements were thrown from the factories to the front. Severe penalties were imposed for striking. The workers’ press was swept away. Trade unions were strangled. Hundreds of thousands of women, boys, peasants, poured into the workshops. The war—combined with the wreck of the International—greatly disoriented the workers politically, and made it possible for the factory administration, then just lifting its head, to speak patriotically in the name of the factories, carrying with it a considerable part of the workers, and compelling the more bold and resolute to keep still and wait. The revolutionary ideas were barely kept glowing in small and hushed circles. In the factories in those days, nobody dared to call himself “Bolshevik” for fear, not only of arrest, but of a beating from the backward workers.

But why can’t the language for creativity be the language of regeneration? You killed that poem, we say. You came in to that novel guns blazing. I am hammering this paragraph, I am banging them out, we say. I owned that workshop. I shut it down. I crushed them. We smashed the competition. I’m wrestling with the muse. The state, where people live, is a battleground state. The audience a target audience. ‘Good for you man,’ a man once said to me at a party, ‘you’re making a killing with poetry. You’re knocking ‘em dead.’ “-On Earth We’re Briefly Gorgeous, p. 179, Ocean Vuong “I am thinking of beauty again, how some things are hunted because we have deemed them beautiful. If, relative to the history of our planet, an individual life is so short, a blink of an eye, as they say, then to be gorgeous, even from the day you’re born to the day you die, is to be gorgeous only briefly. Like right now, how the sun is coming on, low behind the elms, and I can’t tell the difference between a sunset and a sunrise. The world, reddening, appears the same to me--and I lose track of east and west. The colors this morning have the frayed tint of something already leaving. I think of the time Trev and I sat on the toolshed roof, watching the sun sink. I wasn’t so much surprised by its effect--how, in a few crushed minutes, it changes the way things are seen, including ourselves--but that it was ever mine to see. Because the sunset, like survival, exists only on the verge of its own disappearing. To be gorgeous, you first must be seen, but to be seen allows you to be hunted

In those days there were two dark elves who lived in a fortress by the sea. They did magic there, and feats of alchemy. Like all dwarfs, they built things, wonderful, remarkable things, in their workshop and their forge. But there were things they had not yet made, and making those things obsessed them. They were brothers, and were called Fjalar and Galar. When they heard that Kvasir was visiting a town nearby, they set out to meet him. Fjalar and Galar found Kvasir in the great hall, answering questions for the townsfolk, amazing all who listened. He told the people how to purify water and how to make cloth from nettles. He told one woman exactly who had stolen her knife, and why. Once he was done talking and the townsfolk had fed him, the dwarfs approached. “We have a question to ask you that you have never been asked before,” they said. “But it must be asked in private. Will you come with us?” “I will come,” said Kvasir. They walked to the fortress. The seagulls screamed, and the brooding gray clouds were the same shade as the gray of the waves. The dwarfs led Kvasir to their workshop, deep within the walls of their fortress. “What are those?” asked Kvasir. “They are vats. They are called Son and Bodn.” “I see. And what is that over there?” “How can you be so wise when you do not know these things? It is a kettle. We call it Odrerir—ecstasy-giver.” “And I see over here you have buckets of honey you have gathered. It is uncapped, and liquid.” “Indeed we do,” said Fjalar. Galar looked scornful. “If you were as wise as they say you are, you would know what our question to you would be before we asked it. And you would know what these things are for.” Kvasir nodded in a resigned way. “It seems to me,” he said, “that if you were both intelligent and evil, you might have decided to kill your visitor and let his blood flow into the vats Son and Bodn. And then you would heat his blood gently in your kettle, Odrerir. And after that you would blend uncapped honey into the mixture and let it ferment until it became mead—the finest mead, a drink that will intoxicate anyone who drinks it but also give anyone who tastes it the gift of poetry and the gift of scholarship.” “We are intelligent,” admitted Galar. “And perhaps there are those who might think us evil.” And with that he slashed Kvasir’s throat, and they hung Kvasir by his feet above the vats until the last drop of his blood was drained. They warmed the blood and the honey in the kettle called Odrerir, and did other things to it of their own devising. They put berries into it, and stirred it with a stick. It bubbled, and then it ceased bubbling, and both of them sipped it and laughed, and each of the brothers found the verse and the poetry inside himself that he had never let out.

Since the arrows of criticism aimed at these legendary masters, who directed the workshops of their day now frequently strike me in the back, I want you to know that the hackneyed accusations leveled at us are entirely unfounded. These are the facts: 1. The reason we don’t like anything innovative is that there is truly nothing new worth liking. 2. We treat most men like morons because, indeed, most men are morons, not because we’re poisoned by anger, unhappiness or some other flaw in character. (Granted, treating these people better would be more refined and sensible.) 3. The reason I forget and confuse so many names and faces—except those of the miniaturists I’ve loved and trained since their apprenticeships—is not senility, but because these names and faces are so lackluster and colorless as to be hardly worth remembering.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

Walt Disney's orchestration of his animation studio was often likened to that of a Renaissance artist's workshop: 'Of all the things I've done,' he stated, 'the most vital is coordinating the talents of those who work for us and pointing them at a certain goal.' Disney understood the amorphous nature of his role as repeatedly relayed in what may be an apocryphal anecdote: 'You know,' Disney said, 'I was stumped one day when a little boy asked, 'Do you draw Mickey Mouse?' I had to admit I do not draw any more. 'Then you think up all the jokes and ideas?' 'No,' I said, 'I don't do that.' Finally, he looked at me and said, 'Mr. Disney, just what do you do?' 'Well,' I said, 'Sometimes I think of myself as a little bee. I go from one area of the studio to another and gather pollen and sort of stimulate everybody.' I guess that's the job I do.

As it turned out, Sharpe was right. Cooperation succumbed to market forces, but even more to the war waged on it by the business classes. By 1887 the latter were determined to destroy the Knights, with their incessant boycotts, their strikes (sometimes involving hundreds of thousands), their revolutionary agitation, and their labor parties organized across the country. In the two years after the infamous Haymarket bombing in Chicago and the Great Upheaval of 1886, in which 200,000 trade unionists across the country went on a four-day-long strike for the eight-hour day but in most cases failed—partly because Terence Powderly, the leader of the Knights, who had always disliked strikes, refused to endorse the action and encouraged the Knights not to participate—capitalist repression swept the nation. Joseph Rayback summarizes: The first of the Knights’ ventures to feel the full effect of the post-Haymarket reaction were their cooperative enterprises. In part the very nature of such enterprises worked against them. The successful ventures became joint-stock corporations, the wage-earning shareholders and managers hiring labor like any other industrial unit. In part the cooperatives were destroyed by inefficient managers, squabbles among shareholders, lack of capital, and injudicious borrowing of money at high rates of interest. Just as important was the attitude of competitors. Railroads delayed the building of tracks, refused to furnish cars, or refused to haul them. Manufacturers of machinery and producers of raw materials, pressed by private business, refused to sell their products to the cooperative workshops and paralyzed operations. By 1888 none of the Order’s cooperatives were in existence.170

Reva was partial to self-help books and workshops that usually combined some new dieting technique with professional development and romantic relationship skills, under the guise of teaching young women “how to live up to their full potential.” Every few weeks, she had a whole new paradigm for living, and I had to hear about it. “Get good at knowing when you’re tired,” she’d advised me once. “Too many women wear themselves thin these days.” A lifestyle tip from Get the Most Out of Your Day, Ladies included the suggestion to preplan your outfits for the workweek on Sunday evenings. “That way you won’t be second-guessing yourself in the morning.” I really hated when she talked like that. “And come out to Saints with me. It’s ladies’ night. Girls drink for free until eleven. You’ll feel so much better about yourself.” She was an expert at conflating canned advice with any excuse for drinking to oblivion.

He couldn’t believe his ears. She was rambling on about nonsense, and he needed to put a stop to it. “I don’t want to change you—” She cut him off. “From the day you came to the workshop, you told me I should sell the company and go to the south of France to celebrate. That I should wear my hair down and quit being a howling mass of anxiety. Zack, I don’t want to go to the south of France. I want to turn the clock back and reconstruct my life exactly as it was before the fire. I want my workshop back. I want to make watches and know what is on the schedule for the next day, next month, next year. I need order and stability.” His fist clenched around the leather sack. She was trying to cut him out of her life, and he wouldn’t let her. “And what about Colonel Lowe?” he demanded. “Is Colonel Lowe among the things you want?” She stiffened and couldn’t meet his eyes. “Richard means a lot to me,” she said softly. Richard. So he wasn’t even Colonel Lowe to her. A wave of heat crashed through his body, and he wanted to break something. He stood and stalked a few feet closer to the lake. He couldn’t bear to sit beside Mollie while she talked about another man, but she hadn’t stopped speaking. “Richard and I are very much alike,” she said. “I feel . . . safe with him. I don’t need to change to suit him.” “I don’t want to change you,” he said through clenched teeth. Where did she get these insane ideas? He could feel her slipping away from him, like water dribbling out of his cupped hands, and there was nothing he could do to stop it from draining away. “Please let me go,” she said. “I need to move on with the rest of my life, and I can’t do that with you in it. The notes need to stop. And the visits. I will be forever grateful for what you did for me on the night of the fire, but, Zack . . . that’s all there is. It was gratitude and the temporary rush of insanity because I was glad to be alive. You and I will never work.

Miserable beings, who, during their ragged infancy, ran barefoot in the mud of the crossings; shivering in winter near the quays, or seeking to warm themselves from the kitchens of M. Véfour, where you happen to be dining; scratching out, here and there, a crust of bread from the heaps of filth, and wiping it before eating; scraping in the gutter all day, with a rusty nail, in the hopes of finding a farthing; having no other amusement than the gratuitous sight of the king’s fête, and the executions — that other gratuitous sight: poor devils! whom hunger forces to theft, and theft to all the rest; children disinherited by their step-mother, the world; who are adopted by the house of correction, in their twelfth year, by the galleys at eighteen, and by the guillotine at forty! Unfortunate beings, whom, by means of a school and a workshop, you might have rendered good, moral, useful; and with whom you now know not what to do; flinging them away like a useless burthen, sometimes into the red antheaps of Toulon, sometimes into the silent cemetery of Clamart; cutting off life after taking away liberty.

Noah had grown tired of being a prophet of doom, forever announcing a catastrophe that never came and that no one took seriously. One day, he clothed himself in sackcloth and covered his head with ashes. Only a man who was mourning [the death of] a beloved child or his wife was allowed to do this. Clothed in the garb of truth, bearer of sorrow, he went back to the city, resolved to turn the curiosity, spitefulness, and superstition of its inhabitants to his advantage. Soon a small crowd of curious people had gathered around him. They asked him questions. They asked if someone had died, and who the dead person was. Noah replied to them that many had died, and then, to the great amusement of his listeners, said that they themselves were the dead of whom he spoke. When he was asked when this catastrophe had taken place, he replied to them: “Tomorrow.” Profiting from their attention and confusion, Noah drew himself up to his full height and said these words: “The day after tomorrow, the flood will be something that will have been. And when the flood will have been, everything that is will never have existed. When the flood will have carried off everything that is, everything that will have been, it will be too late to remember, for there will no longer be anyone alive. And so there will no longer be any difference between the dead and those who mourn them. If I have come before you, it is in order to reverse time, to mourn tomorrow’s dead today. The day after tomorrow it will be too late.” With this he went back whence he had come, took off the sackcloth [that he wore], cleaned his face of the ashes that covered it, and went to his workshop. That evening a carpenter knocked on his door and said to him: “Let me help you build the ark, so that it may become false.” Later a roofer joined them, saying: “It is raining over the mountains, let me help you, so that it may become false.”14

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

Rebecca Wallace-Segall, who teaches creative-writing workshops for kids and teens as director of Writopia Lab in New York City, says that the students who sign up for her classes “are often not the kids who are willing to talk for hours about fashion and celebrity. Those kids are less likely to come, perhaps because they’re less inclined to analyze and dig deep—that’s not their comfort zone. The so-called shy kids are often hungry to brainstorm ideas, deconstruct them, and act on them, and, paradoxically, when they’re allowed to interact this way, they’re not shy at all. They’re connecting with each other, but in a deeper zone, in a place that’s considered boring or tiresome by some of their peers.” And these kids do “come out” when they’re ready; most of the Writopia kids read their works at local bookstores, and a staggering number win prestigious national writing competitions. If your child is prone to overstimulation, then it’s also a good idea for her to pick activities like art or long-distance running, that depend less on performing under pressure. If she’s drawn to activities that require performance, though, you can help her thrive. When I was a kid, I loved figure skating. I could spend hours on the rink, tracing figure eights, spinning happily, or flying through the air. But on the day of my competitions, I was a wreck. I hadn’t slept the night before and would often fall during moves that I had sailed through in practice. At first I believed what people told me—that I had the jitters, just like everybody else. But then I saw a TV interview with the Olympic gold medalist Katarina Witt. She said that pre-competition nerves gave her the adrenaline she needed to win the gold. I knew then that Katarina and I were utterly different creatures, but it took me decades to figure out why. Her nerves were so mild that they simply energized her, while mine were constricting enough to make me choke. At the time, my very supportive mother quizzed the other skating moms about how their own daughters handled pre-competition anxiety, and came back with insights that she hoped would make me feel better. Kristen’s nervous too, she reported. Renée’s mom says she’s scared the night before a competition. But I knew Kristen and Renée well, and I was certain that they weren’t as frightened as I was

Something must be wrong then in art, or the happiness of life is sickening in the house of civilization. What has caused the sickness? Machine-labour will you say? Well, I have seen quoted a passage from one of the ancient Sicilian poets rejoicing in the fashioning of a water-mill, and exulting in labour being set free from the toil of the hand-quern in consequence; and that surely would be a type of man's natural hope when foreseeing the invention of labour-saving machinery as 'tis called; natural surely, since though I have said that the labour of which art can form a part should be accompanied by pleasure, so one could deny that there is some necessary labour even which is not pleasant in itself, and plenty of unnecessary labour which is merely painful. If machinery had been used for minimizing such labour, the utmost ingenuity would scarcely have been wasted on it; but is that the case in any way? Look round the world, and you must agree with John Stuart Mill in his doubt whether all the machinery of modern times has lightened the daily work of one labourer. And why have our natural hopes been so disappointed? Surely because in these latter days, in which as a matter of fact machinery has been invented, it was by no means invented with the aim of saving the pain of labour. The phrase labour-saving machinery is elliptical, and means machinery which saves the cost of labour, not the labour itself, which will be expended when saved on tending other machines. For a doctrine which, as I have said, began to be accepted under the workshop-system, is now universally received, even though we are yet short of the complete development of the system of the Factory. Briefly, the doctrine is this, that the essential aim of manufacture is making a profit; that it is frivolous to consider whether the wares when made will be of more or less use to the world so long as any one can be found to buy them at a price which, when the workman engaged in making them has received of necessaries and comforts as little as he can be got to take, will leave something over as a reward to the capitalist who has employed him. This doctrine of the sole aim of manufacture (or indeed of life) being the profit of the capitalist and the occupation of the workman, is held, I say, by almost every one; its corollary is, that labour is necessarily unlimited, and that to attempt to limit it is not so much foolish as wicked, whatever misery may be caused to the community by the manufacture and sale of the wares made.

CHALLENGES TO YOUNG POETS Invent a new language anyone can understand. Climb the Statue of Liberty. Reach for the unattainable. Kiss the mirror and write what you see and hear. Dance with wolves and count the stars, including the unseen. Be naïve, innocent, non-cynical, as if you had just landed on earth (as indeed you have, as indeed we all have), astonished by what you have fallen upon. Write living newspaper. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance level for hot air. Write and endless poem about your life on earth or elsewhere. Read between the lines of human discourse. Avoid the provincial, go for the universal. Think subjectively, write objectively. Think long thoughts in short sentences. Don't attend poetry workshops, but if you do, don't go the learn "how to" but to learn "what" (What's important to write about). Don't bow down to critics who have not themselves written great masterpieces. Resist much, obey less. Secretly liberate any being you see in a cage. Write short poems in the voice of birds. Make your lyrics truly lyrical. Birdsong is not made by machines. Give your poem wings to fly to the treetops. The much-quoted dictum from William Carlos Williams, "No ideas but in things," is OK for prose, but it lays a dead hand on lyricism, since "things" are dead. Don't contemplate your navel in poetry and think the rest of the world is going to think it's important. Remember everything, forget nothing. Work on a frontier, if you can find one. Go to sea, or work near water, and paddle your own boat. Associate with thinking poets. They're hard to find. Cultivate dissidence and critical thinking. "First thought, best thought" may not make for the greatest poetry. First thought may be worst thought. What's on your mind? What do you have in mind? Open your mouth and stop mumbling. Don't be so open minded that your brains fall out. Questions everything and everyone. Be subversive, constantly questioning reality and status quo. Be a poet, not a huckster. Don't cater, don't pander, especially not to possible audiences, readers, editors, or publishers. Come out of your closet. It's dark there. Raise the blinds, throw open your shuttered windows, raise the roof, unscrew the locks from the doors, but don't throw away the screws. Be committed to something outside yourself. Be militant about it. Or ecstatic. To be a poet at sixteen is to be sixteen, to be a poet at 40 is to be a poet. Be both. Wake up and pee, the world's on fire. Have a nice day.

Today I had a lively discussion with a merchant in Fez with a view to finding out what the Moors think of European civilization.... He was a fine man, about forty years old, with an honest and serious face, who had made business visits to the most important cities in Western Europe and had lived for a long time in Tangier, where he learnt Spanish.... I asked him therefore what kind of impression the large cities of Europe had made on him.... He looked hard at me and answered coldly: “Large streets, fine shops, beautiful palaces, good workshops, everything clean.” He gave the impression that with these words, he had mentioned everything in our countries that was worthy of praise. “Have you not found anything else in Europe that is beautiful and good?” I asked. He looked at me questioningly. “Is it possible,” I went on, “that an intelligent man like you, who has visited several countries so marvelously superior to your own can speak about them without astonishment, or at least without the emotion of a country boy who has seen the pasha’s palace? What can you possibly admire in the world? What sort of people are you? Who can possibly understand you?” “Perdone Usted”, he answered coldly, “it is for me to say that I cannot understand you. I have told you all the things which I consider to be better in Europe. What more can I say? Have I to say something that I do not believe to be true? I repeat that your streets are larger than ours, your shops finer, that you have workshops such as we do not have, and also rich palaces. That is all. I can only add one more thing: that you know more than we do, because you have many books, and read more.” I became impatient. “Do not lose patience, Caballero,” he said, “let us speak together calmly. Is not a man’s first duty honesty? Is it not honesty more than anything else that makes a man worthy of respect, and one country superior to another? Very well, then. As far as honesty is concerned, your countries are certainly not better than ours. That much I can say right away.” “Gently, gently!” I said, “Tell me first what you mean by honesty!” “Honesty in business, Caballero. The Moors, for example, sometimes cheat the Europeans in trade, but you Europeans cheat the Moors much more often.” “There must be a few cases,” I replied, in order to say something. “Casos raros?” he exclaimed angrily. “It happens every day! Proof: I go to Marseilles. I buy cotton. I choose a particular thread, give the exact reference number and brand-name, as well as the amount required. I ask for it to be sent, I pay, and I return home. Back in Morocco, I receive the cotton. I open the consignment, and take a look. I find the same number, the same brand-name, and a thread that is of one third the thickness! This is anything but good, and I lose thousands of francs! I rush to the consulate, but in vain. Another case: A merchant from Fez places an order in Europe for blue cloth, so many pieces, of such and such a length and breadth. He pays for it when the bargain is made. In due course he receives the cloth, opens the package, and checks the measurements. The first pieces are all right, those underneath are shorter, and those lowest down are half a meter too short! The cloth cannot be used for cloaks, and the merchant is ruined. . . . And so on and so on!

THE VISION EXERCISE Create your future from your future, not your past. WERNER ERHARD Erhard Founder of EST training and the Landmark Forum The following exercise is designed to help you clarify your vision. Start by putting on some relaxing music and sitting quietly in a comfortable environment where you won’t be disturbed. Then, close your eyes and ask your subconscious mind to give you images of what your ideal life would look like if you could have it exactly the way you want it, in each of the following categories: 1. First, focus on the financial area of your life. What is your ideal annual income and monthly cash flow? How much money do you have in savings and investments? What is your total net worth? Next . . . what does your home look like? Where is it located? Does it have a view? What kind of yard and landscaping does it have? Is there a pool or a stable for horses? What does the furniture look like? Are there paintings hanging in the rooms? Walk through your perfect house, filling in all of the details. At this point, don’t worry about how you’ll get that house. Don’t sabotage yourself by saying, “I can’t live in Malibu because I don’t make enough money.” Once you give your mind’s eye the picture, your mind will solve the “not enough money” challenge. Next, visualize what kind of car you are driving and any other important possessions your finances have provided. 2. Next, visualize your ideal job or career. Where are you working? What are you doing? With whom are you working? What kind of clients or customers do you have? What is your compensation like? Is it your own business? 3. Then, focus on your free time, your recreation time. What are you doing with your family and friends in the free time you’ve created for yourself? What hobbies are you pursuing? What kinds of vacations do you take? What do you do for fun? 4. Next, what is your ideal vision of your body and your physical health? Are you free of all disease? Are you pain free? How long do you live? Are you open, relaxed, in an ecstatic state of bliss all day long? Are you full of vitality? Are you flexible as well as strong? Do you exercise, eat good food, and drink lots of water? How much do you weigh? 5. Then, move on to your ideal vision of your relationships with your family and friends. What is your relationship with your spouse and family like? Who are your friends? What do those friendships feel like? Are those relationships loving, supportive, empowering? What kinds of things do you do together? 6. What about the personal arena of your life? Do you see yourself going back to school, getting training, attending personal growth workshops, seeking therapy for a past hurt, or growing spiritually? Do you meditate or go on spiritual retreats with your church? Do you want to learn to play an instrument or write your autobiography? Do you want to run a marathon or take an art class? Do you want to travel to other countries? 7. Finally, focus on the community you’ve chosen to live in. What does it look like when it is operating perfectly? What kinds of community activities take place there? What charitable, philanthropic, or volunteer work? What do you do to help others and make a difference? How often do you participate in these activities? Who are you helping? You can write down your answers as you go, or you can do the whole exercise first and then open your eyes and write them down. In either case, make sure you capture everything in writing as soon as you complete the exercise. Every day, review the vision you have written down. This will keep your conscious and subconscious minds focused on your vision, and as you apply the other principles in this book, you will begin to manifest all the different aspects of your vision.

development starts with awarding a one-credit-hour payment to each faculty member who participates in a weeklong program in August. The program continues with three credit hours of release time during the fall term, which allow new faculty to meet once a week with campus mentors and attend an intensive four-day instructional skills workshop in the spring. The college also pays for program costs.

Fines, often in the thousands of dollars, are assessed against many prisoners when they are sentenced. There are twenty-two fines that can be imposed in New Jersey, including the Violent Crime Compensation Assessment (VCCA), the Law Enforcement Officers Training & Equipment Fund (LEOT), and Extradition Costs (EXTRA). The state takes a percentage each month out of a prisoner’s wages to pay for penalties. It can take decades to pay fines. Some 10 million Americans owe $50 billion in fees and fines because of their arrest or imprisonment, according to a 2015 report by the Brennan Center. If a prisoner who is fined $10,000 at sentencing relies solely on a prison salary, he or she will owe about $4,000 after making monthly payments for twenty-five years. Prisoners often leave prison in debt to the state. And if they cannot continue to make regular payments—difficult because of high unemployment among ex-felons—they are sent back to prison. High recidivism is part of the design. Most of the prison functions once handled by governments have become privatized. Corporations run prison commissaries and, since the prisoners have nowhere else to shop, often jack up prices by as much as 100 percent. Corporations have taken over the phone systems and grossly overcharge prisoners and their families. They demand exorbitant fees for money transfers from families to prisoners. And corporations, with workshops inside prisons, pay little more than a dollar a day to prison laborers. Food and merchandise vendors, construction companies, laundry services, uniform companies, prison equipment vendors, cafeteria services, manufacturers of pepper spray, body armor, and the array of medieval-looking instruments used for the physical control of prisoners, and a host of other contractors feed like jackals off prisons. Prisons, in America, are big business.

Down the hall where free day care was being offered, children of parents in the workshops were likewise learning Imago dialogue, and I stopped in to watch. 'What I'm hearing you saying is my bike was in the driveway and you hurt your leg,' one second grader told another kid. 'Did I get that right?

Like the rainbow in clouds and the rain drop in mud You irked like a torn of love in my heart. My naught desire is burning, as my beautiful hope is unfulfilled. Is it to raise the madness of love in me or to kill me? You are the girl I wished for, the damsel that left me, you are a merciless demon and the craze in my heart. You are a fish eyed beauty and a surprising sage, you are my moonlight in the dark... Come to me my beloved!! How do I live without you? Come to me my beloved! Can’t you be seen to my eyes? I am living in your thoughts this way... I considered you my heartbeat, how do I live without you? Come to me my beloved! My dear girl, oh beauty bird.. my heart slipped down magically and started roaming around you chanting your name in your quest, dancing just like you to reach me. How many days or years it might be, I would be waiting to see you even if it takes a hundred years. Let there be any dangers or whirlpools ahead, oh my love.. I will be beside you in everything. Shall we exist as one together? This is a never-ending celebration. Oh my gosh, my gorgeous babe.. You are a sweet unforgettable thought. Glimpses of your twittering laugh and the gleam of your eyes can be seen tempting deep in my heart. Wherever I am and whatever I do. I keep seeing the love of billions of my dreams. Shall I place you deep inside my carved heard and workshop you with the flowers of my blood? Shall we pull the time backwards and write our story again? How do I live without you? Come to me my beloved!

Turning from the dressing table, Cass went to her armoire. Inside, behind all of the neatly folded gowns, was the picture of her that Falco had painted. She pulled it out and carried it over to her bed. As she sat beside it, her fingers tracing the paint’s uneven texture, her heart remembered each moment of the night the painting had been started. The girl on the canvas was a stranger. She looked young and innocent. Delirious with joy. Her eyes were filled with light. “Those were the days, weren’t they?” That voice. Could it be? With her heart trembling and her breath lodged in her throat like a stone, Cass lifted her eyes. It was. “Falco,” she breathed. His bruises from being beaten at de Gradi’s workshop had healed. He looked a little thinner than Cass had remembered, but otherwise the same as the day they had met. Smiling fondly down at the painting, he said, “I’m glad that you kept it.” “How did you--” “Get inside?” He spun around once, and Cass realized he was wearing the blue-and-silver livery of the Querini estate. “You act as if I’ve never done this before.

The only way to begin is to begin, and begin right now. If you like, begin the minute you finish reading this paragraph. For sure, begin before you finish reading this book. I have no doubt the day is coming when you will be wiser or better informed or more highly skilled than you are now, but you will never be more ready to begin writing than you are right this minute. The time has come.

Because, to do manual work now, means in reality to shut yourself up for ten or twelve hours a day in an unhealthy workshop, and to remain riveted to the same task for twenty or thirty years, and maybe for your whole life. It means to be doomed to a paltry wage, to the uncertainty of the morrow, to want of work, often to destitution, more often than not to death in a hospital, after having worked forty years to feed, clothe, amuse, and instruct others than yourself and your children. It means to bear the stamp of inferiority all your life, because, whatever the politicians tell us, the manual worker is always considered inferior to the brain worker, and the one who has toiled ten hours in a workshop has not the time, and still less the means, to give himself the high delights of science and art, nor even to prepare himself to appreciate them; he must be content with the crumbs from the table of privileged persons.

I shouldn’t have suggested it. I’m making a nuisance of myself again—” He stopped her with a touch to her hand. He was being presumptuous again. But he had to make sure she understood, that in spite of everything that had happened, he didn’t blame her in any way. He laced his fingers through hers and drew her back. He took courage when she didn’t resist. With his other hand he tenderly lifted her chin to gaze into her eyes. “You have never, and could never, be a nuisance to me.” What had happened to her to make her think so little of herself? He caressed the smooth porcelain of her cheek. “Every second of every minute I’ve spent with you over the past weeks has brought me immense pleasure.” “I’ve brought you trouble.” He rubbed his thumb across the delicate arch of her cheekbone, relishing the silkiness of her skin. “God has used you to help me grow. And I thank Him for that. I wish we didn’t have to part ways.” “Then will you think about opening a new chapel and helping me to run the workshop?” He hesitated once more, which only caused her to break free and retreat to the door. “Wait, Christine. Could you give me a few days to pray about it?” She halted. “Perhaps I just need to have more faith that God will provide for my needs. After all, other missionaries have stepped out in faith, those with much less than me.

At the ukulele workshop that summer. He lectured on the four-note chord in the context of timelessness, and described himself then as a Quaternionist. We had quickly discovered our common love of the instrument,” Miles recalled,“ and discussed the widespread contempt in which ukulele players are held— traceable, we concluded, to the uke’s all-but-exclusive employment as a producer of chords—single, timeless events apprehended all at once instead of serially. Notes of a linear melody, up and down a staff, being a record of pitch versus time, to play a melody is to introduce the element of time, and hence of mortality. Our perceived reluctance to leave the timelessness of the struck chord has earned ukulele players our reputation as feckless, clownlike children who will not grow up.

He went on to tell me that before the workshop he hadn’t cried for years, even when his father died, even when his wife told him she was leaving. “I am so glad to finally feel something.” He sighed, touching his heart. “Even if I have to cry every day for a couple of years, it’s better than having a frozen heart.” Ever

The best tested are Elevate, Lumosity, Fit Brains, Brain HQ, and Brain Workshop. Many are effective in as little as ten to twenty minutes per day, five times per week, and four of the five (at time of publication) can be downloaded and used on your smartphone.

Story 6: Ferrari In 1948, a peasant farmer started a business making tractors. Within five years this man – Ferruccio – was one of the richest men in Italy. He amassed a fine collection of cars – Alfa Romeos, Maseratis, Lancias – but his heart belonged to his Ferraris, of which he owned six. Just one thing bothered him: all of his Ferraris had clutch problems. One day in his workshop he discovered why: the clutch in his Ferraris was the same part he used in his tractors. Ferruccio complained to Enzo Ferrari, who replied: “Ferruccio, you may be able to drive a tractor but you will never be able to handle a Ferrari properly.” Ferruccio was furious. He vowed to make a car worthy of beating a Ferrari. And as it happens, that’s exactly what he did. He took his revenge by creating one of the most powerful, well renowned cars in the world. The farmer’s full name: Ferruccio Lamborghini. How to use this story This story works well any time you’re working on a goal that some people doubt can be achieved. It’s good for encouraging your audience to dig deep and prove the doubters wrong!

He wanted to say, oh, how he wanted to say: Craftsmen. D’you know what that means? It means men with some pride, who get fed up and leave when they’re told to do skimpy work in a rush, no matter what you pay them. So I’m employing people as “craftsmen” now who’re barely fit to sweep out a workshop. But you don’t care, because if they don’t polish a chair with their arse all day you think a man who’s done a seven-year apprenticeship is the same as some twerp who can’t be trusted to hold a hammer by the right end. He didn’t say this aloud, because although an elderly man probably has a lot less future than a man of twenty, he’s far more careful about it . . .

Here is a list of a few of the activities that you should attempt every day. (If you are comfortable with any of the activities listed below, please replace them with a set of activities that scare you a lot.) ● Volunteer to speak in public. ● Dance in public. ●      Reach out to well-known figures in case you come across any of them. ● Publicly share your aspirations. ●      In seminars, workshops, meetings, or any other public forum, ask lots of questions to get all your doubts clarified, even at the cost of being considered a fool. ●      Ask a total stranger for a favor in a calm, matter-of-fact way. ●      If you are still not a YouTuber, start your channel. Post your video on it. ● Post something bizarre, unconventional, something that you normally would never do.

The kings, who are the most set on destroying the feudal baronies, are also the best friends of the merchants, the bankers and the master manufacturers. A shipowner is not the chieftain of a gang of sailors whom he abstracts from Power's clutch, but rather an employer of labour who on the contrary, makes them available to power when the time comes for it to require them; In this way, it is explained the favour shown by Francis I, to take one instance towards, Ango. A banker is not after political power - he is after wealth. His function is to build a sort of store-house on which, when the when the time is ripe, Power will draw to transmute this wealth into strength. A mercantile aristocracy, then, so far from abstracting anything from the state's resources, makes potential additions to them which will, when circumstances so require, be realized. This is the only aspect under which, for many years, Power saw the money power. But in the end the overthrow of every other social domination of whatever kind left financial domination master of the field. At that stage it was seemed to be the formative source of fresh cells. That showed itself clearly enough in the case of the industrial employers. Not only was the employer the law in his factory, but quite often he would put up nearby a township for his workers in which he had the position of prince. A point was reached at some of the states of the USA, at which the manufacturer, owning as he did the land on which the factory had been built, allowed on it no other police than his own. In its jealousy of any and every command, however small, which was not its own, Power could not tolerate such independence. Moreover, as in every other battle which it had fought with aristocratic formations, it soon found itself appealed to by the underlings. Then it made its way not only into the employer's township but into his workshop as well; there it introduced its own law, its own police and its own factory regulations. If its earlier aggressions against closed aristocratic formations were not our old friends, we might be tempted to see in this one nothing more than a result of the popular character of the modern state, and of socialist ideas. These factors played, no doubt, their part, but no more was needed, than that Power should be itself - a thing naturally tending to shut out the intervention of all other authorities. The financial cell is less visible to the eye than the industrial cell. But its hold on money, and above all by its disposal of vast amounts of private savings, finance has been able to build up a vast structure and impose on the ever growing number of its subjects and authority which is ever plainer on the planer to the view on the empires of finance, also, power made war. The signal for battle was not given by a socialist state, the natural enemy of the barons of capital. It came from Theodore Roosevelt, himself a man of Power, and therefore the enemy of all private authorities. In this way, a new alliance was sealed - an alliance no less natural than that of the Power of early days with the prisoners of the clan-cells, than that of the monarchy with the subjects of the feudal barons - that of the modern state with the men exploited by capitalist industry, with the men dominated by the financial trusts. The state has often waged this particular war half-heartedly, thereby making the extent to which it has turned its back on itself and has renounced its role of Power. And renunciation was in this case favoured by the internal weakness of modern Power; the precariousness of its tenure encouraged its phantom tenants to betray it in favor of the financial aristocracies. But Power has natural charms for those who desire it for its use. It was a certain that anti-capitalists would come to occupy the public offices of the bourgeois state, as it was certain that anti-feudalists would come to occupy those of the monarchial state.

The truth is that some days I feel I am ready for freedom and other days I am so tired I don’t want the responsibility it brings into my life. I want a rest from choosing, from trying to increase my ability to choose wisely. And then, in a moment of grace, I am given a certainty: if I never did one more meditation, ceremony, workshop, therapy session, course, or cleansing diet, never attended one more meeting or participated in one more community cause, never wrote another line... it would be okay. It would truly be okay. For a moment, as I fully feel this revelation, I am free to move toward what I love.

Doyle was puzzled by the instructions and by the fact that they carried no signature. He looked again at the label. It had been typed on the standard office machine of the radio department. This also puzzled him. He turned toward the door, intending to ask Rogers for a comment. Rogers had disappeared. Doyle shrugged and turned back to the heater. For a moment he toyed with the heater, then plugged it into the workbench’s double-outlet plug. He flicked the switch on the outlet plug. The resulting explosion broke windows in the workshop, and shook the main police headquarters building over two hundred feet away. It was a miracle that Doyle escaped death. His left hand, left leg, and right foot were smashed. His left eardrum was fractured. He was rushed to Bayonne Hospital, where he underwent an emergency operation. The next day Rogers visited Vincent Doyle in the hospital, and asked through his tears: “How can I get the guy who did this to you?” Two weeks later Rogers was charged with the attempted murder of Vincent Doyle.

Almost every day a beautiful woman wearing a ball gown made of grey parachute silk and a broad-brimmed hat trimmed with grey roses visits me. Hardly have I sat down in my armchair, tired from work, but I hear her steps outside on the pavement. She sweeps in at the gate, past the almond tree, and there she is, on the threshold of my workshop. Hastily she comes over to me, like a doctor afraid that she may be too late to save a sinking patient. She takes off her hat and her hair tumbles about her shoulders, she strips off her fencing gloves and tosses them onto this little table, and she bends down towards me. I close my eyes in a swoon – and how it goes on after that point, I do not know. One thing is certain: we never say a word. The scene is always a silent one. I think the grey lady understands only her mother tongue, German, which I have not once spoken since I parted from my parents at Oberwiesenfeld airport in Munich in 1939, and which survives in me as no more than an echo, a muted and incomprehensible murmur. It may possibly have something to do with this loss of language, this oblivion, Ferber went on, that my memories reach no further back than my ninth or eighth year, and that I recall little of the Munich years after 1933 other than processions, marches and parades.

The ass is an animal who is celebrated as the greatest fool, even amongst the animals. The ass works very hard and carries burdens of the maximum weight without making profit for itself.* The ass is generally engaged by the washerman, whose social position is not very respectable. And the special qualification of the ass is that it is very much accustomed to being kicked by the opposite sex. When the ass begs for sexual intercourse, he is kicked by the fair sex, yet he still follows the female for such sexual pleasure. A henpecked man is compared, therefore, to the ass. The general mass of people work very hard, especially in the Age of Kali. In this age the human being is actually engaged in the work of an ass, carrying heavy burdens and driving ṭhelā and rickshaws. The so-called advancement of human civilization has engaged a human being in the work of an ass. The laborers in great factories and workshops are also engaged in such burdensome work, and after working hard during the day, the poor laborer has to be again kicked by the fair sex, not only for sex enjoyment but also for so many household affairs. So

Her mother had certainly made her childhood interesting. In those days, the castle was always crowded with soldiers in spiked armor and creatures that scurried through shadows and hissed at her. Quality time with Mother had included sitting on her lap while the queen met with her generals and hatched plots to kill, conquer, and rule, or spending hours in the dungeon workshop, coughing on smoke and helping Mother make toxic potions and evil spells.

Our Skirt (by Kathy Boudin) You were forty-five and I was fourteen when you gave me the skirt. ¨It's from Paris!¨ you said as if that would impress me who at best had mixed feelings about skirts. But I was drawn by that summer cotton with splashes of black and white--like paint dabbed by an eager artist. I borrowed your skirt and it moved like waves as I danced at a ninth grade party. Wearing it date after date including my first dinner with a college man. I never was much for buying new clothes, once I liked something it stayed with me for years. I remember the day I tried ironing your skirt, so wide it seemed to go on and on like a western sky. Then I smelled the burning and, crushed, saw that I had left a red-brown scorch on that painting. But you, Mother, you understood because ironing was not your thing either. And over the years your skirt became my skirt until I left it and other parts of home with you. Now you are eighty and I almost fifty. We sit across from each other in the prison visiting room. Your soft gray-thin hair twirls into style. I follow the lines on your face, paths lit by your eyes until my gaze comes to rest on the black and white on the years that our skirt has endured.

Different people had different energy demands. Some people took more from me than others. Dad, for example, was low energy. I could spend days with him in his workshop and never feel like I needed a break. Jill and Jane were easy too. But Mom and Jeremiah and Jewel? They were high-energy people who could drain me in a matter of minutes. There was only so much of them I could handle.

Interactions like this one didn’t wear me out. They knew me. They didn’t take it personally if I slipped into silence and just listened. They didn’t give me a hard time about not having any alcohol, which is something I never did either, to anyone. You never knew what someone’s reason was for not drinking. These friends were easy. Not all of them were. Different people had different energy demands. Some people took more from me than others. Dad, for example, was low energy. I could spend days with him in his workshop and never feel like I needed a break. Jill and Jane were easy too. But Mom and Jeremiah and Jewel? They were high-energy people who could drain me in a matter of minutes. There was only so much of them I could handle.

One day in 1885, the twenty-three-year old Henry Ford got his first look at the gas-powered engine, and it was instant love. Ford had apprenticed as a machinist and had worked on every conceivable device, but nothing could compare to his fascination with this new type of engine, one that created its own power. He envisioned a whole new kind of horseless carriage that would revolutionize transportation. He made it his Life’s Task to be the pioneer in developing such an automobile. Working the night shift at the Edison Illuminating Company as an engineer, during the day he would tinker with the new internal-combustion engine he was developing. He built a workshop in a shed behind his home and started constructing the engine from pieces of scrap metal he salvaged from anywhere he could find them. By 1896, working with friends who helped him build a carriage, he completed his first prototype, which he called the Quadricycle, and debuted it on the streets of Detroit. At the time there were many others working on automobiles with gas-powered engines. It was a ruthlessly competitive environment in which new companies died by the day. Ford’s Quadricycle looked nice and ran well, but it was too small and incomplete for large-scale production. And so he began work on a second automobile, thinking ahead to the production end of the process. A year later he completed it, and it was a marvel of design. Everything was geared toward simplicity and compactness. It was easy to drive and maintain. All that he needed was financial backing and sufficient capital to mass-produce it. To manufacture automobiles in the late 1890s was a daunting venture. It required a tremendous amount of capital and a complex business structure, considering all of the parts that went into production. Ford quickly found the perfect backer: William H. Murphy, one of the most prominent businessmen in Detroit. The new company was dubbed the Detroit Automobile Company, and all who were involved had high hopes. But problems soon arose. The car Ford had designed as a prototype needed to be reworked—the parts came from different places; some of them were deficient and far too heavy for his liking. He kept trying to refine the design to come closer to his ideal. But it was taking far too long, and Murphy and the stockholders were getting restless. In 1901, a year and a half after it had started operation, the board of directors dissolved the company. They had lost faith in Henry Ford.

Scientists debate each other’s findings in the halls of science—universities, laboratories, government agencies, conferences, and workshops. They do not normally organize petitions, particularly public ones whose signatories may or may not circulated information soliciting signatures on a petition “refuting” global warming.14 He did this in concert with a chemist named Arthur Robinson, who composed a lengthy piece challenging mainstream climate science, formatted to look like a reprint from the Proceedings of the National Academy of Sciences. The “article”—never published in a scientific journal, but summarized in the Wall Street Journal—repeated a wide range of debunked claims, including the assertion that there was no warming at all.15 It was mailed to thousands of American scientists, with a cover letter signed by Seitz inviting the recipients to sign a petition against the Kyoto Protocol.16 Seitz’s letter emphasized his connection with the National Academy of Sciences, giving the impression that the whole thing—the letter, the article, and the petition—was sanctioned by the Academy. Between his mail-in card and a Web site, he gained about fifteen thousand signatures, although since there was no verification process there was no way to determine if these signatures were real, or if real, whether they were actually from scientists.17 In a highly unusual move, the National Academy held a press conference to disclaim the mailing and distance itself from its former president.18 Still, many media outlets reported on the petition as if it were evidence of genuine disagreement in the scientific community, reinforced, perhaps, by Fred Singer’s celebration of it in the Washington Times the very same day the Academy rejected it.19 The “Petition Project” continues today. Fred Seitz is dead, but his letter is alive and well on the Internet, and the project’s Web site claims that its signatories have reached thirty thousand.20

Never have I seen so many young, privileged, people trying so hard to be happy. There are countless articles written about it, blogs named for it, workshops attending to it. Who ever said we’re supposed to be happy all the time, anyway? We’re not. And the pressure to do so might be what’s making us unhappy to begin with. It’s OK if you’re not completely content with your life twenty-four hours a day. Can you imagine what a boring person you’d be if you were? Going through shit storms, feeling uninspired, hating the way you look and having guilt over not accomplishing enough are just some of the things that make you interesting, relatable and human. Not to mention, if you’re reading this, then you have internet access and if you have internet access, it stands to reason that you have a computer, which makes me think you probably have a place to live, with electricity and plenty of food to eat and clean clothes to wear, which are all things that an enormous amount of people living on the planet today do not have. This is not to say that people shouldn’t strive to better their positions in life, however it seems like so many of us are no longer content with a regular amount of happy, yet dead-set on being maniacally jubilant, all of the time.

Though now that I think about it, the workshop that day was probably focused on revision, as in Your First Draft Sucks and You Have a Thousand Do-Overs Before You Get It Right. Think of it this way: Build a city, then blow it up to save it. Invent a road to take you far out of town, then start over with one good brick.

Lean Start-In” workshop. Employee teams bring an idea for a significant unmet customer need, and in two days the team goes through the entire cycle of validating a customer pain, prototyping a solution, and testing it with customers.

destinations and teach field workshops on landscape, close-up, and hummingbird photography. More than 50,000 people have attended their intensive 1 -day nature photography instructional seminars. Both love to teach others

Beneath Albright’s office, the colliery sprawled across the hillside, red brick buildings scattered as though hurled from a great height, a hotchpotch of mismatched structures spattered on the valley floor. At the bottom stood the winding house, wheels motionless, above it, the engineering sheds and workshops, canteen and bath house. All lay empty. No buzz and hum of machinery. No voices raised in laughter or dispute. Gwyn found it unsettling: his lads had been out a month and a half and already the power had drained from the place. In the stillness, he caught the echo of footsteps. The crunch of boots on gravel. Generations of long-gone Pritchards clocking in and out. He was bound to Blackthorn by the coal that clogged his veins and by a bond of duty. The strike left him as diminished as his pit, day dragging after idle day.