Worms Eye View Quotes

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Father . . . ," Gabriel began. "Father is a worm." Will gave a short laugh. He was in gear as if he had just come from the practice room, and his hair curled damply against his temples. He was not looking at Tessa, but she had grown used to that. Will hardly ever looked at her unless he had to. "It's good to see you've come round to our view of things, Gabriel, but this is an unusual way of announcing it." Gideon shot Will a reproachful look before turning back to his brother. "What do you mean, Gabriel? What did Father do?" Gabriel shook his head. "He's a worm," he said again, tonelessly. "I know. He has brought shame on the name of Lightwood, and lied to both of us. He shamed and destroyed our mother. But we need not be like him." Gabriel pulled away from his brother's grip, his teeth suddenly flashing in an angry scowl. "You're not listening to me," he said. "He's a worm. A worm. A bloody great serpentlike thing. Since Mortmain stopped sending the medicine, he's been getting worse. Changing. Those sores upon his arms, they started to cover him. His hands, his neck, h-his face . . ." Gabriel's green eyes sought Will. "It was the pox, wasn't it? You know all about it, don't you? Aren't you some sort of expert?" "Well, you needn't act as if I invented it," said Will. "Just because I believed it existed. There are accounts of it—old stories in the library—
Cassandra Clare (The Infernal Devices: Clockwork Princess (The Infernal Devices: Manga, #3))
I’ve laid down ten statistical commandments in this book. First, we should learn to stop and notice our emotional reaction to a claim, rather than accepting or rejecting it because of how it makes us feel. Second, we should look for ways to combine the “bird’s eye” statistical perspective with the “worm’s eye” view from personal experience. Third, we should look at the labels on the data we’re being given, and ask if we understand what’s really being described. Fourth, we should look for comparisons and context, putting any claim into perspective. Fifth, we should look behind the statistics at where they came from—and what other data might have vanished into obscurity. Sixth, we should ask who is missing from the data we’re being shown, and whether our conclusions might differ if they were included. Seventh, we should ask tough questions about algorithms and the big datasets that drive them, recognizing that without intelligent openness they cannot be trusted. Eighth, we should pay more attention to the bedrock of official statistics—and the sometimes heroic statisticians who protect it. Ninth, we should look under the surface of any beautiful graph or chart. And tenth, we should keep an open mind, asking how we might be mistaken, and whether the facts have changed.
Tim Harford (The Data Detective: Ten Easy Rules to Make Sense of Statistics)
What, in fact, do we know about the peak experience? Well, to begin with, we know one thing that puts us several steps ahead of the most penetrating thinkers of the 19th century: that P.E’.s are not a matter of pure good luck or grace. They don’t come and go as they please, leaving ‘this dim, vast vale of tears vacant and desolate’. Like rainbows, peak experiences are governed by definite laws. They are ‘intentional’. And that statement suddenly gains in significance when we remember Thorndike’s discovery that the effect of positive stimuli is far more powerful and far reaching than that of negative stimuli. His first statement of the law of effect was simply that situations that elicit positive reactions tend to produce continuance of positive reactions, while situations that elicit negative or avoidance reactions tend to produce continuance of these. It was later that he came to realise that positive reactions build-up stronger response patterns than negative ones. In other words, positive responses are more intentional than negative ones. Which is another way of saying that if you want a positive reaction (or a peak experience), your best chance of obtaining it is by putting yourself into an active, purposive frame of mind. The opposite of the peak experience—sudden depression, fatigue, even the ‘panic fear’ that swept William James to the edge of insanity—is the outcome of passivity. This cannot be overemphasised. Depression—or neurosis—need not have a positive cause (childhood traumas, etc.). It is the natural outcome of negative passivity. The peak experience is the outcome of an intentional attitude. ‘Feedback’ from my activities depends upon the degree of deliberately calculated purpose I put into them, not upon some occult law connected with the activity itself. . . . A healthy, perfectly adjusted human being would slide smoothly into gear, perform whatever has to be done with perfect economy of energy, then recover lost energy in a state of serene relaxation. Most human beings are not healthy or well adjusted. Their activity is full of strain and nervous tension, and their relaxation hovers on the edge of anxiety. They fail to put enough effort—enough seriousness—into their activity, and they fail to withdraw enough effort from their relaxation. Moods of serenity descend upon them—if at all—by chance; perhaps after some crisis, or in peaceful surroundings with pleasant associations. Their main trouble is that they have no idea of what can be achieved by a certain kind of mental effort. And this is perhaps the place to point out that although mystical contemplation is as old as religion, it is only in the past two centuries that it has played a major role in European culture. It was the group of writers we call the romantics who discovered that a man contemplating a waterfall or a mountain peak can suddenly feel ‘godlike’, as if the soul had expanded. The world is seen from a ‘bird’s eye view’ instead of a worm’s eye view: there is a sense of power, detachment, serenity. The romantics—Blake, Wordsworth, Byron, Goethe, Schiller—were the first to raise the question of whether there are ‘higher ceilings of human nature’. But, lacking the concepts for analysing the problem, they left it unsolved. And the romantics in general accepted that the ‘godlike moments’ cannot be sustained, and certainly cannot be re-created at will. This produced the climate of despair that has continued down to our own time. (The major writers of the 20th century—Proust, Eliot, Joyce, Musil—are direct descendants of the romantics, as Edmund Wilson pointed out in Axel’s Castle.) Thus it can be seen that Maslow’s importance extends far beyond the field of psychology. William James had asserted that ‘mystical’ experiences are not mystical at all, but are a perfectly normal potential of human consciousness; but there is no mention of such experiences in Principles of Psychology (or only in passing).
Colin Wilson (New Pathways in Psychology: Maslow & the Post-Freudian Revolution)
Symbols are what you might call the honorary town councillors of the worm universe. In the worm universe, there is nothing unusual about a dairy cow seeking a pair of pliers. A cow is bound to get her pliers sometime. It has nothing to do with me. Yet the fact that the cow chose me to obtain her pliers changes everything. This plunges me into a whole universe of alternative considerations. And in this universe of alternative considerations, the major problem is that everything becomes protracted and complex. I ask the cow, "Why do you want pliers?" And the cow answers, "I'm really hungry." So I ask, "Why do you need pliers if you're hungry?" The cow answers, "To attach them to branches of the peach tree." I ask, "Why a peach tree?" To which the cow replies, "Well, that's why I traded away my fan, isn't it?" And so on and so forth. The thing is never resolved. I begin to resent the cow, and the cow begins to resent me. That's a worm's eye view of its universe.
Haruki Murakami (A Wild Sheep Chase (The Rat, #3))
Aren’t you the one who keeps telling everyone it’s their first duty to help Harry?” said Ron. “In that magazine of yours?” Xenophilius glanced behind him at the concealed printing press, still banging and clattering beneath the tablecloth. “Er--yes, I have expressed that view. However--” “That’s for everyone else to do, not you personally?” said Ron. Xenophilius did not answer. He kept swallowing, his eyes darting between the three of them. Harry had the impression that he was undergoing some painful internal struggle. “Where’s Luna?” asked Hermione. “Let’s see what she thinks.” Xenophilius gulped. He seemed to be steeling himself. Finally he said in a shaky voice difficult to hear over the noise of the printing press, “Luna is down at the stream, fishing for Freshwater Plimpies. She…she will like to see you. I’ll go and call her and then--yes, very well. I shall try to help you.” He disappeared down the spiral staircase and they heard the front door open and close. They looked at each other. “Cowardly old wart,” said Ron. “Luna’s got ten times his guts.” “He’s probably worried about what’ll happen to them if the Death Eaters find out I was here,” said Harry. “Well, I agree with Ron,” said Hermione. “Awful old hypocrite, telling everyone else to help you and trying to worm out of it himself. And for heaven’s sake keep away from that horn.
J.K. Rowling (Harry Potter and the Deathly Hallows (Harry Potter, #7))
The supposedly eyewitness authority of the Pseudo-Turpin finds a parallel in another genre in which vernacular prose was pioneered: that of the historical memoir. There were twelfth-century verse histories narrated by authors who had personally participated in the events they describe, such as the Third Crusade. But the Fourth Crusade of 1202-4 saw a switch to prose. This shameful fiasco, in which the crusaders were induced to turn aside from the Holy Land and attack instead the Christian city of Constantinople, inspired two contrasting accounts. Robert de Clari--ignorant of higher-level strategy, but all agog at the splendours of Constantinople--gives a worm's eye view. Geoffroi de Villehardouin, by contrast, has a top diplomat's suave authority and a leader's eye for the aesthetics of war--the splendid sight of a fleet, or the noble heroism of a ruler. For both authors the medium of prose seems to convey the purported authenticity and transparency of lived experience.
Sarah Cay Terence Cave Malcolm Bowie
Get off your horse, Jack." "Why don't you just ride outta here, missy, and I'll forget this ever happened." Willow's voice trembled with fury. "Get off your horse," she repeated. "Slow and easy." Still grinning his contempt, he did as he asked. "That's good. Now, real slow like, take your gunbelt off and toss it my way." "Like hell!" A shot rang out and nicked a chunk of leather from his boot. Cursing, he unbuckled his gun and tossed it at her mare's feet. "Now,strip them britches off, underwear, too," she ordered. "You little shi-" Bang! Jack's hat whizzed off his head. He dropped his pants in a puddle over his boots, trying his best to shelter his privates from her view. "My,my,Jack." Willow laughed humorlessly. "Is that puny thing you're trying to hide the same thing you were threatening me with?" If looks could kill, Willow would have been dead and buried ten times over, then and there. "Take them confounded boots off so's you can get your pants clear off," she ordered in mock exasperation. He wheeled around, gaining a modicum of privacy while he complied. "You're puny all over, Jack. You got the boniest bee-hind I ever did see. You sure you ain't picked up a worm somewheres?" "You're gonna pay for this,you little slut!" "Shut your filthy mouth and pick them pants off the ground and toss 'em over here at my horse's feet. Then you can put your boots back on." He gave the pants a toss, put his boots on, and turned around to face her, cuping his privates in his hands. "Okay,Jack, finish the job. You've been real generous but I'm a greedy cuss. Give me the shirt off your back, too." Cursing, he again turned around and obeyed. "Oh,ah,Jack, you better reach behind you there,and get your hat. I'll let you keep it. We wouldn't want your bald spot to get sunburned." Scofield now stood in nothing but his boots, using his hat to shield his lower half. Humiliated, the gunslinger's eyes burned with bloody intent. Willow suddenly regretted her damnable quick temper and realized the folly of her reckless retaliation. No doubt,the heinous man would seek revenge. But the damage was done and the man was so mad that backing off now would be the same as signing her death warrant. "Step away from your horse and start walking toward the ranch, Scofield." "You're out of your mind!" "Maybe,but I bet you'll think twice before threatening to poke that puny thing at another lady." "You? A lady? Ha!" Willow's temper flared anew. "Walk, Jack. Real fast. Cuz if you don't, I'm gonna use your puny thing for target practice." Her bullet kicked up the dust at his feet and started him on his way.
Charlotte McPherren (Song of the Willow)
Chapter One: The world is flat. I know it is, because for the last five hours the view has been exactly the same. Only the sun has done any traveling, working its long shadows through straight lines of harvested cotton. A few crows shop the furrowed rows for worms, weevils, and grasshoppers. One hops over to inspect the truck I'm lying under, cocks a beady black eye, probably attracted to the shiny metal police-issued handcuffs, my hand in one of the cuffs, dangling from wrist to arm, and finally down to me, Lalla Bains, aero-ag pilot, sometime busybody, meddling where I shouldn't—again. I'm dirt smeared and sweaty, thinking if I get out of this alive, if the killer doesn't return to finish me off, I'll foreswear all future sleuthing. My dad, Caleb my fiancé, my best friend Roxanne, and half of Stanislaus County will be pleased to bear witness to that promise.
R.P. Dahlke (A Dead Red Oleander (A Dead Red, #3))
The consideration of this attribute would make us humble. How dejected would a person be if he were sure all the angels in heaven and men upon earth, did perfectly know his crimes, with all their aggravations! But what is created knowledge to an infinite and just censuring understanding! When we consider that he knows our actions, whereof there are multitudes, and our thoughts, whereof there are millions; that he views all the blessings bestowed upon us; all the injuries we have returned to him; that he exactly knows his own bounty, and our ingratitude; all the idolatry, blasphemy, and secret enmity in every man's heart against him; all tyrannical oppressions, hidden lusts, omissions of necessary duties, violations of plain precepts, every foolish imagination, with all the circumstances of them, and that perfectly in their full anatomy, every mite of unworthiness and wickedness in every circumstance; and add to this his knowledge, the wonders of his patience, which are miraculous upon the score of his omniscience,that he is not as quick in his revenge as he is in his understanding, but is so far from inflicting punishment, that he continues his former benefits, arms not his justice against us, but solicits our repentance, and waits to be gracious with all this knowledge of our crimes; should not the consideration of this melt our hearts into humiliation before him, and make us earnest in begging pardon and forgiveness of him? Again, do we not all find a worm in our best fruit, a flaw in our soundest duties? Shall any of us vaunt, as if God beheld only the gold, and not any dross; as if he knew one thing only, and not another? If we knew something by ourselves to cheer us, do we not also know something, yea, many things, to condemn us, and therefore to humble us? Let the sense of God's infinite knowledge, therefore, be an incentive and argument for more humiliation in us. If we know enough to render ourselves vile in our own eyes, how much more doth God know to render us vile in his! 6.
William Symington (The Existence and Attributes of God)
January 28 MORNING “Perfect in Christ Jesus.” — Colossians 1:28 DO you not feel in your own soul that perfection is not in you? Does not every day teach you that? Every tear which trickles from your eye, weeps “imperfection;” every sigh which bursts from your heart, cries “imperfection;” every harsh word which proceeds from your lip, mutters “imperfection.” You have too frequently had a view of your own heart to dream for a moment of any perfection in yourself. But amidst this sad consciousness of imperfection, here is comfort for you — you are “perfect in Christ Jesus.” In God’s sight, you are “complete in Him;” even now you are “accepted in the Beloved.” But there is a second perfection, yet to be realized, which is sure to all the seed. Is it not delightful to look forward to the time when every stain of sin shall be removed from the believer, and he shall be presented faultless before the throne, without spot, or wrinkle, or any such thing? The Church of Christ then will be so pure, that not even the eye of Omniscience will see a spot or blemish in her; so holy and so glorious, that Hart did not go beyond the truth when he said — With my Saviour’s garments on, Holy as the Holy One.” Then shall we know, and taste, and feel the happiness of this vast but short sentence, “Complete in Christ.” Not till then shall we fully comprehend the heights and depths of the salvation of Jesus. Doth not thy heart leap for joy at the thought of it? Black as thou art, thou shalt be white one day; filthy as thou art, thou shalt be clean. Oh, it is a marvellous salvation this! Christ takes a worm and transforms it into an angel; Christ takes a black and deformed thing and makes it clean and matchless in His glory, peerless in His beauty, and fit to be the companion of seraphs. O my soul, stand and admire this blessed truth of perfection in Christ.
Charles Haddon Spurgeon (Morning and Evening—Classic KJV Edition: A Devotional Classic for Daily Encouragement)
Writing a novel gave me both a bird’s eye view and a worm’s eye view of my life. Most of all, I came to realize that life is intricate and wondrous.
Patricia Selbert (The House of Six Doors: An Autobiographical Novel)
Max had left a week’s supply of foul-smelling dog food and two pages of instructions about doggie daycare. Neve had expected advice about dog-walking, worming tablets and the vet’s emergency phone number, but it turned out that Max had a very dim view of her dog-sitting abilities: • Do NOT let him in your bedroom. • It also goes without saying that he is NOT to sleep on your bed. • Do NOT let him in the bathroom. He’ll try to drink out of the toilet bowl. • Do NOT feed him at the table. He eats dog food not human food. • And do NOT give him chocolate. I’m serious. Human chocolate can make dogs very ill. Have left a bag of liver treats instead. • He doesn’t like old men, especially if they have walking sticks or zimmer frames. • He doesn’t like balloons, carrier bags or kites. • Also avoid small children. • A small child trying to fly a kite, while holding a balloon and a carrier bag in their other hand would just about finish him off. By the time Neve went to bed that night, Keith had stayed in the bathroom while she had a shower (and tried to get in the cubicle to drink the water), because he’d barked and scrabbled at the door so hard, she’d feared for her paintwork. He’d also had a piece of steamed haddock from her plate because she hadn’t been able to eat dinner without his nose in her crotch and his paw prodding her leg until she fed him. Neve had secretly suspected that Keith wouldn’t have so many emotional issuesif Max refused to indulge him, but it turned out that she was the softest of soft touches, unable to wield any sort of discipline or say, ‘No, Keith, you have to sleep in the lounge,’ in an authoritative voice. She’d lasted five minutes until the sound of Keith whimpering and howling and generally giving the impression that he was being tortured had forced her into the living room to pick up his bed, and his toys and his water bowl. But if he had to sleep in her room, then he could do it in his own bed, Neve reasoned as she sat up, eyes fixed on Keith. Every time she took her gaze off him and tried to read, he’d dive out of his bed and start advancing towards her. ‘Back to your basket, you wicked boy,’ she’d say and he’d slink away, eyes downcast, only to be given away by the joyous wag of his stumpy tale, as if it was the best gameever. It was inevitable – as soon as Neve turned out the light, there was a scrabble of claws on the wooden floor, then a dead weight landed on her feet. ‘Bad dog,’ she snapped, but they could both tell her heart wasn’t in it. Besides, if Keith stayed at the bottom of the bed, he could double up as a hot-water bottle. Keith had other ideas. He wriggled up the bed on his belly as if he was being stealthy and settled down next to Neve, batting his paws against her back until she was shoved right over and he could put his head on her pillow and pant hot doggy breath against her face. ‘Celia was right,’ Neve grumbled. ‘You are a devil dog.
Sarra Manning (You Don't Have to Say You Love Me)
The insights and ideas that were obvious to Yunus the anthropologist had been hidden from Yunus the economist. The difference: by absorbing poverty from the worm’s-eye view, asking lots of questions, and being open to changing his assumptions, he could understand what he could not from a bird’s-eye view. He could feel Sufiya’s poverty. And it was here, in the marrow of poverty, where Yunus discovered the insights, ideas, and passion to formulate his breakthrough idea. The abstractions were gone.
Peter Sims (Little Bets: How Breakthrough Ideas Emerge from Small Discoveries)
The best insights about problems to be addressed often come from the worm’s-eye view.
Peter Sims (Little Bets: How Breakthrough Ideas Emerge from Small Discoveries)
To gather fresh insights and ideas, experimental innovators embrace a relentless curiosity. They get out and immerse into the world like Muhammad Yunus did when he subsumed himself in India’s poverty to understand it from the worm’s-eye view.
Peter Sims (Little Bets: How Breakthrough Ideas Emerge from Small Discoveries)
he once punished his own foot for squashing a worm by throwing away its shoe.
Michael Pollan (The Botany of Desire: A Plant's-Eye View of the World)
A vegetarian living on the frontier, he deemed it a cruelty to ride a horse or chop down a tree; he once punished his own foot for squashing a worm by throwing away its shoe.
Michael Pollan (The Botany of Desire: A Plant's-Eye View of the World)
He eases himself down to die. He thinks, others can do it and so can I. He inhales something: sweet raw smell of sawdust; from some-where, the scent of the Frescobaldi kitchen, wild garlic and cloves. He sees the movement from the corner of his eye as the spectators kneel and avert their faces. His mouth is dry, but he thinks, while I breathe I pray. 'All my confidence hope and trust, is in thy most merciful goodness...’ In the sky he senses movement. A shadow falls across his view. His father Walter is here, voice in the air. 'So now get up.' He lies broken on the cobbles of the yard of the house where he was born. His whole body is shuddering. 'So now get up. So now get up.' The pain is acute, a raw stinging, a ripping, a throb. He can taste his death: slow, metallic, not come yet. In his terror he tries to obey his father, but his hands cannot get a purchase, nor can he crawl. He is an eel, he is a worm on a hook, his strength has ebbed and leaked away beneath him and it seems a long time ago now since he gave his permission to be dead; no one has told his heart, and he feels it writhe in his chest, trying to beat. His cheek rests on nothing, it rests on red. He thinks, follow. Walter says, ‘That's right, boy, spew everywhere, spew everywhere on my good cobbles. Come on, boy, get up. By the blood of creeping Christ, stand on your feet?' He is very cold. People imagine the cold comes after but it is now. He thinks, winter is here. I am at Launde. I have stumbled deep into the crisp white snow. I flail my arms in angel shape, but now I am crystal, I am ice and sinking deep: now I am water. Beneath him the ground upheaves. The river tugs him; he looks for the quick-moving Pattern, for the flitting, liquid scarlet. Between a pulse-beat and the next he shifts, going out on crimson with the tide of his inner sea. He is far from England now, far from these islands, from the waters salt and fresh. He has vanished; he is the slippery stones underfoot, he is the last faint ripple in the wake of himself. He feels for an opening, blinded, looking for a door: tracking the light along the wall.
Hilary Mantel (The Mirror & the Light (Thomas Cromwell, #3))
Human beings are the only living creatures who have this choice—of following the part that is great, or the part that is trivial. The difference depends upon the unique human faculty of imagination. When an animal is in a dull situation, it becomes dull; the fiercest of all birds, the hawk, becomes quiescent when a black bag is placed over its head. Man’s superior consciousness means that he can see further; his sense of purpose stretches into the distance. But we are still 99 per cent animal; few of us bother to develop this unique capacity. We drift along from day to day, becoming bored when things are dull, depressed when immediate prospects look poor, using our powers of foresight and imagination only when confronted by an interesting challenge, and allowing them to lie fallow in between. And this situation, we must admit, applies most of the time to all of us, including the Beethovens and Einsteins. ‘Involvement’ is our common lot. But what makes us uniquely human are the strange moments of non-involvement. The pressure vanishes. Suddenly we are seeing life from a distance, as if we were gods; seeing it from above, from a bird’s-eye view rather than the usual worm’s-eye view. In these moments of optimism and affirmation, it seems absurd that we should ever have sunk into a condition of depression or defeat, for it is suddenly obvious that we are undefeatable and indestructible. Every compromise or retreat is seen to be the result of absurd miscalculation. I
Colin Wilson (The Occult)