Written In The Stars Book Quotes

Your salary is not love and your word is not love. Your clothes are not love and holding hands is not love. Sex is not love and a kiss is not love. Long letters are not love and a text is not love. Flowers are not love and a box of chocolates is not love. Sunsets are not love and photographs are not love. The stars are not love and a beach under the moonlight is not love. The smell of someone else on your pillow is not love and the feeling of their skin touching your skin is not love. Heart-shaped candy is not love and an overseas holiday is not love. The truth is not love and winning an argument is not love. Warm coffee isn't love and cheap cards bought from stores are not love. Tears are not love and laughter is not love. A head on a shoulder is not love and messages written at the front of books given as gifts are not love. Apathy is not love and numbness is not love. A pain in your chest is not love and clenching your fist is not love. Rain is not love. Only you. Only you, are love.

If I had a necklace made out of tiny suns, I’d only wear it at night when you could really see it. Sadly, I don’t have a necklace like that. The closest thing I have is a necklace made out of those glow in the dark stars you stick to bedroom ceilings. But I only wear that on special occasions, like bedtime. 


He looks at you like you hung the moon.

The more I write stories for young people, and the more young readers I meet, the more I'm struck by how much kids long to see themselves in stories. To see their identities and perspectives—their avatars—on the page. Not as issues to be addressed or as icons for social commentary, but simply as people who get to do cool things in amazing worlds. Yes, all the “issue” books are great and have a place in literature, but it's a different and wildly joyous gift to find yourself on the pages of an entertainment, experiencing the thrills and chills of a world more adventurous than our own. And when you see that as a writer, you quickly realize that you don't want to be the jerk who says to a young reader, “Sorry, kid. You don't get to exist in story; you're too different.” You don't want to be part of our present dystopia that tells kids that if they just stopped being who they are they could have a story written about them, too. That's the role of the bad guy in the dystopian stories, right? Given a choice, I'd rather be the storyteller who says every kid can have a chance to star.

Every spoken word double-crosses us. The only tolerable form of communication is the written word, since it isn't a stone in a bridge between souls but a ray of light between stars.

Love heals. Heals and liberates. I use the word love, not meaning sentimentality, but a condition so strong that it may be that which holds the stars in their heavenly positions and that which causes the blood to flow orderly in our veins. This book has been written to examine some of the ways love heals and helps a person to climb impossible heights and rise from immeasurable depths.

Don't be afraid to make corrections! Whether the voice came from her memory or was a last whisper from the blinding new star far above, Nita never knew. But she knew what to do. While Kit was still on the first part of the name she pulled out her pen, her best pen that Fred had saved and changed. She clicked it open. The metal still tingled against her skin, the ink at the point still glittered oddly- the same glitter as the ink with which the bright Book was written. Nita bent quickly over the Book and with the pen, in lines of light, drew from the final circle an arrow pointing up-ward, the way out, the symbol that said change could happen- if, only if-

Some free advice for you: Never fight an old man. They’ve been there, done that, written the book, made and starred in the movie, designed the T-shirt, and they’ve got no ego at all about how the fight gets won.

It takes one person to rewrite the history book.

Fish like shiny things, stupid people like shiny things, and the late Nebular Romular Ichibar IV liked shiny things. He burned to death when he flew too close to a bright star, which ironically got swallowed up by the least shiny object in the universe—a black hole.

Even the most beautifully written, perfectly edited and well-designed books will fail if people aren't made aware of them!" ––Linda Radke, President of Five Star Publications, on the importance of public relations and marketing.

All books, no matter their binding, will fall to dust. The stories they carry may last longer. They might outlive the paper, the library, even the language in which they were first written. The greatest story can reach the stars.

Of course I know what she means. To make art in fandom is to follow your passion at the risk of never being taken seriously. I've written dozens of fics-put them together and you'd have several novels-but who knows what a college admissions officer will think of that as a pastime. Where does 12,000 Tumbler followers rate in relation to a spot in the National Honor Society in their minds? Every week I get anonymous messages in my inbox telling me I should write a real book. Well, haven't I already? What makes what I do different from "real writing"? Is it that I don't use original characters? I guess that makes every Hardy Boys edition, every Star Wars book, every spinoff, sequel, fairy-tale re-telling, historical romance, comic book reboot, and the music Hamilton "not real writing". Or is it that a real book is something printed, that you can hold in your hand, not something you write on the internet? Or is "real writing" something you sell in a store, not give away for free? No, I know it's none of these things. It's merely this: "real writing" is done by serious people, whereas fanfiction is written by weirdos, teenagers, degenerates, and women.

Finally and essentially: I not only never could have, but never would have, written this book without the conversations with—and the kindness, grace, empathy, forgiveness, and wisdom of—Jared Hohlt, my first and favorite reader, secret keeper, and North Star. His beloved friendship is the greatest gift of my adulthood.

Humans have the ability to rewrite history. Within a few decades it is not even questioned. Stories of the past become as real as the world you walk through today. Wars are waged over false history. Sins are denied. All for mankind to move forward and feel comfortable about its past. Your true history is written in the stars. Look up, breathe in, and be humbled by the ones who came before you. The ones who have suffered, who have endured, who have overcome. Their blood is alive in you. Their spirits roam freely in the heavens above.

Dear Ms. Lancaster, I fear your faith has been misplaced-but then, faith usually is. I cannot answer your questions, at least not in writing, because to write out such answers would constitute a sequel to An Imperial Affliction, which you might publish or otherwise share on the network that has replaced the brains of your generation. There is the telephone, but then you might record the conversation. Not that I don't trust you, of course, but I don't trust you. Alas, dear Hazel, I could never answer such questions except in person, and you are there while I am here. That noted, I must confess that the unexpected receipt of your correspondence via Ms. Vliegenthart has delighted me: What a wondrous thing to know that I made something useful to you-even if that book seems so distant from me that I feel it was written by a different man altogether. (The author of that novel was so thin, so frail, so comparatively optimistic!) Should you find yourself in Amsterdam, however, please do pay a visit at your leisure. I am usually home. I wouold even allow you a peek at my grocery lists. Your most sincerely, Peter Van Houten c/o Lidewij Vliegenthart

I mean... There have been moments when I read something in a book that feels like it was written just for me. Like the author reached inside my brain, took all the thoughts I didn't know how to express, and put them into a perfect paragraph. And in those moments, I've felt so utterly connected to a person I didn't know that it made me think, 'Yes, the world can be hard, and people can be awful to each other. But there is also so much beauty in the fact that we can recognize each other like that.'" She diffled with her straw. "I want to be able to give that feeling to other people.

It seems that if our species ever eradicates itself through war, it will not be because it was written in the stars but because it was written in our books; it is what we do with words like 'God' and 'paradise' and ''sin' in the present that will determine our future.

PICARD: Did you read that book I gave you? (Wesley reacts, barely concealing a grimace as he recalls.) WESLEY: Some of it. PICARD: That's reassuring. WESLEY: I just don't have much time. PICARD: (re the book in his hand) There is no greater challenge than the study of philosophy. (Wesley glances over at Picard's book) WESLEY: William James sure won't be on my Starfleet exams. PICARD: The important things never will be. Anyone can be trained to deal with technology, and the mechanics of piloting a starship. WESLEY: But Starfleet Academy-- PICARD: It takes more than just that. Open your mind to the past... to history, art, philosophy. And then... (re: the stars) ...this will mean something. (Wesley considers this, almost embarrassed as he realizes Picard does truly care about him.) Then: PICARD (continuing) Just consider James' wisdom: "Philosophy... is not a technical matter... it is our sense of what life honestly means... our individual way of feeling the total push and pressure of the cosmos." (then) That's what I want for you. From: STAR TREK: THE NEXT GENERATION "Samaritan Snare" #40272-143 Written by Robert L. McCullough

Ancient astrology was rather different from the modern horoscope. Its more learned practitioners enjoyed intellectual respectability, and there was a substantial overlap between astrology and philosophy. People would consult astrologers on anything, from the time and manner in which they were going to die to who was likely to win in the chariot-races that afternoon. The chronology of the origins and development of astrology are impossible to establish, and were debated even in the ancient world. Suffice it to say here that the Western tradition was one of many traditions: Indian, Chinese, Middle Eastern. It was Ptolemy, the Hellenistic geographer and astrologer, who first laid the technical foundations of Western astrology in his Tetrabiblos (‘Four Books’). But the rise in the prominence of astrology was closely tied to the Roman imperial regime. It greatly benefited emperors to have their sovereignty ‘written in the stars’.

If I am willing to read a book in its entirety, I will give it five stars. I do not list books that I did not finish; they were not written for me as the audience.

I'll save you some time...if I didn't rate all my books asa 5 stars, I bloody well wouldn't have written them!!

I’d rate his work at four stars. Of course, he is a general, so maybe I could pin my rating on his lapel.

It doesn’t have to be a lengthy or well written review; it just has to be a few words and then click on the stars. It would take less than 5 minutes.

Day after day we read about them, each new man more brilliant than the last. They were not just an all-star first team, but an all-star second team as well. There were counts kept on how many Rhodes scholars there were in the Administration, how many books by members of the new Administration (even the Postmaster, J. Edward Day, had written a novel, albeit a bad one).

THE JOURNEY ENDS, the traveler goes home, the book gets written. The result, the travel narrative, implies that it has fixed the place forever. But that is a meaningless conceit, for time passes, the written-about place keeps changing. All you do as a note-taking traveler is nail down your own vagrant mood on a particular trip. The traveling writer can do no more than approximate a country.

You will do yourself a disservice if you confine your reading to the rising star whose six-figure, two-book contract might seem to indicate where your own work should be heading. I’m not saying you shouldn’t read such writers, some of whom are excellent and deserving of celebrity. I’m only pointing out that they represent the dot at the end of the long, glorious, complex sentence in which literature has been written.

Programming was very different from mathematics, as it was far more creative. In math, there was one right answer, and you worked at a problem until you got to that answer. In programming, there were an infinite number of answers that could be considered correct, just as there might be when writing a book. But the results of programming, unlike a written story, were tangible. Your program had to actually do something.

I always gave her a book. An old hardback from the same section in the used bookstore where you'd find Hardy Boys and Nancy Drew, and musty scrawled-in Hobbits, the painted paper covers often ripped or gone... My favorite was a sort of illustrated guidebook of pond creatures on which a very young child had written in pencil on each page under the picture of an otter I love otter Under a muskrat: I love muskrat Beaver: I love beaver

if you so much as make a single joke right now or butcher a playground nursery rhyme about trees and kissing and baby carriages, I'll let myself into your apartment and use your comic book collection as kindling. Capiche?

All Summer in a Day” by Ray Bradbury Because of Winn-Dixie by Kate DiCamillo Big Nate series by Lincoln Peirce The Black Cauldron (The Chronicles of Prydain) by Lloyd Alexander The Book Thief  by Markus Zusak Brian’s Hunt by Gary Paulsen Brian’s Winter by Gary Paulsen Brown Girl Dreaming by Jacqueline Woodson Bud, Not Buddy by Christopher Paul Curtis The Call of the Wild by Jack London The Cat in the Hat by Dr. Seuss Charlotte’s Web by E. B. White The Chronicles of Narnia series by C. S. Lewis Diary of a Wimpy Kid series by Jeff Kinney Fahrenheit 451 by Ray Bradbury The Giver by Lois Lowry Goodnight Moon by Margaret Wise Brown Harry Potter series by J. K. Rowling Hatchet by Gary Paulsen The High King (The Chronicles of Prydain) by Lloyd Alexander The Hobbit by J. R. R. Tolkien Holes by Louis Sachar The Hunger Games by Suzanne Collins I Am LeBron James by Grace Norwich I Am Stephen Curry by Jon Fishman Island of the Blue Dolphins by Scott O’Dell Johnny Tremain by Esther Hoskins Forbes Julie of the Wolves by Jean Craighead George Kidnapped by Robert Louis Stevenson LeBron’s Dream Team: How Five Friends Made History by LeBron James and Buzz Bissinger The Lightning Thief  (Percy Jackson and the Olympians) by Rick Riordan A Long Walk to Water by Linda Sue Park The Merry Adventures of Robin Hood by Howard Pyle Number the Stars by Lois Lowry The Outsiders by S. E. Hinton The River by Gary Paulsen The Sailor Dog by Margaret Wise Brown Sarah, Plain and Tall by Patricia MacLachlan Shiloh by Phyllis Reynolds Naylor “A Sound of Thunder” by Ray Bradbury Star Wars Expanded Universe novels (written by many authors) Star Wars series (written by many authors) The Swiss Family Robinson by Johann D. Wyss Tales from a Not-So-Graceful Ice Princess (Dork Diaries) by Rachel Renée Russell Tales of a Fourth Grade Nothing by Judy Blume “The Tell-Tale Heart” by Edgar Allan Poe Treasure Island by Robert Louis Stevenson Tuck Everlasting by Natalie Babbitt Under the Blood-Red Sun by Graham Salisbury The Very Hungry Caterpillar by Eric Carle When You Reach Me by Rebecca Stead A Wrinkle in Time by Madeleine L’Engle

Sometimes we are written down in books. Or, someone tells a story in which our name figures. And so we live on, through someone else’s voice… These are the indelible marks others make of us, like the watermarks of high tides, names carved into barks, or stamps branded onto belongings. For what else is history but the collected voices of others, who sing a chorus of what once was. It is not words but voices that are the inscriptions seared onto pages, into minds, of the fragments others glean, as we live our lives in passing. Flitting and fl eeting, we rub off as we move through, and in our wake is cast the dust of the stars that we become. And sometimes it is caught on the fingers of others, and they press that gold to their lips, where it glistens, an eternal testimony to the fact that they adored us: So we, those of us who remember, we grow more golden as we age, as if cast into statues that commemorate the splendor of those who loved us, and those we were privileged to love.

We came back [from Mars]," Pris said, "because nobody should have to live there. It wasn't conceived for habitation, at least not within the last billion years. It's so old. You feel it in the stones, the terrible old age. Anyhow, at first I got drugs from Roy; I lived for that new synthetic pain-killer, that silenizine. And then I met Horst Hartman, who at that time ran a stamp store, rare postage stamps; there's so much time on your hands that you've got to have a hobby, something you can pore over endlessly. And Horst got me interested in pre-colonial fiction." "You mean old books?" "Stories written before space travel but about space travel." "How could there have been stories about space travel before - " "The writers," Pris said, "made it up." "Based on what?" "On imagination. A lot of times they turned out wrong [...] Anyhow, there's a fortune to be made in smuggling pre-colonial fiction, the old magazines and books and films, to Mars. Nothing is as exciting. To read about cities and huge industrial enterprises, and really successful colonization. You can imagine what it might have been like. What Mars ought to be like. Canals." "Canals?" Dimly, he remembered reading about that; in the olden days they had believed in canals on Mars. "Crisscrossing the planet," Pris said. "And beings from other stars. With infinite wisdom. And stories about Earth, set in our time and even later. Where there's no radioactive dust." [...] "Did you bring any of that pre-colonial reading material back with you?" It occurred to him that he ought to try some. "It's worthless, here, because here on Earth the craze never caught on. Anyhow there's plenty here, in the libraries; that's where we get all of ours - stolen from libraries here on Earth and shot by autorocket to Mars. You're out at night humbling across the open space, and all of a sudden you see a flare, and there's a rocket, cracked open, with old pre-colonial fiction magazines spilling out everywhere. A fortune. But of course you read them before you sell them." She warmed to her topic. "Of all -

I compared what was really known about the stars with the account of creation as told in Genesis. I found that the writer of the inspired book had no knowledge of astronomy -- that he was as ignorant as a Choctaw chief -- as an Eskimo driver of dogs. Does any one imagine that the author of Genesis knew anything about the sun -- its size? that he was acquainted with Sirius, the North Star, with Capella, or that he knew anything of the clusters of stars so far away that their light, now visiting our eyes, has been traveling for two million years? If he had known these facts would he have said that Jehovah worked nearly six days to make this world, and only a part of the afternoon of the fourth day to make the sun and moon and all the stars? Yet millions of people insist that the writer of Genesis was inspired by the Creator of all worlds. Now, intelligent men, who are not frightened, whose brains have not been paralyzed by fear, know that the sacred story of creation was written by an ignorant savage. The story is inconsistent with all known facts, and every star shining in the heavens testifies that its author was an uninspired barbarian. I admit that this unknown writer was sincere, that he wrote what he believed to be true -- that he did the best he could. He did not claim to be inspired -- did not pretend that the story had been told to him by Jehovah. He simply stated the "facts" as he understood them. After I had learned a little about the stars I concluded that this writer, this "inspired" scribe, had been misled by myth and legend, and that he knew no more about creation than the average theologian of my day. In other words, that he knew absolutely nothing. And here, allow me to say that the ministers who are answering me are turning their guns in the wrong direction. These reverend gentlemen should attack the astronomers. They should malign and vilify Kepler, Copernicus, Newton, Herschel and Laplace. These men were the real destroyers of the sacred story. Then, after having disposed of them, they can wage a war against the stars, and against Jehovah himself for having furnished evidence against the truthfulness of his book.

There seems, however, to be a problem with some of our more cherished beliefs about the world: they are leading us, inexorably, to kill one another. A glance at history, or at the pages of any newspaper, reveals that ideas which divide one group of human beings from another, only to unite them in slaughter, generally have their roots in religion. it seems that if our species ever eradicates itself through war, it will not be because it was written in the stars but because it was written in our books; it is what we do with words like "God" and "paradise" and "sin" in the present that will determine our future.

Lake Michigan, impossibly blue, the morning light bouncing toward the city. Lake Michigan frozen in sheets you could walk on but wouldn't dare. Lake Michigan, gray out a high-rise window, indistinguishable from the sky. Bread, hot from the oven. Or even stale in the restaurant basket, rescued by salty butter. The Cubs winning the pendant someday. The Cubs winning the Series. The Cubs continuing to lose. His favorite song, not yet written. His favorite movie, not yet made. The depth of an oil brushstroke. Chagall's blue window. Picasso's blue man and his guitar. ... The sound of an old door creaking open. The sound of garlic cooking. The sound of typing. The sound of commercials from the next room, when you were in the kitchen getting a drink. The sound of someone else finishing a shower. ... Dancing till the floor was an optional landing place. Dancing elbows out, dancing with arms up, dancing in a pool of sweat. All the books he hadn't started. The man at Wax Trax! Records with the beautiful eyelashes. The man who sat every Saturday at Nookies, reading the Economist and eating eggs, his ears always strangely red. The ways his own life might have intersected with theirs, given enough time, enough energy, a better universe. The love of his life. Wasn't there supposed to be a love of his life? ... His body, his own stupid, slow, hairy body, its ridiculous desires, its aversions, its fears. The way his left knee cracked in the cold. The sun, the moon, the sky, the stars. The end of every story. Oak trees. Music. Breath. ...

Was I lazy? Had I not applied for situations, attended lectures, written articles, and worked day and night like a man possessed? Had I not lived like a miser, eaten bread and milk when I had plenty, bread alone when I had little, and starved when I had nothing? Did I live in an hotel? Had I a suite of rooms on the first floor?

At the time, I thought this man was not a particularly good backcountry ranger. Now I have to laugh. He was telling me what I say to my twentysomething clients every day, what this book has been all about. The future isn’t written in the stars. There are no guarantees. So claim your adulthood. Be intentional. Get to work. Pick your family. Do the math. Make your own certainty. Don’t be defined by what you didn’t know or didn’t do. You are deciding your life right now.

Everything within the cage rotates slowly, the silver stars sparkling as they catch the light. Once the slow, steady tick begins, Celia removes her hand. Friedrick does not inquire as to how she managed it. Instead, he takes her to dinner. They do speak of the circus, but spend most of the meal discussing books and art, wine and favorite cities. The pauses in the conversation are not awkward, though they struggle to find the same rhythm in speaking that was already present in their written exchanges, often switching from one language to another.

Nowadays people often talk about happiness. Books are written about it, courses are taught on it, and some us even try to buy it. Feeling has become a right, and we chase after it, convinced that once we have found it, we will also find the solution to all our problems. Not being happy has come to be equated with failure. But what is happiness, after all? Is it possible to be happy each waking minute, day after day, year in and year out? Is it actually something worth striving for? For how can we conceive of our happiness if we have never experienced any pain? Sometime I think that today we have trouble finding happiness because of our deep fear of suffering. Perhaps we have forgotten the lessons that can be learned from our own darkness. Is it not there that we must go sometimes in order eventually to distinguish the light from the stars. To understand the happiness we so assiduously pursue actually feels? A life without sorrow is a symphony without bass notes. Is there anyone who can truthfully claim that he is always happy? I have never met such a person. On the other hand, I have met apparently happy people who said they were content. I looked up the word in the National Encyclopaedia, and it describes the feeling of having obtained or achieved what can reasonably be desired. And when I read that, I thought that perhaps we have gone astray in our pursuit of happiness, that what we should actually be seeking is the ability to feel content. Something has made us believe that it is the rapture of the moment and the ecstatic rush of the senses that leads to happiness, but perhaps it is instead the courage to settle down and dare to be satisfied with what we have. Shame- Karin Alvtegen

On Tuesday, I saw Danielle at the Kids Club meeting. Her return was triumphant. She showed up with presents for everyone. Each member of the Kids Club, except Becca and Charlotte, got a Mickey Mouse sticker. Danielle had chosen special presents for Becca, Charlotte, Mr. Katz, and me. For Becca, a Donald Duck T-shirt. For Charlotte, a book about Disney World. For Mr. Katz, mouse ears with “Mr. K.” written on the back. And for me, a delicate silver necklace in the shape of a star. “It’s a wishing star,” Danielle told me. “Because you helped make one of my wishes come true. I’ll never forget that.

Then Alan looked thoughtful and seemed reluctant to speak, perhaps because he had just written the sequel to the Star Wars novelization that Lucas had sold to Ballantine Books, but in his reserved and gentlemanly fashion he told the audience of a day when he had seen a rough cut of the film and had remarked on just this scientific illiteracy to Lucas. He had even suggested a workable alternative. . .no, two workable alternatives. . .and Lucas had said words to the effect of (approximate quote), "There's a lot of money tied up in this film and people expect to hear a boom when something blows up, so I'll give them the boom." And at that moment, the cynicism showed through.

A Puritan twist in our nature makes us think that anything good for us must be twice as good if it's hard to swallow. Learning Greek and Latin used to play the role of character builder, since they were considered to be as exhausting and unrewarding as digging a trench in the morning and filling it up in the afternoon. It was what made a man, or a woman -- or more likely a robot -- of you. Now math serves that purpose in many schools: your task is to try to follow rules that make sense, perhaps, to some higher beings; and in the end to accept your failure with humbled pride. As you limp off with your aching mind and bruised soul, you know that nothing in later life will ever be as difficult. What a perverse fate for one of our kind's greatest triumphs! Think how absurd it would be were music treated this way (for math and music are both excursions into sensuous structure): suffer through playing your scales, and when you're an adult you'll never have to listen to music again. And this is mathematics we're talking about, the language in which, Galileo said, the Book of the World is written. This is mathematics, which reaches down into our deepest intuitions and outward toward the nature of the universe -- mathematics, which explains the atoms as well as the stars in their courses, and lets us see into the ways that rivers and arteries branch. For mathematics itself is the study of connections: how things ideally must and, in fact, do sort together -- beyond, around, and within us. It doesn't just help us to balance our checkbooks; it leads us to see the balances hidden in the tumble of events, and the shapes of those quiet symmetries behind the random clatter of things. At the same time, we come to savor it, like music, wholly for itself. Applied or pure, mathematics gives whoever enjoys it a matchless self-confidence, along with a sense of partaking in truths that follow neither from persuasion nor faith but stand foursquare on their own. This is why it appeals to what we will come back to again and again: our **architectural instinct** -- as deep in us as any of our urges.

He was saved not by the sky but by writing. He had written a number of books during his time in the re-education camp—always on the one piece of paper he possessed, page by page, chapter by chapter, an unending story. Without writing, he wouldn’t have heard the snow melting or leaves growing or clouds sailing through the sky. Nor would he have seen the dead end of a thought, the remains of a star or the texture of a comma. Nights when he was in his kitchen painting wooden ducks, Canada geese, loons, mallards, following the colour scheme provided by his other employer, he would recite for me the words in his personal dictionary: nummular, moan, quadraphony, in extremis, sacculina, logarithmic, hemorrhage—like a mantra, like a march towards the void.

How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

No decent person ought associate with murderers, by the same token any collaboration with that greatest of criminals—Nature—is inexcusable. Yet what is burial but collaboration through a game of hide-and-seek? The point being to dispose of the body, as accomplices are wont to do; on the tombstones various inconsequential things are written, save the only one that is material: for if people would but dare to look the truth in the eye, they would be carving there instead a couple of the more pungent profanities, addressed to Mother Nature, for it is she who got us into this. Meanwhile no one breathes a word, as if a murderer clever enough always to get away with it deserved, for that, some special consideration. Not “memento mori” but “Estote ultores,” onward to immortality, that should be the cry, even if it means parting with our traditional appearance. Such was the ontological testament of that eminent philosopher.

On Sukkot, we’re told to construct a visibly fragile, temporary structure—one that offers little protection from the wind, rain, heat, and cold, but affords a clear view of the heavens. It is a house that “gives us no shelter…a parody of a house,” Rabbi Alan Lew observes, “it exposes the idea of a house as an illusion.” Sukkot seems to be telling us that being written in the Book of Life is an all-inclusive kind of deal. It is not “The Book of the Pleasant Things in Life” or “The Book of the Easy Things in Life.” It is “The Book of Life”—all of it. If you try to keep out all the rain, you’ll be unable to see any stars. If you refuse to bear the heat, you’ll never feel the sun on your skin. Either you get the whole package—pleasure and pain, joy and sorrow—or you get a numb, closed-off, sleepwalking existence that might seem safe and manageable, but isn’t much of a life. That kind of existence offers only the illusion of control, and it’s no way to live.

What is especially striking about the earth is the way in which it contains time capsules nested within time capsules, like a Russian doll. Individual biological cells (properly interpreted) are time capsules from which biologists read genetic time. Organs within the body are again time capsules, and contain traces of the history and morphogenesis of our bodies. The body itself is a time capsule. History is written in a face, which carries a date - the approximate date of our birth. We can all tell the rough age of a person from a glance at their face. Wherever we look, we find mutually consistent time capsules - in grains of sand, in ripe cherries, in books in libraries. This consistent meshing of stories even extends far from the Earth and into the outermost reaches of the universe. The abundances of the chemical elements and isotopes in the gas of stars and the waters of the oceans tell the story of the stars and a Big Bang that created the lightest elements. It all fits together so well.

There were so many more books and so many more kinds of books and writers of books than the Bible, and luckily, Pratt’s wife, Anna Laura, encouraged us to read other books to expand our understanding of the English language. She gave us books like Moby-Dick and The Adventures of Huckleberry Finn, plus the monster book Bear Shield loved, and poetry by a man named Walt Whitman, who believed himself to have written a kind of Bible he called Leaves of Grass, which I did not particularly like, but I always remembered this line, “This is no book, who touches this, touches a man!,” because I’d started to think of books as beings. As things unto themselves, whether they were written by countless people countless years ago, or written just recently by strange old white men, the books themselves felt to me as if they were their own lives, separate from the bodies and minds that created them. I wanted to write one myself. I began to use the ledger paper I’d been drawing on to write down things that seemed like they might be on their way to being in a book one day.

From strange alter-egos, to the occult concept of androgyny, and of course including references to Aleister Crowley and his Thelema, David Bowie did decades ago what pop stars are doing now. “Bowie’s alter-ego named Ziggy Stardust was a representation of the “illuminated man” who has reached the highest level of initiation: androgyny. There was also a lot of one eye things going on. Drawing the Kabbalistic Tree of Life The difference between Bowie and today’s pop stars is that he was rather open regarding the occult influence in his act and music. In a 1995 interview, Bowie stated: “My overriding interest was in cabbala and Crowleyism. That whole dark and rather fearsome never-world of the wrong side of the brain.” In his 1971 song Quicksand, Bowie sang: “I’m closer to the Golden Dawn Immersed in Crowley’s uniform of imagery” (Golden Dawn is the name of a Secret Society that had Crowley as member). These are only some examples of the occult influence on Bowie’s work and an entire book could be written on the subject. Since the main antagonist of Labyrinth is a sorcerer who also happens to enjoy singing impromptu pop songs, David Bowie was a perfect fit for the role.

It seems that in death the chakras are externalised, so to speak, becoming visible for the dead man., expressing themselves in concrete form like the astrological heavens, with their houses of the Zodiac. . . . The moment of death, one has the presentiment of a great light, the Midnight Sun of the ancients. Then follows the diminution of this light and the indecision of the choice of paths, the dejection particular to a change of state, when the dead person is swallowed up by the Whale of Death. Of coarse, whoever has followed a discipline of initiation in this life will be in a position to overcome this great crisis of dejection and arrest the slow process of decomposition. 'The 'ego' is really a reflection of an Eternal Form, of the 'Name written in the Book of the Stars'. When consciousness disappears, the 'ego' dissolves in the waters of death, in a prolonged dream. In death, only the one who has become alive, who has managed to wake up, takes this eternal form, his real name, and gives it a face: the face of his soul, which is the face of his Beloved. . . . To die is like passing to the other side of the mirror, 'into an upside-down sky', like 'falling out of one's skin into the soul'. Whoever has experienced mystic death during his life is already the Lord of the Two Worlds.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.

WE ARE THE ONLY TRUE MEDIUMS We the carriers of memory We the conductors and receivers We the stars and suns on earth We the databases of consciousness We the un-system, we the rhythm We the message We the book that’s being written Read spoken and translated Connected across generations with everything living Like planets and seashells in an infinite spiral Where you can’t isolate nothing Where the text is an experience Where borders can’t even be drawn Where lines can’t be drawn because the spiral lasts forever Where the concepts of borders, scripts, divisions, mine, yours The isolation of orthodox science fails Falls We are the true countries We the quantum ur-power stations of nature We the most perfect, most developed technology on Earth Before taxes and birth certificates of fictions This text are the bodies of your ∞ being This text is your body We the transmitters We the books of life The living song Transferrable Open Non-privatizable We the hearts of the earth We the pulse and beat and the harmony of bodies Against the cogs of antediluvian wheels We the trans-national We the divided We the displaced The self-deported and driven further Erased but devious Pagans deported on sunlight and wind Unrealized partisans Wet from the struggle and the fear of lies Of revolutions Whose rotation’s Currency is blood The wealth of nations we are The treasures The brokers of sources of inexhaustible energies Unbuyable Non-privatizable Immortal Because alive We the transmitters We the books of life The living song Transmittable Open Non-privatizable

A Lake Charles-based artist, Sally was a progressive Democrat who in 2016 primary favored Bernie Sanders. Sally's very dear friend and worl-traveling flight attendant from Opelousas, Louisiana, Shirley was an enthusiast for the Tea Party and Donald Trump. Both woman had joined sororities at LSU. Each had married, had three children, lived in homes walking distance apart in Lake Charles, and had keys to each other's houses. Each loved the other's children. Shirley knew Sally's parents and even consulted Sally's mother when the two go to "fussing to much." They exchanged birthday and Christmas gifts and jointly scoured the newspaper for notices of upcoming cultural events they had, when they were neighbors in Lake Charles, attended together. One day when I was staying as Shirley's overnight guest in Opelousas, I noticed a watercolor picture hanging on the guestroom wall, which Sally had painted as a gift for Shirley's eleven-year-old daughter, who aspired to become a ballerina. With one pointed toe on a pudgy, pastel cloud, the other lifted high, the ballerina's head was encircled by yellow star-like butterflies. It was a loving picture of a child's dream--one that came true. Both women followed the news on TV--Sally through MSNBC's Rachel Maddow, and Shirley via Fox News's Charles Krauthammer, and each talked these different reports over with a like-minded husband. The two women talk by phone two or three times a week, and their grown children keep in touch, partly across the same politcal divide. While this book is not about the personal lives of these two women, it couldn't have been written without them both, and I believe that their friendship models what our country itself needs to forge: the capacity to connect across difference.

Eventually the girl-child will turn away from the Spirit-filled One. Her original spirituality will become confined within the acceptable lines of religion. She will be taught the right way to imagine and name god. “He” will be mediated to her through words, images, stories, and myths shaped, written, and spoken by men. She will adopt the god she is given. It is too dangerous to rebel. If she dares to venture out of the lines by communing with the spirit of a tree, the mysterious night sky, or her grandma, she will be labeled heretic, backslide, or witch. She is told: Prideful One, your grandma is not god; neither is your favorite star or rock. God has only one name and face. You shall have no gods before him. God is Father, Son, and Holy Ghost. He is found in the church, heavens, and holy book, not in you. God is the god of the fathers and sons; the daughters have no say in the matter. As it was in the beginning, it is now and ever shall be. The Spirit-Filled One falls asleep. Occasionally she awakens to remind the girl-child-turned-woman of what she once knew. These periodic reminders are painful. The woman fills her life with distractions so she will not hear the quiet inner voice, calling her to return home. Years later, new teachers enter the woman's life—a therapist, a self-help group, a support circle, a beloved friend, or perhaps this workbook. They remind her of what she once knew: Spirit-filled One, your grandma is god and so are your favorite star and rock. God has many names and many faces. God is Mother, Daughter, and Wise Old Crone. She is found in your mothers, in your daughters, and in you. She is Mother of all Living and blessed are her daughters. You are girl-woman made in her image. The spirit of the universe pulsates through you.

Perhaps also there are some necessary truths about mind, language, and perception after all, a compendium of superscientific truths awaiting discovery and dissemination by philosophers. If so, however, one would expect the same to be true of other subjects. For example, one would expect there to be a set of necessary truths about all possible living things; and another set about all possible stars and galaxies; and another set about all possible forms of matter; and so on. One would expect, that is, a significant compendium of a priori knowledge on almost every significant subject: space, time, motion, light, matter, planets, fire, cosmology, life, weather, medicine, and so forth. Given the thousands of years philosophers have had to penetrate these subjects, we might well ask in which books the apodictic fruits of so much a priori labour have been written down. Put thus bluntly, the question is embarrassing. There is no such accumulated compendium of important a priori truths on any of these topics. And this despite the fact that philosophers have been talking and theorizing with enthusiasm about all of them for over twenty-five centuries. Claims of necessary truth have regularly been made, but empirical refutation has been their most common fate. What has accumulated instead is a rich compendium of a posteriori knowledge, a compendium born of the continuing labours of various subdivisions of earlier philosophy, subdivisions now quite properly identified as sciences. It now seems silly to expect philosophical techniques to reveal important necessary truths about all possible planets, or all possible forms of matter, or all possible living things. But if it is just plain silly to expect this for planets, matter, and life, why should it be sound philosophy to expect it for language, mind, and perception?

In the night I awoke. Was this my own voice reciting what was written? “ ‘And every secret thing shall be opened, and every dark place illuminated.’ ” Dear God, no, do not let them know this, do not let them know the great accumulation of all of this, this agony and joy, this misery, this solace, this reaching, this gouging pain, this . . . But they will know, each and every one of them will know. They will know because what you are remembering is what has happened to each and every one of them. Did you think this was more or less for you? Did you think—? And when they are called to account, when they stand naked before God and every incident and utterance is laid bare—you, you will know all of it with each and every one of them! I knelt in the sand. Is this possible, Lord, to be with each of them when he or she comes to know? To be there for every single cry of anguish? For the grief-stricken remembrance of every incomplete joy? Oh, Lord, God, what is judgment and how can it be, if I cannot bear to be with all of them for every ugly word, every harsh and desperate cry, for every gesture examined, for every deed explored to its roots? And I saw the deeds, the deeds of my own life, the smallest, most trivial things, I saw them suddenly in their seed and sprout and with their groping branches; I saw them growing, intertwining with other deeds, and those deeds come to form a thicket and a woodland and a great roving wilderness that dwarfed the world as we hold it on a map, the world as we hold it in our minds. Dear God, next to this, this endless spawning of deed from deed and word from word and thought from thought—the world is nothing. Every single soul is a world! I started to cry. But I would not close off this vision—no, let me see, and all those who lifted the stones, and I, I blundering, and James' face when I said it, I am weary of you, my brother, and from that instant outwards a million echoes of those words in all present who heard or thought they heard, who would remember, repeat, confess, defend . . . and so on it goes for the lifting of a finger, the launching of the ship, the fall of an army in a northern forest, the burning of a city as flames rage through house after house! Dear God, I cannot . . . but I will. I will. I sobbed aloud. I will. O Father in Heaven, I am reaching to You with hands of flesh and blood. I am longing for You in Your perfection with this heart that is imperfection! And I reach up for You with what is decaying before my very eyes, and I stare at Your stars from within the prison of this body, but this is not my prison, this is my Will. This is Your Will. I collapsed weeping. And I will go down, down with every single one of them into the depths of Sheol, into the private darkness, into the anguish exposed for all eyes and for Your eyes, into the fear, into the fire which is the heat of every mind. I will be with them, every solitary one of them. I am one of them! And I am Your Son! I am Your only begotten Son! And driven here by Your Spirit, I cry because I cannot do anything but grasp it, grasp it as I cannot contain it in this flesh-and-blood mind, and by Your leave I cry. I cried. I cried and I cried. “Lord, give me this little while that I may cry, for I've heard that tears accomplish much. . . .” Alone? You said you wanted to be alone? You wanted this, to be alone? You wanted the silence? You wanted to be alone and in the silence. Don't you understand the temptation now of being alone? You are alone. Well, you are absolutely alone because you are the only One who can do this! What judgment can there ever be for man, woman, or child—if I am not there for every heartbeat at every depth of their torment?

...and the handsome jester, Devil’s Gold, is shaking his bead-covered rattle, making medicine and calling us by name. We are so tired from our long walk that we cannot but admire his gilded face and his yellow magic blanket. And, holding each other’s hands like lovers, we stoop and admire ourselves in the golden pool that flickers in the great campfire he has impudently built at the crossing of two streets in Heaven. But we do not step into the pool as beforetime. Our boat is beside us, it has overtaken us like some faithful tame giant swan, and Avanel whispers: “Take us where The Golden Book was written.” And thus we are up and away. The boat carries us deeper, down the valley. We find the cell of Hunter Kelly,— . St. Scribe of the Shrines. Only his handiwork remains to testify of him. Upon the walls of his cell he has painted many an illumination he afterward painted on The Golden Book margins and, in a loose pile of old torn and unbound pages, the first draft of many a familiar text is to be found. His dried paint jars are there and his ink and on the wall hangs the empty leather sack of Johnny Appleseed, from which came the first sowing of all the Amaranths of our little city, and the Amaranth that led us here. And Avanel whispers:—“I ask my heart: —Where is Hunter Kelly, and my heart speaks to me as though commanded: ‘The Hunter is again pioneering for our little city in the little earth. He is reborn as the humblest acolyte of the Cathedral, a child that sings tonight with the star chimes, a red-cheeked boy, who shoes horses at the old forge of the Iron Gentleman. Let us also return’.” It is eight o’clock in the evening, at Fifth and Monroe. It is Saturday night, and the crowd is pouring toward The Majestic, and Chatterton’s, and The Vaudette, and The Princess and The Gaiety. It is a lovely, starry evening, in the spring. The newsboys are bawling away, and I buy an Illinois State Register. It is dated March 1, 1920. Avanel of Springfield is one hundred years away. The Register has much news of a passing nature. I am the most interested in the weather report, that tomorrow will be fair. THE END - Written in Washington Park Pavilion, Springfield, Illinois.

One key characteristic of structure is its richness. To illustrate, recall the comparison that John Rawls drew between checkers and chess when he was describing the Aristotelian principle (see page 386). Both games are played on a board with 64 squares, but they have different structures. Checkers has one kind of piece, while chess has six different kinds of pieces. The movement of any checker piece is restricted to a single square per turn unless it is capturing, while movement in chess is different for each piece. In checkers, the goal is to capture all the opponents’ pieces. In chess, the goal is to trap one particular piece. The structure of chess is objectively richer than the structure of checkers. It is no coincidence that chess has thousands of books written about tactics and strategy for every aspect of the game while checkers has a fraction of that number. The nature of accomplishment in checkers and chess is also objectively different, as reflected in their relative places in Western culture.[1] I measure the richness of a structure by three aspects: principles, craft, and tools. The scientific method offers convenient examples. Conceptually, a scientific experiment proceeds according to principles such as replicability, falsifiability, and the role of the hypothesis that apply across different scientific disciplines. The actual conduct of a classic scientific experiment involves craft—the generation of a hypothesis to be tested or a topic to be explored, the creation of the methods for doing so, and meticulous observance of protocols and procedures during the actual work. The details of craft differ not only across disciplines but within disciplines. They also have a family resemblance, in the sense that a meticulous scientist behaves in ways that are recognizable to scientists in every field—“meticulous” being one of the defining characteristics of craft practiced at a high level. Tools play a double role. Sometimes they are created in direct response to needs generated by principles and craft—accurate thermometers are an example—but at least as often, a tool turns out to have unanticipated uses that alter both principles and craft, independently expanding the realm of things a discipline can achieve. An example is the invention of the diffraction grating to study spectra of light, which 40 years later turned out to enable astronomers to study the composition of the stars.

If it was that easy, your father would have told you himself. This-like any real truth-must be discovered on your own. Honestly, I have no idea what your father might have told you. I do know he felt you were too optimistic, too naïve, and Royce is … well … not. At our last meeting, I spoke to him of Royce. It was Danbury’s idea-his last wish-that if I ever found his wayward son, I should introduce the two of you. I think he felt Royce could provide you with that last piece of the puzzle, the one thing he failed to give you. Consider it one last chicken test if you will, one whose lesson you might not see the virtue of just yet.” The professor stroked his beard around the edges of his mouth. “I suspect you have regrets at how you left home. Guilt perhaps. This is your chance to ease that feeling. This is the door your father left open for you. Besides, you don’t need to marry Royce-just accept this single assignment.” “What assignment?” Hadrian asked. “I need for you to fetch me a book. It’s a journal written by a former professor here at the university.” “He means he wants us to steal a book.” Royce had picked up what looked to be a six-inch incisor from a bear and was rolling it between his hands. “More like borrow without permission,” Arcadius expl-ained. “Can’t you just ask, especially since you only want to borrow it?” Hadrian said. “I’m afraid that won’t be possible. First, it would be heretical to read this book, and second, the owner doesn’t lend his things. In fact, the owner has lived his entire life sealed off from the entire world.” “Who are we talking about here?” “The head of the Nyphron Church, his supreme holiness, the Patriarch Nilnev.” Hadrian laughed. “The Patriarch? The Patriarch?” The old man didn’t look amused. “At last count there was still just the one.” Hadrian continued to chuckle, shaking his head as he walked in a small circle, stepping carefully to avoid islands of books. “Honestly, did you really have to go that far?” “How do you mean?” “Couldn’t you have demanded we steal the moon away from the stars? Why not request I help abduct the daughter of the Lord God Maribor?” “Maribor doesn’t have a daughter,” Arcadius replied without a hint of humor. “Well, that explains it, then.” Royce smiled. “I’m starting to like him.” “And I don’t trust you ,” Hadrian said. Royce nodded approvingly. “That’s the smartest thing I’ve heard you say yet. You might be right, old man. I think I’ve already been a good influence on him.

One can take the ape out of the jungle, but not the jungle out of the ape. This also applies to us, bipedal apes. Ever since our ancestors swung from tree to tree, life in small groups has been an obsession of ours. We can’t get enough of politicians thumping their chests on television, soap opera stars who swing from tryst to tryst, and reality shows about who’s in and who’s out. It would be easy to make fun of all this primate behavior if not for the fact that our fellow simians take the pursuit of power and sex just as seriously as we do. We share more with them than power and sex, though. Fellow-feeling and empathy are equally important, but they’re rarely mentioned as part of our biological heritage. We would much rather blame nature for what we don’t like in ourselves than credit it for what we do like. As Katharine Hepburn famously put it in The African Queen, ”Nature, Mr. Allnut, is what we are put in this world to rise above.” This opinion is still very much with us. Of the millions of pages written over the centuries about human nature, none are as bleak as those of the last three decades, and none as wrong. We hear that we have selfish genes, that human goodness is a sham, and that we act morally only to impress others. But if all that people care about is their own good, why does a day-old baby cry when it hears another baby cry? This is how empathy starts. Not very sophisticated perhaps, but we can be sure that a newborn doesn’t try to impress. We are born with impulses that draw us to others and that later in life make us care about them. The possibility that empathy is part of our primate heritage ought to make us happy, but we’re not in the habit of embracing our nature. When people commit genocide, we call them ”animals”. But when they give to the poor, we praise them for being ”humane”. We like to claim the latter behavior for ourselves. It wasn’t until an ape saved a member of our own species that there was a public awakening to the possibility of nonhuman humaneness. This happened on August 16, 1996, when an eight-year-old female gorilla named Binti Jua helped a three-year-old boy who had fallen eighteen feet into the primate exhibit at Chicago’s Brookfield Zoo. Reacting immediately, Binti scooped up the boy and carried him to safety. She sat down on a log in a stream, cradling the boy in her lap, giving him a few gentle back pats before taking him to the waiting zoo staff. This simple act of sympathy, captured on video and shown around the world, touched many hearts, and Binti was hailed as a heroine. It was the first time in U.S. history that an ape figured in the speeches of leading politicians, who held her up as a model of compassion. That Binti’s behavior caused such surprise among humans says a lot about the way animals are depicted in the media. She really did nothing unusual, or at least nothing an ape wouldn’t do for any juvenile of her own species. While recent nature documentaries focus on ferocious beasts (or the macho men who wrestle them to the ground), I think it’s vital to convey the true breadth and depth of our connection with nature. This book explores the fascinating and frightening parallels between primate behavior and our own, with equal regard for the good, the bad, and the ugly.

Dr. Sherman VanMeter has made a career of unpacking the densest areas of scientific endeavor in accessible—if not polite—terms. You’ve written books on everything from astrophysics to zoology. How are you able to achieve expertise in so many disparate fields? There’s a perception that scientific disciplines are separate countries, when in fact science is a universal passport. It’s about exploring and thinking critically, not memorization. A question mark, not a period. Can you give me an example? Sure. Kids learn about the solar system by memorizing the names of planets. That’s a period. It’s also scientifically useless, because names have no value. The question mark would be to say instead, “There are hundreds of thousands of sizable bodies orbiting the sun. Which ones are exceptional? What makes them so? Are there similarities? What do they reveal?” But how do you teach a child to grasp that complexity? You teach them to grasp the style of thinking. There are no answers, only questions that shape your understanding, and which in turn reveal more questions. Sounds more like mysticism than science. How do you draw the line? That’s where the critical thinking comes in. I can see how that applies to the categorization of solar objects. But what about more abstract questions? It works there too. Take love, for example. Artists would tell you that love is a mysterious force. Priests claim it’s a manifestation of the divine. Biochemists, on the other hand, will tell you that love is a feedback loop of dopamine, testosterone, phenylethylamine, norepinephrine, and feel-my-pee-pee. The difference is, we can show our work. So you’re not a romantic, then? We’re who we are as a species because of evolution. And at the essence, evolution is the steady production of increasingly efficient killing machines. Isn’t it more accurate to say “surviving machines”? The two go hand in hand. But the killing is the prime mover; without that, the surviving doesn’t come into play. Kind of a cold way to look at the world, isn’t it? No, it’s actually an optimistic one. There’s a quote I love from the anthropologist Robert Ardrey: “We were born of risen apes, not fallen angels, and the apes were armed killers besides. And so what shall we wonder at? Our murders and massacres and missiles, and our irreconcilable regiments? Or our treaties whatever they may be worth; our symphonies however seldom they may be played; our peaceful acres, however frequently they may be converted to battlefields; our dreams however rarely they may be accomplished. The miracle of man is not how far he has sunk but how magnificently he has risen.” You used that as the epigraph to your new book, God Is an Abnorm. But I noticed you left out the last line, “We are known among the stars by our poems, not our corpses.” Why? That’s where Ardrey’s poetic license gets the better of his science, which is a perilous mistake. We aren’t “known among the stars” at all. The sun isn’t pondering human nature, the galaxy isn’t sitting in judgment. The universe doesn’t care about us. We’ve evolved into what we are because humanity’s current model survived and previous iterations didn’t. Simple as that. Why is a little artistic enthusiasm a perilous mistake? Because artists are more dangerous than murderers. The most prolific serial killer might have dozens of victims, but poets can lay low entire generations.

Like,” he repeats with distaste. “How about I tell you what I don’t like? I do not like postmodernism, postapocalyptic settings, postmortem narrators, or magic realism. I rarely respond to supposedly clever formal devices, multiple fonts, pictures where they shouldn’t be—basically, gimmicks of any kind. I find literary fiction about the Holocaust or any other major world tragedy to be distasteful—nonfiction only, please. I do not like genre mash-ups à la the literary detective novel or the literary fantasy. Literary should be literary, and genre should be genre, and crossbreeding rarely results in anything satisfying. I do not like children’s books, especially ones with orphans, and I prefer not to clutter my shelves with young adult. I do not like anything over four hundred pages or under one hundred fifty pages. I am repulsed by ghostwritten novels by reality television stars, celebrity picture books, sports memoirs, movie tie-in editions, novelty items, and—I imagine this goes without saying—vampires. I rarely stock debuts, chick lit, poetry, or translations. I would prefer not to stock series, but the demands of my pocketbook require me to. For your part, you needn’t tell me about the ‘next big series’ until it is ensconced on the New York Times Best Sellers list. Above all, Ms. Loman, I find slim literary memoirs about little old men whose little old wives have died from cancer to be absolutely intolerable. No matter how well written the sales rep claims they are. No matter how many copies you promise I’ll sell on Mother’s Day.” Amelia blushes, though she is angry more than embarrassed. She agrees with some of what A.J. has said, but his manner is unnecessarily insulting. Knightley Press doesn’t even sell half of that stuff anyway. She studies him. He is older than Amelia but not by much, not by more than ten years. He is too young to like so little. “What do you like?” she asks. “Everything else,” he says. “I will also admit to an occasional weakness for short-story collections. Customers never want to buy them though.” There is only one short-story collection on Amelia’s list, a debut. Amelia hasn’t read the whole thing, and time dictates that she probably won’t, but she liked the first story. An American sixth-grade class and an Indian sixth-grade class participate in an international pen pal program. The narrator is an Indian kid in the American class who keeps feeding comical misinformation about Indian culture to the Americans. She clears her throat, which is still terribly dry. “The Year Bombay Became Mumbai. I think it will have special int—” “No,” he says. “I haven’t even told you what it’s about yet.” “Just no.” “But why?” “If you’re honest with yourself, you’ll admit that you’re only telling me about it because I’m partially Indian and you think this will be my special interest. Am I right?” Amelia imagines smashing the ancient computer over his head. “I’m telling you about this because you said you liked short stories! And it’s the only one on my list. And for the record”—here, she lies—“it’s completely wonderful from start to finish. Even if it is a debut. “And do you know what else? I love debuts. I love discovering something new. It’s part of the whole reason I do this job.” Amelia rises. Her head is pounding. Maybe she does drink too much? Her head is pounding and her heart is, too. “Do you want my opinion?” “Not particularly,” he says. “What are you, twenty-five?” “Mr. Fikry, this is a lovely store, but if you continue in this this this”—as a child, she stuttered and it occasionally returns when she is upset; she clears her throat—“this backward way of thinking, there won’t be an Island Books before too long.

a poem called “Duan Na Muthairn,” or “Rune of the Muthairn.” These were drawn from a collection by Alexander Carmichael called Carmina Gadelica, published in 1900, which was at the forefront of the Gaelic revival movement of the time period. The song is performed in Gaelic by Raya Yarbrough. In English, the text means: Thou King of the moon, Thou King of the sun, Thou King of the planets, Thou King of the stars, Thou King of the globe, Thou King of the sky, Oh! lovely Thy countenance, Thou beauteous Beam.

Every spoken word double-crosses us. The only tolerable form of communication is the written word, since it isn’t a stone in a bridge between souls but a ray of light between stars.

Kirkus (starred review): A lucid, expertly researched biography of the brilliant Nikola Tesla. (Readers) will absolutely enjoy (Munson’s) sympathetic, insightful portrait. Booklist: Celebratory, comprehensive profile. ….A well-written, insightful addition to the legacy of this still-underappreciated visionary genius. Library Journal: Entrepreneurs, inventors, engineers, and futurists will find this biography inspiring. Gretchen Bakke (author of "The Grid"): Munson has provided us with an intimate tapestry of Tesla's life, personality, and inventions. Filled with quotes, and clearly researched with great care, Munson brings Tesla to life, not as a superhero but as a man—both ordinary and extraordinary. What surprised me, and proved to be one of the great pleasures of the book was to realize how much Tesla’s story is an immigrant story. Anne Pramaggiore (CEO of Commonwealth Edison): Tesla is an exactingly-researched history and wonderfully crafted tale of one of the most important and fascinating visionaries of the technological age. This book’s teachings have never been more relevant than in today’s world of digital transformation.

I don’t know why anyone thinks looking at the stars is so romantic,” he said. “Have they ever read Greek mythology? It’s all the same story—God sees mortal, God desires mortal, mortal suffers gruesome fate and is rewarded with an eternity of pain in the cosmos.” He shrugged. “You could always make up your own stories.” But she was already shaking her head. “No. Those stories are written in stardust millions of years old. I don’t think I get to change them.” “Then I’m thankful for light pollution,” he said.

Save perhaps for the inventing and scriptwriting of Armitage, for the comics publication Judge Dredd the Megazine, in which he delineated and developed the city of London in that futuristic and somewhat casually violent shared world. And possibly his novels in the Judge Dredd line from Virgin Books, being Deathmasques, The Medusa Seed and Wetworks. And possibly any amount of other comics-related material to boot. And his work for Virgin Books’ New Adventure and Missing Adventure lines, come to think of it, including Sky Pirates!, Death and Diplomacy, Burning Heart, and for their continuation (starring one-time companion Bernice Summerfield), Ship of Fools, Oblivion, The Mary-Sue Extrusion and Return to the Fractured Planet. Each and every one a fine and puissant piece of literature, so all in all it is a bit unfortunate that at least half of them are no longer in print. For the BBC he has written the novel Heart of TARDIS, the short story Moon Graffiti, subsequently released as one half of a BBC Radio Collection audio disc, and the very volume you currently hold, quite lovingly, in your hands. His work on Bernice, incidentally, continues more-or-less simultaneously with the release of the Big Finish novel The Infernal Nexus. Mr.

Thanks for reading all the way through. I hope that you enjoyed this book. As a new writer, it is hard to get started; it is difficult to find an audience that wants to read my books. There are millions of books out there and sometimes it is super hard to find one specific book. But that’s where you come in! You can help other readers find my books by leaving a simple review. It doesn’t have to be a lengthy or well written review; it just has to be a few words and then click on the stars. It would take less than 5 minutes.  Seriously, that would help me so much, you don’t even realize it. Every time I get a review, good or bad, it just fills me with motivation to keep on writing. It is a great feeling to know that somewhere out there, there are people who actually enjoy reading my books. Anyway, I would super appreciate it, thanks. If you see new books from me in the future, you will know that I wrote them because of your support. Thank you for supporting my work. Special thanks again to previous readers and reviewers. Thank you for encouraging me to keep writing. I’ll do my best to provide high quality books for you all. My Other Books

Hollywood was called Tinseltown for a reason and I was caught up in its glitter. My friend Ken seemed to know everyone and once took me to the NBC Studios in Burbank, where he introduced me to Steve Allen. “Steverino,” as he was known by friends, must have thought that I wanted to get into show business and promised that if I applied myself, I would go places. I hadn’t really given show business much thought, but it sounded good to me. However, I’m glad that I didn’t count on his promise of becoming a star, because that was the end of it. I never saw Steve Allen again, other than on television, and I guess that’s just the way it was in Hollywood. Later Steve Allen starred in NBC’s The Tonight Show, which in more recent times has been hosted by Jack Paar, Johnny Carson, Jay Leno and now by Jimmy Fallon. Steve Allen had a rider in his contract that whenever he was introduced as a guest, the introduction would include: “And now our next guest is world-renowned recording artist, actor, producer, playwright, best-selling author, composer of thousands of songs, Emmy winning comic genius and entertainer – Steve Allen.” He was a funny guy and he would crack me up, but more than that, he would frequently crack himself up. Steve was loved or hated by people. It was said that he was enormously talented, and if you didn’t believe that, just ask him. Jack Paar, who followed Steve on The Tonight Show, once said, “Steve Allen has claimed to have written over 1,000 songs; name one???” The truth is that he did write a huge number of songs, including the 1963 Grammy award-winning composition, The Gravy Waltz. He wrote about 50 books, one of which is Steve Allen’s Private Joke File, published in 2000, just prior to his death in that same year. He also has two stars on the “Hollywood Walk of Fame,” one for radio and one for TV. Say what you want…. He cracked up at least two people with his humor, himself and me!

And then I understood: only then, sipping nettle soup, tasting the green shoots, the force of life itself that had pushed the young nettles up through paving stones, cobbles, packed mud. Ugolino had flavored his dishes with this. With everything: our food. The steam that drifted, invisible, through the streets. The recipes, written in books or whispered on deathbeds. The pots people stirred every day of their lives: tripe, ribollita, peposo, spezzatino, bollito. Making circles with a spoon, painting suns and moons and stars in broth, in battuta. Writing, even those who don't know their letters, a lifelong song of love. Tessina dipped her spoon, sipped, dipped again. I would never taste what she was tasting: the alchemy of the soil, the ants which had wandered across the leaves as they pushed up towards the sun; salt and pepper, nettles; or just soup: good, ordinary soup. And I don't know what she was tasting now, as the great dome of the cathedral turns a deeper red, as she takes the peach from my hand and steals a bite. Does she taste the same sweetness I do? The vinegar pinpricks of wasps' feet, the amber, oozing in golden beads, fading into warm brown, as brown as Maestro Brunelleshi's tiles? I don't know now; I didn't then. But there was one thing we both tasted in that good, plain soup, though I would never have found it on my tongue, not as long as I lived. It had no flavor, but it was there: given by the slow dance of the spoon and the hand which held it. And it was love.

My eyes do not shine like yours but will you look into my eyes? There’s a world of love hidden inside it and thickest books written about my affections for you.

This book was written on an Archives III microcomputer with WordStar software and sent from Colombo to New York on one five-inch diskette. Last-minute corrections were transmitted through the Padukka Earth Station and the Indian Ocean Intelsat V.

I WANDER THE film criticism district, formulating theories, grinding axes; it keeps me sane in these insane times to return to my roots, to praise those films and filmmakers worthy of an audience’s attention, to destroy those filmmakers who loose self-satisfied garbage onto the world. Consider Stranger Than Fiction, I say to my imagined lecture hall full of cinephiles: a wonderfully quirky film starring William Ferrell and the always adorkable Zooey Deschanel. The work done here by director Marc Forster (who directed the unfortunately misguided, misogynistic, and racistic Monster’s Ball) and screenwriter Zachary H. Elms is stellar in that all the metacinematic techniques work, its construction analogous to that of a fine Swiss watch (no accident that a wristwatch figures so prominently into the story!). Compare this to any mess written by Charlie Kaufman. Stranger Than Fiction is the film Kaufman would’ve written if he were able to plan and structure his work, rather than making it up as he goes along, throwing in half-baked concepts willy-nilly, using no criterion other than a hippy-dippy “that’d be cool, man.” Such a criterion might work if the person making that assessment had even a shred of humanism within his soul. Kaufman does not, and so he puts his characters through hellscapes with no hope of them achieving understanding or redemption. Will Ferrell learns to live fully in the course of Stranger Than Fiction. Dame Emily Thomson, who plays his “author,” learns her own lessons about compassion and the value and function of art. Had Kaufman written this film, it would have been a laundry list of “clever” ideas culminating in some unearned emotional brutality and a chain reaction of recursional activity wherein it is revealed that the author has an author who has an author who has an author who has an author, et chetera, thus leaving the audience depleted, depressed, and, most egregiously, cheated. What Kaufman does not understand is that such “high concepts” are not an end in themselves but an opportunity to explore actual mundane human issues. Kaufman is a monster, plain and simple, but a monster unaware of his staggering ineptitude (Dunning and Kruger could write a book about him!). Kaufman is Godzilla with dentures, Halloween’s Mike Myers with a rubber knife, Pennywise the Clown with contact dermatitis from living in a sewer. He is a pathetic—

You see, people believe that depressed people are numb. Numb to any feelings and any sensations. That they cannot feel anything, when... when that is the farthest thing from what is actually going on. In reality, depressed people, we are the ones who feel the most, among everyone. We feel our emotions, our pain, ragingly, roaringly, through the rooftops and written across skylines. That is why we suffer the most. I think that is why I suffered in the way I did.

My name is Viverrine Gentian. Who are you?” “You said you knew.” “And so I do,” she said. “I was simply wondering if we agreed.” “What’s that book?” “It’s a story called Somnium. A beautiful and extremely rare book. Written in Latin with a smidgen of Hebrew and Greek.

I don’t have much confidence,” she said. “A lot of what I’ve been taught isn’t making sense.” “That’s the nature of teaching. Something happens, and intelligence first apprehends it, then makes up a rule about it, then tries to pass the rule along. Very small beings invariably operate in that way. However, by the time the information is passed on, new things are happening that the old rule doesn’t fit. Eventually intelligence learns to stop making rules and understand the flow.” “I was told that the eternal verities—” “Like what?” God laughed. “If there were any, I should know! I have created a universe based on change, and a very small being speaks to me of eternal verities!” “I didn’t mean to offend. It’s just, if there are no verities, how do we know what’s true?” “You don’t offend. I don’t create things that are offensive to me. As for truth, what’s true is what’s written. Every created thing bears my intention written in it. Rocks. Stars. Very small beings. Everything only runs one way naturally, the way I meant it to. The trouble is that very small beings write books that contradict the rocks, then say I wrote the books and the rocks are lies.” He laughed. The universe trembled. “They invent rules of behavior that even angels can’t obey, and they say I thought them up. Pride of authorship.” He chuckled. “They say, ‘Oh, these words are eternal, so God must have written them.

similarly impermanent. All books, no matter their binding, will fall to dust. The stories they carry may last longer. They might outlive the paper, the library, even the language in which they were first written. The greatest story can reach the stars . . . The First Book of Irad

No, sir, of course not. Beren now, he never thought he was going to get that Silmaril from the Iron Crown in Thangorodrim, and yet he did, and that was a worse place and a blacker danger than ours. But that’s a long tale, of course, and goes on past the happiness and into grief and beyond it – and the Silmaril went on and came to Eärendil. And why, sir, I never thought of that before! We’ve got – you’ve got some of the light of it in that star-glass that the Lady gave you! Why, to think of it, we’re in the same tale still! It’s going on. Don’t the great tales never end?’ ‘No, they never end as tales,’ said Frodo. ‘But the people in them come, and go when their part’s ended. Our part will end later – or sooner.’ ‘And then we can have some rest and some sleep,’ said Sam. He laughed grimly. ‘And I mean just that, Mr. Frodo. I mean plain ordinary rest, and sleep, and waking up to a morning’s work in the garden. I’m afraid that’s all I’m hoping for all the time. All the big important plans are not for my sort. Still, I wonder if we shall ever be put into songs or tales. We’re in one, of course; but I mean: put into words, you know, told by the fireside, or read out of a great big book with red and black letters, years and years afterwards. And people will say: “Let’s hear about Frodo and the Ring!” And they’ll say: “Yes, that’s one of my favourite stories. Frodo was very brave, wasn’t he, dad?” “Yes, my boy, the famousest of the hobbits, and that’s saying a lot.”’ ‘It’s saying a lot too much,’ said Frodo, and he laughed, a long clear laugh from his heart. Such a sound had not been heard in those places since Sauron came to Middle-earth. To Sam suddenly it seemed as if all the stones were listening and the tall rocks leaning over them. But Frodo did not heed them; he laughed again. ‘Why, Sam,’ he said, ‘to hear you somehow makes me as merry as if the story was already written. But you’ve left out one of the chief characters: Samwise the stouthearted. “I want to hear more about Sam, dad. Why didn’t they put in more of his talk, dad? That’s what I like, it makes me laugh. And Frodo wouldn’t have got far without Sam, would he, dad?

. . similarly impermanent. All books, no matter their binding, will fall to dust. The stories they carry may last longer. They might outlive the paper, the library, even the language in which they were first written. The greatest story can reach the stars . . . The First Book of Irad

Plato spoke of the Sisters of Fate on the last 3 pages of his book, “The Republic” when he said:    “Then the Sisters of Fate take all of our choices and weave them on their loom into the fabric of destiny. Hear the word of Lachesis, the daughter of Necessity. Mortal souls, behold a new cycle of life and mortality. Your genius will not be allotted to you, but you will choose your genius; and let him who draws the first lot have the first choice, and the life which he chooses shall be his destiny. Virtue is free, and as a man honors’ or dishonors her he will have more or less of her; the responsibility is with the chooser — God is justified”     [Quote from Plato’s Republic written 360BCE In the Public Domain]

All books, all written works, are a collaboration between the writer and the reader, even if they are separated by oceans of stars or an eternity of time.

Jasper T. Scott is the author of more than ten novels, written across various genres. He has been writing for more than eight years, but his abiding passion has always been to write science fiction and fantasy. As an avid fan of Star Wars and Lord of the Rings, Jasper Scott aspires to create his own worlds to someday capture the hearts and minds of his readers as thoroughly as these franchises have. Jasper writes his books from Central America and offers his sincerest apologies and regrets for his long absence from the rat race, but to all the noble warriors who venture out daily into the wintry cold on their way to work or school, he sends his regards—you are braver than he.

So we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal. (NIV) What does Scripture mean when it tells us to fix our eyes on what we can’t even see? How do we begin to do that? Even though as Christians we affirm the reality of the spiritual realm, sometimes we succumb to naturalistic assumptions that what we see is real and what we don’t see isn’t. Many people conclude that God can’t be real, because we can’t see Him. And Heaven can’t be real, because we can’t see it. But we must recognize our blindness. The blind must take by faith that there are stars in the sky. If they depend on their ability to see, they will conclude there are no stars. Sitting here in what C. S. Lewis called the Shadowlands, we must remind ourselves what Scripture tells us about Heaven. We will one day be delivered from the blindness that obscures the light of God’s world. For many people—including many believers—Heaven is a mysterious word describing a place that we can’t understand and therefore don’t look forward to. But Scripture tells us differently. What we otherwise could not have known about Heaven, God says He has revealed to us through His Spirit (1 Corinthians 2:10). God tells us about our eternal home in His Word, not so we can shrug our shoulders and remain ignorant, but because He wants us to anticipate what awaits us and those we love, and because it has the power to transform the way we live today. Life on earth matters not because it’s the only life we have, but precisely because it isn’t—it’s the beginning of a life that will continue without end. It’s the precursor of life on the New Earth. Eternal life doesn’t begin when we die; it has already begun. With eternity in view, nearly any honest activity—whether building a shed, driving a bus, pruning trees, changing diapers or caring for a patient—can be an investment in God’s kingdom. God is eternal. His Place is eternal. His Word is eternal. His people are eternal. Center your life around God, His Place, His Word, and His people, and reach out to those eternal souls who desperately long for His person and His place. Then no matter what you do for a living, your days here will make a profound difference for eternity—and you will be fulfilling the biblical admonition to fix your eyes on what is unseen.     This book includes 60 daily devotionals on a variety of topics related to living each day purposefully with an eternal perspective. (My thanks to Stephanie Anderson for compiling things I’ve written and quotations I’ve collected.) I hope they will encourage you to live with eternity in mind as you follow Jesus with all your heart.   —Randy Alcorn

If you want to read about facts, break out an encyclopedia. Not a book written by an author who put their creative mind to use in work clearly labeled fiction.

I’d rate myself five stars, and those stars would all be fish. My review was of how well I walked on the beach.

There were stars on the ceiling and it was believed that the walls represented the earth and the ceiling the heavens. Therefore, many scholars thought the writings were an attempt by this earlier civilization to pass along the secret worldly knowledge that they possessed. The hieroglyphics were thought to be written by extremely early priests from Heliopolis but, truthfully, no one really knew who carved them. They seemed to have been written at different times rather than all at once and, amazingly, because they were so old, they were still undeciphered.

Once upon a time man conceived the belief that this universe, with its many worlds swinging through space, was created for him. He fancied that the sun shone by day to warm and vivify him; that the stars of night were none other than lamps to his feet; that the other animals existed to afford him food and clothing—and sport; that the very flowers of the field blossomed and fruited and were beautiful for his gratification. In fact, man conceived the belief that instead of being the wise brother and helper of this creation amidst which he moves, he was the great central pivot upon which all revolves. A sorry lesson, surely, for man to read into the broad, open page of Nature’s great book. Small wonder that to him in his meanness its message came as “the painful riddle of the earth.” But it was the best he could do: the best any of us can do until we have learned the great lesson of the ancient Wise One has written out for us—which she will teach us, in time, through death, if we will not let her teach it through life: the lesson that use is not appropriation; that appropriation sets use to groan and sweat under fardels of evil.

... I'd started to think of books as beings. As things unto themselves, whether they were written by countless people countless years ago, or written just recently by strange old white men, the books themselves felt to me as if they were their own lives, separate from the bodies and minds that created them.

So on matters of faith," continued the Chinaman, the student of Confucius, "it is pride that causes error and discord among men. As with the sun, so it is with God. Each man wants to have a special God of his own, or at least a special God for his native land. Each nation wishes to confine in its own temples Him, whom the world cannot contain. "Can any temple compare with that which God Himself has built to unite all men in one faith and one religion? "All human temples are built on the model of this temple, which is God's own world. Every temple has its fonts, its vaulted roof, its lamps, its pictures or sculptures, its inscriptions, its books of the law, its offerings, its altars and its priests. But in what temple is there such a font as the ocean; such a vault as that of the heavens; such lamps as the sun, moon, and stars; or any figures to be compared with living, loving, mutually-helpful men? Where are there any records of God's goodness so easy to understand as the blessings which God has strewn abroad for man's happiness? Where is there any book of the law so clear to each man as that written in his heart? What sacrifices equal the self-denials which loving men and women make for one another? And what altar can be compared with the heart of a good man, on which God Himself accepts the sacrifice? "The higher a man's conception of God, the better will he know Him. And the better he knows God, the nearer will he draw to Him, imitating His goodness, His mercy, and His love of man. "Therefore, let him who sees the sun's whole light filling the world, refrain from blaming or despising the superstitious man, who in his own idol sees one ray of that same light. Let him not despise even the unbeliever who is blind and cannot see the sun at all." So spoke the Chinaman, the student of Confucius; and all who were present in the coffee-house were silent, and disputed no more as to whose faith was the best.

Thanks for reading all the way through. I hope that you enjoyed this book. As a new writer, it is hard to get started; it is difficult to find an audience that wants to read my books. There are millions of books out there and sometimes it is super hard to find one specific book. But that’s where you come in! You can help other readers find my books by leaving a simple review. It doesn’t have to be a lengthy or well written review; it just has to be a few words and then click on the stars. It would take less than 5 minutes.  Seriously, that would help me so much, you don’t even realize it. Every time I get a review, good or bad, it just fills me with motivation to keep on writing. It is a great feeling to know that somewhere out there, there are people who actually enjoy reading my books. Anyway, I would super appreciate it, thanks. If you see new books from me in the future, you will know that I wrote them because of your support. Thank you for supporting my work. Special thanks again to previous readers and reviewers. Thank you for encouraging me to keep writing. I’ll do my best to provide high quality books for you all. My Other Books Check Out My Author Page Steve the Noob

Our paths will cross once more, for the tapestry of destiny weaves in enigmatic ways. I will seek the truth, and our meeting shall be written in the stars.

Susan Sewell 5-Star Review "A supercomputer enhanced with artificial intelligence causes havoc in the life of its creator in the thrilling and suspenseful science-fiction fantasy, AI Beast by Shawn Corey. Since he was a child, Professor Jonathan Anthony Edwards dreamed of creating a sentient computer. Finally, his dream is coming to fruition, and his AI computer program, Lex, is almost ready to launch. To add to his delight, he has found someone with whom he can share his life. Beverly is an enchanting and beautiful woman who captivates Jon at first sight. In an unbelievable coincidence, her son, Nigel, is a student of quantum computing and is excited to be a part of Lex's debut. One day, while Jon and Nigel are working alone with Lex during a storm, something goes very wrong, and Jon is injured and sent into a coma by a blaze of light. When he finally regains consciousness, everything has changed at the University, and Nigel is in charge of Lex. While he has been out of commission, Nigel, Lex, and powerful world leaders seem to be working together to alter the world and humankind. What happened to Nigel and Jon that stormy day? Did Lex modify their psyches to use them to enact her secret plans? Incorporating prophecy from the book of Revelation and combining it with the element of artificial intelligence, AI Beast by Shawn Corey is a brilliant blend of science fiction and religion. Filled with suspenseful and intense, action-packed scenes, the tale chillingly portrays the terrifying conceptualization of a viable source that could be responsible for the fulfillment of the Bible's prophesied end times. From the beginning, the story flows at a quick pace, building momentum and culminating in a dramatic and explosive finale. Well-written with a solid, riveting plot, fascinating characters, and an intricately woven storyline, it is a stunning novel that is impossible to put down. The book contains deceit, passion, and exciting action scenes that will enthrall fans of Christian thrillers and science-fiction novels with a biblical influence. Due to some sexually intimate scenes, the book is more suitable for mature readers.

It’s all right here. Written in the stars. I’m merely an interpreter.

The chronological order of the books, in terms of future history (and not of publication date), is as follows: The Complete Robot (1982). This is a collection of thirty-one robot short stories published between 1940 and 1976 and includes every story in my earlier collection I, Robot (1950). Only one robot short story has been written since this collection appeared. That is “Robot Dreams,” which has not yet appeared in any Doubleday collection. The Caves of Steel (1954). This is the first of my robot novels. The Naked Sun (1957). The second robot novel. The Robots of Dawn (1983). The third robot novel. Robots and Empire (1985). The fourth robot novel. The Currents of Space (1952). This is the first of my Empire novels. The Stars, Like Dust—(1951). The second Empire novel. Pebble in the Sky (1950). The third Empire novel. Prelude to Foundation (1988). This is the first Foundation novel (although it is the latest written, so far). Foundation (1951). The second Foundation novel. Actually, it is a collection of four stories, originally published between 1942 and 1944, plus an introductory section written for the book in 1949. Foundation and Empire (1952). The third Foundation novel, made up of two stories, originally published in 1945. Second Foundation (1953). The fourth Foundation novel, made up of two stories, originally published in 1948 and 1949. Foundation’s Edge (1982). The fifth Foundation novel. Foundation and Earth (1983). The sixth Foundation novel.

No-one is ever taking me away from you again. Not our families, not our pasts, not our jobs…you and me, it was written in the stars you used to gaze up at when we were sixteen. You can’t deny fate, Anastasia.

And at that time shall Michael stand up, the great prince which standeth for the children of thy people: and there shall be a time of trouble, such as never was since there was a nation even to that same time: and at that time thy people shall be delivered, every one that shall be found written in the book. 2 And many of them that sleep in the dust of the earth shall awake, some to everlasting life, and some to shame and everlasting contempt. 3 And they that be wise shall shine as the brightness of the firmament; and they that turn many to righteousness as the stars for ever and ever.

A Quotation of the Foreword of Sheikh Hasan ‘Abdul-Bassir ‘Arafah (General Manager of the Islamic Da‘wah, the Ministry of Awqaf of Egypt in Alexandria): For the present, there is a ferocious attack on our Islamic heritage. Modernity Thoughts and radical groups still misunderstand and impugn the Sunnah of the Prophet Muhammad ﷺ. Besides, to offend the companions of the Prophet ﷺ. The Prophet ﷺ had witnessed to them with fairness. They were like the stars in the heavens. The book’s contents are simple but not easy, written down by Eng.: Ahmad ElYamany. The author was affected by his father’s upbringing; I mean that his father educated him according to the Thought of Al-Azhar Ash-Sharif (1). His father did his best upon a pulpit of Masjid(s) for standing up for the Sunnah until his death. Now, the author does follow the example of his father. He did write down this book to explain The Study of Tradition Terminology (2) for ordinary people in simple words. Besides, he does show how the previous Imams of the ‘Ummah took care of The Study of Tradition Terminology. This book geared-towards an obstacle against those who make a ferocious attack on the Sunnah and the heritage. __________________ (1) The Thought of Al-Azhar Ash-Sharif: I do mean the Sunni Madhab. The Sunni Madhab is a term generally applied to the large sect of Muslims, which consists of: • Regarding Fiqh: who follows one of these authorised Madhabs: - Madhab of Imam Abu Hanifah (مذهب أبو حنيفة), Madhab of Imam Malik (مذهب مالك), Madhab of Imam Ash-Shafi‘i (مذهب الشافعي), or Madhab of Imam Ahmad son of Hanbal (مذهب أحمد بن حنبل). • Regarding Creed: who follows one of these authorised Theologies: - The Ash‘arism Theology (Ash‘ariyah: Arabic المدرسة الأشعرية) or The Maturidism Theology (Maturidiyah: Arabic: المدرسة الماتُريدية). • Regarding Sufism: who follows one of any authorised Orders or Schools (Tariqah: Arabic: الطريقة الصوفية) of Sufism, such: - Al-Ghazzaliyah (الغزَّالية), Al-Qadiriyah (القادرية), Ash-Shazliyah (الشاذلية), Ar-Rifa‘iyah (الرفاعية), and so on. (2) The Study of Tradition Terminology: (Arabic: علم مصطلح الحديث), pronounced in the Roman Transliteration: ‘Ilm Mustalah Al-Hadith. The word Al-Hadith or Hadith means Communication or Narration. In the Islamic context, it has come to denote the record of what the Prophet Muhammad, peace and blessings of Allah be upon him, said, did, or tacitly approved.

She sensed a path, a wide path that smelled of motion, frying fat, wind, cloth, and lightning, and so many other random, disconnected, reconnected, harmonious, dissonant things. At first, it was a tiny thread dangling from the edge of an enormity. She grasped it, and she was off. Faro had dwelled in a poorly written book for millennia, and this vastness overwhelmed her. Nevertheless, eventually, she remembered herself and that she was free. This was all she needed. She took off into a world within a world. She was a natural. The energy moved through the air in waves, and it was always there, even in this part of the world . . . once she reached for it. It was the perfect place for a freed genie. Before Faro fully dove in, she’d spent two hours lost in a world of colors, crunching, and movement. It was early, and though she spoke many languages, she could not speak the languages she came across. Once she pulled herself out of that

(Five stars) A CHARMING, MODERN DAY FAIRY TALE By Tim Janson...with this book you really get an old-fashioned fairy tale told with today's tribulations. It's a light, fun read, filled with humor, wit and charm. While any kids in the 7 - 14 age range would enjoy the story, I think it especially speaks to young girls who can relate more keenly to the problems endured by the main characters. The book is beautifully illustrated by Andy Park and features a number of full-page illustrations that perfectly complement the story written By Debbie Bishop. The pair have created a story with lively characters that come to life before your eyes. Highly recommended! FIVE STARS! The Fairies of Bladderwhack Pond is a great story for kids and teens alike! This wonderful fairytale has modern references to kids as they live today. It’s like Harry Potter for kid’s today! Debbie has created a really fun book that will be cherished! --amazon reader