This consists in not taking a book into one’s hand merely because it is interesting the great public at the time — such as political or religious pamphlets, novels, poetry, and the like, which make a noise and reach perhaps several editions in their first and last years of existence. Remember rather that the man who writes for fools always finds a large public: and only read for a limited and definite time exclusively the works of great minds, those who surpass other men of all times and countries, and whom the voice of fame points to as such. These alone really educate and instruct.One can never read too little of bad, or too much of good books: bad books are intellectual poison; they destroy the mind

In this regard, Daisy reflected, her marriage to Matthew would not be unlike Lillian's with Westcliff. As two strong-willed people with very different sensibilities, Lillian and Westcliff often argued and negotiated... and yet this didn't seem to weaken their marriage. Quite the opposite, in fact- their union seemed all the better for it.She considered her friends' marriages... Annabelle and Mr. Hunt as a harmony of similar dispositions... Evie and Lord St. Vincent with their opposite natures, as necessary to each other's existence as day and night. It was impossible to say that any of these pairings was superior to the others.Perhaps, in spite of all she had heard about the ideal of a perfect marriage, there was no such thing. Perhaps every marriage was a unique creation.

Death may be peaceful but the circumstances leading to it are more often than not anything but. They slept that day with their eyes open, with death as the companion of their dreams. Maybe you would like to imagine that they were looking at each other, heads twisted at grotesque angles or at the fading sun. Their bodies were just empty vessels and their eyes were windows that showed only a vacant home. Maybe it was because they had passed on into a world where the sun never set or maybe even a world where nothing existed but an infinite pool of darkness. You can choose to believe anything you want up to the time Death comes for you. After that, well, we can only imagin

It galls me that seeking out the seedy, the sordid, the sexual, and the deviant is the expected (if not altogether acceptable) behavior of male writers; it would surely benefit me, as a writer, if I had the courage to seek out more of the seedy, the sordid, the sexual, and the deviant myself. But women who seek out such things are made to feel ashamed, or else they sound stridently ridiculous in defending themselves -- as if they're bragging. ... Yet there are subjects that remain off-limits for women writers. It's not unlike that dichotomy which exists regarding one's sexual past: it is permissible, even attractive, for a man to have had one, but if a woman has had a sexual past, she'd better keep quiet about it.

Inside me, there is an organ more important than my heart. Although you can't see it, I feel it going right through my head and down to my legs, and I know that it exists inside me. It's the one that lets me stand up and walk forward. So that I can walk forward, without ever trembling. If I stopped here I feel like it would break...My soul would break. Even more than if my heart stops beating, to me that is the most important. Even if I become senile and my back gets bent, I still have to walk forward.

Barry Schlenker’s self-identity theory (1982) asserts that self-presentation is an attempt to control information about your identity before real or imagined audiences—including yourself. People try to provide explanations of their own conduct; they try to construct an identity that is satisfying to themselves and that explains their behavior in a favorable light. One of the criteria of a good explanation is believability; that is, explanations must fit with existing knowledge. Schlenker argues that people are not motivated to attain cognitive consistency as an end in itself; rather, they need to provide a believable and self -beneficial account of their conduct, and consistency is a by-product of that. The need to provide explanations for your conduct results in the construction of an internally consistent view of reality.

How had he got here? Only a few minutes ago he'd been a kid, riding his bike to school, collecting comics, doing homework and watching TV. Over the years, a few trappings of adulthood had insinuated themselves into his life withoutmaking significant inroads. Real adult life seemed to exist over there, somewhere as distant and unreachable as Uranus. He had no idea how people crossed over to this place, or why - the demands of being grown up seemed exhausting. Look how I work all the time. See my silky girlfriend. Watch me exchange money for food. Admire my blood pressure.

I mean that certain fictions, chiefly Conan Doyle, Stevenson, but many others also, laid out a template that was more powerful than any local documentary account - the presences that they created, or "figures" if you prefer it, like Rabbi Loew's Golem, became too much and too fast to be contained within the conventional limits of that fiction. They got out into the stream of time, the ether; they escaped into the labyrinth. They achieved an independent existence. The writers were mediums; they articulated, they gave a shape to some pattern of energy that was already present. They got in on the curve of time, so that by writing, by holding off the inhibiting reflex of the rational mind, they were able to propose a text that was prophetic.

But a map is not enough as a guide for action; we also need a goal that tells us where to go. Animals have no such problems. Their instincts provide them with a map as well as with goals. But lacking instinctive determination and having a brain that permits us to think of many directions in which we can go, we need an object of total devotion, a focal point for all our strivings and the basis for all our effective - not only our proclaimed - values. We need such an object of devotion in order to integrate our energies in one direction, to transcend our isolated existence, with all its doubts and insecurities, and to answer our need for a meaning of life.

You’re in a car with a beautiful boy, and he won’t tell you that he loves you, but he loves you. And you feel like you’ve done something terrible, like robbed a liquor store, or swallowed pills, or shoveled yourself a grave in the dirt, and you’re tired. You’re in a car with a beautiful boy, and you’re trying not to tell him that you love him, and you’re trying to choke down the feeling, and you’re trembling, but he reaches over and he touches you, like a prayer for which no words exist, and you feel your heart taking root in your body, like you’ve discovered something you didn’t even have a name for.