It's hard to know, isn't it, whether the things we face are just because the world is full of sin and sinful people, or if God is working out a plan,' Grandma continued. 'I happen to think it's both. There's sin, but through it all, He takes the mess we make and paints a masterpiece. In fact, I'm quite certain that before God can ever bless a woman—and use her to impact many—He uses the hammer, the file, and the furnace to do a holy work.
Hell, there're already too many psychologists; too many everythings. Too many engineers, too many chemists, too many doctors, too many dentists, too many sociologists. There aren't enough people who can actually do anything, really know how to make this world work.When you thing about it; when you look at the way it really is; God, we've got - well, let's say, there's 100 percent. Half of these are under eighteen or over sixty-five; that is not working. This leaves the middle fifty percent. Half of these are women; most are so busy having babies or taking care of kids, they're totally occupied. Some of them work, too, so let's say we're down to 30 percent. Ten percent are doctors or lawyers or sociologists or psychologists or dentists or businessmen or artists or writers, or schoolteachers, or priests, ministers, rabbis; none of there are actually producing anything, they're only servicing people. So now we're down to 20 percent. At least 2 or 3 percent are living on trusts or clipping coupons or are just rich. That leaves 17 percent. Seven percent of these are unemployed, mostly on purpose! So in the end we've got 10 percent producing all the food, constructing the houses, building and repairing all the roads, developing electricity, working in the mines, building cars, collecting garbage; all the dirty work, all the real work.Everybody's just looking for some gimmick so they don't have to actually do anything. And the worst part is, the ones who do the work get paid the least.
Getting used to the conditions, I think, is obviously the main thing if you're playing against an opponent you're such a huge favorite in. I thought it was not easy today because he was serving big, taking a lot of chances on my return. So we didn't see too many rallies, which didn't really allow me to get the rhythm going.
Far too many people—many of them academics, many politicians—continue to jabber about a supposed 'special relationship' between our two countries.I used to think that no such thing existed. Recently, I have become convinced that it does, and that it is in fact a Specially Bad Relationship.
Needs? I guess that is what bothers so many folks. They keep expanding their needs until they are dependent on too many things and too many other people... I wonder how many things in the average American home could be eliminated if the question were asked, "Must I really have this?" I guess most of the extras are chalked up to comfort or saving time.Funny thing about comfort - one man's comfort is another man's misery. Most people do't work hard enough physically anymore, and comfort is not easy to find. It is surprising how comfortable a hard bunk can be after you come down off a mountain.
It is a strange thing that the human species can only go three days without water and three weeks without food, before the body dies. Yet, so many people can go years hanging onto pain and feeling emotionally dead inside. I suppose if it was the other way around more people would go to school to be morticians because of the booming business, or pastors would have to hand out Valium with the sacrament, just to keep the census high.
Well, suppose we use our brains. We see things solid. Solidities are important to us in nature. In solidities, there are measures that greatly affect us. There are rhythms in the ins and outs of form. Music, the forest and to many the most impressive of arts deals in measures which seem to go in every direction. They combine, they move together, they deflect and they oppose. Music is a structure of highly mathematical measures. According to the selection and relative value of these measures the music is great or small in its effect on us.
He doesn't believe in talking too much about art, especially while you're looking at it. The pressure to appreciate is the great enemy of actual enjoyment. Most people don't know what they like because they feel obligated to like so many different things. They feel they're supposed to be overwhelmed, so instead of looking, they spend their time thinking up something to say, something intelligent, or at least clever.
I followed many conversations about what happened in Norway and the death of Amy Winehouse because they happened one after the next. Too many of those conversations tried to conflate the two events, tried to create some kind of hierarchy of tragedy, grief, call, response. There was so much judgment, so much interrogation of grief—how dare we mourn a singer, an entertainer, a girl-woman who struggled with addiction, as if the life of an addict is somehow less worthy a life, as if we are not entitled to mourn unless the tragedy happens to the right kind of people. How dare we mourn a singer when across an ocean seventy-seven people are dead? We are asked these questions as if we only have the capacity to mourn one tragedy at a time, as if we must measure the depth and reach of a tragedy before deciding how to respond, as if compassion and kindness are finite resources we must use sparingly. We cannot put these two tragedies on a chart and connect them with a straight line. We cannot understand these tragedies neatly.
Genius' was a word loosely used by expatriot Americans in Paris and Rome, between the Versailles Peace treaty and the Depression, to cover all varieties of artistic, literary and musical experimentalism. A useful and readable history of the literary Thirties is Geniuses Together by Kay Boyle-Joyce, Hemingway, Scott Fitzgerald, Pound, Eliot and the rest. They all became famous figures but too many of them developed defects of character-ambition, meanness, boastfulness, cowardice or inhumanity-that defrauded their early genius. Experimentalism is a quality alien to genius. It implies doubt, hope, uncertainty, the need for group reassurance; whereas genius works alone, in confidence of a foreknown result. Experiments are useful as a demonstration of how not to write, paint or compose if one's interest lies in durable rather than fashionable results; but since far more self-styled artists are interested in frissons á la mode rather than in truth, it is foolish to protest. Experimentalism means variation on the theme of other people's uncertainties.
Too many companies— and individuals— are befuddled by delusion when it comes to identifying their authentic strengths and projecting those strengths through their brand. It’s as if they live in Opposite Land. If their service is wretched, they tell people that they are great at service. If they are selling a mediocre car, they expound on its hip sportiness. Claiming that you are what you are not will obscure the strengths you do have while destroying your credibility. It’s a lose-lose proposition. In order to hunt down and accurately tag authenticity, we must first pop the balloon of self-delusion.
I’ve heard it said many times when talking about going to heaven, ‘You can’t take it with you.’ It’s true that you cannot take with you your house, car, money, or other things you have valued here on earth, but how about your husband, wife, parents, children, friends, and acquaintances? You personally will never be able to get someone into heaven, but God certainly can use you as a tool to spread the good news as He brings more people to Himself.