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Crooked Kingdom
“What did she say?” asked Matthias.
Nina coughed and took his arm, leading him away. “She said you’re a very nice fellow, and a credit to the Fjerdan race. Ooh, look, blini! I haven’t had proper blini in forever.”
“That word she used:
babink
,” he said. “You’ve called me that before. What does it mean?”
Nina directed her attention to a stack of paper-thin buttered pancakes. “It means sweetie pie.”
“Nina—”
“Barbarian.”
“I was just asking, there’s no need to name-call.”
“No,
babink
means barbarian.” Matthias’ gaze snapped back to the old woman, his glower returning to full force. Nina grabbed his arm. It was like trying to hold on to a boulder. “She wasn’t insulting you! I swear!”
“Barbarian isn’t an insult?” he asked, voice rising.
“No. Well, yes. But not in this context. She wanted to know if you’d like to play Princess and Barbarian.”
“It’s a game?”
“Not exactly.”
“Then what is it?”
Nina couldn’t believe she was actually going to attempt to explain this. As they continued up the street, she said, “In Ravka, there’s a popular series of stories about, um, a brave Fjerdan warrior—”
“Really?” Matthias asked. “He’s the hero?”
“In a manner of speaking. He kidnaps a Ravkan princess—”
“That would never happen.”
“In the story it does, and”—she cleared her throat—“they spend a long time getting to know each other. In his cave.”
“He lives in a cave?”
“It’s a very nice cave. Furs. Jeweled cups. Mead.”
“Ah,” he said approvingly. “A treasure hoard like Ansgar the Mighty. They become allies, then?”
Nina picked up a pair of embroidered gloves from another stand. “Do you like these? Maybe we could get Kaz to wear something with flowers. Liven up his look.”
“How does the story end? Do they fight battles?”
Nina tossed the gloves back on the pile in defeat. “They get to know each other
intimately
.”
Matthias’ jaw dropped. “In the cave?”
“You see, he’s very brooding, very manly,” Nina hurried on. “But he falls in love with the Ravkan princess and that allows her to civilize him—”
“To civilize him?”
“Yes, but that’s not until the third book.”
“There are three?”
“Matthias, do you need to sit down?”
“This culture is disgusting. The idea that a Ravkan could civilize a Fjerdan—”
“Calm down, Matthias.”
“Perhaps I’ll write a story about insatiable Ravkans who like to get drunk and take their clothes off and make unseemly advances toward hapless Fjerdans.”
“Now
that
sounds like a party.” Matthias shook his head, but she could see a smile tugging at his lips. She decided to push the advantage. “
We
could play,” she murmured, quietly enough so that no one around them could hear.
“We most certainly could not.”
“At one point he bathes her.”
Matthias’ steps faltered. “Why would he—”
“She’s tied up, so he has to.”
“Be silent.”
“Already giving orders. That’s very barbarian of you. Or we could mix it up. I’ll be the barbarian and you can be the princess. But you’ll have to do a lot more sighing and trembling and biting your lip.”
“How about I bite
your
lip?”
“Now you’re getting the hang of it, Helvar.”
Matthias Helvar
Nina Zenik
The Sugared Game
“Rubbish," he said. "Firstly, stop talking as if you did anything but what I wanted. Secondly--well, you're a slippery bastard, granted. You've made plenty of mistakes and done a lot of bad things and told an incredible number of lies. You're an utter shit. Sorry, what was I saying? I got carried away.”
Funny
Insults
Harry Potter and the Chamber of Secrets
“You all know, of course, that Hogwarts was founded over a thousand years ago- the precise date is uncertain- by the four greatest witches and wizards of the age. The four school Houses are named after them: Godric Gryffindor, Helga Hufflepuff, Rowena Ravenclaw, and Salazar Slytherin. They built this castle together, far from prying Muggle eyes, for it was an age when magic was feared by common people, and witches and wizards suffered much persecution."
He paused, gazed blearily around the room, and continued.
"For a few years, the founders worked in harmony together, seeking out youngsters who showed signs of magic and bringing them to the castle to be educated. But then disagreements sprang up between them. A rift began to grow between Slytherin and the others. Slytherin wished to be more
selective
about the students admitted to Hogwarts. He believed that magical learning should be kept within all-magic families. He disliked taking students of Muggle parentage, believing them to be untrustworthy. After a while, there was a serious argument on the subject between Slytherin and Gryffindor, and Slytherin left the school."
Professor Binns paused again, pursing his lips, looking like a wrinkled old tortoise.
"Reliable historical sources tell us this much," he said. "But these honest facts have been obscured by the fanciful legend of the Chamber of Secrets. The story goes that Slytherin had built a hidden chamber in the castle, of which the other founders knew nothing.
Slytherin, according to legend, sealed the Chamber of Secrets so that none would be able to open it until his own true heir arrived at the school. The heir alone would be able to unseal the Chamber of Secrets, unleash the horror within, and use it to purge the school of all who were unworthy to study magic.”
Hogwarts
Heir
Slytherin
Chamber Of Secrets
Salazar
Harry Potter and the Sorcerer's Stone
“He sat and stared at Harry for a few moments, then, as though he had suddenly realized what he was doing, he looked quickly out of the window again.
"Are all your family wizards?" asked Harry, who found Ron just as interesting as Ron found him.
"Er- yes, I think so," said Ron. "I think Mom's got a second cousin who's an accountant, but we never talk about him."
"So you must know loads of magic already."
The Weasleys were clearly one of those old wizarding families the pale boy in Diagon Alley had talked about.
"I heard you went to live with Muggles," said Ron. "What are they like?"
"Horrible- well, not all of them. My aunt and uncle and cousin are, though. Wish I'd had three wizard brothers."
"Five," said Ron. For some reason, he was looking gloomy. "I'm the sixth in our family to go to Hogwarts. You could say I've got a lot to live up to. Bill and Charlie have already left- Bill was head boy and Charlie was captain of Quidditch. Now Percy's a prefect. Fred and George mess around a lot, but they still get really good marks and everyone thinks they're really funny. Everyone expects me to do as well as the others, but if I do, it's no big deal, because they did it first. You never get anything new, either, with five brothers. I've got Bill's old robes, Charlie's old wand, and Percy's old rat."
Ron reached inside his jacket and pulled out a fat gray rat, which was asleep.
"His name's Scabbers and he's useless, he hardly ever wakes up. Percy got an owl from my dad for being made a prefect, but they couldn't aff- I mean, I got Scabbers instead."
Ron's ears went pink. He seemed to think he'd said too much, because he went back to staring out of the window.”
Ron Weasley
Brothers
Scabbers
Weasleys
Harry Potter and the Prisoner of Azkaban: Activities to Teach Reading, Thinking, and Writing
“Are all your family wizards?" asked Harry, who found Ron just as interesting as Ron found him.
"Er- yes, I think so," said Ron. "I think Mom's got a second cousin who's an accountant, but we never talk about him."
"So you must know loads of magic already."
The Weasleys were clearly one of those old wizarding families the pale boy in Diagon Alley had talked about.
"I heard you went to live with Muggles," said Ron. "What are they like?"
"Horrible- well, not all of them. My aunt and uncle and cousin are, though. Wish I'd had three wizard brothers."
"Five," said Ron. For some reason, he was looking gloomy. "I'm the sixth in our family to go to Hogwarts. You could say I've got a lot to live up to. Bill and Charlie have already left- Bill was head boy and Charlie was captain of Quidditch. Now Percy's a prefect. Fred and George mess around a lot, but they still get really good marks and everyone thinks they're really funny. Everyone expects me to do as well as the others, but if I do, it's no big deal, because they did it first. You never get anything new, either, with five brothers. I've got Bill's old robes, Charlie's old wand, and Percy's old rat."
Ron reached inside his jacket and pulled out a fat gray rat, which was asleep.
"His name's Scabbers and he's useless, he hardly ever wakes up. Percy got an owl from my dad for being made a prefect, but they couldn't aff- I mean, I got Scabbers instead."
Ron's ears went pink. He seemed to think he'd said too much, because he went back to staring out of the window.”
Ron Weasley
Brothers
Scabbers
Weasleys
Self Care at Work: How to Reduce Stress, Boost Productivity, and Do More of What Matters
“Remember that you have the knowledge, tools, skills, and, if you’ve made it this far, the will to work and live with purposeful productivity. Know that your progress is in your process and that success lies in consistent and intentional practice. And believe that “should” is nowhere near as powerful as need or want.”
Inspirational
Self Awareness
Personal Growth
Purpose
Productivity
Self Care
Self Development
Mindset
Personal Success
Personal Achievement
The Walker in Fire
“Such desecration damns us all.’
‘Perhaps true damnation lies in raising the monuments that invite such desecration. Perhaps we condemn ourselves.”
The Black Library
From The Dark Coil
False Gods
“I have no trouble with my enemies, Miss Vivar. I can take care of my enemies in a fight. But my so-called allies, my damned allies, they're the ones who keep me walking the floors at night."
- Warmaster Horus”
Quotes About Enemies
The Black Library
The Horus Heresy
Pearls Before Swine
“If you look outside for fulfilment and happiness, it is a search that will never end because happiness lies within. If you can't be happy by yourself alone in a room, how will being with somebody else make you happy? You will never find anything outside that will make you happy and keep you happy.”
Happy
Be Happy
Within
Room
If
And Happiness
End Because
Will Being
“A true man's strength lies in supporting a woman, not in saving a woman”
Woman
Support
Save
True Man
The Limits to Capital
“The essence of the neo-classical argument is that competition for productive factors — land, labour and capital — forces entrepreneurs to pay an amount equal to the value that the marginal (last employed) unit of each factor creates. Given a particular technological state and relative factor supplies (scarcities), then competition ensures that each factor 'gets what it creates', that 'exploitation of a factor cannot occur.' It is then a short step to infer that the distributive shares of rent, wages, interest, etc., are socially just fair shares. The political implication is that there is no point in, or call for, class struggle, and that government intervention should be confined largely to ensuring that perfect competition prevails. In the lexicons of many Marxist writers, this qualifies as 'vulgar political economy' with a vengeance.”
Competition
Economics
Class Struggle
Class War
Happy City: Transforming Our Lives Through Urban Design
“There is a message for all city makers here. It is that with the right triangulation, even the ugliest of places can be infused with the warmth that turns strangers into familiars by giving us enough reason to slow down.”
Happiness
Strangers
Urban Design
Public Space
Fireflies
“She is a rose filled guitar sitting by the ocean. Both a cat’s ‘purr’ along with the ‘hiss’. And lastly, a love poem carved into an old birch tree.”
Love
Poem
Rose
Beach
Ocean
Cat
Guitar
Love Poem
Birch Tree
“I can say, maybe I am ugliest for you, but my heart is beautiful that inspires only love, respect, and compassion for all humanity.”
Ugliest
“Reasons (for things or events) always contain lies.”
Lies
Excuses
Lying
Reasons
South Africa
Meir Ezra
Meir Ezra Quotes
Cape Town
The Healer Seminar
“One's conduct, character, and action carry love and peace; hatred and violence; it depends on what one applies, upon itself; consequently, justice and equality prevail; otherwise, fail.”
Character
Conduct
And Action
Buried in the Sky: The Extraordinary Story of the Sherpa Climbers on K2's Deadliest Day
“...[B]uddhists prefer to cremate the dead. The smoke carries the spirit to the sacred realm above...When someone dies above the timberline and it's hard to find firewood, a sky burial substitues for cremation. Although outsiders consider sky burials barbaric, [to Buddhists] this was the sacred wqy to free the soul. During a sky burial, Buddhist lamas or others with religious authority carry the body to a platform on a hill. While burning incense and reciting mantras, they hack the corpse into chunks and slices. They pound the bones with a rock or hammer, beating the flesh into a pulp and mixing in tea, butter, and milk. The preparation attracts vultures, and the birds consume the carcass, carrying the spirit aloft and burying it in the sky, where it belongs.” (Buried in the Sky: The Extraordinary Story of the Sherpa Climbers on K2's Deadliest Day, p. 103)”
Buddhism
Mountaineering
K2
Sky Burial
Buried in the Sky: The Extraordinary Story of the Sherpa Climbers on K2's Deadliest Day
“The Gilkey Memorial is a grisly necessity because corpses rarely make it down the mountain in one piece. For Everest losses, families sometimes send a recovery team. This doesn't happen on K2. The Savage Mountain devours its victims during the long winter beteween climbing seasons. It encases the torsos in ice and grates them against the rocks, only to spit out the digested remains decades later, scattering limbs among the avalanche debris.
When Art Gilkey's team gathered stones to honor their friend in 1953, they started a morbid tradition. To keep the campsites sanitary, climbers began using the memorial as a place to dispose of the fingers, pelvic bones, arms, heads, and legs found in the glacial melt. Burying these scraps under the Gilkey Memorial felt more respectful than leaving them to the ravens. For more than half a century, the memorial has been a place to caution the living and consecrate the dead. Mountaineers attempting K2 visit the site to remind themselves of what they are getting into......On hot days, the cairn stews with the scent of defrosting flesh, and the odor clings to mourners' hair and clothing.” (Buried in the Sky, p. 102).”
Mountaineering
K2
Gilkey Memorial
Sky Burial
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“Aesthetic culture implies a way of life marked by uselessness and superfluousness, that is to say, the embodiment of romantic resignation and passivity. But it outdoes romanticism; it not only renounces life for the sake of art, it seeks for the justification of life in art itself. It regards the world of art as the only real compensation for the disappointments of life, as the genuine realization and consummation of an existence that is intrinsically incomplete and inarticulate. But this not only means that life seems more beautiful and more conciliatory when clothed in art, but that, as Proust, the last great impressionist and aesthetic hedonist, thought, it only grows into significant reality in memory, vision and the aesthetic experience. We live our experiences with the greatest intensity not when we encounter men and things in reality—the ‘time’ and the present of these experiences are always ‘lost’—but when we ‘recover time’, when we are no longer the actors but the spectators of our life, when we create or enjoy works of art, in other words, when we remember. Here, in Proust, art takes possession of what Plato had denied it: ideas—the true remembrance of the essential forms of being.”
Time
Memory
Remember
Ideas
Proust
Aesthestic
The Social History of Art: Volume 4: Naturalism, Impressionism, The Film Age
“The most striking phenomenon connected with the progress of technology is the development of cultural centres into large cities in the modern sense; these form the soil in which the new art is rooted. Impressionism is an urban art, and not only because it discovers the landscape quality of the city and brings painting back from the country into the town, but because it sees the world through the eyes of the townsman and reacts to external impressions with the overstrained nerves of modern technical man. It is an urban style, because it describes the changeability, the nervous rhythm, the sudden, sharp but always ephemeral impressions of city life. And precisely as such, it implies an enormous expansion of sensual perception, a new sharpening of sensibility, a new irritability, and, with the Gothic and romanticism, it signifies one of the most important turning points in the history of Western art. In the dialectical process represented by the history of painting, the alternation of the static and the dynamic, of design and colour, abstract order and organic life, impressionism forms the climax of the development in which recognition is given to the dynamic and organic elements of experience and which completely dissolves the static world-view of the Middle Ages. A continuous line can be traced from the Gothic to impressionism comparable to the line leading from late medieval economy to high capitalism, and modern man, who regards his whole existence as a struggle and a competition, who translates all being into motion and change, for whom experience of the world increasingly becomes experience of time, is the product of this bilateral, but fundamentally uniform development.”
Impressionism
Dynamics
Modern Arts
“There is an untapped beauty which lies just below the surface of the face of the ability to strip oneself of all of the veils that one covers himself/herself in before looking into the mirror. I wrote something many years ago, which has to do with the mermaid speaking to the white witch: "I am a mermaid and I know what I am but you are a white witch draped in silver robes"... it was about how people lie to themselves about who they are. They cover themselves in silver linings, in silver veils, in silver robes, while the cauldron they stir comes from hell! This piece that I wrote has since become exceedingly popular and exaggeratedly quoted. But even when we are mermaids, we still need to stop and look into the mirror and remove the silver lining we outline ourselves in, so that we can see who we really are, practice what we really are, thus becoming authentic through-and-through. Because this is the only way that we can reach our full capacities to enliven what we are capable of becoming and being. We often believe that silver linings are what enables us; nevertheless, silver linings often hold us down. Silver is heavy metal. Imagine all you could be, if you could be YOUR ACTUAL SELF. Who are you without your silver paint and paintbrush? It is a very liberating practice, a practice I am most eager to continue cultivating within me. Who are you without all of the adjectives you add to your existence? How do you move? What is that look in your eyes? Does your heartbeat match the pulses of the Sun? You'll never know until you put down your paintbrush.”
Know Thyself
Be Real
Becoming Better
Being Genuine
Authentic Self
How To Live
Being Brave
Being Authentic
How To Grow
Caravan
“quoting Omar Khayyam's Rubaiyat:
"Good friends beware! the only life we knows Flies from us like an arrow from the bow, the Caravan of life is moving by, Quick! to your places in the passing show.”
Life
Arrow
Caravan
Rubaiyat
“True happiness lies with those who celebrate the quotidian as well as the extraordinary!”
Inspirational
Work
Motivational
Leadership
Ceo
Employee Engagement
Corporate Culture
Keynote Speaker
Company Culture
Global Company Culture
“Value multiplies in the hands of the competent, divides in the hands of the incompetent.”
Inspirational
Work
Motivational
Leadership
Ceo
Employee Engagement
Corporate Culture
Keynote Speaker
Company Culture
Global Company Culture
“Apart from growth and change caterpillars don't become butterflies!”
Inspirational
Work
Motivational
Leadership
Ceo
Employee Engagement
Corporate Culture
Keynote Speaker
Company Culture
Global Company Culture
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