Leiderman, Constance H. Keefer, and T. Berry Brazelton, with the col-
laboration of James Caron, Rebecca New, Patrice Miller, Edward Z.
Tronick, David Feigal, and Josephine Yaman, Child Care and Culture:
Lessons from Africa, 1994. • Barbara Rogoff, The Cultural Nature
of Human Development, 2003. • Patricia Marks Greenfi eld, Weav-
ing Generations Together: Evolving Creativity in the Maya of Chiapas,
trust. see Attachment, Infant
twin studies. see Genetics: Behavioral Genetics; Re-
search on Child Development
twins. see Multiple Births
universe of the
, ultimately leading me to posit silence itself as an
ecotone.” An ecotone is that middle ground between two habitats, the
place where water meets shoreline, where savannah turns into forest,
a place of both danger and opportunity. Shubert writes, “Those two
main branches are an enforced, oppressing silence that censors and
endangers its subjects; and a positive, inward, centering silence that
allows for creativity and opportunity. Thus silence is an ecotone, not
the opposite of sound, but existing at its edge, occasionally allowing
us access to the
said about success-
ful academic writing? What correlation is there between writing style, or
writing skill, and the number of copies that go out into the world? The fol-
lowing generalizations seem to lie behind much of what’s said about the
publishing business, yet there’s another side to each.
1. The Art of Slow Writing: Reflections on Time, Craft, and Creativity. New York: St. Mar-
tin’s Griffin, 2014.
- - - - - - - - - - - - - - - 229this book — and the next
1. Writing clearly will guarantee that your book will be a success. Clarity
universal or is it simply
a garbage can? Is it stable or will it be modified without notification to users?
These are the questions you must ask of every new tool you find. They are
indeed the questions that have motivated my judgments of tools throughout.
They guarantee that you will find tools that will be most likely to find reason-
able and necessary amounts of the best material with the smallest amount
These three lessons— about creativity, nonlinearity, and quality— will be
your guides to dealing with the inevitable changes of the tools and
embarrassed, and how great it would be to find a teacher who would
help you through that moment of embarrassment in such a sweet
way. And I really admire in that detail and in many, many others, the
creativity that people use to get through every day.”
French is almost always seeking the answer to a basic question:
“How do we navigate through a day?” The answer matters, because
it gets to the mysterious and genuine core of who we are, what we
value, how we do our work, how we honor or betray those who count
on us. Spoken words start to uncover meaning.
dates from the mid nineteenth century
in its native French, and fell into use in English in reference
to an intense period of working activity or creativity – a fine
example of which came to a head on this date.
In July 1741, the composer George Frideric Handel received
a new libretto from his friend and collaborator Charles Jennens.
A devout Christian, Jennens adapted his lyrics from the King
James Bible and the Book of Common Prayer, telling the stor-
ies of the prophet Isaiah and the enunciation, crucifixion and
resurrection of Jesus. Handel set to work
with aspects of the normal mourning process.
Klein found an early Oedipus complex and a ruthless,
primitive superego in all infants, suggesting that the two
genders have diff erent as well as shared psychic trajectories
from the start. Her emphasis on the wish by boys as well as
girls to give birth underlaid her interest in sublimation and
creativity. Finally, she understood that the death drive man-
ifests itself as a primal envy of the mother’s creative pow-
ers. She believed that the death drive is balanced by the life
drive, hate by love, and