Literally Billions of Quips,” in the World’s First Quip Thesaurus title has to be the most preposterous claim in history, excepting, of course, claims that Obamacare will reduce costs, etc. What’s shocking, is that the Quip Thesaurus explains how to create “literally billions of quips” in the first two dozen pages, coupled with another dozen pages in an appendix. Even with a “mere” two billion, that’s an average in excess of 55.5 million per page. Atwood distinguishes quips from jokes on the basis of their objectives. The difference between them, he maintains, is that the objective of jokes is to get laughs while the objective of quips is to express opinions. He advocates employing alliteration and rhyme in quips because, they are the “music of language” that increase the likelihood that opinions will make impressions, have staying power and be repeated. Insofar as the sub-title “Resource for writers when good enough isn’t” is concerned, extensive lists of verbs, adverbs and adjectives sans, definitions listed alphabetically in Quip Thesaurus appendices for creating quips, are convenient resources for anyone looking for the most effective words to express themselves – or anxious to confirm those they have in mind are the most effective. All such words are in dictionaries, of course, but wading hundreds of thousands of definitions in tiny print to find them can be a tedious, tiresome and time-consuming task.
Now in its 75th year, this legendary series continues to provide some of the freshest, most original, most challenging puzzles around. Spiral bound.
Example in this ebook I. AUT FICTION, AUT NULLUS. "Well, my dear," said John Milton Edwards, miserably uncertain and turning to appeal to his wife, "which shall it be—to write or not to write?" "To write," was the answer, promptly and boldly, "to do nothing else but write." John Milton wanted her to say that, and yet he did not. Her conviction, orally expressed, had all the ring of true metal; yet her husband, reflecting his own inner perplexities, heard a false note suggesting the base alloy of uncertainty. "Hadn't we better think it over?" he quibbled. "You've been thinking it over for two years, John, and this month is the first time your returns from your writing have ever been more than your salary at the office. If you can be so successful when you are obliged to work nights and Sundays—and most of the time with your wits befogged by office routine—what could you not do if you spent ALL your time in your Fiction Factory?" "It may be," ventured John Milton, "that I could do better work, snatching a few precious moments from those everlasting pay-rolls, than by giving all my time and attention to my private Factory." "Is that logical?" inquired Mrs. John Milton. "I don't know, my dear, whether it's logical or not. We're dealing with a psychological mystery that has never been broken to harness. Suppose I have the whole day before me and sit down at my typewriter to write a story. Well and good. But getting squared away with a fresh sheet over the platen isn't the whole of it. The Happy Idea must be evolved. What if the Happy Idea does not come when I am ready for it? Happy Ideas, you know, have a disagreeable habit of hiding out. There's no hard and fast rule, that I am aware, for capturing a Happy Idea at just the moment it may be most in demand. There's lightning in a change of work, the sort of lightning that clears the air with a tonic of inspiration. When I'm paymastering the hardest I seem to be almost swamped with ideas for the story mill. Query: Will the mill grind out as good a grist if it grinds continuously? If I were sure—" "It stands to reason," Mrs. Edwards maintained stoutly, "that if you can make $125 a month running the mill nights and Sundays, you ought to be able to make a good deal more than that with all the week days added." "Provided," John Milton qualified, "my fountain of inspiration will flow as freely when there is nothing to hinder it as it does now when I have it turned off for twelve hours out of the twenty-four." "Why shouldn't it?" "I don't know, my dear," John Milton admitted, "unless it transpires that my inspiration isn't strong enough to be drawn on steadily." "Fudge," exclaimed Mrs. Edwards. "And then," her husband proceeded, "let us consider another phase of the question. The demand may fall off. The chances are that it WILL fall off the moment the gods become aware of the fact that I am depending on the demand for our bread and butter. Whenever a thing becomes absolutely essential to you, Fate immediately obliterates every trail that leads to it, and you go wandering desperately back and forth, getting more and more discouraged until—" "Until you drop in your tracks," broke in Mrs. Edwards, "and give up—a quitter." "Quitter" is a mean word. There's something about it that jostles you, and treads on your toes. "I don't think I'd prove a quitter," said John Milton, "even if I did get lost in a labyrinth of hard luck. It's the idea of losing you along with me that hurts." "I'll risk that." To be continue in this ebook
The Animal Factory goes deep into San Quentin, a world of violence and paranoia, where territory and status are ever-changing and possibly fatal commodities. Ron Decker is a newbie, a drug dealer whose shot at a short two-year stint in the can is threatened from inside and outside. He's got to keep a spotless record or it's ten to life. But at San Quentin, no man can steer clear of the Brotherhoods, the race wars, the relentlessness. It soon becomes clear that some inmates are more equal than others; Earl Copen is one of them, an old-timer who has learned not just to survive but to thrive behind bars. Not much can surprise him-but the bond he forms with Ron startles them both; it's a true education of a felon.
From its beginnings in the 1920s until its demise in the 1980s, Bell Labs-officially, the research and development wing of AT&T-was the biggest, and arguably the best, laboratory for new ideas in the world. From the transistor to the laser, from digital communications to cellular telephony, it's hard to find an aspect of modern life that hasn't been touched by Bell Labs. In The Idea Factory, Jon Gertner traces the origins of some of the twentieth century's most important inventions and delivers a riveting and heretofore untold chapter of American history. At its heart this is a story about the life and work of a small group of brilliant and eccentric men-Mervin Kelly, Bill Shockley, Claude Shannon, John Pierce, and Bill Baker-who spent their careers at Bell Labs. Today, when the drive to invent has become a mantra, Bell Labs offers us a way to enrich our understanding of the challenges and solutions to technological innovation. Here, after all, was where the foundational ideas on the management of innovation were born. From the Trade Paperback edition.