#thoughttoreality

[beacrystalclear-blog]

From Thought to Practically- Going from Ideas to Creation.

From Thought to Practically- Going from Ideas to Creation.

January 15, 2017

The imagination is an incredible powerful tool we use when creating our lives, whether you are a creative person or not, it is undeniable how vivid and realistic they can be. Imagining the impossible and the insane can be so clear in our mind's eye, we can envisage it as though it is and had already happened. The extraordinary thing about the imagination, how much like a canvas it is only the creator’s interpretation of it is what creates it, additionally with the imagination it vis a blank canvas to craft in. The majority of us out there use our imagination to think through what to expect out of life, what we want, what we are going to do and how. We build our expectations from imagination; since we do this often, our expectations are beyond realistic. They can be overly ideal and ungrounded to expect things to work so peacefully and effectively. In all reality, there are pros and cons to everything, and different unexpected outcomes than what we may believe. If our imagination is overly idealistic, it puts us off actually going out and doing that thing, or from even believing that we could do it. Because we are on two sides, our imagination is making our dreams look easeful, perfect for us, and super easy to achieve, were as we are wear that in practicality that is not necessary true. That it takes a hustle and some work to get there. In today’s clarity blog, we will be discussing how to go from ideas to creation in transferring thought to practically.

Throughout our day, we think then we do. Simple as, everything is first a thought and a choice and then we make it happen, from what time we wake up, to tying our shoelaces. Therefore, the process of thought to reality is more common and achievable. With huge dreams, goals and desires. As mention can be incredible unrealistic and do not include the small prints of what has to be done to get there. In addition, the key is, to think step by step. When creating something, it is about living each day moving towards the goal gradual steps. This takes both hard work, dedication and mindfulness, not allowing yourself to spend time overestimating what you can do. This is done by simple, starting habits and working in whatever it is gradually, not expecting a quick fix out of life. For instance, working towards building a business by making steps every day to find a store, building a website, organizing out the products to sell, getting bank loans and saving. It is about striving, creating lists to achieve, and setting realistic tools. The key is to become fulfilled and contempt in the long process of creating what you want, and rewarding yourself as you go along. When experiencing hardships to simple accept that it is what it is, that there are ways to overcome it and by being patient enough to go through it. Going through it day by day. It is such a powerful tool of creation, is too be present today and constant for tomorrow. These may seem like empty words, however to truly apply it is powerful even to a small degree of being in the moment and not allowing your emotion to get the absolute best of you.

To conclude the imagination is so strong and interring, since we are easily lost in it. To get caught from practicalities, imagination, and having no clue how to make what you want happen. We feel hopeless as though it is unachievable. However it is, since we go from thought to creation all the time. In small ways, and by taking things gradually over time. Looking at the reality and not getting too into though and stuck in the future. To allow yourself to go through present hardships, and struggles and remind yourself of why you started in the first place and to purge through. In addition, decide to use the imagination as a blank canvas for your creation, rather than the only place where your desires exist.

[leanstooneside]

One partner in a relationship departs (JETPLOW)

You wear them over your ... over your boots Gretta isn't it

it because he's only a black

I remember hearing of old Parkinson but he's too far back for me

wane among us may have had its faults but for my part I think it had certain qualities of hospitality of humour of humanity which the new and very serious and hypereducated generation that is growing up around us

He repeated to himself a phrase he had written in his review: One feels that one is listening to a thoughttormented

It was always a great affair the Misses Morkan's annual dance

Gabriel like a good fellow and see if he's all right and don't let him

There's that Lily

I suppose Caruso for example is quite as good if not better than any of the men

Dublin is raving about him

men that is now

Her voice had a catch in it like her son's and she

here's a little

Whenever it's wet underfoot I

She's not the girl

He was still discomposed by the girl's bitter and sudden retort

O it's only two steps up the quay

man of about forty was of Gabriel's size and build with very round shoulders

He's full of conceit

Well said Gabriel if it comes to that you know Irish is not my

I suppose it is for the good of the Church

day when his teaching in the college was ended he used to wander down the quays to the secondhand booksellers to Hickey's on Bachelor's

he said thrusting it into her hands it's Christmastime isn't it

there's such a thing

I know all about the honour of God Mary Jane but I think it's not at all honourable for the pope

priest's figure now

He's not so bad is he

earth is Gabriel

[joycespring2017]

A Thoughttormented Age: “The Dead” as Epilogue and Self-Critique

Throughout Dubliners, Joyce, in his audacious way, concocts stories and miniature narratives intended to underscore the general illusionment of Dublin’s population. Each of the characters in Dubliners is an actor in their own fictitious lives, all attempting to maintain their blinded lifestyles by any means necessary. These fictions have been set up either by the characters themselves or by external forces.

However, in each of these stories Joyce attempts to disrupt these fictions by way of what T.S. Eliot calls the “objective correlative.” The major action in nearly all of these stories serve as a crack in the fake fabric surrounding all of Joyce’s Dublin. In “An Encounter,” two boys fool themselves into believing that a day of ditching can lead to a real adventure, only to butt heads against the sinister reality of human desire. In “After The Race,” a poor Irishman fools himself into believing that his big break has finally arrived, only to find that the night has ended far too soon and his wallet remains empty. In “Clay,” an old and unsuccessful woman surrounds herself in a fictional aura of independence, despite that her loneliness is eventually brought to the forefront of the story within the fortune-teller scene, implying that she will likely die unsatisfied. The list goes on.

“The Dead,” however, presents itself in a different light. While each of the other stories attempts to crack the sad fictions of everyday Dubliners, the fiction presented in “The Dead” is not sad, despairing, or spiritually harmful in the least. Rather, the Morkan’s party — which does carry with it the characteristics of fiction by nature — is a fiction of gallantry, community, and, as Gabriel states in his speech, “hospitality.” In other words, in the final story of Dubliners, Joyce chooses to present the reader with a fiction that is good.

It seems as if Joyce is, in “The Dead,” self-aware about the forlorn nature of the stories that came before it. For example, Miss Ivors — an impassioned intellectual and young activist — ruins Gabriel’s mood by shattering his constructed notions of what is and is not appropriate at a party. “West Briton!” she accusingly exclaims at Gabriel (165). Later, Gabriel muses to himself: “Had she really any life of her own behind all her propagandism?” (167). Joyce is, at the time of writing this story, a young and impassioned man himself. Throughout Dubliners, Joyce attempts to shatter the obstructed life of Dublin entirely, building plot after plot of confrontational narrative intended to do exactly what Miss Ivors has done to Gabriel. “West Briton!” And now Joyce writes a story in praise of the hospitality presented in the fictional atmosphere of parties. How does this make any sense?

Gabriel’s dinner speech provides answers. In it, Gabriel generalizes the state of an Irish generation: “we are living in a skeptical and, if I may use the phrase, a thoughttormented age: and sometimes I fear that this new generation, educated or hypereducated as it is, will lack those qualities of humanity, of hospitality, of kindly humour which belonged to the older day” (177). This younger, “hypereducated” generation includes James Joyce himself, the man who wrote the bleak and at times passionately preachy stories that came before. The speech, in essence, nearly feels like the objective correlative of the entirety of Dubliners. As each individual story’s objective correlative — save for a few — attempts to expose the fabricated lives of each imprisoned and paralyzed character Joyce creates, perhaps the objective correlative of “The Dead” serves to break the reader themselves out of the fabricated concept that Joyce has all, if any, of the answers.

Thus, Joyce criticizes his own critique of Dublin. This is not to say that the stories in the collection before “The Dead” are rendered useless by Gabriel’s speech. Far from it. Indeed, Gabriel’s speech only attempts to aim the reader at the other side of Dublin: the side of Dublin that can sing songs, drink stout, and have a good laugh. “Therefore I will not linger on the past,” Gabriel says. “I will not let any gloomy moralizing intrude upon us here tonight. Here we are gathered together for a brief moment from the bustle and rush of our everyday routine” (177). Perhaps Joyce is warning himself of his own instinct to be a “thoughttormented’ aesthete. If he were to think and think and think about the paralysis of his people, perhaps he may miss the nuanced joys of everyday life.

“The Dead” functions as a kind of epilogue within Dubliners. After the facade of Dublin life has been exposed, Joyce throws his readers a bone by reminding them of the good that Dublin has to offer. His answer to the banal existence of Dublin comes in the form of a platitude: community is key.

However, as will soon become clear, even community is not enough for Joyce. What has already been stated will eventually come into full focus: “There was no doubt about it: if you wanted to succeed you had to go away. You could do nothing in Dublin” (59).

Ian Green (1/30/2017)