- 1 What are the 4 hideous horsemen?
- 2 What does smile at such a sally mean?
- 3 What page is a vision for you in the big book?
- 4 Why is it called a Sally?
- 5 What does the name Sally mean biblically?
- 6 What does Sally mean in text?
- 7 Is Sal Paradise black?
- 8 What is the symbolism in The Road book?
- 9 What is Chapter 11 in the Big Book about?
- 10 Which horseman is black?
- 11 Is death a horseman?
- 12 What are the Four Horsemen in psychology?
- 13 How many four horsemen were there?
What are the 4 hideous horsemen?
Momentarily we did—then would come oblivion and the awful awakening to face the hideous Four Horsemen— Terror, Bewilderment, Frustration, Despair. Unhappy drinkers who read this page will understand!
What does smile at such a sally mean?
BBp152 ‘We smile at such a sally’ A ‘sally’ is a sudden rushing forth or activity, or an outburst or flight of passion, fancy, etc.: a sally of anger; or a clever, witty, or fanciful remark.
What is the message of on the road?
Review of On the Road by Jack Kerouac When I put On the Road on my Classics Club list, I knew little or nothing about the Beat Generation, except what I picked up living in San Francisco for a few years. Still, Kerouac is one of those literary icons I don’t feel complete without reading.
This book came up as my book for March-April, which means it was picked randomly from my list as the next book I read. Which is good, because I had to force myself to read this book. I heard from a number of bloggers that this was a disappointing and difficult read, and it was. Kerouac’s telling of a life of aimless travel, drug use and casual sex may be historically or culturally important, but it’s got no plot direction and few likeable characters.
Kerouac’s message seems to be that rules and responsibilities get in the way of really living – freedom is having no responsibility at all and just doing everything by impulse. At least, until you run out of money. On the Road is a novel but it’s closer to a memoir.
Its protagonist is Sal Paradise, who is torn between his desire to have a relationship and get a degree, and his admiration for his crazier friend Dean Moriarty (who is described again and again as having something really wrong with him, yet Sal does whatever he says). It’s really the story of Kerouac’s experiences with Neal Cassady, Allen Ginsberg, and William S.
Burroughs. The book is interesting from a historical perspective, occurring several years after World War II. You can see how those events would give these young men a sense that they have to live life as fully as they can, regardless of the consequences.
Unfortunately, that kind of life also seems to mean treating your friends horribly, lying to women so you can get them in bed, and mooching money from your family. I kept wanting Sal to do something real for someone, but he disappointed me over and over again, just as his friends do to him. He has ideals but he doesn’t stick to anything.
The writing is mostly a drug and alcohol-addled muddle of “we did this” and “then we did this” but occasionally Kerouac would describe something in such a brilliant, poetic way I had to flag it. And that’s what makes this book worth reading. And before me was the great raw bulge and bulk of my American continent; somewhere far across, gloomy, crazy New York was throwing up its cloud of dust and brown steam.
There is something brown and holy about the East; and California is white like washlines and empty headed – at least that’s what I thought then. Maybe the best parts of this book describe Kerouac’s feelings about music. It’s hard for me to get too into his drug and alcohol binges, but I can admire his passion for jazz.
They writhed and twisted and blew. Every now and then a clear harmonic cry gave new suggestions of a tune that would someday be the only tune in the world and would raise men’s souls to joy. They found it, they lost, they wrestled for it, they found it again, they laughed, they moaned – and Dean sweated at the table and told them to go, go, go.
In another scene, Dean is explaining jazz and what IT means: “Here’s a guy and everybody’s there, right? Up to him to put down what’s on everybody’s mind. He starts the first chorus, then lines up his ideas, people, yeah, yeah, but get it, then he rises to his fate and has to blow equal to it. All of a sudden somewhere in the chorus he gets it – everybody looks up and knows; they listen; he picks it up and carries.
Time stops. He’s filling empty space with the substance of our lives, confessions of his bellybottom strain, remembrance of ideas, rehashes of old blowing. He has to blow across bridges and come back and do it with such infinite feeling soul-exploratory for the tune of the moment that everybody knows it’s not the tune that counts but IT.” The other powerful thing about this book is that Kerouac and his characters really do experience America in a way that most of us don’t, from New York to California to Mexico.
- I wish I could say I’d gotten into a car, driven across America, and just experienced whatever came along.
- I wish I could say I’d seen and felt the land in the way Kerouac does, but I know I never will.
- In the whole eastern dark wall of the Divide this night there was silence and the whisper of the wind, except in the ravine where we roared; and on the other side of the Divide was the great Western Slpe, and the big plateau that went to Steamboat Springs, and dropped, and led you to the Eastern Colorado desert and the Utah desert; all in darkness now as we fumed and screamed in our mountain nook, mad drunken Americans in the mighty land.
We were on the roof of America and all we could do was yell, I guess – across the night, eastward over the Plains, where somewhere an old man with white hair was probably walking toward us with the Word, and would arrive any minute and make us silent.
I could have put this book down many times, but I really wanted to finish it. I wanted to see if there’s some lesson in Kerouac’s free-wheeling treks across the country. It’s interesting to see the push and pull between living impulsively and having responsibilities to family and children. It’s either freedom or love, with no options in-between.
It’s true that most of us could benefit from living more “in the moment”. I’m a pretty compulsive planner, so in a lot of ways I found myself admiring that lifestyle. But ultimately the life Kerouac recounts in On the Road isn’t one I want to experience.
What page is a vision for you in the big book?
A Vision For You – Courtesy of the Alcoholics Anonymous Book For most normal folks, drinking (using) means conviviality, companionship and colorful imagination. It means release from care, boredom and worry. It is joyous intimacy with friends and a feeling that life is good. But not so with us in those last days of heavy drinking (using),
- The old pleasures were gone.
- They were but memories.
- Never could we recapture the great moments of the past.
- There was an insistent yearning to enjoy life as we once did and a heartbreaking obsession that some new miracle of control would enable us to do it.
- There was always one more attempt – and one more failure.
The less people tolerated us, the more we withdrew from society, from life itself. As we became subjects of King Alcohol (Drugs), shivering denizens of his mad realm, the chilling vapor that is loneliness settled down. It thickened, ever becoming blacker.
- Some of us sought out sordid places, hoping to find understanding companionship and approval.
- Momentarily we did – then would come oblivion and the awful awakening to face the hideous Four Horsemen – Terror, Bewilderment, Frustration, Despair.
- Unhappy drinkers (users) who read this page will understand! Now and then a serious drinker, being dry at the moment says, “I don’t miss it at all.
Feel better. Work better. Having a better time.” As ex-problem drinkers (users), we smile at such a sally. We know our friend is like a boy whistling in the dark to keep up his spirits. He fools himself. Inwardly he would give anything to take a half a dozen drinks (pills, shots, lines, etc.) and get away with them.
- He will presently try the old game again, for he isn’t happy about his sobriety.
- He cannot picture life without alcohol (drugs),
- Some day he will be unable to imagine life with alcohol (drugs) or without it.
- Then he will know loneliness such as few do.
- He will be at the jumping-off place.
- He will wish for the end.
For me it was at this point that I was willing to work a spiritual program of action that saved my life – the 12 Steps. As it goes on to say in Chapter 11: We have shown you how we got out from under. You say, “Yes, I’m willing. But am I to be consigned to a life where I shall be stupid, boring and glum, like some righteous people I see? I know I must get along without liquor (drugs), but how can I? Have you a sufficient substitute?” Yes, there is a substitute and it is vastly more than that.
It is a fellowship in Alcoholics Anonymous. There you will find release from care, boredom and worry. Your imagination will be fired. Life will mean something at last. The most satisfactory years of your existence lie ahead. Thus we find the fellowship, and so will you. – notes in bold added by Christina M.
: A Vision For You – Courtesy of the Alcoholics Anonymous Book
Who is the fifth horseman?
In the context of the Four Horsemen of New Atheism, Ayaan Hirsi Ali is referred to as the Fifth Horseman or One Horse-Woman.
Who is the strongest of the Four Horsemen?
Known as ‘The Pale Rider’, Death is the leader of the Four Horsemen and is the strongest and most feared of the angelic-demonic siblings. He wears an executioner’s mask and has green fragments embedded in his chest, previously from an amulet that harnessed the souls of the fallen Nephilim during the battle of Eden.
Why is it called a Sally?
Etymology and historical usage – The Old West Sally Port at Edinburgh Castle in Scotland The word port is ultimately from Latin porta for door. Often the term postern is used synonymously, It can also mean a tunnel, or passage (i.e., a secret exit for those besieged). A sally, ultimately derived from Latin salīre (to jump), or “salle” sortie, is a military maneuver, typically during a siege, made by a defending force to harass isolated or vulnerable attackers before retreating to their defenses.
Sallies are a common way for besieged forces to reduce the strength and preparedness of a besieging army; a sally port is therefore essentially a door in a castle or city wall that allows troops to make sallies without compromising the defensive strength of fortifications, Targets for these raids included tools, which defenders could capture and use, and labor-intensive enemy works and equipment, such as trenches, mines, siege engines, and siege towers,
Sometimes the defenders also attacked enemy laborers, and stole or destroyed the besiegers’ food supplies. An extract from a 19th-century dictionary of military terms describes a sally port thus: those underground passages, which lead from the inner to the outward works ; such as from the higher flank to the lower, to the tenailles, or the communication from the middle of the curtain to the ravelin,
When they are constructed for the passage of men only, they are made with steps at the entrance, and outlet. They are about six feet wide, and 8 + 1 / 2 feet high, There is also a gutter or shore made under the sally-ports that are in the middle of the curtains, in order that the water which runs down the streets may pass into the ditch ; but this can only be done when they are wet ditches.
When sally-ports serve to carry guns through them for the out-works, instead of making them with steps, they must have a gradual slope, and be eight feet wide.
What does the name Sally mean biblically?
Girl. Hebrew. A form of Sarah, a biblical name, meaning ‘princess’ in Hebrew.
What does Sally mean in text?
Witty remark. synonyms: crack, quip, wisecrack.
Is Sal Paradise black?
The Beat Generation found itself mystified by the black culture of the time. This mystification granted them agency in manifesting their deepest desires of free-flowing sexuality in what they observed from the black people with which they surrounded themselves.
Associating themselves with black people allowed them to further their performance as “The Hipster” or the “White Negro.” The very idea of being “beat” implies a white desire to be black and participate in black cultural norms, such as a wider acceptance of sexuality and jazz, instead of those set by white society, which was more mainstream.
Jack Kerouac’s 1957 On the Road romanticizes black culture in this regard. However, Hettie Jones’ 1990 memoir How I Became Hettie Jones emphasizes different aspects of black life through her interracial relationship, which shows a new vision on the Beats’ desire to be black.
- How I Became Hettie Jones reinterprets Kerouac’s On the Road by demystifying the romanticization of his white desire to be “Negro.” Kerouac’s character, the narrator Sal Paradise, laments on what white society lacks that black society retains.
- He believes the “white world” does not provide enough “darkness” or “night” (Kerouac 169-170).
Through relating a dark night to dark skin, Kerouac misunderstands and overly romanticizes black culture, even from his bohemian aspect. If he sees the black world as darkness or night, then his desire to be black is not because he values their world, but rather because he wishes to be considered dark, bad, or hovering on the brinks of society, qualities which he values as a Beat but which undermine black culture.
Erouac acts more like an overly excited observer rather than actually connecting with black people, instead choosing to imitate their culture and lifestyles. He participates in some aspects of black culture, or so he thinks, but On the Road operates as somewhat misleading in regards to what that culture entails.
While Hettie Jones’ writing lends to an acceptance and union of white and black people, Kerouac fetishizes black culture. Before she was Hettie Jones, she was Hettie Cohen, and her contact with black people and culture was limited. In her memoir a little black girl grasps a younger Cohen’s hand; at this Cohen realizes she has “never held a black person’s hand” (Jones 14).
- Her lack of exposure to a different race brings wonder but also a gentle understanding of the similarities.
- The hand of the little girl she holds is as “dark as from that southern sun” and “sn’t that different from ” (Jones 14).
- Cohen acknowledges that there is not much difference at all, not just in physical appearances of white and black skin but also in the manners of people that reach out to each other: she says that “aybe all the brown hands held since then are descended from hers ” (Jones 14).
Cohen’s first exposure to black people makes her realize that people are one and the same as long as they have the same goal of connecting, and a way for people, black and white, to connect is through music. Jazz flourished as the Beat Generation did, bringing people of all backgrounds and races together for its bop beats, its improvisational inserts.
- In On the Road Kerouac writes of a specific moment during which Sal Paradise and Dean Moriarty sit down and listen to a black tenorman sing.
- This tenorman retains an expression that Sal identifies as saying, “Hey now, what’s this thing we’re all doing in this sad brown world?” (Kerouac 188).
- Sal associates jazz with black culture due to the style of the tenorman’s voice and his concept of a “sad brown world.” The “thing” they do refers to both jazz and living: the music is an extension of expressing how the tenorman feels and interacts with the world, and the “brown” aspect relates to the part of the world of black people and culture.
Kerouac’s character Sal grants the tenorman agency in expressing through jazz his feelings living as a black man, still indicating a hierarchy on Sal’s part and interest of this man: he feels cheated he cannot feel this tenorman’s “brown” struggle, as Sal lives a white, privileged life.
- However, Hettie Cohen asserts that “o call jazz Negro music meant whites couldn’t play it and they wanted to; to call it Negro music also put on it what was put on Negroes themselves, and no one wanted that ” (Jones 22).
- Though the music itself was evocative of black culture, whites who clung to it had to find a justification for doing so without integrating themselves into black culture.
Listeners and critics go so as far to claim that there is “no one ‘real jazz,’ because like all art it was subject to change without notice, and their objective, in writing of it, was less to debate its absolute form than to consider it part of a wider arena” (Jones 23).
White culture acknowledges the changing times but also attempts to justify their interest in jazz by saying it cannot be bound to one form; therefore, jazz cannot be considered completely “Negro.” The downfall of existing in the white world is something Kerouac laments through his fictional counterpart Sal Paradise, who still conforms to white society even though he is bohemian or beat.
He complains of embodying the “‘white man’ disillusioned” with “white ambitions” (Kerouac 170). Already social hierarchy places him above black people and culture, as he is allowed the option of “white ambitions,” which, though he opposes, he still has access to as a white man.
The exclusion of black people from pursuing certain goals further establishes the hierarchy society has created, making his narrative appear unintentionally racist: he believes black life to be a simpler life, a life where “the air was filled with the vibration of really joyous life that knows nothing of disappointment and ‘white sorrows’ and all that” (Keroauc 171).
The narrator Sal, and essentially the voice of Kerouac, trivializes the life of black people and their culture by asserting that white society is what brings down the Beats: he refers to “white sorrows,” which he, as a white man, has over black people, who he excludes from experiencing said “sorrows” and ultimately believes black people live simpler lives with time for producing art based on their hardship and exclusion.
- In contrast, Hettie Jones comments on how strange the romanticization of black culture is in regards to art.
- This “long romance with ‘Negro life'” unsettles her because after “the shacks seen in the South refused to link hard life with art” (Jones 23).
- Relating the creation and duration of pursuing art as a passion or career trivializes the suffering of black people during the 1950s because it overlooks their suffering as not being up to a “white” level or standard of suffering.
Kerouac’s view is not necessarily malevolent, but it does call into question his ignorance: he romanticizes black life because he sees it as simpler and happier, though really harder, a place where his ideas and imagination could possibly flourish. Hettie Jones discounts this argument because she recognizes that hardship does not mean art: it means hardship, no matter if the culture is black or white.
The portrayal of black women differs in Kerouac’s novel compared to Jones’ memoir and as such causes a reconsideration of black femininity. Kerouac removes agency from black women. Though he refers to Sal’s black friend Walter’s wife as “the sweetest woman in the world,” he romanticizes the black wife as “never ask Walter where he’d been, what time it was, nothing”; she just “smiled and smiled” as Sal, Dean Moriarty, and Walter talk, to which “he never said a word” (Kerouac 192).
Not only does he romanticize the black wife, but he also hyperbolizes a black man’s life through Dean’s assertion that Walter can do whatever he wants, being a “man, and that’s his castle” (Kerouac 192). This sets up a false vision of black life, where black men can do whatever they want without their wives lashing back, removing the wives’ agency, whereas in her memoir Cohen sets up a picture that black women most definitely have agency but do not exert it in the ways Kerouac believes they would, such as pestering their spouses, but rather in the way they stand and live their lives.
- For Cohen, the best example of black womanhood is LeRoi Jones’ mother.
- Cohen depicts her as kind, understanding, and strong in the way she talks – “How nicethat the two of you have similar interests” (Jones 40) – down to her stance, which Cohen admires.
- LeRoi Jones’ mother stands as Hettie likes to stand, “with her hands in her pockets,” which is “the stanceof a woman who stood her ground, a woman who’d take a stand” (Jones 40).
Black women, to Cohen, specifically LeRoi’s mother, are strong, independent, and unconventional: Cohen acknowledges ” own mother had cautioned against” standing as LeRoi’s mother does (Jones 40), but Cohen turns this around to represent the strength not only in stance but also in soul that Cohen herself wants to possess and so mimics.
Though Cohen is a white woman mimicking a black woman, she describes so in a tasteful, respectful way that fleshes out LeRoi’s mother as a person which includes the color of her skin but is not limited to that being a strict characteristic of only black women: it is a trait of a strong woman to stand with her hands in her pockets.
Hettie Cohen – Jones – met Jack Kerouac before she attended a reading of his due to his On the Road fame, and it is at this reading that Kerouac takes a special interest in Cohen. However, his interest peaks once he learns of her “connection” to LeRoi Jones, her black husband, which “please Jack enormously – his face lit in the strangest, gleaming little grin” (Jones 70).
The use of “strange” and “gleaming” as descriptors for Jack connect back to his desire to observe people involved in black culture. Here he realizes Cohen is as close as a white person can get, being married to a black man and pregnant with his child. He takes it so far as to squeeze the two of them in an “iron grip and wouldn’t let go” (Jones 71).
This passage makes it evident that Kerouac wishes to get closer to black culture but still fetishizes it in that his eagerness is not in the union of an interracial couple but rather in Cohen – the white woman attached to a black man – who paid attention to Kerouac’s reading and just so happens to be pregnant with a black man’s child.
- Erouac’s thoughts of Cohen depict her being with LeRoi Jones purely to rebel; though she is a rebel, she is also just really in love with LeRoi for who he is beyond the color of his skin, shown throughout her memoir.
- How I Became Hettie Jones forces a reinterpretation of On the Road in the way Kerouac romanticizes black people, culture, and life.
Kerouac’s desire to live on the fringes of society mirrors the situation of black people, yet Cohen shows that to think of black people as dark and different is untrue. In regards to jazz, Kerouac grants agency to the black man performer but still recognizes his art due to the color of his skin, whereas Cohen acknowledges that white society will never dub jazz as truly black art.
- Therefore, Kerouac will never live his life as a “white Negro” since jazz music is still dubbed white and not black.
- Cohen recognizes black life is hardship, but Kerouac sees their life as simpler, a way to reach art, a technique of which Cohen disapproves.
- Cohen’s first encounter with Keroauc has him intrigued by her only due to her connection with her black husband, LeRoi Jones.
The portrayal of black women in Cohen’s memoir and Kerouac’s novel differ in the agencies these women harness – or do not – which correlates with the difference between empowering women, as Cohen shows, or women who say nothing and do only as their spouses say, as Keroauc depicts.
- Ultimately, this reinterpretation of Jack Kerouac’s On the Road due to the contrast of Hettie Cohen/Jones’ How I Became Hettie Jones breaches controversy in the depiction of black people and the way they live their lives.
- It must be remembered that Kerouac writes fiction, so romanticizing “Negro” life to his personal ideals is not a stretch for him; Cohen remains much more true and respectful to black people and culture in the hardships they face and what they, like LeRoi’s mother, stand for.
Works Cited Jones, Hettie. How I Became Hettie Jones. New York: Grove Press, 1990. Print. Kerouac, Jack. On the Road. New York: Penguin Books, 2011. Print.
How does The Road symbolize our life?
The Road Not Taken’, the road symbolizes our life. The poet says that the path that we don’t choose in our life is ‘the road not taken’. He describes his feelings about that choice that he had left in the past. The path which we have chosen, decides our future, our destination.
What is the symbolism in The Road book?
As it makes up the title of the novel and its main setting, the road is the most important symbol of The Road, The roads are one of the few things that couldn’t be destroyed by whatever disaster destroyed the earth, and the man and boy spend most of their time on a road leading to the coast.
As a unifying place for travel, the road is a place of both transience and danger, and in the novel it comes to symbolize the human drive to keep moving and keep surviving, no matter the circumstances. The man is defined by his perseverance in living despite the hellish state of the world (as opposed to the woman ‘s despair and suicide), and his endless journey down the road symbolizes this dogged endurance.
He has no clear goal in mind – except heading south and reaching the coast – but he keeps going anyway, and he teaches the boy this same lifestyle of the road. In the end it seems that the road itself is the destination, as the man tells the boy to keep “carrying the fire” and heading south, moving ahead with the human will to live and go forward.
What is Chapter 11 in the Big Book about?
The Big Book concludes with an encouraging message of hope for the prospective new member of A.A At this point he has already read about the fatal nature of the alcoholic malady and the program of action for recovery, which requires rigorous honesty, fearlessness and thoroughness and being willing to go to any lengths,
Like three of the four previous chapters, this one has a major focus on spreading the message of recovery. The authors trace the path of the alcoholic from the end of his drinking to despair, hope, action and recovery, followed by the attempt to spread the message of hope to others and beyond. The newcomer can thus see hope beyond his miserable present and glimpse the bright future the authors see for him, hence the title of this chapter.
The chapter begins with an eloquent, poetic description of the alcoholic’s emotional pain and his tragic attempts to control his drinking and indulge in nostalgia: For most normal folks, drinking means conviviality, companionship and colorful imagination.
It means release from care, boredom and worry. It is joyous intimacy with friends and a feeling that life is good. But not so with us in those last days of heavy drinking. The old pleasures were gone. They were but memories. Never could we recapture the great moments of the past. There was an insistent yearning to enjoy life as we once did and a heartbreaking obsession that some new miracle of control would enable us to do it.
There was always one more attempt and one more failure. (Page 151) As he declines further, the alcoholic becomes withdrawn, seeking understanding in sordid places and finding oblivion, only then to wake up to the Four Horsemen – Terror, Bewilderment, Frustration and Despair.
- In periods of sobriety he fools himself into thinking he is happy, but “e will presently try the old game again, for he isnt happy about his sobriety.
- He cannot picture life without alcohol.
- Some day he will be unable to imagine life either with alcohol or without it.
- Then he will know loneliness such as few do.
He will be at the jumping-off place. He will wish for the end.” (Page 152) The problem drinker who has read about how others have recovered may wonder if there is a substitute for alcohol, and where he can find the fellowship spoken of in this book. In answering these questions the authors make several assurances that can only be regarded as promises,
These could be called the Newcomers Promises or perhaps the Vision Promises: Yes, there is a substitute and it is vastly more than that. It is a fellowship in Alcoholics Anonymous. There you will find release from care, boredom and worry. Your imagination will be fired. Life will mean something at last.
The most satisfactory years of your existence lie ahead. Thus we find the fellowship, and so will you. You are going to meet these new friends in your own community. Near you, alcoholics are dying helplessly like people in a sinking ship. If you live in a large place, there are hundreds.
- High and low,rich and poor, these are future fellows of Alcoholics Anony- mous.
- Among them you will make lifelong friends.
- You will be bound to them with new and wonderful ties, for you will escape disaster together and you will commence shoulder to shoulder your common journey.
- Then you will know what it means to give of yourself that others may survive and rediscover life.
You will learn the full meaning of Love thy neighbor as thy- self. (Page 152-153) The authors hope that the alcoholic now reading this book will follow its suggestions and approach others in the manner described in Working With Others, Unlike the other chapters that describe carrying the message to others, this one shares a hope for the future of the fellowship and for the newly-sober alcoholic who begins to work with newcomers.
In sharing the experience and strength of A.A.’s pioneers, they seek to give the newcomer hope. The story of Bill’s failed business tip to Akron and his subsequent meeting with Dr. Bob is recounted next. (More detailed accounts can be found in the Foreword to the Second Edition and Bill’s official A.A.
biography Pass It On, beginning on Page 135.) One notable element of this account is that Bill had just suffered an important business setback, was broke, physically weak and lonely – conditions many newcomers may be experiencing as they read the story.
- Tempted by the sounds of gay laughter in the hotel bar, he nevertheless decided to seek out another alcoholic to help, his sanity having returned to dispel the temptation.
- Though sober only a few months at the time, Bill was able to summon the strength in those trying circumstances to successfully carry the message to Dr.
Bob and get him started on the road to recovery. The two friends, a term used for both the giver and receiver of the A.A. message, then began seeking out others to work with. They came across Bill D, the “man in the bed”, and soon there were three sober friends in Akron.
- The three friends eventually found a fourth man, and the fellowship grew from there.
- Regular meetings soon began among all the friends and their wives.
- In addition to these casual get-togethers, it became customary to set apart one night a week for a meeting to be attended by anyone or everyone interested in a spiritual way of life.
Aside from fellowship and sociability, the prime object was to provide a time and place where new people might bring their problems.” (Pages 159-160) Many an alcoholic and his wife entered the meeting place and succumbed to that gay crowd inside, who laughed at their own misfortunes and understood his.
- Impressed by those who visited him at the hospital, he capitulated entirely when, later, in an upper room of this house, he heard the story of some man whose experience closely tallied with his own.
- The expression on the faces of the women, that indefinable something in the eyes of the men, the stimulating and electric atmosphere of the place, conspired to let him know that here was haven at last.
(Page 160) There are descriptions of the reception the newcomer can expect in the meetings, which are also implied guidelines for veteran members to follow: “The very practical approach to his problems, the absence of intolerance of any kind, the informality, the genuine democracy, the uncanny understanding which these people had were irresistible.” (Page 160) And this: “No one is too discredited or has sunk too low to be welcomed cordiallyif he means business.
- Social distinctions, petty rivalries and jealousiesthese are laughed out of countenance.” (Page 161) The caveat ‘if he means business’ is, in turn, an implied suggestion to the newcomer of the attitude expected of him.
- The fellowship was growing at that time, with another major center in New York, a community in Cleveland, and small groups of twos and threes in many other cities.
Friends travel back and forth between the two centers and to the smaller clusters of sober alcoholics nationwide. Thus we grow. And so can you, though you be be but one man with this book in your hand. We believe and hope it contains all you will need to begin.
We know what you are thinking. You are saying to yourself: Im jittery and alone. I couldnt do that. But you can. You forget that you have just now tapped a source of power much greater than yourself. To duplicate, with such backing, what we have accomplished is only a matter of willingness, patience and labor.
(Page 162-163) The authors share as an example the then-current experience of an A.A. member. Having just moved to another city, he discovered a large number of alcoholics, which concerned local authorities. He contacted a local psychiatrist, who cooperated with him.
More referrals were expected from a large public hospital, and past experience tells us that many of these will become A.A. members. “When a few men in this city have found themselves, and have discovered the joy of helping others to face life again, there will be no stopping until everyone in that town has had his opportunity to recoverif he can and will.” (Page 163-164) The new man may be alone and without contact with the authors of this book, but that is not certain.
“God will determine that, so you must remember that your real reliance is always upon Him, He will show you how to create the fellowship you crave.” (Page 164) The chapter concludes with the following benediction, often known as Great Fact, and sometimes recited at the end of A.A.
- Meetings to this day: Our book is meant to be suggestive only.
- We realize we know only a little.
- God will constantly disclose more to you and to us.
- Ask Him in your morning medi- tation what you can do each day for the man who is still sick.The answers will come, if your own house is in order.
- But obviously you cannot transmit some- thing you havent got.
See to it that your relationship with Him is right, and great events will come to pass for you and countless others. This is the Great Fact for us. Abandon yourself to God as you understand God. Admit your faults to Him and to your fellows. Clear away the wreckage of your past.
What is Chapter 11 about in the AA Big Book?
Podcast: Play in new window | Download (Duration: 28:24 — 20.0MB) | Embed Subscribe: Apple Podcasts | Spotify | Android | Pandora | iHeartRadio | Stitcher | Email | TuneIn | Deezer | RSS Bill Wilson wrote the 11 th chapter in the fall of 1938, while still wrestling with other chapters of the book.
- Years later, in the book “Alcoholics Anonymous Comes of Age”, Bill admitted to having been secretly worried during that time about getting the book finished.
- I was exhausted,” he said.
- On many a day I felt like throwing the book out the window.” Of course, he persevered, and A Vision for You synthesized the substance of previous chapters into an inspiring narrative of the AA’s brief history and the program of recovery.
Chapter 11 also encouraged the carrying of the AA message to isolated alcoholics, while providing an ambitious, yet practical plan for AA fellowship and the ultimate formation Alcoholics Anonymous groups around the country. A large portion of Chapter 11 is devoted to Bill’s historical account of AA’s formation in Akron, Ohio, referenced in other chapters and throughout the stories in the First Edition.
It offered a concise model for individuals to use to share their recovery with others and coalesce into mutually supportive groups of recovering alcoholics. During the relatively short period of AA’s actual existence, the collective success of the Akron groups, helping Alcoholics recover, was to become emblematic of the hope, power, and reach of Alcoholics Anonymous in the coming years.
In many ways, it speaks to the ultimate brilliance of the Big Book and the timeless impact of its message for millions of alcoholics around the world. Howard L, sober since January 1988, presents an inspired reading of the Big Book and encourages listeners to revisit earlier podcast episodes that feature the main chapters and stories in the First Edition of the Big Book.
What does the Big Book say about lying?
If we lie or cheat, we deprive others not only of their worldly goods, but of their emotional security and peace of mind.
Which horseman is black?
Black Horse – The third Horseman, Famine on the Black Horse as depicted in the Angers Apocalypse Tapestry (1372–82) When He broke the third seal, I heard the third living creature saying, “Come.” I looked, and behold, a black horse; and he who sat on it had a pair of scales in his hand.
And I heard something like a voice in the center of the four living creatures saying, “A quart of wheat for a denarius, and three quarts of barley for a denarius; but do not damage the oil and the wine.” — Revelation 6:5–6 NASB The third Horseman rides a black horse and is popularly understood to be Famine, as the Horseman carries a pair of balances or weighing scales (Greek ζυγὸν, zygon ), indicating the way that bread would have been weighed during a famine.
Other authors interpret the third Horseman as the “Lord as a Law-Giver,” holding Scales of Justice, In the passage, it is read that the indicated price of grain is about ten times normal (thus the famine interpretation popularity), with an entire day’s wages (a denarius ) buying enough wheat for only one person (one choenix, about 1.1 litres ), or enough of the less nutritious barley for three, so that workers would struggle to feed their families.
- In the Gospels, the denarius is repeatedly mentioned as a monetary unit; for example, the denarius was the pay of a soldier for one day, and the day labor of a seasonal worker in the harvesting of grapes is also valued at one denarius ( Matthew 20:2 ).
- Thus, it is probably a fact that with the approach of the Apocalypse, the most necessary food will rise in price greatly and the wages earned per day will be enough only for the minimum subsistence for the same day and nothing more.
Of the Four Horsemen, the black horse and its rider are the only ones whose appearance is accompanied by vocalization. John hears a voice, unidentified but coming from among the four living creatures, that speaks of the prices of wheat and barley, saying, “and see thou hurt not the oil and the wine “.
- This suggests that the black horse’s famine is to drive up the price of grain but leave oil and wine supplies unaffected (though out of reach of the ordinary worker).
- One explanation is that grain crops would have been more naturally susceptible to famine years or locust plagues than olive trees and grapevines, which root more deeply.
The statement might also suggest a continuing abundance of luxuries for the wealthy, while staples, such as bread, are scarce, though not completely depleted; such selective scarcity may result from injustice and the deliberate production of luxury crops for the wealthy over grain, as would have happened during the time the Book of Revelation was written.
Is death a horseman?
The Book of Revelations in the New Testament lists the Four Horsemen of the Apocalypse as conquest, war, famine and death, while in the Old Testament’s Book of Ezekiel they are sword, famine, wild beasts and pestilence or plague. But whatever we call them, they are remarkably close to what we might call the four horsemen of ecology that regulate population size in nature.
In his 2016 book The Serengeti Rules, Sean Carroll discusses the work of pioneering ecologist Charles Elton in the 1920s. In thinking about how animal numbers are regulated to avoid over-population, “Elton suggested that, in general, increases in numbers were held in check by predators, pathogens, parasites and food supply.” Elton’s four regulators are clearly very effective.
In one astonishing passage, Carroll tells us that if a single E. Coli bacterium were to double every 20 minutes – the rate found in optimum conditions – it would take only two days (that is, 2 144 ) for the weight of E.Coli to exceed the weight of the Earth – yes, just two days! Clearly, and happily for us, that does not happen, nor does it happen for all the other species – including us. Crocodiles kill about 1,000 humans each year.
Who is the youngest horseman?
War is the protagonist of Darksiders and one of the two protagonists of Darksiders Genesis. He is the youngest of the Four Horsemen of the Apocalypse and a Nephilim.
Is Fury the weakest Horseman?
Summary – Fury is one of the Four Horsemen, a fearsome brotherhood that retains balance and order throughout all of creation. She has a bad temper and enjoys fighting, and has little patience for those who distract her with talking. Despite her strength and reputation, Fury is often regarded as the weakest of the Four Horsemen.
She is known as the least favored by the Charred Council, and has developed a need to prove herself worthy of recognition. Her goal is to become the leader of the Four Horsemen, and to show all of creation how fearsome she can truly be. After the events of Darksiders 3, Fury has grown in character. Thanks to a motivating talk with her brother Strife, Fury has acknowledged her faults, and through them, become better as both a person and fighter.
She openly opposes the Charred Council, and holds great respect and admiration for her fellow Horsemen, whom she now treasures above all else.
Who is the most powerful Darksider?
Game Fiction vs Religious Tradition – The “four Horsemen” in THQ’s Darksiders franchise diverge from the “Four Horsemen of the Apocalypse”, who are War, Death, Pestilence(Strife), and Famine(Fury). For story purposes (and dramatic license), Strife and Fury are the two horsemen who supplant Famine and Pestilence. Darksiders.010510-580px.png The protagonist of the first game, War is the youngest and most honorable of the Four Horsemen. He has a strong moral sense, and greatly wishes to see the balance maintained. He is extremely powerful and uses his sheer strength to win battles, and with his weapon, Chaoseater, War is a force to be reckoned with.
- He has been known for being hot headed for battle, but is willing to put his duty before his lust for blood.
- It is this very lust that has made him unfavorable to anyone who has clashed steel with the young Horseman, including the forces of Heaven and Hell.
- At the start of Darksiders War is framed for starting the Apocolypse early.
In that game he sets out to prove his innocence, and it is in Darksiders 2 that Death, his brother, sets out to redeem his brother as well. advertisement Gsm_169_darksiders2_knowdeath_ot_multi_080712_640.jpg The protagonist of Darksiders II, Death strives to clear his brother War’s name in front of the Charred Council. Death is the oldest of the Horsemen, and he is one of the first born Nephilim. He is immensely powerful, often being called the most powerful of the four.
- What Death lacks in raw strength he makes up for in agility and magic, being greatly knowledgeable in necromancy.
- His often stoic and calm demeanor is unsettling to his enemies, and even his allies.
- His bone mask hides any possible hint of emotion that his face might betray.
- He is loyal to the balance and his brothers.
Death has learned over the centuries that even the Charred Council might not know what is best, and he is often at times working without orders from the council at all. Fury is the third Horseman of the Apocolypse. She uses a whip against her foes. She is loyal to both her brothers and to the Charred Council. advertisement Strife is the fourth Horseman of the Apocalypse. He uses a set of pistols against his enemies. He is often hot headed and speaks his mind. His demeanor is known to cause friction between the Horsemen, especially Death, but he is always loyal to them.
Which horseman is fury?
Fury is the main protagonist of Darksiders III. She is one of the last of the Nephilim and a Horseman of The Apocalypse. She is the Rider of the Black Horse known as Rampage.
What are the r4 horsemen of the Apocalypse?
Who are the four horsemen of the apocalypse? The four horsemen of the apocalypse are four biblical figures who appear in the Book of Revelation. They are revealed by the unsealing of the first four of the seven seals. Each of the horsemen represents a different facet of the apocalypse: conquest, war, famine, and death.
What are the Four Horsemen in psychology?
According to couples therapist Dr. John Gottman, the Four Horsemen, behavioral predictors of divorce or break-up, are criticism, defensiveness, contempt, and stonewalling. Their destructive nature earned them the name and reference to christian religion: The Four Horsemen of the Apocalypse.
How many four horsemen were there?
4 1995: Flair, Arn, Pillman, Benoit – One of the craziest versions of the Four Horsemen came in 1995. Ric Flair and Arn Anderson were in the midst of a short feud when Arn brought in a newly-turned heel Brian Pillman to help him. Flair got Sting to help him, betrayed him, and the Four Horsemen reformed with Pillman and the newly added Chris Benoit to the group.
Joined forces from October 1995 until September 1997. Ric Flair won the world title two times during this reign. Ric Flair also held the United States Championship once during this time.