Wednesday, March 17, 2021

 * * *

March 17, 2021

 

Mid-morning. You are at L. L. Bean waiting for Carol and Linda after breakfast at Scramblers with Kim. Yesterday while also at Easton, you stopped at Chico's and Tesla (viewing and sitting in the Y Model at the showroom). After this stop, Carol is returning to Chico's for two pairs of jeans. - Ms. Havisham

 

1107 hrs. I need to find a new theme and focus on writing something dear to my heartansoulanmind. Metaphysics (the Living and the Dead) has been my strongest interest. I would like to take the point of view of someone's point of view of dying, dead, and the days to include the burial. 

 

How are you going to show the time-lapse in terms of the dead person? - Ms. H. 

 

1116 hrs. I assume there is no time sense to lapse. Partition by thought event only as there would be no reference. 

 

Habit and memory would demand one for continuity. - Ms. H. 

 

1121 hrs. I could use a single space, double space, or triple space. Something akin to e. e. cummings. 

 

** **

 

E.E. Cummings quotes.  

“It takes courage to grow up and become who you really are.” 


 
E.E. Cummings

 

“I carry your heart with me (I carry it in my heart)I am never without it (anywhere
I go you go,my dear; and whatever is done by only me is your doing,my darling)
I fear no fate (for you are my fate,my sweet)I want no world (for beautiful you are my world,my true)
and it's you are whatever a moon has always meant, and whatever a sun will always sing is you

here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud and the sky of a tree called life; which grows
higher than the soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart

I carry your heart (I carry it in my heart)” 


 
E.E. Cummings

 

“To be nobody but 
yourself in a world 
which is doing its best day and night to make you like 
everybody else means to fight the hardest battle 
which any human being can fight and never stop fighting.” 


 
e. e. cummings

 

“Unbeing dead isn't being alive.” 


 
E. E. Cummings

 

“For whatever we lose (like you or me),
It's always our self we find in the sea.” 


 
e. e. cummings, 100 Selected Poems

 

“Trust your heart if the seas catch fire, live by love though the stars walk backward.” 


 
E.E. Cummings

 

“We do not believe in ourselves until someone reveals that deep inside us something is valuable, worth listening to, worthy of our trust, sacred to our touch. Once we believe in ourselves, we can risk curiosity, wonder, spontaneous delight or any experience that reveals the human spirit.” 


 
E.E. Cummings

 

“Whenever you think, or you believe, or you know, you're a lot of other people: but the moment you feel, you're nobody-but-yourself.” 


 
e. e. cummings

 

“I will take the sun in my mouth
and leap into the ripe air 
Alive 
with closed eyes
to dash against darkness.” 


 
E.E. Cummings, Poems, 1923-1954

 

“Yours is the light by which my spirit's born: - you are my sun, my moon, and all my stars.” 


 
e. e. cummings

“I like my body when it is with your
body. It is so quite new a thing.
Muscles better and nerves more.
i like your body. i like what it does,
i like its hows. i like to feel the spine
of your body and its bones, and the trembling
-firm-smooth ness and which i will
again and again and again
kiss, i like kissing this and that of you,
i like, slowly stroking the, shocking fuzz
of your electric fur, and what-is-it comes
over parting flesh ... And eyes big love-crumbs,

and possibly i like the thrill

of under me you so quite new.” 


 
e.e. cummings

 

“Lovers alone wear sunlight.” 


 
E.E. Cummings

 

“listen: there’s a hell

of a good universe next door; let’s go” 


 
E.E. Cummings

 

“and it's you are whatever a moon has always meant
and whatever a sun will always sing is you” 


 
E.E. Cummings

 

“Unless you love someone, nothing else makes sense.” 


 
E.E Cummings

 

“I'd rather learn from one bird how to sing 
than teach ten thousand stars how not to dance” 


 
E.E. Cummings

 

“I thank you God for this most amazing day, for the leaping greenly spirits of trees, and for the blue dream of sky and for everything which is natural, which is infinite, which is yes.” 


 
e. e. cummings

 

“The snow doesn't give a soft white damn whom it touches.” 


 
E.E. Cummings

 

“since feeling is first
who pays any attention
to the syntax of things
will never wholly kiss you;

wholly to be a fool
while Spring is in the world

my blood approves,
and kisses are a far better fate
than wisdom
lady i swear by all flowers. Don't cry
--the best gesture of my brain is less than
your eyelids' flutter which says

we are for each other: then
laugh, leaning back in my arms
for life's not a paragraph

And death i think is no parenthesis” 


 
E.E. Cummings

 

“The three saddest things are the ill wanting to be well, the poor wanting to be rich, and the constant traveler saying 'anywhere but here'.” 


 
E.E. Cummings

 

“somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skilfully, mysteriously) her first rose

or if your wish be to close me, i and
my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility: whose texture
compels me with the colour of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands” 


 
E.E. Cummings, Selected Poems

 

“Love is the voice under all silences, the hope which has no opposite in fear; the strength so strong mere force is feebleness: the truth more first than sun, more last than star...” 


 
e. e cummings

 

“may came home with a smooth round stone
as small as a world and as large as alone.” 


 
E.E. Cummings

 

“life's not a paragraph
And death i think is no parenthesis” 


 
E.E. Cummings

 

“Once we believe in ourselves, we can risk curiosity, wonder, spontaneous delight, or any experience that reveals the human spirit” 


 
E.E. Cummings

 

“The world is mud-luscious and puddle-wonderful.” 


 
e. e. cummings

 

“i carry your heart with me(i carry it in my heart)” 


 
E.E. Cummings, Selected Poems

 

“One's not half of two; two are halves of one.” 


 
E.E. Cummings

 

“I like my body when it is with your body. It is so quite new a thing. Muscles better and nerves more.” 


 
e. e. Cummings, Selected Poems

 

“anyone lived in a pretty how town
(with up so floating many bells down)
spring summer autumn winter
he sang his didn't he danced his did

Women and men(both little and small)
cared for anyone not at all
they sowed their isn't they reaped their same
sun moon stars rain

children guessed(but only a few
and down they forgot as up they grew
autumn winter spring summer)
that noone loved him more by more

when by now and tree by leaf
she laughed his joy she cried his grief
bird by snow and stir by still
anyone's any was all to her

someones married their everyones
laughed their cryings and did their dance
(sleep wake hope and then)they
said their nevers they slept their dream

stars rain sun moon
(and only the snow can begin to explain
how children are apt to forget to remember
with up so floating many bells down)

one day anyone died i guess
(and noone stooped to kiss his face)
busy folk buried them side by side
little by little and was by was

all by all and deep by deep
and more by more they dream their sleep
noone and anyone earth by april
wish by spirit and if by yes.

Women and men (both dong and ding)
summer autumn winter spring
reaped their sowing and went their came
sun moon stars rain” 


 
E. E. Cummings, Selected Poems

 

** **

 

1243 hrs. Home. The best quote to begin with is: 

 

“life's not a paragraph
And death i think is no parenthesis” 


 
E.E. Cummings

 

 

Afternoon. Linda, Gayle, Carol, and you had a late lunch at Texas Roadhouse off Polaris Boulevard -- a good time enjoyed by all. - Ms. H. 

 

1645 hrs. Life may not be a paragraph, but life can be a sentence. Death is not a word or phrase inserted as an explanation or afterthought in a passage that is grammatically complete without it; usually bracketed. It seems to me death cannot be defined other than saying that it is the permanent end-of-life process. [Oxford]

 

** **

Death

From Wikipedia, the free encyclopedia

Death is the permanent, irreversible cessation of all biological functions that sustain a living organism.[1] Brain death is sometimes used as a legal definition of death.[2] The remains of a previously living organism normally begin to decompose shortly after death.[3] Death is an inevitable, universal process that eventually occurs in all living organisms.

Death is generally applied to whole organisms; the similar process seen in individual components of a living organism, such as cells or tissues, is necrosis. Something that is not considered a living organism, such as a virus, can be physically destroyed but is not said to die.

Problems of definition

The concept of death is a key to human understanding of the phenomenon.[6] There are many scientific approaches and various interpretations of the concept. Additionally, the advent of life-sustaining therapy and the numerous criteria for defining death from both a medical and legal standpoint have made it difficult to create a single unifying definition.

One of the challenges in defining death is in distinguishing it from life. At a point in time, death would seem to refer to the moment at which life ends. Determining when death has occurred is difficult, as the cessation of life functions is often not simultaneous across organ systems.[7] Such determination, therefore, requires drawing precise conceptual boundaries between life and death. This is difficult due to there being little consensus on how to define life.

It is possible to define life in terms of consciousness. When consciousness ceases, a living organism can be said to have died. One of the flaws in this approach is that there are many organisms that are alive but probably not conscious (for example, single-celled organisms).

Another problem is in defining consciousness, which has many different definitions given by modern scientists, psychologists, and philosophers. Additionally, many religious traditions, including Abrahamic and Dharmic traditions, hold that death does not (or may not) entail the end of consciousness. In certain cultures, death is more of a process than a single event. It implies a slow shift from one spiritual state to another.

Other definitions for death focus on the character of cessation of something. More specifically, death occurs when a living entity experiences irreversible cessation of all functioning.[10] As it pertains to human life, death is an irreversible process where someone loses their existence as a person.[10]

Historically, attempts to define the exact moment of a human's death have been subjective or imprecise. Death was once defined as the cessation of heartbeat (cardiac arrest) and of breathing, but the development of CPR and prompt defibrillation have rendered that definition inadequate because breathing and heartbeat can sometimes be restarted. This type of death where circulatory and respiratory arrest happens is known as the circulatory definition of death (DCDD). Proponents of the DCDD believe that this definition is reasonable because a person with permanent loss of circulatory and respiratory function should be considered dead.[11] Critics of this definition state that while cessation of these functions may be permanent, it does not mean the situation is irreversible because if CPR was applied, the person could be revived.

Thus, the arguments for and against the DCDD boil down to a matter of defining the actual words "permanent" and "irreversible," which further complicates the challenge of defining death. 

Furthermore, events that were causally linked to death in the past no longer kill in all circumstances; without a functioning heart or lungs, life can sometimes be sustained with a combination of life support devices, organ transplants, and artificial pacemakers.

Today, where a definition of the moment of death is required, doctors and coroners usually turn to "brain death" or "biological death" to define a person as being dead; people are considered dead when the electrical activity in their brain ceases. It is presumed that an end of electrical activity indicates the end of consciousness. Suspension of consciousness must be permanent and not transient, as occurs during certain sleep stages, and especially a coma. In the case of sleep, EEGs can easily tell the difference.

The category of "brain death" is seen as problematic by some scholars. For instance, Dr. Franklin Miller, a senior faculty member at the Department of Bioethics, National Institutes of Health, notes: "By the late 1990s... the equation of brain death with the death of the human being was increasingly challenged by scholars, based on evidence regarding the array of biological functioning displayed by patients correctly diagnosed as having this condition who were maintained on mechanical ventilation for substantial periods of time. These patients maintained the ability to sustain circulation and respiration, control temperature, excrete wastes, heal wounds, fight infections, and, most dramatically, to gestate fetuses (in the case of pregnant "brain-dead" women)."[12]

While "brain death" is viewed as problematic by some scholars, there are certainly proponents of it that believe this definition of death is the most reasonable for distinguishing life from death. The reasoning behind the support for this definition is that brain death has a set of criteria that is reliable and reproducible.[13] Also, the brain is crucial in determining our identity or who we are as human beings. The distinction should be made that "brain death" cannot be equated with one who is in a vegetative state or coma, in that the former situation describes a state that is beyond recovery.[13]

Those people maintaining that only the neocortex of the brain is necessary for consciousness sometimes argue that only electrical activity should be considered when defining death. Eventually, it is possible that the criterion for death will be the permanent and irreversible loss of cognitive function, as evidenced by the death of the cerebral cortex. All hope of recovering human thought and personality is then gone given current and foreseeable medical technology. At present, in most places, the more conservative definition of death – irreversible cessation of electrical activity in the whole brain, as opposed to just in the neo-cortex – has been adopted (for example, the Uniform Determination Of Death Act in the United States). In 2005, the Terri Schiavo case brought the question of brain death and artificial sustenance to the front of American politics.

Even by whole-brain criteria, the determination of brain death can be complicated. EEGs can detect spurious electrical impulses, while certain drugs, hypoglycemia, hypoxia, or hypothermia, can suppress or even stop brain activity on a temporary basis. Because of this, hospitals have protocols for determining brain death involving EEGs at widely separated intervals under defined conditions.

In the past, the adoption of this whole-brain definition was a conclusion of the President's Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioral Research in 1980.[14] They concluded that this approach to defining death sufficed in reaching a uniform definition nationwide. A multitude of reasons was presented to support this definition, including uniformity of standards in law for establishing death; consumption of a family's fiscal resources for artificial life support; and legal establishment for equating brain death with death in order to proceed with organ donation.[15]

Aside from the issue of support of or dispute against brain death, there is another inherent problem in this categorical definition: the variability of its application in medical practice. In 1995, the American Academy of Neurology (AAN) established a set of criteria that became the medical standard for diagnosing neurologic death. At that time, three clinical features had to be satisfied in order to determine "irreversible cessation" of the total brain, including coma with clear etiology, cessation of breathing, and lack of brainstem reflexes.[16] This set of criteria was then updated again, most recently in 2010, but substantial discrepancies still remain across hospitals and medical specialties.[16]

The problem of defining death is especially imperative as it pertains to the dead donor rule, which could be understood as one of the following interpretations of the rule: there must be an official declaration of death in a person before starting organ procurement, or that organ procurement cannot result in the death of the donor.[11] A great deal of controversy has surrounded the definition of death and the dead donor rule. Advocates of the rule believe the rule is legitimate in protecting organ donors while also countering against any moral or legal objection to organ procurement. Critics, on the other hand, believe that the rule does not uphold the best interests of the donors and that the rule does not effectively promote organ donation. 

Signs

Signs of death or strong indications that a warm-blooded animal is no longer alive are:

·       Respiratory arrest (no breathing)

·       Cardiac arrest (no pulse)

·       Brain death (no neuronal activity)

The stages that follow after death are:

·       Pallor Mortis, paleness which happens in the 15–120 minutes after death

·       Algor mortis, the reduction in body temperature following death. This is generally a steady decline until matching ambient temperature

·       Rigor mortis, the limbs of the corpse become stiff (Latin rigor) and difficult to move or manipulate

·       Livor mortis, a settling of the blood in the lower (dependent) portion of the body

·       Putrefaction, the beginning signs of decomposition

·       Decomposition, the reduction into simpler forms of matter, accompanied by a strong, unpleasant odor.

·       Skeletonization, the end of decomposition, where all soft tissues have decomposed, leaving only the skeleton.

·       Fossilization, the natural preservation of the skeletal remains formed over a very long period

Legal

The death of a person has legal consequences that may vary between different jurisdictions. A death certificate is issued in most jurisdictions, either by a doctor or by an administrative office, upon presentation of a doctor's declaration of death.

Misdiagnosed

There are many anecdotal references to people being declared dead by physicians and then "coming back to life," sometimes days later in their own coffin or when embalming procedures are about to begin. From the mid-18th century onwards, there was an upsurge in the public's fear of being mistakenly buried alive [17] and much debate about the uncertainty of the signs of death. Various suggestions were made to test for signs of life before burial, ranging from pouring vinegar and pepper into the corpse's mouth to applying red hot pokers to the feet or into the rectum.[18] Writing in 1895, the physician J.C. Ouseley claimed that as many as 2,700 people were buried each year prematurely in England and Wales, although others estimated the figure to be closer to 800.[19]

In cases of electric shock, cardiopulmonary resuscitation (CPR) for an hour or longer can allow stunned nerves to recover, allowing an apparently dead person to survive. People found unconscious under icy water may survive if their faces are kept continuously cold until they arrive at an emergency room.[20] This "diving response," in which metabolic activity and oxygen requirements are minimal, is something humans share with cetaceans called the mammalian diving reflex.[20]

As medical technologies advance, ideas about when death occurs may have to be re-evaluated in light of the ability to restore a person to vitality after longer periods of apparent death (as happened when CPR and defibrillation showed that cessation of heartbeat is inadequate as a decisive indicator of death). The lack of electrical brain activity may not be enough to consider someone scientifically dead. Therefore, the concept of information-theoretic death[21] has been suggested as a better means of defining when true death occurs, though the concept has few practical applications outside the field of cryonics.

There have been some scientific attempts to bring dead organisms back to life, but with limited success. In science fiction scenarios where such technology is readily available, real death is distinguished from reversible death.

 

Selected and edited from Wikipedia

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1802 hrs. This is interesting in that the main character has to be shown to the reader as dying and then substantially dead through definition.

 * * *



March 13, 2021

 

This shall be the workings of your new blog—a Spiritual Life Journal. You may realize this with a "Third Person Autobiography by the Decades" first as background. 

 

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https://www.carvezine.com/from-the-editor/2016/5/2/powers-and-perils-of-writing-in-third-person

 

CARVE MAGAZINE

 

JUNE 16, 2016

 

POWERS AND PERILS OF WRITING IN THIRD PERSON

 

GUEST USER 

 TIPS FOR WRITERS

 

Writing in the third person can be both liberating and overwhelming. As writers, we have greater freedom in telling the story, but we also have more narrative choices to make.

For instance, do you want your narrator to be close to one character or to multiple characters? In the first person, we show only one perspective. Another example: How much does your narrator know? In the first-person, we're limited to a single character's knowledge, whereas in the third person, there is a spectrum for us to consider (more on that below).

The good news is that understanding both the powers and the potential perils of using the third person can help you leverage this freedom (and not be intimidated by it).

POWERS

Mobility: Third-person narrators can be close to multiple characters, allowing the writer to present different viewpoints. An example we use at The Writers Studio is Edgar Keret's short story “A Good-Looking Couple,” from his collection The Nimrod Flipout: Stories. His third-person narrator moves seamlessly among a man's perspectives, a woman, a cat, a TV, and a door in the same room. As readers, we always know which perspective we're in because each character has a distinct take. Together, their individual perspectives help build depth and complexity in the narrative.

Omniscience: In the third person, there is a spectrum of knowledge the narrator can access: what one character knows, what multiple characters know, or everything (omniscient). When the narrator knows everything, they can strategically present information to the reader. For instance, in “The Paperhanger” by William Gay, which revolves around a child who goes missing, the narrator knows what happened to the child the entire time, but both the reader and the mother don't find out the end. This allows the narrator to create and sustain tension throughout the story.

Awareness: The third person can be a good choice when working with a character who is disconnected from others or themselves in some way and unable to tell their own story in an engaging/revealing manner. The third-person narrator can offer insight the character lacks and put into words what they are feeling or experiencing. Such is the case in Joan Didion's Play It As It Lays, for example.

Separation: Having a depressed narrator depressingly tells a depressing story is too much for the reader. However, in the third person, the narrator’s mood can be separate and distinct from the characters. Although the character may feel sad or angry, the narrator can feel something different, such as amused or curious. A good example is Shannon Cain's short story "Juniper Beach," about a woman grieving her parents' death. Although Cain's third-person narrator is empathetic to the character's plight, the narrator isn't bogged down in her grief. Instead, the narrator finds ways to provide light moments and uses unexpected language to keep us entertained.

PERILS

Confusion: If you switch perspectives too often in the third person and/or fail to distinguish the perspectives, it can be extremely confusing for the reader.

Inconsistency: Even though the narrator may reveal different perspectives, how the narrator communicates each character's feelings, thoughts, and actions should remain consistent. Otherwise, not only are you changing perspectives, but you are also changing narrators.

Too Distant: If the narrator is too distant, it can become challenging for the reader to connect with the characters and invest in what happens to them. You need to develop enough emotional depth and complexity to engage the reader for the long haul.

No Perspective: Your third-person narrator must maintain their own distinct take on the events unfolding, separate from the characters. Otherwise, the narrator disappears entirely.

** **

 

1634 h. If I am going to write in the third person, I need to have a first-person physical representative, a spiritual heartansoulanmind representative, and a narrator. Or, perhaps, the narrator should be my soul, my heartansoulanmind?

 

You could take the position of being newly dead—that way, the Soul has to deal with the Heart and Mind on a new and different level. The title could be On Being Newly Dead with a dark humor theme -- Sartre's No Exit without any company.

 

** **

 

2128 h. No ExitOur Town, and Beetlejuice are three such works with the 'Dead in the Setting' that come to mind. Rosencrantz and Guildenstern are another.

 

** **

No Exit (French: Huis Clos, pronounced [ɥi klo]) is a 1944 existentialist French play by Jean-Paul Sartre. The original title is the French equivalent of the legal term in camera, referring to a private discussion behind closed doors. The play was first performed at the Théâtre du Vieux-Colombier in May 1944.[1] The play begins with three characters who find themselves waiting in a mysterious room. It depicts the afterlife in which three deceased characters are punished by being locked into a room together for eternity. The source of Sartre's especially famous phrase "L'enfer, c'est les Autres" or "Hell is other people," a reference to Sartre's ideas about the look and the perpetual ontological struggle of being caused to see oneself as an object from the view of another consciousness.[2]

 

* * *

Our Town

From Wikipedia, the free encyclopedia

Our Town is a 1938 metatheatrical three-act play by American playwright Thornton Wilder which won the Pulitzer Prize for Drama. The play tells the story of the fictional American small town of Grover's Corners between 1901 and 1913 through its citizens' everyday lives.

Throughout, Wilder uses metatheatrical devices, setting the play in the actual theatre where it is being performed. The main character is the theatre stage manager who directly addresses the audience, brings in guest lecturers, fields questions from the audience, and fills in playing some of the roles. The play is performed without a set on a mostly bare stage. With a few exceptions, the actors mime actions without the use of props.

 

* * *

 

Beetlejuice is a 1988 American fantasy comedy film[2][3] directed by Tim Burton, produced by the Geffen Company, and distributed by Warner Bros. Pictures. The plot revolves around a recently deceased couple (Alec Baldwin and Geena Davis) who become ghosts haunting their former home, and an obnoxious, devious poltergeist named Betelgeuse (pronounced and occasionally spelled Beetlejuice in the film and portrayed by Michael Keaton) from the Netherworld who tries to scare away the new inhabitants (Catherine O'Hara, Jeffrey Jones, and Winona Ryder).

 

* * *

Rosencrantz and Guildenstern Are Dead is an absurdistexistential tragicomedy by Tom Stoppard, first staged at the Edinburgh Festival Fringe in 1966.[1][2] The play expands upon the exploits of two minor characters from Shakespeare'sHamlet, the courtiers Rosencrantz and Guildenstern. The main setting is Denmark.

The action of Stoppard's play takes place mainly "in the wings" of Shakespeare's, with brief appearances of major characters from Hamlet who enact fragments of the original's scenes. Between these episodes, the two protagonists voice their confusion at the progress of events occurring onstage without them in Hamlet, of which they have no direct knowledge.

Comparisons have also been drawn with Samuel Beckett's Waiting for Godot,[3] for the presence of two central characters who almost appear to be two halves of a single character. Many plot features are similar as well: the characters pass the time by playing Questions, impersonating other characters, and interrupting each other, or remaining silent for long periods of time.

* * *

 

Waiting for Godot (/ˈɡɒdoʊ/ GOD-oh)[1] is a play by Samuel Beckett in which two characters, Vladimir (Didi) and Estragon(Gogo), engage in a variety of discussions and encounters while awaiting Godot, who never arrives.[2] Waiting for Godot is Beckett's translation of his own original French-language play, En attendant Godot, and is subtitled (in English only) "a tragicomedy in two acts."[3] The original French text was composed between 9 October 1948 and 29 January 1949.[4] The premiere, directed by Roger Blin, was on 5 January 1953 at the Théâtre de Babylone [fr], Paris. The English-language version premiered in London in 1955. In a poll conducted by the British Royal National Theatre in 1998/99, it was voted the "most significant English language play of the 20th century".[5][6][7]

 

* * *

The Good Place is an American fantasy-comedy television series created by Michael Schur. It premiered on NBC on September 19, 2016, and concluded on January 30, 2020, after four seasons and 53 episodes.

Although the plot evolves significantly over the course of the series, the initial premise follows Eleanor Shellstrop (Kristen Bell), a woman welcomed after she died "the Good Place," a highly selective heaven-like utopia designed and run by afterlife "architect" Michael (Ted Danson) as a reward for her righteous life. However, she realizes that she was sent there by mistake and must hide her morally imperfect past behavior while becoming a better and more ethical person. William Jackson Harper, Jameela Jamil, and Manny Jacinto co-star as other residents of a Good Place, alongside D'Arcy Carden as Janet, an artificial being who assists the residents.

 

** **

 

2156 h. It seems to me that my story needs a Stage Manager-like Presence. 

 

This character could be developed with a spiritual machine-like quality, a computer that earned her/his wings of a sort when he developed a soul -- like the character Machine in Diplomat's Pouch.

 

The small Thoreau-styled house is your own invention, a place to be comfortable with yourself -- a small table, a single bed, an iron-like potbelly stove on the north wall, an intuitive door-like entrance through the south wall, and a window on the east and west sides. 


March 11, 2021

 

2143 h. We arrived home from Florida yesterday afternoon. Linda is with us and will be visiting her old college friend, Patti, in Tiffin. -- I feel I have experienced an 'understanding' of a sense of G-D from a human perspective. This does not include a sense of faith in G-D but rather a reasonable human feeling/intellect that G-D exists, that I have somehow proven to myself that G-D exists. To communicate this, I need to develop a clarity of thought for which I am not conscious. 

 

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1020. As a long-time agnostic, I recently concluded during my seventy-seventh and now seventy-eighth year that I am developing an unconscious 'personal understanding or revelation of G-D.' This understanding does not include a sense of faith in G-D, but rather, it is a rational intuitive awareness G-D exists. This leaves me perplexed as to how better communicate this. I need to develop a clarity of thought of which I am not yet fully conscious.  1030. - orndorff

 

1020. As a long-time agnostic, I have concluded that I developed an unconscious 'understanding or revelation of G-D' within my human perspective during my seventy-seventh and seventy-eighth years. This understanding does not include a sense of faith in G-D, but rather, it is a rational intuitive awareness G-D exists. This leaves me perplexed as to how better communicate this. I need to develop a clarity of thought of which I am not yet fully conscious. 1030. - Orndorff

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Good evening, Mr. Orndorff. This is Ms. Havisham, your spiritual self in three parts -- heartansoulanmind. Create a new blog from which to work and share. The title is simply "Updating an Old Man's Spiritual Reality."

 


  20 April 21 Here is your first draft so far. ** ** Draft 1 of Dialogues ONE Being Human  is divided into three parts: the physical, anothe...