Word: conscious
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...hope nonbelievers will use this book to explore their own beliefs more? I hope that it inspires people to be more conscious about what they believe. I had never stopped to think why don't I believe in God, or about a lot of my political points of view. Why am I pro-choice? Being around people who disagreed with me on almost everything, I had to re-examine every part of what I believed to make sure I believed it for a reason...
...Silbert, a hypnosis expert from La Jolla, Calif., recommends selecting a physical trigger, like holding a golf ball while walking down the fairway, which will signal your brain to slow down. "As I hold the golf ball, I feel a calm energy," Silbert says. "I let go of the conscious riffraff, I'm reprogramming the unconscious mind. The verbiage in my mind is affirming: 'Fairways of power, greens of solace.'" Are you in a trance yet? For Woods, Scott suggests a less hippie-sounding mental chant, perhaps, "I'm the greatest player in the world, see each shot...
...While Rose's belly expands, Grace camps out at the bedside of Jordan (Michael Shannon), the comatose driver of the pick-up, an apparent low-life with warrants out for his arrest. She reads to him, fusses over him and orders his nurses around. When conscious, Shannon is so consistently lively and interesting (see Bug and Revolutionary Road) that we too hope he wakes up, if only to tell Grace she's lost her mind. She refuses to feel any pleasure over the impending arrival of her grandchild. "I don't want everybody thinking we're blessed," she hisses...
This spring, Harvard will become home to its own sustainable garden in front of Lowell House, and the Office of Sustainability is calling upon the community to submit names in an online contest that closes today. Ever-conscious of its responsibility to the wider-Plympton area, FM presents some choice names...
...supposed to mean is liable to result in a throbbing headache and not much more. But the play succeeds by not taking itself too seriously—the play-within-a-play format allows the cast to repeatedly break the fourth wall, and they offer a touch of self-conscious humor that avoids any potential frustration with the production’s opaqueness. Maupassant (Philip Y. Gingerich ’13), installed among the audience members, occasionally cheers on, shouts at, and has conversations with those onstage, while the theater manager, as Leah sobs over the body of her dead...