Who is the protagonist of The Odyssey?

The purpose of the Good Samaritan Law is:

Who holds Odysseus captive on an island for several years?

Writing as a Practice By Natalie Goldberg THIS IS THE PRACTICE school of writing. Like running, the more you do it, the better you get at it. Some days you don’twant to run and you resist every step of the three miles, but you do it anyway. You practice whether you want to or not.You don’t wait around for inspiration and a deep desire to run. It’ll never happen, especially if you are out of shape andhave been avoiding it. But if you run regularly, you train your mind to cut through or ignore your resistance. You just doit. And in the middle of the run, you love it. When you come to the end, you never want to stop. And you stop, hungry forthe next time. That’s how writing is, too. Once you’re deep into it, you wonder what took you so long to finally settle down at thedesk. Through practice you actually do get better. You learn to trust your deep self more and not give in to your voicethat wants to avoid writing. It is odd that we never question the feasibility of a football team practicing long hours for onegame; yet in writing we rarely give ourselves the space for practice. When you write, don’t say, “I’m going to write a poem.” That attitude will freeze you right away. Sit down with theleast expectation of yourself; say, “I am free to write the worst junk in the world.” You have to give yourself the space towrite a lot without a destination. I’ve had students who said they decided they were going to write the great Americannovel and haven’t written a line since. If every time you sat down, you expected something great, writing would alwaysbe a great disappointment. Plus that expectation would also keep you from writing. My rule is to finish a notebook a month. (I’m always making up writing guidelines for myself.) Simply to fill it. That isthe practice. My ideal is to write every day. I say it is my ideal. I am careful not to pass judgment or create anxiety if Idon’t do that. No one lives up to his ideal. In my notebooks I don’t bother with the side margin or the one at the top: I fill the whole page. I am not writinganymore for a teacher or for school. I am writing for myself first and I don’t have to stay within my limits, not evenmargins. This gives me a psychological freedom and permission. And when my writing is on and I’m really cooking, Iusually forget about punctuation, spelling, etc. I also notice that my handwriting changes. It becomes larger and looser.Often I can look around the room at my students as they write and can tell which ones are really on and present at agiven time in their writing. They are more intensely involved and their bodies are hanging loose. Again, it is like running.There’s little resistance when the run is good. All of you is moving; there’s no you separate from the runner. In writing,when you are truly on, there’s no writer, no paper, no pen, no thoughts. Only writing does writing—everything else isgone. One of the main aims in writing practice is to learn to trust your own mind and body; to grow patient andnonaggressive. Art lives in the Big World. One poem or story doesn’t matter one way or the other. It’s the process ofwriting and life that matters. Too many writers have written great books and gone insane or alcoholic or killedthemselves. This process teaches about sanity. We are trying to become sane along with our poems and stories. Chögyam Trungpa, Rinpoche, a Tibetan Buddhist master, said, “We must continue to open in the face of tremendousopposition. No one is encouraging us to open and still we must peel away the layers of the heart.” It is the same with thisway of practice writing: We must continue to open and trust in our own voice and process. Ultimately, if the process isgood, the end will be good. You will get good writing. A friend once said that when she had a good black-and-white drawing that she was going to add color to, she alwayspracticed first on a few drawings she didn’t care about in order to warm up. This writing practice is also a warm-up foranything else you might want to write. It is the bottom line, the most primitive, essential beginning of writing. The trustyou learn in your own voice can be directed then into a business letter, a novel, a Ph.D. dissertation, a play, a memoir.But it is something you must come back to again and again. Don’t think, “I got it! I know how to write. I trust my voice.I’m off to write the great American novel.” It’s good to go off and write a novel, but don’t stop doing writing practice. Itis what keeps you in tune, like a dancer who does warm-ups before dancing or a runner who does stretches beforerunning. Runners don’t say, “Oh, I ran yesterday. I’m limber.” Each day they warm up and stretch. Writing practice embraces your whole life and doesn’t demand any logical form: no chapter 19 following the action inchapter 18. It’s a place that you can come to wild and unbridled, mixing the dream of your grandmother’s soup with theastounding clouds outside your window. It is undirected and has to do with all of you right in your present moment.Think of writing practice as loving arms you come to illogically and incoherently. It’s our wild forest where we gatherenergy before going to prune our garden, write our fine books and novels. It’s a continual practice. Sit down right now. Give me this moment. Write whatever’s running through you. You might start with “this moment”and end up writing about the gardenia you wore at your wedding seven years ago. That’s fine. Don’t try to control it. Staypresent with whatever comes up, and keep your hand moving.

Which of the following causes can lead to pneumoconiosis?

The act of expelling sputum from the lungs is also known as:

Which of the following procedures describe removal of a lobe removal in the lung?

A pulmonologist is a medical doctor that specializes in which field of practice?

Which nerve is responsible for motor control of the diaphragm?

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