🌟 [Post of The Day] Tabula Rasa: Volume Two
I told him that I had once suited up to play basketball for the University of Cambridge against Her Majesty’s Royal Fusiliers in the central courtyard of the Tower of London, a venue that was shifted at the last moment because a lorry backed into and brought down one of the baskets. I had been thinking of writing the story on a freelance basis for some time. Now, said Hayes, happily commissioning the piece, but after I wrote it and sent it to him he rejected it. Depressed, thirty-one years old, I recklessly sent it to Sports Illustrated and The New Yorker simultaneously. A few weeks went by, another freelanced book review, and then my phone rang at Time. The New Yorker was buying the piece. Oh, my God. Breathlessly, I went to the elevator and down to Sports Illustrated and called on Jack Tibby, an assistant managing editor, who coördinated outside submissions. I had not previously met him. I asked him to return the manuscript to me, and I said why. A large pile of manuscripts was on a corner of his desk. He said that actually Sports Illustrated was quite interested in the manuscript and he could not give it back to me. Hunting for it in the pile on his desk, he needed some minutes to find it. As he searched, he was murmuring something, and it soon blossomed into a cloud of fury. How dared I—a Time Inc. writer—submit a piece to The NewYorker? He was going to see that this breach of loyalty was reported to Henry Luce and everybody else on the thirty-fourth floor, not to mention Otto Fuerbringer, the managing editor of Time. Above all, he would try to see to it that the sale to The New Yorker was blocked. Shell-shocked, I interrupted him. “Mr. Tibby,” I blurted, “I beg you not to do that.” I told him this was the most important moment of my professional life, that I had been trying to sell something to The New Yorker for fifteen years and everything had failed. “I beg you to give me that manuscript.” He looked at me for a long moment, his face softened, and he handed me the story. I never heard of or from him again.
John McPhee began contributing to The New Yorker in 1963.
He has written more than a hundred pieces for the magazine,
among them a Profile of Senator Bill Bradley during his days as a Princeton basketball star, an examination of modern-day cattle rustling,
and several multipart series on a wide range of subjects, including Alaska; a voyage as a passenger on a merchant ship down the west coast of South America; a stint with the Swiss Army; and the writing process.
Between 1955 and 1956, he wrote for television, before joining Time, where he contributed pieces about show business until 1964.
He has taught writing at Princeton University since 1975 and was awarded Princeton’s Woodrow Wilson Award for service to the nation, in 1982.
He is the author of thirty books, all of them based on his writing for The New Yorker.
當你說自己是「為某人，某公司或某機構工作」時，英文我們會說work for a company。
如果你是要說「在某一種場所工作」時，如工廠，辦公室，醫院等，這時英文則會說work in a place
留意一點，如果你想說「在一間公司努力工作向上爬」，這時the company前面的介詞是in，它與短語work the way up連用： work my way up in the company (Merriam Webster)
而當你要說的是「某個特定的場所」，例如是浸會大學，而不是泛指在大學工作，這時你就要說work at a place
很多時work in和work at這二個用法，有時甚至是work for，都是可以互換的。在介詞中，for是解「為了」，所以你「替某人或某公司打工」，就是work for a company/corporation etc. 。而介詞的at和in很多時都是「指一些physical location」，所以就算不是指某些specific area，有時你也可用work at
spend time (working) on the garden: 意思其實不是「（花時間）逗留在花園中」，而是「花時間在花園中進行某些跟花園有關的事/工作，例如維修裡面的設施或剪草等！」
work on the farm: She worked hard all her life, rearing her family and working on the farm. (Oxford Dictionary)
這一句比較容易解釋，現今的英文，提到農場farm一字時，一般都會說on a farm，而不是in a farm，這幾乎是最常見的用法。
除了on a farm外，有時你也可用at a farm，但這用法如今應該比較少見。
pembrook: Squarespace is the perfect solution for non-tech-savvy brick-and-mortar business who probably won't update their site more than once every 5 years. I'd say it has way better defaults than Wix.
HOWEVER, if you're even mildly tech-savvy, Squarespace (or site builders like Wix) become frustrating and limiting almost immediately.
This is why I believe Webflow is ultimately the answer. It addresses all the downsides of Wordpress with none of the limitations.
I think 5 years from now, Squarespace/Wix will completely own the mom-and-pop and portfolio space.
I think Webflow will ultimately own the space inhabited today by Wordpress (as well as static site generators), and be powering the marketing & content sites for most businesses. Which is where the real money is.
cloogschicer: I don't know if I agree. I recently tried Webflow and was not so impressed. It's basically a UI on top of CSS. Which is OK for developers, but there is still too much complexity and too many footguns for non-technical users.
steve_adams_86: "But it is making the whole internet look the same!" The internet is a utility, and consistency can allow for providing people with a normalized, accessible, fast, fine-tuned experience. A lot of the internet being uniform isn't in and of itself a bad thing.