Aj Styles Quotes

Infinite Jest is a masterpiece,” Harvey had said. “Infinite Jest is an endurance contest. You manage to get through it and you have no choice but to say you like it. Otherwise, you have to deal with the fact that you just wasted weeks of your life,” A.J. had countered. “Style, no substance, my friend.

I guess, sometimes, it’s really necessary to cut toxic people out of your life.” His expression was loving and supportive as he met my eyes. “It’s okay to do that, Ash. Just don’t use your fabric scissors.

Xanax never goes out of style);

Infinite Jest is an endurance contest. You manage to get through it and you have no choice but to say you like it. Otherwise, you have to deal with the fact that you just wasted weeks of your life,” A.J. had countered. “Style, no substance, my friend.

Infinite Jest is a masterpiece,” Harvey had said. “Infinite Jest is an endurance contest. You manage to get through it and you have no choice but to say you like it. Otherwise, you have to deal with the fact that you just wasted weeks of your life,” A.J. had countered. “Style, no substance, my friend.

Hello, date money.” Asher sipped at his coffee before waving at the money. “You keep saying that, but where are we going on a date? You have a plan?” I gave him the most innocent expression I could muster. Kinda hard, though, as I knew he'd love what I was about to say. “I thought I’d take you to the bookstore and turn you loose.” Asher’s eyes went heart shaped. “You do love me.

And how rare is it to find someone who shares your tastes? The one real fight they’d ever had was over David Foster Wallace. It was around the time of Wallace’s suicide. A.J. had found the reverent tone of the eulogies to be insufferable. The man had written a decent (if indulgent and overlong) novel, a few modestly insightful essays, and not much else. “Infinite Jest is a masterpiece,” Harvey had said. “Infinite Jest is an endurance contest. You manage to get through it and you have no choice but to say you like it. Otherwise, you have to deal with the fact that you just wasted weeks of your life,” A.J. had countered. “Style, no substance, my friend.” Harvey’s face had reddened as he leaned over the desk. “You say that about any writer who was born in the same decade as you!

I’m yours and you’re mine and this is our big ass bathtub,

Bottom line, when someone defensively says their way of writing is their style, then that usually means they're making an excuse for poor prose.

Etruscans sometimes wrote boustrophedon style, in which the direction of writing alternates with each line—right-to-left, then left-to-right. Brilliant! The eye doesn’t waste time trekking back to the left side of the page after every line.

It is in sentence structure more than in any other aspect of style that T.'s distinctiveness is most visible. In all Latin prose authors many sentences consist of single clauses or two co-ordinated main clauses. But when authors write complex sentences, two main types are prominent: (1) a narrative sentence in which, after one or more subordinate clauses (or their equivalents, e.g. ablative absolutes or other participial phrases), the sentence is concluded by the main clause (or at least its predicate) and finishes, more often than not, with its main verb; (2) an oratorical period in which words, phrases, and clauses are balanced against one another, and where that balance (concinnitas) is often marked by rhetorical devices such as antithesis and assonance. As a former orator T. shows his skill in the second type when, as was expected of ancient historians, he puts invented speeches into the mouths of various characters: see, for example, the speech of Cremutius Cordus at 34.2 – 35.3. But it is in his handling of the narrative or descriptive type of sentence that T.'s individuality is most distinct. Attention will focus here on two major features only. Ch. 29 begins with the following sentence: 'Tum accusatory Cn. Lentulum et Seium Tuberonem nominat, magno pudore Caesaris, cum primores ciuitatis, intimi ipsius amici, Lentulus senectutis extremae, Tubero defecto corpore, tumultus hostilis et turbandae rei publicae accerserentur.' Here the main clause consists of eight initial words and is followed by an 'appendix' which is almost three times as long, is introduced by an ablative clause, gives Tiberius' reaction to the event of the main clause, and is then extended further by an explanatory cum-clause. This type of sentence is one of the commonest in T. The appendix is repeatedly expressed by an ablative absolute, which may offer an explanation of, or comment on, the action of the main clause, or may simply add a further fact. The appendix may be very short (as 64.1 'duesto monte Caelio') or of considerable length: the example at 29.1 is of moderate length, but that at 59.3 consists of fifty-five words. The contrast between such sentences and the more conventional narrative type, in which subordinate elements precede and build up to the statement of the main clause, arguably reflects a different way of looking at events and their consequences. When the main clause is completed early in the sentence, emphasis is inevitably thrown on the appended element(s); and since the appendix regularly gives men's motives for acting, or their reactions to events, this type of sentence clearly appealed to T. as the ideal vehicle for the cynical psychology which he so often imputes to his characters.

I don’t get this crap either. In this day and age especially, isn’t it more important that you’re with a good person than that you’re with a person of a certain gender?

You always drop by your friend’s house to grab their dog for long car rides?” “BFG is awesome,” I protested. Isaac leaned in to ask, “What does that stand for, anyway?” “Big Friendly Guy.