Complimentary Close Quotes

When men are fighting for their lives they are not often disposed to be complimentary to those who are trying to kill them.

She paused and regarded Annandale with frank interest. "My goodness, you are an eagle, aren't you?" "A what?" the elderly man asked, his eyes narrowing. "An eagle." Beatrix stared at him closely. "You have such striking features, and you exude power even while sitting still. And you like to watch people. You can assess them instantly, can't you? No doubt you're always right." Christopher began to intervene, certain that his grandfather would incinerate her with his response. To his astonishment, Annandale practically preened under Beatrix's admiring regard. "I can," the earl allowed. "And indeed, I am seldom mistaken in my judgements.

When I broke my collarbone at summer camp when I was eleven, I didn’t tell them; it never occurred to me that I had parents who could protect me from pain and suffering,” she says. “I lived with the pain. When I returned home at the end of the summer, a family friend saw the lump on my chest and told me I had to tell my mother. My mother took me to the doctor. He said it was a case of gross negligence.” But Priscilla didn’t resent her parents when she was growing up. “I felt like I was the ‘hero child’; I was saving my mom. She was so complimentary, and wanted to be so close to me, I assumed that must be a good thing.” It was only as Priscilla came into her teen years that “I began to realize that my

There was a perpetual imbalance between them that she knew they both understood. She’d been so close to nothing when he’d found her that she would spend their entire relationship owing him something, or everything, just for staying when any reasonable person would have left. It wasn’t wholly unromantic. Actually it was, perversely so. Even when the heat of sex died away there would still be some underlying sense of kinship; an understanding that Marc was shitty with his charming flaws of vice, but Regan would always be shittier, selfish and mercurial and vain. Complimentary pieces in a perfect, shitty puzzle, where she was the broken one and he was normal. She would always be sick and he would always be fine.

Your pupils are dilated." "It's a design flaw. It happens when sexy men get too close." A smile tugged at his lips. "You think I'm sexy?" "You are when you talk in that soft, deep voice and sit so close I can feel the heat of your body, and wear that craze-inducing cologne, and cradle my face like I'm a delicate flower." She licked her lips and his gaze fell to her soft, lush mouth. It was an invitation he couldn't ignore. "You forgot the part where I tried to kill you by crashing into a deer at high speed," he offered, just in case he was misreading the signs. "I'm trying not to remember it because you busted out some pretty slick moves to keep us from going over the cliff. Nothing sexier than a man who can stay calm in a crisis and save a girl so she can live to get fired another day. You, Sam Mehta, are a hero." She thought he was worthy. It was a balm to his soul.

It was true what Doc had said, that Christmas succeeds Christmas rather than the days it follows. That had become apparent to Smoky in the last few days. Not because of the repeated ritual, the tree sledded home, the antique ornaments lovingly brought out, the Druid greenery hung on the lintels. It was only since last Christmas that all that had become imbued for him with dense emotion, an emotion having nothing to do with Yuletide, a day which for him as a child had nothing like the fascination of Hallowe'en, when he went masked and recognizable (pirate, clown) in the burnt and smoky night. Yet he saw that it was an emotion that would cover him now, as with snow, each time the season came. She was the cause, not he to whom he wrote. "Any," he began again, "my desires this year are a little clouded. I would like one of those instruments you use to sharpen the blades of an old-fashioned lawn mower. I would like the missing volume of Gibbon (Vol. II) which somebody's apparently taken out to use as a doorstop or something and lost." He thought of listing publisher and date, but a feeling of futility and silence came over him, drifting deep. "Santa," he wrote, "I would like to be one person only, not a whole crowd of them, half of them always trying to turn their backs and run whenever somebody" - Sophie, he meant, Alice, Cloud, Doc, Mother; Alice most of all - "looks at me. I want to be brave and honest and shoulder my burdens. I don't want to leave myself out while a bunch of slyboots figments do my living for me." He stopped, seeing he was growing unintelligible. He hesitated over the complimentary close; he thought of using "Yours as ever," but thought that might sound ironic or sneering, and at last wrote only "Yours &c.," as his father always had, which then seemed ambiguous and cool; what the hell anyway; and he signed it: Evan. S. Barnable.

To paint after nature is to transfer three-dimensional corporeality to a two-dimensional surface. This you can do if you are in good health and not colorblind. Oil paint, canvas, and brush are material and tools. It is possible by expedient distribution of oil paint on canvas to copy natural impressions; under favorable conditions you can do it so accurately that the picture cannot be distinguished from the model. You start, let us say, with a white canvas primed for oil painting and sketch in with charcoal the most discernible lines of the natural form you have chosen. Only the first line may be drawn more or less arbitrarily, all the others must form with the first the angle prescribed by the natural model. By constant comparison of the sketch with the model, the lines can be so adjusted that the lines of the sketch will correspond to those of the model. Lines are now drawn by feeling, the accuracy of the feeling is checked and measured by comparison of the estimated angle of the line with the perpendicular in nature and in the sketch. Then, according to the apparent proportions between the parts of the model, you sketch in the proportions between parts on the canvas, preferably by means of broken lines delimiting these parts. The size of the first part is arbitrary, unless your plan is to represent a part, such as the head, in 'life size.' In that case you measure with a compass an imaginary line running parallel to a plane on the natural object conceived as a plane on the picture, and use this measurement in representing the first part. You adjust all the remaining parts to the first through feeling, according to the corresponding parts of the model, and check your feeling by measurement; to do this, you place the picture so far away form you that the first part appears as large in the painting as the model, and then you compare. In order to check a given proportion, you hold out the handle of your paintbrush at arm's length towards this proportion in such a way that the end of the thumbnail on the handle coincides with the other end of the proportion. If then you hold the paintbrush out towards the picture, again at arm's length, you can, by the measurement thus obtained, determine with photographic accuracy whether your feeling has deceived you. If the sketch is correct, you fill in the parts of the picture with color, according to nature. The most expedient method is to begin with a clearly recognizable color of large area, perhaps with a somewhat broken blue. You estimate the degree of matness and break the luminosity with a complimentary color, ultramarine, for example, with light ochre. By addition of white you can make the color light, by addition of black dark. All this can be learned. The best way of checking for accuracy is to place the picture directly beside the projected picture surface in nature, return to your old place and compare the color in your picture with the natural color. By breaking those tones that are too bright and adding those that are still lacking, you will achieve a color tonality as close as possible to that in nature. If one tone is correct, you can put the picture back in its place and adjust the other colors to the first by feeling. You can check your feeling by comparing every tone directly with nature, after setting the picture back beside the model. If you have patience and adjust all large and small lines, all forms and color tones according to nature, you will have an exact reproduction of nature. This can be learned. This can be taught. And in addition, you can avoid making too many mistakes in 'feeling' by studying nature itself through anatomy and perspective and your medium through color theory. That is academy.

Lionhearts One very cold night in Ann Arbor I went to a party where “Kate Bush” was the password. I put on my Uggs & trudged through the slush. I climbed the fire escape to an attic apartment where five other writers & I sat around a Crosley turntable & a box of Bordeaux Blend & a stale bâtard with expensive butter & listened to Lionheart & talked about line breaks & grew increasingly drunk & complimentary & eager —for aesthetics’ sake— to investigate each other up close. Some of us kissed. Kate stalked us from the cover—crimped mane & lion-skin suit—as two people with silk scarves tied someone to the radiator & danced madly, leaping on chairs, licking paws! Leo rising, downward dog! Candles sputtering their last magic into the rafters as we sank straight through the secondhand loveseat: floral flickering, ticking undone. This is one of my fondest memories. The whole room a gold & rolling ship of girl flame! But there— in the dark, catholic corners where I can’t quite see—a stowaway sometimes darts. Imagine such a creature: subsisting all this time on the dusty crusts & vinegars of someone else’s slight & misplaced shame.

Most of the weddings I have attended since have a three-hour time limit on the free alcohol. The bat signal goes out to the guests that the open bar is about to close, and people savagely race to the bar, like those shitty-ass buffalos who trampled all over Mufasa in The Lion King, to get their last glass of complimentary booze to hold them over for the rest of the evening.

Trust me: if it doesn’t match: it will clash! Focusing on a stunning complimentary color instead of a close-but-not-quite-right one is one of the most helpful contributions you can make to the design.

Get complimentary newspapers delivered. Dress neatly. Finish your conversations straight away when a customer appears. Keep the shelves stocked. Use warm cups, not hot, not cold. Don’t serve cups with spills down the side. Set drinks up the same way all the time. Have a clear menu. Make sure all the light bulbs work. Repaint the room often. Room temperature butter. Opening and closing times written on the door. Take care of your espresso machine. Dry tables after you wipe them. Say hello to your co-workers. If you think someone’s not happy, ask. Smile.

On October 26, 2016—less than two weeks to election day—travel writer Zach Everson covered the ribbon cutting at the Trump International Hotel in the Old Post Office building in Washington, DC, just a few blocks from the White House. Everson frequently covered hotel openings, which often featured lavish food spreads and “the owners sipping champagne with a few travel writers.” But this one was different. A horde of political reporters trailed Donald and Ivanka Trump as they toured the hotel. “The political reporters were amazed they had complimentary pastries,” Everson said in an interview. 1 A couple months later, Everson got an assignment from Condé Nast Traveller to cover the growing political and social scene at the hotel. In the course of researching that story, Everson booked a night at the hotel. One of his fellow guests told Everson he was about to leave for a restaurant outside the hotel, when he noticed workers polishing the banisters and the manager nervously pacing. The guest concluded, correctly, that the president was on his way, cancelled his outside reservation, and ate at the hotel instead. To track presidential comings and goings for his story, Everson started monitoring social media feeds. And he noticed something: not even a year into Trump’s presidency, the hotel had become a unique locale in Washington. “It became like Melville’s white whale,” Everson said. “If you want it to be your opportunity and a place for you to go and rub elbows with the President, it’s that. If you’re a lobbyist or a businessman or a foreign leader and want to portray you are close to the president, it’s that too. It’s everything you hate or love about Donald Trump.” Everson quit travel writing to cover, full time, the Trump International Hotel. He began publishing a newsletter, 1100 Pennsylvania Avenue. He had plenty of material.

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You look beautiful right now. Is that okay for me to say?” The hand of the arm around me cradles the side of my neck. She shifts slightly in my lap. “Do you really mean that?” I nod. “Then it’s okay for you to say.” I wonder how many other complimentary things it would be okay for me to say. We’re so close our noses could touch if we leaned forward slightly. She smells like cotton candy and the vanilla of her hair products. I inch closer slightly. “Halle…” “Henry,” she says quietly in the only way I want to hear her say my name from now on. I cup her cheek and her free hand covers mine. Her eyes look past me. “We have an audience.