Cpr Love Quotes

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what’s human and magical that still live and glow despite the times’ darkness.

I had a pain in my neck from sleeping funny, at least five hours’ worth of homework, and a newfound realization that woman cannot live on cherry-flavored lip gloss alone. I dug in the bottom of my bag and found a very questionable breath mint, and figured that if I was going to die of starvation, I should at least have minty-fresh breath for the benefit of whatever classmate or faculty member would be forced to give me CPR.

People don’t mind doing CPR on a crisis victim, but no person is equipped to be the constant lifeline to another.

Raised eyebrows , Is she a billet ? The smile, a natural born sniper? The lips, a CPR the mystic needs Aura, like the moon during the day Nous, like an exclamation mark with a purpose Not an ordinary mortal she is but an incantatory healing power

Hunt hissed to Bryce through his gritted teeth, thunder cracking above him, 'I heard what you said.' Pump, pump, pump went his powerful arms. 'What you waited to admit until I was almost dead, you fucking coward.' His lightning surged into her, sending her body arcing off the ground as he tried to jump-start her heard. He snarled in her ear. 'Now come say it to my face.

Beauregard thought the night sky looked like a painting. Laughter filled the air only to be drowned out by a cacophony of revving engines as the moon slid from behind the clouds. The bass from the sound system in a nearby Chevelle was hitting him in his chest so hard, it felt like someone was performing CPR on him. There were about a dozen other late-model cars parked haphazardly in front of the old convenience store. In addition to the Chevelle, there was a Maverick, two Impalas, a few Camaros and five or six more examples of the heyday of American muscle. The air was cool and filled with the scent of gas and oil. The rich, acrid smell of exhaust fumes and burnt rubber. A choir of crickets and whippoorwills tried in vain to be heard. Beauregard closed his eyes and strained his ears. He could hear them but just barely. They were screaming for love. He thought a lot of people spent a large part of their life doing the same thing. The wind caught the sign hanging above his head from the arm of a pole that extended twenty feet into the air. It creaked as the breeze moved it back and forth. CARTER SPEEDE MART the sign proclaimed in big black letters set against a white background. The sign was beginning to yellow with age. The letters were worn and chipped. The cheap paint flaking away like dried skin. The second “E” had disappeared from the word “SPEEDEE.” Beauregard wondered what had happened to Carter. He wondered if he had disappeared too.

Suicide’s Note: An Annual I hope you’ve been taken up by Jesus though so many decades have passed, so far apart we’d grown between love transmogrifying into hate and those sad letters and phone calls and your face vanishing into a noose that I couldn’t today name the gods you at the end worshipped, if any, praise being impossible for the devoutly miserable. And screw my church who’d roast in Hell poor suffering bastards like you, unable to bear the masks of their own faces. With words you sought to shape a world alternate to the one that dared inscribe itself so ruthlessly across your eyes, for you could not, could never fully refute the actual or justify the sad heft of your body, earn your rightful space or pay for the parcels of oxygen you inherited. More than once you asked that I breathe into your lungs like the soprano in the opera I loved so my ghost might inhabit you and you ingest my belief in your otherwise-only-probable soul. I wonder does your death feel like failure to everybody who ever loved you as if our collective cpr stopped too soon, the defib paddles lost charge, the corpse punished us by never sitting up. And forgive my conviction that every suicide’s an asshole. There is a good reason I am not God, for I would cruelly smite the self-smitten. I just wanted to say ha-ha, despite your best efforts you are every second alive in a hard-gnawing way for all who breathed you deeply in, each set of lungs, those rosy implanted wings, pink balloons. We sigh you out into air and watch you rise like rain. Source: Poetry (September 2012)

In The Circle Game, Margaret Atwood explores the fallibility of human perception and the concomitant dangers of the egocentric self. Whether in our use of language, our relationships with others, or our understanding of history and place, we distort and delimit life; our eyes are “cold blue thumbtacks”, our love affairs are joyless circle games, our words are barriers, and our cities are straight lines restraining panic. Freedom, these poems proclaim, is both necessary and dangerous. Consolation is possible via touch and physical objects, but in order to find that “place of absolute/ unformed beginning” for which the speaker longs in “Migration: C.P.R.”, we must return ourselves to fragments, bones, and salt seas.