English One Line Quotes

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There's a line in The Barretts of Wimpole Street - you know, the play - where Elizabeth Barrett is trying to work out the meaning of one of Robert Browning's poems, and she shows it to him, and he reads it and he tells her when he wrote that poem, only God and Robert Browning knew what it meant, and now only God knows. And that's how I feel about studying English. Who knows what the writer was thinking, and why should it matter? I'd rather just read for enjoyment.
Susanna Kearsley (The Winter Sea (Slains, #1))
Intermarriage is one of the most provocative words in the English language
Clotye Murdock Larsson (Marriage Across the Color Line)
I have preferred to teach my students not English literature but my love for certain authors, or, even better, certain pages, or even better than that, certain lines. One falls in love with a line, then with a page, then with an author. Well, why not? It is a beautiful process.
Jorge Luis Borges
As Norman bride and English queen she would walk a fine line between the interests of two rulers -- her brother and her lord. Both men would demand her fealty. One, at least, would exact a heavy price if she were to prove disloyal.
Patricia Bracewell (Shadow on the Crown (The Emma of Normandy Trilogy #1))
It is possible for the rich to sin by coveting the privileges of the poor. The poor has always being the favorites of god" I caught him’ [the thief] with an unseen hook and an invisible line which is long enough to let him wander to the ends of the world and still bring him back with a twitch upon the thread.” Do you know last year, when I thought I was going to have a child, I'd decided to have it brought up a Catholic? I hadn't thought about religion before; I haven't since; but just at that time, when I was was waiting for the birth, I thought, 'That's the one thing I can give her. It doesn't seem to have done me much good, but my child shall have it.' Charm is the great English blight. It does not exist outside these damp islands. It spots and kills anything it touches. It kills love; it kills art; I greatly fear, my dear Charles, it has killed you
Evelyn Waugh (Brideshead Revisited)
I love to read, but all through school I hated it when books were pulled apart and analyzed. Winnie-the-pooh as a political allegory, that sort of thing. It never really worked for me. There's a line in The Barretts of Wimpole Street - you know, the play - where Elizabeth Barrett is trying to work out the meaning of one of Robert Browning's poems, and she shows it to him, and he reads it and he tells her that when he wrote that poem, only God and Robert Browning knew what it meant and now only God knows. And that's how I feel about studying English. Who knows what the writer was thinking, and why should it matter? I'd rather just read for enjoyment." 'The Winter Sea
Susanna Kearsley
Bible in one hand, pistol in the pistol in the other, the preacher sat astride a horse, his voice lifted to God’s light and a clear sky.
Charles Cordell (God's Vindictive Wrath (Divided Kingdom, #1))
L. 547. The terms made use of in this line, and in 481, may appear somewhat coarse, as addressed by one Goddess to another: but I assure the English reader that in this passage
Homer (The Iliad)
I believe that no great lyric poet ever speaks in the so-called “proper” language of his or her time. Emily Dickinson didn’t write in “proper” English grammar but in slant music of fragmentary perception. Half a world and half a century away, Cesar Vallejo placed three dots in the middle of the line, as if language itself were not enough, as if the poet’s voice needed to leap from one image to another, to make—to use Eliot’s phrase—a raid on the inarticulate. Paul Celan wrote to his wife from Germany, where he briefly visited from his voluntary exile in France: “The language with which I make my poems has nothing to do with one spoken here, or anywhere.
Ilya Kaminsky
In English, consciousness and unconsciousness are part of a vertical plane, so that we wake up ↑ and we fall ↓ asleep and we sink ↓ into a coma. Chinese uses the horizontal line, so that to wake is to cross a border towards consciousness → and to faint is to go back ← . Meanwhile, time itself is vertical so that last year is “the year above” ↑ and next year is “the year below” ↓. The day before yesterday is the day “in front” ↑ and the day after tomorrow is the day “behind” ↓. This means that future generations are not the generations ahead, but the ones behind. Therefore, to look into the future one must turn around...
Madeleine Thien (Do Not Say We Have Nothing)
The poet Robert Browning caused considerable consternation by including the word twat in one of his poems, thinking it an innocent term. The work was Pippa Passes, written in 1841 and now remembered for the line "God's in His heaven, all's right with the world." But it also contains this disconcerting passage: Then owls and bats Cowls and twats Monks and nuns in a cloister's moods, Adjourn to the oak-stump pantry! Browning had apparently somewhere come across the word twat--which meant precisely the same then as it does now--but pronounced it with a flat a and somehow took it to mean a piece of headgear for nuns. The verse became a source of twittering amusement for generations of schoolboys and a perennial embarrassment to their elders, but the word was never altered and Browning was allowed to live out his life in wholesome ignorance because no one could think of a suitably delicate way of explaining his mistake to him.
Bill Bryson (The Mother Tongue: English and How It Got That Way)
They fold up into you. You fold up into us. We fold up into Him.” This seemed to both intrigue and satisfy the parson, who hummed thoughtfully before he ventured one last question to the amiable artisan. “I see. And might I ask if, anywhere in this ingenious arrangement, any of us ever truly had Free Will?” The lanky angle sounded somehow mournful and apologetic as he answered with a syllable that was apparently the same in English as in his own tongue. “No.” After a well-timed pause as if before the punch line of a joke, he went on to pronounce another angle-word that Michael understood almost immediately. “Dyimoust?” What this meant was “Did you miss it?
Alan Moore (Jerusalem)
The Bible says, “We are God’s workmanship, created in Christ Jesus to do good works.”1 Our English word poem comes from the Greek word translated “workmanship.” You are God’s handcrafted work of art. You are not an assembly-line product, mass produced without thought. You are a custom-designed, one-of-a-kind, original masterpiece.
Rick Warren (The Purpose Driven Life: What on Earth Am I Here For?)
And Hana moves possibly in the company that is not her choice. She, at even this age, thirty-four, has not found her own company, the ones she wanted. She is a woman of honor and smartness whose wild love leaves out luck, always taking risks, and there is something in her brow now that only she can recognize in a mirror. Ideal and idealistic in that shiny dark hair! People fall in love with her. She still remembers the lines of poems the Englishman read out loud to her from his commonplace book. She is a woman I don't know well enough to hold in my wing, if writers have wings, to harbour for the rest of my life.
Michael Ondaatje (The English Patient)
Extraordinary—that Willowdale Academy and Calvin Coolidge High School should both be institutions of learning! The contrast is stunning. I had a leisurely tea with the Chairman of the English Department. I saw several faculty members sitting around in offices and lounges, sipping tea, reading, smoking. Through the large casement windows bare trees rubbed cozy branches. (One of my students had written wistfully of a dream-school that would have "windows with trees in them"!) Old leather chairs, book-lined walls, air of cultivated casualness, sound of well-bred laughter.
Bel Kaufman (Up the Down Staircase)
I first met Winston Churchill in the early summer of 1906 at a dinner party to which I went as a very young girl. Our hostess was Lady Wemyss and I remember that Arthur Balfour, George Wyndman, Hilaire Belloc and Charles Whibley were among the guests… I found myself sitting next to this young man who seemed to me quite different from any other young man I had ever met. For a long time he seemed sunk in abstraction. Then he appeared to become suddenly aware of my existence. He turned on me a lowering gaze and asked me abruptly how old I was. I replied that I was nineteen. “And I,” he said despairingly, “am thirty-two already. Younger than anyone else who counts, though, “he added, as if to comfort himself. Then savagely: “Curse ruthless time! Curse our mortality. How cruelly short is this allotted span for all we must cram into it!” And he burst forth into an eloquent diatribe on the shortness of human life, the immensity of possible human accomplishment—a theme so well exploited by the poets, prophets, and philosophers of all ages that it might seem difficult to invest it with new and startling significance. Yet for me he did so, in a torrent of magnificent language which appeared to be both effortless and inexhaustible and ended up with the words I shall always remember: “We are all worms. But I do believe that I am a glow worm.” By this time I was convinced of it—and my conviction remained unshaken throughout the years that followed. Later he asked me whether I thought that words had a magic and music quite independent of their meaning. I said I certainly thought so, and I quoted as a classic though familiar instance the first lines that came into my head. Charm’d magic casements, opening on the foam Of perilous seas, in faery lands forlorn. His eyes blazed with excitement. “Say that again,” he said, “say it again—it is marvelous!” “But I objected, “You know these lines. You know the ‘Ode to a Nightengale.’ ” He had apparently never read or heard of it before (I must, however, add that next time I met him he had not learned not merely this but all of the odes to Keats by heart—and he recited them quite mercilessly from start to finish, not sparing me a syllable). Finding that he liked poetry, I quoted to him from one of my own favorite poets, Blake. He listened avidly, repeating some lines to himself with varying emphases and stresses, then added meditatively: “I never knew that old Admiral had found so much time to write such good poetry.” I was astounded that he, with his acute susceptibility to words and power of using them, should have left such tracts of English literature entirely unexplored. But however it happened he had lost nothing by it, when he approached books it was “with a hungry, empty mind and with fairly srong jaws, and what I got I *bit*.” And his ear for the beauty of language needed no tuning fork. Until the end of dinner I listened to him spellbound. I can remember thinking: This is what people mean when they talk of seeing stars. That is what I am doing now. I do not to this day know who was on my other side. Good manners, social obligation, duty—all had gone with the wind. I was transfixed, transported into a new element. I knew only that I had seen a great light. I recognized it as the light of genius… I cannot attempt to analyze, still less transmit, the light of genius. But I will try to set down, as I remember them, some of the differences which struck me between him and all the others, young and old, whom I have known. First and foremost he was incalculable. He ran true to no form. There lurked in his every thought and world the ambush of the unexpected. I felt also that the impact of life, ideas and even words upon his mind, was not only vivid and immediate, but direct. Between him and them there was no shock absorber of vicarious thought or precedent gleaned either from books or other minds. His relationship wit
Violet Bonham Carter
Halliburton’s is a more extreme example, one in which a powerful and wealthy company transcends national borders so thoroughly that it is not an American company but a truly global enterprise with no allegiance to anything or anyone except the bottom line and the investors and executives who gain from its profits.
David Cay Johnston (The Fine Print: How Big Companies Use "Plain English" to Rob You Blind)
Picture it. Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations. Digests, Tabloids. Everything boils down to the gag, the snap ending.” “Snap ending.” Mildred nodded. “Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet (you know the title certainly, Montag; it is probably only a faint rumor of a title to you, Mrs. Montag), whose sole knowledge, as I say, of Hamlet was a one-page digest in a book that claimed: now at last you can read all the classics; keep up with your neighbors. Do you see? Out of the nursery into the college and back to the nursery; there’s your intellectual pattern for the past five centuries or more.” Mildred arose and began to move around the room, picking things up and putting them down. Beatty ignored her and continued: “Speed up the film, Montag, quick. Click, Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man’s mind around about so fast under the pumping hands of publishers, exploiters, broadcasters that the centrifuge flings off all unnecessary, time-wasting thought!” Mildred smoothed the bedclothes. Montag felt his heart jump and jump again as she patted his pillow. Right now she was pulling at his shoulder to try to get him to move so she could take the pillow out and fix it nicely and put it back. And perhaps cry out and stare or simply reach down her hand and say, “What’s this?” and hold up the hidden book with touching innocence. “School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts?
Ray Bradbury (Fahrenheit 451)
One of Milton’s poems contains the well-known line “Look homeward, Angel, now, and melt with ruth.
Bill Bryson (The Mother Tongue: English and How it Got that Way)
More seriously-and this is probably why there has been a lot of garbage talked about a lost generation-it was easy to see, all over the landscape of contemporary fiction, the devastating effect of the Thatcher years. So many of these writers wrote without hope. They had lost all ambition, all desire to to wrestle with the world. Their books dealt with tiny patches of the world, tiny pieces of human experience-a council estate, a mother, a father, a lost job. Very few writers had the courage or even the energy to bite off a big chunk of the universe and chew it over. Very few showed any linguistic or formal innovation. Many were dulled and therefore dull. (And then, even worse, there were the Hooray Henries and Sloanes who evidently thought that the day of the yuppie novel, and the Bellini-drinking, okay-yah fiction had dawned. Dukedoms and country-house bulimics abounded. It was plain that too may books were being published; that too many writers had found their way into print without any justification for it at all; that too many publishers had adopted a kind of random, scattergun policy of publishing for turnover and just hoping that something would strike a cord. When the general picture is so disheartening, it is easy to miss the good stuff. I agreed to be a judge for "Best of Young British Novelists II" because I wanted to find out for myself if the good stuff really was there. In my view, it is...One of my old schoolmasters was fond of devising English versions of the epigrams of Martial. I remember only one, his version of Martial's message to a particularly backward-looking critic: "You only praise the good old days We young 'uns get no mention. I don't see why I have to die To gain your kind attention.
Salman Rushdie (Step Across This Line: Collected Nonfiction 1992-2002)
It has occurred to me that I should try and view in a similar spirit something which, over these three weeks I have been here in Shanghai, has come to be a perennial source of irritation: namely, the way people here seem determined at every opportunity to block one’s view. No sooner has one entered a room or stepped out from a car than someone or other will have smilingly placed himself right within one’s line of vision, preventing the most basic perusal of one’s surroundings. Often as not, the offending person is one’s very host or guide of that moment; but should there be any lapse in this quarter, there is never a shortage of bystanders eager to make good the shortcoming. As far as I can ascertain, all the national groups that make up the community here—English, Chinese, French, American, Japanese, Russian—subscribe to this practice with equal zeal, and the inescapable conclusion is that this custom is one that has grown up uniquely here within Shanghai’s International Settlement, cutting across all barriers of race and class.
Kazuo Ishiguro (When We Were Orphans)
The "four angels" were the Beatles, whom Manson considered ""leaders, spokesmen, prophets," according to Gregg. The line "And he opened the bottomless pit...And there came out of the smoke locusts upon the earth; and unto them was given power..." was still another reference to the English group, Gregg said. Locusts - Beatles - one and the same. "Their faces were as the faces of men," yet "they had hair as the hair of women." An obvious reference to the long-haired musicians. Out of the mouths of the four angles "issued fire and brimstone." Gregg: "This referred to the spoken words, the lyrics of the Beatles' songs, the power that came out of their mouths.
Vincent Bugliosi (Helter Skelter: The True Story of the Manson Murders)
After that they browsed for a minute or two in a semi-detached fashion. Nick found a set of Trollope which had a relatively modest and approachable look among the rest, and took down The Way We Live Now, with an armorial bookplate, the pages uncut. “What have you found there?” said Lord Kessler, in a genially possessive tone. “Ah, you’re a Trollope man, are you?” “I’m not sure I am, really,” said Nick. “I always think he wrote too fast. What was it Henry James said, about Trollope and his ‘great heavy shovelfuls of testimony to constituted English matters’?” Lord Kessler paid a moment’s wry respect to this bit of showing off, but said, “Oh, Trollope’s good. He’s very good on money.” “Oh…yes…” said Nick, feeling doubly disqualified by his complete ignorance of money and by the aesthetic prejudice which had stopped him from ever reading Trollope. “To be honest, there’s a lot of him I haven’t yet read.” “No, this one is pretty good,” Nick said, gazing at the spine with an air of judicious concession. Sometimes his memory of books he pretended to have read became almost as vivid as that of books he had read and half forgotten, by some fertile process of auto-suggestion. He pressed the volume back into place and closed the gilded cage.
Alan Hollinghurst (The Line of Beauty)
During my first few months of Facebooking, I discovered that my page had fostered a collective nostalgia for specific cultural icons. These started, unsurprisingly, within the realm of science fiction and fantasy. They commonly included a pointy-eared Vulcan from a certain groundbreaking 1960s television show. Just as often, though, I found myself sharing images of a diminutive, ancient, green and disarmingly wise Jedi Master who speaks in flip-side down English. Or, if feeling more sinister, I’d post pictures of his black-cloaked, dark-sided, heavy-breathing nemesis. As an aside, I initially received from Star Trek fans considerable “push-back,” or at least many raised Spock brows, when I began sharing images of Yoda and Darth Vader. To the purists, this bordered on sacrilege.. But as I like to remind fans, I was the only actor to work within both franchises, having also voiced the part of Lok Durd from the animated show Star Wars: The Clone Wars. It was the virality of these early posts, shared by thousands of fans without any prodding from me, that got me thinking. Why do we love Spock, Yoda and Darth Vader so much? And what is it about characters like these that causes fans to click “like” and “share” so readily? One thing was clear: Cultural icons help people define who they are today because they shaped who they were as children. We all “like” Yoda because we all loved The Empire Strikes Back, probably watched it many times, and can recite our favorite lines. Indeed, we all can quote Yoda, and we all have tried out our best impression of him. When someone posts a meme of Yoda, many immediately share it, not just because they think it is funny (though it usually is — it’s hard to go wrong with the Master), but because it says something about the sharer. It’s shorthand for saying, “This little guy made a huge impact on me, not sure what it is, but for certain a huge impact. Did it make one on you, too? I’m clicking ‘share’ to affirm something you may not know about me. I ‘like’ Yoda.” And isn’t that what sharing on Facebook is all about? It’s not simply that the sharer wants you to snortle or “LOL” as it were. That’s part of it, but not the core. At its core is a statement about one’s belief system, one that includes the wisdom of Yoda. Other eminently shareable icons included beloved Tolkien characters, particularly Gandalf (as played by the inimitable Sir Ian McKellan). Gandalf, like Yoda, is somehow always above reproach and unfailingly epic. Like Yoda, Gandalf has his darker counterpart. Gollum is a fan favorite because he is a fallen figure who could reform with the right guidance. It doesn’t hurt that his every meme is invariably read in his distinctive, blood-curdling rasp. Then there’s also Batman, who seems to have survived both Adam West and Christian Bale, but whose questionable relationship to the Boy Wonder left plenty of room for hilarious homoerotic undertones. But seriously, there is something about the brooding, misunderstood and “chaotic-good” nature of this superhero that touches all of our hearts.
George Takei
This actually did happen to a real person, and the real person is me. I had gone to catch a train. This was April 1976, in Cambridge, U.K. I was a bit early for the train. I’d gotten the time of the train wrong. I went to get myself a newspaper to do the crossword, and a cup of coffee and a packet of cookies. I went and sat at a table. I want you to picture the scene. It’s very important that you get this very clear in your mind. Here’s the table, newspaper, cup of coffee, packet of cookies. There’s a guy sitting opposite me, perfectly ordinary-looking guy wearing a business suit, carrying a briefcase. It didn’t look like he was going to do anything weird. What he did was this: he suddenly leaned across, picked up the packet of cookies, tore it open, took one out, and ate it. Now this, I have to say, is the sort of thing the British are very bad at dealing with. There’s nothing in our background, upbringing, or education that teaches you how to deal with someone who in broad daylight has just stolen your cookies. You know what would happen if this had been South Central Los Angeles. There would have very quickly been gunfire, helicopters coming in, CNN, you know… But in the end, I did what any red-blooded Englishman would do: I ignored it. And I stared at the newspaper, took a sip of coffee, tried to do a clue in the newspaper, couldn’t do anything, and thought, What am I going to do? In the end I thought Nothing for it, I’ll just have to go for it, and I tried very hard not to notice the fact that the packet was already mysteriously opened. I took out a cookie for myself. I thought, That settled him. But it hadn’t because a moment or two later he did it again. He took another cookie. Having not mentioned it the first time, it was somehow even harder to raise the subject the second time around. “Excuse me, I couldn’t help but notice…” I mean, it doesn’t really work. We went through the whole packet like this. When I say the whole packet, I mean there were only about eight cookies, but it felt like a lifetime. He took one, I took one, he took one, I took one. Finally, when we got to the end, he stood up and walked away. Well, we exchanged meaningful looks, then he walked away, and I breathed a sigh of relief and st back. A moment or two later the train was coming in, so I tossed back the rest of my coffee, stood up, picked up the newspaper, and underneath the newspaper were my cookies. The thing I like particularly about this story is the sensation that somewhere in England there has been wandering around for the last quarter-century a perfectly ordinary guy who’s had the same exact story, only he doesn’t have the punch line.
Douglas Adams
Each half-line has two strong stresses. Alliteration occurs only on stressed syllables. The first stress of the second half-line, called the “head-stave,” cannot alliterate with the second stress of that half-line, but it must alliterate with one or both stressed syllables of the first half-line. Recitations of Old English poetry were accompanied in some way by a harplike instrument—indeed, it is called a hearpe in Old English—which may have been used to accentuate stresses, possibly to “fill in” for a missing stress in a defective half-line, but there is no way of knowing just how this was done.
Frederick Rebsamen (Beowulf)
Agatha Chubb, expert in ancient wizarding artefacts, has identified no fewer than twelve lead Bludgers dating from this period, discovered both in Irish peat bogs and English marshes. "They are undoubtedly Bludgers rather than cannonballs," she writes. The faint indentations of magically reinforced Beaters' bats are visible and one can see the distinctive hallmarks of manufacture by a wizard (as opposed to a Muggle) - the smoothness of line, the perfect symmetry. A final clue was the fact that each and every one of them whizzed around my study and attempted to knock me to the floor when released from its case,
J.K. Rowling (Quidditch Through the Ages)
From this I think we can conclude that the definitive English holorime has yet to be written. However, an old children's riddle does seem to come close. It is the one that poses the question "How do you prove in three steps that a sheet of paper is a lazy dog?" The answer: (1) a sheet of paper is an ink-lined plane; (2) an inclined plane is a slope up; (3) a slow pup is a lazy dog.
Bill Bryson (The Mother Tongue: English and How It Got That Way)
Pearl introduces an original story, in a form which was to become one of the most frequent in mediaeval literature, the dream-vision. Authors like Chaucer and Langland use this form, in which the narrator describes another world - usually a heavenly paradise - which is compared with the earthly human world. In Pearl, the narrator sees his daughter who died in infancy, 'the ground of all my bliss'. She now has a kind of perfect knowledge, which her father can never comprehend. The whole poem underlines the divide between human comprehension and perfection; these lines show the gap between possible perfection and fallen humanity which, thematically, anticipate many literary examinations of man's fall, the most well known being Milton's late Renaissance epic, Paradise Lost.
Ronald Carter (The Routledge History of Literature in English: Britain and Ireland)
With the introduction of Scarlett O’Hara and Rhett Butler, Miss Mitchell managed to create the two most famous lovers in the English-speaking world since Romeo and Juliet. Scarlett springs alive in the first sentence of the book and holds the narrative center for over a thousand pages. She is a fabulous, pixilated, one-of-a-kind creation, and she does not utter a dull line in the entire book.
Margaret Mitchell (Gone with the Wind)
Valentine’s concept of introversion includes traits that contemporary psychology would classify as openness to experience (“thinker, dreamer”), conscientiousness (“idealist”), and neuroticism (“shy individual”). A long line of poets, scientists, and philosophers have also tended to group these traits together. All the way back in Genesis, the earliest book of the Bible, we had cerebral Jacob (a “quiet man dwelling in tents” who later becomes “Israel,” meaning one who wrestles inwardly with God) squaring off in sibling rivalry with his brother, the swashbuckling Esau (a “skillful hunter” and “man of the field”). In classical antiquity, the physicians Hippocrates and Galen famously proposed that our temperaments—and destinies—were a function of our bodily fluids, with extra blood and “yellow bile” making us sanguine or choleric (stable or neurotic extroversion), and an excess of phlegm and “black bile” making us calm or melancholic (stable or neurotic introversion). Aristotle noted that the melancholic temperament was associated with eminence in philosophy, poetry, and the arts (today we might classify this as opennessto experience). The seventeenth-century English poet John Milton wrote Il Penseroso (“The Thinker”) and L’Allegro (“The Merry One”), comparing “the happy person” who frolics in the countryside and revels in the city with “the thoughtful person” who walks meditatively through the nighttime woods and studies in a “lonely Towr.” (Again, today the description of Il Penseroso would apply not only to introversion but also to openness to experience and neuroticism.) The nineteenth-century German philosopher Schopenhauer contrasted “good-spirited” people (energetic, active, and easily bored) with his preferred type, “intelligent people” (sensitive, imaginative, and melancholic). “Mark this well, ye proud men of action!” declared his countryman Heinrich Heine. “Ye are, after all, nothing but unconscious instruments of the men of thought.” Because of this definitional complexity, I originally planned to invent my own terms for these constellations of traits. I decided against this, again for cultural reasons: the words introvert and extrovert have the advantage of being well known and highly evocative. Every time I uttered them at a dinner party or to a seatmate on an airplane, they elicited a torrent of confessions and reflections. For similar reasons, I’ve used the layperson’s spelling of extrovert rather than the extravert one finds throughout the research literature.
Susan Cain (Quiet: The Power of Introverts in a World That Can't Stop Talking)
It's not you it's me' she couldn't use that line. Even though it really was her and not him, everyone thought that line really meant, 'it's not me. It's definitely you.'  There was still a part of her that thought perhaps she shouldn't do it at all. In Andrew she had all the raw ingredients for a perfect life. Here was a grown-up, good-looking, solvent, generous, warm-hearted man who adored her. A man who adored her even when she looked like the loch ness monsters little sister and had a terrible temper to match. It didn't take a huge leap of imagination to see Andrew standing at the top of the aisle, looking back at lou walking towards him with a grin as wide as the English channel. She could see him painting the nursery yellow; pushing a pram that contained two lovely brown haired twins (one boy, one girl); presenting her woth an eternity ring on their tenth anniversary, taking the twins to school, teaching them how to play football on long, summer holidays in Tuscany, giving the daughter away at her own wedding, cosying up to Lou on the veranda of their perfect house as their retirement stretched ahead of them- a long straight road of well-planned for, financially comfortable and perpetually sunny days.  'oh god' Lou poured herself a vodka.
Chris Manby (Getting Personal (Red Dress Ink))
Everyone's here except for St. Clair." Meredith cranes her neck around the cafeteria. "He's usually running late." "Always," Josh corrects. "Always running late." I clear my throat. "I think I met him last night. In the hallway." "Good hair and an English accent?" Meredith asks. "Um.Yeah.I guess." I try to keep my voice casual. Josh smirks. "Everyone's in luuurve with St. Clair." "Oh,shut up," Meredith says. "I'm not." Rashmi looks at me for the first time, calculating whether or not I might fall in love with her own boyfriend. He lets go of her hand and gives an exaggerated sigh. "Well,I am. I'm asking him to prom. This is our year, I just know it." "This school has a prom?" I ask. "God no," Rashmi says. "Yeah,Josh. You and St. Clair would look really cute in matching tuxes." "Tails." The English accent makes Meredith and me jump in our seats. Hallway boy. Beautiful boy. His hair is damp from the rain. "I insist the tuxes have tails, or I'm giving your corsage to Steve Carver instead." "St. Clair!" Josh springs from his seat, and they give each other the classic two-thumps-on-the-back guy hug. "No kiss? I'm crushed,mate." "Thought it might miff the ol' ball and chain. She doesn't know about us yet." "Whatever," Rashi says,but she's smiling now. It's a good look for her. She should utilize the corners of her mouth more often. Beautiful Hallway Boy (Am I supposed to call him Etienne or St. Clair?) drops his bag and slides into the remaining seat between Rashmi and me. "Anna." He's surprised to see me,and I'm startled,too. He remembers me. "Nice umbrella.Could've used that this morning." He shakes a hand through his hair, and a drop lands on my bare arm. Words fail me. Unfortunately, my stomach speaks for itself. His eyes pop at the rumble,and I'm alarmed by how big and brown they are. As if he needed any further weapons against the female race. Josh must be right. Every girl in school must be in love with him. "Sounds terrible.You ought to feed that thing. Unless..." He pretends to examine me, then comes in close with a whisper. "Unless you're one of those girls who never eats. Can't tolerate that, I'm afraid. Have to give you a lifetime table ban." I'm determined to speak rationally in his presence. "I'm not sure how to order." "Easy," Josh says. "Stand in line. Tell them what you want.Accept delicious goodies. And then give them your meal card and two pints of blood." "I heard they raised it to three pints this year," Rashmi says. "Bone marrow," Beautiful Hallway Boy says. "Or your left earlobe." "I meant the menu,thank you very much." I gesture to the chalkboard above one of the chefs. An exquisite cursive hand has written out the morning's menu in pink and yellow and white.In French. "Not exactly my first language." "You don't speak French?" Meredith asks. "I've taken Spanish for three years. It's not like I ever thought I'd be moving to Paris." "It's okay," Meredith says quickly. "A lot of people here don't speak French." "But most of them do," Josh adds. "But most of them not very well." Rashmi looks pointedly at him. "You'll learn the lanaguage of food first. The language of love." Josh rubs his belly like a shiny Buddha. "Oeuf. Egg. Pomme. Apple. Lapin. Rabbit." "Not funny." Rashmi punches him in the arm. "No wonder Isis bites you. Jerk." I glance at the chalkboard again. It's still in French. "And, um, until then?" "Right." Beautiful Hallway Boy pushes back his chair. "Come along, then. I haven't eaten either." I can't help but notice several girls gaping at him as we wind our way through the crowd.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
Watch out, brother,' his professor had told him more than once, 'you have talent; it would be a sin to ruin it. But you're impatient. Some one thing entices you, some one thing takes your fancy––and you occupy yourself with it, and the rest can rot, you don't care about it, you don't even want to look at it. Watch out you don't turn into a fashionable painter. Even now your colors are beginning to cry a bit too loudly. Your drawing is imprecise, and sometimes quite weak, the line doesn't show; you go for fashionable lighting, which strikes the eye at once. Watch out or you'll fall into the English type. Beware. You already feel drawn to the world: every so often I see a showy scarf on your neck, a glossy hat ... It's enticing, you can start painting fashionable pictures, little portraits for money. But that doesn't develop talent, it ruins it. Be patient. Ponder over every work, drop showiness––let the others make money. You won't come out the loser.
Nikolai Gogol (The Collected Tales of Nikolai Gogol)
About sexuality of English mice. A warm perfume is growing little by little in the room. An orchard scent, a caramelized sugar scent. Mrs. MOUSE roasts apples in the chimney. The apple fruits smell grass of England and the pastry oven. On a thread drawn in the flames, the apples, from the buried autumn, turn a golden color and grind in tempting bubbles. But I have the feeling that you already worry. Mrs. MOUSE in a Laura Ashley apron, pink and white stripes, with a big purple satin bow on her belt, Mrs. MOUSE is certainly not a free mouse? Certainly she cooks all day long lemon meringue tarts, puddings and cheese pies, in the kitchen of the burrow. She suffocates a bit in the sweet steams, looks with a sigh the patched socks trickling, hanging from the ceiling, between mint leaves and pomegranates. Surely Mrs. MOUSE just knows the inside, and all the evening flavours are just good for Mrs. MOUSE flabbiness. You are totally wrong - we can forgive you – we don’t know enough that the life in the burrow is totally communal. To pick the blackberries, the purplish red elderberries, the beechnuts and the sloes Mr. and Mrs. MOUSE escape in turn, and glean in the bushes the winter gatherings. After, with frozen paws, intoxicated with cold wind, they come back in the burrow, and it’s a good time when the little door, rond little oak wood door brings a yellow ray in the blue of the evening. Mr. and Mrs. MOUSE are from outside and from inside, in the most complete commonality of wealth and climate. While Mrs. MOUSE prepares the hot wine, Mr. MOUSE takes care of the children. On the top of the bunk bed Thimoty is reading a cartoon, Mr. MOUSE helps Benjamin to put a fleece-lined pyjama, one in a very sweet milky blue for snow dreams. That’s it … children are in bed …. Mrs. MOUSE blazes the hot wine near the chimney, it smells lemon, cinnamon, big dry flames, a blue tempest. Mr. and Mrs. MOUSE can wait and watch. They drink slowly, and then .... they will make love ….You didn’t know? It’s true, we need to guess it. Don’t expect me to tell you in details the mice love in patchwork duvets, the deep cherry wood bed. It’s just good enough not to speak about it. Because, to be able to speak about it, it would need all the perfumes, all the silent, all the talent and all the colors of the day. We already make love preparing the blackberries wine, the lemon meringue pie, we already make love going outside in the coldness to earn the wish of warmness and come back. We make love downstream of the day, as we take care of our patiences. It’s a love very warm, very present and yet invisible, mice’s love in the duvets. Imagine, dream a bit ….. Don’t speak too badly about English mice’s sexuality …..
Philippe Delerm
Dennis White has asked me to write a letter recommending him to the Emanuel Lutheran Seminary (Master of Divinity Program), and I am happy to grant his modest request. Four years ago Mr. White enrolled as a dewy-eyed freshman in one of my introductory literature courses (Cross-cultural Readings in English, or some such dumping ground of a title); he returned several years later for another dose of instruction, this time in the Junior/Senior Creative Writing Workshop—a particularly memorable collection of students given their shared enthusiasm for all things monstrous and demonic, nearly every story turned in for discussion involving vampires, werewolves, victims tumbling into sepulchers, and other excuses for bloodletting. I leave it to professionals in your line of work to pass judgment on this maudlin reveling in violence. A cry for help of some sort? A lack of faith — given the daily onslaught of news about melting ice caps, hunger, joblessness, war — in the validity or existence of a future? Now in my middle fifties, an irrelevant codger, I find it discomfiting to see this generation dancing to the music of apocalypse and carrying their psychic burdens in front of them like infants in arms.
Julie Schumacher (Dear Committee Members)
For the first time it was clear to those who listened to Churchill’s speech—and the whole country listened carefully—that all of the easy presumptions that had shored up appeasement, among them belief in the French Army, the legendary strength of the Maginot Line, the fighting qualities of the BEF, above all the hope that a deal of some kind might be made with Hitler at the last moment, were all swept away by his stark realism, and by the fact, now suddenly clear, that across the Channel a huge, historic battle was being fought—and would very likely be lost. It is no accident that J. R. R. Tolkien’s The Lord of the Rings took on its length and dense sweep as an epic in that year, with its central vision of the Dark Lord Sauron’s legions attacking an idyllic land not unlike Britain, as the apparently invincible armies of Hitler swept over one European country after another, taking familiar places that the British, the Belgians, and the French had fought and died for in the 1914–1918 war, ports that were well known to anyone who had ever traveled to “the Continent,” and approached the English Channel itself, advancing swiftly toward the port city of Boulogne, where Napoleon himself had once stood, waiting for the moment to launch 200,000 men at England.
Michael Korda (Alone: Britain, Churchill, and Dunkirk: Defeat into Victory)
They fold up into you. You fold up into us. We fold up into Him.” This seemed to both intrigue and satisfy the parson, who hummed thoughtfully before he ventured one last question to the amiable artisan. “I see. And might I ask if, anywhere in this ingenious arrangement, any of us ever truly had Free Will?” The lanky angle sounded somehow mournful and apologetic as he answered with a syllable that was apparently the same in English as in his own tongue. “No.” After a well-timed pause as if before the punch line of a joke, he went on to pronounce another angle-word that Michael understood almost immediately. “Dyimoust?” What this meant was “Did you miss it?
Alan Moore (Jerusalem)
As we were heading down Mass Ave toward campus, a man stepped out of a doorway. “I’m selling books,” he said. Instinctively I averted my eyes, picked up my pace, and changed course slightly to give him a wider berth—just as Ivan did the opposite, slowing down right in front of the man, looking right at him, right into his eyes. “Books, really?” I was overcome by the sudden sense of Ivan’s freedom. I realized for the first time that if you were a guy, if you were some tall guy who looked like Ivan, you could pretty much stop to look at anything you wanted, whenever you felt like it. And because I was walking with him now, for just this moment, I had a special dispensation, I could look at whatever he was looking at, too. So I, too, looked at the man—at the lines etched into his face, at his crafty and reproachful expression, at his cloudy eye and his piercing eye, overhung by a wilderness of eyebrows. The man opened one flap of his trench coat. Strapped to the inside, contraband-style, was an array of paperbacks: The Fountainhead, Dr. Atkins’ Diet Revolution, an introduction to the philosophy of Heidegger, The Communist Manifesto, a Dear Abby anthology, The Seven Habits of Highly Effective People, and a Spanish-English dictionary. The man looked awkwardly down over the titles, apparently deciding which one to offer Ivan.
Elif Batuman (The Idiot)
The old catch of asking someone to repeat the verse: Tobacco, Tobacco, Tobacco! When you’re sick it makes you well, And it makes you well when you’re sick, Tobacco, Tobacco, Tobacco! is the point here. Nine intelligent people out of ten will reverse the order of the words in the third line, to change the repetition into an antithesis: And when you’re well it makes you sick. We do not suggest that writers should indulge busy readers by writing down to them—giving them nothing but short messages simply phrased; but only that sentences and paragraphs should follow one another so easily and inevitably, and with such economy of phrase, that a reader will have no encouragement to skip.
Robert Graves (The Reader Over Your Shoulder: A Handbook for Writers of English Prose)
The English will never be forgiven for the talent for destruction they have always displayed when they get off their own island. English armies laid waste to the land they moved through. As if systematically, they performed every action proscribed by the codes of chivalry, and broke every one of the laws of war. The battles were nothing; it was what they did between the battles that left its mark. They robbed and raped for forty miles around the line of their march. They burned the crops in the fields, and the houses with the people inside them. They took bribes in coin and in kind and when they were encamped in a district they made the people pay for every day on which they were left unmolested. They killed priests
Hilary Mantel (Wolf Hall (Thomas Cromwell, #1))
As I write, I see in an article on Wordsworth, in one of the current English magazines, the lines. "A few weeks ago an eminent French critic said that, owing to the special tendency to science and to its all-devouring force, poetry would cease to be read in fifty years." But I anticipate the very contrary. Only a firmer, vastly broader, new area begins to exist—nay, is already form'd—to which the poetic genius must emigrate. Whatever may have been the case in years gone by, the true use for the imaginative faculty of modern times is to give ultimate vivification to facts, to science, and to common lives, endowing them with the glows and glories and final illustriousness which belong to every real thing, and to real things only.
Walt Whitman
Dryden was a highly prolific literary figure, a professional writer who was at the centre of all the greatest debates of his time: the end of the Commonwealth, the return of the monarch, the political and religious upheavals of the 1680s, and the specifically literary questions of neoclassicism opposed to more modern trends. He was Poet Laureate from 1668, but lost this position in 1688 on the overthrow of James II. Dryden had become Catholic in 1685, and his allegorical poem The Hind and the Panther (1687) discusses the complex issues of religion and politics in an attempt to reconcile bitterly opposed factions. This contains a well-known line which anticipates Wordsworth more than a century later: 'By education most have been misled … / And thus the child imposes on the man'. The poem shows an awareness of change as one grows older, and the impossibility of holding one view for a lifetime: My thoughtless youth was winged with vain desires, My manhood, long misled by wandering fires, Followed false lights… After 1688, Dryden returned to the theatre, which had given him many of his early successes in tragedy, tragi-comedy, and comedy, as well as with adaptations of Shakespeare. ...... Dryden was an innovator, leading the move from heroic couplets to blank verse in drama, and at the centre of the intellectual debates of the Augustan age. He experimented with verse forms throughout his writing life until Fables Ancient and Modern (1700), which brings together critical, translated, and original works, in a fitting conclusion to a varied career.
Ronald Carter (The Routledge History of Literature in English: Britain and Ireland)
Who is it that drives the Russians, the English, and the Americans into battle and sacrifices huge numbers of human lives in a hopeless struggle against the German people? The Jews! Their newspapers and radio broadcasts spread the songs of war while the nations they have deceived are led to the slaughter. Who is it that invents new plans of hatred and destruction against us every day, making this war into a dreadful case of self-mutilation and self-destruction of European life and its economy, education and culture? The Jews! Who devised the unnatural marriage between England and the USA on one side and Bolshevism on the other, building it up and jealously ensuring its continuance? Who covers the most perverse political situations with cynical hypocrisy from a trembling fear that a new way could lead the nations to realize the true causes of this terrible human catastrophe? The Jews, only the Jews! They are named Morgenthau and Lehmann and stand behind Roosevelt as a so-called brain trust. They are named Mechett and Sasoon and serve as Churchill’s moneybags and order givers. They are named Kaganovitsch and Ehrenburg and are Stalin’s pacesetters and intellectual spokesmen. Wherever you look, you see Jews. They march as political commissars behind the Red army and organize murder and terror in the areas conquered by the Soviets. They sit behind the lines in Paris and Brussels, Rome and Athens, and fashion their reins from the skin of the unhappy nations that have fallen under their power. “Die Urheber des Unglücks der Welt,” Das Reich, 21 January 1945
Joseph Goebbels
At three o'clock in the afternoon, all the fashionable world at Nice may be seen on the Promenade des Anglais—a charming place, for the wide walk, bordered with palms, flowers, and tropical shrubs, is bounded on one side by the sea, on the other by the grand drive, lined with hotels and villas, while beyond lie orange orchards and the hills. Many nations are represented, many languages spoken, many costumes worn, and on a sunny day the spectacle is as gay and brilliant as a carnival. Haughty English, lively French, sober Germans, handsome Spaniards, ugly Russians, meek Jews, free-and-easy Americans, all drive, sit, or saunter here, chatting over the news, and criticizing the latest celebrity who has arrived—Ristori or Dickens, Victor Emmanuel or the Queen of the Sandwich Islands.
Louisa May Alcott (Little Women (Little Women #1))
this reaction. This was on college campuses, exactly the kind of environment where I had expected curiosity, lively debate, and, yes, the thrill and energy of like-minded activists. Instead almost every campus audience I encountered bristled with anger and protest. I was accustomed to radical Muslim students from my experience as an activist and a politician in Holland. Any time I made a public speech, they would swarm to it in order to shout at me and rant in broken Dutch, in sentences so fractured you wondered how they qualified as students at all. On college campuses in the United States and Canada, by contrast, young and highly articulate people from the Muslim student associations would simply take over the debate. They would send e-mails of protest to the organizers beforehand, such as one (sent by a divinity student at Harvard) that protested that I did not “address anything of substance that actually affects Muslim women’s lives” and that I merely wanted to “trash” Islam. They would stick up posters and hand out pamphlets at the auditorium. Before I’d even stopped speaking they’d be lining up for the microphone, elbowing away all non-Muslims. They spoke in perfect English; they were mostly very well-mannered; and they appeared far better assimilated than their European immigrant counterparts. There were far fewer bearded young men in robes short enough to show their ankles, aping the tradition that says the Prophet’s companions dressed this way out of humility, and fewer girls in hideous black veils. In the United States a radical Muslim student might have a little goatee; a girl may wear a light, attractive headscarf. Their whole demeanor was far less threatening, but they were omnipresent. Some of them would begin by saying how sorry they were for all my terrible suffering, but they would then add that these so-called traumas of mine were aberrant, a “cultural thing,” nothing to do with Islam. In blaming Islam for the oppression of women, they said, I was vilifying them personally, as Muslims. I had failed to understand that Islam is a religion of peace, that the Prophet treated women very well. Several times I was informed that attacking Islam only serves the purpose of something called “colonial feminism,” which in itself was allegedly a pretext for the war on terror and the evil designs of the U.S. government. I was invited to one college to speak as part of a series of
Ayaan Hirsi Ali (Nomad: From Islam to America: A Personal Journey Through the Clash of Civilizations)
Why was he constantly forming yet never executing good resolutions? Why was he so absent-minded, so lazy, so prone to daydreaming his life away? He vowed to read more seriously. He vowed to quit chewing tobacco. On July 21, 1756, he wrote: 'I am resolved to rise with the sun and to study Scriptures on Thursday, Friday, Saturday, and Sunday mornings, and to study some Latin author the other three mornings. Noons and nights I intend to read English authors... I will rouse up my mind and fix my attention. I will stand collected within myself and think upon what I read and what I see. I will strive with all my soul to be something more than persons who have had less advantages than myself.' But the next morning he slept until seven and a one-line entry the following week read, 'A very rainy day. Dreamed away the time.
David McCullough (John Adams)
From the woods that surrounded the burgh came a mass of men. Some rode, others ran. All carried weapons, mainly axes or spears. A few wore mail shirts and cloaks, but most just leather aketons. Among them were a handful of men clad in the short tunics favoured by Highlanders. These men were bare from thigh to foot, an alarming sight to Ormesby, who had only heard rumour of these wild men of the north. As they came, they roared a multitude of battle cries. Ormesby caught one name in the din, issuing from a group of mailed riders who followed a burly man on a finely caparisoned horse. ‘For Douglas!’ they howled. ‘For Douglas!’ Below, the townsfolk were scattering. The English soldiers had formed a tight knot outside the hall, blades drawn, but even as Ormesby watched, the forlorn group of beggars he had seen threw off their ragged skins and furs, revealing thickly muscled warriors. They fell upon the soldiers with savage cries, daggers thrusting. Footsteps sounded on the hall stairs. The door burst open and two soldiers appeared. ‘We must go, sir!’ The clerks and officials were already hastening across the chamber. Donald was running with them. Ormesby remained rooted. ‘Who are they?’ he demanded, his voice high as he turned back to the window, seeing the horde rushing into the town. His eyes fixed on a giant of a man running, almost loping in the front lines. Taller than all those around him, agile in the stride, he wore a simple dark blue tunic and wide-brimmed kettle hat. The other men seemed to be running in unruly formation around him. But it was the blade in the man’s hands that Ormesby’s eyes were drawn to. He had never seen such a sword, so broad and long the giant had to grasp it in both hands as he came. Another name now became audible in the roar of the mob. ‘Wallace! Wallace!
Robyn Young (Insurrection (The Insurrection Trilogy, #1))
So which theory did Lagos believe in? The relativist or the universalist?" "He did not seem to think there was much of a difference. In the end, they are both somewhat mystical. Lagos believed that both schools of thought had essentially arrived at the same place by different lines of reasoning." "But it seems to me there is a key difference," Hiro says. "The universalists think that we are determined by the prepatterned structure of our brains -- the pathways in the cortex. The relativists don't believe that we have any limits." "Lagos modified the strict Chomskyan theory by supposing that learning a language is like blowing code into PROMs -- an analogy that I cannot interpret." "The analogy is clear. PROMs are Programmable Read-Only Memory chips," Hiro says. "When they come from the factory, they have no content. Once and only once, you can place information into those chips and then freeze it -- the information, the software, becomes frozen into the chip -- it transmutes into hardware. After you have blown the code into the PROMs, you can read it out, but you can't write to them anymore. So Lagos was trying to say that the newborn human brain has no structure -- as the relativists would have it -- and that as the child learns a language, the developing brain structures itself accordingly, the language gets 'blown into the hardware and becomes a permanent part of the brain's deep structure -- as the universalists would have it." "Yes. This was his interpretation." "Okay. So when he talked about Enki being a real person with magical powers, what he meant was that Enki somehow understood the connection between language and the brain, knew how to manipulate it. The same way that a hacker, knowing the secrets of a computer system, can write code to control it -- digital namshubs?" "Lagos said that Enki had the ability to ascend into the universe of language and see it before his eyes. Much as humans go into the Metaverse. That gave him power to create nam-shubs. And nam-shubs had the power to alter the functioning of the brain and of the body." "Why isn't anyone doing this kind of thing nowadays? Why aren't there any namshubs in English?" "Not all languages are the same, as Steiner points out. Some languages are better at metaphor than others. Hebrew, Aramaic, Greek, and Chinese lend themselves to word play and have achieved a lasting grip on reality: Palestine had Qiryat Sefer, the 'City of the Letter,' and Syria had Byblos, the 'Town of the Book.' By contrast other civilizations seem 'speechless' or at least, as may have been the case in Egypt, not entirely cognizant of the creative and transformational powers of language. Lagos believed that Sumerian was an extraordinarily powerful language -- at least it was in Sumer five thousand years ago." "A language that lent itself to Enki's neurolinguistic hacking." "Early linguists, as well as the Kabbalists, believed in a fictional language called the tongue of Eden, the language of Adam. It enabled all men to understand each other, to communicate without misunderstanding. It was the language of the Logos, the moment when God created the world by speaking a word. In the tongue of Eden, naming a thing was the same as creating it. To quote Steiner again, 'Our speech interposes itself between apprehension and truth like a dusty pane or warped mirror. The tongue of Eden was like a flawless glass; a light of total understanding streamed through it. Thus Babel was a second Fall.' And Isaac the Blind, an early Kabbalist, said that, to quote Gershom Scholem's translation, 'The speech of men is connected with divine speech and all language whether heavenly or human derives from one source: the Divine Name.' The practical Kabbalists, the sorcerers, bore the title Ba'al Shem, meaning 'master of the divine name.'" "The machine language of the world," Hiro says.
Neal Stephenson (Snow Crash)
IT is not impossible that among the English readers of this book there may be one who in 1915 and 1916 was in one of those trenches that were woven like a web among the ruins of Monchy-au-Bois. In that case he had opposite him at that time the 73rd Hanoverian Fusiliers, who wear as their distinctive badge a brassard with ' Gibraltar ' inscribed on it in gold, in memory of the defence of that fortress under General Elliot; for this, besides Waterloo, has its place in the regiment's history. At the time I refer to I was a nineteen-year-old lieutenant in command of a platoon, and my part of the line was easily recognizable from the English side by a row of tall shell-stripped trees that rose from the ruins of Monchy. My left flank was bounded by the sunken road leading to Berles-au-Bois, which was in the hands of the English ; my right was marked by a sap running out from our lines, one that helped us many a time to make our presence felt by means of bombs and rifle-grenades. I daresay this reader remembers, too, the white tom-cat, lamed in one foot by a stray bullet, who had his headquarters in No-man's-land. He used often to pay me a visit at night in my dugout. This creature, the sole living being that was on visiting terms with both sides, always made on me an impression of extreme mystery. This charm of mystery which lay over all that belonged to the other side, to that danger zone full of unseen figures, is one of the strongest impressions that the war has left with me. At that time, before the battle of the Somme, which opened a new chapter in the history of the war, the struggle had not taken on that grim and mathematical aspect which cast over its landscapes a deeper and deeper gloom. There was more rest for the soldier than in the later years when he was thrown into one murderous battle after another ; and so it is that many of those days come back to my memory now with a light on them that is almost peaceful.
Ernst Jünger (Storm of Steel)
Her son was small but perfectly formed, fair-skinned, with a remarkable quantity of black hair. His eye color was indeterminate at the moment, but Win thought his eyes would eventually turn out to be blue. She lifted him higher against her chest until her lips were close to his miniature ear. And in accordance with Romany tradition, she told him his secret name. “You are Andrei,” she whispered. It was a name for a warrior. A son of Kev Merripen could be no less. “Your gadjo name is Jason Cole. And your tribal name …” She paused thoughtfully. “Jàdo,” came her husband’s drowsy voice from beside her. Win looked down at Kev and reached out to stroke his thick, dark hair. The lines on his face were gone, and he looked relaxed and content. “What does that mean?” she asked. “One who lives outside the Rom.” “That’s perfect.” She let her hand linger in his hair. “Ov yilo isi?” she asked him gently. “Yes,” Kev said, answering in English. “There is heart here.” And Win smiled as he sat up to kiss her.
Lisa Kleypas (Seduce Me at Sunrise (The Hathaways, #2))
I would not exchange this one little English girl for the Grand Turk’s whole seraglio, gazelle-eyes, houri forms, and all!” The Eastern allusion bit me again. “I’ll not stand you an inch in the stead of a seraglio,” I said; “so don’t consider me an equivalent for one. If you have a fancy for anything in that line, away with you, sir, to the bazaars of Stamboul without delay, and lay out in extensive slave-purchases some of that spare cash you seem at a loss to spend satisfactorily here.” “And what will you do, Janet, while I am bargaining for so many tons of flesh and such an assortment of black eyes?” “I’ll be preparing myself to go out as a missionary to preach liberty to them that are enslaved—your harem inmates amongst the rest. I’ll get admitted there, and I’ll stir up mutiny; and you, three-tailed bashaw as you are, sir, shall in a trice find yourself fettered amongst our hands: nor will I, for one, consent to cut your bonds till you have signed a charter, the most liberal that despot ever yet conferred.
Charlotte Brontë (Jane Eyre)
There were so many more books and so many more kinds of books and writers of books than the Bible, and luckily, Pratt’s wife, Anna Laura, encouraged us to read other books to expand our understanding of the English language. She gave us books like Moby-Dick and The Adventures of Huckleberry Finn, plus the monster book Bear Shield loved, and poetry by a man named Walt Whitman, who believed himself to have written a kind of Bible he called Leaves of Grass, which I did not particularly like, but I always remembered this line, “This is no book, who touches this, touches a man!,” because I’d started to think of books as beings. As things unto themselves, whether they were written by countless people countless years ago, or written just recently by strange old white men, the books themselves felt to me as if they were their own lives, separate from the bodies and minds that created them. I wanted to write one myself. I began to use the ledger paper I’d been drawing on to write down things that seemed like they might be on their way to being in a book one day.
Tommy Orange (Wandering Stars)
Once, books appealed to a few people, here, there, everywhere. They could afford to be different. The world was roomy. But then the world got full of eyes and elbows and mouths. Double, triple, quadruple population. Films and radios, magazines, books levelled down to a sort of paste pudding norm [...]. [...] Nineteenth-century man with his horses, dogs, carts, slow motion. Then, in the twentieth century, speed up your camera. Books cut shorter. Condensations, Digests. Tabloids. Everything boils down to the gag, the snap ending. [...] Classics cut to fit fifteen-minute radio shows, then cut again to fill a two-minute book column, winding up at last as a ten- or twelve-line dictionary resume. I exaggerate, of course. The dictionaries were for reference. But many were those whose sole knowledge of Hamlet [...] was a one-page digest in a book that claimed: "now at least you can read all the classics; keep up with your neighbors". Do you see? Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more. [...] Speed up the film, Montag, quick. Click? Pic, Look, Eye, Now, Flick, Here, There, Swift, Pace, Up, Down, In, Out, Why, How, Who, What, Where, Eh? Uh! Bang! Smack! Wallop, Bing, Bong, Boom! Digest-digests, digest-digest-digests. Politics? One column, two sentences, a headline! Then, in mid-air, all vanishes! Whirl man's mind around about so fast under the pumping hands of publishers, exploiters, broadcasters, that the centrifuge flings off all unnecessary, time-wasting thought! [...] School is shortened, discipline relaxed, philosophies, histories, languages dropped, English and spelling gradually neglected, finally almost completely ignored. Life is immediate, the job counts, pleasure lies all about after work. Why learn anything save pressing buttons, pulling switches, fitting nuts and bolts? [...] The zipper displaces the button and a man lacks just that much time to think while dressing at dawn, a philosophical hour, and thus a melancholy hour. [...] Life becomes one big pratfall, Montag; everything bang, boff, and wow!
Ray Bradbury (Fahrenheit 451)
Yet there is dynamism in our house. Day to day, week to week, Cady blossoms: a first grasp, a first smile, a first laugh. Her pediatrician regularly records her growth on charts, tick marks indicating her progress over time. A brightening newness surrounds her. As she sits in my lap smiling, enthralled by my tuneless singing, an incandescence lights the room. Time for me is now double-edged: every day brings me further from the low of my last relapse but closer to the next recurrence—and, eventually, death. Perhaps later than I think, but certainly sooner than I desire. There are, I imagine, two responses to that realization. The most obvious might be an impulse to frantic activity: to “live life to its fullest,” to travel, to dine, to achieve a host of neglected ambitions. Part of the cruelty of cancer, though, is not only that it limits your time; it also limits your energy, vastly reducing the amount you can squeeze into a day. It is a tired hare who now races. And even if I had the energy, I prefer a more tortoiselike approach. I plod, I ponder. Some days, I simply persist. If time dilates when one moves at high speeds, does it contract when one moves barely at all? It must: the days have shortened considerably. With little to distinguish one day from the next, time has begun to feel static. In English, we use the word time in different ways: “The time is two forty-five” versus “I’m going through a tough time.” These days, time feels less like the ticking clock and more like a state of being. Languor settles in. There’s a feeling of openness. As a surgeon, focused on a patient in the OR, I might have found the position of the clock’s hands arbitrary, but I never thought them meaningless. Now the time of day means nothing, the day of the week scarcely more. Medical training is relentlessly future-oriented, all about delayed gratification; you’re always thinking about what you’ll be doing five years down the line. But now I don’t know what I’ll be doing five years down the line. I may be dead. I may not be. I may be healthy. I may be writing. I don't know. And so it's not all that useful to spend time thinking about the future - that is, beyond lunch.
Paul Kalanithi (When Breath Becomes Air)
Which brings me back to Ecclesiastes, his search for happiness, and mine. I spoke in chapter 4 about my first meeting, as a student, with Rabbi Menachem Mendel Schneersohn, the Lubavitcher Rebbe. As I was waiting to go in, one of his disciples told me the following story. A man had recently written to the Rebbe on something of these lines: ‘I need the Rebbe’s help. I am deeply depressed. I pray and find no comfort. I perform the commands but feel nothing. I find it hard to carry on.’ The Rebbe, so I was told, sent a compelling reply without writing a single word. He simply ringed the first word in every sentence of the letter: the word ‘I’. It was, he was hinting, the man’s self-preoccupation that was at the root of his depression. It was as if the Rebbe were saying, as Viktor Frankl used to say in the name of Kierkegaard, ‘The door to happiness opens outward.’23 It was this insight that helped me solve the riddle of Ecclesiastes. The word ‘I’ does not appear very often in the Hebrew Bible, but it dominates Ecclesiastes’ opening chapters. I enlarged my works: I built houses for myself, I planted vineyards for myself; I made gardens and parks for myself and I planted in them all kinds of fruit trees; I made ponds of water for myself from which to irrigate a forest of growing trees. I bought male and female slaves and I had homeborn slaves. Also I possessed flocks and herds larger than all who preceded me in Jerusalem. Also, I collected for myself silver and gold and the treasure of kings and provinces. (Ecclesiastes 2:4–8) Nowhere else in the Bible is the first-person singular used so relentlessly and repetitively. In the original Hebrew the effect is doubled because of the chiming of the verbal suffix and the pronoun: Baniti li, asiti li, kaniti li, ‘I built for myself, I made for myself, I bought for myself.’ The source of Ecclesiastes’ unhappiness is obvious and was spelled out many centuries later by the great sage Hillel: ‘If I am not for myself, who will be? But if I am only for myself, what am I?’24 Happiness in the Bible is not something we find in self-gratification. Hence the significance of the word simchah. I translated it earlier as ‘joy’, but really it has no precise translation into English, since all our emotion words refer to states of mind we can experience alone. Simchah is something we cannot experience alone. Simchah is joy shared.
Jonathan Sacks (The Great Partnership: Science, Religion, and the Search for Meaning)
To Gobineau, as he stated in his dedication of the work to the King of Hanover, the key to history and civilization was race. “The racial question dominates all the other problems of history… the inequality of races suffices to explain the whole unfolding of the destiny of peoples.” There were three principal races, white, yellow and black, and the white was the superior. “History,” he contended, “shows that all civilization flows from the white race, that no civilization can exist without the co-operation of this race.” The jewel of the white race was the Aryan, “this illustrious human family, the noblest among the white race,” whose origins he traced back to Central Asia. Unfortunately, Gobineau says, the contemporary Aryan suffered from intermixture with inferior races, as one could see in the southern Europe of his time. However, in the northwest, above a line running roughly along the Seine and east to Switzerland, the Aryans, though far from simon-pure, still survived as a superior race. This took in some of the French, all of the English and the Irish, the people of the Low Countries and the Rhine and Hanover, and the Scandinavians. Gobineau seemingly excluded the bulk of the Germans, who lived to the east and southeast of his line—a fact which the Nazis glossed over when they embraced his teachings.
William L. Shirer (The Rise and Fall of the Third Reich: A History of Nazi Germany)
I suspect, however, that the thing that confuses you about Ian is that he’s half Scot. In many ways he’s more Scot than English, which accounts for what you’re calling a ruthless streak. He’ll do what he pleases, when he pleases, and the devil fly with the consequences. He always has. He doesn’t care what anyone thinks of him or of what he does.” Pausing, Jordan glanced meaningfully at the couple who’d paused to look at a shrubbery on the front lawn. Ian was listening to Elizabeth intently, an expression of tenderness on his rugged face. “The other night, however, he cared very much what people thought of your lovely friend. In fact, I don’t like to think what he might have done had anyone actually dared to openly insult her in front of him. You’re right when you aren’t deceived by Ian’s civilized veneer. Beneath that he’s a Scot, and he has a temper to go with it, though he usually keeps it in check.” “I don’t think you’re reassuring me,” Alex said shakily. “I should be. He’s committed himself completely to her. That commitment is so deep that he even reconciled with his grandfather and then appeared with him in public, which I know was because of Elizabeth.” “What on earth makes you think that?” “For one thing, when I saw Ian at the Blackmore he had no plans for the evening until he discovered what Elizabeth was going to do at the Willingtons’. The next I knew, he was walking into that ball with his grandfather at his side. And that, my love, is what we call a show of strength.” She looked impressed by his powers of deduction, and Jordan grinned. “Don’t admire me too much. I also asked him. So you see, you’re worrying needlessly,” he finished reassuringly. “Scots are a fiercely loyal lot, and Ian will protect her with his life.” “He certainly didn’t protect her with his life two years ago, when she was ruined.” Sighing, Jordan looked out the window. “After the Willingtons’ ball he told me a little of what happened that long-ago weekend. He didn’t tell me much-Ian is a very private man-but reading between the lines, I’m guessing that he fell like a rock for her and then got the idea she was playing games with him.” “Would that have been so terrible?” Alexandra asked, her full sympathy still with Elizabeth. Jordan smiled ruefully at her. “There’s one thing Scots are besides loyal.” “What is that?” “Unforgiving,” he said flatly. “They expect the same loyalty as they give. Moreover, if you betray their loyalty, you’re dead to them. Nothing you do or say will change their heart. That’s why their feuds last from generation to generation.” “Barbaric,” Alexandra said with a shiver of alarm. “Perhaps it is. But then let’s not forget Ian is also half English, and we are very civilized.” Leaning down, Jordan nipped her ear. “Except in bed.
Judith McNaught (Almost Heaven (Sequels, #3))
The essentialist notion of “bad blood” is one of several biological metaphors inspired by a fear of the revenge of the cradle. People anticipate that if they leave even a few of a defeated enemy alive, the remnants will multiply and cause trouble down the line. Human cognition often works by analogy, and the concept of an irksome collection of procreating beings repeatedly calls to mind the concept of vermin.105 Perpetrators of genocide the world over keep rediscovering the same metaphors to the point of cliché. Despised people are rats, snakes, maggots, lice, flies, parasites, cockroaches, or (in parts of the world where they are pests) monkeys, baboons, and dogs.106 “Kill the nits and you will have no lice,” wrote an English commander in Ireland in 1641, justifying an order to kill thousands of Irish Catholics.107 “A nit would make a louse,” recalled a Californian settler leader in 1856 before slaying 240 Yuki in revenge for their killing of a horse.108 “Nits make lice,” said Colonel John Chivington before the Sand Creek Massacre, which killed hundreds of Cheyenne and Arapaho in 1864.109 Cankers, cancers, bacilli, and viruses are other insidious biological agents that lend themselves as figures of speech in the poetics of genocide. When it came to the Jews, Hitler mixed his metaphors, but they were always biological: Jews were viruses; Jews were bloodsucking parasites; Jews were a mongrel race; Jews had poisonous blood.110
Steven Pinker (The Better Angels of Our Nature: Why Violence Has Declined)
The Angles Of The Frame 1 Many years have passed since the day, I looked into a mirror, saw a wrinkled face. I've been disclosed to the bulging sands of my bed. 2 Aeons of breath account for the many veins in my atrium. 3 The bull I breast-fed for many years And I've submerged into the frame. 4 I knew the justifications were hard, Hard as against the current of water. No news from the ambiguous points something uncommon. It can't be justified by natural rules, many years we've been tangled on it. 5 This usurped land is a part of all buried treasure islands No finger points in any direction. Lost in the dead-end alleys Tracing images without a compass. 6 Horse pounding pulse sing endlessly in my blood. My kinsmen of horses… Blood-line linked as to rays of a circle like roots of a tree growing deep on the roof. 7 You can't stop the hands of the clock. You can't come back to the broken minutes. The days have been arranged one after another. The knights have left the game one after another. 8 There was a straw mat where you fell asleep. I became numb, quite used to the stillness of the house. 9 Was something supposed to get away from the core to join us? A century has passed and we still live in this house. 10 Dimensions have shifted Not exclusive to the roof The letters approved us as the residents of the house They ran away as the convicts And we got used to the standstill. (Translated from original Persian into English by Rosa Jamali)
Rosa Jamali (Selected Poems of Rosa Jamali)
A striking example from the history of writing is the origin of the syllabary devised in Arkansas around 1820 by a Cherokee Indian named Sequoyah, for writing the Cherokee language. Sequoyah observed that white people made marks on paper, and that they derived great advantage by using those marks to record and repeat lengthy speeches. However, the detailed operations of those marks remained a mystery to him, since (like most Cherokees before 1820) Sequoyah was illiterate and could neither speak nor read English. Because he was a blacksmith, Sequoyah began by devising an accounting system to help him keep track of his customers’ debts. He drew a picture of each customer; then he drew circles and lines of various sizes to represent the amount of money owed. Around 1810, Sequoyah decided to go on to design a system for writing the Cherokee language. He again began by drawing pictures, but gave them up as too complicated and too artistically demanding. He next started to invent separate signs for each word, and again became dissatisfied when he had coined thousands of signs and still needed more. Finally, Sequoyah realized that words were made up of modest numbers of different sound bites that recurred in many different words—what we would call syllables. He initially devised 200 syllabic signs and gradually reduced them to 85, most of them for combinations of one consonant and one vowel. As one source of the signs themselves, Sequoyah practiced copying the letters from an English spelling book given to him by a schoolteacher. About two dozen of his Cherokee syllabic signs were taken directly from those letters, though of course with completely changed meanings, since Sequoyah did not know the English meanings. For example, he chose the shapes D, R, b, h to represent the Cherokee syllables a, e, si, and ni, respectively, while the shape of the numeral 4 was borrowed for the syllable se. He coined other signs by modifying English letters, such as designing the signs , , and to represent the syllables yu, sa, and na, respectively. Still other signs were entirely of his creation, such as , , and for ho, li, and nu, respectively. Sequoyah’s syllabary is widely admired by professional linguists for its good fit to Cherokee sounds, and for the ease with which it can be learned. Within a short time, the Cherokees achieved almost 100 percent literacy in the syllabary, bought a printing press, had Sequoyah’s signs cast as type, and began printing books and newspapers. Cherokee writing remains one of the best-attested examples of a script that arose through idea diffusion. We know that Sequoyah received paper and other writing materials, the idea of a writing system, the idea of using separate marks, and the forms of several dozen marks. Since, however, he could neither read nor write English, he acquired no details or even principles from the existing scripts around him. Surrounded by alphabets he could not understand, he instead independently reinvented a syllabary, unaware that the Minoans of Crete had already invented another syllabary 3,500 years previously.
Jared Diamond (Guns, Germs, and Steel)
In Tokyo, ramen is a playground for the culinary imagination. As long as the dish contains thin wheat noodles, it's ramen. In fact, there's a literal ramen playground called Tokyo Ramen Street in the basement of Tokyo Station, with eight top-rated ramen shops sharing one corridor. We stopped by one evening after a day of riding around on the Shinkansen. After drooling over the photos at establishments such as Junk Garage, which serves oily, brothless noodles hidden under a towering slag heap of toppings, we settled on Ramen Honda based on its short line and the fact that its ramen seemed to be topped with a massive pile of scallions. However, anything in Tokyo that appears to be topped with scallions is actually topped with something much better. You'll meet this delectable dopplegänger soon, and in mass quantities. The Internet is littered with dozens if not hundreds of exclamation point-bedecked ramen blogs (Rameniac, GO RAMEN!, Ramen Adventures, Ramenate!) in English, Japanese, and probably Serbian, Hindi, and Xhosa. In Tokyo, you'll find hot and cold ramen; Thai green curry ramen; diet ramen and ramen with pork broth so thick you could sculpt with it; Italian-inspired tomato ramen; and Hokkaido-style miso ramen. You'll find ramen chains and fiercely individual holes-in-the-wall. Right now, somewhere in the world, someone is having a meet-cute with her first bowl of ramen. As she fills up on pork and noodles and seaweed and bamboo shoots, she thinks, we were meant to be together, and she is embarrassed at her atavistic reaction to a simple bowl of soup.
Matthew Amster-Burton (Pretty Good Number One: An American Family Eats Tokyo)
While I was intent on improving my language, I met with an English grammar (I think it was Greenwood's), at the end of which there were two little sketches of the arts of rhetoric and logic, the latter finishing with a specimen of a dispute in the Socratic method; and soon after I procur'd Xenophon's Memorable Things of Socrates, wherein there are many instances of the same method. I was charm'd with it, adopted it, dropt my abrupt contradiction and positive argumentation, and put on the humble inquirer and doubter. And being then, from reading Shaftesbury and Collins, become a real doubter in many points of our religious doctrine, I found this method safest for myself and very embarrassing to those against whom I used it; therefore I took a delight in it, practis'd it continually, and grew very artful and expert in drawing people, even of superior knowledge, into concessions, the consequences of which they did not foresee, entangling them in difficulties out of which they could not extricate themselves, and so obtaining victories that neither myself nor my cause always deserved. I continu'd this method some few years, but gradually left it, retaining only the habit of expressing myself in terms of modest diffidence; never using, when I advanced any thing that may possibly be disputed, the words certainly, undoubtedly, or any others that give the air of positiveness to an opinion; but rather say, I conceive or apprehend a thing to be so and so; it appears to me, or I should think it so or so, for such and such reasons; or I imagine it to be so; or it is so, if I am not mistaken. This habit, I believe, has been of great advantage to me when I have had occasion to inculcate my opinions, and persuade men into measures that I have been from time to time engag'd in promoting; and, as the chief ends of conversation are to inform or to be informed, to please or to persuade, I wish well-meaning, sensible men would not lessen their power of doing good by a positive, assuming manner, that seldom fails to disgust, tends to create opposition, and to defeat every one of those purposes for which speech was given to us, to wit, giving or receiving information or pleasure. For, if you would inform, a positive and dogmatical manner in advancing your sentiments may provoke contradiction and prevent a candid attention. If you wish information and improvement from the knowledge of others, and yet at the same time express yourself as firmly fix'd in your present opinions, modest, sensible men, who do not love disputation, will probably leave you undisturbed in the possession of your error. And by such a manner, you can seldom hope to recommend yourself in pleasing your hearers, or to persuade those whose concurrence you desire. Pope says, judiciously:           "Men should be taught as if you taught them not,           And things unknown propos'd as things forgot;" farther recommending to us "To speak, tho' sure, with seeming diffidence." And he might have coupled with this line that which he has coupled with another, I think, less properly, "For want of modesty is want of sense." If you ask, Why less properly? I must repeat the lines,           "Immodest words admit of no defense,           For want of modesty is want of sense." Now, is not want of sense (where a man is so unfortunate as to want it) some apology for his want of modesty? and would not the lines stand more justly thus?           "Immodest words admit but this defense,           That want of modesty is want of sense." This, however, I should submit to better judgments.
Benjamin Franklin (The Autobiography of Benjamin Franklin)
They taught him how to milk cows and now they expected him to tame lions. Perhaps they expected him to behave like all good lion tamers. Use a whip and a chair. But what happens to the best lion tamer when he puts down his whip and his chair. Goddamnit! It was wrong. He felt cheated, he felt almost violated. He felt cheated for himself, and he felt cheated for guys like Joshua Edwards who wanted to teach and who didn’t know how to teach because he’d been pumped full of manure and theoretical hogwash. Why hadn’t anyone told them, in plain, frank English, just what to do? Couldn’t someone, somewhere along the line, have told them? Not one single college instructor? Not someone from the board of Ed, someone to orientate them after they’d passed the emergency exam? Not anyone? Now one sonofabitch somewhere who gave a good goddamn? Not even Stanley? Not even Small? Did they have to figure it out for themselves, sink and swim, kill or be killed? Rick had never been told how to stop in his class. He’d never been told what to do with a second term student who doesn’t even know how to write down his own goddamn name on a sheet of paper. He didn’t know, he’d never been advised on the proper tactics for dealing with a boy whose I.Q. was 66, a big, fat, round, moronic 66. He hadn’t been taught about kids’ yelling out in class, not one kid, not the occasional “difficult child” the ed courses had loftily philosophized about, not him. But a whole goddamn, shouting, screaming class load of them all yelling their sonofbitching heads off. What do you do with a kid who can’t read even though he’s fifteen years old? Recommend him for special reading classes, sure. And what do you do when those special reading classes are loaded to the asshole, packed because there are kids who can’t read in abundance, and you have to take only those who can’t read the worst, dumping them onto a teacher who’s already overloaded and those who doesn’t want to teach a remedial class to begin with? And what do you with that poor ignorant jerk? Do you call him on class, knowing damn well he hasn’t read the assignment because he doesn’t know how to read? Or do you ignore him? Or do you ask him to stop by after school, knowing he would prefer playing stickball to learning how to read. And knowing he considers himself liberated the moment the bell sounds at the end of the eighth period. What do you do when you’ve explained something patiently and fully, explained it just the way you were taught to explain in your education courses, explained in minute detail, and you look out at your class and see that stretching, vacant wall of blank, blank faces and you know nothing has penetrated, not a goddamn thing has sunk in? What do you do then? Give them all board erasers to clean. What do you do when you call on a kid and ask “What did that last passage mean?”and the kid stands there without any idea of what the passage meant , and you know that he’s not alone, you know every other kid in the class hasn’t the faintest idea either? What the hell do you do then? Do you go home and browse through the philosophy of education books the G.I bill generously provided. Do you scratch your ugly head and seek enlightenment from the educational psychology texts? Do you consult Dewey? And who the hell do you condemn, just who? Do you condemn elementary schools for sending a kid on to high school without knowing how to read, without knowing how to write his own name on a piece of paper? Do you condemn the masterminds who plot the education systems of a nation, or a state or a city?
Evan Hunter (The Blackboard Jungle)
But nothing has ever expressed the general, gut-felt moral revulsion against city-bombing better than a virtually unknown article, from firsthand experience, by America’s most famous writer at the time, Ernest Hemingway, in July 1938. It’s still little known because he wrote it, by request, for the Soviet newspaper Pravda, which published it in Russian; his manuscript in English didn’t surface143 for forty-four years. It conveys in words the same surreal images that Picasso had rendered on canvas the year before. His lead sentence: “During the last fifteen months I saw murder done in Spain by the Fascist invaders. Murder is different from war.” Hemingway was describing what he had seen of fascist bombing of workers’ housing in Barcelona and shelling of civilian cinemagoers in Madrid. You see the murdered children with their twisted legs, their arms that bend in wrong directions, and their plaster powdered faces. You see the women, sometimes unmarked when they die from concussion, their faces grey, green matter running out of their mouths from bursted gall bladders. You see them sometimes looking like bloodied bundles of rags. You see them sometimes blown capriciously into fragments as an insane butcher might sever a carcass. And you hate the Italian and German murderers who do this as you hate no other people. … When they shell the cinema crowds, concentrating on the squares where the people will be coming out at six o’clock, it is murder. … You see a shell hit a queue of women standing in line to buy soap. There are only four women killed but a part of one woman’s torso is driven against a stone wall so that blood is driven into the stone with such force that sandblasting later fails to clean it. The other dead lie like scattered black bundles and the wounded are moaning or screaming.
Daniel Ellsberg (The Doomsday Machine: Confessions of a Nuclear War Planner)
Of course L has not been reading the Odyssey the whole time. The pushchair is also loaded with White Fang, VIKING!, Tar-Kutu: Dog of the Frozen North, Marduk: Dog of the Mongolian Steppes, Pete: Black Dog of the Dakota, THE CARNIVORES, THE PREDATORS, THE BIG CATS and The House at Pooh Corner. For the past few days he has also been reading White Fang for the third time. Sometimes we get off the train and he runs up and down the platform. Sometimes he counts up to 100 or so in one or more languages while eyes glaze up and down the car. Still he has been reading the Odyssey enough for a straw poll of Circle Line opinion on the subject of small children & Greek. Amazing: 7 Far too young: 10 Only pretending to read it: 6 Excellent idea as etymology so helpful for spelling: 19 Excellent idea as inflected languages so helpful for computer programming: 8 Excellent idea as classics indispensable for understanding of English literature: 7 Excellent idea as Greek so helpful for reading New Testament, camel through eye of needle for example mistranslation of very similar word for rope: 3 Terrible idea as study of classical languages embedded in educational system productive of divisive society: 5 Terrible idea as overemphasis on study of dead languages directly responsible for neglect of sciences and industrial decline and uncompetitiveness of Britain: 10 Stupid idea as he should be playing football: 1 Stupid idea as he should be studying Hebrew & learning about his Jewish heritage: 1 Marvellous idea as spelling and grammar not taught in schools: 24 (Respondents: 35; Abstentions: 1,000?) Oh, & almost forgot: Marvellous idea as Homer so marvellous in Greek: 0 Marvellous idea as Greek such as marvellous language: 0 Oh & also: Marvellous idea but how did you teach it to a child that young: 8
Helen DeWitt (The Last Samurai)
Baron, Baroness Originally, the term baron signified a person who owned land as a direct gift from the monarchy or as a descendant of a baron. Now it is an honorary title. The wife of a baron is a baroness. Duke, Duchess, Duchy, Dukedom Originally, a man could become a duke in one of two ways. He could be recognized for owning a lot of land. Or he could be a victorious military commander. Now a man can become a duke simply by being appointed by a monarch. Queen Elizabeth II appointed her husband Philip the Duke of Edinburgh and her son Charles the Duke of Wales. A duchess is the wife or widow of a duke. The territory ruled by a duke is a duchy or a dukedom. Earl, Earldom Earl is the oldest title in the English nobility. It originally signified a chieftan or leader of a tribe. Each earl is identified with a certain area called an earldom. Today the monarchy sometimes confers an earldom on a retiring prime minister. For example, former Prime Minister Harold Macmillan is the Earl of Stockton. King A king is a ruling monarch. He inherits this position and retains it until he abdicates or dies. Formerly, a king was an absolute ruler. Today the role of King of England is largely symbolic. The wife of a king is a queen. Knight Originally a knight was a man who performed devoted military service. The title is not hereditary. A king or queen may award a citizen with knighthood. The criterion for the award is devoted service to the country. Lady One may use Lady to refer to the wife of a knight, baron, count, or viscount. It may also be used for the daughter of a duke, marquis, or earl. Marquis, also spelled Marquess. A marquis ranks above an earl and below a duke. Originally marquis signified military men who stood guard on the border of a territory. Now it is a hereditary title. Lord Lord is a general term denoting nobility. It may be used to address any peer (see below) except a duke. The House of Lords is the upper house of the British Parliament. It is a nonelective body with limited powers. The presiding officer for the House of Lords is the Lord Chancellor or Lord High Chancellor. Sometimes a mayor is called lord, such as the Lord Mayor of London. The term lord may also be used informally to show respect. Peer, Peerage A peer is a titled member of the British nobility who may sit in the House of Lords, the upper house of Parliament. Peers are ranked in order of their importance. A duke is most important; the others follow in this order: marquis, earl, viscount, baron. A group of peers is called a peerage. Prince, Princess Princes and princesses are sons and daughters of a reigning king and queen. The first-born son of a royal family is first in line for the throne, the second born son is second in line. A princess may become a queen if there is no prince at the time of abdication or death of a king. The wife of a prince is also called a princess. Queen A queen may be the ruler of a monarchy, the wife—or widow—of a king. Viscount, Viscountess The title Viscount originally meant deputy to a count. It has been used most recently to honor British soldiers in World War II. Field Marshall Bernard Montgomery was named a viscount. The title may also be hereditary. The wife of a viscount is a viscountess. (In pronunciation the initial s is silent.) House of Windsor The British royal family has been called the House of Windsor since 1917. Before then, the royal family name was Wettin, a German name derived from Queen Victoria’s husband. In 1917, England was at war with Germany. King George V announced that the royal family name would become the House of Windsor, a name derived from Windsor Castle, a royal residence. The House of Windsor has included Kings George V, Edward VII, George VI, and Queen Elizabeth II.
Nancy Whitelaw (Lady Diana Spencer: Princess of Wales)
In about 1951, a quality approach called Total Productive Maintenance (TPM) came on the Japanese scene. Its focus is on maintenance rather than on production. One of the major pillars of TPM is the set of so-called 5S principles. 5S is a set of disciplines—and here I use the term “discipline” instructively. These 5S principles are in fact at the foundations of Lean—another buzzword on the Western scene, and an increasingly prominent buzzword in software circles. These principles are not an option. As Uncle Bob relates in his front matter, good software practice requires such discipline: focus, presence of mind, and thinking. It is not always just about doing, about pushing the factory equipment to produce at the optimal velocity. The 5S philosophy comprises these concepts: • Seiri, or organization (think “sort” in English). Knowing where things are—using approaches such as suitable naming—is crucial. You think naming identifiers isn’t important? Read on in the following chapters. • Seiton, or tidiness (think “systematize” in English). There is an old American saying: A place for everything, and everything in its place. A piece of code should be where you expect to find it—and, if not, you should re-factor to get it there. • Seiso, or cleaning (think “shine” in English): Keep the workplace free of hanging wires, grease, scraps, and waste. What do the authors here say about littering your code with comments and commented-out code lines that capture history or wishes for the future? Get rid of them. • Seiketsu, or standardization: The group agrees about how to keep the workplace clean. Do you think this book says anything about having a consistent coding style and set of practices within the group? Where do those standards come from? Read on. • Shutsuke, or discipline (self-discipline). This means having the discipline to follow the practices and to frequently reflect on one’s work and be willing to change.
Robert C. Martin (Clean Code: A Handbook of Agile Software Craftsmanship (Robert C. Martin Series))
At the heart of the Reformation message was a rejection of the power of individual believers, or of the church acting on their behalf, to affect God's judgment about who should be saved and who should be damned. Martin Luther had been convinced, like Augustine, of the powerlessness and unworthiness of fallen humanity, and struck by the force of God's mercy. Good works could not merit this mercy, or affect a sovereign God; instead individual sinners were entirely dependent on God's mercy and justified (saved) by faith alone. Jean Calvin, a generation later, developed more clearly the predestinarian implications - since some men were saved and some were damned, and since this had nothing to do with their own efforts, it must mean that God had created some men predestined for salvation (the elect). This seemed to imply that He must also have predestined other men for damnation (double predestination), a line of argument which led into dangerous territory. Some theologians, Calvin's close associate Beza among them, went further and argued that the entire course of human history was foreordained prior to Adam and Eve's fall in the Garden of Eden. These views (particularly the latter, 'supralapsarian' arguments) seemed to their opponents to suggest that God was the author of the sin, both in Eden and in those who were subsequently predestined for damnation. They also raised a question about Christ's sacrifice on the cross - had that been made to atone for the sins of all, or only of the elect? Because of these dangers many of those with strong predestinarian views were unsure about whether the doctrine should be openly preached. Clever theologians, like expensive lawyers, are adept at failing to push arguments too far and there were many respectable positions short of the one adopted by Beza. But predestination was for many Protestants a fundamental - retreat from this doctrine implied a role for free will expressed in works rather than justification by faith. It thus reopened the door to the corruptions of late-medieval Christianity.
Michael Braddick (God's Fury, England's Fire: A New History of the English Civil Wars)
Even if the press were dying to report on the Hmong gang-rape spree, the police won’t tell them about it. A year before the Hmong gang rape that reminded the Times of a rape in Glen Ridge, New Jersey, the police in St. Paul issued a warning about gang rapists using telephone chat lines to lure girls out of their homes. Although the warning was issued only in Hmong, St. Paul’s police department refused to confirm to the St. Paul Pioneer Press that the suspects were Hmong, finally coughing up only the information that they were “Asian.”20 And the gang rapes continue. The Star Tribune counted nearly one hundred Hmong males charged with rape or forced prostitution from 2000 to June 30, 2005. More than 80 percent of the victims were fifteen or younger. A quarter of their victims were not Hmong.21 The police say many more Hmong rapists have gone unpunished—they have no idea how many—because Hmong refuse to report rape. Reporters aren’t inclined to push the issue. The only rapes that interest the media are apocryphal gang rapes committed by white men. Was America short on Hmong? These backward hill people began pouring into the United States in the seventies as a reward for their help during the ill-fated Vietnam War. That war ended forty years ago! But the United States is still taking in thousands of Hmong “refugees” every year, so taxpayers can spend millions of dollars on English-language and cultural-assimilation classes, public housing, food stamps, healthcare, prosecutors, and prisons to accommodate all the child rapists.22 By now, there are an estimated 273,000 Hmong in the United States.23 Canada only has about eight hundred.24 Did America lose a bet? In the last few decades, America has taken in more Hmong than Czechs, Danes, French, Luxembourgers, New Zealanders, Norwegians, or Swiss. We have no room for them. We needed to make room for a culture where child rape is the norm.25 A foreign gang-rape culture that blames twelve-year-old girls for their own rapes may not be a good fit with American culture, especially now that political correctness prevents us from criticizing any “minority” group. At least when white males commit a gang rape the media never shut up about it. The Glen Ridge gang rape occurred more than a quarter century ago, and the Times still thinks the case hasn’t been adequately covered.
Ann Coulter (¡Adios, America!: The Left's Plan to Turn Our Country into a Third World Hellhole)
Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget.
Viet Thanh Nguyen (The Sympathizer)
He stared at it in utter disbelief while his secretary, Peters, who’d only been with him for a fortnight, muttered a silent prayer of gratitude for the break and continued scribbling as fast as he could, trying futilely to catch up with his employer’s dictation. “This,” said Ian curtly, “was sent to me either by mistake or as a joke. In either case, it’s in excruciatingly bad taste.” A memory of Elizabeth Cameron flickered across Ian’s mind-a mercenary, shallow litter flirt with a face and body that had drugged his mind. She’d been betrothed to a viscount when he’d met her. Obviously she hadn’t married her viscount-no doubt she’d jilted him in favor of someone with even better prospects. The English nobility, as he well knew, married only for prestige and money, then looked elsewhere for sexual fulfillment. Evidently Elizabeth Cameron’s relatives were putting her back on the marriage block. If so, they must be damned eager to unload her if they were willing to forsake a title for Ian’s money…That line of conjecture seemed so unlikely that Ian dismissed it. This note was obviously a stupid prank, perpetrated, no doubt, by someone who remembered the gossip that had exploded over that weekend house party-someone who thought he’d find the note amusing. Completely dismissing the prankster and Elizabeth Cameron from his mind, Ian glanced at his harassed secretary who was frantically scribbling away. “No reply is necessary,” he said. As he spoke he flipped the message across his desk toward his secretary, but the white parchment slid across the polished oak and floated to the floor. Peters made an awkward dive to catch it, but as he lurched sideways all the other correspondence that went with his dictation slid off his lap onto the floor. “I-I’m sorry, sir,” he stammered, leaping up and trying to collect the dozens of pieces of paper he’d scattered on the carpet. “Extremely sorry, Mr. Thornton,” he added, frantically snatching up contracts, invitations and letters and shoving them into a disorderly pile. His employer appeared not to hear him. He was already rapping out more instructions and passing the corresponding invitations and letters across the desk. “Decline the first three, accept the fourth, decline the fifth. Send my condolences on this one. On this one, explain that I’m going to be in Scotland, and send an invitation to join me there, along with directions to the cottage.” Clutching the papers to his chest, Peters poked his face up on the opposite side of the desk. “Yes, Mr. Thornton!” he said, trying to sound confident. But it was hard to be confident when one was on one’s knees. Harder still when one wasn’t entirely certain which instructions of the morning went with which invitation or piece of correspondence. Ian Thornton spent the rest of the afternoon closeted with Peters, heaping more dictation on the inundated clerk. He spent the evening with the Earl of Melbourne, his future father-in-law, discussing the earl’s daughter and himself. Peters spent part of his evening trying to learn from the butler which invitations his employer was likely to accept or reject.
Judith McNaught (Almost Heaven (Sequels, #3))
Bram stared into a pair of wide, dark eyes. Eyes that reflected a surprising glimmer of intelligence. This might be the rare female a man could reason with. “Now, then,” he said. “We can do this the easy way, or we can make things difficult.” With a soft snort, she turned her head. It was as if he’d ceased to exist. Bram shifted his weight to his good leg, feeling the stab to his pride. He was a lieutenant colonel in the British army, and at over six feet tall, he was said to cut an imposing figure. Typically, a pointed glance from his quarter would quell the slightest hint of disobedience. He was not accustomed to being ignored. “Listen sharp now.” He gave her ear a rough tweak and sank his voice to a low threat. “If you know what’s good for you, you’ll do as I say.” Though she spoke not a word, her reply was clear: You can kiss my great woolly arse. Confounded sheep. “Ah, the English countryside. So charming. So…fragrant.” Colin approached, stripped of his London-best topcoat, wading hip-deep through the river of wool. Blotting the sheen of perspiration from his brow with his sleeve, he asked, “I don’t suppose this means we can simply turn back?” Ahead of them, a boy pushing a handcart had overturned his cargo, strewing corn all over the road. It was an open buffet, and every ram and ewe in Sussex appeared to have answered the invitation. A vast throng of sheep bustled and bleated around the unfortunate youth, gorging themselves on the spilled grain-and completely obstructing Bram’s wagons. “Can we walk the teams in reverse?” Colin asked. “Perhaps we can go around, find another road.” Bram gestured at the surrounding landscape. “There is no other road.” They stood in the middle of the rutted dirt lane, which occupied a kind of narrow, winding valley. A steep bank of gorse rose up on one side, and on the other, some dozen yards of heath separated the road from dramatic bluffs. And below those-far below those-lay the sparkling turquoise sea. If the air was seasonably dry and clear, and Bram squinted hard at that thin indigo line of the horizon, he might even glimpse the northern coast of France. So close. He’d get there. Not today, but soon. He had a task to accomplish here, and the sooner he completed it, the sooner he could rejoin his regiment. He wasn’t stopping for anything. Except sheep. Blast it. It would seem they were stopping for sheep. A rough voice said, “I’ll take care of them.” Thorne joined their group. Bram flicked his gaze to the side and spied his hulking mountain of a corporal shouldering a flintlock rifle. “We can’t simply shoot them, Thorne.” Obedient as ever, Thorne lowered his gun. “Then I’ve a cutlass. Just sharpened the blade last night.” “We can’t butcher them, either.” Thorne shrugged. “I’m hungry.” Yes, that was Thorne-straightforward, practical. Ruthless. “We’re all hungry.” Bram’s stomach rumbled in support of the statement. “But clearing the way is our aim at the moment, and a dead sheep’s harder to move than a live one. We’ll just have to nudge them along.” Thorne lowered the hammer of his rifle, disarming it, then flipped the weapon with an agile motion and rammed the butt end against a woolly flank. “Move on, you bleeding beast.
Tessa Dare (A Night to Surrender (Spindle Cove, #1))
Hyphen This word comes from two Greek words together meaning ‘under one’, which gets nobody anywhere and merely prompts the reflection that argument by etymology only serves the purpose of intimidating ignorant antagonists. On, then. This is one more case in which matters have not improved since Fowler’s day, since he wrote in 1926: The chaos prevailing among writers or printers or both regarding the use of hyphens is discreditable to English education … The wrong use or wrong non-use of hyphens makes the words, if strictly interpreted, mean something different from what the writers intended. It is no adequate answer to such criticisms to say that actual misunderstanding is unlikely; to have to depend on one’s employer’s readiness to take the will for the deed is surely a humiliation that no decent craftsman should be willing to put up with. And so say all of us who may be reading this book. The references there to ‘printers’ needs updating to something like ‘editors’, meaning those who declare copy fit to print. Such people now often get it wrong by preserving in midcolumn a hyphen originally put at the end of a line to signal a word-break: inter-fere, say, is acceptable split between lines but not as part of a single line. This mistake is comparatively rare and seldom causes confusion; even so, time spent wondering whether an exactor may not be an ex-actor is time avoidably wasted. The hyphen is properly and necessarily used to join the halves of a two-word adjectival phrase, as in fair-haired children, last-ditch resistance, falling-down drunk, over-familiar reference. Breaches of this rule are rare and not troublesome. Hyphens are also required when a phrase of more than two words is used adjectivally, as in middle-of-the-road policy, too-good-to-be-true story, no-holds-barred contest. No hard-and-fast rule can be devised that lays down when a two-word phrase is to be hyphenated and when the two words are to be run into one, though there will be a rough consensus that, for example, book-plate and bookseller are each properly set out and that bookplate and book-seller might seem respectively new-fangled and fussy. A hyphen is not required when a normal adverb (i.e. one ending in -ly) plus an adjective or other modifier are used in an adjectival role, as in Jack’s equally detestable brother, a beautifully kept garden, her abnormally sensitive hearing. A hyphen is required, however, when the adverb lacks a final -ly, like well, ill, seldom, altogether or one of those words like tight and slow that double as adjectives. To avoid ambiguity here we must write a well-kept garden, an ill-considered objection, a tight-fisted policy. The commonest fault in the use of the hyphen, and the hardest to eradicate, is found when an adjectival phrase is used predicatively. So a gent may write of a hard-to-conquer mountain peak but not of a mountain peak that remains hard-to-conquer, an often-proposed solution but not of one that is often-proposed. For some reason this fault is especially common when numbers, including fractions, are concerned, and we read every other day of criminals being imprisoned for two-and-a-half years, a woman becoming a mother-of-three and even of some unfortunate being stabbed six-times. And the Tories have been in power for a decade-and-a-half. Finally, there seems no end to the list of common phrases that some berk will bung a superfluous hyphen into the middle of: artificial-leg, daily-help, false-teeth, taxi-firm, martial-law, rainy-day, airport-lounge, first-wicket, piano-concerto, lung-cancer, cavalry-regiment, overseas-service. I hope I need not add that of course one none the less writes of a false-teeth problem, a first-wicket stand, etc. The only guide is: omit the hyphen whenever possible, so avoid not only mechanically propelled vehicle users (a beauty from MEU) but also a man eating tiger. And no one is right and no-one is wrong.
Kingsley Amis (The King's English: A Guide to Modern Usage)
Not liking to think of him so, and wondering if they had guessed at dinner why he suddenly became irritable when they talked about fame and books lasting, wondering if the children were laughing at that, she twitched the stockings out, and all the fine gravings came drawn with steel instruments about her lips and forehead, and she grew still like a tree which has been tossing and quivering and now, when the breeze falls, settles, leaf by leaf, into quiet. It didn't matter, any of it, she thought. A great man, a great book, fame—who could tell? She knew nothing about it. But it was his way with him, his truthfulness—for instance at dinner she had been thinking quite instinctively, If only he would speak! She had complete trust in him. And dismissing all this, as one passes in diving now a weed, now a straw, now a bubble, she felt again, sinking deeper, as she had felt in the hall when the others were talking, There is something I want—something I have come to get, and she fell deeper and deeper without knowing quite what it was, with her eyes closed. And she waited a little, knitting, wondering, and slowly rose those words they had said at dinner, "the China rose is all abloom and buzzing with the honey bee," began washing from side to side of her mind rhythmically, and as they washed, words, like little shaded lights, one red, one blue, one yellow, lit up in the dark of her mind, and seemed leaving their perches up there to fly across and across, or to cry out and to be echoed; so she turned and felt on the table beside her for a book. And all the lives we ever lived And all the lives to be, Are full of trees and changing leaves, she murmured, sticking her needles into the stocking. And she opened the book and began reading here and there at random, and as she did so, she felt that she was climbing backwards, upwards, shoving her way up under petals that curved over her, so that she only knew this is white, or this is red. She did not know at first what the words meant at all. Steer, hither steer your winged pines, all beaten Mariners she read and turned the page, swinging herself, zigzagging this way and that, from one line to another as from one branch to another, from one red and white flower to another, until a little sound roused her—her husband slapping his thighs. Their eyes met for a second; but they did not want to speak to each other. They had nothing to say, but something seemed, nevertheless, to go from him to her. It was the life, it was the power of it, it was the tremendous humour, she knew, that made him slap his thighs. Don't interrupt me, he seemed to be saying, don't say anything; just sit there. And he went on reading. His lips twitched. It filled him. It fortified him. He clean forgot all the little rubs and digs of the evening, and how it bored him unutterably to sit still while people ate and drank interminably, and his being so irritable with his wife and so touchy and minding when they passed his books over as if they didn't exist at all. But now, he felt, it didn't matter a damn who reached Z (if thought ran like an alphabet from A to Z). Somebody would reach it—if not he, then another. This man's strength and sanity, his feeling for straight forward simple things, these fishermen, the poor old crazed creature in Mucklebackit's cottage made him feel so vigorous, so relieved of something that he felt roused and triumphant and could not choke back his tears. Raising the book a little to hide his face, he let them fall and shook his head from side to side and forgot himself completely (but not one or two reflections about morality and French novels and English novels and Scott's hands being tied but his view perhaps being as true as the other view), forgot his own bothers and failures completely in poor Steenie's drowning and Mucklebackit's sorrow (that was Scott at his best) and the astonishing delight and feeling of vigour that it gave him.
Virginia Woolf (To the Lighthouse)
In a letter dated May 30, 1937, Arthur McNamara, a friend from Brennan’s youth, recalled what a versatile and agile artist Walter already was in his early twenties, “where [Brennan] did a quick change from black face to that English dialect part.” Those were happy days, spent performing in the St. John’s Temperance Minstrels when he was not cavorting on the beach. Walter appears, tall and thin, as the centerpiece in a photograph taken in 1916 on the “Fishies” beach, with five pals forming a human chain by their hands on one another’s shoulders. They all have their left feet thrust out, with their toes sticking up in a chorus line of youth. Walter continued playing “oldsters” on stage. It was the kind of employment he enjoyed, but he wanted to make it pay. “I was never really stage-struck,” he later insisted. “Acting has always been a business with me, something to make a living by.” But in another mood, he admitted that doing comedy and vaudeville “awakened the ham in me.
Carl Rollyson (A Real American Character: The Life of Walter Brennan (Hollywood Legends))
The conquest was not achieved without one frightful convulsion of revolt. “In this year A.D. 61”, according to Tacitus, “a severe disaster was sustained in Britain.” Suetonius, the new governor, had engaged himself deeply in the West. He transferred the operational base of the Roman army to Chester. Because it was the centre of Druid resistance he prepared to attack “the populous island of Mona [Anglesey], which had become a refuge for fugitives, and he built a fleet of flat-bottomed vessels suitable for those shallow and shifting seas. The infantry crossed in the boats, the cavalry went over by fords: where the water was too deep the men swam alongside of their horses. The enemy lined the shore, a dense host of armed men, interspersed with women clad in black like the Furies, with their hair hanging down and holding torches in their hands. Round this were Druids
Winston S. Churchill (The Birth of Britain (A History of the English Speaking Peoples #1))
Chinese learners of English, all of whom were rated as having achieved a high degree of communicative proficiency, Ding (2007) tracks the role that the rote learning of huge quantities of text played in their linguistic accomplishments. As the abstract reports, ‘The interviewees regarded text memorization and imitation as the most effective methods of learning English. They had been initially forced to use these methods but gradually came to appreciate them’ (ibid.: 271). What they memorized, as part of their conventional schooling, was entire coursebooks (New Concept English by Louis Alexander, in one case) as well as the screenplays of whole films: ‘Some of them said that when they speak English, lines from movies often naturally pop out, making others think of their English as natural and
Scott Thornbury (Big Questions in ELT)
My cousin Rebecca teaches comparative English literature at Midlands College. She’s always seeing Austen in the world around her.” “Exactly.” Theresa beamed. “Life is easier to understand when you think of it in terms of Pride and Prejudice. And all the others.” “I didn’t realize there were that many others.” She thought for a moment. “Wait, I think I saw a bit of Emma on the BBC one year.” “Wasn’t it amazing?” Theresa gripped her hand, blue eyes bright with excitement. “What was your favorite part? The dance? Or the proposal?” She searched her memory for any bit of the plot line but came up empty. “I… I liked the hats,” she said. Theresa stared for a moment, then burst into laughter. Lucy felt her face warming as curious guests turned to watch. “You liked the hats. Oh, girl.
Mary Jane Hathaway (Persuasion, Captain Wentworth and Cracklin' Cornbread (Jane Austen Takes the South, #3))
Tranquillity is one of the most beautiful and melodic of all English words, and the mere saying of it tends to induce a tranquil state. Another healing word is “serenity.” Picturize serenity as you say it. Repeat it slowly and in the mood of which the word is a symbol. Words such as these have a healing potency when used in this manner. It is also helpful to use lines from poetry or passages from the Scriptures.
Anonymous
Prior to World War II, in 1938, a German publisher was preparing to release a German-language version of The Hobbit and sent Tolkien a letter of inquiry asking him to validate his Aryan origins. In fact, the name “Tolkien” is believed to be German. The family seems to have had its roots in Saxony (modern-day Germany) but had been in England since the 18th century, when it became fervently English. As a matter of fact, while he was a boy at King Edward's School, young Ronald had helped line the route for the coronation parade of King George V. Still, Tolkien could easily have fallen back upon his father’s Germanic ancestry. Instead, he took the moral high ground. Angered, he pointed out that “Aryan” was a linguistic term, not a racial one. He then expressed regret that he had no ancestors among the “gifted” Jewish people, although he was pleased to point out that he had many Jewish friends. He was bitterly opposed to the “ignoramus” of a German leader who had usurped and perverted the northern European cultural heritage he so loved.
Wyatt North (J.R.R. Tolkien: A Life Inspired)
In Russia, they teach every school kid about the Battle of Stalingrad. Every child knows the story. One rifle between five soldiers as they charged the German lines. So long as one soldier was left to pull the trigger, losses didn’t matter. At Stalingrad, the peasants bought time for everyone else, and not just for Mother Russia, for the English and the Americans. Without Stalingrad, Hitler’s armies would have remained at strength and continued to ravage Europe.
Peter Cawdron (My Sweet Satan)
But are challenge and love enough? Not quite. All great teachers teach students how to reach the high standards. Collins and Esquith didn’t hand their students a reading list and wish them bon voyage. Collins’s students read and discussed every line of Macbeth in class. Esquith spent hours planning what chapters they would read in class. “I know which child will handle the challenge of the most difficult paragraphs, and carefully plan a passage for the shy youngster … who will begin his journey as a good reader. Nothing is left to chance.… It takes enormous energy, but to be in a room with young minds who hang on every word of a classic book and beg for more if I stop makes all the planning worthwhile.” What are they teaching the students en route? To love learning. To eventually learn and think for themselves. And to work hard on the fundamentals. Esquith’s class often met before school, after school, and on school vacations to master the fundamentals of English and math, especially as the work got harder. His motto: “There are no shortcuts.” Collins echoes that idea as she tells her class, “There is no magic here. Mrs. Collins is no miracle worker. I do not walk on water, I do not part the sea. I just love children and work harder than a lot of people, and so will you.” DeLay expected a lot from her students, but she, too, guided them there. Most students are intimidated by the idea of talent, and it keeps them in a fixed mindset. But DeLay demystified talent. One student was sure he couldn’t play a piece as fast as Itzhak Perlman. So she didn’t let him see the metronome until he had achieved it. “I know so surely that if he had been handling that metronome, as he approached that number he would have said to himself, I can never do this as fast as Itzhak Perlman, and he would have stopped himself.” Another student was intimidated by the beautiful sound made by talented violinists. “We were working on my sound, and there was this one note I played, and Miss DeLay stopped me and said, ‘Now that is a beautiful sound.’ ” She then explained how every note has to have a beautiful beginning, middle, and end, leading into the next note. And he thought, “Wow! If I can do it there, I can do it everywhere.” Suddenly the beautiful sound of Perlman made sense and was not just an overwhelming concept. When students don’t know how to do something and others do, the gap seems unbridgeable. Some educators try to reassure their students that they’re just fine as they are. Growth-minded teachers tell students the truth and then give them the tools to close the gap. As Marva Collins said to a boy who was clowning around in class, “You are in sixth grade and your reading score is 1.1. I don’t hide your scores in a folder. I tell them to you so you know what you have to do. Now your clowning days are over.” Then they got down to work.
Carol S. Dweck (Mindset: The New Psychology of Success)
I knew the Tam were already a success by the greeting I got. The women in their canoes in the middle of the lake called out loud hellos that I heard over my engine, and a few men and children came down to the beach and gave me big floppy Tam waves. A noticeable shift from the chary welcome we’d received six weeks earlier. I cut the engine and several men came and pulled the boat to shore, and without my having to say a word two swaybacked young lads with something that looked like red berries woven in their curled hair led me up a path and down a road, past a spirit house with an enormous carved face over the entryway—a lean and angry fellow with three thick bones through his nose and a wide open mouth with many sharp teeth and a snake’s head for a tongue. It was much more skilled than the Kiona’s rudimentary depictions, the lines cleaner, the colors—red, black, green, and white—far more vivid and glossy, as if the paint were still wet. We passed several of these ceremonial houses and from the doorways men called down to my guides and they called back. They took me in one direction then, as if I wouldn’t notice, turned me around and doubled back down the same road past the same houses, the lake once again in full view. Just when I thought their only plan was to parade me round town all day, they turned a corner and stopped before a large house, freshly built, with a sort of portico in front and blue-and-white cloth curtains hanging in the windows and doorway. I laughed out loud at this English tea shop encircled by pampas grass in the middle of the Territories. A few pigs were digging around the base of the ladder. From below I heard footsteps creaking the new floor. The cloth at the windows and doors puffed in and out from the movement within. ‘Hallo the house!’ I’d heard this in an American frontier film once. I waited for someone to emerge but no one did, so I climbed up and stood on the narrow porch and knocked on one of the posts. The sound was absorbed by the voices inside, quiet, nearly whispery, but insistent, like the drone of a circling aeroplane. I stepped closer and pulled the curtain aside a few inches. I was struck first by the heat, then the smell. There were at least thirty Tam in the front room, on the floor or perched oddly on chairs, in little groups or even alone, everyone with a project in front of them. Many were children and adolescents, but
Lily King (Euphoria)
Buchanan tried to whip the devil out of me. “Find your tongue, lad!” Forgive this regression, but the man hated English. He may have hated everything by then, including me, but he was uncommon prickly when it came to English. You could tell by the way he bullied it. “The bastarde English,” the old man roared. “The verie whoore of a tongue.” We did our best to mimic him note for note, gesture for gesture. He hated that, too. The verie whoore. Old Greek before Breakfast Latin by Noon himself. The point is, what English I had was beaten or twisted into me. We were orphaned and crowned before we could speak or take our first step. No father. No mother. Too many uncles. Hounds for baying. Buchanan was the most religious of my keepers, and the unkindest of spirits among them. We have been told the young queen of Scots was once his student, and that he loved her. Just before giving her over to wreckage, methinks. Pious frauds. Their wicked Jesus. Then occasion smil’d. We were thirteen. The affection of Esme Stuart was one thing, lavished, as it was, so liberally upon us, but the music of his voice was another. We empowered our cousin, gave him name, station, a new sense of gravity, height, and reach, all the toys of privilege. We were told he spoke our mother’s French, the way it flutters about your neck like a small bird. But it was his English that moved us. For the first time, there was kindness in it, charity, heat and light. We didn’t know language could do such things, that could charm with such violence, make such a disturbance in us. Our cousin was our excess, our vice, our great transgression according to some, treason according to others. They came one night and stole him from us, that is, from me. They tore me out of his arms, called me wanton. Better that bairns should weepe, they said. Barking curs. We never saw our cousin again and were never the same after. But the charm was wound up. If we say we can taste words, we are not trying to be clever. And we are an insatiable king. Try now, if you can, to understand the nature of our thoughts touching the translation, its want of a poet. We will consult with Sir Francis. He is closer to the man, some say, than a brother. English is mistress between them. There, Bacon says, is empire. There, a great Britain. Where it is dull, where the glow . . . gleam . . . where the gleam of Majestie is absent or mute . . . When occasion smiles again, we will send for the man, Shakespere. Majestie has left its print on his art. After that hideous Scottish play, his best, darkest, and most complicated characters are . . . us. Lear. Antony. Othello. Fools all. All. The English language must be the best that is in us . . . We are but names, titles, antiquities, forgotten speeches, an accident of blood and historical memory. Aye . . . but this marvelously unexceptional little man. No more of this. By the unfortunate title of this history we must, it seems, prepare ourselves for a tragedy. Some will escape. Some will not. For bully Ben can never suffer a true rival. He killed an actor once for botching his lines. Actors. Southampton waits in our chambers. We will let him. First, to our thoughts. Only then to our Lord of Southampton.
David Teems (I Ridde My Soule of Thee at Laste)
The Oxford English Dictionary traces two historical trajectories for the use of the term "cross-talk" in the late nineteenth and early twentieth centuries. One derives from theatrical stagecraft. The earliest example cited by the OED is a reference in 1909 to a "carefully rehearsed 'cross-talk' dialogue between two knock-about artistes of the Variety firmament". "Cross-talk" of this kind has roots in the nineteenth-century minstrel show olio, which featured a "cross-fire" passage in which an interlocutor, placed centermost in a line of blackface performers, served as the straight man for a rapidly paced series of jokes delivered by the "end man". The OED flags this earlier usage when explaining the related term, "cross-talker", citing a 1907 reference to "those pioneer cross-talkers, the Christy Minstrels". A common term for a particular kind of two-person comic routine (or "two act") by vaudeville performers in the early twentieth century, "cross-talk" also survives in critical commentary on later theatrical forms influenced by vaudeville or music hall traditions, as in references to the "cross-talk" in Beckett's Waiting for Godot.
Anonymous
On the sixty-fifth page the rabbis are arguing about King David and his ill-gotten wife Bathsheba, a mysterious biblical tale about which I’ve always been curious. From the fragments mentioned, it appears that Bathsheba was already married when David laid his eyes upon her, but he was so attracted to her that he deliberately sent her husband, Uriah, to the front lines so that he would be killed in war, leaving Bathsheba free to remarry. Afterward, when David had finally taken poor Bathsheba as his lawful wife, he looked into her eyes and saw in the mirror of her pupils the face of his own sin and was repulsed. After that, David refused to see Bathsheba again, and she lived the rest of her life in the king’s harem, ignored and forgotten. I now see why I’m not allowed to read the Talmud. My teachers have always told me, “David had no sins. David was a saint. It is forbidden to cast aspersions on God’s beloved son and anointed leader.” Is this the same illustrious ancestor the Talmud is referring to? Not only did David cavort with his many wives, but he had unmarried female companions as well, I discover. They are called concubines. I whisper aloud this new word, con-cu-bine, and it doesn’t sound illicit, the way it should, it only makes me think of a tall, stately tree. The concubine tree. I picture beautiful women dangling from its branches. Con-cu-bine. Bathsheba wasn’t a concubine because David honored her by taking her as his wife, but the Talmud says she was the only woman David chose who wasn’t a virgin. I think of the beautiful woman on the olive oil bottle, the extra-virgin. The rabbis say that God only intended virgins for David and that his holiness would have been defiled had he stayed with Bathsheba, who had already been married. King David is the yardstick, they say, against whom we are all measured in heaven. Really, how bad can my small stash of English books be, next to concubines? I am not aware at this moment that I have lost my innocence. I will realize it many years later. One day I will look back and understand that just as there was a moment in my life when I realized where my power lay, there was also a specific moment when I stopped believing in authority just for its own sake and started coming to my own conclusions about the world I lived in.
Deborah Feldman (Unorthodox: The Scandalous Rejection of My Hasidic Roots)
Bible in one hand, pistol in the other, the preacher sat astride a horse, his voice lifted to God’s light and a clear sky.
Charles Cordell (God's Vindictive Wrath (Divided Kingdom, #1))
Moreover, Nancy Sinatra was afflicted, as the overwhelming majority of Americans were, with monolingualism. Lana’s richer, more textured version of “Bang Bang” layered English with French and Vietnamese. Bang bang, je ne l’oublierai pas went the last line of the French version, which was echoed by Pham Duy’s Vietnamese version, We will never forget. In the pantheon of classic pop songs from Saigon, this tricolor rendition was one of the most memorable, masterfully weaving together love and violence in the enigmatic story of two lovers who, regardless of having known each other since childhood, or because of knowing each other since childhood, shoot each other down. Bang bang was the sound of memory’s pistol firing into our heads, for we could not forget love, we could not forget war, we could not forget lovers, we could not forget enemies, we could not forget home, and we could not forget Saigon. We could not forget the caramel flavor of iced coffee with coarse sugar; the bowls of noodle soup eaten while squatting on the sidewalk; the strumming of a friend’s guitar while we swayed on hammocks under coconut trees; the football matches played barefoot and shirtless in alleys, squares, parks, and meadows; the pearl chokers of morning mist draped around the mountains; the labial moistness of oysters shucked on a gritty beach; the whisper of a dewy lover saying the most seductive words in our language, anh oi; the rattle of rice being threshed; the workingmen who slept in their cyclos on the streets, kept warm only by the memories of their families; the refugees who slept on every sidewalk of every city; the slow burning of patient mosquito coils; the sweetness and firmness of a mango plucked fresh from its tree; the girls who refused to talk to us and who we only pined for more; the men who had died or disappeared; the streets and homes blown away by bombshells; the streams where we swam naked and laughing; the secret grove where we spied on the nymphs who bathed and splashed with the innocence of the birds; the shadows cast by candlelight on the walls of wattled huts; the atonal tinkle of cowbells on mud roads and country paths; the barking of a hungry dog in an abandoned village; the appetizing reek of the fresh durian one wept to eat; the sight and sound of orphans howling by the dead bodies of their mothers and fathers; the stickiness of one’s shirt by afternoon, the stickiness of one’s lover by the end of lovemaking, the stickiness of our situations; the frantic squealing of pigs running for their lives as villagers gave chase; the hills afire with sunset; the crowned head of dawn rising from the sheets of the sea; the hot grasp of our mother’s hand; and while the list could go on and on and on, the point was simply this: the most important thing we could never forget was that we could never forget. When Lana was finished, the audience clapped, whistled, and stomped, but I sat silent and stunned as she bowed and gracefully withdrew, so disarmed I could not even applaud.
Viet Thanh Nguyen (The Sympathizer)
Literally, then, is easy. It was originally one more variation on indicating truth—specifically exactness, as in “by the letter”: He took the advice literally; He meant it literally. But that can have been only a snapshot along a time line; there was never any question that literally was going to morph into other meanings. The only question was what kind. For one, literally quite predictably went beyond its original meaning into one where “by the letter” no longer makes sense except as a metaphor: We were literally the only ones there; We were literally on the brink of a depression. There are no letters involved in these statements, but literally means that the statement is true in a specific way—as in what we sometimes even refer to as “by the letter.” A next step was for literally to go personal, on a mission less to specify than to vent.
John McWhorter (Words on the Move: Why English Won't - and Can't - Sit Still (Like, Literally))
Giovanni, in love with her unabashed feminine strength and her reconciliation of love and revolution. I spent nearly every waking moment around Nikki, and I loved her dearly. But sibling relationships are often fraught with petty tortures. I hadn’t wanted to hurt her. But I had. At the time, I couldn’t understand my mother’s anger. I mean this wasn’t really a woman I was punching. This was Nikki. She could take it. Years would pass before I understood how that blow connected to my mom’s past. My mother came to the United States at the age of three. She was born in Lowe River in the tiny parish of Trelawny, Jamaica, hours away from the tourist traps that line the coast. Its swaths of deep brush and arable land made it great for farming but less appealing for honeymoons and hedonism. Lowe River was quiet, and remote, and it was home for my mother, her older brother Ralph, and my grandparents. My maternal great-grandfather Mas Fred, as he was known, would plant a coconut tree at his home in Mount Horeb, a neighboring area, for each of his kids and grandkids when they were born. My mom always bragged that hers was the tallest and strongest of the bunch. The land that Mas Fred and his wife, Miss Ros, tended had been cared for by our ancestors for generations. And it was home for my mom until her parents earned enough money to bring the family to the States to fulfill my grandfather’s dream of a theology degree from an American university. When my mom first landed in the Bronx, she was just a small child, but she was a survivor and learned quickly. She studied the other kids at school like an anthropologist, trying desperately to fit in. She started with the way she spoke. She diligently listened to the radio from the time she was old enough to turn it on and mimicked what she heard. She’d always pull back enough in her interactions with her classmates to give herself room to quietly observe them, so that when she got home she could practice imitating their accents, their idiosyncrasies, their style. Words like irie became cool. Constable became policeman. Easy-nuh became chill out. The melodic, swooping movement of her Jamaican patois was quickly replaced by the more stable cadences of American English. She jumped into the melting pot with both feet. Joy Thomas entered American University in Washington, D.C., in 1968, a year when she and her adopted homeland were both experiencing
Wes Moore (The Other Wes Moore: One Name, Two Fates)
I’m not sure anyone still says gadzooks, but it was from God’s hooks—the nails used in Jesus’s crucifixion. We can see Odds bodkins emerging from “God’s body” in Shakespeare: Henry IV, Part II has a line “God’s body! The turkeys in my pannier are quite starved.” (It’s not one of Shakespeare’s more iconic lines.) The Bard added the “cutesifying” suffix -kin later when Hamlet says, “God’s bodykins, man, much better. Use every man after his desert, and who should ’scape whipping?” Leaving off the g and y, then, yields the queer little locution Odds bodkins! we now vaguely associate with men in stockings fencing on staircases (or at least I do).
John McWhorter (Nine Nasty Words: English in the Gutter — Then, Now, and Forever)
One of my purposes was to listen, to hear speech, accent, speech rhythms, overtones, and emphasis. For speech is so much more than words and sentences. I did listen everywhere. It seemed to me that regional speech is in the process of disappearing, not gone but going. Forty years of radio and twenty years of television must have this impact. Communications must destroy localness, by a slow, inevitable process. I can remember a time when I could almost pinpoint a man’s place of origin by his speech. That is growing more difficult now and will in some foreseeable future become impossible. It is a rare house or building that is not rigged with spiky combers of the air. Radio and television speech becomes standardized, perhaps better English than we have ever used. Just as our bread, mixed and baked, packaged and sold without benefit of accident or human frailty, is uniformly good and uniformly tasteless, so will our speech become one speech. I who love words and the endless possibility of words am saddened by this inevitability. For with local accent will disappear local tempo. The idioms, the figures of speech that make language rich and full of the poetry of place and time must go. And in their place will be a national speech, wrapped and packaged, standard and tasteless. Localness is not gone but it is going. In the many years since I have listened to the land the change is very great. Traveling west along the northern routes I did not hear a truly local speech until I reached Montana. That is one of the reasons I fell in love again with Montana. The West Coast went back to packaged English. The Southwest kept a grasp but a slipping grasp on localness. Of course the deep south holds on by main strength to its regional expressions, just as it holds and treasures some other anachronisms, but no region can hold out for long against the highway, the high-tension line, and the national television. What I am mourning is perhaps not worth saving, but I regret its loss nevertheless.
John Steinbeck (Travels With Charley: In Search of America)
The most important mystery of ancient Egypt was presided over by a priesthood. That mystery concerned the annual inundation of the Nile flood plain. It was this flooding which made Egyptian agriculture, and therefore civilisation, possible. It was the centre of their society in both practical and ritual terms for many centuries; it made ancient Egypt the most stable society the world has ever seen. The Egyptian calendar itself was calculated with reference to the river, and was divided into three seasons, all of them linked to the Nile and the agricultural cycle it determined: Akhet, or the inundation, Peret, the growing season, and Shemu, the harvest. The size of the flood determined the size of the harvest: too little water and there would be famine; too much and there would be catastrophe; just the right amount and the whole country would bloom and prosper. Every detail of Egyptian life was linked to the flood: even the tax system was based on the level of the water, since it was that level which determined how prosperous the farmers were going to be in the subsequent season. The priests performed complicated rituals to divine the nature of that year’s flood and the resulting harvest. The religious elite had at their disposal a rich, emotionally satisfying mythological system; a subtle, complicated language of symbols that drew on that mythology; and a position of unchallenged power at the centre of their extraordinarily stable society, one which remained in an essentially static condition for thousands of years. But the priests were cheating, because they had something else too: they had a nilometer. This was a secret device made to measure and predict the level of flood water. It consisted of a large, permanent measuring station sited on the river, with lines and markers designed to predict the level of the annual flood. The calibrations used the water level to forecast levels of harvest from Hunger up through Suffering through to Happiness, Security and Abundance, to, in a year with too much water, Disaster. Nilometers were a – perhaps the – priestly secret. They were situated in temples where only priests were allowed access; Herodotus, who wrote the first outsider’s account of Egyptian life the fifth century BC, was told of their existence, but wasn’t allowed to see one. As late as 1810, thousands of years after the nilometers had entered use, foreigners were still forbidden access to them. Added to the accurate records of flood patters dating back centuries, the nilometer was an essential tool for control of Egypt. It had to be kept secret by the ruling class and institutions, because it was a central component of their authority. The world is full of priesthoods. The nilometer offers a good paradigm for many kinds of expertise, many varieties of religious and professional mystery. Many of the words for deliberately obfuscating nonsense come from priestly ritual: mumbo jumbo from the Mandinka word maamajomboo, a masked shamanic ceremonial dancer; hocus pocus from hoc est corpus meum in the Latin Mass. On the one hand, the elaborate language and ritual, designed to bamboozle and mystify and intimidate and add value; on the other the calculations that the pros make in private. Practitioners of almost every métier, from plumbers to chefs to nurses to teachers to police, have a gap between the way they talk to each other and they way they talk to their customers or audience. Grayson Perry is very funny on this phenomenon at work in the art world, as he described it in an interview with Brian Eno. ‘As for the language of the art world – “International Art English” – I think obfuscation was part of its purpose, to protect what in fact was probably a fairly simple philosophical point, to keep some sort of mystery around it. There was a fear that if it was made understandable, it wouldn’t seem important.
John Lanchester (How to Speak Money: What the Money People Say — And What It Really Means)
Behind my words are my hopes And behind my hopes is an angel singing my death and yours I said to her "It's the ending of a cycle and the ending of me in your life" She is now awake to the sound of nature and the angel's voice We are soaring in the approaching stars I am dreaming and cannot comprehend it I have seen the stars Dear stars: the awakening and the loss, we are born and fall Dear stars, you too are above and lost and hanging like a booklet unread yet open for us all Behind my eyes is a secret I vouched to never share it I see the selfsame eyes of my mother and my grand mother And the eyes of my great grandmother, whom I never knew but felt And so this line unto the Alef and the omega point at infinity With my eye still I see the light, the crow that sees everything and smiles And knows everything and smile We comprehend a moment through him and smile I see all around my skin and beyond I have sung one thousand songs on the electric body I have invented my self I have killed my self I am just a form of English words written by an Algerian spirit
Benarrioua Aniss (Sins of Algiers)
filet /filɛ/ nm 1. net • monter au ~ | to go up to the net • envoyer le ballon au fond des ~s | to put the ball in the back of the net • attirer or prendre qn dans ses ~s | (fig) to get sb in one's clutches • coup de ~ (par la police) raid • réussir un beau coup de ~ | to carry out a very successful raid • travailler sans ~ | (lit) to perform without a safety net; (fig) to throw away the safety net, to take risks 2. (matériau) (textile) netting [u]; (métallique) mesh [u] • ~ de coton | cotton netting 3. (de viande, poisson) fillet • ~s d'anchois | anchovy fillets • rôti de porc dans le ~ | fillet of pork for roasting 4. (flux) (d'eau) trickle; (de gaz) (léger) breath; (de fumée) wisp • un ~ de fumée s'élevait à l'horizon | a wisp of smoke rose up on the horizon • ~ de citron/cognac | (Culin) dash of lemon juice/brandy • un ~ de voix | a faint voice 5. (trait fin) rule; (Édition) (sur une couverture, reliure) fillet; (Art) thin line • assiette décorée d'un ~ doré | plate decorated with a thin gold line 6. (article) snippet 7. (d'étamine) filament 8. (de vis, d'écrou) thread 9. <Équit> (harnais) bridle
Synapse Développement (Oxford Hachette French - English Dictionary (French Edition))
But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminationswere translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.
Willis Barnstone (Ancient Greek Lyrics)
But it is said that certain memorable lines or phrases cannot be expressed in any other language. Yet it should also be said that while at times we must lose, at others we gain, and the good translator will take advantage of the text, improving upon the weaker lines of the original, while doing his best with the best. More important, it is forgotten that translation provides an opportunity for languages to interact upon each other, for one tongue to alter and enrich the possibilities of expression in another. In the past some translated works have changed both literary language and tradition: notably the Petrarchan sonnet, Luther's Bible, Judith Gautier's haiku. Milton went as naturally to the King James Version for vocabulary as Shakespeare turned to Holinshed for plots; when Rimbaud's Illuminations were translated into English, the tradition of our literature was expanded to the extent that diction and subject never before found in English were presented to us. In a word, the quality of a work in translation is dependent on the translator's skills. His forgery is not necessarily better or worse than the original or than other works in his own language; it is only necessarily different—and here the difference, if new and striking, may extend the verbal and thematic borders of his own literature. And as a corollary to his work the new poem may also be seen as an essay into literary criticism, a reading, a creative explication de texte.
Willis Barnstone (Ancient Greek Lyrics)
 Once inside, I stood in the shadows where I knew that I was out of sight and carefully peered through the windows. What I saw made my heart skip a beat. It was Franz Knüppel, making his way between some of the huge bales of rubber towards the forward part of the ship. In the dark I fumbled for the signal pistol kept in a box on the bridge for emergencies and rammed a cartridge into its chamber. Not wanting to lose sight of Knüppel, I quietly stepped out onto the wing of the bridge, all the time keeping my eye on him…. I don’t think that he knew that he had been seen, because by this time he had made his way to the bollard holding our bow lines. Still trying to stay out of sight, I quickly stepped forward and watched as he suddenly took a few steps to where he could leap across the open space between the dock and the ship. “What’s he up to?” I thought, as I saw him coming down the port side of the Farmington closing the distance between us. My heart was racing as I stepped out of the shadows and pointed the pistol at him from the bridge and said in my most convincing way, “Get off my ship or I’ll fry your ba11s with a flare!” I was so nervous that had I pulled the trigger it could well have happened. “I’m just looking for Olaf,” he lied. Acting as judge and jury I proclaimed, “The hell you are, he’s dead, you killed him and now it’s your turn!” I never saw anyone move as fast. Knüppel jumped to the dock and ran, ducking between the big bales of raw rubber. Suddenly all of the lights on the dock came on, illuminating everything within sight. The watchman having heard the commotion had thrown the master switch and now started blowing his English Bobbie’s whistle as he gave chase. I knew that the watchman was no match for Knüppel and hoped that he wouldn’t have to confront him. By now the entire Port of Harbel was awake! I could see lights going on everywhere, but Franz Knüppel, the deserter from the French Foreign Legion, eluded the watchman and disappeared into the dark. I’m glad that I didn’t have to pull the trigger because I only had one shot handy and would have had to make it count. I don’t know where Knüppel went, but the night swallowed him up!
Hank Bracker
Ticking away the moments that make up a dull day You fritter and waste the hours in an offhand way Kicking around on a piece of ground in your home town Waiting for someone or something to show you the way Tired of lying in the sunshine, staying home to watch the rain You are young and life is long, and there is time to kill today And then one day you find ten years have got behind you No one told you when to run, you missed the starting gun So you run and you run to catch up with the sun but it's sinking Racing around to come up behind you again The sun is the same in a relative way but you're older Shorter of breath and one day closer to death Every year is getting shorter never seem to find the time Plans that either come to naught or half a page of scribbled lines Hanging on in quiet desperation is the English way The time is gone, the song is over Thought I'd something more to say
Roger Waters