Essay Hooks Quotes

There is nothing sane, merciful, heroic, devout, redemptive, wise, holy, loving, peaceful, joyous, righteous, gracious, remotely spiritual, or worthy of praise where mass murder is concerned. We have been in this world long enough to know that by now and to understand that nonviolent conflict resolution informed by mutual compassion is the far better option.

My, my," he said, looking the note over. "If only students would write this much in their essays. One of you has considerably worse writing than the other, so forgive me if I get anything wrong here." He cleared his throat."'So, I saw J last night,' begins the person with bad handwriting, to which the response is,'What happened,' followed by no fewer than five question marks. Understandable, since sometimes one—let alone four—just won't get the point across, eh?" The class laughed, and I noticed Mia throwing me a particularly mean smile. "The first speaker responds:'What do you think happened? We hooked up in one of the empty lounges.'“ Mr. Nagy glanced up after hearing some more giggles in the room. His British accent only added to the hilarity. "May I assume by this reaction that the use of 'hook up' pertains to the more recent, shall we say,carnal application of the term than the tamer one I grew up with?” More snickers ensued. Straightening up, I said boldly, "Yes, sir, Mr. Nagy. That would be correct, sir." A number of people in the class laughed outright. "Thank you for that confirmation, Miss Hathaway. Now, where was I? Ah yes, the other speaker then asks,'How was it?' The response is,'Good,' punctuated with a smiley face to confirm said adjective. Well. I suppose kudos are in order for the mysterious J, hmmm?'So, like, how far did you guys go?' Uh, ladies," said Mr. Nagy, "I do hope this doesn't surpass a PG rating.'Not very.We got caught.'And again, we are shown the severity of the situation, this time through the use of a not-smiling face.'What happened?' 'Dimitri showed up. He threw Jesse out and then bitched me out.'“ The class lost it, both from hearing Mr. Nagy say "bitched" and from finally getting some participants named. "Why, Mr.Zeklos, are you the aforementioned J? The one who earned a smiley face from the sloppy writer?

When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol's 'hooks' were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this 'signature' to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or 'the Hun,' as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jainas symbol for light, and well worth rescuing.

As bell hooks wrote in a 1998 essay, "Naked Without Shame," about black women's bodies and politics, "Marked by shame, projected as inherent and therefore precluding any possibility of innocence, the black female body was beyond redemption." She points out that since the time of U.S. slavery, men have benefited from positioning black women as naturally promiscuous because it absolves them of guilt when they sexually assault and rape women of color. "[I]t was impossible to ruin that which was received as inherently unworthy, tainted, and soiled," hooks wrote. Women of color, low-income women, immigrant women- these are the women who are not seen as worthy of being placed on a pedestal. It's only our perfect virgins who are valuable, worthy of discourse and worship.

We all keep certain phrases handy in our minds - Hanging on hooks just inside the door where we can grab them like a raincoat, for easy access

I sit in happy meditation on my rock, pondering, while my line dries again, upon the ways of trout and men. How like fish we are: ready, nay eager, to seize upon whatever new thing some wind of circumstance shakes down upon the river of time! And how we rue our haste, finding the gilded morsel to contain a hook.

The real criticism was directed at her turn to slavery: “back in the slave days I would’ve never been single. I am six feet tall and I am strong! I’m just saying back in the slave days my love life would have been way better. Massa would’ve hooked me up with the best brother on the plantation.” It hurts to watch the video.

and I emerge so icky and befouled and cross-eyed from the guy’s right hook that I blow what should have been a very legitimate shot at the title in the Men’s Best Legs Contest, in which I end up placing third but am told later I would have won the whole thing except for the scowl, swollen and strabismic right eye, and askew swimcap that formed a contextual backdrop too downright goofy to let the full force of my gams’ shapeliness come through to the judges.

The irony is that the kind of empathy that many women who believe themselves to be hooked up with narcissists describe themselves as having (calling themselves in contrast to their narcissist an “empath,” a “clairvoyant,” a highly sensitive person) then gets in the way of their understanding the narc at all. And at the other end of the scale, perhaps we are inclined to exaggerate our empathetic abilities when we confront strangers at the pace of the Internet.

I’ve been thinking about what this would be like, too. Ever since that night I almost kissed you on the beach back in June. Say you’re right. Say I can have any woman I want. The woman I want is you. Because you’re perky and fun. Because you’re adorable and you make me laugh all the time. And because you’re far more beautiful than you give yourself credit for. I want you, Trina. You’ve got adaptability and smarts that can’t be measured by essays and bubbled answer sheets. I don’t want a distraction. I don’t want a random hook-up. I want you.

So that no one may be deceived into supposing that there is any time, any place when anger will be of benefit, its unbridled and deranged madness must be revealed, and it must have restored to it the equipment that is its very own—the horse of torture, the cord, the gaol, the cross, the fires that encircle live bodies buried in the ground, the hook that drags along corpses as well, the different kinds of chains and of punishments, the tearing of limbs, branding of the forehead, the pits where monstrous beasts prowl: let anger be set in the midst of these implements, uttering a terrible and horrible shriek, more loathsome than all these instruments that let it vent its fury.

When I was a schoolboy in England, the old bound volumes of Kipling in the library had gilt swastikas embossed on their covers. The symbol’s “hooks” were left-handed, as opposed to the right-handed ones of the Nazi hakenkreuz, but for a boy growing up after 1945 the shock of encountering the emblem at all was a memorable one. I later learned that in the mid-1930s Kipling had caused this “signature” to be removed from all his future editions. Having initially sympathized with some of the early European fascist movements, he wanted to express his repudiation of Hitlerism (or “the Hun,” as he would perhaps have preferred to say), and wanted no part in tainting the ancient Indian rune by association. In its origin it is a Hindu and Jain symbol for light, and well worth rescuing. To

It’s not for the weak or faint of heart. It will take a toll on you. Your body will hurt. Your soul will ache. Your family life will suffer. No one will understand what you do or why you do it, but you do it. You will work nights. You will work weekends. Holidays. You will bathe the elderly, the weak. You will clean their body, their bodily fluids. You will have to know every medication, what it does, when to stop it, when to give it, and how to get it into people. You will have to know how to interpret blood tests, when the doctor must know. You will have thirty seconds to start an IV, how to hook up an EKG machine. You will need to know how to interpret tracing or when you should give or take away oxygen. You will experience joy, grief, and sorrow in a day, sometimes within the same hour. You are the glue between the patient, the family, the doctor. It’s you who will keep everyone happy, as comfortable as possible. Code blue. Trauma evaluation. Labor. Delivery. Surgery. Babies. Postpartum. Psychology. These and more will all need to be learned. And when you think you know everything, you don’t. You’re just starting. I was asked to write this essay on why

INTRODUCTION TO GENDER AND SOCIETY The Second Sex by Simone de Beauvoir A classic analysis of the Western conception of the woman. Feminism Is for Everybody by bell hooks A primer about the power and potential of feminist action. We Should All Be Feminists by Chimamanda Ngozi Adichie Feminism redefined for the twenty-first century. QUEER THEORY AND INTERSECTIONAL FEMINISM Gender Trouble by Judith Butler A classic, and groundbreaking, text about gender and the boundaries of identity. Gender Outlaw by Kate Bornstein A 1990s-era memoir of transition and nonbinary identity. This Bridge Called My Back ed. Cherríe Moraga and Gloria Anzaldúa A collection of essays about the intersections between gender, class, sexuality, and race. Sister Outsider by Audre Lorde A landmark collection of essays and speeches by a lauded black lesbian feminist. The Woman Warrior by Maxine Hong Kingston A memoir of growing up as a Chinese American woman. MODERN HISTORY How We Get Free: Black Feminism and the Combahee River Collective ed. Keeanga-Yamahtta Taylor A history of the Combahee River Collective, a group of radical black feminists operating in the 1960s and 1970s. And the Band Played On by Randy Shilts Investigative reportage about the beginning of the AIDS crisis. A Queer History of the United States by Michael Bronski An LGBT history of the United States, from 1492 to the present. CONTEMPORARY QUESTIONS Blurred Lines: Rethinking Sex, Power, and Consent on Campus by Vanessa Grigoriadis An exploration of the effects of the sexual revolution in American colleges. The End of Men: And the Rise of Women by Hanna Rosin A book about the shifting power dynamics between men and women. Bad Feminist by Roxane Gay Essays about the author’s experiences as a woman and our cultural understanding of womanhood. All the Single Ladies by Rebecca Traister An investigation into the lives of twenty-first-century unmarried women. GENDER AND SEXUALITY IN FICTION Rubyfruit Jungle by Rita Mae Brown A groundbreaking lesbian coming-of-age novel, originally published in 1973. Giovanni’s Room by James Baldwin A classic of morality and desire, set in 1950s Paris, about an American man and his relationship with an Italian bartender. Angels in America by Tony Kushner A Pulitzer Prize–winning play about the Reagan-era AIDS epidemic. Oranges Are Not the Only Fruit by Jeanette Winterson A coming-of-age and coming-out novel about a woman growing up in an evangelical household.

Boswell, like Lecky (to get back to the point of this footnote), and Gibbon before him, loved footnotes. They knew that the outer surface of truth is not smooth, welling and gathering from paragraph to shapely paragraph, but is encrusted with a rough protective bark of citations, quotations marks, italics, and foreign languages, a whole variorum crust of "ibid.'s" and "compare's" and "see's" that are the shield for the pure flow of argument as it lives for a moment in one mind. They knew the anticipatory pleasure of sensing with peripheral vision, as they turned the page, gray silt of further example and qualification waiting in tiny type at the bottom. (They were aware, more generally, of the usefulness of tiny type in enhancing the glee of reading works of obscure scholarship: typographical density forces you to crouch like Robert Hooke or Henry Gray over the busyness and intricacy of recorded truth.) They liked deciding as they read whether they would bother to consult a certain footnote or not, and whether they would read it in context, or read it before the text it hung from, as an hors d'oeuvre. The muscles of the eye, they knew, want vertical itineraries; the rectus externus and internus grow dazed waggling back and forth in the Zs taught in grade school: the footnote functions as a switch, offering the model-railroader's satisfaction of catching the march of thought with a superscripted "1" and routing it, sometimes at length, through abandoned stations and submerged, leaching tunnels. Digression—a movement away from the gradus, or upward escalation, of the argument—is sometimes the only way to be thorough, and footnotes are the only form of graphic digression sanctioned by centuries of typesetters. And yet the MLA Style Sheet I owned in college warned against lengthy, "essay-like" footnotes. Were they nuts? Where is scholarship going?

There are several reasons for this. For one thing, it’s not just that lobsters get boiled alive, it’s that you do it yourself—or at least it’s done specifically for you, on-site. 14 As mentioned, the World’s Largest Lobster Cooker, which is highlighted as an attraction in the festival’s program, is right out there on the MLF’s north grounds for everyone to see. Try to imagine a Nebraska Beef Festival 15 at which part of the festivities is watching trucks pull up and the live cattle get driven down the ramp and slaughtered right there on the World’s Largest Killing Floor or something—there’s no way. The intimacy of the whole thing is maximized at home, which of course is where most lobster gets prepared and eaten (although note already the semiconscious euphemism “prepared,” which in the case of lobsters really means killing them right there in our kitchens). The basic scenario is that we come in from the store and make our little preparations like getting the kettle filled and boiling, and then we lift the lobsters out of the bag or whatever retail container they came home in … whereupon some uncomfortable things start to happen. However stuporous a lobster is from the trip home, for instance, it tends to come alarmingly to life when placed in boiling water. If you’re tilting it from a container into the steaming kettle, the lobster will sometimes try to cling to the container’s sides or even to hook its claws over the kettle’s rim like a person trying to keep from going over the edge of a roof. And worse is when the lobster’s fully immersed. Even if you cover the kettle and turn away, you can usually hear the cover rattling and clanking as the lobster tries to push it off. Or the creature’s claws scraping the sides of the kettle as it thrashes around. The lobster, in other words, behaves very much as you or I would behave if we were plunged into boiling water (with the obvious exception of screaming 16 ). A blunter way to say this is that the lobster acts as if it’s in terrible pain, causing some cooks to leave the kitchen altogether and to take one of those little lightweight plastic oven-timers with them into another room and wait until the whole process is over.

What Berlin had created was a hybrid pop song. It had a great hook and a memorable title, and it was easy to sing. It also melded a slight melancholy, which Berlin reckoned he had learned from ‘Slavonic and Semitic folk tunes’, with the vogueish ragtime style, which is what gave it a subtle urban edge (he later wrote an essay called ‘Song and Sorrow Are Playmates’).

Even in non-heterosexual relationships, the paradigms of leader and follower often prevail, with one person assuming the role deemed feminine and another the designated masculine role. No doubt it was someone playing the role of leader who conjured up the notion that we "fall in love," that we lack choice and decision when choosing a partner because when the chemistry is present, when the click is there, it just happens—it overwhelms—it takes control. This way of thinking about love seems to be especially useful for men who are socialized via patriarchal notions of masculinity to be out of touch with what they feel. In the essay "Love and Need," Thomas Merton contends: "The expression to 'fall in love' reflects a peculiar attitude toward love and life itself—a mixture of fear, awe, fascination, and confusion. It implies suspicion, doubt, hesitation in the presence of something unavoidable, yet not fully reliable." If you do not know what you feel, then it is difficult to choose love; it is better to fall. Then you do not have to be responsible for your actions.

I will lift up my eyes to the hills, from whence cometh my help; but I will not lift up my carcass to the hills, unless it is absolutely necessary.

The purpose of the Kipling literature is to show how many extraordinary things a man may see if he is active and strides from continent to continent like the giant in my tale. But the object of my school is to show how many extraordinary things even a lazy and ordinary man may see if he can spur himself to the single activity of seeing.

Throughout this essay I stressed that feminist advocates collude in the pain of men wounded by patriarchy when they falsely represent men as always and only powerful, as always and only gaining privileges from their blind obedience to patriarchy. I emphasized that patriarchal ideology brainwashes men to believe that their domination of women is beneficial when it is not

January 2013 My Response to Andy’s Message   Andy,               I find your erotic essay charming and amusing. Are you trying to write in the style of Young? LOL!               I’ve never known you to be flagrantly descriptive in any subject matter, let alone erotica. My, oh my! You have certainly come a long way from the Andy I knew.☺               Jesting aside, you already have me hooked on your Palawan Island escapade. Please do not construe my remark as rude. Your erotic descriptions are genuinely endearing.               Love,               Young.

There are very few men who can throw a powerful uppercut or hook right up next to their own head or in front of their own sternum.

I never conceived of myself as participating in some Oedipal anxiety about literary predecessors. Perhaps this is one of the great gifts of being a feminist: you’re off the hook from all that crap.

But I also understand why Steve, who'd sewn his share of panels over the years, would fly into a rage as the end approached: 'And don't put me in that fucking quilt!' Being of a mind to have his body dumped instead on the White House lawn. The guilt had begun to seem too passive, even too nice, letting the war criminals off the hook and providing the media with far too easy a wrap up. Much neater than trying to unravel the Gordian knot of AIDS activism, the Byzantine infighting and turf protection, the in-your-face bad manners of those who wouldn't go quietly. The quilted dead made for prettier sound bites, especially effective at zeroing in on the "innocent" victims, the kids and the hemophiliacs. At the same time there began to appear a certain overview phenomenon under the general rubric of AIDS-and-the-Arts. Typically these were hand-wringing accounts of the impact of so much cultured dying, lamenting for instance the White Way silence left by Michael Bennett, the songs unsung. This litany was something of a mixed bag, bringing under the same umbrella the likes of Way Bandy and Halston, Miss Kitty and Keith Haring. Though it was surely true what Fran Lebowitz so scathingly observed If you removed all of the homosexuals and homosexual influence from what is generally regarded as American culture, you would be pretty much left with 'Let's Make a Deal.' these roundups of the arts tended to foster in the general populace ever new heights of Not me.

Contrary to what we may have been taught to think, unnecessary and unchosen suffering wounds us but need not scar us for life. It does mark us. What we allow the mark of our suffering to become is in our own hands. In his collection of essays The Fire Next Time, James Baldwin writes about suffering in the healing process, stating: “I do not mean to be sentimental about suffering—but people who cannot suffer can never grow up, can never discover who they are.” Growing up is, at heart, the process of learning to take responsibility for whatever happens in your life. To choose growth is to embrace a love that heals.

In other words, we may, by fixing our attention almost fiercely on the facts actually before us, force them to turn into adventures; force them to give up their meaning and fulfill their mysterious purpose.

Extolling the transformative power of love in his essay “Love and Need,” Merton writes: “Love is, in fact an intensification of life, a completeness, a fullness, a wholeness of life. . . . Life curves upward to a peak of intensity, a high point of value and meaning, at which all its latent creative possibility go into action and the person transcends himself or herself in encounter, response, and communion with another. It is for this that we came into the world—this communion and self-transcendence. We do not become fully human until we give ourselves to each other in love.” The teachings about love offered by Fromm, King, and Merton differ from much of today’s writing. There is always an emphasis in their work on love as an active force that should lead us into greater communion with the world. In their work, loving practice is not aimed at simply giving an individual greater life satisfaction; it is extolled as the primary way we end domination and oppression. This important politicization of love is often absent from today’s writing.

We return to some spaces in the world because we enter them and feel that they were made for us. Others, we come back to because we wish that they were. And still others pull us back despite our resistance, despite the grief they cause us, like there's some filament - fine and strong as fishing line - stretched from a hook in our cheek all the way to that ground.

I wasn’t hooked on books until I read Sista Souljah’s The Coldest Winter Ever, Clockers by Richard Price, and a few Sherman Alexie essays. Those books opened up my mind and led to me consuming more and more. My thoughts changed, I developed new ideas, and I was forever transformed. Within months, I went from a guy who solved problems by breaking a bottle over someone’s forehead to using solution-based thinking when resolving—reading instantly civilized me. And if it can work for me, I believe it can work for anybody.

Jazz musician Miles Davis once said, “If somebody told me I had only one hour to live, I’d spend it choking a white man. I’d do it nice and slow.” bell hooks, a black professor of English at City College of New York who spells her name in lower case, once wrote, “I am writing this essay sitting beside an anonymous white male that I long to murder.” Demond Washington, a star athlete at Tallassee High School in Tallassee, Alabama, got in trouble for saying over the school intercom, “I hate white people and I’m going to kill them all!” Later he said he did not mean it. Someone who probably did mean it was Maurice Heath, who heads the Philadelphia chapter of the New Black Panther party. He once told a crowd, “I hate white people—all of them! . . . You want freedom? You’re gonna have to kill some crackers! You’re gonna have to kill some of their babies!” Another one who probably meant it is Dr. Kamau Kambon, black activist and former visiting professor of Africana Studies at North Carolina State University in Raleigh. In 2005, Prof. Kambon told a panel at Howard University Law School that “white people want to kill us,” and that “we have to exterminate white people off the face of the planet to solve this problem.” In 2005, James “Jimi” Izrael, a black editorial assistant for the Lexington, Kentucky, Herald- Leader, was on a radio program to talk about Prof. Kambon. Another guest mentioned other blacks who have written about the fantasy of killing whites, and Mr. Izrael began to laugh. “Listen,” he said, “I’m laughing because if I had a dollar for every time I heard a black person [talking about] killing somebody white I’d be a millionaire.” For some, killing whites is not fantasy. Although the press was quiet about this aspect of the story, the two snipers who terrorized the Washington, DC, area in 2002 had a racial motive. Lee Malvo testified that his confederate, John Muhammad, was driven by hatred of America because of its “slavery, hypocrisy and foreign policy.” His plan was to kill six whites every day for 30 days. For a 179-day period in 1973 and 1974, a group of Black Muslim “Death Angels” kept the city of San Francisco in a panic as they killed scores of randomly-chosen “blue-eyed devils.” Some 71 deaths were eventually attributed to them. Four of an estimated 14 Death Angels were convicted of first-degree murder. Most Americans have never heard of what became known as the Zebra Killings. A 2005 analysis of crime victim surveys found that 45 percent of the violent crimes blacks committed were against whites, 43 percent against blacks, and 10 percent against Hispanics. There was therefore slightly more black-on-white than black-on-black crime. When whites committed violence they chose black victims only 3 percent of the time. Violence by whites against blacks, such as the 1998 dragging death of James Byrd, is well reported, but racial murder by blacks is little publicized. For example, in Wilkinsburg, near Philadelphia, 39-year-old Ronald Taylor killed three men and wounded two others in a 2000 rampage, in which he targeted whites. At one point, he pushed a black woman out of his way, saying “Not you, sister. I’m not going to hurt any black people. I’m just out to kill all white people.

began blogging about what I learned at NirAndFar.com, and my essays were syndicated to other sites. Readers soon began writing in with their own observations and examples.