Grammar Love Quotes

I will love you as a thief loves a gallery and as a crow loves a murder, as a cloud loves bats and as a range loves braes. I will love you as misfortune loves orphans, as fire loves innocence and as justice loves to sit and watch while everything goes wrong. I will love you as a battlefield loves young men and as peppermints love your allergies, and I will love you as the banana peel loves the shoe of a man who was just struck by a shingle falling off a house. I will love you as a volunteer fire department loves rushing into burning buildings and as burning buildings love to chase them back out, and as a parachute loves to leave a blimp and as a blimp operator loves to chase after it. I will love you as a dagger loves a certain person’s back, and as a certain person loves to wear dagger proof tunics, and as a dagger proof tunic loves to go to a certain dry cleaning facility, and how a certain employee of a dry cleaning facility loves to stay up late with a pair of binoculars, watching a dagger factory for hours in the hopes of catching a burglar, and as a burglar loves sneaking up behind people with binoculars, suddenly realizing that she has left her dagger at home. I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguised and until every home is rebuilt from the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where we once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from slim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and now matter how I am discovered after what happens to me as I am discovering this.

My dearest, darling Sidney,' There was nothing else. Only dead white paper, blank and meaningless. A comma, followed by nothing. Death summed up by grammar.

Turning I would to I did is the grammar of growing up.

The truth was I'd given up waiting long ago. The moment had passed, the door between the lives we could have led and the lives we led had shut in our faces. Or better to say, in my face. Grammar of my life: as a rule of thumb, wherever there appears a plural, correct for singular. Should I ever let slip a royal We put me out of my misery with a swift blow to the head.

Love and translation look alike in their grammar. To love someone implies transforming their words into ours. Making an effort to understand the other person and, inevitably, to misinterpret them. To construct a precarious language together.

...I begin with songs. They provide a sort of skeleton grammar for me to flesh out. Songs of longing for future tense, songs of regret for past tense, and songs of love for present tense.

I know there's no way I can convince you this is not one of their tricks, but I don't care, I am me. My name is Valerie, I don't think I'll live much longer and I wanted to tell someone about my life. This is the only autobiography ill ever write, and god, I'm writing it on toilet paper. I was born in Nottingham in 1985, I don't remember much of those early years, but I do remember the rain. My grandmother owned a farm in Tuttlebrook, and she use to tell me that god was in the rain. I passed my 11th lesson into girl's grammar; it was at school that I met my first girlfriend, her name was Sara. It was her wrists. They were beautiful. I thought we would love each other forever. I remember our teacher telling us that is was an adolescent phase people outgrew. Sara did, I didn't. In 2002 I fell in love with a girl named Christina. That year I came out to my parents. I couldn't have done it without Chris holding my hand. My father wouldn't look at me, he told me to go and never come back. My mother said nothing. But I had only told them the truth, was that so selfish? Our integrity sells for so little, but it is all we really have. It is the very last inch of us, but within that inch, we are free. I'd always known what I wanted to do with my life, and in 2015 I starred in my first film, "The Salt Flats". It was the most important role of my life, not because of my career, but because that was how I met Ruth. The first time we kissed, I knew I never wanted to kiss any other lips but hers again. We moved to a small flat in London together. She grew Scarlet Carsons for me in our window box, and our place always smelled of roses. Those were there best years of my life. But America's war grew worse, and worse. And eventually came to London. After that there were no roses anymore. Not for anyone. I remember how the meaning of words began to change. How unfamiliar words like collateral and rendition became frightening. While things like Norse Fire and The Articles of Allegiance became powerful, I remember how different became dangerous. I still don't understand it, why they hate us so much. They took Ruth while she was out buying food. I've never cried so hard in my life. It wasn't long till they came for me.It seems strange that my life should end in such a terrible place, but for three years, I had roses, and apologized to no one. I shall die here. Every inch of me shall perish. Every inch, but one. An Inch, it is small and it is fragile, but it is the only thing the world worth having. We must never lose it or give it away. We must never let them take it from us. I hope that whoever you are, you escape this place. I hope that the world turns and that things get better. But what I hope most of all is that you understand what I mean when I tell you that even though I do not know you, and even though I may never meet you, laugh with you, cry with you, or kiss you. I love you. With all my heart, I love you. -Valerie

I love you. You are the object of my affection and the object of my sentence.

No, I'm not the best writer in the world, my grammar skills won't please every English literature student and I refuse to use the thesaurus on my laptop to make out I'm a writer who has swallowed a dictionary, but I do offer love and loyalty to those people who enjoy what I do.

Grammar, he saw, was agreement, community, consensus.

If, in the Judaic perception, the language of the Adamic was that of love, the grammars of fallen man are those of the legal code.

All of which is to say, I didn’t pay a hell of a lot of attention to grammar, and when I write it is for the love of the word, the color, like tossing paint on a canvas, and using a lot of ear and having read a bit here and there, I generally come out ok, but technically I don’t know what’s happening, nor do I care.

We can trace the communitarian fantasy that lies at the root of all humanism back to the model of a literary society, in which participation through reading the canon reveals a common love of inspiring messages. At the heart of humanism so understood we discover a cult or club fantasy: the dream of the portentous solidarity of those who have been chosen to be allowed to read. In the ancient world—indeed, until the dawn of the modern nation-states—the power of reading actually did mean something like membership of a secret elite; linguistic knowledge once counted in many places as the provenance of sorcery. In Middle English the word 'glamour' developed out of the word 'grammar'. The person who could read would be thought easily capable of other impossibilities.

Child’s creativity – indeed, the human faculty of imagination – presupposes a capacity to be alone, which itself can arise only out of basic confidence in the care of a loved one.

Love is not a verb. Love is a noun. Love’s activity is people breathing, cells dividing, a dove taking a flight. This grammar of life not all can see.

What’s strange is how many beginning writers seem to think that grammar is irrelevant, or that they are somehow above or beyond this subject more fit for a schoolchild than the future author of great literature.

He thought of the grammar of Gaelic, in which you did not say you were in love withsomeone, but that you “had love toward” her, as if itwere a physical thing you could present and hold—a bundle of tulips, a golden ring, a parcel of tenderness.

Everything I have learned about love, I learned from my mother. For it is mothers who bend, twist, flex, and break most dramatically before our uninitiated eyes. Fathers bear, conceal, inflict, sometimes vanish, so the mythology of domestic union tells us. But mothers absorb, accept, give in, all to tutor daughters in the syntax, the grammar of yearning and love.

He had loved her as deeply as she loved him, but the gift and receipt of love was a language with foreign grammar to him.

Good girls like myself need subversion. Being solemn, I aspire to comedy. Being a novelist, I aspire to the musical. Being organized, I aspire to luminous chaos. Loving the power of grammar and the fine distinctions of language, I seek the part of the mind I didn't know was there, the part 'sheer,' 'no-manfathomed,' 'cliffs of fall.

This too to remember. If a man writes clearly enough any one can see if he fakes. If he mystifies to avoid a straight statement, which is very different from breaking so-called rules of syntax or grammar to make an efffect which can be obtained in no other way, the writer takes a longer time to be known as a fake and other writers who are afflicted by the same necessity will praise him in their own defense. True mysticism should not be confused with incompetence in writing which seeks to mystify where there is no mystery but is really only the necessity to fake to cover lack of knowledge or the inability to state clearly. Mysticism implies a mystery and there are many mysteries; but incompetence is not one of them; nor is overwritten journalism made literature by the injection of a false epic qulaity. Remember this too: all bad writers are in love with the epic.

the truth is that grammar is always interesting, always useful. Mastering the logic of grammar contributes, in a mysterious way that again evokes some process of osmosis, to the logic of thought.

Love the stale glitter on your tired face and the tangled bird’s nest you call hair. Love your wobbly messiness, bad grammar, and sailor cussing flair. Love the crystals falling out of your bra and the feathers stuffed in your pocket. Love the scariness of what you know is held in your little heart locket.

Be careful of your spelling, if an o can make count cunt, what it might do to you.

In school, I hated poetry - those skinny, Malnourished poems that professors love; The bad grammar and dirty words that catch In the mouth like fishhooks, tear holes in speech. Pablo, your words are rain I run through, Grass I sleep in.

Colonialism is a terrible bane for a people upon whom it is imposed, but a blessing for a language. English's drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, it shoulder-shrug approach to spelling, its don't-worry-be-happy concern for grammar--the result was a language whose colour and wealth Henry loved.

I will love you as a drawer loves a secret compartment, and as a secret compartment loves a secret, and as a secret loves to make a person gasp, and as a gasping person loves a glass of brandy to calm their nerves, and as a glass of brandy loves to shatter on the floor, and as the noise of glass shattering loves to make someone else gasp, and as someone else gasping loves a nearby desk to lean against, even if leaning against it presses a lever that loves to open a drawer and reveal a secret compartment. I will love you until all such compartments are discovered and opened, and until all the secrets have gone gasping into the world. I will love you until all the codes and hearts have been broken and until every anagram and egg has been unscrambled. I will love you until every fire is extinguished and until every home is rebuilt form the handsomest and most susceptible of woods, and until every criminal is handcuffed by the laziest of policemen. I will love you until M. hates snakes and J. hates grammar, and I will love you until C. realizes S. is not worthy of his love and N. realizes he is not worthy of the V. I will love you until the bird hates a nest and the worm hates an apple, and until the apple hates a tree and the tree hates a nest, and until a bird hates a tree and an apple hates a nest, although honestly I cannot imagine that last occurrence no matter how hard I try. I will love you as we grow older, which has just happened, and has happened again, and happened several days ago, continuously, and then several years before that, and will continue to happen as the spinning hands of every clock and the flipping pages of every calendar mark the passage of time, except for the clocks that people have forgotten to wind and the calendars that people have forgotten to place in a highly visible area. I will love you as we find ourselves farther and farther from one another, where once we were so close that we could slip the curved straw, and the long, slender spoon, between our lips and fingers respectively. I will love you until the chances of us running into one another slip from skim to zero, and until your face is fogged by distant memory, and your memory faced by distant fog, and your fog memorized by a distant face, and your distance distanced by the memorized memory of a foggy fog. I will love you no matter where you go and who you see, no matter where you avoid and who you don’t see, and no matter who sees you avoiding where you go. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this, and no matter how I am discovered after what happens to me happens to me as I am discovering this. I will love you if you don’t marry me. I will love you if you marry someone else – your co-star, perhaps, or Y., or even O., or anyone Z. through A., even R. although sadly I believe it will be quite some time before two women can be allowed to marry – and I will love you if you have a child, and I will love you if you have two children, or three children, or even more, although I personally think three is plenty, and I will love you if you never marry at all, and never have children, and spend your years wishing you had married me after all, and I must say that on late, cold nights I prefer this scenario out of all the scenarios I have mentioned. That, Beatrice, is how I will love you even as the world goes on its wicked way.

The Grocery Checkout Proviso: The more things you care about, the more vulnerable you are. If you are part of that epicurean minority in this country that is still offended by violations of the English language, you will be slapped in the face every time you stand in line at the market. FIFTEEN ITEMS OR LESS. Caring passionately about grammar—caring passionately about anything most of humanity doesn’t care about—is like poking a giant hole in your life and letting the wind blow everything around.

I was sent to a school with bosses for teachers- no Twain, only cane; check your dick you harry, no Dickens either, No Tom Sawyers no David Copperfields only Webster, master it for grammar, the Wren with a dash of Martini-Drink deep.

The past, the present, and the future walked into a bar. It was tense.

Enforcing silence is easy. All you have to do is make it feel like the safest option. You can, for example, make speaking as unpleasant as possible, by creating an anonymous social media account to flood women with virulent personal criticism, sexual harassment, and threats. You can talk over women, or talk down to them, until they begin to doubt that they have anything worthwhile to say. You can encourage men's speech, and ignore women's, so that women will get the message that they are taking up too much room, and contributing too little value. You can nitpick a woman's actual voice—the way she writes, her grammar, her tone, her register, her accent—until she honestly believes she's bad at talking, and spends more time trying to sound 'better' than thinking about what she wants to say. And if a woman somehow makes it past all this, you can humiliate her anyway.

Maybe it’s a matter of tenses. Of grammar. Our love existed, it does exist, it will exist. On the great continuum of time, perhaps it is the tenses that will cease to be. What does the scientist in you think of that?

The pale Usher—threadbare in coat, heart, body, and brain; I see him now. He was ever dusting his old lexicons and grammars, with a queer handkerchief, mockingly embellished with all the gay flags of all the known nations of the world. He loved to dust his old grammars; it somehow mildly reminded him of his mortality.

This doctrine of total inability which declares that men are dead in sin does not mean that all men are equally bad, nor that any man is as bad as he could be, nor that anyone is entirely destitute of virtue, nor that human nature is equal in itself, nor that man’s spirit in inactive, and much less does it mean that the body is dead. What is does mean is that since the fall, man rests under the curse of sin, that he is actuated by wrong principles, and that he is wholly unable to love God, or to do anything meriting salvation. His corruption is extensive, but not necessarily intensive. It is in this sense that man, since the fall, is utterly indisposed, disabled, and made opposite to all good, wholly inclined to all evil. He possesses a fixed bias of the will against God, and instinctively and willingly and turns to evil. He is an alien by birth, and a sinner by choice. The inability under which he labors is not an inability to exercise volition, but an inability to be willing to exercise holy volitions. And it is this phase of it which led Luther to declare that ‘free will’ is an empty term, whose reality is lost; and a lost liberty, according to my grammar, is no liberty at all.

The conception of "I am not" must of necessity follow the conception of "I am," because of its grammar, as surely in this world of sorrow night follows day. The recognition of pain as such, implies the idea of pleasure, and so with all ideas. By this duality, let him remember to laugh at all times, recognize all things, resist nothing; then there is no conflict, incompatibility or compulsion as such. 

I don’t know much about grammar, but I think kale salad is what they call a “double negative.

The best way for children to learn grammar is by making them habitual readers.

These letters may have been the closest Hester Leggett ever came to romance: chattering pastiches of a young woman madly in love, and with little time for grammar.

It was my first-year Latin teacher in high school who made me who made me discover I'd fallen in love with it (grammar). It took Latin to thrust me into bona fide alliance with words in their true meaning. Learning Latin fed my love for words upon words in continuation and modification, and the beautiful, sober, accretion of a sentence. I could see the achieved sentence finally standing there, as real, intact, and built to stay as the Mississippi State Capitol at the top of my street.

Once I was asked be a seatmate on a trans-Pacific flight....what instruction he should give his fifteen-year-old daughters, who wanted to be a writer. [I said], "Tell your daughter three things." Tell her to read...Tell her to read whatever interests her, and protect her if someone declares what she's reading to be trash. No one can fathom what happens between a human being and written language. She may be paying attention to things in the words beyond anyone else's comprehension, things that feed her curiosity, her singular heart and mind. ...Second, I said, tell your daughter that she can learn a great deal about writing by reading and by studying books about grammar and the organization of ideas, but that if she wishes to write well she will have to become someone. She will have to discover her beliefs, and then speak to us from within those beliefs. If her prose doesn't come out of her belief, whatever that proves to be, she will only be passing along information, of which we are in no great need. So help her discover what she means. Finally, I said, tell your daughter to get out of town, and help her do that. I don't necessarily mean to travel to Kazakhstan, or wherever, but to learn another language, to live with people other than her own, to separate herself from the familiar. Then, when she returns, she will be better able to understand why she loves the familiar, and will give us a fresh sense of how fortunate we are to share these things. Read. Find out what you truly believe. Get away from the familiar. Every writer, I told him, will offer you thoughts about writing that are different, but these are three I trust. -- from "A Voice

Music is like spoken language, inextricable from its culture. If you don't learn a language early in life, its words will forever come out wrinkled and accented by another world, no matter how well you memorize or love the vocabulary, grammar, and cadences of a new language. This is why foreign "belly dancers" have always bothered me. The use of our music as a prop to wiggle and shimmy and jump around offends me. Eastern music is the soundtrack of me..

His mum and Benji's three older sisters only slip into the old language when they want to express great anger or eternal love, and this country simply doesn't have sufficiently flexible grammar to express which good-for-nothing part of the laziest useless donkey Benji might be, or how they love him as deeply as ten thousand wells full of gold.

Hey Kid-- so proud of you. so is emily. we wish we could be there, but here's a fat check to make up for it but dont go spending it all out on booze. call you soon. Love, the best big brother ever and Emily and Marie, too." I smiled. It was a mark of how much I loved my big brother that I found his lack of punctuation and proper grammar endearing.

I would not for the whole world diminish you. I know it is usual in these circumstances to protest—"I love you for yourself alone"—"I love you essentially"—and as you imply, my dearest, to mean by "you essentially"—lips hands and eyes. But you must know—we do know—that it is not so—dearest, I love your soul and with that your poetry—the grammar and stopping and hurrying syntax of your quick thought—quite as much essentially you as Cleopatra's hopping was essentially hers to delight Antony—more essentially, in that while all lips hands and eyes resemble each other somewhat (though yours are enchanting and also magnetic)—your thought clothed with your words is uniquely you, came with you, would vanish if you vanished—

Even if you don’t believe in God, you have to believe in narrative. Things happen, one after another, world without end. Just because you’re self-aware doesn’t mean you can change what’s happening. Eventually someone is going to break your heart. Eventually something you love is going to be taken away. And then you will fall to the floor crying. And then, however much later, it is finally happening to you: you’re falling to the floor crying thinking “I am falling to the floor crying” but there’s an element of the ridiculous to it — you knew it would happen and, even worse, while you’re on the floor crying you look at the place where the wall meets the floor and you realize you didn’t paint it very well and when you’re having sex with your next lover on this very floor they will also notice that you didn’t paint it very well and they will think less of you for it. And then you have to hold the contradictions of sobbing uncontrollably and wondering about grammar in your head at the same time.

What is writing? It’s me, the author, taking the state inside my mind and, via the gift of language, grafting it onto yours. But man invented language in order to better deceive, not inform. That state I’m transmitting is often a false one, but you judge it not by the depth of its emotion in my mind, but by the beauty and pungency of the thought in yours. Thus the best deceivers are called articulate, as they make listeners and readers fall in love with the thoughts projected into their heads. It’s the essential step in getting men to write you large checks, women to take off their clothes, and the crowd to read and repeat what you’ve thought. All with mere words: memes of meaning strung together according to grammar and good taste. Astonishing when you think about it.

Once I was asked by a seatmate on a trans-Pacific flight, a man who took the liberty of glancing repeatedly at the correspondence in my lap, what instruction he should give his fifteen-year-old daughter, who wanted to be a writer. I didn't know how to answer him, but before I could think I heard myself saying, 'Tell your daughter three things.' "Tell her to read, I said. Tell her to read whatever interests her, and protect her if someone declares what she's reading to be trash. No one can fathom what happens between a human being and written language. She may be paying attention to things in the world beyond anyone else's comprehension, things that feed her curiosity, her singular heart and mind. Tell her to read classics like The Odyssey. They've been around a long time because the patterns in them have proved endlessly useful, and, to borrow Evan Connell's observation, with a good book you never touch bottom. But warn your daughter that ideas of heroism, of love, of human duty and devotion that women have been writing about for centuries will not be available to her in this form. To find these voices she will have to search. When, on her own, she begins to ask, make her a present of George Eliot, or the travel writing of Alexandra David-Neel, or To the Lighthouse. "Second, I said, tell your daughter that she can learn a great deal about writing by reading and by studying books about grammar and the organization of ideas, but that if she wishes to write well she will have to become someone. She will have to discover her beliefs, and then speak to us from within those beliefs. If her prose doesn't come out of her belief, whatever that proves to be, she will only be passing on information, of which we are in no great need. So help her discover what she means. "Finally, I said, tell your daughter to get out of town, and help her do that. I don't necessarily mean to travel to Kazakhstan, or wherever, but to learn another language, to live with people other than her own, to separate herself from the familiar. Then, when she returns, she will be better able to understand why she loves the familiar, and will give us a fresh sense of how fortunate we are to share these things. "Read. Find out what you truly are. Get away from the familiar. Every writer, I told him, will offer you thoughts about writing that are different, but these three I trust.

[Women] complain about many clerks who attribute all sorts of faults to them and who compose works about them in rhyme, prose, and verse, criticizing their conduct in a variety of different ways. They then give these works as elementary textbooks to their young pupils at the beginning of their schooling, to provide them with exempla and received wisdom, so that they will remember this teaching when they come of age ... They accuse [women] of many ... serious vice[s] and are very critical of them, finding no excuse for them whatsoever. This is the way clerks behave day and night, composing their verse now in French, now in Latin. And they base their opinions on goodness only knows which books, which are more mendacious than a drunk. Ovid, in a book he wrote called Cures for Love, says many evil things about women, and I think he was wrong to do this. He accuses them of gross immorality, of filthy, vile, and wicked behaviour. (I disagree with him that they have such vices and promise to champion them in the fight against anyone who would like to throw down the gauntlet ...) Thus, clerks have studied this book since their early childhood as their grammar primer and then teach it to others so that no man will undertake to love a woman.

Please, for the love of books, use proper grammar when you talk.

A woman who is praying and a woman who is having fun, they both say " Oh My God", the only difference is how they pronounce it.

This is a dreadful sentence.

She was a little vulgar; sometimes she said “I seen” and “If I had’ve known.” But what would grammar matter if he really loved her?

be the half-day at the Grammar

I love the way everyone has their own scheme, their own way of reading reality, even God.

Revising the Grammar of Death If you had an iPhone and lost it, you had an iPhone. If you had a child and lost them, you have a child. Love and grief holds on to the dead just a little bit longer.

A tapestry of the obscure world, Lingering in the dark alleys of life, So anonymous but a grammar placed to perfection, A note so ever present but never read, She is the love long forgotten by the roads…

He is very good at chess,” the girl snapped, and glared at Akhmed. Grammar was the only place the girl could keep her father alive, and after amending Akhmed’s statement, she leaned back against the wall and with small, certain breaths, said is is is. Her father was the face of her morning and night, he was everything, so saturating Havaa’s world that she could no more describe him than she could the air.

Sometimes," he told her, leaning forward over the table, speaking without realizing how it would sound, "I begin with songs. They provide a sort of skeleton grammar for me to flesh out. Songs of longing for future tense, songs of regret for past tense, songs of love for the present." He blushed when he heard what he’d said, making it worse, but she took no offense; indeed, she seemed to miss any connection that might have been taken wrongly. Instead, she seemed struck by a coincidence and looked out the café window, her mouth open slightly. "Isn’t that interesting," she said, as though nothing else he’d told her so far had been, and continued thoughtfully, "I do the same thing. Have you noticed that lullabies nearly always use a lot of command form?

The word is "love," the story tells her, but she says No, that is nonsense. "Love" is a four-letter word, the story says, but Sally says, No, you are missing the point. There is no word, just words, lots and lots of them, a universe of words, galaxies of them

Maybe you have to know the darkness to truly appreciate the light.”—Madeline L’Engle “There is freedom waiting for you on the breezes of the sky. And you ask, What if I fall? Oh, but my darling, what if you fly?” —Erin Hanson “Break the rules. That’s my number one rule. I know the rules [of grammar] and I know how to break them.” “Only I can change my life. No one can do it for me.” – Carol Burnett “Darkness cannot drive out darkness; only light can do that. Hate cannot drive out hate; only love can do that.” - Dr. Martin Luther King, Jr.

Here is the short version of the Kool-Aid Fallacy: Cult … therefore Jim Jones … therefore mass suicide … therefore Kool-Aid. It’s astonishing how much of social media now revolves around simple word association sequences. Absolutely no thought goes into anything. No one ever delivers an actual argument. If they ever do attempt an argument, their punctuation, spelling, grammar, logic and general education are not up to the task, and soon dissolve into meaningless mush. But usually they just hurry on to the insults and ad hominem attacks, which is the part they love. Before long, the Kool-Aid fallacy is eagerly applied. Every argument should have a Dunning-Kruger quotient associated with it. Most people are 100% on the Dunning-Kruger scale. They imagine themselves geniuses, and geniuses dunces. As ever, they have inverted reality.

We’re encouraged to learn about economics and grammar and geography, but not to know about love. It seems strange to me, how we expect so much from love, and yet devote so little time to understanding it. Like wanting to dive into the sea but having no interest in learning how to swim.

Aubade to Langston" When the light wakes & finds again the music of brooms in Mexico, when daylight pulls our hands from grief, & hearts cleaned raw with sawdust & saltwater flood their dazzling vessels, when the catfish in the river raise their eyelids towards your face, when sweetgrass bends in waves across battlefields where sweat & sugar marry, when we hear our people wearing tongues fine with plain greeting: How You Doing, Good Morning when I pour coffee & remember my mother’s love of buttered grits, when the trains far away in memory begin to turn their engines toward a deep past of knowing, when all I want to do is burn my masks, when I see a woman walking down the street holding her mind like a leather belt, when I pluck a blues note for my lazy shadow & cast its soul from my page, when I see God’s eyes looking up at black folks flying between moonlight & museum, when I see a good-looking people who are my truest poetry, when I pick up this pencil like a flute & blow myself away from my death, I listen to you again beneath the mercy of a blue morning’s grammar. Originally published in the Southern Humanities Review, Vol. 49.3

This too to remember. If a man writes clearly enough any one can see if he fakes. If he mystifies to avoid a straight statement, which is very different from breaking so-called rules of syntax or grammar to make an effect which can be obtained in no other way, the writer takes a longer time to be known as a fake and other writers who are afflicted by the same necessity will praise him in their own defense. True mysticism should not be confused with incompetence in writing which seeks to mystify where there is no mystery but is really only the necessity to fake to cover lack of knowledge or the inability to state clearly. Mysticism implies a mystery and there are many mysteries; but incompetence is not one of them; nor is overwritten journalism made literature by the injection of a false epic quality. Remember this too: all bad writers are in love with the epic.

The Germans have another kind of parenthesis, which they make by splitting a verb in two and putting half of it at the beginning of an exciting chapter and the other half at the end of it. Can any one conceive of anything more confusing than that? These things are called “separable verbs.” The German grammar is blistered all over with separable verbs; and the wider the two portions of one of them are spread apart, the better the author of the crime is pleased with his performance. A favorite one is reiste ab—which means departed. Here is an example which I culled from a novel and reduced to English: “The trunks being now ready, he de- after kissing his mother and sisters, and once more pressing to his bosom his adored Gretchen, who, dressed in simple white muslin, with a single tuberose in the ample folds of her rich brown hair, had tottered feebly down the stairs, still pale from the terror and excitement of the past evening, but longing to lay her poor aching head yet once again upon the breast of him whom she loved more dearly than life itself, parted.” However, it is not well to dwell too much on the separable verbs. One is sure to lose his temper early; and if he sticks to the subject, and will not be warned, it will at last either soften his brain or petrify it. Personal pronouns and adjectives are a fruitful nuisance in this language, and should have been left out. For instance, the same sound, sie, means you, and it means she, and it means her, and it means it, and it means they, and it means them. Think of the ragged poverty of a language which has to make one word do the work of six—and a poor little weak thing of only three letters at that. But mainly, think of the exasperation of never knowing which of these meanings the speaker is trying to convey. This explains why, whenever a person says sie to me, I generally try to kill him, if a stranger.

English’s drive to exploit the new and the alien, its zeal in robbing words from other languages, its incapacity to feel qualms over the matter, its museum-size overabundance of vocabulary, its shoulder-shrug approach to spelling, its don’t-worry-be-happy concern for grammar—the result was a language whose colour and wealth Henry loved.

The love of knowledge is a kind of madness. In the fraction of a second which it took Ransom to decide that the creature was really talking, and while he still knew that he might be facing instant death, his imagination had leaped over every fear and hope and probability of his situation to follow the dazzling project of making a Malacandrian grammar.

He observed how his feet chose each wrong turning, working against his navigational instincts, circling and repeating, and bringing on a feverish detachment. Someone older than himself paced inside his body, someone stronger too, cut loose from the common bonds of sex, of responsibility. Looking back he would remember a brief moment when time felt mute and motionless. This hour of solitary wandering seemed a gift, and part of the gift was an old greedy grammar flapping in his ears: lost, more lost, utterly lost. He felt the fourteen days of his marriage collapsing backward and becoming an invented artifact, a curved space he must learn to fit into. Love was not protected. No, it wasn't. It sat out in the open like anything else.

Nietzsche said we will never rid ourselves of God because we have too much faith in grammar/language. Lacan said because of the religious tenets of language, religion will triumph. Chomsky, master linguist, says 'there are no skeptics. You can discuss it in a philosophy seminar but no human being can - in fact - be a skeptic.' These musings shed light on Soren K's leap to faith idea. This is more nuanced than the circular leap of faith argument he's been wrongly accused of... Soren is saying that, as we use the logic of language to express existence and purpose, we will always leap TO faith in a superior, all encompassing, loving force that guides our lives. This faith does not negate our reason. It simply implies that the reasoning of this superior force is superior to our own. Edwin Abbott crystalizes this in Flatland.

I fell in love with my country because of the stories my grandfather told me and because of our travels together through the south. He taught me history and geography, showed me maps, made me read Chilean writers, corrected my grammar and handwriting. As a teacher, he was short on patience but long on severity; my errors made him red with anger, but if he was content with my work he would reward me with a wedge of Camembert cheese,

If the mother managed to pass the child’s unconscious test by enduring the aggressive attacks without withdrawing her love in revenge, the child has to accept that she belongs to an external world. If the mother’s love is lasting, the child can develop a sense of confidence in the provision of his or her needs and a capacity to be alone. The child can go on pursue his or her own personal life without the fear of being abandoned because the child possesses the confidence that his or her needs will be met because he or she is of unique value to the mother. The same pattern then applies to adult life where an individual is able to trust himself or herself because he or she believes they are of unique value to other individuals. In becoming sure of the mother’s love, young children come to trust themselves, which makes it possible for them to be alone without anxiety.

He’s seventeen years old, and his mom wakes him early by saying his full name. She’s the only person who uses it. “Benjamin.” Everyone else calls him Benji. He stays in bed, in the smallest room in the last row house at the far end of Beartown, just before the start of the Hollows, until she comes in for the third or fourth time. When words from her homeland creep into her exhortations he gets up, because that’s when it gets serious. His mom and Benji’s three older sisters only slip into the old language when they want to express great anger or eternal love, and this country simply doesn’t have sufficiently flexible grammar to express which good-for-nothing part of the laziest useless donkey Benji might be, or how they love him as deeply as ten thousand wells full of gold. His mom can get both elements into the same sentence. It’s a remarkable language in that sense.

He nodded gratefully. It’s so odd, he thought, that still, after all this time, it feels so incomprehensible that she isn’t here. That his heart hasn’t gotten used to the fact that no giggling idiot is going to stick her finger in his mouth when he yawns, or pour flour in his pillowcase just as he’s about to go to bed. No one to argue with him. Love him. There’s no getting used to the grammar of it all. He smiled sadly and said: “Now your turn.

There is a love for structure in them that I recognize, and a desire to worship correctness that I know and I share. When I look at them, I think: to prize traditionalism above all else in a church that began in revolution is to do a great violence to it. But I feel that same ache for the past in myself: to uphold the columns of literature, grammar, the Western tradition. The English language began as an upheaval; I am not protecting it when I try to guard it against change. The Jesus Christ of it, Chaucer, walked across the water telling dirty jokes, made twenty stories stretch to feed a million people, spelled the word "cunt" five ways, performed miracles. Any innovation I put down on paper is an attempt to remind myself of this. I am not modern. I was not born to blaze new paths or bring down walls. I break form against my nature to tell myself that revolution, too, is a tradition that must be upheld.

Ever since I could remember reading, I was a fan of Horror Novels, then just an Avid reader of all things dark and deeply written or off the cuff styles and not so bland and sterile as if the grammar police forensically wrote it to be safe, then re-edited it to be even more annoyingly not from an emotion but from a text book, I love dark dark fiction that's why i write it. Some of my favorite writers are Anne Rice, Hunter S. Thompson and Clive Barker, perhaps you can sense this in my writing.

When you feel more than you can say, when words fail you, when syntax and grammar and well-constructed expressions are choked from your mind and all that's left is raw feeling, a few broken words come forth. I'd like to believe those words, when everything's stripped away, might be the key to it all. The meaning of life. I'd like to think it's possible to remain so devoted to someone's memory that fifty-nine years later, when all the noise of life is muted, the last gasp passing over your lips is that person's name.

French said: “It’s like this with us, baby. We’re coppers and everybody hates our guts. And as if we didn’t have enough trouble, we have to have you. As if we didn’t get pushed around enough by the guys in the corner offices, the City Hall gang, the day chief, the night chief, the Chamber of Commerce, His Honor the Mayor in his paneled office four times as big as the three lousy rooms the whole homicide staff has to work out of. As if we didn’t have to handle one hundred and fourteen homicides last year out of three rooms that don’t have enough chairs for the whole duty squad to sit down in at once. We spend our lives turning over dirty underwear and sniffing rotten teeth. We go up dark stairways to get a gun punk with a skinful of hop and sometimes we don’t get all the way up, and our wives wait dinner that night and all the other nights. We don’t come home any more. And nights we do come home, we come home so goddam tired we can’t eat or sleep or even read the lies the papers print about us. So we lie awake in the dark in a cheap house on a cheap street and listen to the drunks down the block having fun. And just about the time we drop off the phone rings and we get up and start all over again. Nothing we do is right, not ever. Not once. If we get a confession, we beat it out of the guy, they say, and some shyster calls us Gestapo in court and sneers at us when we muddle our grammar. If we make a mistake they put us back in uniform on Skid Row and we spend the nice cool summer evenings picking drunks out of the gutter and being yelled at by whores and taking knives away from greaseballs in zoot suits. But all that ain’t enough to make us entirely happy. We got to have you.” He stopped and drew in his breath. His face glistened a little as if with sweat. He leaned forward from his hips. “We got to have you,” he repeated. “We got to have sharpers with private licenses hiding information and dodging around corners and stirring up dust for us to breathe in. We got to have you suppressing evidence and framing set-ups that wouldn’t fool a sick baby. You wouldn’t mind me calling you a goddam cheap double-crossing keyhole peeper, would you, baby?” “You want me to mind?” I asked him. He straightened up. “I’d love it,” he said. “In spades redoubled.

a.m. Max Shepherd knew few people who loved working the graveyard shift. But for him, working nights at the institute was about as plum a job as he could have wished for. Just a year into his doctoral program, he had landed a position as research assistant to Dr. Elliot Seaborne, the noted seismologist currently heading up the Lunar Seismology Initiative. A NASA-sponsored project, the LSI was yet another component of the agency’s increasing desire to mount a return to the Moon. A new series of lunar missions had been talked about since Shepherd had been in grammar school. But since NASA had scrapped its shuttle program back in 2011, the Moon had become

The Dream" I met her as a blossom on a stem Before she ever breathed, and in that dream The mind remembers from a deeper sleep: Eye learned from eye, cold lip from sensual lip. My dream divided on a point of fire; Light hardened on the water where we were; A bird sang low; the moonlight sifted in; The water rippled, and she rippled on. She came toward me in the flowing air, A shape of change, encircled by its fire. I watched her there, between me and the moon; The bushes and the stones danced on and on; I touched her shadow when the light delayed; I turned my face away, and yet she stayed. A bird sang from the center of a tree; She loved the wind because the wind loved me. Love is not love until love’s vulnerable. She slowed to sigh, in that long interval. A small bird flew in circles where we stood; The deer came down, out of the dappled wood. All who remember, doubt. Who calls that strange? I tossed a stone, and listened to its plunge. She knew the grammar of least motion, she Lent me one virtue, and I live thereby. She held her body steady in the wind; Our shadows met, and slowly swung around; She turned the field into a glittering sea; I played in flame and water like a boy And I swayed out beyond the white seafoam; Like a wet log, I sang within a flame. In that last while, eternity’s confine,

George Washington was in love with one girl after another during his youth, but for some reason he was unsuccessful in all these early courtships. He was probably shy and awkward in the presence of Tidewater belles. He was never to become a fluent conversationalist, had not been educated in England and, comparatively speaking, was a poor young man. In fact he was not a particularly good "catch"--and the Virginia girls let him realize it. This made him so miserable that he wrote at least two unhappy love poems in a perfect welter of bad grammar and emotional tumult. These poems make him seem far from the statuesque and wooden figure of the Stuart portraits or of the Weems' fables. In fact, they reveal a most human and even pitiable young man. . . . [A]mong the other girls he courted, there must have been several who in later years wondered why they had been so cool and calculating in refusing the hand of the young man who was soon to become Virginia's greatest hero.

Just as, in the case of love, children acquire, via the continuous experience of 'maternal' care, the basic self-confidence to assert their needs in an unforced manner, adult subjects acquire, via the experience of legal recognition, the possibility of seeing their actions as the universally respected expression of their own autonomy. The idea that self-respect is for legal relations what basic self-confidence was for the love relationship is already suggested by the conceptual appropriateness of viewing rights as depersonalized symbols of social respect in just the way that love can be conceived as the affectional expression of care retained over distance. [...] What is required are conditions in which individual rights are no longer granted disparately to members of social status groups but are granted equally to all people as free beings; only then will the individual legal person be able to see in them an objectivated point of reference for the idea that he or she is recognized for having the capacity for autonomously forming judgments.

1595, Richard Field, fellow-alumnus of the King Edward grammar school in Stratford-upon-Avon, printed The lives of the noble Grecians and Romanes, compared together by that grave learned philosopher and historiographer, Plutarke of Chaeronea: translated out of Greeke into French by James Amiot, abbot of Bellozane, Bishop of Auxerre, one of the Kings privie counsell, and great Amner of France, and out of French into English, by Thomas North. This was the book that got Shakespeare thinking seriously about politics: monarchy versus republicanism versus empire; the choices we make and their tragic consequences; the conflict between public duty and private desire. He absorbed classical thought, but was not enslaved to it. Shakespeare was a thinker who always made it new, adapted his source materials, and put his own spin on them. In the case of Plutarch, he feminized the very masculine Roman world. Brutus and Caesar are seen through the prism of their wives, Portia and Calpurnia; Coriolanus through his mother, Volumnia; Mark Antony through his lover, Cleopatra. Roman women were traditionally silent, confined to the domestic sphere. Cleopatra is the very antithesis of such a woman, while Volumnia is given the full force of that supreme Ciceronian skill, a persuasive rhetorical voice.40 Timon of Athens is alone and unhappy precisely because his obsession with money has cut him off from the love of, and for, women (the only females in Timon’s strange play are two prostitutes). Paradoxically, the very masculinity of Plutarch’s version of ancient history stimulated Shakespeare into demonstrating that women are more than the equal of men. Where most thinkers among his contemporaries took the traditional view of female inferiority, he again and again wrote comedies in which the girls are smarter than the boys—Beatrice in Much Ado about Nothing, Rosalind in As You Like It, Portia in The Merchant of Venice—and tragedies in which women exercise forceful authority for good or ill (Tamora, Cleopatra, Volumnia, and Cymbeline’s Queen in his imagined antiquity, but also Queen Margaret in his rendition of the Wars of the Roses).41

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.

The classroom was too tidy. I missed the texture of the weather, the smell of cooking, the jostle of shoulders and elbows on a crowded sidewalk. In the congregation, by contrast, everything was going on at once, random, unscheduled, accompanied too much of the time by undisciplined and trivializing small talk. Babies born squalling, people dying neglected, and in between the parenthesis of birth and death, lifetimes of ambiguity: adolescents making an unholy mess of growing up and their parents muddling through as guilty bystanders. Also, of course, heroic holiness, stunningly beautiful prayers, sacrificial love surfacing from the tangled emotions in a difficult family, a song in the night, glimpses of glory, the sullen betrayal of a bored spouse quietly redeemed from years of self-imprisoned self-worship by forgiveness and grace: Father, Son, and Holy Ghost. And all of this mixed together. In this world, sin was not a word defined in a lexicon. Salvation was not a reference traced down in a concordance. Every act of sin and every event of salvation involved a personal name in a grammar of imperatives and promises in a messy community of friends and neighbors, parents and grandparents, none of whom fit a stereotype.

Even male children of affluent white families think that history as taught in high school is “too neat and rosy.” 6 African American, Native American, and Latino students view history with a special dislike. They also learn history especially poorly. Students of color do only slightly worse than white students in mathematics. If you’ll pardon my grammar, nonwhite students do more worse in English and most worse in history.7 Something intriguing is going on here: surely history is not more difficult for minorities than trigonometry or Faulkner. Students don’t even know they are alienated, only that they “don’t like social studies” or “aren’t any good at history.” In college, most students of color give history departments a wide berth. Many history teachers perceive the low morale in their classrooms. If they have a lot of time, light domestic responsibilities, sufficient resources, and a flexible principal, some teachers respond by abandoning the overstuffed textbooks and reinventing their American history courses. All too many teachers grow disheartened and settle for less. At least dimly aware that their students are not requiting their own love of history, these teachers withdraw some of their energy from their courses. Gradually they end up going through the motions, staying ahead of their students in the textbooks, covering only material that will appear on the next test. College teachers in most disciplines are happy when their students have had significant exposure to the subject before college. Not teachers in history. History professors in college routinely put down high school history courses. A colleague of mine calls his survey of American history “Iconoclasm I and II,” because he sees his job as disabusing his charges of what they learned in high school to make room for more accurate information. In no other field does this happen. Mathematics professors, for instance, know that non-Euclidean geometry is rarely taught in high school, but they don’t assume that Euclidean geometry was mistaught. Professors of English literature don’t presume that Romeo and Juliet was misunderstood in high school. Indeed, history is the only field in which the more courses students take, the stupider they become. Perhaps I do not need to convince you that American history is important. More than any other topic, it is about us. Whether one deems our present society wondrous or awful or both, history reveals how we arrived at this point. Understanding our past is central to our ability to understand ourselves and the world around us. We need to know our history, and according to sociologist C. Wright Mills, we know we do.8

Word lessons in particular, the wouldst-couldst-shouldst-have-loved kind, were kept up, with much warlike thrashing, until I had committed the whole of the French, Latin, and English grammars to memory, and in connection with reading-lessons we were called on to recite parts of them with the rules over and over again, as if all the regular and irregular incomprehensible verb stuff was poetry. In addition to all this, father made me learn so many Bible verses every day that by the time I was eleven years of age I had about three fourths of the Old Testament and all of the New by heart and by sore flesh. I could recite the New Testament from the beginning of Matthew to the end of Revelation without a single stop. The dangers of cramming and of making scholars study at home instead of letting their little brains rest were never heard of in those days. We carried our school-books home in a strap every night and committed to memory our next day’s lessons before we went to bed, and to do that we had to bend our attention as closely on our tasks as lawyers on great million-dollar cases. I can’t conceive of anything that would now enable me to concentrate my attention more fully than when I was a mere stripling boy, and it was all done by whipping,—thrashing in general. Old-fashioned Scotch teachers spent no time in seeking short roads to knowledge, or in trying any of the new-fangled psychological methods so much in vogue nowadays.

The aim is to get the students actively involved in seeking this evidence: their role is not simply to do tasks as decided by teachers, but to actively manage and understand their learning gains. This includes evaluating their own progress, being more responsible for their learning, and being involved with peers in learning together about gains in learning. If students are to become active evaluators of their own progress, teachers must provide the students with appropriate feedback so that they can engage in this task. Van den Bergh, Ros, and Beijaard (2010: 3) describe the task thus: Fostering active learning seems a very challenging and demanding task for teachers, requiring knowledge of students’ learning processes, skills in providing guidance and feedback and classroom management. The need is to engage students in this same challenging and demanding task. The suggestion in this chapter is to start lessons with helping students to understand the intention of the lesson and showing them what success might look like at the end. Many times, teachers look for the interesting beginning to a lesson – for the hook, and the motivating question. Dan Willingham (2009) has provided an excellent argument for not thinking in this way. He advocates starting with what the student is likely to think about. Interesting hooks, demonstrations, fascinating facts, and likewise may seem to be captivating (and often are), but he suggests that there are likely to be other parts of the lesson that are more suitable for the attention-grabber. The place for the attention-grabber is more likely to be at the end of the lesson, because this will help to consolidate what has been learnt. Most importantly,Willingham asks teachers to think long and hard about how to make the connection between the attention-grabber and the point that it is designed to make; preferably, that point will be the main idea from the lesson. Having too many open-ended activities (discovery learning, searching the Internet, preparing PowerPoint presentations) can make it difficult to direct students’ attention to that which matters – because they often love to explore the details, the irrelevancies, and the unimportant while doing these activities. One of Willingham's principles is that any teaching method is most useful when there is plenty of prompt feedback about whether the student is thinking about a problem in the right way. Similarly, he promotes the notion that assignments should be primarily about what the teacher wants the students to think about (not about demonstrating ‘what they know’). Students are very good at ignoring what you say (‘I value connections, deep ideas, your thoughts’) and seeing what you value (corrections to the grammar, comments on referencing, correctness or absence of facts). Thus teachers must develop a scoring rubric for any assignment before they complete the question or prompts, and show the rubric to the students so that they know what the teacher values. Such formative feedback can reinforce the ‘big ideas’ and the important understandings, and help to make the investment of

We stitched little rugs for the children to lie down on and I painted the small tables and chairs for them. The school fortunately provided all the art material that I needed, so I took advantage of this and decorated everything! My little Ursula loved being in class with me and appeared to be in seventh heaven. One day Herr Erdmann, the Nazi Civil Affairs Supervisor or Ortsgruppenleiter, came on a visitation and inspected my work. Not being familiar with titles I mistakenly addressed him as Mayor or Burgermeister. I knew that he liked me since he readily approved of nearly everything I did and offered to get almost everything I needed. He was short in stature with a baldhead, rosy cheeks, and a large white mustache. Although he was a Nazi autocrat in Bischoffsheim, he had a jolly disposition and was easy to talk to.

Expression of love does not need grammar.

I can’t ever hear a news report because he interrupts to correct the reporter’s grammar. ‘You’re supposed to be speaking English!’ he yells. ‘Learn the language! You’re supposed to be a journalist!” —Meredith, Buffalo, NY

He’s charmingly old-fashioned. He opens doors for women, seats us at the table. Wears bow ties. But he has apoplexy if someone raises his fork before the hostess or wears anything but white on the tennis court. Poor grammar makes him bleed.” —Maria, Stone Harbor, NJ

Your expression of an inner feeling of love or message in words does not need the grammar.

Turning I would to I did is the grammar of growing up.

At the hospital, an attendant brought down a wheelchair for me. Steve somehow managed, without a forklift, to get me out of the truck and into the wheelchair. The birth progressed a lot faster than it had with Bindi. I wasn’t worried because I had Steve with me, and I knew everything would be fine, as long as we were together. I pushed like an Olympic baby pusher. I should have gotten the gold for my pushing. I think I pushed until I was nearly inside out. The baby came. Steve said, “It’s a boy!” and brought him to me. I remember my son’s tiny pink mouth. He looked like a baby bird with his eyes closed and his mouth open. He immediately began feeding. Steve cried tears of joy. Once we got settled, the proud papa headed for Sunshine Coast Grammar School to tell Bindi the news. “You’ve got a little brother,” he told her. Bindi was elated, in spite of the fact that she had spent every night saying her prayers for a little sister. Steve brought her to the hospital, where she took her little brother in her arms and looked at him lovingly. “How do you know he’s a boy?” she asked. “Bindi,” Thelma said, “they’re not born with clothes on.” “I think I will name him Brian,” Bindi said. “His name is Robert,” Steve told her. “Oh, well,” Bindi said. “I’m going to call him Brian for short.” It was a Sunday, December 1, 2003, and we had all just received the best Christmas present ever. Robert Clarence Irwin. Baby Bob.

I felt mildly peculiar to be treasuring love letters for their grammar, but there was nothing else I could treasure them for.

I am the English teacher who teaches the “boring stuff”— I teach a class on grammar called Writing Skills. My students think I love grammar. That just says one thing to me: I chose the wrong profession— I should have been an actress. I don’t love grammar. Loving grammar is like loving oatmeal.

Tell me, sweetheart, what do you love best in the world right now?” Ayaana deflected: “Pate.” Delaksha said, “I never made it there. A pity.” Nioreg asked, “What’s to love?” The ideal of home, which distance amplified. Ayaana tuned into a vision of home as if she were a home-comer. Her face softened as she clothed her island in her mother’s scents and the Almighty’s stars. In Ayaana’s grammar, her listeners glimpsed Muhidin and Munira, witnessed the surge of Pate’s moonlit seas from a sand dune and smelled a jasmine infused night. Ayaana’s Pate was an antidote to desecrated worlds, so that when Ayaana finished her remembering, there was silence. She picked her chopsticks as the ocean whooshed answerless questions. Nioreg’s tough-man mask slipped. “Miss Ayaana, we shall visit your home, yes?” Delaksha took Ayaana’s hands. “Don’t let the world change you.” Delaksha was addressing both Ayaana and Pate.

She darkened his door, he lit her fire, they both burned.

If this is love, I've made a terrible mistake.

One way to find a sweetheart is to put an ad in the paper, another is to wait and see what the cat drags in.