Nonsense Words Quotes

Words do not express thoughts very well. they always become a little different immediately they are expressed, a little distorted, a little foolish. And yet it also pleases me and seems right that what is of value and wisdom to one man seems nonsense to another.

Words do not express thoughts very well; every thing immediately becomes a little different, a little distorted, a little foolish. And yet it also pleases me and seems right that what is of value and wisdom of one man seems nonsense to another.

If we communicated with something like music, we would never be misunderstood, because there is nothing in music to understand...... But until we find this new way of speaking, until we can find a nonapproximate vocabulary, nonsense words are the best thing we've got. Ifactifice is one such word.

Onward, then! To glory and some such nonsense.

When the person you love can't see your love for them beneath the painful things you say when they reject you, remember this: Love is blind.

People think boundaries and borders build nations. Nonsense-words do. Beliefs, declarations, constitutions-words. Stories. Myths. Lies. Promises. History

There is no greater power on this earth than story.” Will paced the length of the room. “People think boundaries and borders build nations. Nonsense—words do. Beliefs, declarations, constitutions—words. Stories. Myths. Lies. Promises. History.” Will grabbed the sheaf of newspaper clippings he kept in a stack on his desk. “This, and these”—he gestured to the library’s teeming shelves—“they’re a testament to the country’s rich supernatural history.

We actually killed the thing.” “Sad, I know,” she said, feeling depressed. “It was beautiful.” “It would be more beautiful if it hadn't tried to eat me.” “From my perspective,” Shallan noted, “it didn't try, it succeeded.” “Nonsense,” Kaladin said. “It didn't manage to swallow me. Doesn't count.

Now you listen to me," says Ove calmly while he carefully closes the door. "You've given birth to two children and quite soon will be squeezing out a third. You've come here from a land far away and most likely you fled war and persecution and all sorts of other nonsense. You've learned a new language and got yourself an education and you're holding together a family of obvious incompetents. And I'll be damned if I've seen you afraid of a single bloody thing in this world before now....I'm not asking for brain surgery. I'm asking you to drive a car. It's got an accelerator, a brake and a clutch. Some of the greatest twits in world history have sorted out how it works. And you will as well." And then he utters seven words, which Parvaneh will always remember as the loveliest compliment he'll ever give her. "Because you are not a complete twit.

Listen to me,” he said, his voice even and intense, “and listen well, because I’m only going to say this once. I desire you. I burn for you. I can’t sleep at night for wanting you. Even when I didn’t like you, I lusted for you. It’s the most maddening, beguiling, damnable thing, but there it is. And if I hear one more word of nonsense from your lips, I’m going to have to tie you to the bloody bed and have my way with you a hundred different ways, until you finally get it through your silly skull that you are the most beautiful and desirable woman in England, and if everyone else doesn’t see that, then they’re all bloody fools.

And this, even more wonderful and mysterious, is also true: when I read it, when I read what Julie's written, she is instantly alive again, whole and undamaged. With her words in my mind while I'm reading, she is as real as I am. Gloriously daft, drop-dead charming, full of bookish nonsense and foul language, brave and generous. She's right here. Afraid and exhausted, alone, but fighting. Flying in silver moonlight in a plane that can't be landed, stuck in the climb—alive, alive, ALIVE.

We never choose which words to use, for as long as they mean what they mean to mean, we don’t care if they make sense or nonsense.

And anyway, there is no comfort here on Earth. There is pretending, there are words, but there is no peace. Nothing is good here. Nothing. Every place you go on Earth, there is more nonsense.

Chronicler shook his head and Bast gave a frustrated sigh. "How about plays? Have you seen The Ghost and the Goosegirl or The Ha'penny King?" Chronicler frowned. "Is that the one where the king sells his crown to an orphan boy?" Bast nodded. "And the boy becomes a better king than the original. The goosegirl dresses like a countess and everyone is stunned by her grace and charm." He hesitated, struggling to find the words he wanted. "You see, there's a fundamental connection between seeming and being. Every Fae child knows this, but you mortals never seem to see. We understand how dangerous a mask can be. We all become what we pretend to be." Chronicler relaxed a bit, sensing familiar ground. "That's basic psychology. You dress a beggar in fine clothes, people treat him like a noble, and he lives up to their expectations." "That's only the smallest piece of it," Bast said. "The truth is deeper than that. It's..." Bast floundered for a moment. "It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story." Frowning, Chronicler opened his mouth, but Bast held up a hand to stop him. "No, listen. I've got it now. You meet a girl: shy, unassuming. If you tell her she's beautiful, she'll think you're sweet, but she won't believe you. She knows that beauty lies in your beholding." Bast gave a grudging shrug. "And sometimes that's enough." His eyes brightened. "But there's a better way. You show her she is beautiful. You make mirrors of your eyes, prayers of your hands against her body. It is hard, very hard, but when she truly believes you..." Bast gestured excitedly. "Suddenly the story she tells herself in her own head changes. She transforms. She isn't seen as beautiful. She is beautiful, seen." "What the hell is that supposed to mean?" Chronicler snapped. "You're just spouting nonsense now." "I'm spouting too much sense for you to understand," Bast said testily. "But you're close enough to see my point.

He looks like a poem. One of those mournfully beautiful ones with short, unfamiliar words that sound ethereal when spoken and completely nonsensical when thought.

In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.

His Omnipotence means power to do all that is intrinsically possible, not to do the intrinsically impossible. You may attribute miracles to Him, but not nonsense. This is no limit to His power. If you choose to say, ‘God can give a creature free will and at the same time withhold free will from it,’ you have not succeeded in saying anything about God: meaningless combinations of words do not suddenly acquire meaning simply because we prefix to them the two other words, 'God can.' It remains true that all things are possible with God: the intrinsic impossibilities are not things but nonentities. It is no more possible for God than for the weakest of His creatures to carry out both of two mutually exclusive alternatives; not because His power meets an obstacle, but because nonsense remains nonsense even when we talk it about God.

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

...I'm not a pie-construct, am I? What I know about pie could fill a...a little...the tiny scoop you use to eat soup.” “A spoon?” “No, that can't be right. That's ridiculous. Spoon. Get out of here with your nonsense words.

Facts are ventriloquist’s dummies. Sitting on a wise man’s knee they may be made to utter words of wisdom; elsewhere, they say nothing, or talk nonsense, or indulge in sheer diabolism.

Whenever you see the words "fat free" or "low-fat," think of the words "chemical shit storm.

I'm very much afraid I didn't mean anything but nonsense. Still, you know, words mean more than we mean to express when we use them; so a whole book ought to mean a great deal more than the writer means. So, whatever good meanings are in the book, I'm glad to accept as the meaning of the book.

Poetry And it was at that age... Poetry arrived in search of me. I don’t know, I don’t know where it came from, from winter or a river. I don’t know how or when, no, they were not voices, they were not words, nor silence, but from a street I was summoned, from the branches of night, abruptly from the others, among violent fires or returning alone, there I was without a face and it touched me. I did not know what to say, my mouth had no way with names my eyes were blind, and something started in my soul, fever or forgotten wings, and I made my own way, deciphering that fire and I wrote the first faint line, faint, without substance, pure nonsense, pure wisdom of someone who knows nothing, and suddenly I saw the heavens unfastened and open, planets, palpitating planations, shadow perforated, riddled with arrows, fire and flowers, the winding night, the universe. And I, infinitesimal being, drunk with the great starry void, likeness, image of mystery, I felt myself a pure part of the abyss, I wheeled with the stars, my heart broke free on the open sky.

Focus your attention on the quality of your words, and not the quantity, because few sensible talks attracts millions of listeners more than a thousand gibberish.

In a society in which equality is a fact, not merely a word, words of racial or sexual assault and humiliation will be nonsense syllables.

Sorin said they came to him and begged him to take them out for a girls' night. Something about getting Jen and Sally hooked up with – I think they used the words 'hot Romanian mojo', or some non-sense.” Vasile rolled his eyes. “You know how those three talk. It's like a foreign language all on its own.

Dear cat, your ears are flipped inside out, so I know you’re not listening to a word I’m not saying.

We spend our lives guessing at what's going on inside everybody else, and when we happen to get lucky and guess right, we think we 'understand.' Such nonsense. Even a monkey at a computer will type a word every now and then.

And you’re in love?” “Ma, we’ve never even kissed.” “And that has anything to do with it?” “Okay, fine. Yes, I think so. But don’t tell anyone. Don’t even repeat it to yourself.” “Why?” “Because it’s humiliating.” “Sweetheart, love is humiliating. Hasn’t anyone ever told you that?” “Who would have told me that?” “Do you know the word humiliate comes from the Latin root humus , which means ‘earth’? That’s how love is supposed to feel.” “Like hummus?” “Like earth. It ground s you. All this nonsense about love being a drug, making you feel high, that’s not real. It should hold you like the earth.” “Wow, Ma.” “What? I have a heart, don’t I?

You swore you loved me, and laughed and warned me that you would not love me forever. I did not hear you. You were speaking in a language I did not understand. Never, never, I can conceive of a love which is able to foresee its own termination. Love is its own eternity. Love is in every moment of its being: all time. It is the only glimpse we are permitted of what eternity is. So I did not hear you. The words were nonsense.

You speak baby gibberish?' asked Jack. 'Fluently. The adult-education center ran a course, and I have a lot of time on my hands.' 'So what did he say?' 'I don't know.' 'I thought you said you spoke gibberish?' 'I do. But your baby doesn't. I think he's speaking either pre-toddler nonsense, a form of infact burble or an obscure dialect of gobbledygook. In any event, I can't understand a word he's saying.' 'Oh.

Peeta crouches down on the other side of her and strokes her hair. When he begins to speak in a soft voice, it seems almost nonsensical, but the words aren’t for me. “With my paint box at home, I can make every color imaginable. Pink. As pale as a baby’s skin. Or as deep as rhubarb. Green like spring grass. Blue that shimmers like ice on water.

The depressed don’t write books. People who are happy write, people who travel, are in love, and talk and talk with the conviction that, one way or another, their words always go to the right place.” “Isn’t that how it is?” No, words rarely go to the right place, and if they do, it’s only for a very brief time. Otherwise they’re useful for speaking nonsense, as now. Or for pretending that everything is under control.

What's strange about the whole thing is that although it's riddled with nonsense, altogether it's true - Julie's told our story, mine and hers, our friendship, so truthfully. It is us. We even had the same dream at the same time. How could we have had the same dream at the same time? How can something so wonderful and mysterious be true? But it is. And this, even more wonderful and mysterious, is also true: when I read it, when I read what Julie's written, she is instantly alive again, whole and undamaged. With her words in my mind while I'm reading, she is as real as I am. Gloriously daft, drop-dead charming, full of bookish nonsense and foul language, brave and generous. She's right here. Afraid and exhausted, alone, but fighting. Flying in silver moonlight in a plane that can't be landed, stuck in the climb - alive, alive, ALIVE.

A story wearing another dress every time you hear it - what could be better? A story that grows and puts out flowers like a living thing! But look at the stories people press in books! They may last longer, yes, but they breathe only when someone opens the book. They are sound pressed between the pages, and only a voice can bring them back to life! Then they throw off sparks, Balbulus! Then they go free as birds flying out into the world. Perhaps you're right, and the paper makes them immortal. But why should I care? Will I live on, neatly pressed between the pages with my words? Nonsense! We're none of us immortal; even the finest words don't change that, do they?

My father is a fish.

People who hold important positions in society are commonly labelled "somebodies," and their inverse "nobodies"-both of which are, of course, nonsensical descriptors, for we are all, by necessity, individuals with distinct identities and comparable claims on existence. Such words are nevertheless an apt vehicle for conveying the disparate treatment accorded to different groups. Those without status are all but invisible: they are treated brusquely by others, their complexities trampled upon and their singularities ignored.

Nonsense. Balderdash. Figgldygrak. Isn’t it odd that gibberish words are often the sounds of other words, cut up and dismembered, then stitched into something like them—yet wholly unlike them at the same time?

Spoken often enough, words become [became] nonsense.

There is no greater power on this earth than story. People think boundaries and borders build nations. Nonsense--words do.

People can't hear anything except when it's nonsense. Then they hear every word. If you try to talk sense, they think you don't mean it, or don't know anything anyway, or it's not true, or it's against religion, or it's not what they are used to reading in the newspapers...

We spend our lives guessing at what’s going on inside everybody else, and when we happen to get lucky and guess right, we think we “understand.” Such nonsense. Even a monkey at a computer will type a word now and then.

Let's say that the consensus is that our species, being the higher primates, Homo Sapiens, has been on the planet for at least 100,000 years, maybe more. Francis Collins says maybe 100,000. Richard Dawkins thinks maybe a quarter-of-a-million. I'll take 100,000. In order to be a Christian, you have to believe that for 98,000 years, our species suffered and died, most of its children dying in childbirth, most other people having a life expectancy of about 25 years, dying of their teeth. Famine, struggle, bitterness, war, suffering, misery, all of that for 98,000 years. Heaven watches this with complete indifference. And then 2000 years ago, thinks 'That's enough of that. It's time to intervene,' and the best way to do this would be by condemning someone to a human sacrifice somewhere in the less literate parts of the Middle East. Don't lets appeal to the Chinese, for example, where people can read and study evidence and have a civilization. Let's go to the desert and have another revelation there. This is nonsense. It can't be believed by a thinking person. Why am I glad this is the case? To get to the point of the wrongness of Christianity, because I think the teachings of Christianity are immoral. The central one is the most immoral of all, and that is the one of vicarious redemption. You can throw your sins onto somebody else, vulgarly known as scapegoating. In fact, originating as scapegoating in the same area, the same desert. I can pay your debt if I love you. I can serve your term in prison if I love you very much. I can volunteer to do that. I can't take your sins away, because I can't abolish your responsibility, and I shouldn't offer to do so. Your responsibility has to stay with you. There's no vicarious redemption. There very probably, in fact, is no redemption at all. It's just a part of wish-thinking, and I don't think wish-thinking is good for people either. It even manages to pollute the central question, the word I just employed, the most important word of all: the word love, by making love compulsory, by saying you MUST love. You must love your neighbour as yourself, something you can't actually do. You'll always fall short, so you can always be found guilty. By saying you must love someone who you also must fear. That's to say a supreme being, an eternal father, someone of whom you must be afraid, but you must love him, too. If you fail in this duty, you're again a wretched sinner. This is not mentally or morally or intellectually healthy. And that brings me to the final objection - I'll condense it, Dr. Orlafsky - which is, this is a totalitarian system. If there was a God who could do these things and demand these things of us, and he was eternal and unchanging, we'd be living under a dictatorship from which there is no appeal, and one that can never change and one that knows our thoughts and can convict us of thought crime, and condemn us to eternal punishment for actions that we are condemned in advance to be taking. All this in the round, and I could say more, it's an excellent thing that we have absolutely no reason to believe any of it to be true.

Pretend those around you are deaf to your words. Let your actions speak and communicate your feelings and intentions. This way of living ensures the potency of your message is delivered and serves as a gauge against our verbal nonsense.

He spoke to her as if she could understand him, never in high pitch or in monosyllables, and never in nonsense words. This is milk that I am feeding you. It comes from Mordechai the milkman, whom you will meet one day. He gets the milk from a cow, which is a very strange and troubling thing if you think about it, so don't think about it . . . This is my hand that is petting your face. Some people are left-handed and some are right-handed. We don't know which you are yet, because you just sit there and let me do the handling . . . This is a kiss. It is what happens when lips are puckered and pressed against something, sometimes other lips, sometimes a cheek, sometimes something else. It depends . . . This is my heart. You are touching it with your left hand, not because you are left-handed, although you might be, but because I am holding it against my heart. What you are feeling is the beating of my heart. It is what keeps me alive.

But Spanish and English aren't different languages, only extreme dialects of Latin. It's almost possible to translate word for word. Translation from a language unrelated to English is nothing to do with equivalent words. Whenever I'd tried to do that in Chinese I'd come out with unbroken nonsense. I had to forget the English, hang the meaning up in a well-lit gallery, stare at it hard, then describe it afresh.

In the context of the English language, there were many more important words than “in.” There were fancy words, historic words, words that meant life or death. There were multi-syllabic tongue-twisters that required a sort out before speaking, and mission-critical pivotals that started wars or ended wars…and even poetic nonsensicals that were like a symphony as they left the lips. Generally speaking, “in” did not play with the big boys. In fact, it barely had much of a definition at all, and, in the course of its working life, was usually nothing but a bridge, a conduit for the heavy lifters in any given sentence. There was, however, one context in which that humble little two-letter, one-syllable jobbie was a BFD. Love. The difference between someone “loving” somebody versus being “in love” was a curb to the Grand Canyon. The head of a pin to the entire Midwest. An exhale to a hurricane.

Two similar words might lead to two similar ideas. They might also lead to the basement, which I recently converted into a dungeon/torture chamber.

Only a silly sober fool could think it; imagine gloating over such nonsense (because in one sense the drinker learns wisdom, in the words of Goethe or Blake or whichever it was "the pathway to wisdom lies through excess")

Lovers find secret places inside this violent world where they make transactions with beauty. Reason says, Nonsense. I have walked and measured the walls here. There are no places like that. Love says, There are. Reason sets up a market and begins doing business. Love has more hidden work. Hallaj steps away from the pulpit and climbs the stairs of the gallows. Lovers feel a truth inside themselves that rational people keep denying. It is reasonable to say, Surrender is just an idea that keeps people from leading their lives. Love responds, No. This thinking is what is dangerous. Using language obscures what Shams came to give. Every day the sun rises out of low word-clouds into burning silence.

There is no greater power on this earth than story." Will paced the length of the room. "People think boundaries and borders build nations. Nonsense - words. Stories. Myths. Lies. Promises. History.

I’m always intrigued by my nonsensical concern with picking out a bunch of things that look exactly alike the ones that somehow I feel are the best and belong to me. It’s that same crazy urge or superstition, or whatever it is, that makes me open a Bible in a hotel room, hoping for some great happenstance spiritual word of advice. More often than not, I hit a long passage of begats and begots, which contain little inspiration other than the fact that procreation is the highest aim of life.

Life is Beautiful? Beyond all the vicissitudes that are presented to us on this short path within this wild planet, we can say that life is beautiful. No one can ever deny that experiencing the whirlwind of emotions inside this body is a marvel, we grow with these life experiences, we strengthen ourselves and stimulate our feelings every day, in this race where the goal is imminent death sometimes we are winners and many other times we lose and the darkness surprises us and our heart is disconnected from this reality halfway and connects us to the server of the matrix once more, debugging and updating our database, erasing all those experiences within this caracara of flesh and blood, waiting to return to earth again. "Life is beautiful gentlemen" is cruel and has unfair behavior about people who looked like a bundle of light and left this platform for no apparent reason, but its nature is not similar to our consciousness and feelings, she has a script for each of us because it was programmed that way, the architects of the game of life they know perfectly well that you must experiment with all the feelings, all the emotions and evolve to go to the next levels. You can't take a quantum leap and get through the game on your own. inventing a heaven and a hell in order to transcend, that comes from our fears of our imagination not knowing what life has in store for us after life is a dilemma "rather said" the best kept secret of those who control us day by day. We are born, we grow up, we are indoctrinated in the classrooms and in the jobs, we pay our taxes, we reproduce, we enjoy the material goods that it offers us the system the marketing of disinformation, Then we get old, get sick and die. I don't like this story! It looks like a parody of Noam Chomsky, Let's go back to the beautiful description of beautiful life, it sounds better! Let's find meaning in all the nonsense that life offers us, 'Cause one way or another we're doomed to imagine that everything will be fine until the end of matter. It is almost always like that. Sometimes life becomes a real nightmare. A heartbreaking horror that we find impossible to overcome. As we grow up, we learn to know the dark side of life. The terrors that lurk in the shadows, the dangers lurking around every corner. We realize that reality is much harsher and ruthless than we ever imagined. And in those moments, when life becomes a real hell, we can do nothing but cling to our own existence, summon all our might and fight with all our might so as not to be dragged into the abyss. But sometimes, even fighting with all our might is not enough. Sometimes fate is cruel and takes away everything we care about, leaving us with nothing but pain and hopelessness. And in that moment, when all seems lost, we realize the terrible truth: life is a death trap, a macabre game in which we are doomed to lose. And so, as we sink deeper and deeper into the abyss, while the shadows envelop us and terror paralyzes us, we remember the words that once seemed to us so hopeful: life is beautiful. A cruel and heartless lie, that leads us directly to the tragic end that death always awaits us.

I no longer feel quite so alarmed when a nonsensical word in my Journal gives rise to a mental image that I cannot account for. Do not be anxious, I tell Myself. It is the House. It is the House enlarging your understanding.

Ollie-O was in a semicatatonic state, uttering nonsensical phrases like "This is not biodegradable - the downstream implications are enormous - the optics make for rough sledding - going forward -" before getting stuck on the words "epic fail," which he kept repeating.

It was the first time! Just because there weren’t fireworks the first time doesn’t mean there will never be fireworks. We’re human; we’re adults; we teach each other; we communicate; fireworks don’t just go off, wham-bang; fireworks evolve!’ Awestruck by the utter, asinine nonsense of this metaphor, everyone is still. Into the stillness, the ample woman drops the word ‘Wrong.’ Then she says it again. ‘Wrong…I’m talking about science…Pheromones.’ The woman turns to Cornelia. ‘The chemicals in his body call out. The chemicals in your body answer. It either happens or it doesn’t.’ On top of being dumb, Cornelia is dumbfounded.

To put it schematically, the claim "Everything is subjective" must be nonsense, for it would itself have to be either subjective or objective. But it can't be objective, since in that case it would be false if true. And it can't be subjective, because then it would not rule out any objective claim, including the claim that it is objectively false.

Once there was magic, wandering free in roads of sky and paths of sea and in that timeless long gone hour words of nonsense still had power doors still flew and birds still talked witches grinned and giants walked we had magic wands and magic wings and we lost our hearts to impossible things Unbelievable thoughts, unsensible ends for wizards and warriors might be friends. In a world where impossible things are true, I don't know why we forgot the spell when we lost the way how the forest fell but now we are old, we can vanish too. And I see once more the invisible track that will lead us home and take us back so find your wands and spread your wings I'll sing your love of impossible things and when you take my vanished hand, we'll both go back to that magic land where we lost our hearts several lifetimes ago when we were wizards, once.

That it was a wolf was somewhat comforting. Wolves talked occasionally. So did bears. Foxes talked all the time, particularly if you caught them in the hen house, where they would do their best to addle you with fine nonsense until they could slip out the door, and it was generally believed that all cats could talk and simply refused to do so for inscrutable reasons of their own. 

Everything to come was already in images: to find their soul, the ancients went into the desert. This is an image. The ancients lived their symbols, since the world had not yet become real for them. Thus they went into the solitude of the desert to teach us that the place of the soul is a lonely desert. There they found the abundance of visions, the fruits of the desert, the wondrous flowers of the soul. Think diligently about the images that the ancients have left behind. They show the way of what is to come. Look back at the collapse of empires, growth and death, of the desert and monasteries, they are the images of what is to come. Everything has been foretold. But who knows how to interpret it? When you say that the place of the soul is not, then it is not. But if you say that it is, then it is. Notice what the ancients said in images: the words is a creative act. The ancients said: in the beginning was the Word. Consider this and think upon it. The words that oscillate between nonsense and supreme meaning are the oldest and truest.

The notion of obligations comes before that of rights, which is subordinate and relative to the former. A right is not effectual by itself, but only in relation to the obligation to which it corresponds, the effective exercise of a right springing not from the individual who possesses it, but from other men who consider themselves as being under a certain obligation towards him. Recognition of an obligation makes it effectual. An obligation which goes unrecognized by anybody loses none of the full force of its existence. A right which goes unrecognized by anybody is not worth very much. It makes nonsense to say that men have, on the one hand, rights, and on the other hand, obligations. Such words only express differences in point of view. The actual relationship between the two is as between object and subject. A man, considered in isolation, only has duties, amongst which are certain duties towards himself. A man left alone in the universe would have no rights whatever, but he would have obligations.

America’s problem, in a word, is politicians. In two words, it’s politicians and lobbyists. In three words, it’s politicians, lobbyists, and lawyers. And finally, in four words, it’s politicians, lobbyists, lawyers, and bankers.

Do all those words mean the same thing?” gasped Milo. “Of course.” “Certainly.” “Precisely.” “Exactly.” “Yes,” they replied in order. “Well, then,” said Milo, not understanding why each one said the same thing in a slightly different way, “wouldn’t it be simpler to use just one? It would certainly make more sense.” “Nonsense.” “Ridiculous.” “Fantastic.” “Absurd.” “Bosh,” they chorused again, and continued. “We’re not interested in making sense; it’s not our job,” scolded the first. “Besides,” explained the second, “one word is as good as another—so why not use them all?

[W]hen I put Jorge in the library I did not yet know he was the murderer. He acted on his own, so to speak. And it must not be thought that this is an 'idealistic' position, as if I were saying that the characters have an autonomous life and the author, in a kind of trance, makes them behave as they themselves direct him. That kind of nonsense belongs in term papers. The fact is that the characters are obliged to act according to the laws of the world in which they live. In other words, the narrator is the prisoner of his own premises.

Music was a kind of penetration. Perhaps absorption is a less freighted word. The penetration or absorption of everything into itself. I don't know if you have ever taken LSD, but when you do so the doors of perception, as Aldous Huxley, Jim Morrison and their adherents ceaselessly remind us, swing wide open. That is actually the sort of phrase, unless you are William Blake, that only makes sense when there is some LSD actually swimming about inside you. In the cold light of the cup of coffee and banana sandwich that are beside me now it appears to be nonsense, but I expect you to know what it is taken to mean. LSD reveals the whatness of things, their quiddity, their essence. The wateriness of water is suddenly revealed to you, the carpetness of carpets, the woodness of wood, the yellowness of yellow, the fingernailness of fingernails, the allness of all, the nothingness of all, the allness of nothing. For me music gives access to everyone of these essences, but at a fraction of the social or financial cost of a drug and without the need to cry 'Wow!' all the time, which is LSD's most distressing and least endearing side effects. ...Music in the precision of its form and the mathematical tyranny of its laws, escapes into an eternity of abstraction and an absurd sublime that is everywhere and nowhere at once. The grunt of rosin-rubbed catgut, the saliva-bubble blast of a brass tube, the sweaty-fingered squeak on a guitar fret, all that physicality, all that clumsy 'music making', all that grain of human performance...transcends itself at the moment of its happening, that moment when music actually becomes, as it makes the journey from the vibrating instrument, the vibrating hi-fi speaker, as it sends those vibrations across to the human tympanum and through to the inner ear and into the brain, where the mind is set to vibrate to frequencies of its own making. The nothingness of music can be moulded by the mood of the listener into the most precise shapes or allowed to float as free as thought; music can follow the academic and theoretical pattern of its own modality or adhere to some narrative or dialectical programme imposed by a friend, a scholar or the composer himself. Music is everything and nothing. It is useless and no limit can be set to its use. Music takes me to places of illimitable sensual and insensate joy, accessing points of ecstasy that no angelic lover could ever locate, or plunging me into gibbering weeping hells of pain that no torturer could ever devise. Music makes me write this sort of maundering adolescent nonsense without embarrassment. Music is in fact the dog's bollocks. Nothing else comes close.

She was up again at that. "In love? You? Nonsense! Nonsense! Nonsense! You do not know what the word means. You are like a--like a fish, with no more love in you than a fish, and no more heart than a fish, and--" "Spare me the rest, I beg. I am very clammy, I make no doubt, but you will at least accord me more brain than a fish?

May Hegel's philosophy of absolute nonsense - three-fourths cash and one-fourth crazy fancies - continue to pass for unfathomable wisdom without anyone suggesting as an appropriate motto for his writings Shakespeare's words: "Such stuff as madmen tongue and brain not," or, as an emblematical vignette, the cuttle-fish with its ink-bag, creating a cloud of darkness around it to prevent people from seeing what it is, with the device: mea caligine tutus. - May each day bring us, as hitherto, new systems adapted for University purposes, entirely made up of words and phrases and in a learned jargon besides, which allows people to talk whole days without saying anything; and may these delights never be disturbed by the Arabian proverb: "I hear the clappering of the mill, but I see no flour." - For all this is in accordance with the age and must have its course.

The basic principle of the new education is to be that dunces and idlers must not be made to feel inferior to intelligent and industrious pupils. That would be ‘undemocratic’. These differences between the pupils—for they are obviously and nakedly individual differences—must be disguised. This can be done on various levels. At universities, examinations must be framed so that nearly all the students get good marks. Entrance examinations must be framed so that all, or nearly all, citizens can go to universities, whether they have any power (or wish) to profit by higher education or not. At schools, the children who are too stupid or lazy to learn languages and mathematics and elementary science can be set to doing the things that children used to do in their spare time. Let them, for example, make mud-pies and call it modelling. But all the time there must be no faintest hint that they are inferior to the children who are at work. Whatever nonsense they are engaged in must have—I believe the English already use the phrase—‘parity of esteem’. An even more drastic scheme is not impossible. Children who are fit to proceed to a higher class may be artificially kept back, because the others would get a trauma—Beelzebub, what a useful word!—by being left behind. The bright pupil thus remains democratically fettered to his own age-group throughout his school career, and a boy who would be capable of tackling Aeschylus or Dante sits listening to his coaeval’s attempts to spell out A CAT SAT ON THE MAT.

But I made an issue of the precise wording of the vows. I wanted liberalized ones, with no outmoded Pauline nonsense exacting from the bride the promise to 'obey' the groom. Here I put my foot down, rather in the manner of a husband determined to show at the outset who was boss. 'I'll have no obedience around here!' I said, banging the table. 'Is that clear?' 'Is it an order?' 'Yes.

If this constant sliding and hiding of meaning were true of conscious life, then we would of course never be able to speak coherently at all. If the whole of language were present to me when I spoke, then I would not be able to articulate anything at all. The ego, or consciousness, can therefore only work by repressing this turbulent activity, provisionally nailing down words on to meanings. Every now and then a word from the unconscious which I do not want insinuates itself into my discourse, and this is the famous Freudian slip of the tongue or parapraxis. But for Lacan all our discourse is in a sense a slip of the tongue: if the process of language is as slippery and ambiguous as he suggests, we can never mean precisely what we say and never say precisely what we mean. Meaning is always in some sense an approximation, a near-miss, a part-failure, mixing non-sense and non-communication into sense and dialogue.

Her fingers curled once more. She selected her next words like throwing knives. “If you think this training nonsense is going to result in you climbing into my bed, you’re delusional.” She added with a slice of a smile, “I’d sooner let in a mangy street dog.” “Oh, it’s not going to result in me climbing into your bed.” Nesta snickered, victory achieved, and had reached the stairs when he crooned, “You’ll climb into mine.” She whirled toward him, foot still suspended midair. “I’d rather rot.

You may set your mind at rest, Miss Anstruther-Wetherby." He glanced down, the planes of his face granite-hard. "I'm not marrying you because of any social stricture. That, if you consider it, is a nonsensical idea. Cynsters, as you well know, do not give a damn about social strictures. Society, as far as we're concerned, can think what it pleases—it does not rule us." "But… if that's the case—and given your reputation I can readily believe it is—why insist on marrying me?" "Because I want to." The words were delivered as the most patently obvious answer to a simple question. Honoria held on to her temper. "Because you want to?" He nodded. "That's it? Just because you want to?" The look he sent her was calculated to quell. "For a Cynster, that's a perfectly adequate reason. In fact, for a Cynster, there is no better reason." He looked ahead again; Honoria glanced at his profile. "This is ridiculous. You only set eyes on me yesterday, and now you want to marry me?" Again he nodded. "Why?" The glance he shot her was too brief for her to read. "It so happens I need a wife, and you're the perfect candidate." With that, he altered their direction and lengthened his stride even more. "I am not a racehorse." His lips thinned, but he slowed--just enough so she didn't have to run. They'd gained the graveled walk that circled the house. It took her a moment to replay his words, another to see their weakness. "That's still ridiculous. You must have half the female population of the ton waiting to catch your handkerchief every time you blow your nose." He didn't even glance her way. "At least half." "So why me?" Devil considered telling her--in graphic detail. Instead, he gritted his teeth and growled: "Because you're unique." "Unique?" Unique in that she was arguing.

What are the funniest famous last words you've ever heard?" Lost, Ryan just stared at her. Why did her brain constantly spit out nonsensical questions? "Fine be boring." She turned to Jaime, who was sprawled on the neighboring blanked, and repeated the question. "Lightning never hits the same spot twice," said Jaime. Everyone laughted. "You know any"" she asked her mate. "Pull the pin out and count to what?" said Dante. Dominic plopped himself on the ground next to Zac. "I got one: Hold my beer while I do this." Taryn raised her hand. "Hey, what does this button do?" "This doesn't taste right," said Marcus. Bracken, a Mercury Pack enforcer spoke. "It's just a flesh wound." Ally offered, "No dummy, that's a dolphin fin." "What's that red dot on your forehead?" said McKenna. Amused in spite of himself - it was after all, a completely pointless conversation - Ryan kissed her temple.

In other words, the problem of empire-building is essentially mystical. It must somehow foster the impression that a man is great in the degree that his nation is great; that a German as such is superior to a Belgian as such; an Englishman, to an Irishman; an American, to a Mexican: merely because the first-named countries are in each case more powerful than their comparatives. And people who have no individual stature whatever are willing to accept this poisonous nonsense because it gives them a sense of importance without the trouble of any personal effort.

And this, even more wonderful and mysterious, is also true: when I read it, when I read what Julie's written, she is instantly alive again, whole and undamaged. With her words in my mind while I'm reading, she is as real as I am. Gloriously daft, drop-dead charming, full of bookish nonsense and foul language, brave and generous. She's right here. Afraid and exhausted, alone, but fighting. Flying in silver moonlight in a plane that can't be landed, stuck in the climb - alive, alive, ALIVE.

Let your new energy, new thoughts, new attitude, new routine & new outlook make this time most sacred, memorable & beautiful for you & others. Let you also begin to see greater in everything & believe in unexplainable possibilities. Let you grow in ways which you never knew was possible. Darling listen – Don’t let the magic in the air get swallowed up by someone’s nonsensical thoughts, words, comments & by any kind of pressure in the air. I wish & pray that these last few days of this year be the best part of this year for you & everyone! Stay Healthy, Happy & Meaningful! Blessings!

Would it be possible, he wondered, to stand up before the world and with the utmost conviction spew out lies and nonsense? To say that windmills were knights, that a barber’s basin was a helmet, that puppets were real people? Would it be possible to persuade others to agree with what he said, even though they did not believe him? In other words, to what extent would people tolerate blasphemies if they gave them amusement? The answer is obvious, isn’t it? To any extent. For the proof is that we still read the book. It remains highly amusing to us. And that’s finally all anyone wants out of a book—to be amused.

Argentina. The word itself had lost little of its power to startle and had, due to my ignorance of the physical place it occupied on the globe, assumed a peculiar life of its own. There was the harsh Ar at the beginning, which called up gold, idols, lost cities in the jungle, which in turn led to the hushed and sinister chamber of Gen, with the bright, interrogative Tina at the end—all nonsense, of course, but then it seemed in some muddled way that name itself, one of the few concrete facts available to me, might itself be a cryptogram or clue.

There’s a nonsensical dichotomy that exists within you after you break up with someone — especially if it’s someone you loved deeply. A large part of you hopes they’ll move on, be happy, follow their dreams to the fullest. That’s the side you show the world. But a smaller part of you, whether you admit its existence or not, secretly and selfishly yearns for a reality in which that person would never move on. Never forget your love, or replace you with someone else; never be fully complete again, without you by their side. That’s the side we hide away, the innermost part of ourselves that we push down below the socially-acceptable responses to heartbreak.

At schools, the children who are too stupid or lazy to learn languages, mathematics and elementary science can be set to doing the things that children used to do in their spare time. Let them, for example, make mud pies and call it modelling. But all the time there must be no faintest hint that they are inferior to the children who are at work. Whatever nonsense they are engaged in must have—I believe the English already use the phrase—"parity of esteem." An even more drastic scheme is not impossible. Children who are fit to proceed to a higher class may be artificially kept back, because the others would get a trauma—Beelzebub, what a useful word!—by being left behind. The bright pupil thus remains democratically fettered to his own age group throughout his school career, and a boy who would be capable of tackling Aeschylus or Dante sits listening to his coeval's attempts to spell out 'A Cat Sat On A Mat'.

According to the biographical notes, Monsieur Julian Carax was twenty-seven, born with the century in Barcelona, and currently living in Paris; he wrote in French and worked at night as a professional pianist in a hostess bar. The blurb, written in the pompous, moldy style of the age, proclaimed that this was a first work of dazzling courage, the mark of a protean and trailblazing talent, and a sign of hope for the future of all of European letters. In spite of such solemn claims, the synopsis that followed suggested that the story contained some vaguely sinister elements slowly marinated in saucy melodrama, which, to the eyes of Monsieur Roquefort, was always a plus: after the classics what he most enjoyed were tales of crime, boudoir intrigue, and questionable conduct. One of the pitfalls of childhood is that one doesn't have to understand something to feel it. By the time the mind is able to comprehend what has happened, the wounds of the heart are already too deep. She laughed nervously. She had around her a burning aura of loneliness. "You remind me a bit of Julian," she said suddenly. "The way you look and your gestures. He used to do what you are doing now. He would stare at you without saying a word, and you wouldn't know what he was thinking, and so, like an idiot, you'd tell him things it would have been better to keep to yourself." "Someone once said that the moment you stop to think about whether you love someone, you've already stopped loving that person forever." I gulped down the last of my coffee and looked at her for a few moments without saying anything. I thought about how much I wanted to lose myself in those evasive eyes. I thought about the loneliness that would take hold of me that night when I said good-bye to her, once I had run out of tricks or stories to make her stay with me any longer. I thought about how little I had to offer her and how much I wanted from her. "You women listen more to your heart and less to all the nonsense," the hatter concluded sadly. "That's why you live longer." But the years went by in peace. Time goes faster the more hollow it is. Lives with no meaning go straight past you, like trains that don't stop at your station.

The poem you brought yesterday,’ said Balbulus in a bored voice as he bent over his work again, ‘it was good. You ought to write such things more often, but I know you prefer writing stories for children or songs for the Motley Folk. And why? Just for the wind to sing your words? The spoken word is nothing, it hardly lives longer than an insect! Only the written word is eternal!’ ‘Eternal?’ Fenoglio made the word sound as if there could be nothing more ridiculous in the world. ‘Nothing is eternal- and what happier fate could words have than to be sung by minstrels? Yes, of course they change the words, they sing them slightly differently every time, but isn’t that in itself wonderful? A story wearing another dress every time you hear it- what could be better? A story that grows and puts out flowers like a living thing! But look at the stories people press in books! They may last longer, yes, but they breathe only when someone opens the book. They are sound pressed between the pages, and only a voice can bring them back to life! Then they throw off sparks, Balbulus! Then they go free as birds flying out into the world. Perhaps you’re right, and the paper makes them immortal. But why should I care? Will I live on, neatly pressed between the pages with my words? Nonsense! We’re none of us immortal; even the finest words don’t change that, do they?

I don’t think of you as a typical beauty. I never once did. To me your hair mimics asphalt more than the lustrous feathers of ravens. Comparing your eyes to heavenly lights seems a stretch when they are the common color of dirt. I can’t imagine you as a tall, pole-slender image; your God-given shape is right bulky. But I never cared about such pointless things anyway. What good have trivial attributes ever done the world? When I look at you, I see you—or in other words, all of you that really matters. I see a kind heart and compassionate arms. I see a patient, gentle spirit abounding with love towards all of God’s creatures. I see the perfect blend of humility and strength of character. I see a wise intellect as well as an endearing sense of humor. I see all the qualities that make you the person I love, regardless of the bodily package you’re bound in. So forgive me if I don’t think you’re beautiful, because I find you to be far superior to that worthless and pointless nonsense the world calls beauty.

What’s strange about the whole thing is that although it’s riddled with nonsense, altogether it’s true – Julie’s told our story, mine and hers, our friendship, so truthfully. It is us. And this, even more wonderful and mysterious, is also true: when I read it, when I read what Julie’s written, she is instantly alive again, whole and undamaged. With her words in my mind while I’m reading, she is as real as I am. Gloriously daft, drop-dead charming, full of bookish nonsense and foul language, brave and generous. She’s right here. Afraid and exhausted, alone, but fighting. Flying in silver moonlight in a plane that can’t be landed, stuck in the climb – alive, alive, ALIVE.

It wasn’t about the lineup,’ he said without meaning to. ‘Normally I would say something about how everyone is free to experiment,’ Jeremy said, ‘or some tried and true nonsense about consenting adults doing what they like. But Jean, you’re nineteen. If I’m doing the math right, you were sixteen when you joined the line. That’s statutory rape any way you look at it. They never should have said yes when you asked.’ ‘I didn’t ask’ It was out before he knew it was coming, ragged with an anger that left his throat aching. Jean’s hand went up like he could somehow snatch the words back. Jeremy started to grab at him before thinking better of it and carding his fingers through his own hair instead. Jean put space between them immediately, getting out of Jeremy’s reach as fast as he could. ‘No,’ he said. ‘Don’t say anything’.

Nothing is a masterpiece - a real masterpiece - till it's about two hundred years old. A picture is like a tree or a church, you've got to let it grow into a masterpiece. Same with a poem or a new religion. They begin as a lot of funny words. Nobody knows whether they're all nonsense or a gift from heaven. And the only people who think anything of 'em are a lot of cranks or crackpots, or poor devils who don't know enough to know anything. Look at Christianity. Just a lot of floating seeds to start with, all sorts of seeds. It was a long time before one of them grew into a tree big enough to kill the rest and keep the rain off. And it's only when the tree has been cut into planks and built into a house and the house has got pretty old and about fifty generations of ordinary lumpheads who don't know a work of art from a public convenience, have been knocking nails in the kitchen beams to hang hams on, and screwing hooks in the walls for whips and guns and photographs and calendars and measuring the children on the window frames and chopping out a new cupboard under the stairs to keep the cheese and murdering their wives in the back room and burying them under the cellar flags, that it begins even to feel like a religion. And when the whole place is full of dry rot and ghosts and old bones and the shelves are breaking down with old wormy books that no one could read if they tried, and the attic floors are bulging through the servants' ceilings with old trunks and top-boots and gasoliers and dressmaker's dummies and ball frocks and dolls-houses and pony saddles and blunderbusses and parrot cages and uniforms and love letters and jugs without handles and bridal pots decorated with forget-me-nots and a piece out at the bottom, that it grows into a real old faith, a masterpiece which people can really get something out of, each for himself. And then, of course, everybody keeps on saying that it ought to be pulled down at once, because it's an insanitary nuisance.

The Tustin police seemed reluctant to publicise the racial implication of the crime. For instance, the Tustian Weekly omitted the words- I killed a jap- in their rendition of Lindberg's letter.' Wait, they did edit it. I don't get it. Why the hell would they do that?" "I am sorry" Junes looked up from the article. Margaret hold out a hand and placed it on top of his. He couldn't tell if it was trembling because his own hand was shaking pretty badly now. "Why are you sorry?" "Because you're Korean" "So?" "He was one of your people" Junseok snatched his hand away from her. Hequicklc shoved it under the table. "I'm Korean-American," he said. "But still" "Still what? This guy was Vietnamese. How is he one of my people?" "Well, both of you are Asians" Junseok stared back at her sincere eyes, then at his hand under the table. He wanted desperately to explain how non-sensical her comment was, but instead, he folded up the paper slowly and carefully. Tucking it under his arm, he got up , and whiteout saying anything to her, walked towards the exit. She called from behind, but he walked on, feeling the dirties expand inside him like a large flower. Each step quickened until he was running, running out the door and into the street, running past people and cars, running without the finest idea of what he was running from, to a place that he couldn't possibly picture in his mind.

She struggled to find words, and then all the anger she had been damming up for the last few minutes broke out. It made no difference that none of what had happened was his fault. Nor did the fact that he’d saved her, or what he had sacrificed to do it. He was a Carnevare. He was one of them. And he was preventing her from going to her sister’s aid when Zoe needed her. “The girl that Cesare killed … ,” she snapped, “her name was Lilia. She … she loved my sister. Do you understand that? Zoe has just lost the person who probably meant more to her than anything else. And Lilia sacrificed herself for me. How can you think that—” “I’d have done the same thing,” he interrupted her calmly. “I’d have died for you up on that mountain.” That took her breath away. For a moment it deprived her not only of her self-control, but of the ability to utter another syllable. After endless seconds, she stammered, “That—that’s nonsense.” “It’s the truth.” He turned his head and looked at her. “I’m in love with you, Rosa.” She hesitated, fighting for composure. “Oh, hell,” she whispered. He smiled sadly. Then neither of them said anything, until finally she took his cell phone and called Zoe.

Maxine will sometimes compliment us on our hair or other aspects of our scruffy appearance. The next day, or even later the same day, she'll send an all-caps e-mail asking why a certain form is not on her desk. This will prompt a peppy reply, one barely stifling a howl of fear: Hey Maxine! The document you want was actually put in your in-box yesterday around lunchtime. I also e-mailed it to you and Russell. Let me know if you can't find it! Thanks! Laars P.S. I'm also attaching it again as a Word doc, just in case. There's so much wrong here: the fake-vague around lunchtime, the nonsensical Thanks, the quasi-casual postscript. The exclamation points look downright psychotic.

They had to pretend because our high-ranking politician knew not a word of English (well, when he said goodbye he did risk a “Good luck”) and the high-ranking British politician knew not a word of Spanish (although she did say “Buen dίa” to me as she gave me an iron handshake). So while the former was mumbling gibberish in Spanish, inaudible to cameras and photographers, all the time keeping a broad smile trained on his guest, as if he were regaling her with interesting banter (what he said was not, however, inaudible to me: I seem to remember that he kept repeating “One, two, three, four, five, what a lovely time we’re going to have”). The latter was muttering nonsense in her own language, and smiling even more broadly than him (“Cheese,” she kept saying, which is what all English people being photographed are told to say, and then various untranslatable onomatopoeic words such as “Tweedle tweedle, biddle diddle, twit and fiddle, tweedle twang”).

And I thought how many satisfied, happy people really do exist in this world! And what a powerful force they are! Just take a look at this life of ours and you will see the arrogance and idleness of the strong, the ignorance and bestiality of the weak. Everywhere there's unspeakable poverty, overcrowding, degeneracy, drunkenness, hypocrisy and stupid lies... And yet peace and quiet reign in every house and street. Out of fifty thousand people you won't find one who is prepared to shout out loud and make a strong protest. We see people buying food in the market, eating during the day, sleeping at night-time, talking nonsense, marrying, growing old and then contentedly carting their dead off to the cemetery. But we don't hear or see those who suffer: the real tragedies of life are enacted somewhere behind the scenes. Everything is calm and peaceful and the only protest comes from statistics - and they can't talk. Figures show that so many went mad, so many bottles of vodka were emptied, so many children died from malnutrition. And clearly this kind of system is what people need. It,s obvious that the happy man feels contented only because the unhappy ones bear their burden without saying a word: if it weren't for their silence, happiness would be quite impossible. It's a kind of mass hypnosis. Someone ought to stand with a hammer at the door of every contented man, continually banging on it to remind him that there are unhappy people around and that however happy he may be at that time, sooner or later life will show him its claws and disaster will overtake him in the form of illness, poverty, bereavement and there will be no one to hear or see him. But there isn't anyone holding a hammer, so our happy man goes his own sweet way and is only gently ruffled by life's trivial cares, as an aspen is ruffled by the breeze. All's well as far as he's concerned

Sex," the driver said, "Has no one ever told you about it?" I took the New York Times from my carry-on bag and pretended to read, an act that apparently explained it all. "Ohhh," the driver said, "I understand. You do not like pussy. You like the dick. Is that it?" I brought the paper close to my face, and he stuck his arm through the little window and slapped the back of his seat. "David," he said, "David, listen to me when I am talking to you. I asked do you like the dick?" "I just work," I told him. "I work, and then I go home, and then I work some more." I was trying to set a good example, trying to be the person I'd imagined him to be, but it was a lost cause. "I fucky-fuck every day," he boasted. "Two women. I have a wife and another girl for the weekend. Two kind of pussy. Are you sure you no like to fucky-fuck?" If forced to, I can live with the word "pussy," but "fucky-fuck" was making me carsick. "That is not a real word," I told him. "You can say fuck, but fucky-fuck is just nonsense. Nobody talks that way. You will never get ahead with that kind of language." Traffic thickened because of an accident, and, as we slowed to a stop, the driver ran his tongue over his lips. "Fucky-fuck," he repeated. "I fucky-fucky-fucky fuck.

...Hell is the home of the unreal and of the seekers for happiness. It is the only refuge from heaven, which is, as I tell you, the home of the masters of reality, and from earth, which is the home of the slaves of reality. The earth is a nursery in which men and women play at being heroes and heroines, saints and sinners; but they are dragged down from their fool’s paradise by their bodies: hunger and cold and thirst, age and decay and disease, death above all, make them slaves of reality: thrice a day meals must be eaten and digested: thrice a century a new generation must be engendered: ages of faith, of romance, and of science are all driven at last to have but one prayer, “Make me a healthy animal.” But here you escape this tyranny of the flesh; for here you are not an animal at all: you are a ghost, an appearance, an illusion, a convention, deathless, ageless: in a word, bodiless. There are no social questions here, no political questions, no religious questions, best of all, perhaps, no sanitary questions. Here you call your appearance beauty, your emotions love, your sentiments heroism, your aspirations virtue, just as you did on earth; but here there are no hard facts to contradict you, no ironic contrast of your needs with your pretensions, no human comedy, nothing but a perpetual romance, a universal melodrama. As our German friend put it in his poem, “the poetically nonsensical here is good sense; and the Eternal Feminine draws us ever upward and on...

O’Brien leaned over him, deliberately bringing the worn face nearer. You are thinking, he said, that my face is old and tired. You are thinking that I talk of power, and yet I am not even able to prevent the decay of my own body. Can you not understand, Winston, that the individual is only a cell? The weariness of the cell is the vigour of the organism. Do you die when you cut your fingernails? We are priests of power, he said. God is power. But at present power is only a word so far as you are concerned. It is time for you to gather some idea of what power means. The first thing you must realise is that power is collective. The individual only has power in so far as he ceases to be an individual. You know the Party slogan: ‘Freedom is slavery’. Has it ever occurred to you that it is reversible? Slavery is freedom. Alone – free- the human being is always defeated. It must be so, because every human being is doomed to die, which is the greatest of all failures. But if he can make complete, utter submission, if he can escape from his identity, if he can merge himself in the Party so that he is the Party, then he is all-powerful and immortal. The second thing for you to realise is that power is power over human beings. Over the body – but, above all, over the mind. Power over matter – external reality, as you would call it – is not important. Already our control over matter is absolute….But how can you control matter? He burst out. You don’t even control the climate or the law of gravity. And there are disease, pain, death- O’Brien silenced him by a movement of the hand. We control matter because we control the mind. Reality is inside the skull. You will learn by degrees, Winston….But the world itself is only a speck of dust. And man is tiny-helpless! How long has he been in existence? For millions of years the earth was uninhabited…Nonsense. The earth is as old as we are, no older. How could it be older? Nothing exist except through human consciousness…

Fawcett also shared with me a passion for words and we would trawl the dictionary together and simply howl and wriggle with delight at the existence of such splendours as ‘strobile’ and ‘magniloquent’, daring and double-daring each other to use them to masters in lessons without giggling. ‘Strobile’ was a tricky one to insert naturally into conversation, since it means a kind of fir-cone, but magniloquent I did manage. I, being I, went always that little bit too far of course. There was one master who had berated me in a lesson for some tautology or other. He, as what human being wouldn’t when confronted with a lippy verbal show-off like me, delighted in seizing on opportunities to put me down. He was not, however, an English teacher, nor was he necessarily the brightest man in the world. ‘So, Fry. “A lemon yellow colour” is precipitated in your test tube is it? I think you will find, Fry, that we all know that lemons are yellow and that yellow is a colour. Try not to use thee words where one will do. Hm?’ I smarted under this, but got my revenge a week or so later. ‘Well, Fry? It’s a simple enough question. What is titration?’ ‘Well, sir…, it’s a process whereby…’ ‘Come on, come on. Either you know or you don’t.’ ‘Sorry sir, I am anxious to avoid pleonasm, but I think…’ ‘Anxious to avoid what?’ ‘Pleonasm, sir.’ ‘And what do you mean by that?’ ‘I’m sorry, sir. I meant that I had no wish to be sesquipedalian.’ ‘What?’ ‘Sesquipedalian, sir.’ ‘What are you talking about?’ I allowed a note of confusion and bewilderment to enter my voice. ‘I didn’t want to be sesquipedalian, sir! You know, pleonastic.’ ‘Look, if you’ve got something to say to me, say it. What is this pleonastic nonsense?’ ‘It means sir, using more words in a sentence than are necessary. I was anxious to avoid being tautologous, repetitive or superfluous.’ ‘Well why on earth didn’t you say so?’ ‘I’m sorry, sir. I’ll remember in future, sir.’ I stood up and turned round to face the whole form, my hand on my heart. ‘I solemnly promise in future to help sir out by using seven words where one will do. I solemnly promise to be as pleonastic, prolix and sesquipedalian as he could possibly wish.’ It is a mark of the man’s fundamental good nature that he didn’t whip out a knife there and then, slit my throat from ear to ear and trample on my body in hobnailed boots. The look he gave me showed that he came damned close to considering the idea.

I once saw a woman wearing a low-cut dress; she had a glazed look in her eyes, and she was walking the streets of Ljubljana when it was five degrees below zero. I thought she must be drunk, and I went to help her, but she refused my offer to lend her my jacket. Perhaps in her world it was summer and her body was warmed by the desire of the person waiting for her. Even if that person only existed in her delirium, she had the right to live and die as she wanted, don’t you think?” Veronika didn’t know what to say, but the madwoman’s words made sense to her. Who knows; perhaps she was the woman who had been seen half-naked walking the streets of Ljubljana? “I’m going to tell you a story,” said Zedka. “A powerful wizard, who wanted to destroy an entire kingdom, placed a magic potion in the well from which all the inhabitants drank. Whoever drank that water would go mad. “The following morning, the whole population drank from the well and they all went mad, apart from the king and his family, who had a well set aside for them alone, which the magician had not managed to poison. The king was worried and tried to control the population by issuing a series of edicts governing security and public health. The policemen and the inspectors, however, had also drunk the poisoned water, and they thought the king’s decisions were absurd and resolved to take no notice of them. “When the inhabitants of the kingdom heard these decrees, they became convinced that the king had gone mad and was now giving nonsensical orders. They marched on the castle and called for his abdication. “In despair the king prepared to step down from the throne, but the queen stopped him, saying: ‘Let us go and drink from the communal well. Then we will be the same as them.’ “And that was what they did: The king and the queen drank the water of madness and immediately began talking nonsense. Their subjects repented at once; now that the king was displaying such wisdom, why not allow him to continue ruling the country? “The country continued to live in peace, although its inhabitants behaved very differently from those of its neighbors. And the king was able to govern until the end of his days.” Veronika laughed. “You don’t seem crazy at all,” she said. “But I am, although I’m undergoing treatment since my problem is that I lack a particular chemical. While I hope that the chemical gets rid of my chronic depression, I want to continue being crazy, living my life the way I dream it, and not the way other people want it to be. Do you know what exists out there, beyond the walls of Villete?” “People who have all drunk from the same well.” “Exactly,” said Zedka. “They think they’re normal, because they all do the same thing. Well, I’m going to pretend that I have drunk from the same well as them.

The desert frightens me, I think. It looks too much like the seventh circle of hell. I'm afraid of damnation." "Why?" "Why?" Evelyn repeated, peering at Ann from behind her hand. She lay back again and closed her eyes. "I don't know. I've always supposed everyone is." "Well, they're not. I, for instance, am a hell of a lot more frightened of being saved." Evelyn chuckled. "I'm serious," Ann protested. "Virtue smells to me of rotting vegetation. Here you burn or freeze. Either way it's clean." "Sterile," Evelyn said and felt the word a laceration of her own flesh. "I wonder. It's fertility that's a dirty word for me." "Is it?" "Yes, I'm terrified of giving in, of justifying my own existence by means of simple reproduction. So many people do or try to. And there are the children, so unfulfilling after all. And they grow up to do nothing but reproduce children who will reproduce, everyone so busy reproducing that there's no time to produce anything. But it's such a temptation. It seems so natural — another dirty word for me. What's the point?" "You'd have the human race die out?" "No. We'll multiply in spite of ourselves always. We'll populate the desert. One day there will be little houses and docks all along this shore, signs of our salvation." "What would you have us do instead?" Evelyn asked. "Accept damnation," Ann said. "It has its power and its charm. And it's real." "So we should all get jobs in gambling casinos." "We all do," Ann said, her voice amused. "What do you think the University of California is? It's just a minor branch of the Establishment. The only difference is that it has to be subsidized." "Are you talking nonsense on purpose?" "No, I'm serious." "You think nothing has any value?" "No, I think everything has value, absolute value, a child, a house, a day's work, the sky. But nothing will save us. We were never meant to be saved." "What were we meant for then?" "To love the whole damned world," Ann said… "I live in the desert of the heart," Evelyn said quietly, "I can't love the whole damned world." 'Love me, Evelyn.' 'I do.

I BELIEVE THAT we know much more about God than we admit that we know, than perhaps we altogether know that we know. God speaks to us, I would say, much more often than we realize or than we choose to realize. Before the sun sets every evening, he speaks to each of us in an intensely personal and unmistakable way. His message is not written out in starlight, which in the long run would make no difference; rather it is written out for each of us in the humdrum, helter-skelter events of each day; it is a message that in the long run might just make all the difference. Who knows what he will say to me today or to you today or into the midst of what kind of unlikely moment he will choose to say it. Not knowing is what makes today a holy mystery as every day is a holy mystery. But I believe that there are some things that by and large God is always saying to each of us. Each of us, for instance, carries around inside himself, I believe, a certain emptiness—a sense that something is missing, a restlessness, the deep feeling that somehow all is not right inside his skin. Psychologists sometimes call it anxiety, theologians sometimes call it estrangement, but whatever you call it, I doubt that there are many who do not recognize the experience itself, especially no one of our age, which has been variously termed the age of anxiety, the lost generation, the beat generation, the lonely crowd. Part of the inner world of everyone is this sense of emptiness, unease, incompleteness, and I believe that this in itself is a word from God, that this is the sound that God’s voice makes in a world that has explained him away. In such a world, I suspect that maybe God speaks to us most clearly through his silence, his absence, so that we know him best through our missing him. But he also speaks to us about ourselves, about what he wants us to do and what he wants us to become; and this is the area where I believe that we know so much more about him than we admit even to ourselves, where people hear God speak even if they do not believe in him. A face comes toward us down the street. Do we raise our eyes or do we keep them lowered, passing by in silence? Somebody says something about somebody else, and what he says happens to be not only cruel but also funny, and everybody laughs. Do we laugh too, or do we speak the truth? When a friend has hurt us, do we take pleasure in hating him, because hate has its pleasures as well as love, or do we try to build back some flimsy little bridge? Sometimes when we are alone, thoughts come swarming into our heads like bees—some of them destructive, ugly, self-defeating thoughts, some of them creative and glad. Which thoughts do we choose to think then, as much as we have the choice? Will we be brave today or a coward today? Not in some big way probably but in some little foolish way, yet brave still. Will we be honest today or a liar? Just some little pint-sized honesty, but honest still. Will we be a friend or cold as ice today? All the absurd little meetings, decisions, inner skirmishes that go to make up our days. It all adds up to very little, and yet it all adds up to very much. Our days are full of nonsense, and yet not, because it is precisely into the nonsense of our days that God speaks to us words of great significance—not words that are written in the stars but words that are written into the raw stuff and nonsense of our days, which are not nonsense just because God speaks into the midst of them. And the words that he says, to each of us differently, are be brave…be merciful…feed my lambs…press on toward the goal.

Every action is a losing, a letting go, a passing away from oneself of some bit of one’s own reality into the existence of others and of the world. In Jesus Christ, this character of action is not resisted, by trying to use our action to assert ourselves, extend ourselves, to impose our will and being upon situations. In Jesus Christ, this self-expending character of action is joyfully affirmed. I receive myself constantly from God’s Parenting love. But so far as some aspects of myself are at my disposal, these I receive to give away. Those who would live as Jesus did—who would act and purpose themselves as Jesus did—mean to love, i.e., they mean to expend themselves for others unto death. Their being is meant to pass away from them to others, and they make that meaning the conscious direction of their existence. Too often the love which is proclaimed in the churches suppresses this element of loss and need and death in activity. As a Christian, I often speak of love as helping others, but I ignore what this does to the person who loves. I ignore the fact that love is self-expenditure, a real expending and losing and deterioration of the self. I speak of love as if the person loving had no problems, no needs, no limits. In other words, I speak of love as if the affluent dream were true. This kind of proclamation is heard everywhere. We hear it said: 'Since you have no unanswered needs, why don’t you go out and help those other people who are in need?' But we never hear people go on and add: 'If you do this, you too will be driven into need.' And by not stating this conclusion, people give the childish impression that Christian love is some kind of cornucopia, where we can reach to everybody’s needs and problems and still have everything we need for ourselves. Believe me, there are grown-up persons who speak this kind of nonsense. And when people try to live out this illusory love, they become terrified when the self-expending begins to take its toll. Terror of relationship is [that] we eat each other. But note this very carefully: like Jesus, we too can only live to give our received selves away freely because we know our being is not thereby ended, but still and always lies in the Parenting of our God.... Those who love in the name of Jesus Christ... serve the needs of others willingly, even to the point of being exposed in their own neediness.... They do not cope with their own needs. They do not anguish over how their own needs may be met by the twists and turns of their circumstances, by the whims of their society, or by the strategies of their own egos. At the center of their life—the very innermost center—they are grateful to God, because... they do not fear neediness. That is what frees them to serve the needy, to companion the needy, to become and be one of the needy.

Don't misunderstand, but how dare you risk your life? What the devil did you think, to leap over like that? You could have stayed safe on this side and just helped me over." Even to her ears, her tone bordered on the hysterical. Beneath her fingers, the white lawn started to redden. She sucked in a shaky breath. "How could you risk your life-your life, you idiot!" She leaned harder on the pad, dragged in another breath. He coughed weakly, shifted his head. "Don't you dare die on me!" His lips twisted, but his eyes remained closed. "But if I die"-his words were a whisper-"you won't have to marry, me or anyone else. Even the most censorious in the ton will consider my death to be the end of the matter. You'll be free." "Free?" Then his earlier words registered. "If you die? I told you-don't you dare! I won't let you-I forbid you to. How can I marry you if you die? And how the hell will I live if you aren't alive, too?" As the words left her mouth, half hysterical, all emotion, she realized they were the literal truth. Her life wouldn't be worth living if he wasn't there to share it. "What will I do with my life if you die?" He softly snorted, apparently unimpressed by-or was it not registering?-her panic. "Marry some other poor sod, like you were planning to." The words cut. "You are the only poor sod I'm planning to marry." Her waspish response came on a rush of rising fear. She glanced around, but there was no one in sight. Help had yet to come running. She looked back at him, readjusted the pressure on the slowly reddening pad. "I intend not only to marry you but to lead you by the nose for the rest of your days. It's the least I can do to repay you for this-for the shock to my nerves. I'll have you know I'd decided even before this little incident to reverse my decision and become your viscountess, and lead you such a merry dance through the ballrooms and drawing rooms that you'll be gray within two years." He humphed softly, dismissively, but he was listening. Studying his face, she realized her nonsense was distracting him from the pain. She engaged her imagination and let her tongue run free. "I've decided I'll redecorate Baraclough in the French Imperial style-all that white and gilt and spindly legs, with all the chairs so delicate you won't dare sit down. And while we're on the subject of your-our-country home, I've had an idea about my carriage, the one you'll buy me as a wedding gift..." She rambled on, paying scant attention to her words, simply let them and all the images she'd dreamed of come tumbling out, painting a vibrant, fanciful, yet in many ways-all the ways that counted-accurate word pictures of her hopes, her aspirations. Her vision of their life together. When the well started to run dry, when her voice started to thicken with tears at the fear that they might no longer have a chance to enjoy all she'd described, she concluded with, "So you absolutely can't die now." Fear prodded; almost incensed, she blurted, "Not when I was about to back down and agree to return to London with you." He moistened his lips. Whispered, "You were?" "Yes! I was!" His fading voice tipped her toward panic. Her voice rose in reaction. "I can't believe you were so foolish as to risk your life like this! You didn't need to put yourself in danger to save me." "Yes, I did." The words were firmer, bitten off through clenched teeth. She caught his anger. Was anger good. Would temper hold him to the world? A frown drew down his black brows. "You can't be so damned foolish as to think I wouldn't-after protecting you through all this, seeing you safely all this way, watching over you all this time, what else was I going to do?