Passive Smoking Quotes

A man worth being with is one… That never lies to you Is kind to people that have hurt him A person that respects another’s life That has manners and shows people respect That goes out of his way to help people That feels every person, no matter how difficult, deserves compassion Who believes you are the most beautiful person he has ever met Who brags about your accomplishments with pride Who talks to you about anything and everything because no bad news will make him love you less That is a peacemaker That will see you through illness Who keeps his promises Who doesn’t blame others, but finds the good in them That raises you up and motivates you to reach for the stars That doesn’t need fame, money or anything materialistic to be happy That is gentle and patient with children Who won’t let you lie to yourself; he tells you what you need to hear, in order to help you grow Who lives what he says he believes in Who doesn’t hold a grudge or hold onto the past Who doesn’t ask his family members to deliberately hurt people that have hurt him Who will run with your dreams That makes you laugh at the world and yourself Who forgives and is quick to apologize Who doesn’t betray you by having inappropriate conversations with other women Who doesn’t react when he is angry, decides when he is sad or keep promises he doesn’t plan to keep Who takes his children’s spiritual life very seriously and teaches by example Who never seeks revenge or would ever put another person down Who communicates to solve problems Who doesn’t play games or passive aggressively ignores people to hurt them Who is real and doesn’t pretend to be something he is not Who has the power to free you from yourself through his positive outlook Who has a deep respect for women and treats them like a daughter of God Who doesn’t have an ego or believes he is better than anyone Who is labeled constantly by people as the nicest person they have ever met Who works hard to provide for the family Who doesn’t feel the need to drink alcohol to have a good time, smoke or do drugs Who doesn't have to hang out a bar with his friends, but would rather spend his time with his family Who is morally free from sin Who sees your potential to be great Who doesn't think a woman's place has to be in the home; he supports your life mission, where ever that takes you Who is a gentleman Who is honest and lives with integrity Who never discusses your private business with anyone Who will protect his family Who forgives, forgets, repairs and restores When you find a man that possesses these traits then all the little things you don’t have in common don’t matter. This is the type of man worth being grateful for.

Holmes had cultivated the ability to still the noise of the mind, by smoking his pipe and playing nontunes on the violin. He once compared this mental state with the sort of passive seeing that enables the eye, in a dim light or at a great distance, to grasp details with greater clarity by focusing slightly to one side of the object of interest. When active, strained vision only obscures and frustrates, looking away often permits the eyes to see and interpret the shapes of what it sees. Thus does inattention allow the mind to register the still, small whisper of the daughter of the voice.

We did what people do. We stood side by side and smoked our little passive aggressive wishes for death, and stared down at our glory days. And then we set the world on fire, for a dream that felt so real is nothing but a risk never taken.

On the porch were the still-smoking remains of long-stemmed roses, evidence that someone angry and passive-aggressive didn't know Peter was out of town.

Your passivity gives him leave to act like a monster. If you allow a monster to destroy everything in its path, then you are no better than the monster

What was overlooked in all this was how microscopically small the risk from passive smoking actually is. A rate of 1 in 30,000 sounds reasonably severe, but it doesn’t actually amount to much. Eating one pork chop a week is statistically more likely to give you cancer than sitting routinely in a roomful of smokers.

I want to fight, Becky. Can you understand that? I want struggle, I want danger. You know, Sally said something to me once: we were talking about happiness and what that might mean. She said she didn't want to be /happy/, that was a weak, passive sort of thing; she wanted to be alive and active. She wanted /work/. That's the spirit I like. That's what I want; and my work is a rough dirty dangerous kind of work. Oh, I want other things too. I want to write a play and see Henry Irving perform in it. I want to swank about town smoking Havanas and have supper with pretty girls in the Cafe Royal. I want to play poker on a Mississippi riverboat. I want to see Dan Goldberg get into Parliament. I want to see you go to university and get a first-class degree. Sally. . . Sally can do anything we wants, by me. There's a whole world I want, Becky.

The language I learned was pretty, full of passivity and silence. I had no proper language for the issues of blood and anger, yet much of what went on when I was a child made me angry. There were no words a nice girl could use to describe anger; her options were to remain silent or to use indiscreet language, the kind that curls in a room like smoke and soon disappears. We girls were taught to speak safely and to bandage our anger with polite, pretty words. We might talk about the anger only in questions and sighs, unable to curse, yell or break windows in the beautiful garden.

He wondered what O'Brian would have been like in a real war, one in which he actually had to fight rather than just take pictures. Then he wondered what he would have been like. Most of the men he knew asked themselves that question, as if never having fought somehow made them incomplete - left a hole in their lives where a war should have been. Was it possible that this absence of war - marvellous though it was and so forth: that went without saying - was it possible that it had actually trivialised people? Because everything was so bloody trivial now, wasn't it? This was The Trivial Age. Politics was trivial. What people worried about was trivial - mortgages and pensions and the dangers of passive smoking. Jesus! - is this what we've been reduced to, worrying about passive smoking, when our parents and our grandparents had to worry about being shot or bombed? And then he began to feel guilty, because what was he implying here? That he wanted a war? ... He was glad it was over, of course, in a way - but at least while it was on people like him had known where they stood, could point to something and say: well, we may not know what we do believe in, but we don't believe in that.

The me that looked my “best” was a me that smoked, was underfed, ran high with anxiety, didn’t get enough sleep, and still never felt good enough. And gradually, whatever that machine was and whatever adrenaline was fueling it began to break down, and I just couldn’t do it anymore. Sometimes when I hear someone say something about how a person “let herself go,” I wonder if she just got tired of the pressure and wanted a break, and instead of passively letting herself go, began to actively choose to leave herself alone.

The introduction of cinematography enabled us to corral time past and thus retain it not merely in the memory - at best, a falsifying receptacle - but in the objective preservative of a roll of film. But, if past, present and future are the dimensions of time, they are notoriously fluid. There is no tension in the tenses and yet they are always tremulously about to coagulate. The present is a liquid jelly which settles into a quivering, passive mass, the past, as soon as - if not sooner than - we are aware of it as present. Yet this mass was intangible and existed only conceptually until arrival of the preservative, cinema. The motion picture is usually regarded as only a kind of shadow play and few bother to probe the ontological paradoxes it presents. For it offers us nothing less than the present tense experience of time irrefutably past. So that the coil of film has, as it were, lassoed inert phenomena from which the present had departed, and when projected upon a screen, they are granted a temporary revivification. [...] The images of cinematography, however, altogether lack autonomy. Locking in programmed patterns, they merely transpose time past into time present and cannot, by their nature, respond to the magnetic impulses of time future for the unachievable future which does not exist in any dimension, but nevertheless organizes phenomena towards its potential conclusions. The cinematographic model is one of cyclic recurrences alone, even if these recurrences are instigated voluntarily, by the hand of man viz. the projectionist, rather than the hand of fate. Though, in another sense, the action of time is actually visible in the tears, scratches and thumbprints on the substance of the film itself, these are caused only by the sly, corrosive touch of mortality and, since the print may be renewed at will, the flaws of aging, if retained, increase the presence of the past only by a kind of forgery, as when a man punches artificial worm-holes into raw or smokes shadows of fresh pain with a candle to produce an apparently aged artefact. Mendoza, however, claimed that if a thing were sufficiently artificial, it became absolutely equivalent to the genuine.

All Night, All Night Rode in the train all night, in the sick light. A bird Flew parallel with a singular will. In daydream's moods and attitudes The other passengers slumped, dozed, slept, read, Waiting, and waiting for place to be displaced On the exact track of safety or the rack of accident. Looked out at the night, unable to distinguish Lights in the towns of passage from the yellow lights Numb on the ceiling. And the bird flew parallel and still As the train shot forth the straight line of its whistle, Forward on the taut tracks, piercing empty, familiar -- The bored center of this vision and condition looked and looked Down through the slick pages of the magazine (seeking The seen and the unseen) and his gaze fell down the well Of the great darkness under the slick glitter, And he was only one among eight million riders and readers. And all the while under his empty smile the shaking drum Of the long determined passage passed through him By his body mimicked and echoed. And then the train Like a suddenly storming rain, began to rush and thresh-- The silent or passive night, pressing and impressing The patients' foreheads with a tightening-like image Of the rushing engine proceeded by a shaft of light Piercing the dark, changing and transforming the silence Into a violence of foam, sound, smoke and succession. A bored child went to get a cup of water, And crushed the cup because the water too was Boring and merely boredom's struggle. The child, returning, looked over the shoulder Of a man reading until he annoyed the shoulder. A fat woman yawned and felt the liquid drops Drip down the fleece of many dinners. And the bird flew parallel and parallel flew The black pencil lines of telephone posts, crucified, At regular intervals, post after post Of thrice crossed, blue-belled, anonymous trees. And then the bird cried as if to all of us: 0 your life, your lonely life What have you ever done with it, And done with the great gift of consciousness? What will you ever do with your life before death's knife Provides the answer ultimate and appropriate? As I for my part felt in my heart as one who falls, Falls in a parachute, falls endlessly, and feel the vast Draft of the abyss sucking him down and down, An endlessly helplessly falling and appalled clown: This is the way that night passes by, this Is the overnight endless trip to the famous unfathomable abyss.

But maybe the girl from Puberty, and all naked young women in all paintings, are actually sitting there hating. Hating the painter, hating their boring gloomy life, hating the king and the president and the bishop and the prime minister and the authors and society and their own place in it. Maybe it’s not a shadow climbing the wall behind her, but smoke from the spontaneously ignited occult fire of hatred. I’m struck by the naive notion of taking the girl home, painting clothes on her, black clothes maybe, painting her into a new framework, as the Canadian writer Aritha van Herk does to Anna Karenina in Places Far from Ellesmere. In this book, van Herk wants to save Anna from being another woman character in literary history who’s crushed by a train, and she plucks Anna from Tolstoy’s novel and gives her a new frame, a new text. She demonstrates how literature and art can tamper with their own past, create new bonds. As far as I know, no one has tried this witchcraft on Munch and his Puberty (she doesn’t even have a name), but now I want to paint or rewrite the girl in the painting, save her, save us. Because it’s definitely just as much about me, about saving myself from the position of a contemporary subject passively accepting the narratives offered it by past art, past stories about gender, expression, hierarchy. I want to save myself from nodding in acknowledgement to Munch, to 1890, from the outside, with insight, and accepting that Puberty is the mirror art has installed for me.

Moms?’ ‘I am right here with my attention completely focused on you.’ ‘How can you tell if somebody’s sad?’ A quick smile. ‘You mean whether someone’s sad.’ A smile back, but still earnest: ‘That improves it a lot. Whether someone’s sad, how can you tell so you’re sure?’ Her teeth are not discolored; she gets them cleaned at the dentist all the time for the smoking, a habit she despises. Hal inherited the dental problems from Himself; Himself had horrible dental problems; half his teeth were bridges. ‘You’re not exactly insensitive when it comes to people, Love-o,’ she says. ‘What if you, like, only suspect somebody’s sad. How do you reinforce the suspicion?’ ‘Confirm the suspicion?’ ‘In your mind.’ Some of the prints in the deep shag he can see are shoes, and some are different, almost like knuckles. His lordotic posture makes him acute and observant about things like carpet-prints. ‘How would I, for my part, confirm a suspicion of sadness in someone, you mean?’ ‘Yes. Good. All right.’ ‘Well, the person in question may cry, sob, weep, or, in certain cultures, wail, keen, or rend his or her garments.’ Mario nods encouragingly, so the headgear clanks a little. ‘But say in a case where they don’t weep or rend. But you still have a suspicion which they’re sad.’ She uses a hand to rotate the pen in her mouth like a fine cigar. ‘He or she might alternatively sigh, mope, frown, smile halfheartedly, appear downcast, slump, look at the floor more than is appropriate.’ ‘But what if they don’t?’ ‘Well, he or she may act out by seeming distracted, losing enthusiasm for previous interests. The person may present with what appears to be laziness, lethargy, fatigue, sluggishness, a certain passive reluctance to engage you. Torpor.’ ‘What else?’ ‘They may seem unusually subdued, quiet, literally “low.” ’ Mario leans all his weight into his police lock, which makes his head jut, his expression the sort of mangled one that expresses puzzlement, an attempt to reason out something hard. Pemulis called it Mario’s Data-Search Face, which Mario liked. ‘What if sometime they might act even less low than normal. But still these suspicions are in your mind.

It is Dangerous to Read Newspapers While I was building neat castles in the sandbox, the hasty pits were filling with bulldozed corpses and as I walked to the school washed and combed, my feet stepping on the cracks in the cement detonated red bombs. Now I am grownup and literate, and I sit in my chair as quietly as a fuse and the jungles are flaming, the underbrush is charged with soldiers, the names on the difficult maps go up in smoke. I am the cause, I am a stockpile of chemical toys, my body is a deadly gadget, I reach out in love, my hands are guns, my good intentions are completely lethal. Even my passive eyes transmute everything I look at to the pocked black and white of a war photo, how can I stop myself It is dangerous to read newspapers. Each time I hit a key on my electric typewriter, speaking of peaceful trees another village explodes.

The norm of yore was ‘smoking is no disrespect’, and now the coinage is ‘desist passive smoking’, my foot, as if the air we breathe is pristine pure.

Jacek Nowak was struggling to get buy-in from senior management. He was working in an industry, banking, that is known for being reticent to change. And he was trying to get them to do something about customer experience that was in some senses the antithesis of what they were used to. But by lowering the barrier to trial and driving discovery, he helped management experience the value of what he was suggesting and ultimately adopt his suggestions. Chuck Wolfe was competing against one of the largest industries in the world, whose budget dwarfed his by more than a thousandfold. And getting teens to quit smoking was something that dozens of organizations had been trying to do for decades, without much success. But by laying out the truth rather than telling teens what to do, he was able to turn the tide. By letting them be active participants rather than passive bystanders, Chuck made them feel like they were in control. He reduced reactance and got teens to convince themselves. Nick Swinmurn needed a way to help a small start-up get off the ground. Shoesite.com was running out of money and they needed to change consumer behavior—fast. But rather than trying to convince people or spending funds they didn’t have on splashy ads, they removed the roadblocks. They used free shipping (and returns) to let potential customers experience the offering firsthand. By lowering the barrier to trial, Zappos reduced risk, alleviated uncertainty, and built a billion-dollar business. And along the way, helped usher in the world of online shopping we’re all so familiar with today.

My favorite was the one of her on horseback, dressed in armor, her hair streaming behind her. She held the reins in one hand and a spear in the other, and her mouth was open, urging all the troops behind her onward into battle. Both of the horse’s front legs were drawn up, as though about to rear, his eyes rolling back in his head. I got shivers whenever I looked at it. My least favorite was the one of Joan burning at the stake. The flames were made of these long shards of red and orange glass, and there were coils of smoke in black iron tracery all around her. But Joan looked different in that panel—her mouth closed, her hands bound before her, and her eyes looking up at heaven in this beatific way. Instead of her armor she was dressed in a white linen shift with a bow at the neck, like what a little girl would wear to bed. A crowd of people milled around her, their hands clasped in prayer, looking on with these fake sorrowful faces, as if they really wished they could do something but couldn’t be bothered. But Joan didn’t seem to mind. Her face was smooth and passive. It pissed me off. I hated seeing Joan look okay with being burned alive.

FOREST organized campaigns to defend smoking, particularly in the workplace, and to challenge the scientific evidence that secondhand smoke was dangerous. They launched an attack on the London Science Museum for an exhibit on passive smoking that they labeled “junk science,” and issued a “Good Smoker’s Airline Guide” steering readers to smoke-friendly airlines and encouraging them to boycott British Airways for its smoking ban.

It’s easy to imitate the way that they glide from children to women. All I need to do is dedicate myself to being passive and cute, and to this easy glide. As long as I don’t allow Mother’s words to filter into my head or give myself any room for introspection, my days will float by, vapid and simple. I can gossip and slack off and leave my choices to the democracy of the girls. When I am offered a cigarette, I’ll smoke it. When there is a stupid joke, I will laugh. When Maria asks, ‘Who do ye fancy?’ I will answer as if it is the most serious question in the world, because in a world as small as mine, it will be.

Until the beginning of 2003, Italians smoked everywhere and considered it quite normal; they lit up inside stores, including those which sell fabric or paper goods, in the airport, ignoring repeated loudspeaker announcements that no smoking was allowed, at the greengrocers where cigarette ash dangled perilously over the zucchini and the cherry tomatoes, and even in hospitals, although from time to time crack Italian Carabinieri units called the NAS, set up to enforce health standards, would appear, unannounced, and hand out hefty fines to all the doctors and nurses they found in flagrante. Once I even had blood taken by two white-coated doctors who took my vital fluid with cigarettes dangling from their lips, an open window their only concession to my passive smoke concerns.

I completely under—oh!’’ Aisling hunched forward again as Gabriel slid his arm under her legs. Drake exploded, slamming Gabriel up against the wall, snarling something that sounded vicious, his arm against Gabriel’s windpipe. Maata and Tipene were instantly at his side but at a gesture from Gabriel backed away. ‘‘Drake, let him down. It’s just a twinge, nothing more!’’ Aisling said, waving me toward them. ‘‘Stop him, May. Although don’t hurt him; I’m rather fond of him as he is, overprotective tendencies and all.’’ I tapped Drake politely on the shoulder. ‘‘Would you mind letting Gabriel down? I promise I won’t let him hold Aisling’s hand anymore. Or touch her stomach.’’ Drake eyed Gabriel for a moment. I have to admit that Gabriel surprised me by not fighting back. Having seen him go at it with Drake’s black-dragon brother, Kostya, I knew he was not one to remain passive when attacked. But he stayed still, not struggling at all despite the fact that his face was gaining a dull red tint due to lack of oxygen. ‘‘All right,’’ Drake said at last, removing his hold on Gabriel. ‘‘But I will hold you responsible for his actions.’’ Gabriel’s eyes flashed in warning, but Aisling bursting into laughter defused the situation enough that he could see the ridiculousness of such a comment. I touched a faintly swollen spot on Gabriel’s neck. ‘‘Would you like me to kiss what hurts and make it better?’’ I asked softly. He’d been looking at Aisling, obviously about to make some observation about her health, but at my words a new look of interest filled his eyes. ‘‘Only if I get to pick what needs kissing.’’ ‘‘I am so glad Jim is not present to hear that, because it would no doubt make all sorts of inappropriate comments that would force me tosmack it with a rolled-up magazine, and then we’d be back to Gabriel groping my stomach and Drake having a hissy fit,’’ Aisling said, helping herself to a glass of orange juice.