Peripheral Series Quotes

The peripheral route of influence refers to factors that are outside of the message itself, but still have considerable sway on how we make decisions. It includes essential elements of selling such as building rapport, compellingly presenting a product or service, and enhancing trust. This method of influence is made up of a series of mental reflexes, known as “heuristics.

The drivers for the jackpot are still in place, but with less torque at that particular point.” He took a seat at the table. “They’re still a bit in advance of the pandemics, at least.

He began as a minor imitator of Fitzgerald, wrote a novel in the late twenties which won a prize, became dissatisfied with his work, stopped writing for a period of years. When he came back it was to BLACK MASK and the other detective magazines with a curious and terrible fiction which had never been seen before in the genre markets; Hart Crane and certainly Hemingway were writing of people on the edge of their emotions and their possibility but the genre mystery markets were filled with characters whose pain was circumstantial, whose resolution was through action; Woolrich's gallery was of those so damaged that their lives could only be seen as vast anticlimax to central and terrible events which had occurred long before the incidents of the story. Hammett and his great disciple, Chandler, had verged toward this more than a little, there is no minimizing the depth of their contribution to the mystery and to literature but Hammett and Chandler were still working within the devices of their category: detectives confronted problems and solved (or more commonly failed to solve) them, evil was generalized but had at least specific manifestations: Woolrich went far out on the edge. His characters killed, were killed, witnessed murder, attempted to solve it but the events were peripheral to the central circumstances. What I am trying to say, perhaps, is that Hammett and Chandler wrote of death but the novels and short stories of Woolrich *were* death. In all of its delicacy and grace, its fragile beauty as well as its finality. Most of his plots made no objective sense. Woolrich was writing at the cutting edge of his time. Twenty years later his vision would attract a Truffaut whose own influences had been the philosophy of Sartre, the French nouvelle vague, the central conception that nothing really mattered. At all. But the suffering. Ah, that mattered; that mattered quite a bit.

Russians, who had themselves first been attracted to London by the City’s meta-criminal financial arcana, plus the lavish culture of personal amenities for those requiring same.

I had seen enough paranormal activity to know when one of "THEM" was stirring in the depths just outside of humanity's peripheral vision.

How do you keep this all sorted?” “My ass is legion,” said Eunice.

For the liberal humanist legacy to which Ditchkins is in indebted, love can really be understood only in personal terms. It is not an item in his political lexicon, and would sound merely embarrassing were it to turn up there. For the liberal tradition, what seems to many men and women to lie at the core of human existence has a peripheral place in the affairs of the world, however vital a role it may play in the private life. The concept of political love, one imagines would make little sense to Ditchkins. Yet something like this is the ethical basis for socialism. It is just that it is hard to see what this might mean in a civilization where love has been almost wholly reduced to the erotic, romantic, or domestic. Ditchkins writes as he does partly because a legacy which offers an alternative to the liberal heritage on this question is today in danger of sinking without trace.

The girl in 3.7 seemed engrossed in her phone. “What’s she doing?” “Candy Crush Saga. Nondigital surveillance is weaponized boredom.