Punctuation Within Quotes

You see, I believe that you cannot be taught to 'write.' You can be taught grammar and punctuation, but you cannot be taught to be a writer. That has to come from within.

For any true stickler, you see, the sight of the plural word “Book’s” with an apostrophe in it will trigger a ghastly private emotional process similar to the stages of bereavement, though greatly accelerated. First there is shock. Within seconds, shock gives way to disbelief, disbelief to pain, and pain to anger. Finally (and this is where the analogy breaks down), anger gives way to a righteous urge to perpetrate an act of criminal damage with the aid of a permanent marker.

Don’t cross out. (That is editing as you write. Even if you write something you didn’t mean to write, leave it.) Don’t worry about spelling, punctuation, grammar. (Don’t even care about staying within the margins and lines on the page.) Lose control. Don’t think. Don’t get logical. Go for the jugular. (If something comes up in your writing that is scary or naked, dive right into it. It probably has lots of energy.)

This morning I awoke to the realization that I'd been living my life within a parenthetical statement. It was a pathetic situation, more so since I'd suddenly become aware of how trapped I was within my own punctuation.

Ever since he repented of religion and shaved off his clerical beard and mustache, he has had the constant feeling that he has taken off his trousers, and that his nose protrudes altogether indecently and must at all cost be covered. It's sheer torment! With one hand over his nose, the deacon knocks again and again. No one responds. And yet Martha is home; the gate is locked from within. And that means - what? It means that she is with someone else... The deacon punctuates the scene inwardly with the three dots we have graphically depicted just above, and, tripping over them at every second step, he proceeds to Rosa Luxemburg Street. ("X")

Introns are not the exception in human genes; they are the rule. Human introns are often enormous-spanning several hundreds of thousands of bases of DNA. And genes themselves are separated from each other by long stretches of intervening DNA, called intergenic DNA. Intergenic DNA and introns-spaces between genes and stuffers within genes-are though to have sequences that allow genes to be regulated in context. To return to our analogy; these regions might be described as long ellipses scattered with occasional punctuation marks. The human genome can thus be visualized as: This......is............the......(...)...s...truc...ture......of......your......gen...om...e; The words represent genes. The long ellipses between the words represent the stretches of intergenic DNA. The shorter ellipses within the words (gen...ome...e) are introns. The parentheses and semicolons-punctuation marks-are regions of DNA that regulate genes.

vid war and real war were not the same thing at all, that it wasn’t a stylish series of heroics punctuated by kick-ass music and witty retorts. War was ugly, exhausting, and above all else, tedious – an odd thing to say about a situation in which there were more explosions and adrenaline than you knew what to do with. But for all the strategising, for all the narrow escapes and near misses, when you boiled it down, war was nothing more than an argument in which no one had landed on a better solution than killing each other.

No,” she whispered. “No more.” His breath came hot and heavy against her ear as his arm crept back around her waist. “Why not?” For a moment her mind was blank. What reason could she give that would make sense to him? If she protested that they weren’t married, he would simply put an end to that objection by marrying her, and that would be disastrous. Then she remembered Petey’s plan. “Because I’ve already promised myself to another.” His body went still against hers. An oppressive silence fell over them both, punctuated only by the distant clanging of the watch bell. But he didn’t move away, and at first she feared he hadn’t heard her. “I said—” she began. “I heard you.” He drew back, his face taught with suspicion. “What do you mean ‘another?’ Someone in England?” She considered inventing a fiancé in London. But that would have no weight with him, would it? “Another sailor. I . . . I’ve agreed to marry one of your crew.” His expression hardened until it looked chiseled from the same oak that formed his formidable ship. “You’re joking.” She shook her head furiously. “Peter Hargraves asked me to . . . to be his wife last night. And I agreed.” A stunned expression spread over his face before anger replaced it. Planting his hands on either side of her hips, he bent his head until his face was within inches from her. “He’s not one of my crew. Is that why you accepted his proposal—because he’s not one of my men? Or do you claim to have some feeling for him?” He sneered the last words, and shame spread through her. It would be too hard to claim she had feelings for Petey when she’d just been on the verge of giving herself to Gideon. But that was the only answer that would put him off her. Her ands trembled against his immovable chest. “I . . . I like him, yes.” “The way you ‘like’ me?” When she glanced away, uncertain what to say to that, he caught her chin and forced her to look at him. Despite the dim light, she could tell that desire still held him. And when he spoke again, his voice was edged with the tension of his need. “I don’t care what you agreed to last night. Everything has changed. You can’t possibly still want to marry him after the way you just responded to my touch.” “That was a mistake,” she whispered, steeling herself to ignore the flare of anger in his eyes. “Petey and I are well suited. I knew him from before, from the Chastity. I know he’s an honorable man, which is why I still intend to marry him.” A muscle ticked in Gideon’s jaw. “He’s not a bully, you mean. He’s not a wicked pirate like me, out to ‘rape and pillage.’” He pushed away from the trunk with an oath, then spun towards the steps. “Well, he’s not for you, Sara, no matter what you may think. And I’m going to put a stop to his courtship of you right now!

Without conflict and tension, music lacks dynamism and movement. The composer and the improvisational musician alike must contain the dissonance within a frame that holds the audience's attention until resolution is found. Music also teaches to distinguish the varieties of silence: restless, energized, bored, tranquil, and sublime.' With silence one creates moments so that something new can be heard; one holds the tension in an audience or working group, or punctuates important phrases, allowing time for the message to settle. Creating music takes place in relation to structures and audiences. Structural limits provide scaffolding for creativity. Plato put it this way: "If there is no contradictory impression, there is nothing to awaken reflection."' People create in relation to something or someone. Although the audience may be safely tucked inside the composer's mind, still it is there.

Through the Fire by Raj Lowenstein Trafford Publishing reviewed by Anita Lock "Beware the Abomination." After initially treating Michael Braun for wounds resulting from a brutal attack, David and Kelly Hartman—a physician and nurse respectively, as well as a gay, married couple—feel that the best place for her (yes, a she despite the masculine name) to recover is at the condo of David's twin brother, Dan. Dan, an overworked detective, ignores David's frantic texts and is shocked when he wakes to find a stunningly beautiful but battered woman sleeping upstairs. Michael is also a mute who communicates through American Sign Language (ASL), a language in which Dan happens to be an expert. Although the two eventually fall in love, there is more to Michael's past that Dan is aware of until he receives information from none other than Michael's abuser. Raj Lowenstein presents a romantic thriller that appears more disturbingly real than fiction. Set largely in Texas, Lowenstein's plot has a bit of a Law and Order feel to it—minus the court and prison scenes. Laced with gender-related issues and replete with a tight cast, Lowenstein's storyline zeroes in on Dan and his unexpected romance with Michael amid peculiar situations. Lowenstein punctuates her thought-provoking, third-person narrative with the sinister and hideous presence of Catfish, whose persona is a paradox to say the least. Key to Lowenstein's writing style is the use of engaging dialogue to generate dynamic characters who are developing their relationships and facing life's challenges. Lowenstein aptly fashions her well-developed cast within cliff-hanging chapters that alternate between unanticipated character scenes. Scenes are filled with back stories, steamy romantic episodes, investigations, the evil machinations of Catfish, and are all used in the deliberate build-up to the novel's intense and unnerving apogee. Kudos to Lowenstein for creating an edgy and eye-opening debut! RECOMMENDED by the US Review

On and on she sailed, in warmer seas but void, as though they alone had survived Deucalion’s flood; as though all land had vanished from the earth; and once again the ship’s routine dislocated time and temporal reality so that this progress was an endless dream, even a circular dream, contained within an unbroken horizon and punctuated only by the sound of guns thundering daily in preparation for an enemy whose real existence it was impossible to conceive.

The pattern of many connections within one tight community, punctuated by occasional ties to distant communities, describes a vast range of systems. Neurons in the brain mostly connect within one cluster, but occasionally their axons extend far outside, to an entirely different cluster. Proteins in a cell mostly interact within one functional group, but occasionally they connect with receptors far removed. Sites on the internet mostly connect within one tight group (celebrity news sites link to other celebrity news sites; biology sites link to other biology sites), but occasionally a site will connect far outside its cluster (TMZ will link to a study on neuroscience). The Kevin Bacon game had shown that there are surprisingly few steps between any two nodes (actors) in these kinds of networks. So Watts and Strogatz called a system with mostly local connections but occasional distant ties a “small-world network.

One interesting aspect of his book is that it argued that the more specialized a species is, the less likely it is to continue to recognize appropriate habitats as conditions change. Species displaying a less plastic/diverse inventory of behavioral choices, such as those focusing on a single type of food, are the most susceptible. For instance, parasites often have a single host species, which does not present any problems for them as long as the host species does not become extinct. That is why, according to Eldredge, ecologically specialized species become extinct at much higher rates than do ecologically generalized species in the fossil record. The concept that specialization often leads to an evolutionary dead end was first proposed by Cope as the “law of the unspecialized” and has continued to be key for evolutionary biology since then. In Eldredge’s view, the balance of life will tend to produce ecologically specialized organisms because they often flourish more than generalists in the short run, but extinction then normally affects more the ranks of the specialists. In the long run, the generalists thus hang on—‘living fossils’ often being generalists—whereas the ranks of specialists are quickly refilled by the continuous evolution of new taxa. For him, taxa that descend from species that are already somewhat specialized tend to have a greater chance of focusing on a specific portion of the resources not completely exploited by the parental taxa. He designated this as a “ratchet-like mechanism” of the quick accumulation of evolutionary change as lineages keep splitting and new taxa are formed from old ones within specialized lineages. Thus, he directly connects behavioral/ecological specializations to cladogenesis and the rapid evolutionary events predicted in punctuated equilibrium. In turn, he argues that stasis is often related to generalist lineages because without a comparable degree of successful speciation, these lineages tend to have far fewer extant species at any one time than their specialized counterparts. That is, generalists are not really evolving at slower morphological rates: they are simply not generating so many new species. As a result, the gradual fluctuation of form among the members of the generalized taxa is not being fixed by cladogenesis, thus leading to new species.

The term 'cathedral forest' is used as a metaphor, to suggest that great woods are like great medieval churches. But I have often felt that this is backward, that the stone cathedrals are a recreation of the forests where our distant ancestors lived. This is why they strike a chord deep within us. The soaring ceilings of a medieval cathedral, the cool, damp air, the dark punctuated by beams of brilliant light coloured by stained glass mimic our ancient home, our Garden of Eden.... A walk in the rain forest is a walk into the mind of God.

I love you, Ellen Markham.” He kissed her cheek. “When are you going to tell me you love me?” “How can you be sure I do?” Val hiked a leg across her thighs. “First, you are sending me away. This is proof positive you love me, for you are trying to protect me from some sort of grave peril only you can perceive.” Ellen’s breathing hitched, and Val knew his guess had been right. Gratified by that success, he marched forward. “Second”—he slipped a hand over her breast—“you make love with me, Ellen. You hold nothing back, ever, and are so passionate I am nigh mindless with the pleasure of our intimacy.” He punctuated this sentiment by dipping his head and suckling gently on her nipple. She groaned and arched up toward him. “I make my point.” Val smiled in the dark and raised his head. “Third, there is the way I make love with you.” “And how is that?” She sounded more breathless than curious. Val shifted his body over hers. “As if I trust you. I know you are human, and you will do what you think best, but you do it with my interests in mind, Ellen. I don’t have to watch myself with you, because you love me, truly. I know it. It isn’t the way my siblings love me, though they are dear. It isn’t how my parents love me, which is more instinct than insight. It isn’t the way my friends love me, though they are both dear and insightful.” “So how is it?” Ellen asked, slipping her legs apart to cradle him intimately. “It’s the way I want and need to be loved,” Val said quietly, resting his weight against the soft, curving length of her. “It’s perfect.” “But I am sending you away,” Ellen reminded him, her fingers at his nape. Val levered up on his forearms and began to nudge lazily at her sex with his erection. “So you’re running out of time to tell me the things that matter, aren’t you?” If she was going to use words to answer, Val forestalled her reply by kissing her within an inch of her soul. Her response was made with her body, and to Val’s mind she told him, as emphatically as any woman ever told her man, she did, indeed, unequivocally love him. And always would. “What

And there are even more unusual cases in poetry, where the observation that parentheses include content of secondary importance needs to be turned on its head. In a poem, what is within the parentheses is always significant -- often more so than in the surrounding text.

Since the characterizations herein are my own I should clarify these details absent a second’s further delay. Beginning at its newest beginning, with the matters of today – midday, in fact – with a scene punctuated by the appearance and subsequent felinious capture of the vermin given mention. More benignly put, these particular footsteps were taken by a timid, terrified, adolescent Norway rat who would shortly be christened Twitch. I shall focus forthwith upon those details which emerged moments later – subsequent to his short-lived escape from imminent annihilation by scurrying anew. This time beneath an oaken china cabinet. In an effort to avoid confiding any facts or details absent direct pertinence to the life-or-death matter at hand, I’ll reveal for the moment only that its precedent had been a similarly random appearance of a rather less fortunate rat 29 years ere and whose ill-fated tale remains snugly entangled within the roots of this one. Its tangible form began as a spontaneous act of nature that was observed by a 15-year-old dreamer and provoked a flight of fancy which led him to conceive of a grandiose idea that gestated until the man he would become tediously nurtured his evolving purpose into six centuries of historically faithful fables of human survival and struggle ‒ of growth and decay. To put it more tangibly yet ‒ he re-imagined the act of a hungry cat pursuing a frantic rat in the lower Manhattan alleyway in back of his childhood apartment, into an elaborate daydream of a cougar hunting a deer roughly a half-millennia ago. Then ‒ being a born writer ‒ he kicked back in his usual beige folding metal chair, causing its backrest to thud familiarly against the red and gray brick exterior wall behind him; lowered his forest green spiral notebook until it intersected the top front edge of a modest stack of drab-jacketed library books which rested upon his lap and began to transcribe the more fanciful images into a short story. In it, the cougar’s impending success was interrupted by a handful of natives who’d targeted his prey as their own. Having chosen a 15-year-old Lenape brave named Talli as its protagonist, he likewise conceived a fictional version of himself as the narrator ‒ leading to his eventual conception of peering through the lens of this and subsequent parallel visualizations as chronicled by the successive pens of 40 unique contemporary same-age narrators to detail the human evolution on the island wherein he’d grown up. On which millions-upon-millions of rats ‒ in near synchronicity with their hosts ‒ had likewise made their home…

Computers can use combinations of bits to represent anything; the number of bits depends on the number of messages that need to be distinguished. Imagine, for example, a computer that works with the letters of the alphabet. Five-bit input signals can represent thirty-two different possibilities (25 = 32). Functions within the computer that work on letters sometimes use such a code, although they more often use an encoding with seven or eight bits, to allow representation of capitals, punctuation marks, numerals, and so on. Most modern computers use the standard representation of alphabet letters called ASCII (an acronym for American Standard Code for Information Interchange). In ASCII, the sequence 1000001 represents the capital letter A, and 1000010 represents the capital B, and so on. The convention, of course, is arbitrary.

William Caxton, for example, England's first printer, recorded for us in 1484 the following account of a reptilian monster in medieval Italy. I have modernised the spelling and punctuation: “There was found within a great river [i.e. the Po in Italy] a monster marine, or of the sea, of the form or likeness which followeth. He had the form or making of a fish, the which part was in two halves, that is to wit double. He had a great beard and he had two wonderfully great horns above his ears. Also he had great paps and a wonderfully great and horrible mouth. And at the both [of] his elbows he had wings right broad and great of fish's armour wherewith he swimmed and only he had but the head out of the water. It happed then that many women laundered and washed at the port or haven of the said river [where] that this horrible and fearful beast was, [who] for lack or default of meat came swimming toward the said women. Of the which he took one by the hand and supposed to have drawn her into the water. But she was strong and well advised and resisted against the said monster. And as she defended herself, she began to cry with an high voice, "Help, help!" To the which came running five women which by hurling and drawing of stones, killed and slew the said monster, for he was come too far within the sound, wherefore he might not return to the deep water. And after, when he rendered his spirit, he made a right little cry. He was of great corpulence more than any man's body. And yet, saith Poge [Pogius Bracciolini of Florence] in this manner, that he, being at Ferrara, he saw the said monster and saith yet that the young children were accustomed for to go bathe and wash them within the said river, but they came not all again. Wherefore the women [neither] washed nor laundered their clothes at the said port, for the folk presumed and supposed that the monster killed the young children which were drowned.

Just as it does in nature, this rare punctuation event dramatically altered the nature of our portfolio. We were able to buy companies at prices and in quantities we never thought possible. For example, in table 9.3, check out the discount at which we bought WNS, a business we have known well (since it is in our portfolio) since 2008. In February 2020, it was trading at almost $74 per share. Within a few weeks, by March 2020, the pandemic scare had crushed the stock, allowing us to deploy almost $100 million at only $46 per share! Similarly, we bought Thermax, a business we had been tracking for more than a decade, at a 45 percent discount to its previous high in early 2018.

I fitted my front so close to her back that we became one thing, like a man and wife should be. I set my warm palm on her shoulder (before it could turn cold on me). I drew her curtain of hair away to reveal the pink shell of her ear. Her boots put my mouth within easy whispering range, and I took full advantage. “I will always be fair with you. I will always be square with you . . . I will always take care of you.” I punctuated with a moist kiss to the sensitive spot behind her ear and felt her melt a little.

Within minutes, I received a response with punctuation I had never seen before. “Hello (((Weisman))),” wrote “CyberTrump.” Nothing more. Just that. I was sitting at my desk at work. I had some time on my hands as an editor at the Times, since my responsibilities then centered on domestic policy—economics, the environment, poverty—and with the nation consumed in this strange presidential campaign, not a lot of policy making was going on. “Care to explain?” I answered, intuiting that my last name in those triple parentheses must somehow denote my Jewish faith. “What, ho, the vaunted Ashkenazi intelligence, hahaha!” “CyberTrump” came back. “It’s a dog whistle, fool. Belling the cat for my fellow goyim.” With the cat belled, the horde followed. What I didn’t know was that I had unwittingly exposed what was known in the alt-right as “echoes,” those three parentheses that practitioners of online harassment wrapped around Jewish-sounding names on social media. Unbeknown to, well, just about everyone, alt-right anti-Semites had created a Google plug-in that could be used to search double or triple parentheses, since ordinary search engines do not pick up punctuation marks. Haters would slap these “echoes” around Jewish-sounding names of people online they wanted to target. Once a target was “belled,” the alt-right anti-Semitic mob could download the innocuous-sounding Coincidence Detector plug-in from the Google Chrome store, track down targets like heat-seeking missiles, then swarm. “You’ve all provoked us. You’ve been doing it for decades—and centuries even—and we’ve finally had enough,” declared Andrew Anglin, the creator and mastermind of the neo-Nazi website the Daily Stormer. “Challenge has been accepted.” And swarm they did.