Red Themed Quotes

Its hard to stay up. Its been a long long day And you've got the sandman at your door. But hang on, leave the TV on and lets do it anyway. Its ok. You can always sleep through work tomorrow. Ok? Hey, Hey, Tomorrow's just your future yesterday. Tell the clock on the wall, "Forget the wake up call." Cause the night's not nearly through. Wipe the sleep from your eyes. Give yourself a surprise. Let your worries wait another day. And if you stay too late at the bar, At least you made it out this far. So make up your mind and say, "Let's do it anyway!" Its Ok You can always sleep through work tomorrow, ok? Hey, Hey, Tomorrow's just your future yesterday. Life's too short to worry about the things that you can live without And I regret to say, the morning light is hours away. The world can be such a fright, But it belongs to us tonight. What's the point of going to bed? You look so lovely when your eyes are red. Tomorrow's just your future yesterday.

A red traffic light loomed, and Cecilia slammed her foot on the brake. The fact that Polly no longer wanted a pirate party was breathtakingly insignificant in comparison to that poor man (thirty!) crashing to the ground for the freedom that Cecilia took for granted, but right now, she couldn’t pause to honor his memory, because a last-minute change of party theme was unacceptable. That’s what happened when you had freedom. You lost your mind over a pirate party.

She will be busy writing novels. As soon as she had has gotten far enough away from this frighteningly puritanical country, her mind will be set free, and she will be able to turn all of her observations in richly drawn characters and intricately themed stories.” “But what will she eat, dear Grass?” Barnard leaned against the wall, his arms crossing his chest skeptically. “Baguette and red wine, pure art, filthy air. Look at her, she is made of rose petals, and the world will take good care of her. And if it does not, we will have our hearts moved by such an exquisitely gorgeous tragedy.

Then, unprompted, Henry says into the stretching stillness, “Return of the Jedi.” A beat. “What?” “To answer your question,” Henry says. “Yes, I do like Star Wars, and my favorite is Return of the Jedi.” “Oh,” Alex says. “Wow, you’re wrong.” Henry huffs out the tiniest, most poshly indignant puff of air. It smells minty. Alex resists the urge to throw another elbow. “How can I be wrong about my own favorite? It’s a personal truth.” “It’s a personal truth that is wrong and bad.” “Which do you prefer, then? Please show me the error of my ways.” “Okay, Empire.” Henry sniffs. “So dark, though.” “Yeah, which is what makes it good,” Alex says. “It’s the most thematically complex. It’s got the Han and Leia kiss in it, you meet Yoda, Han is at the top of his game, fucking Lando Calrissian, and the best twist in cinematic history. What does Jedi have? Fuckin’ Ewoks.” “Ewoks are iconic.” “Ewoks are stupid.” “But Endor.” “But Hoth. There’s a reason people always call the best, grittiest installment of a trilogy the Empire of the series.” “And I can appreciate that. But isn’t there something to be valued in a happy ending as well?” “Spoken like a true Prince Charming.” “I’m only saying, I like the resolution of Jedi. It ties everything up nicely. And the overall theme you’re intended to take away from the films is hope and love and … er, you know, all that. Which is what Jedi leaves you with a sense of most of all.

My ignorance is becoming a theme

A myth is an unverifiable and typically fantastic story that is nonethless felt to be true and that deal with a theme of some importance to the believer.

My ignorance is becoming a theme." --Mare Barrow

Every epic climax needs a good theme song,” he quips, forcing a smile.

Yet the flip side of the coin was all the positive literature about radium. As early as 1914, specialists knew that radium could deposit in the bones of radium users and that it caused changes in their blood. These blood changes, however, were interpreted as a good thing—the radium appeared to stimulate the bone marrow to produce extra red blood cells. Deposited inside the body, radium was the gift that kept on giving. But if you looked a little closer at all those positive publications, there was a common denominator: the researchers, on the whole, worked for radium firms. As radium was such a rare and mysterious element, its commercial exploiters in fact controlled, to an almost monopolizing extent, its image and most of the knowledge about it. Many firms had their own radium-themed journals, which were distributed free to doctors, all full of optimistic research. The firms that profited from radium medicine were the primary producers and publishers of the positive literature.

from all parts and were

My ignorance is becoming a theme. “All

In the restaurant kitchen, August meant lobsters, blackberries, silver queen corn, and tomatoes, tomatoes, tomatoes. In honor of the last year of the restaurant, Fiona was creating a different tomato special for each day of the month. The first of August (two hundred and fifty covers on the book, eleven reservation wait list) was a roasted yellow tomato soup. The second of August (two hundred and fifty covers, seven reservation wait list) was tomato pie with a Gruyère crust. On the third of August, Ernie Otemeyer came in with his wife to celebrate his birthday and since Ernie liked food that went with his Bud Light, Fiona made a Sicilian pizza- a thick, doughy crust, a layer of fresh buffalo mozzarella, topped with a voluptuous tomato-basil sauce. One morning when she was working the phone, Adrienne stepped into the kitchen hoping to get a few minutes with Mario, and she found Fiona taking a bite out of red ripe tomato like it was an apple. Fiona held the tomato out. "I'd put this on the menu," she said. "But few would understand.

There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next.

The main reason I don’t like it is that the commodification of Memorial Day and events like NFL’s Salute to Service month . . . capitalizes on a new strain of ‘patriotism,’” Doolittle said. “In America today, we display patriotism through the lens of militarism and war and pass it off as support for the troops. It can smell a lot like nationalism. We’ll buy a hat with a camo logo of our favorite team and wear it proudly, a way to show support for our team and our armed forces. There’s more to patriotism than standing for the anthem and wearing red, white, and blue or camo-themed garb, but this new kind of American patriotism gets exploited in the name of capitalism, and days like Memorial Day lose some of their meaning.

In keeping with its code-breaking theme, the opening credits of Sneakers has the names of some of the film’s major players presented as anagrams before they get unscrambled: “BLOND RHINO SPANIEL” becomes “PHIL ALDEN ROBINSON,” while “FORT RED BORDER” turns into “ROBERT REDFORD” and “A TURNIP CURES ELVIS” reveals itself as “UNIVERSAL PICTURES.” Not all cast members got their names shuffled—if they had, the world might have discovered that one anagram for “RIVER PHOENIX” is “VIPER HEROIN X.

Perhaps it was that I wanted to see what I had learned, what I had read, what I had imagined, that I would never be able to see the city of London without seeing it through the overarching scrim of every description of it I had read before. When I turn the corner into a small, quiet, leafy square, am I really seeing it fresh, or am I both looking and remembering? [...] This is both the beauty and excitement of London, and its cross to bear, too. There is a tendency for visitors to turn the place into a theme park, the Disney World of social class, innate dignity, crooked streets, and grand houses, with a cavalcade of monarchs as varied and cartoony as Mickey Mouse, Snow White, and, at least in the opinion of various Briths broadhseets, Goofy. They come, not to see what London is, or even what it was, but to confirm a kind of picture-postcard view of both, all red telephone kiosks and fog-wreathed alleyways.

Biology - Polarity of silver lining – review of positive/negative (254) elements English - Poetry, Emily Dickinson, (6444) color themes: orange, apple red History - appeal processes (908), new information Geometry - segment division provided 2546444908 Assignments due October 30, response required.

They are taking away all the nice things there because they are impractical, as if that were reason enough – the red phone-boxes, the pound note, those open London buses that you can leap on and off. There is almost no experience in life that makes you look and feel more suave than jumping on or off a moving London bus. But they aren’t practical. They require two men (one to drive and one to stop thugs from kicking the crap out of the Pakistani gentleman at the back) and that is uneconomical, so they have to go. And before long there will be no more milk in bottles delivered to the doorstep or sleepy rural pubs and the countryside will be mostly shopping centres and theme parks. Forgive me. I don’t mean to get upset. But you are taking my world away from me, piece by little piece, and sometimes it just pisses me off. Sorry.

Liber Novus thus presents a series of active imaginations together with Jung's attempt to understand their significance. This work of understanding encompasses a number of interlinked threads: an attempt to understand himself and to integrate and develop the various components of his personality; an attempt to understand the structure of the human personality in general; an attempt to understand the relation of the individual to present-day society and to the community of the dead; an attempt to understand the psychological and historical effects of Christianity; and an attempt to grasp the future religious development of the West. Jung discusses many other themes in the work, including the nature of self-knowledge; the nature of the soul; the relations of thinking and feeling and the psychological types; the relation of inner and outer masculinity and femininity; the uniting of opposites; solitude; the value of scholarship and learning; the status of science; the significance of symbols and how they are to be understood; the meaning of the war; madness, divine madness, and psychiatry; how the Imitation of Christ is to be understood today; the death of God; the historical significance of Nietzsche; and the relation of magic and reason.

Little Brother, an aspiring painter, saved up all his money and went to France, to surround himself with beauty and inspiration. He lived on the cheap, painted every day, visited museums, traveled to picturesque locations, bravely spoke to everyone he met, and showed his work to anyone who would look at it. One afternoon, Little Brother struck up a conversation in a café with a group of charming young people, who turned out to be some species of fancy aristocrats. The charming young aristocrats took a liking to Little Brother and invited him to a party that weekend in a castle in the Loire Valley. They promised Little Brother that this was going to be the most fabulous party of the year. It would be attended by the rich, by the famous, and by several crowned heads of Europe. Best of all, it was to be a masquerade ball, where nobody skimped on the costumes. It was not to be missed. Dress up, they said, and join us! Excited, Little Brother worked all week on a costume that he was certain would be a showstopper. He scoured Paris for materials and held back neither on the details nor the audacity of his creation. Then he rented a car and drove to the castle, three hours from Paris. He changed into his costume in the car and ascended the castle steps. He gave his name to the butler, who found him on the guest list and politely welcomed him in. Little Brother entered the ballroom, head held high. Upon which he immediately realized his mistake. This was indeed a costume party—his new friends had not misled him there—but he had missed one detail in translation: This was a themed costume party. The theme was “a medieval court.” And Little Brother was dressed as a lobster. All around him, the wealthiest and most beautiful people of Europe were attired in gilded finery and elaborate period gowns, draped in heirloom jewels, sparkling with elegance as they waltzed to a fine orchestra. Little Brother, on the other hand, was wearing a red leotard, red tights, red ballet slippers, and giant red foam claws. Also, his face was painted red. This is the part of the story where I must tell you that Little Brother was over six feet tall and quite skinny—but with the long waving antennae on his head, he appeared even taller. He was also, of course, the only American in the room. He stood at the top of the steps for one long, ghastly moment. He almost ran away in shame. Running away in shame seemed like the most dignified response to the situation. But he didn’t run. Somehow, he found his resolve. He’d come this far, after all. He’d worked tremendously hard to make this costume, and he was proud of it. He took a deep breath and walked onto the dance floor. He reported later that it was only his experience as an aspiring artist that gave him the courage and the license to be so vulnerable and absurd. Something in life had already taught him to just put it out there, whatever “it” is. That costume was what he had made, after all, so that’s what he was bringing to the party. It was the best he had. It was all he had. So he decided to trust in himself, to trust in his costume, to trust in the circumstances. As he moved into the crowd of aristocrats, a silence fell. The dancing stopped. The orchestra stuttered to a stop. The other guests gathered around Little Brother. Finally, someone asked him what on earth he was. Little Brother bowed deeply and announced, “I am the court lobster.” Then: laughter. Not ridicule—just joy. They loved him. They loved his sweetness, his weirdness, his giant red claws, his skinny ass in his bright spandex tights. He was the trickster among them, and so he made the party. Little Brother even ended up dancing that night with the Queen of Belgium. This is how you must do it, people.

It was then that he started his novel The People Immortal, and when I read it later, many of its pages seemed to me very familiar. He found himself as a writer during the war. His pre-war books were nothing more than searching for his theme and language. He was a true internationalist and reproached me frequently for saying “Germans” instead of “Hitler’s men” when describing the atrocities of the occupiers.’ Ehrenburg was persuaded that it was Grossman’s all-embracing world view which made the xenophobic Stalin hate him.

The koshares are far different from a Western clown in a red nose and big shoes. With the koshares there is a shock value to the spirit embodied by the clown. There is an intentional effort to draw attention through behavior that creates a disorienting presence as unsettling as it is humorous. Koshares appear around adult themes of fertility and sexuality. They exhibit our mixed attitudes toward subjects that can make us both aroused and embarrassed at the same time. They are ambivalence personified; they are also raw energy and life.

The increase in deaths of despair was almost all among those without a bachelor’s degree. Those with a four-year degree are mostly exempt; it is those without the degree who are at risk. This was particularly surprising for suicide; for more than a century, suicides were generally more common among the educated,1 but that is not true in the current epidemic of deaths of despair. The four-year college degree is increasingly dividing America, and the extraordinarily beneficial effects of the degree are a constant theme running through the book. The widening gap between those with and without a bachelor’s degree is not only in death but also in quality of life; those without a degree are seeing increases in their levels of pain, ill health, and serious mental distress, and declines in their ability to work and to socialize. The gap is also widening in earnings, in family stability, and in community.2 A four-year degree has become the key marker of social status, as if there were a requirement for nongraduates to wear a circular scarlet badge bearing the letters BA crossed through by a diagonal red line.

Unlike many of the children’s stories written around the same time, the Harry Potter books and films are being passed down from one generation to the next. They are one of the few cultural landmarks that link thirteen-year-olds and thirty-year-olds. It means that there has been a snowball effect as more and more people get drawn into the wizarding world. If I had been told while we were making the films that in the years to come there would be a Harry Potter theme park, and that I’d be cutting the red ribbon on our own section of Universal Studios, I’d have laughed in your face.

Elijah had roasted duck confit legs in toasted, ground coriander, cumin, and chili; he'd paired it with a strawberry and pink peppercorn gastrique sauce drizzled overtop and dotted on the platter. He'd baked walnut, ramp, and queso fresco financiers in small round molds and topped each of them with a strawberry flower. He'd colored more of his homemade queso fresco---one of Penelope's recipes---with beet powder, which he'd molded into spheres, dotted with nigella seeds, and topped with strawberry stems to approximate the look of strawberries while adding a creamy element to the dish. To punctuate the strawberry-patch appearance further and add another contrast, he'd scattered pickled half-ripe strawberry cubes, more strawberry blossoms, and tiny, fragrant yellow and red alpine strawberries across the plate. Shards of sumptuous, crispy duck skin finished the plate.

I threw my binder of materials down on our apartment’s floral couch. “Seriously, pink is a neutral color! And what’s elegant about navy blue? No one ever says, ‘Hey, you know what’s elegant? The Navy!’” Arianna rolled her dead guys. “There is nothing neutral about pink. They need a color that looks good as a background to any shade of dress.” “What color clashes with pink?” “Orange?” “Well, if anyone shows up in an orange dress, she deserves to clash. Yuck.” “Chill out. You can do a lot with navy.” I sank down into the couch next to her. “I guess. I could do navy with silver accents. Stars?” “Yawn.” “Snowflakes?” “Gee, now you’re getting creative for a winter formal.” I ignored her tone, as usual. I was just glad she was here. She’d been gone a lot lately. “Hmm . . . maybe something softer. Like a water and mist theme?” I asked. “I . . . actually kind of like that.” “Wanna help me with the sketches?” She leaned forward and turned on Easton Heights. “Decorating a stupid dance is all yours. You’re the one who decided to be more involved in your ‘normal life.’ I’d prefer to be sleeping six feet under.” “This is probably a bad time to mention I also might have signed up to help with costumes for the spring play. And since I know nothing about sewing, I kind of maybe signed you up as a volunteer aide.” She sighed, running one glamoured corpse hand through her spiky red and black hair. “I am going to kill you in your sleep.” “As long as it doesn’t hurt.” We hummed along to the opening theme, which ended when the door banged open and my boyfriend walked through, shrugging out of his coat and beaming as he dropped a duffel bag. “Free! What did I miss?” Lend asked, his cheeks rosy from the cold and his smile lighting up his watery eyes beneath his dark glamour ones. “I lost the vote on color schemes for the dance, the last episode of Easton Heights before they go into reruns is back on in three minutes, and Arianna is going to murder me in my sleep.” “As long as it doesn’t hurt.” “That’s what I said!

1. Linus Malthus "Winning is just the snow that came down yesterday"   Founder of total football. Tactical revolutionary who created the foundation of modern football  저희는 7가지 철칙을 바탕으로 거래를 합니다. 고객들과 지키지못할약속은 하지않습니다 1.정품보장 2.총알배송 3.투명한 가격 4.편한 상담 5.끝내주는 서비스 6.고객님 정보 보호 7.깔끔한 거래 [경영항목] 엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜등많은제품판매하고있습니다 믿고 주문해주세요~저희는 제품판매를 고객님들과 신용과신뢰의 거래로 하고있습니다. 제품효과 못보실 그럴일은 없지만 만의하나 효과못보시면 저희가 1차재발송과 2차 환불까지 약속합니다 텔레【KC98K】카톡【ACD5】라인【SPR331】 The only winner in the international major tournament, Holland, the best soccer line of football 2. Sir Alex Ferguson Mr.Man Utd   The Red Boss The best director in soccer history (most of the past soccer coach rankings are the top picks) It is the most obvious that shows how important the director is in football.   Manchester United's 27-year-old championship, the spiritual stake of all United players and fans, Manchester United itself 3. Theme Mourinho "I do not pretend to be arrogant, because I'm all true, I am a European champion, I am not one of the cunning bosses around, I think I am Special One." The Special One The cost of counterattack after a player Charming world with charisma and poetry The director who has the most violent career of soccer directors 4. Pep Guardiola A man who achieved the world's first and only six treasures beyond treble. Make a team with a page of football history 5. Ottmar Hitzfeld Borussia Dortmund and Bayern are the best directors in Munich history. Legendary former football manager of Germany Sir Alex Ferguson's rival

In the nineties…yes, we were ecstatic; there’s no way back to that naïveté. We thought that the choice had been made and that communism had been defeated forever. But it was only the beginning… Twenty years have gone by…“Don’t try to scare us with your socialism,” children tell their parents. From a conversation with a university professor: “At the end of the nineties, my students would laugh when I told them stories about the Soviet Union. They were sure that a new future awaited them. Now it’s a different story…Today’s students have truly seen and felt capitalism: the inequality, the poverty, the shameless wealth. They’ve witnessed the lives of their parents, who never got anything out of the plundering of our country. And they’re oriented toward radicalism. They dream of their own revolution, they wear red T-shirts with pictures of Lenin and Che Guevara.” There’s a new demand for everything Soviet. For the cult of Stalin. Half of the people between the ages of nineteen and thirty consider Stalin an “unrivaled political figure.” A new cult of Stalin, in a country where he murdered at least as many people as Hitler?! Everything Soviet is back in style. “Soviet-style cafés” with Soviet names and Soviet dishes. “Soviet” candy and “Soviet” salami, their taste and smell all too familiar from childhood. And of course, “Soviet” vodka. There are dozens of Soviet-themed TV shows, scores of websites devoted to Soviet nostalgia. You can visit Stalin’s camps—Solovki, Magadan—as a tourist. The advertisements promise that for the full effect, they’ll give you a camp uniform and a pickaxe. They’ll show you the newly restored barracks. Afterward, there will be fishing…

Sometimes Partridge imagines that this isn't real, that, instead, it's just some elaborate reenactment of destruction, not the actual destruction itself. He remembers once being in a museum on a class trip. There were miniature displays with live actors in various wings, talking about what things were like before the Return of Civility. Each display was dedicated to a theme: before the impressive prison system was built, before difficult children were properly medicated, when feminism didn't encourage femininity, when the media was hostile to government instead of working toward a greater good, before people with dangerous ideas were properly identified, back when government had to ask permission to protect its good citizens from the evils of the world and from the evils among us, before the gates had gone up around neighborhoods with buzzer systems and friendly men at gatehouses who knew everyone by name. In the heat of the day, there were battle reenactments on the museum's wide lawn that showed the uprisings waged in certain cities against the Return of Civility and its legislation. With the military behind the government, the uprisings - usually political demonstrations that became violent - were easily tamped down. The government's domestic militia, the Righteous Red Wave, came to save the day. The recorded sounds were deafening, Uzis and attack sirens pouring from speakers. The kids in his class bought bullhorns, very realistic hand grenades, and Righteous Red Wave iron-on emblems in the gift shop. He wanted a sticker that read THE RETURN OF CIVILITY - THE BEST KIND OF FREEDOM written over a rippling American flag, with the words REMAIN VIGILANT written beneath it. But his mother hadn't given him money for the gift shop, no wonder. Of coarse, he knew now that the museum was propaganda.

Having studied workplace leadership styles since the 1970s, Kets de Vries confirmed that language is a critical clue when determining if a company has become too cultish for comfort. Red flags should rise when there are too many pep talks, slogans, singsongs, code words, and too much meaningless corporate jargon, he said. Most of us have encountered some dialect of hollow workplace gibberish. Corporate BS generators are easy to find on the web (and fun to play with), churning out phrases like “rapidiously orchestrating market-driven deliverables” and “progressively cloudifying world-class human capital.” At my old fashion magazine job, employees were always throwing around woo-woo metaphors like “synergy” (the state of being on the same page), “move the needle” (make noticeable progress), and “mindshare” (something having to do with a brand’s popularity? I’m still not sure). My old boss especially loved when everyone needlessly transformed nouns into transitive verbs and vice versa—“whiteboard” to “whiteboarding,” “sunset” to “sunsetting,” the verb “ask” to the noun “ask.” People did it even when it was obvious they didn’t know quite what they were saying or why. Naturally, I was always creeped out by this conformism and enjoyed parodying it in my free time. In her memoir Uncanny Valley, tech reporter Anna Wiener christened all forms of corporate vernacular “garbage language.” Garbage language has been around since long before Silicon Valley, though its themes have changed with the times. In the 1980s, it reeked of the stock exchange: “buy-in,” “leverage,” “volatility.” The ’90s brought computer imagery: “bandwidth,” “ping me,” “let’s take this offline.” In the twenty-first century, with start-up culture and the dissolution of work-life separation (the Google ball pits and in-office massage therapists) in combination with movements toward “transparency” and “inclusion,” we got mystical, politically correct, self-empowerment language: “holistic,” “actualize,” “alignment.

The Old World is all about avoiding pain (avoiding the red buttons), staying safe (don’t stray from the mapped areas, you might encounter stinky feet mush!), limitation (avoid the red buttons and teach others to do the same) and conformity (we all have the same taste). The main theme of the Old World is pain minimization.

AU investigated the Religious Right's most common examples of the “war on Christmas.” Guess what? They're bogus! Two schools accused of banning red and green did no such thing. Another school was accused of rewriting “Silent Night.” In reality, it was putting on an eighteen-year-old play that changes the words of familiar Christmas carols to fit the play's secular theme of homelessness.

Highlights   1) Structure is the selection of events from characters’ lives strategically arranged to serve the writer’s purpose.   2) You should know the lives of your main characters from cradle to grave.   3) In addition to telling a good story, a writer’s secondary goal is to stir ideas or emotions in the reader.   Red Sneaker Exercises   1) List your three favorite books of all time. What do they have in common? Do common themes emerge? Did they produce a specific emotional or intellectual response?   2) Write a job application for your protagonist and antagonist using the form attached as Appendix A. Take your time. Do you know as much about these critical characters as you should?   3) You may have heard the term “takeaway,” meaning what the reader takes away with them after reading a book. What do readers get from your book? How are they rewarded for spending their time in your fictional world? Complete the following sentences:   When readers finish my book, I want them to feel ____________________.   When readers finish my book, I want them to think ______________________.   Now how are you going to arrange your story to make that happen?

The best bosses let the workers do their work. They protect their people from red tape, meddlesome executives, nosy visitors, unnecessary meetings, and a host of other insults, intrusions and time wasters. The notion that management ‘buffers’ the core work of the organization from uncertainty and external perturbations is an old theme in organization theory. A good boss takes pride in serving as a human shield, absorbing and deflecting heat from superiors and customers, doing all manner of boring and silly tasks, and battling back against every idiot and slight that makes life unfair or harder than necessary on his or her charges.

Not unto us, O Lord, not unto us, but unto Thy name give glory, for Thy mercy, and for Thy truth’s sake.” Psalm 115:1. Such was the spirit that pervaded Israel’s song of deliverance, and it is the spirit that should dwell in the hearts of all who love and fear God. In freeing out souls from the bondage of sin, God has wrought for us a deliverance greater than that of the hebrews at the Red Sea. Like the hebrew host, we should praise the Lord with heart and soul and voice for his “wonderful works to the children of men.” Those who dwell upon God’s great mercies, and are not unmindful of his lesser gifts, will put on the girdle of gladness and make melody in their hearts to the Lord. The daily blessings that we receive from the hand of God, and above all else the death of Jesus to bring happiness and heaven within our reach, should be a theme for constant gratitude. What compassion, what matchless love, has God shown to us, lost sinners, in connecting us with himself, to be to him a peculiar treasure! What a sacrifice has been made by our Redeemer, that we may be called children of God! We should praise God for the blessed hope held out before us in the great plan of redemption, we should praise him for the heavenly inheritance and for his rich promises; praise him that Jesus lives to intercede for us.

I’m Captain Florida, the state history pimp Gatherin’ more data than a DEA blimp West Palm, Tampa Bay, Miami-Dade Cruisin’ the coasts till Johnny Vegas gets laid Developer ho’s, and the politician bitches Smackin’ ’em down, while I’m takin’ lots of pictures Hurricanes, sinkholes, natural disaster ’Scuse me while I kick back, with my View-Master (S:) I’m Captain Florida, obscure facts are all legit (C:) I’m Coleman, the sidekick, with a big bong hit (S:) I’m Captain Florida, staying literate (C:) Coleman sees a book and says, “Fuck that shit” Ain’t never been caught, slippin’ nooses down the Keys Got more buoyancy than Elián González Knockin’ off the parasites, and takin’ all their moola Recruiting my apostles for the Church of Don Shula I’m an old-school gangster with a psycho ex-wife Molly Packin’ Glocks, a shotgun and my 7-Eleven coffee Trippin’ the theme parks, the malls, the time-shares Bustin’ my rhymes through all the red-tide scares (S:) I’m the surge in the storms, don’t believe the hype (C:) I’m his stoned number two, where’d I put my hash pipe? (S:) Florida, no appointments and a tank of gas (C:) Tequila, no employment and a bag of grass Think you’ve seen it all? I beg to differ Mosquitoes like bats and a peg-leg stripper The scammers, the schemers, the real estate liars Birthday-party clowns in a meth-lab fire But dig us, don’t diss us, pay a visit, don’t be late And statistics always lie, so ignore the murder rate Beaches, palm trees and golfing is our curse Our residents won’t bite, but a few will shoot first Everglades, orange groves, alligators, Buffett Scarface, Hemingway, an Andrew Jackson to suck it Solarcaine, Rogaine, eight balls of cocaine See the hall of fame for the criminally insane Artifacts, folklore, roadside attractions Crackers, Haitians, Cuban-exile factions The early-bird specials, drivin’ like molasses Condo-meeting fistfights in cataract glasses (S:) I’m the native tourist, with the rants that can’t be beat (C:) Serge, I think I put my shoes on the wrong feet (S:) A stack of old postcards in another dingy room (C:) A cold Bud forty and a magic mushroom Can’t stop, turnpike, keep ridin’ like the wind Gotta make a detour for a souvenir pin But if you like to litter, you’re just liable to get hurt Do ya like the MAC-10 under my tropical shirt? I just keep meeting jerks, I’m a human land-filler But it’s totally unfair, this term “serial killer” The police never rest, always breakin’ in my pad But sunshine is my bling, and I’m hangin’ like a chad (S:) Serge has got to roll and drop the mike on this rap . . . (C:) Coleman’s climbin’ in the tub, to take a little nap . . . (S:) . . . Disappearin’ in the swamp—and goin’ tangent, tangent, tangent . . . (C:) He’s goin’ tangent, tangent . . . (Fade-out) (S:) I’m goin’ tangent, tangent . . . (C:) Fuck goin’ platinum, he’s goin’ tangent, tangent . . . (S:) . . . Wikipedia all up and down your ass . . . (C:) Wikity-Wikity-Wikity . . .

As former deputy head of the presidential administration, later deputy prime minister and then assistant to the President on foreign affairs, Surkov has directed Russian society like one great reality show. He claps once and a new political party appears. He claps again and creates Nashi, the Russian equivalent of the Hitler Youth, who are trained for street battles with potential prodemocracy supporters and burn books by unpatriotic writers on Red Square. As deputy head of the administration he would meet once a week with the heads of the television channels in his Kremlin office, instructing them on whom to attack and whom to defend, who is allowed on TV and who is banned, how the President is to be presented, and the very language and categories the country thinks and feels in. The Ostankino TV presenters, instructed by Surkov, pluck a theme (oligarchs, America, the Middle East) and speak for twenty minutes, hinting, nudging, winking, insinuating though rarely ever saying anything directly, repeating words like “them” and “the enemy” endlessly until they are imprinted on the mind. They repeat the great mantras of the era: the President is the President of “stability,” the antithesis to the era of “confusion and twilight” in the 1990s. “Stability”—the word is repeated again and again in a myriad seemingly irrelevant contexts until it echoes and tolls like a great bell and seems to mean everything good; anyone who opposes the President is an enemy of the great God of “stability.” “Effective manager,” a term quarried from Western corporate speak, is transmuted into a term to venerate the President as the most “effective manager” of all. “Effective” becomes the raison d’être for everything: Stalin was an “effective manager” who had to make sacrifices for the sake of being “effective.” The words trickle into the streets: “Our relationship is not effective” lovers tell each other when they break up. “Effective,” “stability”: no one can quite define what they actually mean, and as the city transforms and surges, everyone senses things are the very opposite of stable, and certainly nothing is “effective,” but the way Surkov and his puppets use them the words have taken on a life of their own and act like falling axes over anyone who is in any way disloyal.

If you want to tell a boy dog apart from a girl dog in the 101 Dalmatians, simply look at their collar! All of the females wear blue, while the males wear red!

You don’t see me as the kind of knight in shining red armor? My name is already Percival, how come it doesn't turn you on? He's the ultimate fictional brooding hero." “Let me think of possible reason why I don't see you in my regular mythology-themed fetish dream, since you assume that all girl's sex fantasy starts with bunch of homos in iron suit--Oh right, red doesn’t suit you.

It is no coincidence that this conservative style of politics is represented by the color red as an overwhelming theme.

I've lived my whole life across the street from the Molinas, but this is the first time I set foot in Sugar. The theme inside is very gaudy. Twinkling lights shaped like icicles hanging from the ceiling. Red walls, just like the facade, the shade of Santa Claus's clothes. Glass shelves and counters polished until they sparkle, not one sign of fingerprints or kids' fogged breaths. There's a translucent wall in the back with display slots. Most are empty by now, but an assortment of bolos de rolo, Seu Romário's famous cakes, takes the main spot at the center. The special lighting shows off the traditionally super thin spiral layers--- twenty layers in this roll cake, he claims--- filled with guava and sprinkled with sugar granules that glisten like a dusting of crystals. The shelves to the right and left are packed with jujubas, bright candies, condensed milk puddings, cookies, broas, and sweet buns, filling the air with a strong, sweet perfume, the type you can actually taste. It's like being inside a candy factory.

What are the odds I’d come face-to-face with the one and only Death on my first excursion beyond the bottle? Astronomically and inconceivably small. One in an infinity. I know what that means. Events of epic proportion, rife with internal and external conflict, are never wasted on secondary characters. I’m one of the heroes. As both librarian and reader, I’m steeped in metaphor and analogy, coincidence and fate, foreshadowing and red herrings, theme and motif, emotional currency and twist of plot. And, like any astute reader, I’m deeply suspicious of the narrator.

Every epic climax needs a good theme song,

Bernstein poured his unfulfilled ambition into stupefying powerful performances of the Mahler symphonies, freighting them with the themes that he should or would have addressed in his own music if only he had the time or the energy or whatever it was that he ultimately lacked: “It is only after fifty, sixty, seventy years of world holocausts, of the simultaneous advance of democracy with our increasing inability to stop making war, of the simultaneous magnification of national pieties with the intensification of our active resistance to social equality—only after we have experienced all this through the smoking ovens of Auschwitz, the frantically bombed jungles of Vietnam, through Hungary, Suez, the Bay of Pigs, the farce-trial of Sinyavsky and Daniel, the refueling of the Nazi machine, the murder in Dallas, the arrogance of South Africa, the Hiss-Chambers travesty, the Trotskyite purges, Black Power, Red Guards, the Arab encirclement of Israel, the plague of McCarthyism, the Tweedledum armaments race—only after all this can we finally listen to Mahler's music and understand that it foretold all. And that in the foretelling it showered a rain of beauty on this world that has not been equaled since.” Bernstein's enthusiasm for Mahler was infectious, but his claims were exaggerated. In twentieth-century music, through all the darkness, guilt, misery, and oblivion, the rain of beauty never ended.

Every epic climax needs a good theme song,” he quips,

The Composition of Death Upon Your Breath" About the Song: The Composition of Death Upon Your Breath delves into the dark and haunting theme of a lover poisoned by a sinister concoction found in the medieval Grand Grimoire. The song narrates the tragic tale of love tainted by the cruel hand of death, where a forbidden potion is meticulously prepared with arcane ingredients. The song's lyrics evoke a gothic atmosphere, intertwining elements of medieval alchemy and romantic tragedy. The potion's ingredients—Red Copper, Nitric Acid, Verdigris, Arsenic, Oak Bark, Rose Water, and Black Soot—are transformed into metaphors for the slow, inevitable demise of the lover. This deadly recipe becomes a symbol of both the destructive power and the twisted beauty of forbidden love. The music captures the essence of gothic black metal with its somber melodies, eerie harmonies, and intense, brooding instrumentals. Each note and lyric serve to illustrate the dark journey of love poisoned by betrayal and malice. The song's atmosphere is thick with melancholy and dread, inviting listeners into a world where passion and death intertwine in a tragic dance. Copyright Notice: The Composition of Death Upon Your Breath © 2024 Umbrae Sortilegium. All rights reserved. Unauthorized copying, reproduction, or distribution of this song or its lyrics is prohibited. The Composition of Death Upon Your Breath. (Verse 1) In an ancient tome of shadowed lore, A secret poison to settle the score, A lover’s whisper, a deadly art, The composition to tear us apart. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Verse 2) A new, glazed pot, the spell's design, A potion brewed, in shadows confined, Your lips, a chalice of cold despair, In each embrace, a whispered prayer. (Pre-Chorus) Red copper gleaming, nitric acid's burn, Verdigris and arsenic, from which there’s no return, Oak bark and rose water, a fatal serenade, Black soot to bind it, in darkness, it’s made. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Bridge) In your gaze, the twilight's fall, A lover's kiss, the end of all, The Grand Grimoire, its secrets told, In every kiss, the poison’s cold. (Breakdown) A potion brewed from darkest sin, Your breath the gateway, let death begin, A recipe of doom, our fates entwined, In your arms, I lose my mind. (Chorus) The composition of death upon your breath, A kiss that leads to the silent depths, In your arms, I fall to eternal rest, Poisoned by the love that you professed. (Outro) The final breath, a lover's sigh, In your arms, I’m doomed to die, The composition, a lover’s theft, Death upon your breath, my final bequest. Lyrics and ALL Vocals yours truly. Lead Guitar & Symphonics Raz Wolfgang Drums Alexander Novichkov Bass Auron Nightshade Guitarist Kael Thornfield

This is a story of personal fascism as opposed to organized fascism. [It] indicates how it is possible for us to have a Gestapo, if the country should go fascist. A character like Monty would qualify brilliantly for the leadership of the Belsen concentration camp. Fascism hates weakness in people; minorities. Monty hates fairies, Negroes, Jews, and foreigners. In the book, Monty murders a fairy. He could have murdered a Negro, a foreigner, or a Jew.” Despite the message being thickly ladled at times, Crossfire’s story was deftly told. Robert Young’s earnest homilies about brotherhood don’t carry half the weight of Robert Mitchum explaining how ugly realities released by the war can’t be neatly tucked away. “The snakes are loose,” he says, like a man who knows how bad it’s going to get. Crossfire shocked everyone, including Schary and Scott, by being a box-office hit. Whether its success was due to a timely message or taut storytelling, no one was sure (although surveys prior to the film’s release suggested little public interest in ethnically themed stories). As the picture reaped humanitarian awards, anti-Communist crusaders moved in on Scott and Dmytryk. Both were branded Red and sent to jail, members of the infamous Hollywood Ten.

Those who have died live in coffins while those who live die in waiting for death. Some people wait patiently for death to come, enjoying life and living peacefully, as others rush to their destruction. Holding true for much of humanity, we like to destroy ourselves. The pointless tragedies of warfare and love lead to the common theme- a murder of pure innocence.

Yet, the dilemma for any institution operating in a competitive environment characterized by incomplete information and rapid change is how to determine when its standard processes and strategies are resulting in a suboptimal outcome, or, more seriously, leading to a potential catastrophe. Even worse, if the methods an institution uses to process corrective information are themselves flawed, they can become the ultimate cause of failure. This inherent problem leads to the central theme of this book: you cannot grade your own homework.

Stand firm in the faith The next charge is to stand firm. A common theme of leadership is the need to be steadfast and stable. Be resolute, especially in your convictions. Plant your feet shoulder length apart so that you can’t be easily blown off course. But stand firm in the faith. Stand on what is solid (Matthew 7:24- 27). Take a stand on the rock of absolute truth in a sandy world without absolutes. To stand firm in the faith you have to know the faith. You have to be grounded in the scriptures. You have to be truth-driven, scripture- soaked and washed. You have to know and articulate the Gospel. You’re only able to stand firm and put off the fear of man when you are informed by the fear of God. You need a dogged tenacity, a voraciousness for the truth of the word of God marked by a red-hot devotional life. Ransack your Bible, tear through it with urgency and let it work your soul out and work into the DNA of who you are. You need that spiritual stability. Remember how Jesus responded when he was tempted by Satan — He went to scripture. Again and again He said, “It is written...” To stand firm in the faith, you have be able to call on scripture when you’re under attack. Think of it in the context of hand to hand combat in the military. When you’re standing firm, you’re able to take a punch. You’ve got your dukes up. You’re alert and watching. You’re dodging and weaving. You’re steady and able to fight. That’s the picture Paul’s giving. In his letter to the Ephesians, he adds the context of doing this in the “whole armor of God”: “Therefore take up the whole armor of God,” he writes, “that you may be able to withstand in the evil day, and having done all, to stand firm” (Eph. 6:13).

I blinked at a display of purses made from superhero-themed fabric. I hadn’t realized there were so many different ways to wear a cape, or so many different styles of bustier that people would consider appropriate to wear into combat.

Ten bucks says I can wipe that smile off your face in less than five seconds.” Impossible. “Do your best, Ledger.” “I always sit right here because I can see up your skirt.” I kick his chest, my mouth open in shock. “You jerk!” Then I cross my legs. “Red today,” he laughs out. “Green yesterday. Did you buy a rainbow-themed bulk pack?” “I hate you!

Taylor chose the right side first. She stood in the doorway and looked into the room, running her Maglite over the dimness. She didn’t need the overhead to see the blood. Copious amounts of red, startling against the contiguous white theme, was very defining. From her vantage point at the doorway, she could see blood everywhere, cast off on the unmade bed and headboard, washed across the wall, soaking the carpet. In the middle of the bed, a dark-haired woman lay on her stomach, facedown on the sheets, which were nearly black. Exsanguination, her mind told her. The woman’s legs were akimbo, the left twisted under the right as if she’d fallen at an angle onto the mattress. Taylor couldn’t see her arms. She

The first dishes, carried out on Barroni's exquisite silver platters, were a selection of marzipan fancies, shaped into hearts and silvered; a mostarda of black figs in spiced syrup; skewers of prosciutto marinated in red wine that I had reduced until it was thick and almost black; little frittate with herbs, each covered with finely sliced black truffles; whole baby melanzane, simmered in olive oil, a recipe I had got from a Turkish merchant I had met in the bathhouse. I set about putting the second course together. I heated two kinds of biroldi, blood sausages: one variety I had made pig's blood, pine nuts and raisins; the other was made from calf's blood, minced pork and pecorino. Quails, larks, grey partridge and figpeckers were roasting over the fire, painted with a sauce made from grape molasses, boiled wine, orange juice, cinnamon and saffron. They blackened as they turned, the thick sauce becoming a lovely, shiny caramel. There were roasted front-quarters of hare, on which would go a deep crimson, almost black sauce made from their blood, raisins, boiled wine and black pepper. Three roasted heads of young pigs, to which I had added tusks and decorated with pastry dyed black with walnut juice so that they resembled wild boar, then baked. Meanwhile, there was a whole sheep turning over the fire, more or less done, but I was holding it so that it would be perfect. The swan- there had to be a swan, Baroni had decided- was ready. I attached it to the armature of wire I had made, so that it stood up regally. The sturgeon, which I had cooked last night at home, and had finally set in aspic at around the fourth hour after midnight, was waiting in a covered salver. There were black cabbage leaves rolled around hazelnuts and cheese; rice porridge cooked in the Venetian style with cuttlefish ink; and of course the roebuck, roasting as well, but already trussed in the position I had designed for it.

What does it mean to try to encapsulate a nation in a flag? It means trying to unite a population behind a homogeneous set of ideals, aims, history and beliefs –an almost impossible task. But when passions are aroused, when the banner of an enemy is flying high, that’s when people flock to their own symbol. Flags have much to do with our traditional tribal tendencies and notions of identity –the idea of ‘us versus them’. Much of the symbolism in flag design is based on that concept of conflict and opposition –as seen in the common theme of red for the blood of the people, for example. But in a modern world striving to reduce conflict and promote a greater sense of unity, peace and equality, where population movements have blurred those lines between ‘us and them’, what role do flags now play?

Red pepper is the theme, but there's no sign of it in the noodles or broth. Does that one little dollop of paste on the side really have the oomph to compensate for that?" "It's harissa, a seasoning blend said to have originated in Northern Africa. The ingredients generally include paprika, caraway seeds, lemon juice and garlic, among other things. But the biggest is a ton of peppers, which are mashed into a paste and blended with those other spices." Oh! That's the same thing Dad made when he visited the dorm. I think I remember him saying it came from somewhere in Africa. "The ramen's broth is based on Chicken Muamba, another African recipe, where chicken and nuts are stewed together with tomatoes and chilies. This broth forms a solid backbone for the entire dish. Its zesty flavor amplifies the super-spicy harissa to explosive proportions!" "That's gotta be sooo spicy! Whoa! Are you sure it's a good idea to dump that much of it in all at once?!" "Hoooo!Thanks to the mellow, full-bodied and ever-so-slight astringency of that mountain of peanuts he infused into the broth... ... adding the harissa just makes the spiciness and richness of the overall dish grow deeper and more complex with each drop! Extra-thick cuts of Char Siu Pork, rubbed with homemade peanut butter before simmering! And the slightly thicker-than-usual wavy noodles! They soak up the broth and envelop the ultra-spiciness of the harissa... all together, it's addicting! Its deliciousness so intense that my body cries out from its heat! African Ramen... how very intriguing! A dish that never before existed anywhere in the world, but he's brought it to vibrant life!

He's panfried those thick, juicy chunks of eel to a perfect golden brown!" "And now he's going to simmer it in red wine with a bouquet garnish!" "I thought so. Ryo Kurokiba is making a matelote!" EEL MATELOTE Coming from the French word for sailor, matelote is freshwater fish stewed in a red-wine sauce. Any fish can be used, but the most traditional preparations include freshwater eel. "That is definitely a dish fit for the Western-Entrée theme." "Huh? Didn't he have the eel filleted before? Now they're back to their old shape again." "He wrapped them in a crépine to hold them in shape. A logical choice, given the chef. The fattiness of the crépine adds depth to the eel's flavor, giving it a greater punch." Eel Matelote... hot and fluffy mashed potatoes... handmade brioche rolls... He's quickly and efficiently playing his cards one by one! I see. So this... ... is how he pieces together such powerful dishes. He has built a deck packed with strong cards to completely overpower his opponent... ... just like a veteran card gamer!

Redemption,” as we saw, is an Exodus term. These three chapters, like Galatians 4:1–11 only much more fully, constitute an Exodus narrative. Why would Paul want to write an Exodus narrative at this point? Because Jesus chose Passover as the explanatory setting for what he had to do. The early church from then on, as we have seen, used Passover as the basic route toward understanding why he died. Paul picks this up and celebrates it. Passover, as we have seen, had to do with the overthrow of the powers of evil, the rescue of God’s people as they passed through the waters of the Red Sea, the giving of the law, and above all the strange and dangerous Presence of God himself, fulfilling his promises, coming to dwell in the tabernacle, and leading the people on the long, difficult journey through the wilderness to their promised inheritance. All of these themes find their home in Romans 6–8 within the narrative of Messiah and Spirit. At their heart, again and again, is the Messiah’s death.

disconsolate. Letters home alighted on a familiar theme. “I miss the American snow, which at least makes a new clean exciting season out of winter, instead of this 6 months cooping-up of damp & rain & blackness we get here. Like the 6 months Persephone had to spend with Pluto.