Rose Technics Quotes

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So I suggested to Dimitri that maybe he should let me off this time. He laughed, and I was pretty sure it was at me and not with me. Rose Hathaway: "Why is that funny?” Dimitri Belikov: "Oh, You were serious.” Rose Hathaway: "Of course I was! Look, I've technically been awake for two days. Why do we have to start this training now? Let me go to bed, It's just one hour.” Dimitri Belikov: "How do you feel right now? After the training you've done so far?” Rose Hathaway: "I hurt like hell.” Dimitri Belikov: "You'll feel worse tomorrow.” Rose Hathaway: "So?” Dimitri Belikov: "So, better to jump in now while you still feel…not as bad.” Rose Hathaway: "What kind of logic is that?
Richelle Mead (Vampire Academy (Vampire Academy, #1))
Emma rose to her feet, facing the faerie across the fleeing crowd. Gleaming from his weathered, barklike face, his eyes were yellow as a cat's. "Shadowhunter," he hissed. Emma reached back over her shoulder and closed her hand around the hilt of her sword, Cortana. The blade made a golden blur in the air as she drew it and pointed the tip at the fey. "No," she said. "I'm a candygram. This is my costume." The faerie looked puzzled. Emma sighed. "It's so hard to be sassy to the Fair Folk. You people never get jokes." "We are well known for our jests, japes, and ballads," the faerie said, clearly offended. "Some of our ballads last for weeks." "I don't have that kind of time," Emma said. "I'm a Shadowhunter. Quip fast, die young." She wiggled Cortana's tip impatiently. "Now turn out your pockets." "I have done nothing to break the Cold Peace," said the fey. "Technically true, but we do frown on stealing from mundanes," Emma said. "Turn out your pockets or I'll rip off one of your horns and shove it where the sun doesn't shine." The fey looked puzzled. "Where does the sun not shine? Is this a riddle?" Emma gave a martyred sigh and raised Cortana. "Turn them out, or I'll start peeling your bark off. My boyfriend and I just broke up, and I'm not in the best mood." The faerie began slowly to empty his pockets onto the ground, glaring at her all the while. "So you're single," he said. "I never would have guessed.
Cassandra Clare (Lady Midnight (The Dark Artifices, #1))
Man was, and is, too shallow and cowardly to endure the fact of the mortality of everything living. He wraps it up in rose-coloured progress-optimism, he heaps upon it the flowers of literature, he crawls behind the shelter of ideals so as not to see anything. But impermanence, the birth and the passing, is the form of all that is actual -- from the stars, whose destiny is for us incalculable, right down to the ephemeral concourses on our planet. The life of the individual -- whether this be animal or plant or man -- is as perishable as that of peoples of Cultures. Every creation is foredoomed to decay, every thought, every discovery, every deed to oblivion. Here, there, and everywhere we are sensible of grandly fated courses of history that have vanished. Ruins of the "have-been" works of dead Cultures lie all about us. The hybris of Prometheus, who thrust his hand into the heavens in order to make the divine powers subject to man, carries with it his fall. What, then, becomes of the chatter about "undying achievements"?
Oswald Spengler (Man and Technics: A Contribution to a Philosophy of Life)
If Christians followed the teachings of a benign dead man, their lives would display an innocuous piety. But when Christians stand up for righteousness and justice, they evidence the power of the living God. . . . . The world doesn't need to be convinced by technical arguments that Jesus rose from the dead, but by the evidence of Christians obeying the living Christ within them.
Charles Colson
Man was, and is, too shallow and cowardly to endure the fact of the mortality of everything living. He wraps it up in the rose-coloured optimism of Progress (which no one actually believes in), he masks it with literature, he crawls behind the shelter of ideals so as not to see anything. But
Oswald Spengler (Man and Technics: A Contribution to a Philosophy of Life)
Kaz said if I proved myself I could join the Dregs when I was ready. And I did. But I didn’t take the tattoo.” Nina’s brows rose. “I didn’t think it was optional.” “Technically it isn’t. I know some people don’t understand, but Kaz told me … he said it was my choice, that he wouldn’t be the one to mark me again.” But he had, in his own way—despite her best intentions. Feeling anything for Kaz Brekker was the worst kind of foolishness. She knew that. But he’d been the one to rescue her, to see her potential. He’d bet on her, and that meant something—even if he’d done it for his own selfish reasons. He’d even dubbed her the Wraith. I don’t like it, she’d said. It makes me sound like a corpse. A phantom, he corrected. Didn’t you say I was to be your spider? Why not stick with that? Because there are plenty of spiders in the Barrel. Besides, you want your enemies to be afraid. Not think they can squash you with the toe of one boot. My enemies? Our enemies.
Leigh Bardugo (Six of Crows (Six of Crows, #1))
He yawn and lay down on me. Naptime creeping up on him. I stay this way a minute. I like listening to him breathe and feeling his chest rise against mine. He don’t know that I’m tired all the time or that I’m technically a kid. He just know that I got him. When we like this, I ain’t gotta know a whole lot either. I just know that I love him. I kiss his temple so he’ll know it.
Angie Thomas (Concrete Rose)
Wanting his mind on other matters, she deliiberately challenged his statement. "You don't know so much about me. There was a man once. He was crazy about me." She tried to look wordly. "Absolutely crazy for me." His answering laughter was warm against her neck, her throat. His lips touched the skin over her pulse and skimmed lightly up to her ear. "Are you, by any chance, referring to that foppish boy with the orange hair and spiked collar? Dragon something?" Savannah gasped and pulled away to glare at im. "How could you possibly know about him? I dated him last year." Gregori nuzzled her neck, inhaling her fragrance, his hand sliding over her shoulder, moving gently over her satin skin to take possession of her breast. "He wore boots and rode a Harley." His breath came out in a rush as his palm cupped the soft weight, his thumb brushing her nipple into a hard peak. The feel of his large hand-so strong, so warm and possessive on her-sent heat curling through her body. Desire rose sharply. He was seducing her with tenderness. Savannah didn't want it to happen. Her body felt better, but the soreness was there to remind her where this could all lead. Her hand caught at his wrist. "How did you find out about Dragon?" she asked, desperate to distract him, to distract herself. How could he make her body burn for his when she was so afraid of him, of having sex with him? "Making love," he corrected, his voice husky, caressing, betraying the ease with which his mind moved like a shadow through hers."And to answer your question, I live in you, can touch you whenever I wish.I knew about all of them. Every damn one." He growled the worrds, and her breath caught in her throat. "He was the only one you thought of kissing." His mouth touched hers. Gently. Lightly. Returned for more. Coaxing, teasing, until she opened to him. He stole her breath, her reason, whirling her into a world of feeling.Bright colors and white-hot heat, the room falling away until there was only his broad shoulders,strong arms, hard body, and perfect,perfect mouth. When he lifted his head, Savannah nearly pulled him back to her.He watched her face,her eyes cloudy with desire, her lips so beautiful, bereft of his. "Do you have any idea how beautiful you are, Savannah? There is such beauty in your soul,I can see it shining in your eyes." She touched his face, her palm molding his strong jaw. Why couldn't she resist his hungry eyes? "I think you're casting a spell over me. I can't remember what we were talking about." Gregori smiled. "Kissing." His teeth nibbled gently at her chin. "Specifically,your wanting to kiss that orange-bearded imbecile." "I wanted to kiss every one of them," she lied indignantly. "No,you did not.You were hoping that silly fop would wipe my taste from your mouth for all eternity." His hand stroked back the fall of hair around her face.He feathered kisses along the delicate line of her jaw. "It would not have worked,you know.As I recall,he seemed to have a problem getting close to you." Her eyes smoldered dangerously. "Did you have anything to do with his allergies?" She had wanted someone, anyone,to wipe Gregori's taste from her mouth,her soul. He raised his voice an octave. "Oh, Savannah, I just have to taste your lips," he mimicked. Then he went into a sneezing fit. "You haven't ridden until you've ridden on a Harley,baby." He sneezed, coughed, and gagged in perfect imitation. Savannah pushed his arm, forgetting for a moment her bruised fist. When it hurt, she yelped and glared accusingly at him. "It was you doing all that to him! That poor man-you damaged his ego for life. Each time he touched me, he had a sneezing fit." Gregori raised an eyebrow, completely unrepentant. "Technically,he did not lay a hand on you.He sneezed before he could get that close.
Christine Feehan (Dark Magic (Dark, #4))
What are these songs, and what do they mean? I know little of music and can say nothing in technical phrase, but I know something of men, and knowing them, I know that these songs are the articulate message of the slave to the world. They tell us in these eager days that life was joyous to the black slave, careless and happy. I can easily believe this of some, of many. But not all the past South, though it rose from the dead, can gainsay the heart-touching witness of these songs. They are the music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.
W.E.B. Du Bois (The Souls of Black Folk)
Mad Rogan took in the canvas-covered vehicles. His eyebrows rose. “Is that a tank?” “Technically that’s a gun on tracks. Mobile field artillery. That’s a tank in the corner. His name is Romeo.” Mad Rogan shook his head in disbelief.
Ilona Andrews (Burn for Me (Hidden Legacy #1))
You don’t know,” Anthony said, his voice low and nearly shaking with rage. “You don’t know what he has done.” “No more than what you have done, I’m sure,” Violet said slyly. “Precisely!” Anthony roared. “Good God, I know exactly what is going on in his brain right now, and it has nothing to do with poetry and roses.” Simon pictured laying Daphne down on a bed of rose petals. “Well, maybe roses,” he murmured. “I’m going to kill him,” Anthony announced. “These are tulips, anyway,” Violet said primly, “from Holland. And Anthony, you really must summon control of your emotions. This is most unseemly.” “He is not fit to lick Daphne’s boots.” Simon’s head filled with more erotic images, this time of himself licking her toes. He decided not to comment. Besides, he had already decided that he wasn’t going to allow his thoughts to wander in such directions. Daphne was Anthony’s sister, for God’s sake. He couldn’t seduce her. “I refuse to listen to another disparaging word about his grace,” Violet stated emphatically, “and that is the end of the subject.” “But—” “I don’t like your tone, Anthony Bridgerton!” Simon thought he heard Daphne choke on a chuckle, and he wondered what that was all about. “If it would please Your Motherhood,” Anthony said in excruciatingly even tones, “I would like a private word with his grace.” “This time I’m really going to get that vase,” Daphne announced, and dashed from the room. Violet crossed her arms, and said to Anthony, “I will not have you mistreat a guest in my home.” “I shan’t lay so much as a hand on him,” Anthony replied. “I give you my word.” Having never had a mother, Simon was finding this exchange fascinating. Bridgerton House was, after all, technically Anthony’s house, not his mother’s, and Simon was impressed that Anthony had refrained from pointing this out. “It’s quite all right, Lady Bridgerton,” he interjected. “I’m sure Anthony and I have much to discuss.” Anthony’s eyes narrowed. “Much.
Julia Quinn (The Duke and I (Bridgertons, #1))
Eliot's understanding of poetic epistemology is a version of Bradley's theory, outlined in our second chapter, that knowing involves immediate, relational, and transcendent stages or levels. The poetic mind, like the ordinary mind, has at least two types of experience: The first consists largely of feeling (falling in love, smelling the cooking, hearing the noise of the typewriter), the second largely of thought (reading Spinoza). The first type of experience is sensuous, and it is also to a great extent monistic or immediate, for it does not require mediation through the mind; it exists before intellectual analysis, before the falling apart of experience into experiencer and experienced. The second type of experience, in contrast, is intellectual (to be known at all, it must be mediated through the mind) and sharply dualistic, in that it involves a breaking down of experience into subject and object. In the mind of the ordinary person, these two types of experience are and remain disparate. In the mind of the poet, these disparate experiences are somehow transcended and amalgamated into a new whole, a whole beyond and yet including subject and object, mind and matter. Eliot illustrates his explanation of poetic epistemology by saying that John Donne did not simply feel his feelings and think his thoughts; he felt his thoughts and thought his feelings. He was able to "feel his thought as immediately as the odour of a rose." Immediately" in this famous simile is a technical term in philosophy, used with precision; it means unmediated through mind, unshattered into subject and object. Falling in love and reading Spinoza typify Eliot's own experiences in the years in which he was writing The Waste Land. These were the exciting and exhausting years in which he met Vivien Haigh-Wood and consummated a disastrous marriage, the years in which he was deeply involved in reading F. H. Bradley, the years in which he was torn between the professions of philosophy and poetry and in which he was in close and frequent contact with such brilliant and stimulating figures as Bertrand Russell and Ezra Pound, the years of the break from his family and homeland, the years in which in every area of his life he seemed to be between broken worlds. The experiences of these years constitute the material of The Waste Land. The relevant biographical details need not be reviewed here, for they are presented in the introduction to The Waste Land Facsimile. For our purposes, it is only necessary to acknowledge what Eliot himself acknowledged: the material of art is always actual life. At the same time, it should also be noted that material in itself is not art. As Eliot argued in his review of Ulysses, "in creation you are responsible for what you can do with material which you must simply accept." For Eliot, the given material included relations with and observations of women, in particular, of his bright but seemingly incurably ill wife Vivien(ne).
Jewel Spears Brooker (Reading the Waste Land: Modernism and the Limits of Interpretation)
I know better than to tell you to be careful, or to come home. But I want you home. Soon. And I want him dead for putting a hand on you. Even with the entirety of the land between us, his rage rippled down the bond. I answered, my tone soothing, Technically, his magic touched me, not his hand. The bathwater was cold by the time his reply came through. I'm glad you have a sense of humour about this. I certainly don't. I sent back an image of me sticking out my tongue at him. My clothes were back on when his answer arrived. Like mine, it was wordless, a mere image. Like mine, Rhysand's tongue was out. But it was occupied with doing something else.
Sarah J. Maas (A Court of Wings and Ruin (A Court of Thorns and Roses, #3))
It was filled with a dark paste, rather than liquid. I unscrewed the cap. The smell rolled toward me, and I reared back. I could almost hear growling, the pop of a bone socket. "Civet," Claudia said, unfazed. "It takes a strong stomach to smell an animalic base note straight, don't you think? But a drop or two, down there in the bottom of a perfume? It sends that other message. Death and sex- that's what perfume's all about. You'll understand when you're older." I stared back at her. I knew about death. I knew about sex. I didn't need her to tell me. She held out another bottle, her expression bland. "Jasmine." I was cautious this time, barely sniffing the contents, but the smell was a relief- sweet, white, and creamy, almost euphoric. I felt as if I were floating in it. Just as I was about to put the bottle down, though, I caught a whiff of something else in the background, something narcotic and sticky. I inhaled more deeply, trying to pin it down. "You like it," Claudia said. For the first time, she seemed pleased with me. "Do you know what that is, that note you're searching for?" I shook my head. It was right there, but in that cool, blank room, I couldn't quite name it. "It's shit," Claudia said. She smiled, slow and lazy. "Technically, the molecule's called indole, but a rose by any other name...
Erica Bauermeister (The Scent Keeper)
I'm sorry,' he murmured, and my spine tingled. He kissed my neck again. 'I'm sorry.' I ran a hand down his arm. 'Tamlin,' I started. 'I shouldn't have said those things,' he breathed onto my skin. 'To you or Lucien. I didn't mean any of them.' 'I know,' I said, and his body relaxed against mine. 'I'm sorry I snapped at you.' 'You had every right,' he said, though I technically didn't. 'I was wrong.' What he said had been true- if he made exceptions, then other faeries would demand the same treatment. And what I had done could be construed as undermining. 'Maybe I was-' 'No. You were right. I don't understand what it's like to be starving- or any of it.
Sarah J. Maas (A Court of Mist and Fury (A Court of Thorns and Roses, #2))
Consider it a Solstice and birthday present in one.' He gestured to the house, the gardens, the grounds that flowed to the river's edge. With a perfect view of the Rainbow at night, thanks to the land's curve. 'It's yours. Ours. I purchased it on Solstice Eve. Workers are coming in two days to begin clearing the rubble and knock down the rest of the house.' I blinked again, long and slow. 'You bought me an estate?' 'Technically, it will be our estate, but the house is yours. Build it to your heart's content. Everything you want, everything you need- build it.' The cost alone, the sheer size of this gift had to astronomical. 'Rhys.' He paced a few steps, running his hands through his blue-black hair, his wings tucked in tight. 'We have no space at the town house. You and I can barely fit everything in the bedroom. And no one wants to be at the House of Wind.' He again gestured to the magnificent estate around us. 'So build a house for us, Feyre. Dream as wildly as you want. It's yours.' I didn't have words for it. What cascaded through me. 'It- the cost-' 'Don't worry about the cost.' 'But...' I gaped at the sleeping, tangled land, the ruined house. Pictured what I might want there. My knees wobbled. 'Rhys- it's too much.' His face became deadly serious. 'Not for you. Never for you.' He slid his arms around my waist, kissing my temple. 'Build a house with a painting studio.' He kissed my other temple. 'Build a house with an office for you, and one for me. Build a house with a bathtub big enough for two- and for wings.' Another kiss, this time to my cheek. 'Build a house with a garden for Elain, a training ring for the Illyrian babies, a library for Amren, and an enormous dressing room for Mor.' I choked on a laugh at that. But Rhys silenced it with a kiss to my mouth, lingering and sweet. 'Build a house with a nursery, Feyre.' My heart tightened to the point of pain, and I kissed him back. Kissed him again and again, the property wide and clear around us. 'I will,' I promised.
Sarah J. Maas (A Court of Frost and Starlight (A Court of Thorns and Roses, #3.5))
The Great Society programs changed America. Forty million Americans were poor in 1960, but by 1969 that number had fallen to twenty-four million. That prosperity was shared by white and nonwhite people more fully than ever before. Black school attendance increased by four years; twice as many Black people found work in professional, technical, and clerical occupations; the Black unemployment rate fell 34 percent, and median Black family income rose 53 percent. In 1960, 55 percent of Black Americans lived below the poverty line; by 1968, the number was 27 percent. In the decade after 1965, infant mortality fell by one third thanks to new medical and nutritional programs. In 1960, 20 percent of Americans had no indoor plumbing; by 1970, that number had fallen to 11 percent.
Heather Cox Richardson (Democracy Awakening: Notes on the State of America)
For the great eras in the history of the development of all the arts have been eras not of increased feeling or enthusiasm in feeling for art, but of new technical improvements primarily and specially. The discovery of marble quarries in the purple ravines of Pentelicus and on the little low-lying hills of the island of Paros gave to the Greeks the opportunity for that intensified vitality of action, that more sensuous and simple humanism, to which the Egyptian sculptor working laboriously in the hard porphyry and rose-coloured granite of the desert could not attain. The splendour of the Venetian school began with the introduction of the new oil medium for painting. The progress in modern music has been due to the invention of new instruments entirely, and in no way to an increased consciousness on the part of the musician of any wider social aim.
Oscar Wilde (The English Renaissance of Art)
To development belongs fulfilment — every evolution has a beginning, and every fulfilment is an end. To youth belongs age; to arising, passing; to life, death. For the animal, tied in the nature of its thinking to the present, death is known or scented as something in the future, something that does not threaten it. It only knows the fear of death in the moment of being killed. But man, whose thought is emancipated from the fetters of here and now, yesterday and tomorrow, boldly investigates the “once” of past and future, and it depends on the depth or shallowness of his nature whether he triumphs over this fear of the end or not. An old Greek legend — without which the Iliad could not have been — tells how his mother put before Achilles the choice between a long life or a short life full of deeds and fame, and how he chose the second. Man was, and is, too shallow and cowardly to endure the fact of the mortality of everything living. He wraps it up in rose-coloured progress-optimism, he heaps upon it the flowers of literature, he crawls behind the shelter of ideals so as not to see anything. But impermanence, the birth and the passing, is the form of all that is actual — from the stars, whose destiny is for us incalculable, right down to the ephemeral concourses on our planet. The life of the individual — whether this be animal or plant or man — is as perishable as that of peoples of Cultures. Every creation is fore-doomed to decay, every thought, every discovery, every deed to oblivion. Here, there, and everywhere we are sensible of grandly fated courses of history that have vanished. Ruins of the “have-been” works of dead Cultures lie all about us. The hubris of Prometheus, who thrust his hand into the heavens in order to make the divine powers subject to man, carries with it his fall. What, then, becomes of the chatter about “undying achievements”?
Oswald Spengler (Man and Technics: A Contribution to a Philosophy of Life)
Labor’s dominance applies more broadly still among the million jobs listed by name in the earlier discussion of elite hours—finance-sector professionals, vice presidents at S&P 1500 firms, elite management consultants, partners at highly profitable law firms, and specialist medical doctors. These specifically identified workers collectively constitute a substantial share—fully half—of the 1 percent. The terms of trade under which they work—the economic arrangements that underwrite their incomes—are well known. All these workers contribute effectively no capital to their businesses and therefore again owe their income ultimately to their own industrious work, which is to say to labor. Comprehensive data based on tax returns corroborate that the new economic elite owes its income predominantly not to capital but rather, at root, to selling its own labor. The data themselves can be technical and even abstruse, but a clear message emerges from them nevertheless. The data confirm that the meritocratic rich (unlike their aristocratic predecessors) get their money by working. Even guarded estimates, which defer to tax categories that treat some labor income as capital gains, show a stark increase in the labor component of top incomes. According to this method of calculating, the richest 1 percent received as much as three-quarters of their income from capital at midcentury, and the richest 0.1 percent received up to nine-tenths of their income from capital. These shares then declined steadily over four decades beginning in the early 1960s, reaching bottom in 2000. In that year, both the top 1 percent and the top 0.1 percent received only about half of their incomes from capital (roughly 49 percent and 53 percent, respectively). The capital shares of top incomes then rose again, by about 10 percent, over the first decade of the new millennium, before beginning to fall again at the start of the second decade (when the data series runs out).
Daniel Markovits (The Meritocracy Trap: How America's Foundational Myth Feeds Inequality, Dismantles the Middle Class, and Devours the Elite)
Perry Ravenscroft. He might have ignored it had he not read the first part of the message as it appeared. Please tell me you’re alive. Ithan sighed. Amelie’s younger sister—the Omega of the Black Rose Pack—was technically the reason he’d made it here. Had said nothing about her sister and Sabine ripping him to shreds, but she’d carried him into the apartment. She was the only one of his former pack to bother to check in.
Sarah J. Maas (House of Sky and Breath (Crescent City, #2))
We’re at work, and I’m technically your boss. We should keep things professional. If we were going to fuck, I’d call you Rosie. But we’re not, so let’s stick to Rosalie around the office and at any future business functions.
Elsie Silver (Wild Love (Rose Hill, #1))
Technically you can’t like a Kingsley. It’s an impossible task. They’re all too stubborn and difficult.
Eva Simmons (Heart Sick Hate (Twisted Roses #2))
I love you,” Val began, wondering where in the nine circles of hell that had come from. He sat forward, elbows on his knees, and scrubbed a hand over his face. “I’m sorry; that came out… wrong. Still…” He glanced at her over his shoulder. “It’s the truth.” Ellen’s fingers settled on his nape, massaging in the small, soothing circles Val had come to expect when her hands were on him. “If you love me,” she said after a long, fraught silence, “you’ll tell me the truth.” Val tried to see that response as positive—she hadn’t stomped off, railed at him, or tossed his words back in his face. Yet. But neither had she reciprocated. “My name is Valentine Windham,” he said slowly, “but you’ve asked about my family, and in that regard—and that regard only—I have not been entirely forthcoming.” “Come forth now,” she commanded softly, her hand going still. “My father is the Duke of Moreland. That’s all. I’m a commoner, my title only a courtesy, and I’m not even technically the spare anymore, a situation that should improve further, because my brother Gayle is deeply enamored of his wife.” “Improve?” Ellen’s voice was soft, preoccupied. “I don’t want the title, Ellen.” Val sat up, needing to see her eyes. “I don’t ever want it, not for me, not for my son or grandson. I make pianos, and it’s a good income. I can provide well for you, if you’ll let me.” “As your mistress?” “Bloody, blazing… no!” Val rose and paced across the porch, turning to face her when he could go no farther. “As my wife, as my beloved, dearest wife.” A few heartbeats of silence went by, and with each one, Val felt the ringing of a death knell over his hopes. “I would be your mistress. I care for you, too, but I cannot be your wife.” Val frowned at that. It wasn’t what he’d been expecting. A conditional rejection, that’s what it was. She’d give him time, he supposed, to get over his feelings and move along with his life. “Why not marry me?” he asked, crossing his arms over his chest. She crossed her arms too. “What else haven’t you told me?” “Fair enough.” Val came back to sit beside her and searched his mind. “I play the piano. I don’t just mess about with it for polite entertainment. Playing the piano used to be who I was.” “You were a musician?” Val snorted. “I was a coward, but yes, I was a musician, a virtuoso of the keyboard. Then my hand”—he held up his perfectly unremarkable left hand—“rebelled against all the wear and tear, or came a cropper somehow. I could not play anymore, not without either damaging it beyond all repair or risking a laudanum addiction, maybe both.” “So you came out here?” Ellen guessed. “You took on the monumental task of setting to rights what I had put wrong on this estate and thought that would be… what?” “A way to feel useful or maybe just a way to get tired enough each day that I didn’t miss the music so much, and then…” “Then?” She took his hand in hers, but Val wasn’t reassured. His mistress, indeed. “Then I became enamored of my neighbor. She beguiled me—she’s lovely and dear and patient. She’s a virtuoso of the flower garden. She cared about my hand and about me without once hearing me play the piano, and this intrigued me.” “You intrigued me,” Ellen admitted, pressing the back of his hand to her cheek. “You still do.” “My Ellen loves to make beauty, as do I.” Val turned and used his free hand to trace the line of Ellen’s jaw. “She is as independent as I am and values her privacy, as I do.” “You are merely lonely, Val.
Grace Burrowes (The Virtuoso (Duke's Obsession, #3; Windham, #3))
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Rose Anderson
Hi.’ Like a rabbit reacting to the sound of a gunshot, I retract my foot, scurry back inside, and slam the door shut. That was close is my first thought. Followed by What was close? Pleasant conversation? Ugh. I press my back up against the door and wilt to the floor. I instantly dislike that a stranger has seen my crazy side, not once but twice within a week. I curl inwards, try hard to split the floor with my mind so I can seep through it. Once I’m done reassembling my self-esteem, life goes the way it always does. Technically, I don’t have to study on weekends, but I do anyway. I’m learning to speak French for a trip I’ll never take. I watch some TV, eat, sleep, build a pretty impressive yet rather unstable castle of saliva and peanut butter cookies.
Louise Gornall (Under Rose-Tainted Skies)
To be sure, the early days of the Industrial Revolution were rough going, but within a few generations, innovations in technology, medicine, government, and public health led to effective solutions for many of the mismatch diseases caused by the Agricultural Revolution, especially the burden of infectious disease from living at higher population densities with animals and in unsanitary conditions. Not all of these advances, however, are available to people unfortunate enough to live in poverty, especially in less developed nations. In addition, the progress made over the last 150 years has also come with some consequential drawbacks for people’s health. Most essentially, there has been an epidemiological transition. As fewer people succumb to diseases from malnutrition and infections, especially when they are young, more people are developing other kinds of noncommunicable diseases as they age. This transition is still ongoing: in the forty years between 1970 and 2010, the percentage of deaths worldwide from infectious disease and malnutrition fell by 17 percent and life expectancy increased by eleven years, while the percentage of deaths from noncommunicable diseases rose by 30 percent.61 As more people live longer, more of them are suffering from disability. In technical terms, lower rates of mortality have been accompanied by higher rates of morbidity (defined as a state of ill health from any form of disease).
Daniel E. Lieberman (The Story of the Human Body: Evolution, Health and Disease)
Life expectancy rose only modestly between the Neolithic era of 8500 to 3500 BC and the Victorian era of 1850 to 1900.13 An American born in the late nineteenth century had an average life expectancy of around forty-five years, with a large share never making it past their first birthdays.14 Then something remarkable happened. In countries on the frontier of economic development, human health began to improve rapidly, education levels shot up, and standards of living began to grow and grow. Within a century, life expectancies had increased by two-thirds, average years of schooling had gone from single to double digits, and the productivity of workers and the pay they took home had doubled and doubled and then doubled again. With the United States leading the way, the rich world crossed a Great Divide—a divide separating centuries of slow growth, poor health, and anemic technical progress from one of hitherto undreamed-of material comfort and seemingly limitless economic potential. For the first time, rich countries experienced economic development that was both broad and deep, reaching all major segments of society and producing not just greater material comfort but also fundamental transformations in the health and life horizons of those it touched. As the French economist Thomas Piketty points out in his magisterial study of inequality, “It was not until the twentieth century that economic growth became a tangible, unmistakable reality for everyone.”15 The mixed economy was at the heart of this success—in the United States no less than in other Western nations. Capitalism played an essential role. But capitalism was not the new entrant on the economic stage. Effective governance was. Public health measures made cities engines of innovation rather than incubators of illness.16 The meteoric expansion of public education increased not only individual opportunity but also the economic potential of entire societies. Investments in science, higher education, and defense spearheaded breakthroughs in medicine, transportation, infrastructure, and technology. Overarching rules and institutions tamed and transformed unstable financial markets and turned boom-bust cycles into more manageable ups and downs. Protections against excessive insecurity and abject destitution encouraged the forward-looking investments and social integration that sustained growth required. At every level of society, the gains in health, education, income, and capacity were breathtaking. The mixed economy was a spectacularly positive-sum bargain: It redistributed power and resources, but as its impacts broadened and diffused, virtually everyone was made massively better off.
Jacob S. Hacker (American Amnesia: How the War on Government Led Us to Forget What Made America Prosper)
The stock in Chart 8.2 rose 70% in a week. This is the kind of move we need to catch. And
Ashu Dutt (15 Easy Steps to Mastering Technical Charts)
She gave me an indignant glare. “Technically, Carla Sue’s leaves weren’t wrong. Her husband was having an affair.” “I wouldn’t exactly call relations with a sheep an affair.” She waved her hand. “Po-tay-to, po-tah-to. He was still sleepin’ around on her.” “While he might have been meetin’ the sheep at three a.m., I suspect they weren’t sleepin’.
Denise Grover Swank (Thirty-Three and a Half Shenanigans (Rose Gardner Mystery, #6))
Archivist / Circuit Bender For the figure of the artist, technical media has meant nods both toward engineering and the archive, as Huhtamo has noted: “the role of the artist-engineer, which rose into prominence in the 1960s (although its two sides rarely met in one person), has at least partly been supplanted by that of the artist-archaeologist.”23 Yet methodologies of reuse, hardware hacking, and circuit bending are becoming increasingly central in this context as well. Bending or repurposing the archive of media history strongly relates to the pioneering works of artists such as Paul DeMarinis, Zoe Beloff, or Gebhard Sengmüller—where a variety of old media technologies have been modified and repurposed to create pseudo-historical objects from a speculative future.
Jussi Parikka (A Geology of Media (Electronic Mediations Book 46))
Moist missed the rest of the sentence. Innocent words swirled in it like debris caught in a flood, occasionally bobbing to the surface and waving desperately before being pulled under again. He caught ‘the’ several times before it drowned, and even ‘disconnect’ and ‘gear chain’, but the roaring, technical polysyllables rose and engulfed them all.
Terry Pratchett (Going Postal (Discworld, #33))
The guys have relocated us to Nepal. One, because it was the only place we could actually get married, and two, because technically they are still wanted criminals and we knew we could have the best life living in a secluded area. “I just never thought I would be here. I was so sure when you guys kidnapped me that I would end up dead, or back in Richards’ clutches.” “Like we would’ve let that happen?” Declan enters our bedroom. I can feel his eyes on me. They burn right through me, just as Wes and Trey’s gazes do. Trey twists around, mischief in his eyes. “Really? You wanted to kill her. We wouldn’t be here if Wes and I hadn’t been so adamant on keeping her alive.” Declan rolls his eyes. “You won’t ever let that go, will you?
Darcy Rose (Bound (Vow of Revenge #3))
Nesta gave you this?' Technically, Nesta had informed him, the House had given it to her. But she'd asked the House for these items, intending them to be brought here. 'She said it's a gift.' Emerie picked up a brass tin, pried open the top, and inhaled. The smoky, velvety scent of tea leaves floated out. 'Oh, this is good stuff.' She lifted a glass vial of finely ground powder. When she twisted the lid off, a nutty, spicy scent filled the shop. 'Cumin.' Her sigh was like a lover's. She moved to another and another, six glass containers in total. 'Turmeric, cinnamon, allspice, cloves, and...' She peered at the label. 'Black pepper.' Cassian laid the last container on the table, a large marble box that weighed at least two pounds. Emerie yanked off the lid and let out a laugh. 'Salt.' She pinched the flaky crystal between her fingers. 'A lot of salt.' Her eyes shone as a rare smile flitted across her face. It made her look younger, wiped away the weight and scars of all those years with her father. 'Please tell her I say thank you.' He cleared his throat, remembering the speech Nesta had drilled into him. 'Nesta says you can thank her by showing up to training tomorrow morning.' Emerie's smile wavered. 'I told her the other day: I have no means to attend.' 'She thought you'd say that. If you want to come, send word, and one of us will bring you.' It'd have to be Rhys, but he doubted his brother would object. 'If you can't stay the full time, that's fine. Come for an hour, before your shop opens.' Emerie's fingers fell away from the spices and tea. 'It's not the right time.' Cassian knew better than to push. 'If you ever change your mind, let us know.' He turned from the counter, aiming for the door. He knew Nesta had given the gift in part to tempt Emerie to join, but also from the kindness of her heart. He'd asked why she was sending these items, and she'd said, 'Emerie needs spices and good tea.' It had stunned him, just as it had stunned him earlier to hear her admit that she liked Gwyn. Nesta around Gwyn was a wholly different creature than who she was with the court. They didn't tease or laugh with each other, but an easiness lay between them that he'd never witnessed, even when Nesta was with Elain. She'd always been Elain's guardian, or Feyre's sister, or Cauldron-Made. With Gwyn... he wondered whether Nesta liked the girl because with her, she was simply Nesta. Perhaps she felt that way around Emerie, too. Had she gone into Velaris, night after night, not only to distract and numb herself, but to be around people who didn't know the weight of all she carried?
Sarah J. Maas (A ​Court of Silver Flames (A Court of Thorns and Roses, #4))
The fact is that Planet Earth is overloaded with highly qualified and uber experienced folk who are rubbish in the triple wisdom- have a dim idea of who they are, can’t manage themselves well and are middling at managing others. They rose up the ranks powered by mostly technical skills but now that’s far less important. They have entered their comfort zones but what got them here most certainly won’t get them there and what will take them further are some tough behavioral changes.
Binod Shankar (Let's Get Real: 42 Tips for the Stuck Manager)
My mom didn’t kill herself in the technical sense. One needle of heroin with her tolerance wouldn’t do it, but the other three I stuck in her arm would. She was killing herself a little every day, I just helped speed up the process. I’ll never put my daughter in that position.
Jeneva Rose (The Perfect Marriage (Perfect, #1))
Millions of copies of drivers’ licenses, social security cards, and other supporting documents were faxed to a centralized document processing center in Grant County; so many of them disappeared that advocates started calling it “the black hole in Marion.” Each month the number of verification documents that vanished—were not attached properly to digital case files in a process called “indexing”—rose exponentially. According to court documents, in December 2007 just over 11,000 documents were unindexed. By February 2009, nearly 283,000 documents had disappeared, an increase of 2,473 percent. The rise in technical errors far outpaced increased system use. The consequences are staggering if you consider that any single missing document could cause an applicant to be denied benefits.
Virginia Eubanks (Automating Inequality: How High-Tech Tools Profile, Police, and Punish the Poor)
I answered, my tone soothing, dry, Technically, his magic touched me, not his hand. The bathwater was cold by the time his reply came through. I’m glad you have a sense of humor about this. I certainly don’t. I sent back an image of me sticking out my tongue at him. My clothes were back on when his answer arrived. Like mine, it was wordless, a mere image. Like mine, Rhysand’s tongue was out. But it was occupied with doing something else.
Sarah J. Maas (A Court of Wings and Ruin (A Court of Thorns and Roses, #3))
So, how did the WHI go so wrong? There were two main reasons: 1. The WHI chose the wrong population. The average woman in the study was sixty-three—at least ten years past menopause—and the age of the participants ranged up to seventy-nine.4 That’s a big problem, since the older you are, the higher your risk of chronic disease. And, to minimize the number of dropouts, women were chosen who no longer had menopause symptoms. In addition, many participants were overweight and almost 50 percent were current or former smokers.5 This is significant because being overweight and cigarette smoking are both primary risk factors for heart disease. 2. The increased risk of breast cancer was misreported. The WHI found that the risk of developing breast cancer rose from 2.33 percent in the general population to 2.94 percent in the women taking HT in the study. In the press conference announcing that the study had been halted, the WHI presented the figure to the mainstream media as an increase in risk of 26 percent. While technically true (the difference between 2.94 and 2.33 is 26 percent of 2.33), it was a 26 percent increase of a very small number. In reality, it meant an additional 8 in 10,000 women would get breast cancer. (It’s worth noting that even this finding was walked back; the study was halted prematurely, and in the five-year follow-up, it was concluded that many of those women had developed their breast cancer before the advent of the study.)6
Tamsen Fadal (How to Menopause: Take Charge of Your Health, Reclaim Your Life, and Feel Even Better than Before)
Becoming aware of her presence in the doorway, the men looked up. Westcliff rose from his half-seated position on the desk. “My lord,” Daisy said, “if I might have a word with you?” Although she spoke calmly, something in her expression must have alerted him. He didn’t waste a second in coming to her. “Yes, Daisy?” “It’s about my sister,” she whispered. “It seems her labor has started.” She had never seen the earl look so utterly taken aback. “It’s too early,” he said. “Apparently the baby doesn’t think so.” “But…this is off-schedule.” The earl seemed genuinely baffled that his child would have failed to consult the calendar before arriving. “Not necessarily,” Daisy replied reasonably. “It’s possible the doctor misjudged the date of the baby’s birth. Ultimately it’s only a matter of guesswork.” Westcliff scowled. “I expected far more accuracy than this! It’s nearly a month before the projected…” A new thought occurred to him, and he turned skull-white. “Is the baby premature?” Although Daisy had entertained a few private concerns about that, she shook her head immediately. “Some women show more than others, some less. And my sister is very slender. I’m sure the baby is fine.” She gave him a reassuring smile. “Lillian has had pains for the past four or five hours, and now they’re coming every ten minutes or so, which Annabelle says—” “She’s been in labor for hours and no one told me?” Westcliff demanded in outrage. “Well, it’s not technically labor unless the intervals between the pains are regular, and she said she didn’t want to bother you until—” Westcliff let out a curse that startled Daisy. He turned to point a commanding but unsteady finger at Simon Hunt. “Doctor,” he barked, and took off at a dead run. Simon Hunt appeared unsurprised by Westcliff’s primitive behavior. “Poor fellow,” he said with a slight smile, reaching over the desk to slide a pen back into its holder.
Lisa Kleypas (Scandal in Spring (Wallflowers, #4))
It was only after World War II that Stanford began to emerge as a center of technical excellence, owing largely to the campaigns of Frederick Terman, dean of the School of Engineering and architect-of-record of the military-industrial-academic complex that is Silicon Valley. During World War II Terman had been tapped by his own mentor, presidential science advisor Vannevar Bush, to run the secret Radio Research Lab at Harvard and was determined to capture a share of the defense funding the federal government was preparing to redirect toward postwar academic research. Within a decade he had succeeded in turning the governor’s stud farm into the Stanford Industrial Park, instituted a lucrative honors cooperative program that provided a camino real for local companies to put selected employees through a master’s degree program, and overseen major investments in the most promising areas of research. Enrollments rose by 20 percent, and over one-third of entering class of 1957 started in the School of Engineering—more than double the national average.4 As he rose from chairman to dean to provost, Terman was unwavering in his belief that engineering formed the heart of a liberal education and labored to erect his famous “steeples of excellence” with strategic appointments in areas such as semiconductors, microwave electronics, and aeronautics. Design, to the extent that it was a recognized field at all, remained on the margins, the province of an older generation of draftsmen and machine builders who were more at home in the shop than the research laboratory—a situation Terman hoped to remedy with a promising new hire from MIT: “The world has heard very little, if anything, of engineering design at Stanford,” he reported to President Wallace Sterling, “but they will be hearing about it in the future.
Barry M. Katz (Make It New: A History of Silicon Valley Design (The MIT Press))
In the past, school revenue automatically increased when the value of property rose. In 1996 the legislature “floated” the tax, that is, each year they fixed the amount schools would receive and then technicians calculated the rate needed to produce that amount. School property tax eventually fell about one-third as a result. In 2007, a year with record revenue, legislators cut state income taxes and $150–200 million from annual school revenues. None of these measures had a large immediate effect. All were technical, the gradual, long-term reductions were scarcely noticed by the public. By 2006 the Utah Foundation estimated that the changes together cost schools $1.3 billion, one-third of school spending. In 1996, before the changes, Utah had been fifth among the states in percentage of total personal income devoted to public schools. By 2014, Utah had fallen to thirty-seventh.29 After the mid-1990s, Utah’s economy grew more than the American economy, but Utah school spending fell further behind spending in other states. Republican politicians never say they hold down educational spending on purpose. They always say they spend as much as Utah can afford.
Rod Decker (Utah Politics: The Elephant in the Room)
There was a band jam going, a slow groove I knew he could get into, and we were trying to launch his solo. Before he started, I told him to play like his mother had died, to picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him and let it out through his guitar. Eddie was the kind of player who rose to a challenge. If you gave him instructions or a prompt, he’d come around to it. And when he started playing, I knew immediately that he understood what I meant. I could see the guitar notes stretching out like a silver web. When we played the solo back, I knew that it was good beyond good, not only a virtuoso display of musicianship but also an almost unprecedented moment of emotion in pop music. That was the missing ingredient that arrived in time for that song; it was maybe the first time that our emotional ability as artists matched our technical ability as players.
George Clinton (Brothas Be, Yo Like George, Ain't That Funkin' Kinda Hard On You?: A Memoir)
Technically, Sheena predates even Superman, having first appeared in the primordial dawn of comic books in 1937. But her true origins are older than that. Sheena is often described as the female version of Edgar Rice Burroughs’ 1912 creation, Tarzan. The majority of Burroughs’ popular works revolves around a tension between the savage and the civilized, also seen in Sheena’s adventures. Burroughs’ work, like that of fellow adventure writer H. Rider Haggard, came out of the colonial era, and was written for men and boys who yearned for an escape from stifling modern life, through tales of dangerous worlds and exotic women. The common theme of these stories is that a man from the civilized world finds his way to a fantastic, often barbaric, world of adventure, where he falls in love with an intoxicating savage princess. While most of Burroughs’ heroines, like Dejah Thoris or Dian the Beautiful, were in need of rescuing, Haggard’s 1886 novel She introduced a stronger heroine. The novel’s English protagonist encounters the beautiful queen Ayesha, the ruler of a lost city in Africa. Ayesha is referred to as “she who must be obeyed,” and is a creature that provokes both fear and lust. Ayesha was the ultimate fantasy of civilized man: the beautiful, savage white queen, ruling a kingdom unhindered by the laws of modern morality. This brand of men’s fiction produced the swirling foam of exotic and erotic fantasy from which rose the jungle Venus known as Sheena. (...) Now that we have some historical context on these female monarchs, let’s talk about their specific origins. In the 1930s, there were several studios that produced art and stories for the various publishers who were getting into the new field of comic books. One of the most successful and prolific was the Universal Phoenix Studio, operated by two young artists named Will Eisner and Jerry Iger. In 1937, they created a female Tarzan-type character named Sheena for the British tabloid Wags. The strip was credited to the pseudonym W. Morgan Thomas, and the heroine’s name was meant to remind readers of H. Rider Haggard’s She. Demand for new comic book material was growing in the United States, and American pulp magazine publisher Fiction House was looking for material for a new comic book. Sheena made her American debut in 1938’s Jumbo Comics #1, just three months after Superman’s now legendary first appearance. She was the first female adventure character in comic books. This would be just one of her claims to fame.
Mike Madrid (The Supergirls: Fashion, Feminism, Fantasy, and the History of Comic Book Heroines)
At the beginning of the scene, when called upon to offer his opinion on one side or another of the legal argument, the Earl of Warwick holds back. He may know something about dogs and hawks, he genially declares, but in such highly technical matters—“these nice sharp quillets of the law” (2.4.17)—he professes to be no wiser than a jackdaw, a proverbially stupid bird. But by the scene’s end, in the wake of the formation of the parties, his restraint has vanished: he has plucked the white rose and is eager for blood. “This brawl today,” he prophesies, Grown to this faction in the Temple Garden, Shall send between the red rose and the white A thousand souls to death and deadly night. (2.4.124–28) The obscure legal difference has not fundamentally changed, no new occasion for dispute has arisen, and there does not seem to be an underlying cause such as greed or jealousy. But the party rage seems to have a life of its own. Suddenly everyone seems to be boiling over with potentially murderous aggression. It is as if, in the absence of the dominant figure of the king, the purely conventional and meaningless emblems precipitate a rush of both group solidarity and group loathing. This loathing is an important part of what leads to a social breakdown and, eventually, to tyranny. It makes the voice, even the very thought, of the opponent almost unendurable. You are either with me or against me—and if you are not with me, I hate you and want to destroy you and all of your adherents. Each party naturally seeks power, but seeking power becomes itself the expression of rage: I crave the power to crush you. Rage generates insults, and insults generate outrageous actions, and outrageous actions, in turn, heighten the intensity of the rage. It all begins to spiral out of control.
Stephen Greenblatt (Tyrant: Shakespeare on Politics)
On the other hand, what I’d learned about Naz was revolting. He was a sociopath—what other way was there to describe a man who would kill his son’s girlfriend to keep his son all to himself? Primo may not technically have been Naz’s son, but close enough. It was madness. “He’s crazy. You know that, right?” My head rose and fell as he took in a deep breath. “I suppose to some extent I knew, but I never realized how bad it was.” He sounded weary, and I could only imagine the terrible burden of his situation
Jill Ramsower (Impossible Odds (The Five Families, #4))
Or should I say, technically speaking, sons. Leroy Knight—it’s a pleasure to meet you.
J. Rose (Blackwood Institute: The Complete Trilogy)
My mom didn’t kill herself in the technical sense. One needle of heroin with her tolerance wouldn’t do it, but the other three I stuck in her arm would. She was killing herself a little every day; I just helped speed up the process. I’ll never put my daughter in that position.
Jeneva Rose (The Perfect Marriage)
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