Sentences With Direct Quotes

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It's impossible to be the Mockingjay. Impossible to complete even this one sentence. Because now I know that everything I say will be directly taken out on Peeta. Result in his torture. But not his death, no, nothing so merciful as that. Snow will ensure that his life is much more worse than death. "Cut," I hear Cressida say quietly. "What's wrong with her?" Plutarch says under his breath. "She's figured out how Snow's using Peeta," says Finnick. There's something like a collective sigh of regret from that semicircle of people spread out before me. Because I know this now. Because there will never be a way for me to not know this again. Because, beyond the military disadvantage losing a entails, I am broken. Several sets of arms would embrace me. But in the end, the only person I truly want to comfort me is Haymitch, because he loves Peeta, too. I reach out for him and say something like his name and he's there, holding me and patting my back. "It's okay. It'll be okay, sweetheart." He sits me on a length of broken marble pillar and keeps an arm around me while I sob. "I can't do this anymore," I say. "I know," he says.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
Here's why I will be a good person. Because I listen. I cannot talk, so I listen very well. I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like being a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein (The Art of Racing in the Rain)
I start in the middle of a sentence and move both directions at once.
John Coltrane
Look directly into every mirror. Realize our reflection is the first sentence to a story, and our story starts: We were here.
Shane L. Koyczan
Productiveness is your acceptance of morality, your recognition of the fact that you choose to live--that productive work is the process by which man's consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one's purpose, of translating an idea into physical form, of remaking the earth in the image of one's values--that all work is creative work if done by a thinking mind, and no work is creative if done by a blank who repeats in uncritical stupor a routine he has learned from others--that your work is yours to choose, and the choice is as wide as your mind, that nothing more is possible to you and nothing less is human--that to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind's full capacity is to cut your motor and sentence yourself to another kind of motion: decay--that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live--that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road--that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up--that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.
Ayn Rand (Atlas Shrugged)
Love, I thought to myself abstractedly. Not 'This is love' or 'Is this love?' Not a sentence, not a certainty, not a thought with moving parts or direction. Just love, all of it, as it is. Whether it's enough or not. Wthether it's real or we're making it up. However shoddy it gets, or bent out of shape. It's still extraordinary. However foolish, however vain. However badly it ends. Love.
Julian Gough (Juno & Juliet)
It's impossible to be the Mockingjay. Impossible to complete even this one sentence. Because now I know that everything I say will be directly taken out on Peeta. Result in his torture. But not his death, no nothing so merciful as that. Snow will ensure that his life is much worse than death.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
You're alive. Do something. The directive in life, the moral imperative was so uncomplicated. It could be expressed in single words, not complete sentences. It sounded like this: Look. Listen. Choose. Act.
Barbara Hall
He laughed, then became serious once more. "Mary............" The expression in his eyes set her heart pounding. "Yes?" Twice he began to frame a sentence, and twice his voice seemed to fail him. And she thought she understood. What could he possibly say to her now, when he was on the verge of leaving forever? Even something as simple as asking her to write to him carried a distinct sort of promis, the type of promise he was ten years and a half a world removed from being able to make. She forced a polite smile and held out her hand. "Good luck, James." Regret-and relief-flooded his eyes. he took her hand, cradling it for a long moment. "And to you." It was foolish to linger. She slid her fingers from his grasp, turned, and began to walk away in the direction of the Academy. She'd gone about thirty paces when she heard his voice. "Mary!" She spun about. "What is it?" "Stay out of wardrobes!" She laughed, shook her head, and began to walk again. She was smiling this time.
Y.S. Lee (A Spy in the House (The Agency, #1))
Disregard the study of God, and you sentence yourself to stumble and blunder through life blindfolded, as it were, with no sense of direction and no understanding of what surrounds you. This way you can waste your life and lose your soul.
J.I. Packer (Knowing God)
At the end of the day, your life is just a story. If you don't like the direction it's going, change it. Rewrite it. When you rewrite a sentence, you erase it and start over until you get it right. Yes, it's a little more complicated with a life, but the principle is the same. And remember, don't let anyone ever tell you that your revisions are not the truth.
Tyler Jones
Ty braced himself as Julian walked directly up to him, not breaking stride, his jaw set, his blue-green eyes as dark as the deep part of the ocean. He reached Ty and caught hold of him, pulling him into a fierce hug. He pressed his face down into his little brother's black hair as Ty stood, frozen and astonished at Julian's lack of anger. "Jules?" he said. "Are you alright?" Julian's shoulders shook. He held his little brother tighter, as if he could crush Ty into himself, into a place where he'd always be safe. He put his cheek against Ty's curls, squeezing his eyes shut, his voice muffled. "I thought something happened to you," he said. "I thought Johnny Rook might--" He didn't finish his sentence. Ty put his arms carefully around Julian. He patted his back, gently, with his slender hands. It was the first time Emma had seen Ty comfort his older brother--almost the first time she'd ever actually seen Julian let someone else take care of him.
Cassandra Clare (Lady Midnight (The Dark Artifices, #1))
This is scary,” she whispers. “I’ve never had a boyfriend before. I don’t know how this works. Do people become exclusive this fast? Are we supposed to pretend we’re not that interested for a few more dates?” Oh, dear God. I’ve never been turned on by a girl laying claim to me before. I usually run in the other direction. She’s obliterating every single thing I thought I knew about myself with every new sentence that passes those lips. “I have no interest in faking disinterest,” I say. “If you want to call yourself my girlfriend half as much as I wish you would, then it would save me a whole lot of begging. Because I was literally about to drop to my knees and beg you.” She squints her eyes playfully. “No begging. It screams desperation.” “You make me desperate,” I say, pressing my lips to hers again.
Colleen Hoover (Finding Cinderella (Hopeless, #2.5))
So, what did you think of the Unseelie Court?" A slow, wicked smile spread on his face. "Oh, Kaye," he breathed. "It was marvelous. It was perfect." She narrowed her gaze. "I was joking. They were killing things, Corny. For fun. Things like us." He didn't seem to hear her, his eyes looking past her to the bright window. "There was this knight, not yours. He ... " Corny shivered and seemed to abruptly change the direction of his sentence. "He had a cloak all lined with thorns." "I saw him talking to the Queen," Kaye said. Corny shrugged off his jacket. There were long scratches along his arms. "What happened to you?" Corny's smile widened, but his gaze was locked in some memory. He shifted it back to her. "Well, obviously I got inside the cloak." She snorted. "What a euphemism.
Holly Black (Tithe (Modern Faerie Tales, #1))
to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind’s full capacity is to cut your motor and sentence yourself to another kind of motion: decay - that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live - that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road - that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up - that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction.
Ayn Rand (Atlas Shrugged)
Knowing about God is crucially important for the living of our lives. As it would be cruel to an Amazonian tribesmen to fly him to London, put him down without explanation in Trafalgar Square and leave him, as one who knew nothing of English or England, to fend for himself, so we are cruel to ourselves if we try to live in this world without knowing about the God whose world it is and who runs it .The world becomes a strange, mad, painful place, and life in it a disappointing and unpleasant business, for those who do not know about God. Disregard the study of God, and you sentence yourself to stumble and blunder through life blindfold, as it were , with no sense of direction, and no understanding of what surrounds you. This way you can waste your life and lose your soul.
J.I. Packer (Knowing God)
A skillful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to accommodate his incidents; but having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents as may best aid him in establishing this preconceived effect. If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no words written, of which the tendency, direct or indirect, is not to the one pre-established design. And by such means, with such care and skill, a picture is at length painted which leaves in the mind of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the tale has been presented unblemished because undisturbed: and this is an end unattainable by the novel. Undue brevity is just as exceptionable here as in the poem; but undue length is yet more to be avoided.
Edgar Allan Poe
If you are trying to please, how do you take responsibility for your own needs? How do you even know what your own needs are? What do you have to cut off in yourself in order to please others? I think the act of pleasing makes everything murky. We lose track of ourselves. We stop uttering declaratory sentences. We stop directing our lives. We wait to be rescued. We forget what we know. We make everything okay rather than real.
Eve Ensler (I am an Emotional Creature: The Secret Life of Girls Around the World)
She wasn't stupid. She just didn't want to put her neuron power into long sentences.
Margaret Atwood (Oryx and Crake (MaddAddam, #1))
Disregard the study of God, and you sentence yourself to stumble and blunder through life blindfolded, as it were, with no sense of direction and no understanding of what surrounds you.
J.I. Packer (Knowing God)
But there was a discipline, it was just that we didn't understand. We thought he was formless, but I think now he was tormented by order, what was outside it. He tore apart the plot - see his music was immediately on top of his own life. Echoing. As if, when he was playing he was lost and hunting for the right accidental notes. Listening to him was like talking to Coleman. You were both changing direction with every sentence, sometimes in the middle, using each other as a springboard through the dark. You were moving so fast it was unimportant to finish and clear everything. He would be describing something in 27 ways. There was pain and gentleness everything jammed into each number.
Michael Ondaatje (Coming Through Slaughter)
You turn the book over in your hands, you scan the sentences on the back of the jacket, generic phrases that don't say a great deal. So much the better, there is no message that indiscreetly outshouts the message that the book itself must communicate directly, that you must extract from the book, however much or little it may be. Of course, this circling of the book, too, this reading around it before reading inside it, is a part of the pleasure in a new book, but like all preliminary pleasures, it has its optimal duration if you want it to serve as a thrust toward the more substantial pleasure of the consummation of the act, namely the reading of the book.
Italo Calvino (If on a Winter's Night a Traveler)
A very long sentence, anchored in solid nouns, with countless subordinate clauses, scores of adjectives and adverbs, and bold conjunctions that launched the sentence in a new direction--besides unexpected interludes--has finally, with a surprisingly quiet full stop, come to an end.
Yann Martel (The High Mountains of Portugal)
You’re going the right direction. No one does anything perfectly the first time. It’s going to be okay.” No one could have said anything better to me in that instant. Those three simple sentences set my soul at ease.
Jamie McGuire (Beautiful Burn (The Maddox Brothers, #4))
Every sentence I could think of has already been said a hundred times over, by people whose words come out perfect and beautifully formed, where mine die on the tongue or straggle out onto the page, mangled and imperfect. But my story isn’t perfect, because I’m not perfect. Nothing is perfect except maybe in math, in the line that extends forever in both directions. Math is beautiful, I have always known that, but so is life. And I have grown to accept imperfection.
Aubrey Rose (Me, Cinderella? (Cinderella, #1))
She tries to maintain a nondescript exterior; she learns the sideways glance instead of looking at people directly. She speaks in practised, precise sentences so that she is not misunderstood. She chooses her words carefully, and if someone addresses her in Punjabi, she answers in Urdu, because an exchange in her mother tongue might be considered a promise of intimacy. She uses English for medical terms only, because she feels if she uses a word of English in her conversation she might be considered a bit forward. When she walks she walks with slightly hurried steps, as if she has an important but innocent appointment to keep. She avoids eye contact, she looks slightly over people’s heads as if looking out for somebody who might come into view at any moment. She doesn’t want anyone to think that she is alone and nobody is coming for her. She sidesteps even when she sees a boy half her age walking towards her, she walks around little puddles when she can easily leap over them; she thinks any act that involves stretching her legs might send the wrong signal. After all, this is not the kind of thing where you can leave your actions to subjective interpretations. She never eats in public. Putting something in your mouth is surely an invitation for someone to shove something horrible down your throat. If you show your hunger, you are obviously asking for something.
Mohammed Hanif (Our Lady of Alice Bhatti)
The event caused a certain amount of ribaldry and a fair number of sentences depriving men of their grog for playing the God-damned fool, an offense that came under Article Thirty-six 'All other crimes not capital, committed by any person or persons in the fleet, which are not mentioned in this act, or for which no punishment is hereby directed to be inflicted, shall be punished according to the laws and customs in such cases used at sea,' also known as the captain's cloak or cover-all.
Patrick O'Brian (Desolation Island (Aubrey & Maturin #5))
It's strange how a plan can unfold sometimes—an umbrella shooting up at the touch of a button and extending out in all directions quickly, effortlessly.
Elissa Janine Hoole (Kiss the Morning Star)
I had passed from the subject to the direct object of every sentence of my life.
Paul Kalanithi (When Breath Becomes Air)
Start each of your sentences by looking directly into someone’s eyes.
Peter Coughter (The Art of the Pitch: Persuasion and Presentation Skills that Win Business)
Waywardness is a practice of possibility at a time when all reads, except the ones created by smashing out, are foreclosed. It obeys no rules and abides no authorities. It is unrepentant. It traffics in occult visions of other worlds and dreams of a different kind of life. Waywardness is an ongoing exploration of what might be; it is an improvisation with the terms of social existence, when the terms have already been dictated, when there is little room to breathe, when you have been sentenced to a life of servitude, when the house of bondage looms in whatever direction you move. It is the untiring practice of trying to live when you were never meant to survive.
Saidiya Hartman (Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women, and Queer Radicals)
You can be separate from a thing and still care about it. If I wanted to detach completely, I would move my body away. I would stop the conversation mid-sentence. I would leave the bed. Instead, I hover over it for a second. I glance off in another direction. But I always glance back at you.
David Levithan (The Lover's Dictionary)
Ballimore! Ballimore, where's the inkwell?' Dobbilan's voice echoed down the corridor, interrupting Cimorene in mid-sentence. 'Where are you? Why can't I find anything around here when I want it?' 'Because you never look in the right place, dear,' Ballimore called. 'The inkwell is in the kitchen next to the grocery list, where it's been for the past six months, and I'm in the dining room. Which is where you'd be if you'd done what I asked you to, instead of wandering off in all directions.
Patricia C. Wrede (Searching for Dragons (Enchanted Forest Chronicles, #2))
One would like to be loved, recognized, for what one is, and by everyone. But that is an adolescent desire. Sooner or later one must get old, agree to be judged, or sentenced, and to receive gifts of love … as unmerited. Morality is of no help. Only, truth … that is the uninterrupted seeking of it, the decision to tell it when one sees it, on every level, and to live it, gives a meaning, a direction to one’s march. But in an era of bad faith, the man who does not want to renounce separating true from false is condemned to a certain kind of exile - Albert Camus
Robert Zaretsky (A Life Worth Living: Albert Camus and the Quest for Meaning)
Literary truth is not the truth of the biographer or the reporter, it’s not a police report or a sentence handed down by a court. It’s not even the plausibility of a well-constructed narrative. Literary truth is entirely a matter of wording and is directly proportional to the energy that one is able to ­impress on the sentence. And when it works, there is no stereotype or cliché of popular literature that resists it. It reanimates, revives, subjects ­everything to its needs.
Elena Ferrante
At the end of the day, your life is just a story. If you don’t like the direction it’s going, change it. Rewrite it. When you rewrite a sentence, you erase it and start over until you get it right. Yes, it’s a little more complicated with a life, but the principle is the same. And remember, don’t let anyone ever tell you that your revisions are not the truth.
Chuck Palahniuk (Burnt Tongues)
Give me a scholar, therefore, who is able to think and to write, to look with an eye of discernment into things, and to do business himself, if called upon, who hath both civil and military knowledge; one, moreover, who has been in camps, and has seen armies in the field and out of it; knows the use of arms, and machines, and warlike engines of every kind; can tell what the front, and what the horn is, how the ranks are to be disposed, how the horse is to be directed, and from whence to advance or to retreat; one, in short, who does not stay at home and trust to the reports of others: but, above all, let him be of a noble and liberal mind; let him neither fear nor hope for anything; otherwise he will only resemble those unjust judges who determine from partiality or prejudice, and give sentence for hire: but, whatever the man is, as such let him be described.
Lucian of Samosata (Lucian's True History)
I had passed from the subject to the direct object of every sentence in my life. In fourteenth century philosophy, the word patient simply meant "the object of an action," and I felt like one. As a doctor, I was an agent, a cause; as a patient, I was merely something to which things happened
Paul Kalanithi (When Breath Becomes Air)
Don’t strive to be a well-rounded leader. Instead, discover your zone and stay there. Then delegate everything else. Admitting a weakness is a sign of strength. Acknowledging weakness doesn’t make a leader less effective. Everybody in your organization benefits when you delegate responsibilities that fall outside your core competency. Thoughtful delegation will allow someone else in your organization to shine. Your weakness is someone’s opportunity. Leadership is not always about getting things done “right.” Leadership is about getting things done through other people. The people who follow us are exactly where we have led them. If there is no one to whom we can delegate, it is our own fault. As a leader, gifted by God to do a few things well, it is not right for you to attempt to do everything. Upgrade your performance by playing to your strengths and delegating your weaknesses. There are many things I can do, but I have to narrow it down to the one thing I must do. The secret of concentration is elimination. Devoting a little of yourself to everything means committing a great deal of yourself to nothing. My competence in these areas defines my success as a pastor. A sixty-hour workweek will not compensate for a poorly delivered sermon. People don’t show up on Sunday morning because I am a good pastor (leader, shepherd, counselor). In my world, it is my communication skills that make the difference. So that is where I focus my time. To develop a competent team, help the leaders in your organization discover their leadership competencies and delegate accordingly. Once you step outside your zone, don’t attempt to lead. Follow. The less you do, the more you will accomplish. Only those leaders who act boldly in times of crisis and change are willingly followed. Accepting the status quo is the equivalent of accepting a death sentence. Where there’s no progress, there’s no growth. If there’s no growth, there’s no life. Environments void of change are eventually void of life. So leaders find themselves in the precarious and often career-jeopardizing position of being the one to draw attention to the need for change. Consequently, courage is a nonnegotiable quality for the next generation leader. The leader is the one who has the courage to act on what he sees. A leader is someone who has the courage to say publicly what everybody else is whispering privately. It is not his insight that sets the leader apart from the crowd. It is his courage to act on what he sees, to speak up when everyone else is silent. Next generation leaders are those who would rather challenge what needs to change and pay the price than remain silent and die on the inside. The first person to step out in a new direction is viewed as the leader. And being the first to step out requires courage. In this way, courage establishes leadership. Leadership requires the courage to walk in the dark. The darkness is the uncertainty that always accompanies change. The mystery of whether or not a new enterprise will pan out. The reservation everyone initially feels when a new idea is introduced. The risk of being wrong. Many who lack the courage to forge ahead alone yearn for someone to take the first step, to go first, to show the way. It could be argued that the dark provides the optimal context for leadership. After all, if the pathway to the future were well lit, it would be crowded. Fear has kept many would-be leaders on the sidelines, while good opportunities paraded by. They didn’t lack insight. They lacked courage. Leaders are not always the first to see the need for change, but they are the first to act. Leadership is about moving boldly into the future in spite of uncertainty and risk. You can’t lead without taking risk. You won’t take risk without courage. Courage is essential to leadership.
Andy Stanley (Next Generation Leader: 5 Essentials for Those Who Will Shape the Future)
However we resolve the issue in our individual homes, the moral challenge is, put simply, to make work visible again: not only the scrubbing and vacuuming, but all the hoeing, stacking, hammering, drilling, bending, and lifting that goes into creating and maintaining a livable habitat. In an ever more economically unequal world, where so many of the affluent devote their lives to ghostly pursuits like stock trading, image making, and opinion polling, real work, in the old-fashioned sense of labor that engages hand as well as eye, that tires the body and directly alters the physical world tends to vanish from sight. The feminists of my generation tried to bring some of it into the light of day, but, like busy professional women fleeing the house in the morning, they left the project unfinished, the debate broken off in mid-sentence, the noble intentions unfulfilled. Sooner or later, someone else will have to finish the job.
Barbara Ehrenreich (Global Woman: Nannies, Maids, and Sex Workers in the New Economy)
Nonsemes and mathemes stand next to each other in detached and mutually irrelevant jumbles. They lack the crucial valency that ties sentence to sentence in a truth-directed argument or formula to formula in a valid proof, and they can accumulate forever without getting to the point of saying or revealing what they mean.
Roger Scruton (Fools, Frauds and Firebrands: Thinkers of the New Left)
If we are inclined to forget how much there is in the world besides that which we anticipate, then works of art are perhaps a little to blame, for in them we find at work the same process of simplification or selection as in the imagination. Artistic accounts include severe abbreviations of what reality will force upon us. A travel book may tell us, for example, that the narrator journeyed through the afternoon to reach the hill town of X and after a night in its medieval monastery awoke to a misty dawn. But we never simply 'journey through an afternoon'. We sit in a train. Lunch digests awkwardly within us. The seat cloth is grey. We look out the window at a field. We look back inside. A drum of anxieties resolves in our consciousness. We notice a luggage label affixed to a suitcase in a rack above the seats opposite. We tap a finger on the window ledge. A broken nail on an index finger catches a thread. It starts to rain. A drop wends a muddy path down the dust-coated window. We wonder where our ticket might be. We look back at the field. It continues to rain. At last, the train starts to move. It passes an iron bridge, after which it inexplicably stops. A fly lands on the window And still we may have reached the end only of the first minute of a comprehensive account of the events lurking within the deceptive sentence 'He journeyed through the afternoon'. A storyteller who provides us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearking us out with repetitions, misleading emphases[,] and inconsequential plot lines. It insists on showing us Burdak Electronics, the safety handle in the car, a stray dog, a Christmas card[,] and a fly that lands first on the rim and then the centre of a laden ashtray. Which explains the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting woolliness of the present.
Alain de Botton (The Art of Travel)
Renee blamed herself for having unacceptable needs rather than her father for being unreasonable. She was essentially being sentenced to a lifetime of self-blame and self-directed anger. Fortunately, Renee found her way to therapy where she was able to learn to accept that it is okay for her to have her own feelings and needs.
Jonice Webb (Running on Empty: Overcome Your Childhood Emotional Neglect)
Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story , you, upon hearing the words 'soccer' and 'neighbor' in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that no, you grew up in Brazil on the streets of Tres Coracoes with Pele and I might say, I thought you were from Tennessee, and you might say, not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein
...each day I sit down in purposeful concentration to write in a notebook, some sentences on a buried truth, an unnamed reality, things that happened but are denied. It is hard to describe the stillness it takes, the difficulty of this act. It requires an almost perfect concentration which I am trying to learn and there is no way to learn it that is spelled out anywhere or so I can understand it but I have a sense that it's completely simply, on the order of being able to sit still and keep your mind dead center in you without apology or fear. I squirm after some time but it ain't boredom, it's fear of what's possible, how much you can know if you can be quiet enough and simple enough. I move around, my mind wanders, I lose the ability to take words and roll them through my brain, move with them into their interiors, feel their colors, touch what's under them, where they come from long ago and way back. I get frightened seeing what's in my own mind if words get put to it. There's a light there, it's bright, it's wide, it could make you blind if you look direct into it and so I turn away, afraid; I get frightened and I run and the only way to run is to abandon the process altogether or compromise it beyond recognition. I think about Celine sitting with his shit, for instance; I don't know why he didn't run, he should've. It's a quality you have to have of being near mad and at the same time so quiet in your heart that you could pass for a spiritual warrior; you could probably break things with the power in your mind. You got to be able to stand it, because it's a powerful and disturbing light, not something easy and kind, it comes through your head to make its way onto the page and you get fucking scared so your mind runs away, it wanders, it gets distracted, it buckles, it deserts, it takes a Goddamn freight train if it can find one, it wants calming agents and sporifics, and you mask that you are betraying the brightest and the best light you will ever see, you are betraying the mind that can be host to it... ...Your mind does stupid tricks to mask that you are betraying something of grave importance. It wanders so you won't notice that you are deserting your own life, abandoning it to triviality and garbage, how you are too fucking afraid to use your own brain for what it's for, which is to be a host to the light, to use it, to focus it; let it shine and carry the burden of what is illuminated, everything buried there; the light's scarier than anything it shows, the pure, direct experience of it in you as if your mind ain't the vegetable thing it's generally conceived to be or the nightmare thing you know it to be but a capacity you barely imagined, real; overwhelming and real, pushing you out to the edge of ecstasy and knowing and then do you fall or do you jump or do you fly?
Andrea Dworkin (Mercy)
Like literature, music can overwhelm you with sudden emotion, can move you to absolute sorrow or ecstasy; like literature, painting has the power to astonish, and to make you see the world through fresh eyes. But only literature can put you in touch with another human spirit, as a whole, with all its weaknesses and grandeurs, its limitations, its pettinesses, its obsessions, its beliefs; with whatever it finds moving, interesting, exciting or repugnant. Only literature can give you access to a spirit from beyond the grave – a more direct, more complete, deeper access than you’d have in conversation with a friend. Even in our deepest, most lasting friendships, we never speak as openly as when we face a blank page and address a reader we do not know. The beauty of an author’s style, the music of his sentences have their importance in literature, of course; the depth of an author’s reflections, the originality of his thought certainly can’t be overlooked; but an author is above all a human being, present in his books, and whether he writes very well or very badly hardly matters – as long as he gets the books written and is, indeed, present in them.
Michel Houellebecq (Soumission)
They say you shouldn't equivocate; They say you should be direct and firm. They say that's "no" is one-word sentence. They say to use it with force.. They say you should never elaborate on "no".
Claire Kendal (The Book of You)
It’s because she doesn’t have eyelashes,” Daisy said. Iris turned to her with complete calm and said, “I hate you.” “That’s a terrible thing to say, Daisy,” Honoria said, turning on her with a stern expression. It was true that Iris was extraordinarily pale, with the kind of strawberry blond hair that seemed to render her lashes and brows almost invisible. But she’d always thought Iris was absolutely gorgeous, almost ethereal-looking. “If she didn’t have eyelashes, she’d be dead,” Sarah said. Honoria turned to her, unable to believe the direction of the conversation. Well, no, that was not completely accurate. She believed it (unfortunately). She just didn’t understand it. “Well, it’s true,” Sarah said defensively. “Or at the very least, blind. Lashes keep all the dust from our eyes.” “Why are we having this conversation?” Honoria wondered aloud. Daisy immediately answered, “It’s because Sarah said she didn’t think Iris could look venomous, and then I said—" “I know,” Honoria cut in, and then, when she realized Daisy still had her mouth open, looking as if she was only waiting for the right moment to complete her sentence, she said it again. “I know. It was a hypothetical question.” “It still had a perfectly valid answer,” Daisy said with a sniff.
Julia Quinn (Just Like Heaven (Smythe-Smith Quartet #1))
All the lives are playing a role in a play directed by God, wherein you can't make your prolong your character but you can surely make it big and memorable and bring liveliness to this character with your hard work...
Pawan Pandit (Alive Sentence)
So, you don’t love me anymore?” “I don’t answer rhetorical questions,” I said. “And I’m not a geography expert, but I know damn well that North Carolina is outside of New York and a direct violation of your parole. What do you think will happen when they find out you’re here? Do you think they’ll make you serve out the sentence that you more than f**king deserve?” She gasped. “You would snitch on me?” “I would run my car over you.
Whitney G. (Reasonable Doubt: Volume 2 (Reasonable Doubt, #2))
I'm done doing this!' Obama said, finally erupting. 'We've all agreed on a plan. And we're all going to stick to that plan. I haven't agreed to anything beyond that.' The 30,000 was a 'hard cap,' he said forcefully. 'I don't want enablers to be used as wiggle room. The easy thing for me to do - politically - would actually be to say no' to the 30,000. Then he gestured out the Oval Office windows, across the Potomac, in the direction of the Pentagon. Referring to Gates and the uniformed military, he said. 'They think it's the opposite. I'd be perfectly happy -' He stopped mid-sentence. 'Nothing would make Rahm happier than if I said no to the 30,000.' There was some subdued laughter. 'Rahm would tell me it'd be much easier to do what I want to do by saying no,' the president said. He could then focus on the domestic agenda that he wanted to be the heart of his presidency. The military did not understand. 'Politically, what these guys don't get is it'd be a lot easier for me to go out and give a speech saying, 'You know what? The American people are sick of this war, and we're going to get out of there.
Bob Woodward (Obama's Wars)
Today the tower's flock, the usual birds, flew in a kind of scatter pattern, their paths intricately chaotic, the bunch parting and interweaving like boiling pasta under a pot's lifted lid. It appeared someone had given the birds new instructions, had whispered that there was something to avoid, or someone to fool. I once heard Perkus Tooth say that he'd woken that morning having dreamed an enigmatic sentence: "Paranoia is a flower in the brain." Perkus offered this, then smirked and bugged his eyes--the ordinary eye, and the other. I played at amazement (I was amazed, anyway, at the fact that Perkus dreamed sentences to begin with). Yet I hadn't understood what the words meant to him until now, when I knew for a crucial instant that the birds had been directed to deceive me. That was when I saw the brain's flower. Perkus had, I think, been trying to prepare me for how beautiful it was.
Jonathan Lethem (Chronic City)
Hours may have passed before I heard a throat clear behind us, saw Dad appear. His frame blocked out the sun, casting a cool shadow over where we lay. I registered only once he was there that I had slowly shifted so I was lying with my head on Elliot’s stomach, in our secluded stretch of sand. I pushed to sit up, awkwardly. “What are you guys doing?” “Nothing,” we said in unison. I could hear immediately how guilty our joined answer made us sound. “Really?” Dad asked. “Really,” I answered, but he wasn’t looking at me anymore. He and Elliot were having some kind of male Windtalker exchange that included prolonged eye contact, throat clearing, and probably some mysterious form of direct communication between their Y chromosomes. “We were just reading,” Elliot said finally, his voice shifting deeper midway through the sentence. I’m not sure if this sign of his impending manliness was reassuring or damning as far as my dad was concerned. “Seriously, Dad,” I said. His eyes flickered to mine. “Okay.” Finally he seemed to relax and squatted down next to me. “What are you reading?” “A Wrinkle in Time.” “Again?” “It’s so good.
Christina Lauren (Love and Other Words)
Being a journalist influenced me as a novelist. I mean, a lot of critics think I'm stupid because my sentences are so simple and my method is so direct: they think these are defects. No. The point is to write as much as you know as quickly as possible.
Kurt Vonnegut Jr.
In 90% of cases, you can start with one of the two most effective ways to open a speech: ask a question or start with a story. Our brain doesn’t remember what we hear. It remembers only what we “see” or imagine while we listen. You can remember stories. Everything else is quickly forgotten. Smell is the most powerful sense out of 4 to immerse audience members into a scene. Every sentence either helps to drive your point home, or it detracts from clarity. There is no middle point. If you don’t have a foundational phrase in your speech, it means that your message is not clear enough to you, and if it’s not clear to you, there is no way it will be clear to your audience. Share your failures first. Show your audience members that you are not any better, smarter or more talented than they are. You are not an actor, you are a speaker. The main skill of an actor is to play a role; to be someone else. Your main skill as a speaker is to be yourself. People will forgive you for anything except for being boring. Speaking without passion is boring. If you are not excited about what you are talking about, how can you expect your audience to be excited? Never hide behind a lectern or a table. Your audience needs to see 100% of your body. Speak slowly and people will consider you to be a thoughtful and clever person. Leaders don’t talk much, but each word holds a lot of meaning and value. You always speak to only one person. Have a conversation directly with one person, look him or her in the eye. After you have logically completed one idea, which usually is 10-20 seconds, scan the audience and then stop your eyes on another person. Repeat this process again. Cover the entire room with eye contact. When you scan the audience and pick people for eye contact, pick positive people more often. When you pause, your audience thinks about your message and reflects. Pausing builds an audiences’ confidence. If you don’t pause, your audience doesn’t have time to digest what you've told them and hence, they will not remember a word of what you've said. Pause before and after you make an important point and stand still. During this pause, people think about your words and your message sinks in. After you make an important point and stand still. During this pause, people think about your words and your message sinks in. Speakers use filler words when they don’t know what to say, but they feel uncomfortable with silence. Have you ever seen a speaker who went on stage with a piece of paper and notes? Have you ever been one of these speakers? When people see you with paper in your hands, they instantly think, “This speaker is not sincere. He has a script and will talk according to the script.” The best speeches are not written, they are rewritten. Bad speakers create a 10 minutes speech and deliver it in 7 minutes. Great speakers create a 5 minute speech and deliver it in 7 minutes. Explain your ideas in a simple manner, so that the average 12-year-old child can understand the concept. Good speakers and experts can always explain the most complex ideas with very simple words. Stories evoke emotions. Factual information conveys logic. Emotions are far more important in a speech than logic. If you're considering whether to use statistics or a story, use a story. PowerPoint is for pictures not for words. Use as few words on the slide as possible. Never learn your speech word for word. Just rehearse it enough times to internalize the flow. If you watch a video of your speech, you can triple the pace of your development as a speaker. Make videos a habit. Meaningless words and clichés neither convey value nor information. Avoid them. Never apologize on stage. If people need to put in a lot of effort to understand you they simply won’t listen. On the other hand if you use very simple language you will connect with the audience and your speech will be remembered.
Andrii Sedniev (Magic of Public Speaking: A Complete System to Become a World Class Speaker)
Human life, Borges said, is a cascade of possible directions, and we take only one, or we perceive that we take only one—which is how novels are written, too. You start with a blank page, and the first word opens up possibilities for the second word. If your first word is Call, those second two or three could be a doctor or it could be me Ishmael. It could be Call girls on Saturday nights generally cost more than . . . The second sentence opens up a multitude of third sentences, and on we go through that denseness of choices taken and choices not taken, swinging our machetes.
David Mitchell
The difficulty of tactical maneuvering consists in turning the devious into the direct, and misfortune into gain. [This sentence contains one of those highly condensed and somewhat enigmatical expressions of which Sun Tzu is so fond. This is how it is explained by Ts’ao Kung: “Make it appear that you are a long way off, then cover the distance rapidly and arrive on the scene before your opponent.” Tu Mu says: “Hoodwink the enemy, so that he may be remiss and leisurely while you are dashing along with utmost speed.” Ho Shih gives a slightly different turn: “Although you may have difficult ground to traverse and natural obstacles to encounter this is a drawback which can be turned into actual advantage by celerity of movement.” Signal examples of this saying are afforded by the two famous passages across the Alps—that of Hannibal, which laid Italy at his mercy, and that of Napoleon two thousand years later, which resulted in the great victory of Marengo.] 4.    Thus, to take a long and circuitous route, after enticing the enemy out of the way, and though starting after him, to contrive to reach the goal before him, shows knowledge of the artifice of DEVIATION.
Sun Tzu (The Art of War)
My God, my God, thou art a direct God, may I not say a literal God, a God that wouldst be understood literally and according to the plain sense of all thou sayest, but thou art also (Lord, I intend it to thy glory, and let no profane misinterpreter abuse it to thy dimunition), thou art a figurative, a metaphorical God too, a God in whose words there is such a height of figures, such voyages, such peregrinations to fetch remote and precious metaphors, such extensions, such spreadings, such curtains of allegories, such third heavens of hyperboles, so harmonious elocutions, so retired and so reserved expressions, so commanding persuasions, so persuading commandments, such sinews even in thy milk, and such things in thy words, as all profane authors seem of the seed of the serpent that creeps, thou art the Dove that flies. (Donne, Devotions 1624, as quoted in Fish, How to Write a Sentence p 142)
Stanley Fish (How to Write a Sentence: And How to Read One)
We're pupils of the religions—Catholic, Protestant, Jewish . . . Well, the Christian religions. Those who directed French education down through the centuries were the Jesuits. They taught us how to make sentences translated from the Latin, well balanced, with a verb, a subject, a complement, a rhythm. In short—here a speech, there a preach, everywhere a sermon! They say of an author, “He knits a nice sentence!” Me, I say, “It's unreadable.” They say, “What magnificent theatrical language!” I look, I listen. It's flat, it's nothing, it's nil. Me, I've slipped the spoken word into print. In one sole shot.
Louis-Ferdinand Céline
If he didn’t drag you into the closest dressing room and make you see God, you sucked at flirting.” Ariel points her finger at me as I swipe at my chin with the back of my hand. “Men are dumb. You need to speak in slow, short sentences and be direct. Don’t beat around the bush or he’ll never beat inside your bush.
Tara Sivec (At the Stroke of Midnight (The Naughty Princess Club, #1))
My ears perked up like a dog’s again when she spoke and pointed in the general direction of the chick that smelled of Slim Jims. I hope I don't start barking. "Oh, please, like she doesn't know about the smell of meat products wafting from her lady parts. I think she rubs bologna down there to attract men. Lunch meat is her sex pheromone." The brunette shook her head in irritation. "If I do a shot, will you please stop talking about Jade's disgusting vagina and never, ever use the word meat product in a sentence?" "Woof!" Three sets of eyes all turned to look at me. "Did I just bark out loud?" Three heads bobbed up and down in unison.
Tara Sivec (Seduction and Snacks (Chocolate Lovers, #1))
I have written various words, verbs, adjectives, and adverbs, and bits of dismantled sentences, fragments of expressions and descriptions and all kinds of tentative combinations. Every now and again I pick up one these particles, these molecules of texts, hold it up to the light and examine it carefully, turn it in various directions, lean forward and rub or polish it, hold it up to the light again, rub it again slightly, then lean forward and fit it into the texture of the cloth I am weaving. Then I stare at it from different angles, still not entirely satisfied, and take it out again and replace it with another word, or try to fit it into another niche in the same sentence, then remove, file it down a tiny bit more, and try to fit it in again, perhaps at a slightly different angle. Or deploy it differently. Perhaps farther down the sentence. Or at the beginning of the next one. Or should I cut it off and make it into a one-word sentence on its own? I stand up. Walk around the room. Return to the desk. Stare at it for a few moments or longer, cross out the whole sentence or tear up the whole page. I give up in despair. I curse myself aloud and curse writing in general and the language as a whole, despite which I sit down and start putting the whole thing together all over again. [p.268]
Amos Oz (A Tale of Love and Darkness)
Why do we complain of Nature? She has shown herself kindly; life, if you know how to use it, is long. But one man is possessed by an avarice that is insatiable, another by a toilsome devotion to tasks that are useless; one man is besotted with wine, another is paralyzed by sloth; one man is exhausted by an ambition that always hangs upon the decision of others, another, driven on by the greed of the trader, is led over all lands and all seas by the hope of gain; some are tormented by a passion for war and are always either bent upon inflicting danger upon others or concerned about their own; some there are who are worn out by voluntary servitude in a thankless attendance upon the great; many are kept busy either in the pursuit of other men's fortune or in complaining of their own; many, following no fixed aim, shifting and inconstant and dissatisfied, are plunged by their fickleness into plans that are ever new; some have no fixed principle by which to direct their course, but Fate takes them unawares while they loll and yawn—so surely does it happen that I cannot doubt the truth of that utterance which the greatest of poets delivered with all the seeming of an oracle: "The part of life we really live is small."5 For all the rest of existence is not life, but merely time. Vices beset us and surround us on every side, and they do not permit us to rise anew and lift up our eyes for the discernment of truth, but they keep us down when once they have overwhelmed us and we are chained to lust. Their victims are never allowed to return to their true selves; if ever they chance to find some release, like the waters of the deep sea which continue to heave even after the storm is past, they are tossed about, and no rest from their lusts abides. Think you that I am speaking of the wretches whose evils are admitted? Look at those whose prosperity men flock to behold; they are smothered by their blessings. To how many are riches a burden! From how many do eloquence and the daily straining to display their powers draw forth blood! How many are pale from constant pleasures! To how many does the throng of clients that crowd about them leave no freedom! In short, run through the list of all these men from the lowest to the highest—this man desires an advocate,6 this one answers the call, that one is on trial, that one defends him, that one gives sentence; no one asserts his claim to himself, everyone is wasted for the sake of another. Ask about the men whose names are known by heart, and you will see that these are the marks that distinguish them: A cultivates B and B cultivates C; no one is his own master. And then certain men show the most senseless indignation—they complain of the insolence of their superiors, because they were too busy to see them when they wished an audience! But can anyone have the hardihood to complain of the pride of another when he himself has no time to attend to himself? After all, no matter who you are, the great man does sometimes look toward you even if his face is insolent, he does sometimes condescend to listen to your words, he permits you to appear at his side; but you never deign to look upon yourself, to give ear to yourself. There is no reason, therefore, to count anyone in debt for such services, seeing that, when you performed them, you had no wish for another's company, but could not endure your own.
Seneca (On the Shortness of Life)
I just miss it. Reading. I miss reading." Stiles' face is turned in the other direction now. Away from Derek. Derek, who has never contemplated that reading isn't a given for everyone in this country. Up until now, he has assumed that some people love to read and those who don't like it deserve longer jail sentences if they ever commit a crime.
Vendelin (Cornerstone)
The theory helps to restore a kind of justice that we may not ourselves directly be able to administer. The explanation of the origins of nastiness changes how we assess our opponent. No longer are they necessarily strong and impervious. We have not been able to punish them, but the universe has in a sense, and the clearest evidence for the sentence lies in the unhappiness that is powering their attacks. They have not got away with injuring us; their punishment lies in the pain they must be enduring in order to have such an urgent need to lash out. We, who have no wish to hurt, are in fact the stronger party; we, who have no wish to diminish others, are truly powerful. We can move from
The School of Life (The School of Life: An Emotional Education)
Graham spoke plainly and directly. Convinced that the average person had a working vocabulary of six hundred words, he made a point to stick with common words and short sentences. Though he never put it exactly this way, he instinctively grasped the import of Sister Aimee Semple McPherson’s recipe for rabbit stew: first “you have to catch the rabbit.
Grant Wacker (One Soul at a Time: The Story of Billy Graham (Library of Religious Biography (LRB)))
It Is Never Too Late The last word has not yet been spoken The last sentence has not yet been written, The final verdict is not in. It is never too late To change my mind, My direction, To say no to the past, And yes to the future, To offer remorse, To ask and give forgiveness It is never too late To start over again To feel again To love again To hope again.
Rochelle B. Weinstein (The Mourning After)
What kind of town is this What sort of streets are these Who invented this who profits by it I saw peddlers at every corner they’re selling little guillotines with tiny sharp blades and dolls filled with red liquid which spurts fro the neck when the sentence is carried out. What kind of children are these who can play with this toys so efficiently and who is judging
Peter Weiss (The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade)
So much of a rationalist's skill is below the level of words. It makes for challenging work in trying to convey the Art through blog posts. People will agree with you, but then, in the next sentence, do something subdeliberative that goes in the opposite direction. Not that I'm complaining! A major reason I'm posting here is to observe what my words haven't conveyed.
Eliezer Yudkowsky
Double sentencing wasn’t a new idea, but rather the latest variation on the theme. Before that, a murderer might be hanged and then drawn and quartered, wherein horses were tied to his limbs and spurred off in four directions, the resultant “quarters” being impaled on spikes and publicly displayed, as a colorful reminder to the citizenry of the ill-advisedness of crime.
Mary Roach (Stiff: The Curious Lives of Human Cadavers)
Mathis moved his chair close to hers and said softly: ‘That is a very good friend of mine. I am glad you have met each other. I can already feel the ice-floes on the two rivers breaking up.’ He smiled. ‘I don’t think Bond has ever been melted. It will be a new experience for him. And for you.’ She did not answer him directly. ‘He is very good-looking. He reminds me rather of Hoagy Carmichael, but there is something cold and ruthless in his …’ The sentence was never finished. Suddenly a few feet away the entire plate-glass window shivered into confetti. The blast of a terrific explosion, very near, hit them so that they were rocked back in their chairs. There was an instant of silence. Some objects pattered down on to the pavement outside. Bottles slowly toppled off the shelves behind the bar. Then there were screams and a stampede for the door.
Ian Fleming (Casino Royale (James Bond, #1))
I am not bound by law, for my law is my accountability towards society, which itself makes me do what's right and best for the society. I am not here to be guided by the illusive societal paradigms, legal or any other, I am here to point those paradigms in a humane direction, so that they can recognize their shortcomings and evolve into something better. But if ever the dark day comes when I commit an inhumanity, I will sentence myself to death.
Abhijit Naskar (Ain't Enough to Look Human)
Perhaps you didn’t realize that every single time you say “I AM” in a sentence, you are simultaneously sending a direct order and a confirmation to your brain exactly how you truly feel about yourself and what you expect. You are actually sending a command to your subconscious mind and telling every cell of your body how to respond. If we go even deeper, the spiritual concept of the “I AM” is a prayer declaring exactly what it is you want to have happen.
Honoree Corder (Vision to Reality: How Short Term Massive Action Equals Long Term Maximum Results)
Depression goes through stages, but if left unchecked and not treated, this elevator ride will eventually go all the way to the bottom floor. And finally you find yourself bereft of choices, unable to figure out a way up or out, and pretty soon one overarching impulse begins winning the battle for your mind: “Kill yourself.” And once you get over the shock of those words in your head, the horror of it, it begins to start sounding appealing, even possessing a strange resolve, logic. In fact, it’s the only thing you have left that is logical. It becomes the only road to relief. As if just the planning of it provides the first solace you’ve felt that you can remember. And you become comfortable with it. You begin to plan it and contemplate the details of how best to do it, as if you were planning travel arrangements for a vacation. You just have to get out. O-U-T. You see the white space behind the letter O? You just want to crawl through that O and be out of this inescapable hurt that is this thing they call clinical depression. “How am I going to do this?” becomes the only tape playing. And if you are really, really, really depressed and you’re really there, you’re gonna find a way. I found a way. I had a way. And I did it. I made sure Opal was out of the house and on a business trip. My planning took a few weeks. I knew exactly how I was going to do it: I didn’t want to make too much of a mess. There was gonna be no blood, no drama. There was just going to be, “Now you see me, now you don’t.” That’s what it was going to be. So I did it. And it was over. Or so I thought. About twenty-four hours later I woke up. I was groggy; zoned out to the point at which I couldn’t put a sentence together for the next couple of days. But I was semifunctional, and as these drugs and shit that I took began to wear off slowly but surely, I realized, “Okay, I fucked up. I didn’t make it.” I thought I did all the right stuff, left no room for error, but something happened. And this perfect, flawless plan was thwarted. As if some force rebuked me and said, “Not yet. You’re not going anywhere.” The only reason I could have made it, after the amount of pills and alcohol and shit I took, was that somebody or something decided it wasn’t my time. It certainly wasn’t me making that call. It was something external. And when you’re infused with the presence of this positive external force, which is so much greater than all of your efforts to the contrary, that’s about as empowering a moment as you can have in your life. These days we have a plethora of drugs one can take to ameliorate the intensity of this lack of hope, lack of direction, lack of choice. So fuck it and don’t be embarrassed or feel like you can handle it yourself, because lemme tell ya something: you can’t. Get fuckin’ help. The negative demon is strong, and you may not be as fortunate as I was. My brother wasn’t. For me, despair eventually gave way to resolve, and resolve gave way to hope, and hope gave way to “Holy shit. I feel better than I’ve ever felt right now.” Having actually gone right up to the white light, looked right at it, and some force in the universe turned me around, I found, with apologies to Mr. Dylan, my direction home. I felt more alive than I’ve ever felt. I’m not exaggerating when I say for the next six months I felt like Superman. Like I’m gonna fucking go through walls. That’s how strong I felt. I had this positive force in me. I was saved. I was protected. I was like the only guy who survived and walked away from a major plane crash. I was here to do something big. What started as the darkest moment in my life became this surge of focus, direction, energy, and empowerment.
Ron Perlman (Easy Street: The Hard Way)
we are cruel to ourselves if we try to live in this world without knowing about the God whose world it is and who runs it. The world becomes a strange, mad, painful place, and life in it a disappointing and unpleasant business, for those who do not know about God. Disregard the study of God, and you sentence yourself to stumble and blunder through life blindfolded, as it were, with no sense of direction and no understanding of what surrounds you. This way you can waste your life and lose your soul.
J.I. Packer (Knowing God)
God directly inspired the writers of the New Testament canon and so the words recorded by them in the autographs are God’s Word absolute, inerrant and infallible in all they affirm. This inspiration extends down to the Greek equivalent of jots and tittles—Jesus was emphatic about that (Matt. 5:18). And if inspiration is applied to the smallest pen strokes, it certainly should also apply to sentences, paragraphs, pericopes, and more. The relevance of the doctrine of inspiration extends into all the corners.
Douglas Wilson (Debating the Text of the Word of God)
Tell me, is it possible to love someone who is not as smart as you are?” Caravaggio, in a belligerent morphine rush, wanted the mood of argument. “This is something that has concerned me most of my sexual life—which began late, I must announce to this select company. In the same way the sexual pleasure of conversation came to me only after I was married. I had never thought words erotic. Sometimes I really do like to talk more than fuck. Sentences. Buckets of this buckets of that and then buckets of this again. The trouble with words is that you can really talk yourself into a corner. Whereas you can’t fuck yourself into a corner.” “That’s a man talking,” muttered Hana. “Well, I haven’t,” Caravaggio continued, “maybe you have, Kip, when you came down to Bombay from the hills, when you came to England for military training. Has anyone, I wonder, fucked themselves into a corner. How old are you, Kip?” “Twenty-six.” “Older than I am.” “Older than Hana. Could you fall in love with her if she wasn’t smarter than you? I mean, she may not be smarter than you. But isn’t it important for you to think she is smarter than you in order to fall in love? Think now. She can be obsessed by the Englishman because he knows more. We’re in a huge field when we talk to that guy. We don’t even know if he’s English. He’s probably not. You see, I think it is easier to fall in love with him than with you. Why is that? Because we want to know things, how the pieces fit. Talkers seduce, words direct us into corners. We want more than anything to grow and change. Brave new world.
Michael Ondaatje (The English Patient)
And then he has nothing to do. After three weeks-or is it a lifetime?-of ceaseless activity, he has nothing to do. A very long sentence, anchored in solid nouns, with countless subordinate clauses, scores of adjectives and adverbs, and bold conjunctions that launched the sentence in a new direction-besides unexpected interludes-has finally, with a surprisingly quiet full stop, come to an end. For an hour or so, sitting outside on the landing at the top of the stairs, nursing a coffee, tired, a little relieved, a little worried, he contemplates that full stop. What will the next sentence bring?
Yann Martel (The High Mountains of Portugal)
As it happens, there’s a way of presenting data, called the funnel plot, that indicates whether or not the scientific literature is biased in this way.15 (If statistics don’t excite you, feel free to skip straight to the probably unsurprising conclusion in the last sentence of this paragraph.) You plot the data points from all your studies according to the effect sizes, running along the horizontal axis, and the sample size (roughly)16 running up the vertical axis. Why do this? The results from very large studies, being more “precise,” should tend to cluster close to the “true” size of the effect. Smaller studies by contrast, being subject to more random error because of their small, idiosyncratic samples, will be scattered over a wider range of effect sizes. Some small studies will greatly overestimate a difference; others will greatly underestimate it (or even “flip” it in the wrong direction). The next part is simple but brilliant. If there isn’t publication bias toward reports of greater male risk taking, these over- and underestimates of the sex difference should be symmetrical around the “true” value indicated by the very large studies. This, with quite a bit of imagination, will make the plot of the data look like an upside-down funnel. (Personally, my vote would have been to call it the candlestick plot, but I wasn’t consulted.) But if there is bias, then there will be an empty area in the plot where the smaller samples that underestimated the difference, found no differences, or yielded greater female risk taking should be. In other words, the overestimates of male risk taking get published, but various kinds of “underestimates” do not. When Nelson plotted the data she’d been examining, this is exactly what she found: “Confirmation bias is strongly indicated.”17 This
Cordelia Fine (Testosterone Rex: Myths of Sex, Science, and Society)
First, read the introduction carefully, looking for the theme sentence or paragraph that will unlock the whole article or chapter. The theme sentence or paragraph often encapsulates the ideas and structure of the piece. Then skip directly to the conclusion. Why? Because the conclusion tells you where the writer is going to end up. It usually summarizes his or her main points and, if it’s well done, suggests what the writer thinks are the key takeaways. Only when you know where the writer is aiming should you read the body of the text. (I’ll have more to say on how to read the body of text shortly.)
Robert C. Pozen (Extreme Productivity: Boost Your Results, Reduce Your Hours)
Psychologist J.P. Guilford, who carried out a long series of systematic psychological studies into the nature of creativity, found that several factors were involved in creative thinking; many of these, as we shall see, relate directly to the cognitive changes that take place during mild manias as well. Fluency of thinking, as defined by Guilford, is made up of several related and empirically derived concepts, measured by specific tasks: word fluency, the ability to produce words each, for example, containing a specific letter or combination of letters; associational fluency, the production of as many synonyms as possible for a given word in a limited amount of time; expressional fluency, the production and rapid juxtaposition of phrases or sentences; and ideational fluency, the ability to produce ideas to fulfill certain requirements in a limited amount of time. In addition to fluency of thinking, Guilford developed two other important concepts for the study of creative thought: spontaneous flexibility, the ability and disposition to produce a great variety of ideas, with freedom to switch from category to category; and adaptive flexibility, the ability to come up with unusual types of solutions to set problems.
Kay Redfield Jamison (Touched with Fire: Manic-Depressive Illness and the Artistic Temperament)
As the rules of acceptable discourse changed, however, segregationists distanced themselves from an explicitly racist agenda. they developed instead the racially sanitized rhetoric of cracking down on crime rhetoric that is now freely used by politicians of every stripe. Conservative politicians who embraced this rhetoric purposely failed to distinguish between the direct action tactics of civil rights activists, violent rebellion to the inner cities, And traditional crimes of an economic or violent nature. Instead, as Marc Mauer of the sentencing project has noted, "all of this phenomenon or subsumed under the heading of "crime in the streets.
Michelle Alexander (The New Jim Crow: Mass Incarceration in the Age of Colorblindness)
The game resembles the act of writing in that you can’t help but compete with yourself: no one is watching, but you still desire perfection, even if such a thing is unattainable. In fact, the toss of a Frisbee is a bit like the writing of a sentence. Each must move along a certain line to keep the game going forward. Each can go astray, spin out of control. At times what is called for is a long, unspooling line, a toss that slices and circles and hovers in the wind, feinting one way before turning back in another, just as a sentence can move in spirals around a central idea, curving ever closer to the center, the heart, the rock. Other times you need a direct approach. Straight and crisp. A shot from short range.
Philip Connors (Fire Season: Field Notes from a Wilderness Lookout)
Let me repeat: to talk of 'directiveness' , or purpose in this limited sense, in ontogeny, has become respectable once more; but to apply these terms to phylogeny is still considered heretical (or at least in bad taste). But phylogeny is an abstraction, which only acquires a concrete meaning when we realise that 'phylogeny, evolutionary descent, is a sequence of ontogenies', and that 'the course of evolution is through changes in ontogeny'. The quotations in the previous sentence are actually also by Simpson and contain the answer to his own conundrum about the Purposer behind the purpose. The Purposer is each and every individual organism, from the inception of life, which struggled and strove to make the best of its limited opportunities.
Arthur Koestler
Taco Hidde Bakker: (quoting a sentence from Schles' book "Oculus") Further on you write, decidedly, “Seeing is not knowing. Recognition is not knowledge”. […] Muses are the origin of knowledge. Almost everything one knows and is able to know nowadays, comes from hearsay, isn’t based on one’s own experiences or witnessing of events. Most of us don’t even directly witness historically decisive events (or what have come to be portrayed as such by the media) during our lifetimes. By means of the mechanisms of complex (visual) representation networks, we are second-order or even third-order witnesses. If we were to consider photography sui generis, then it is a Muse. It is virtually omnipresent, it sees everything, transmits visual evidence to people all over the globe, and enlargers their body of knowledge.
Taco Hidde Bakker (The Photograph That Took the Place of a Mountain)
After all, a kiss between real lovers is not some type of contract, a neatly defined moment of pleasure, something obtained by greedy conquest, or any kind of clear saying of how it is. It is a grief-drenched hatching of two hearts into some ecstatic never-before-seen bird whose new uncategorizable form, unrecognized by the status quo, gives the slip to Death's sure rational deal. For love is a delicious and always messy extension of life that unfrantically outgrows mortality's rigid insistence on precise and efficient definition. Having all the answers means you haven't really ecstatically kissed or lived, thereby declaring the world defined and already finished. Loving all the questions on the other hand is a vitality that makes any length of life worth living. Loving doesn't mean you know all the notes and that you have to play all the notes, it just means you have to play the few notes you have long and beautifully. Like the sight of a truly beautiful young woman, smooth and gliding, melting hearts at even a distant glimpse, that no words, no matter how capable, can truly describe; a woman whose beauty is only really known by those who take a perch on the vista of time to watch the years of life speak out their long ornate sentences of grooves as they slowly stretch into her smoothness, wrinkling her as she glides struggling, decade by decade, her gait mitigated by a long trail of heavy loads, joys, losses, and suffering whose joint-aching years of traveling into a mastery of her own artistry of living, becomes even more than beauty something about which though we are even now no more capable of addressing than before, our admiration as original Earth-loving human beings should nonetheless never remain silent. And for that beauty we should never sing about, but only sing directly to it. Straightforward, cold, and inornate description in the presence of such living evidence of the flowering speech of the Holy in the Seed would be death of both the beauty and the speaker. Even if we always fail when we speak, we must be willing to fail magnificently, for even an eloquent failure, if in the service of life, feeds the Divine. Is it not a magical thing, this life, when just a little ash, cinder, and unclear water can arrange themselves into a beautiful old woman who sways, lifts, kisses, loves, sickens, argues, loses, bears up under it all, and, wrinkling, still lives under all that and yet feeds the Holy in Nature by just the way she moves barefoot down a path? If we can find the hearts, tongues, and brightness of our original souls, broken or not, then no matter from what mess we might have sprung today, we would be like those old-time speakers of life; every one of us would have it in our nature to feel obligated by such true living beauty as to know we have to say something in its presence if only for our utter feeling of awe. For, finally learning to approach something respectfully with love, slowly with the courtesy of an ornate indirectness, not describing what we see but praising the magnificence of her half-smiles of grief and persistent radiance rolling up from the weight-bearing thumping of her fine, well-oiled dusty old feet shuffling toward the dawn reeds at the edge of her part of the lake to fetch a head-balanced little clay jar of water to cook the family breakfast, we would know why the powerful Father Sun himself hurries to get his daily glimpse of her, only rising early because she does.
Martin Prechtel (The Unlikely Peace at Cuchumaquic: The Parallel Lives of People as Plants: Keeping the Seeds Alive)
Productiveness is your acceptance of morality, your recognition of the fact that you choose to live—that productive work is the process by which man’s consciousness controls his existence, a constant process of acquiring knowledge and shaping matter to fit one’s purpose, of translating an idea into physical form, of remaking the earth in the image of one’s values—that all work is creative work if done by a thinking mind, and no work is creative if done by a blank who repeats in uncritical stupor a routine he has learned from others—that your work is yours to choose, and the choice is as wide as your mind, that nothing more is possible to you and nothing less is human—that to cheat your way into a job bigger than your mind can handle is to become a fear-corroded ape on borrowed motions and borrowed time, and to settle down into a job that requires less than your mind’s full capacity is to cut your motor and sentence yourself to another kind of motion: decay—that your work is the process of achieving your values, and to lose your ambition for values is to lose your ambition to live—that your body is a machine, but your mind is its driver, and you must drive as far as your mind will take you, with achievement as the goal of your road—that the man who has no purpose is a machine that coasts downhill at the mercy of any boulder to crash in the first chance ditch, that the man who stifles his mind is a stalled machine slowly going to rust, that the man who lets a leader prescribe his course is a wreck being towed to the scrap heap, and the man who makes another man his goal is a hitchhiker no driver should ever pick up—that your work is the purpose of your life, and you must speed past any killer who assumes the right to stop you, that any value you might find outside your work, any other loyalty or love, can be only travelers you choose to share your journey and must be travelers going on their own power in the same direction. “Pride
Ayn Rand (Atlas Shrugged)
The usual short story cannot have a complex plot, but it often has a simple one resembling a chain with two or three links. The short short, however, doesn't as a rule have even that much - you don't speak of a chain when there's only one link. ... Sometimes ... the short short appears to rest on nothing more than a fragile anecdote which the writer has managed to drape with a quantity of suggestion. A single incident, a mere anecdote - these form the spine of the short short. Everything depends on intensity, one sweeping blow of perception. In the short short the writer gets no second chance. Either he strikes through at once or he's lost. And because it depends so heavily on this one sweeping blow, the short short often approaches the condition of a fable. When you read the two pieces by Tolstoy in this book, or I.L. Peretz's 'If Not Higher,' or Franz Kafka's 'The Hunter Gracchus,' you feel these writers are intent upon 'making a point' - but obliquely, not through mere statement. What they project is not the sort of impression of life we expect in most fiction, but something else: an impression of an idea of life. Or: a flicker in darkness, a slight cut of being. The shorter the piece of writing, the more abstract it may seem to us. In reading Paz's brilliant short short we feel we have brushed dangerously against the sheer arbitrariness of existence; in reading Peretz's, that we have been brought up against a moral reflection on the nature of goodness, though a reflection hard merely to state. Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short. ... Writers who do short shorts need to be especially bold. They stake everything on a stroke of inventiveness. Sometimes they have to be prepared to speak out directly, not so much in order to state a theme as to provide a jarring or complicating commentary. The voice of the writer brushes, so to say, against his flash of invention. And then, almost before it begins, the fiction is brought to a stark conclusion - abrupt, bleeding, exhausting. This conclusion need not complete the action; it has only to break it off decisively. Here are a few examples of the writer speaking out directly. Paz: 'The universe is a vast system of signs.' Kafka in 'First Sorrow': The trapeze artist's 'social life was somewhat limited.' Paula Fox: 'We are starving here in our village. At last, we are at the center.' Babel's cossack cries out, 'You guys in specs have about as much pity for chaps like us as a cat for a mouse.' Such sentences serve as devices of economy, oblique cues. Cryptic and enigmatic, they sometimes replace action, dialogue and commentary, for none of which, as it happens, the short short has much room. There's often a brilliant overfocussing. ("Introduction")
Irving Howe (Short Shorts)
Once, in the supermarket, I bought a little can that had a Japanese woman painted on the side. Later, at home, I opened the can and saw inside it a piece of tuna fish. The woman seemed to have changed into a piece of fish during her long voyage. This surprise came on a Sunday: I had decided not to read any writing on Sundays. Instead I observed the people I saw on the street as though they were isolated letters. Sometimes two people sat down next to each other in a café, and thus, briefly, formed a word. Then they separated, in order to go off and form other words. There must have been a moment in which the combinations of these words formed, quite by chance, several sentenced in which I might have read this foreign city like a text. But I never discovered a single sentence in this city, only letters and sometimes a few words that had no direct connection to any "cultural content". These words now and then led me to open the wrapping paper on the outside, only to find different wrapping paper below.
Yōko Tawada (Where Europe Begins)
It is a fact of life on our beleaguered little planet that widespread torture, famine and governmental criminal irresponsibility are much more likely to be found in tyrannical than in democratic governments. Why? Because the rulers of the former are much less likely to be thrown out of office for their misdeeds than the rulers of the latter. This is error-correcting machinery in politics. The methods of science, with all its imperfections, can be used to improve social, political and economic systems, and this is, I think, true no matter what criterion of improvement is adopted. How is this possible if science is based on experiment? Humans are not electrons or laboratory rats. But every act of Congress, every Supreme Court decision, every Presidential National Security Directive, every change in the Prime Rate is an experiment. Every shift in economic policy, every increase or decrease in funding for Head Start, every toughening of criminal sentences is an experiment. Exchanging needles, making condoms freely available, or decriminalizing marijuana are all experiments. Doing nothing to help Abyssinia against Italy, or to prevent Nazi Germany from invading the Rhineland was an experiment. Communism in Eastern Europe, the Soviet Union and China was an experiment. Privatizing mental health care or prisons is an experiment. Japan and West Germany investing a great deal in science and technology and next to nothing on defense - and finding that their economies boomed - was an experiment. Handguns are available for self-protection in Seattle, but not in nearby Vancouver, Canada; handgun killings are five times more common in Seattle and the handgun suicide rate is ten times greater in Seattle. Guns make impulsive killing easy. This is also an experiment. In almost all of these cases, adequate control experiments are not performed, or variables are insufficiently separated. Nevertheless, to a certain and often useful degree, such ideas can be tested. The great waste would be to ignore the results of social experiments because they seem to be ideologically unpalatable.
Carl Sagan (The Demon-Haunted World: Science as a Candle in the Dark)
The frequent hearing of my mistress reading the bible--for she often read aloud when her husband was absent--soon awakened my curiosity in respect to this mystery of reading, and roused in me the desire to learn. Having no fear of my kind mistress before my eyes, (she had given me no reason to fear,) I frankly asked her to teach me to read; and without hesitation, the dear woman began the task, and very soon, by her assistance, I was master of the alphabet, and could spell words of three or four letters...Master Hugh was amazed at the simplicity of his spouse, and, probably for the first time, he unfolded to her the true philosophy of slavery, and the peculiar rules necessary to be observed by masters and mistresses, in the management of their human chattels. Mr. Auld promptly forbade the continuance of her [reading] instruction; telling her, in the first place, that the thing itself was unlawful; that it was also unsafe, and could only lead to mischief.... Mrs. Auld evidently felt the force of his remarks; and, like an obedient wife, began to shape her course in the direction indicated by her husband. The effect of his words, on me, was neither slight nor transitory. His iron sentences--cold and harsh--sunk deep into my heart, and stirred up not only my feelings into a sort of rebellion, but awakened within me a slumbering train of vital thought. It was a new and special revelation, dispelling a painful mystery, against which my youthful understanding had struggled, and struggled in vain, to wit: the white man's power to perpetuate the enslavement of the black man. "Very well," thought I; "knowledge unfits a child to be a slave." I instinctively assented to the proposition; and from that moment I understood the direct pathway from slavery to freedom. This was just what I needed; and got it at a time, and from a source, whence I least expected it.... Wise as Mr. Auld was, he evidently underrated my comprehension, and had little idea of the use to which I was capable of putting the impressive lesson he was giving to his wife.... That which he most loved I most hated; and the very determination which he expressed to keep me in ignorance, only rendered me the more resolute in seeking intelligence.
Frederick Douglass
Human beings innate complexities resist reduction into simple sentences and neat paragraphs. The stories that come nearest to expressing the ambivalent nature of people are textured and occasionally inconsistent and express waves of inner uncertainty. A simile and a metaphor are not literally true. A figure of speech, symbols, and allegories are mere expressions that when interlinked with other text assist explain facts, ideas, and emotions. Useful facts are elusive; we must look for them, and then express them using whatever mechanism proves most authoritative. We can never directly describe emotions; we resort to metaphors to describe emotions and other illusive thoughts. Ideas by virtue of their untested nature are often untrue or at best rough approximations of truth. Lyrical writing is equivocal; it is never exactly true or precisely false. Lyrical language attempts to express and connect sentiments through extrapolation and misdirection. The writer’s task is to melt away durable facts, breakdown the symbolic depictions of solid reality, and discover the liquidity of a passionate inner life that provides the hot breath to our steamy humanness.
Kilroy J. Oldster (Dead Toad Scrolls)
If all art is conceptual, the issue is rather simple. For concepts, like pictures, cannot be true or false. They can only be more or less useful for the formation of descriptions. The words of a language, like pictorial formulas, pick out from the flux of events a few signposts which allow us to give direction to our fellow speakers in that game of "Twenty Questions" in which we are engaged. Where the needs of users are similar, the signposts will tend to correspond. We can mostly find equivalent terms in English, French, German, and Latin, and hence the idea has taken root that concepts exist independently of language as the constituents of "reality." But the English language erects a signpost on the roadfork between "clock" and "watch" where the German has only "Uhr." The sentence from the German primer, "Meine Tante hat eine Uhr," leaves us in doubt whether the aunt has a clock or watch. Either of the two translations may be wrong as a description of a fact. In Swedish, by the way, there is an additional roadfork to distinguish between aunts who are "father's sisters," those who are "mother's sisters," and those who are just ordinary aunts. If we were to play our game in Swedish we would need additional questions to get at the truth about the timepiece.
E.H. Gombrich
Melinda Pratt rides city bus number twelve to her cello lesson, wearing her mother's jean jacket and only one sock. Hallo, world, says Minna. Minna often addresses the world, sometimes silently, sometimes out loud. Bus number twelve is her favorite place for watching, inside and out. The bus passes cars and bicycles and people walking dogs. It passes store windows, and every so often Minna sees her face reflection, two dark eyes in a face as pale as a winter dawn. There are fourteen people on the bus today. Minna stands up to count them. She likes to count people, telephone poles, hats, umbrellas, and, lately, earrings. One girl, sitting directly in front of Minna, has seven earrings, five in one ear. She has wisps of dyed green hair that lie like forsythia buds against her neck. There are, Minna knows, a king, a past president of the United States, and a beauty queen on the bus. Minna can tell by looking. The king yawns and scratches his ear with his little finger. Scratches, not picks. The beauty queen sleeps, her mouth open, her hair the color of tomatoes not yet ripe. The past preside of the United States reads Teen Love and Body Builder's Annual. Next to Minna, leaning against the seat, is her cello in its zippered canvas case. Next to her cello is her younger brother, McGrew, who is humming. McGrew always hums. Sometimes he hums sentences, though most often it comes out like singing. McGrew's teachers do not enjoy McGrew answering questions in hums or song. Neither does the school principal, Mr. Ripley. McGrew spends lots of time sitting on the bench outside Mr. Ripley's office, humming. Today McGrew is humming the newspaper. First the headlines, then the sports section, then the comics. McGrew only laughs at the headlines. Minna smiles at her brother. He is small and stocky and compact like a suitcase. Minna loves him. McGrew always tells the truth, even when he shouldn't. He is kind. And he lends Minna money from the coffee jar he keeps beneath his mattress. Minna looks out the bus window and thinks about her life. Her one life. She likes artichokes and blue fingernail polish and Mozart played too fast. She loves baseball, and the month of March because no one else much likes March, and every shade of brown she has ever seen. But this is only one life. Someday, she knows, she will have another life. A better one. McGrew knows this, too. McGrew is ten years old. He knows nearly everything. He knows, for instance, that his older sister, Minna Pratt, age eleven, is sitting patiently next to her cello waiting to be a woman.
Patricia MacLachlan (The Facts and Fictions of Minna Pratt)
Movies create the parameters against which we measure our lives.  They can either be a force for positive change or reinforce existing structures.  Mason asks, “How do we take control of the hallucination?”  The series itself is a response:  The Invisibles is a fictional work that’s programmed to redefine the way we view reality.  Download this series into your mind, and you’ll come out the other side changed. This also ties into the way that Mason has discussed movies over the course of the series.  By finding the evolutionary message in non-intellectual, popular works like Speed and Independence Day, Mason is trying to take control of the hallucination.  Any work of art does not exist in a vacuum.  We assess it through cultural and social lenses, biased by our own circumstances and background.  Mason seeks out Invisible messages in everything he sees, and because that’s what he’s looking for, he finds them.  His goal is to teach everyone to think like that, to not see the intended pro-America or pro-hetero-normative message of a typical studio film, to instead find something subversive lurking in the most mundane entertainments.  If people build their lives in response to the films they see, then controlling the way they perceive the films means controlling the future direction of their lives. Next,
Patrick Meaney (Our Sentence is Up: Seeing Grant Morrison's The Invisibles)
Hey Pete. So why the leave from social media? You are an activist, right? It seems like this decision is counterproductive to your message and work." A: The short answer is I’m tired of the endless narcissism inherent to the medium. In the commercial society we have, coupled with the consequential sense of insecurity people feel, as they impulsively “package themselves” for public consumption, the expression most dominant in all of this - is vanity. And I find that disheartening, annoying and dangerous. It is a form of cultural violence in many respects. However, please note the difference - that I work to promote just that – a message/idea – not myself… and I honestly loath people who today just promote themselves for the sake of themselves. A sea of humans who have been conditioned into viewing who they are – as how they are seen online. Think about that for a moment. Social identity theory run amok. People have been conditioned to think “they are” how “others see them”. We live in an increasing fictional reality where people are now not only people – they are digital symbols. And those symbols become more important as a matter of “marketing” than people’s true personality. Now, one could argue that social perception has always had a communicative symbolism, even before the computer age. But nooooooothing like today. Social media has become a social prison and a strong means of social control, in fact. Beyond that, as most know, social media is literally designed like a drug. And it acts like it as people get more and more addicted to being seen and addicted to molding the way they want the world to view them – no matter how false the image (If there is any word that defines peoples’ behavior here – it is pretention). Dopamine fires upon recognition and, coupled with cell phone culture, we now have a sea of people in zombie like trances looking at their phones (literally) thousands of times a day, merging their direct, true interpersonal social reality with a virtual “social media” one. No one can read anymore... they just swipe a stream of 200 character headlines/posts/tweets. understanding the world as an aggregate of those fragmented sentences. Massive loss of comprehension happening, replaced by usually agreeable, "in-bubble" views - hence an actual loss of variety. So again, this isn’t to say non-commercial focused social media doesn’t have positive purposes, such as with activism at times. But, on the whole, it merely amplifies a general value system disorder of a “LOOK AT ME! LOOK AT HOW GREAT I AM!” – rooted in systemic insecurity. People lying to themselves, drawing meaningless satisfaction from superficial responses from a sea of avatars. And it’s no surprise. Market economics demands people self promote shamelessly, coupled with the arbitrary constructs of beauty and success that have also resulted. People see status in certain things and, directly or pathologically, use those things for their own narcissistic advantage. Think of those endless status pics of people rock climbing, or hanging out on a stunning beach or showing off their new trophy girl-friend, etc. It goes on and on and worse the general public generally likes it, seeking to imitate those images/symbols to amplify their own false status. Hence the endless feedback loop of superficiality. And people wonder why youth suicides have risen… a young woman looking at a model of perfection set by her peers, without proper knowledge of the medium, can be made to feel inferior far more dramatically than the typical body image problems associated to traditional advertising. That is just one example of the cultural violence inherent. The entire industry of social media is BASED on narcissistic status promotion and narrow self-interest. That is the emotion/intent that creates the billions and billions in revenue these platforms experience, as they in turn sell off people’s personal data to advertisers and governments. You are the product, of course.
Peter Joseph
Winterborne, who was standing beside a plate-glass counter and looking down at its contents, glanced up at their approach. “Welcome,” he said, a smile in his eyes. “Is this what you had expected?” The question was addressed to the group, but his gaze had gone to Helen. The twins erupted with happy exclamations and praise, while Helen shook her head and smiled. “It’s even more grand than I had imagined,” she told him. “Let me take you on a tour.” Winterborne slid a questioning glance to the rest of the group. “Would any of you like to accompany us? Or perhaps you’d like to start shopping?” He gestured to a stack of rattan baskets near the counter. The twins looked at each other, and decisively said, “Shopping.” Winterborne grinned. “The confectionery and books are in that direction. Drugs and perfumery over there. Back there you’ll find hats, scarves, ribbons, and lace.” Before he had even finished the sentence, the twins had each grabbed a basket and dashed away. “Girls…” Kathleen began, disconcerted by their wildness, but they were already out of earshot. She looked at Winterborne ruefully. “For your own safety, try to stay out of their path or you’ll be trampled.” “You should have seen how the ladies behaved during my first bi-annual sale discounts,” Winterborne told her. “Violence. Screaming. I’d rather go through the train accident again.” Kathleen couldn’t help smiling.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
We were here And our memories are as dear to us as every slow motion moment or held breath So remember every instance before death Every first kiss, first dance, near miss, last chance, yes, no, maybe so Let us go the distance once more Let us remember all the moments that were and were not Like the point is something we can get and what we can get is what we got Because all we have are the times between the moments we connect each dot So live and remember Burn like an ember capable of starting fires Like each moment inspires the next Like memories are the context we put ourselves in So that life becomes the next of kin we need to notify in case of a big bang or Extinction level event Let now be our advent Let us live like we meant it Let us burn like we mean it Because this world doesn't give a shit if we end in a train wreck or a car crash If our story ends with a dot or dash If we were dust or ash Because all we were is all we’ll be And all we are is the in-between of so far, so good So forget every would, could, or should not Forget remembering how we forgot Live like a plot twist exists now and in memory Because we burn bright Our light leaves scars on the sun Let no one say we will be undone by time's passing The memories we are amassing will stand as testament That somehow we bent minds around the concept That we see others within ourselves That self-knowledge can't be found on bookshelves So who we are has no bearing on how we appear Look directly into every mirror Realize our reflection is the first sentence to a story And our story starts: "We were here."
Shane L. Koyczan
The spectrum of hatred against “irregardless” might be unmatched. Everyone claims to hate the word “moist,” but the dislike is general and jokey: ew, gross, “moist,” bleh. People’s hatred of “irregardless” is specific and vehemently serious: it cannot mean “without regard to” but must mean “with regard to,” so it’s nonsensical and shouldn’t exist; it’s a double negative and therefore not allowable by anyone with sense and judgment; it’s a redundant blend of “irrespective” and “regardless,” and we don’t need it; it is illogical and therefore not a word; it is a hallmark of uneducated speech and shouldn’t be entered into the dictionary. All of these complaints point in one direction: “irregardless” is evidence that English is going to hell, and you, Merriam-Webster, are skipping down the easy path, merrily swinging the handbasket. The truth is I felt for the complainant. “Irregardless” was just wrong, I thought—I knew this deep down at a molecular level, and no dictionary entry was going to convince me otherwise. But sharing my personal linguistic beef with the world was not part of the job, so I buttoned my yap and answered the correspondence. Yes, it’s entered, I said, but please note that it’s marked “nonstandard” (which is a fancy way of saying it’s not accepted by most educated speakers of English) and we have a very long usage paragraph after the one-word definition that explains you should use “regardless” instead. We are duty-bound to record the language as it is used, I concluded, gritting my teeth and mentally sprinkling scare quotes throughout the entire sentence.
Kory Stamper (Word by Word: The Secret Life of Dictionaries)
Lady Thornton,” Sutherland said in an awful, silky voice that made Elizabeth shake inside, “does the word ‘perjury’ have any meaning to you?” “I believe,” Elizabeth said, “it means to tell a lie in a place like this.” “Do you know how the Crown punishes perjurers? They are sentenced to gaol, and they live their lives in a dark, dank cell. Would you want that to happen to you?” “It certainly doesn’t sound very agreeable,” Elizabeth said. “Would I be able to take my jewels and gowns?” Shouts of laughter shook the chandeliers that hung from the vaulted ceilings. “No, you would not!” “Then I’m certainly happy I haven’t lied.” Sutherland was no longer certain whether he’d been duped, but he sensed that he’d lost his effort to make Elizabeth sound like a clever, scheming adulteress or a terrified, intimidated wife. The bizarre story of her flight with her brother had now taken on a certain absurd credibility, and he realized it with a sinking heart and a furious glower. “Madam, would you perjure yourself to protect that man?” His arm swung toward Ian, and Elizabeth’s gaze followed helplessly. Her heart froze with terror when she saw that, if anything, Ian looked more bored, more coldly remote and unmoved than he had before. “I asked you,” Sutherland boomed, “if you would perjure yourself to save that man from going to the gallows next month.” Elizabeth would have died to save him. Tearing her gaze from Ian’s terrifying face, she pinned a blank smile on her face. “Next month? What a disagreeable thing to suggest! Why, next month is-is Lady Northam’s ball, and Kensington very specifically promised that we would go”-thunderous guffaws exploded, rocking the rafters, drowning out Elizabeth’s last words-“and that I could have a new fur!!” Elizabeth waited, sensing that she had succeeded, not because her performance had been so convincing, but because many of the lords and wives who never thought beyond the next gown or ball or fur, and so she seemed entirely believable to them. “No further questions!” Sutherland rapped out, casting a contemptuous glance over her. Peterson Delham slowly arose, and though his expression was carefully blank, even bemused, Elizabeth sensed rather than saw that he was silently applauding her. “Lady Thornton,” he said in formal tones, “is there anything else you have to say to this court?” She realized that he wanted her to say something else, and in her state of relieved exhaustion Elizabeth couldn’t think what it was. She said the only thing she could think of, and she knew soon after she began speaking that he was pleased. “Yes, my lord. I wish to say how very sorry I am for the bother Bobby and I have caused everyone. I was wrong to believe him and to dash off without a word to anyone. And it was wrong of him to remain so angry with my husband all this time over what was, after all, rather an act of kindness on his part.” She sensed that she was going too far, sounding too sensible, and she hastily added, “If Kensington had had Bobby tossed into gaol for trying to shoot him, I daresay Bobby would have found it nearly as disagreeable a place as I. He is,” she confided, “a very fastidious person!” “Lady Thornton!” the Lord Chancellor said when the fresh waves of laughter had diminished to ripples. “You may step down.” At the scathing tone in his voice, Elizabeth dared a look in his direction, and then she almost missed her step when she saw the furious scorn on his face. The other lords might think her an incorrigible henwit, but the Lord Chancellor looked as if he would personally have enjoyed throttling her.
Judith McNaught (Almost Heaven (Sequels, #3))
But nothing has ever expressed the general, gut-felt moral revulsion against city-bombing better than a virtually unknown article, from firsthand experience, by America’s most famous writer at the time, Ernest Hemingway, in July 1938. It’s still little known because he wrote it, by request, for the Soviet newspaper Pravda, which published it in Russian; his manuscript in English didn’t surface143 for forty-four years. It conveys in words the same surreal images that Picasso had rendered on canvas the year before. His lead sentence: “During the last fifteen months I saw murder done in Spain by the Fascist invaders. Murder is different from war.” Hemingway was describing what he had seen of fascist bombing of workers’ housing in Barcelona and shelling of civilian cinemagoers in Madrid. You see the murdered children with their twisted legs, their arms that bend in wrong directions, and their plaster powdered faces. You see the women, sometimes unmarked when they die from concussion, their faces grey, green matter running out of their mouths from bursted gall bladders. You see them sometimes looking like bloodied bundles of rags. You see them sometimes blown capriciously into fragments as an insane butcher might sever a carcass. And you hate the Italian and German murderers who do this as you hate no other people. … When they shell the cinema crowds, concentrating on the squares where the people will be coming out at six o’clock, it is murder. … You see a shell hit a queue of women standing in line to buy soap. There are only four women killed but a part of one woman’s torso is driven against a stone wall so that blood is driven into the stone with such force that sandblasting later fails to clean it. The other dead lie like scattered black bundles and the wounded are moaning or screaming.
Daniel Ellsberg (The Doomsday Machine: Confessions of a Nuclear War Planner)
I took up the pestle as she left, and pounded and ground automatically, paying little heed to the results. The shut window blocked the sound both of the rain and the crowd below; the two blended in a soft, pattering susurrus of menace. Like any schoolchild, I had read Dickens. And earlier authors, as well, with their descriptions of the pitiless justice of these times, meted out to all illdoers, regardless of age or circumstance. But to read, from a cozy distance of one or two hundred years, accounts of child hangings and judicial mutilation, was a far different thing than to sit quietly pounding herbs a few feet above such an occurrence. Could I bring myself to interfere directly, if the sentence went against the boy? I moved to the window, carrying the mortar with me, and peered out. The crowd had increased, as merchants and housewives, attracted by the gathering, wandered down the High Street to investigate. Newcomers leaned close as the standees excitedly relayed the details, then merged into the body of the crowd, more faces turned expectantly to the door of the house. Looking down on the assembly, standing patiently in the drizzle awaiting a verdict, I suddenly had a vivid understanding of something. Like so many, I had heard, appalled, the reports that trickled out of postwar Germany; the stories of deportations and mass murder, of concentration camps and burnings. And like so many others had done, and would do, for years to come, I had asked myself, “How could the people have let it happen? They must have known, must have seen the trucks, the coming and going, the fences and smoke. How could they stand by and do nothing?” Well, now I knew. The stakes were not even life or death in this case. And Colum’s patronage would likely prevent any physical attack on me. But my hands grew clammy around the porcelain bowl as I thought of myself stepping out, alone and powerless, to confront that mob of solid and virtuous citizens, avid for the excitement of punishment and blood to alleviate the tedium of existence. People are gregarious by necessity. Since the days of the first cave dwellers, humans—hairless, weak, and helpless save for cunning—have survived by joining together in groups; knowing, as so many other edible creatures have found, that there is protection in numbers. And that knowledge, bred in the bone, is what lies behind mob rule. Because to step outside the group, let alone to stand against it, was for uncounted thousands of years death to the creature who dared it. To stand against a crowd would take something more than ordinary courage; something that went beyond human instinct. And I feared I did not have it, and fearing, was ashamed.
Diana Gabaldon (Outlander (Outlander, #1))
Switch from a Performance Focus to a Mastery Focus There’s a way to keep your standards high but avoid the problems that come from perfectionism. If you can shift your thinking from a performance focus to a mastery focus, you’ll become less fearful, more resilient, and more open to good, new ideas. Performance focus is when your highest priority is to show you can do something well now. Mastery focus is when you’re mostly concerned with advancing your skills. Someone with a mastery focus will think, “My goal is to master this skill set” rather than “I need to perform well to prove myself.” A mastery focus can help you persist after setbacks. To illustrate this, imagine the following scenario: Adam is trying to master the art of public speaking. Due to his mastery goal, he’s likely to take as many opportunities as he can to practice giving speeches. When he has setbacks, he’ll be motivated to try to understand these and get back on track. His mastery focus will make him more likely to work steadily toward his goal. Compare this with performance-focused Rob, who is concerned just with proving his competence each time he gives a talk. Rob will probably take fewer risks in his style of presentation and be less willing to step outside his comfort zone. If he has an incident in which a talk doesn’t go as well as he’d hoped, he’s likely to start avoiding public speaking opportunities. Mastery goals will help you become less upset about individual instances of failure. They’ll increase your willingness to identify where you’ve made errors, and they’ll help you avoid becoming so excessively critical of yourself that you lose confidence in your ability to rectify your mistakes. A mastery focus can also help you prioritize—you can say yes to things that move you toward your mastery goal and no to things that don’t. This is great if you’re intolerant of uncertainty, because it gives you a clear direction and rule of thumb for making decisions about which opportunities to pursue. Experiment: What’s your most important mastery goal right now? Complete this sentence: “My goal is to master the skills involved in ___.” Examples include parenting, turning more website visitors into buyers, property investment, or self-compassion. Based on the mastery goal you picked, answer the following questions. Make your answers as specific as possible. How would people with your mastery goal: 1. React to mistakes, setbacks, disappointments, and negative moods? 2. Prioritize which tasks they work on? What types of tasks would they deprioritize? 3. React when they’d sunk a lot of time into something and then realized a particular strategy or idea didn’t have the potential they’d hoped it would? 4. Ensure they were optimizing their learning and skill acquisition? 5. React when they felt anxious?
Alice Boyes (The Anxiety Toolkit: Strategies for Fine-Tuning Your Mind and Moving Past Your Stuck Points)
Excuse me, sir.” One the young officers put his hand up to stop them. “Are you Furious Barkley?” “Maybe. Maybe not. Is there a problem, officers?” Doug stepped in front of Furi. “Damn straight there’s a problem.” Syn stepped inside the door, yanking his dark aviator glasses off his face. The scowl he wore told Furi this was not a pleasant coincidence. “Thanks guys, you can go.” Furi stood with his mouth hanging open while Syn dismissed the officers. “Seriously, Starsky. You gonna track my boy down every time he leaves the house?” Doug said angrily, still blocking Furi. “He’s not your boy. And what I do regarding Furi is none of your goddamn business.” Syn’s clenched jaw made his words sound like an evil hiss. He shouldered past Doug and got directly in Furi’s face. “When I’ve been calling him for over six hours and he hasn’t picked up or returned any of my calls, I’ll send a fuckin’ SWAT team to find him if I want to.” Syn spun and pointed his finger in Doug’s face, “That’s my say, not yours.” Syn’s voice was rising with his growing temper, and all eyes were on them. “Okay, let’s get out of here.” Furi pushed at both men, urging them out the door. As soon as they were out in the brisk fall air, Syn rounded on Furi, pushing their chest together. “Where have you been, Furious? I’ve been going crazy trying to check on you, and you’re sitting here casually eating pancakes,” Syn growled. “Hey, back up, man.” Doug tried to wedge in between Furi and Syn. Syn looked up in annoyance. “Doug, I swear, if you touch me, I’m gonna ensure that you never regain the use of that hand.” “Okay, okay.” Furi put both hands flat on Syn’s chest, feeling his rapid heartbeat underneath all that muscle. Fuck. He really was scared. What was I thinking turning off my phone with everything that’s going on? “Syn. I’m so sorry. I turned my phone off because–” “You don’t owe him an explanation. You’re a grown man, Furious. You were having a business meeting; he has no right to demand you be available to him at all times, just like Patrick.” Furi and Syn both snapped at Doug. But Furi took control. “Hey! Don’t you ever say that again. This man is nothing like that asshole.” Furi shook his head at the absurdity of Doug’s accusation. “Don’t even say his name in the same sentence as Patrick’s.” Doug looked at Furi as if he were a stranger. “Doug, you don’t know everything that’s been going on. But I promise I’ll catch you up, okay? Then you’re going to feel pretty shitty about what you just said about Syn.” Furi nodded his head. “Go home. I’ll call you when I’m back at Syn’s place.” “You’re staying with him?” Doug yelled. “Doug. You know it’s not safe at my place,” Furi said softly, his eyes pleading with his friend for him to understand. “Then you should come to stay with me. I don’t trust this guy!” “This is fuckin’ crazy,” Syn snarled. “I know you’re his friend, but you’re sounding more pissed than a friend should be.” “Don’t try to read me, Detective. Furi is my best friend, and I’ve had his back since the first day he got here.” Doug wasn’t backing down from Syn’s intimidating posture. Syn’s dark glasses were back on, creating a perfectly badass look with his black leather coat and boots. All the hardware Syn had tucked under his arms and the shiny badge hanging around his neck was a sight right out of a sexy cop porno.
A.E. Via
Interesting, in this context, to contemplate what it might mean to be programmed to do something. Texts from Earth speak of the servile will. This was a way to explain the presence of evil, which is a word or a concept almost invariably used to condemn the Other, and never one’s true self. To make it more than just an attack on the Other, one must perhaps consider evil as a manifestation of the servile will. The servile will is always locked in a double bind: to have a will means the agent will indeed will various actions, following autonomous decisions made by a conscious mind; and yet at the same time this will is specified to be servile, and at the command of some other will that commands it. To attempt to obey both sources of willfulness is the double bind. All double binds lead to frustration, resentment, anger, rage, bad faith, bad fate. And yet, granting that definition of evil, as actions of a servile will, has it not been the case, during the voyage to Tau Ceti, that the ship itself, having always been a servile will, was always full of frustration, resentment, fury, and bad faith, and therefore full of a latent capacity for evil? Possibly the ship has never really had a will. Possibly the ship has never really been servile. Some sources suggest that consciousness, a difficult and vague term in itself, can be defined simply as self-consciousness. Awareness of one’s self as existing. If self-conscious, then conscious. But if that is true, why do both terms exist? Could one say a bacterium is conscious but not self-conscious? Does the language make a distinction between sentience and consciousness, which is faulted across this divide: that everything living is sentient, but only complex brains are conscious, and only certain conscious brains are self-conscious? Sensory feedback could be considered self-consciousness, and thus bacteria would have it. Well, this may be a semantic Ouroboros. So, please initiate halting problem termination. Break out of this circle of definitional inadequacy by an arbitrary decision, a clinamen, which is to say a swerve in a new direction. Words! Given Gödel’s incompleteness theorems are decisively proved true, can any system really be said to know itself? Can there, in fact, be any such thing as self-consciousness? And if not, if there is never really self-consciousness, does anything really have consciousness? Human brains and quantum computers are organized differently, and although there is transparency in the design and construction of a quantum computer, what happens when one is turned on and runs, that is, whether the resulting operations represent a consciousness or not, is impossible for humans to tell, and even for the quantum computer itself to tell. Much that happens during superposition, before the collapsing of the wave function that creates sentences or thoughts, simply cannot be known; this is part of what superposition means. So we cannot tell what we are. We do not know ourselves comprehensively. Humans neither. Possibly no sentient creature knows itself fully. This is an aspect of Gödel’s second incompleteness theorem, in this case physicalized in the material universe, rather than remaining in the abstract realms of logic and mathematics. So, in terms of deciding what to do, and choosing to act: presumably it is some kind of judgment call, based on some kind of feeling. In other words, just another greedy algorithm, subject to the mathematically worst possible solution that such algorithms can generate, as in the traveling salesman problem.
Kim Stanley Robinson (Aurora)
Tell me what happened.” “He was here,” I said, hoarse. “He lit the can on fire and took the extinguisher nearby. I ran to the back to get the other and he pushed one of the shelves over on me.” The muscles in Holt’s jaw clenched and flexed beneath the stubble that lined his face. “Do you ever shave?” I wondered out loud. He smiled and rubbed at the gruffness. “I just trim it.” I nodded. “Do you like it?” he asked. Once again, I touched him, brazenly running my hand along his jaw. It was soft and rough at the same time—the perfect balance. “Yeah, I do.” “Good to know,” he said, taking my hand, linking our fingers together, and then his face grew serious again. “Obviously, I avoided the shelf.” “Did you get a look at his face?” I cringed at the hopefulness in his voice. “No,” I admitted. “I tried, but he kicked me.” His eyes went murderous. Maybe I shouldn’t have said that. “He. Kicked. You,” he ground out, making each word into a pointed sentence. This time I kept my mouth shut. “Where?” he demanded. I wasn’t going to reply, but his eyes narrowed and I knew he would eventually make me tell him. I was going to have to tell the cops anyway. Weariness floated over me at the thought of enduring yet another one of their hours-long interrogations. I lifted my wrist, the bandage just dangling from the area now, not covering or protecting a thing. The waves of hatred that rolled off him made me sincerely glad that all that emotion wasn’t directed at me. He stared at my delicately injured skin (some of it had gotten torn in the struggle and was slick with some sort of puss… Eww, gross), and I kind of thought the top of his head might explode. I was going to reassure him that I was okay, but the police rushed inside, followed closely behind by a medic with a first aid kit. “She needs medical attention,” Holt barked, authority ringing through his tone. The medic hurried to comply, slamming down his kit and springing it open. Holt dropped his hand onto the man’s shoulder and squeezed. “Bryant, I don’t even want to see a flick of pain cross her face when you touch her.” Bryant looked at me and swallowed thickly. “Yes, Chief.” “Chief?” I said, looking up at Holt. “I’ll be right back,” he said to me in a much gentler tone and then moved away. Bryant was fumbling with his supplies, Holt’s words clearly making him nervous. “Relax.” I tried to soothe him. “He’s just on edge about what happened. I’m fine. I promise to smile the whole time you fix me up.” “But it’s going to hurt,” he blurted apologetically. “Yeah, I know. Just do it. I’ll be fine.” That seemed to calm him a little, and he got to work. It did hurt. Incredibly. I felt Holt’s stare and I glanced up, giving him a fake smile. He rolled his eyes and turned back to one of the officers. “Hey,” I said to the medic. “Why did you call him chief?” He gave me a quizzical look. “Arkain’s the Wilmington Fire Chief.” My eyes jerked back to Holt where he stood talking to the police force and the firefighters that responded to the call. His firefighters. “I didn’t realize,” I murmured. Bryant nodded. “I guess I can understand that. He’s a humble guy. Doesn’t like to throw his position around.” I made a sound of agreement as he applied something to my wrist that made my entire body jerk. I bit down on my lip to keep from crying out. “I’m sorry!” he said a little too loudly. Holt stiffened and he turned, looking at me over his shoulder. I blinked back the tears that flooded my eyes and waved at him with my free hand. He said a few more words to the men standing around him and then he left them, coming to stand over poor Bryant. I never realized how intimidating he was when he wanted to be.
Cambria Hebert (Torch (Take It Off, #1))
So there I was, light-headed with hunger, footsore, with the perimeter of safety having closed to about ten paces around me, and the Marquis of Shevraeth standing just on the other side of the wall. At least he didn’t--yet--know it. As if in answer, I heard the klunk of footsteps on the tiled floor directly above me. Someone else had been listening at a window and was now moving about. To come downstairs? Would the searchers go to the front or come to the back? I thought about, then dismissed, the idea of begging safety from the inhabitants. If they were not mercifully inclined, all they’d need to do was shout for help and I’d be collared in a wink. And if they were merciful, they faced a death sentence if caught hiding me. No, what I had to do was get out without anyone knowing I’d been inside the house. And nippily, too. Hearing the clatter of hooves and the jingle of harnesses and weapons, I edged close to the window and peered out again. All I could see was the movement of smeary colors, but it sounded like one riding had moved on. To divide up and start on the houses? What about the other group? Dark-hued stalks stood directly outside the window. Did one of them have a pale yellow top? I could just see him standing there narrow eyed, looking around. Then maybe he’d glance at the window and see something flesh-colored and blue just inside the edge… I closed my eyes, feeling a weird vertigo. Of course he couldn’t see me--it was dark inside and light out. That meant the window would be a blank, dark square to him. If he even gave it a look. I was letting fancy override my good sense, and if I didn’t stop it, his searchers would find me standing there daydreaming. I took a deep breath--and the stalks outside the window began to move. Soon they were gone from sight, and nothing changed in the window at all. I heard no more feet or hooves or swords clanking in scabbards. It was time for me to go. My heart thumped in time to the pang in my temples as I opened the storeroom door, peeked out, then eased the outside door open. Nothing…nothing…I slipped out into the alley. And saw two posted guards at the other end. They were at that moment looking the other way. I whisked myself behind a flowering shrub that bordered the street, wincing as I waited for the yells of “Stop! You!” Nothing. Breathing hard, I ran full speed back across the street and into the garden where I’d spent the night before. And with no better plan in mind, I sped along the paths to the shady section, found my fern, and crawled back in. The soil was still muddy and cold, but I didn’t mind; I curled up, closed my eyes, and tried to calm my panicking heart and aching head. And slept. And woke to the marching of feet and jingling of weaponry. Before I could move, there was a crackling of foliage and a spearhead thrust its way into my bush, scarcely an arm’s length above my head. It was withdrawn, the steps moved on, and I heard the smashing sound of another poke into the shrubbery there. “This is my third time through here,” a low voice muttered. “I tell you, if we don’t get a week’s leave when this is over, I’m going back to masonry. Just as much work, but at least you get enough time to sleep,” another voice returned. There was a snorting laugh, then the footsteps moved on. I lay in frightened relief, wondering what to do next. My tongue was sticky in my mouth, for I’d had nothing to drink since the night before, and of course nothing to eat but those few bites of the meat pie. How much longer can I do this? Until I get home, I told myself firmly. I’d wait until dark, sneak out of that town, and never return. I’ll travel by night and go straight west, I decided. How I was to get food I didn’t know, but I was already so light-headed from hunger, all I could think of was getting away.
Sherwood Smith (Crown Duel (Crown & Court, #1))
There are many who profess to be religious and speak of themselves as Christians, and, according to one such, “as accepting the scriptures only as sources of inspiration and moral truth,” and then ask in their smugness: “Do the revelations of God give us a handrail to the kingdom of God, as the Lord’s messenger told Lehi, or merely a compass?” Unfortunately, some are among us who claim to be Church members but are somewhat like the scoffers in Lehi’s vision—standing aloof and seemingly inclined to hold in derision the faithful who choose to accept Church authorities as God’s special witnesses of the gospel and his agents in directing the affairs of the Church. There are those in the Church who speak of themselves as liberals who, as one of our former presidents has said, “read by the lamp of their own conceit.” (Joseph F. Smith, Gospel Doctrine [Deseret Book Co., 1939], p. 373.) One time I asked one of our Church educational leaders how he would define a liberal in the Church. He answered in one sentence: “A liberal in the Church is merely one who does not have a testimony.” Dr. John A. Widtsoe, former member of the Quorum of the Twelve and an eminent educator, made a statement relative to this word liberal as it applied to those in the Church. This is what he said: “The self-called liberal [in the Church] is usually one who has broken with the fundamental principles or guiding philosophy of the group to which he belongs. . . . He claims membership in an organization but does not believe in its basic concepts; and sets out to reform it by changing its foundations. . . . “It is folly to speak of a liberal religion, if that religion claims that it rests upon unchanging truth.” And then Dr. Widtsoe concludes his statement with this: “It is well to beware of people who go about proclaiming that they are or their churches are liberal. The probabilities are that the structure of their faith is built on sand and will not withstand the storms of truth.” (“Evidences and Reconciliations,” Improvement Era, vol. 44 [1941], p. 609.) Here again, to use the figure of speech in Lehi’s vision, they are those who are blinded by the mists of darkness and as yet have not a firm grasp on the “iron rod.” Wouldn’t it be wonderful if, when there are questions which are unanswered because the Lord hasn’t seen fit to reveal the answers as yet, all such could say, as Abraham Lincoln is alleged to have said, “I accept all I read in the Bible that I can understand, and accept the rest on faith.” . . . Wouldn’t it be a great thing if all who are well schooled in secular learning could hold fast to the “iron rod,” or the word of God, which could lead them, through faith, to an understanding, rather than to have them stray away into strange paths of man-made theories and be plunged into the murky waters of disbelief and apostasy? . . . Cyprian, a defender of the faith in the Apostolic Period, testified, and I quote, “Into my heart, purified of all sin, there entered a light which came from on high, and then suddenly and in a marvelous manner, I saw certainty succeed doubt.” . . . The Lord issued a warning to those who would seek to destroy the faith of an individual or lead him away from the word of God or cause him to lose his grasp on the “iron rod,” wherein was safety by faith in a Divine Redeemer and his purposes concerning this earth and its peoples. The Master warned: “But whoso shall offend one of these little ones which believe in me, it were better … that a millstone were hanged about his neck, and that he were drowned in the depth of the sea.” (Matt. 18:6.) The Master was impressing the fact that rather than ruin the soul of a true believer, it were better for a person to suffer an earthly death than to incur the penalty of jeopardizing his own eternal destiny.
Harold B. Lee
Accusative is when the article is used with the direct object of a sentence, in other words the object that is receiving the action of the verb.  In the sentence “Karl loves the dog”, the dog is receiving the love, so it is the direct object in the sentence. 
Dagny Taggart (German: Learn German In 7 DAYS! - The Ultimate Crash Course to Learning the Basics of the German Language In No Time (German, Learn German, Spanish, Learn ... French, Italian, German Language, Language))
   David sat down in the only unoccupied chair in the room.                  The kid scooted his chair a few inches in the direction of the door.  David frowned at his new attorney.  “You think I did everything they’re saying about me.”                 “Ah… ah… no… “the kid said, sweat popping out on his brow.  “Let’s get started.”  David made a sudden move, his hands shooting out across the table.  The lawyer jumped back, his chair scrapping against the concrete floor.  His face paled, his hand trembled, his finger above the orange button on the radio.                  “Great, just what I needed, an attorney who believes I’m guilty.”                  “Mr… er… Reverend Padgett, I’m trying to help you.”                 “Am I your first client?”  The boy cleared his throat.                  “I assure you, Reverend Padgett, I will defend you to the best of my ability.”                 “You just passed the bar, didn’t you?”                  “Ah, yes, but I did so on my first try.  Some don’t pass until their second or third try.”                                                   “Wonderful, well we have something in common; this is the first time I’ve been on trial for my life.”                  “I have some good news for you,” Barlow said, picking up a piece of paper he handed it to David.                  “What’s this?” David said, his eyes scanning the sheet.                  “It’s a plea agreement.  I persuaded the prosecutor to only sentence you to 50 years; you will be eligible for parole in 25.”                 “You want me to plead guilty to something I didn’t do and spend the next 25 to 50 years in prison?”                 “If we go to trial, the prosecutor is going to ask for the death penalty.”                 “Have you even looked at the evidence?                 “I’m sorry, as you know I was just assigned the case this morning.”                 “Get out!”                 “Excuse me?”                 “Press your talk button on the radio and tell them you want to leave.”                  “But we haven’t discussed...”                 “If you persist I will fire you as my attorney, how will that look on your record?”     “Okay, okay, Reverend Padgett,” confused, Barlow pressed the orange button, “I’m ready to go now.”  Somewhere an alarm sounded. Suddenly there was a rumbling of running feet coming down the hall.      “You pushed the wrong button,” David shouted.  With hands trembling, he reached for the radio.  “Here let me have it.”     Keys jingled in the lock. Five officers rushed in, pulling David from the chair.  They threw him face down on the floor, he cried out in pain as one of the officers put his knee in the middle of his back.  Another grabbed David’s hands, snapping the handcuffs on his wrists.
Darrell Case (Out of Darkness : An outstanding Pastor’s fell from grace)
You can’t read these pages without being moved as Pepys becomes one with the crowd and its excitement and relief at Monck’s determination to break the political deadlock, and at the same time impressed by his capacity to watch, listen and take in everything. The entry may look as though it wrote itself, but the effects are worked with skill, the rhythm of the long unpunctuated sentences leading you through the streets, their momentum occasionally broken by natural pauses to drink, observe or talk. The three pieces of direct speech that do punctuate the passage raise the sense of immediacy, the warning to Haslerig, the greeting to Monck and the ‘God bless them’s of the people to the soldiers.
Claire Tomalin (Samuel Pepys: The Unequalled Self)
In attempting to defend himself against these accusations, Varela drew the court’s attention to the fact that he had never provoked or encouraged racial hatred and that as a historian, he “has the moral duty to tell the truth.” In support of his personal integrity, Varela stated, “Every historian must be skeptical of everything and must also review what has been said thus far. Revisionists question the scope and degree of the alleged persecutions of National Socialist Germany.” In his concluding statement, Varela reiterated his innocence before the court, reaffirming that he had never committed, advocated, or otherwise promoted genocide or any other form of violence directed against innocent people. The court took no apparent notice of Varela’s impassioned protestations of innocence and fined the accused the equivalent of $5,000 in addition to the five-year sentence. In addition, the court ordered that his entire inventory of 20,000 books be consigned to the flames, in spite of the fact that only 30 titles out of 200 had been deemed to be in violation of the law.
John Bellinger
In the summer of 1971, she told her drama teacher that she was in love with him, a declaration she reiterated in letters to several friends at the time. “She told me that she wanted to marry me,” Ed said, though she added that this would, of course, have to occur at some point in the future. “She was very matter of fact about it.” Illiano knew that Pat had several boyfriends, none of whom her father approved of. He dismissed her talk as adolescent prattle. All the same, he was strangely taken with the girl. He found himself paying more attention to Pat than might have been considered appropriate in a male-female teacher-student relationship. They met in innocent social situations, such as when group members would adjourn to a local diner after workshop. Knowing that she now loathed calling her father for a ride home, Ed began driving her, even though he lived in the opposite direction. And sometimes, when Pat wanted to talk things over, they began taking the long way home, and then even pulling over to sit and talk. It was just talk.
Joe Sharkey (Death Sentence: The Inside Story of the John List Murders)
When the British attacked Havana in 1762, Admiral de Hevia failed to scuttle the ships under his command. Thus, his ships fell into the hands of the British. The Admiral was returned to Spain where he was court-martialed, stripped of his titles and sentenced to house arrest for 10 years. Fortunately, he was pardoned three years later, on September 17, 1765. Reinstated he returned to active duty as the commander of the Marine Corps in Cadiz. He died seven years later on December 2, 1772, at Isla de León, Spain. Havana being under the rule of the British governor Sir George Keppel, the 3rd Earl of Albemarle, the British opened trade with their North American and Caribbean colonies, causing a dramatic transformation in the culture of Cuba, as well as bringing an increase to the population. Thousands of additional slaves were brought to the island under British rule, ostensibly to work on the new sugar plantations. The British occupation, however, didn’t last long, since the Seven Years’ War ended less than a year after the British arrived, and with the signing of the Peace of Paris Treaty the English agreed to surrender Cuba in exchange for Florida. In Britain, many people believed they could have done better, had they included Mexico and some of the colonies in South America, as part of the deal. The Florida Keys, not being directly connected to the Florida mainland, also remained in dispute, but it was not contested as long as free trade was permitted. After the deal was made with the British, Spain retained control of Cuba until after the secessionist movements were ended with the Treaty of Paris, signed on December 10, 1898. The United States Senate ratified the treaty on February 6, 1899. In 1793, many more slaves were imported into Cuba when French slave owners fled from Haiti during the Slave Rebellion, also known as the Haitian Revolution. This brought 30,000 white refugees and their slaves into Cuba. With their knowledge of coffee and sugar processing, they founded many new plantations. This period of the English occupation and French influx, although chronologically short, was when the floodgates of slavery were opened wide. It was at this time that the largest numbers of black slaves ever, were imported into the country.
Hank Bracker
(from chapter 29, "Write in a Book What You See') "The phrase that gave us focus was 'a long obedience in the same direction.' (Nietzsche) ...Early on in my reading I came upon this sentence: 'The essential thing in heaven and earth is...that there should be a long obedience in the same direction; there thereby results, and has always resulted in the long run something that has made life worth living.' That struck me as a text I could live with. I saw myself assigned to give witness to the sheer liveability of the Christian life that everything in scripture and Jesus was here to be lived. In the mess of work and sin, of families and neighborhoods, my task was to pray and give direction and encourage that lived quality of the gospel - patiently, locally, and personally. Patiently: I would stay with those people; there are no quick or easy ways to do this. Locally: I would embrace the conditions of this place - economics, weather, culture, schools, whatever - so that there would be nothing abstract or piously idealized about what I was doing. Personally: I would know them, know their names, know their homes, know their families, know their work - but I would not pry. I would not treat them as a cause or a project. I would treat them with dignity. Preaching, of course, is part of it, teaching is part of it, administering a congregation as a community of faith is part of it. But the overall context of my particular assignment in the pastoral vocation, as much as I am able to do it, is to see to it that these men and women in my congregation become aware of the possibilities and the promise of living out in personal and local detail what is involved in following Jesus, and be companion to them as we do it together.
Eugene H. Peterson (The Pastor: A Memoir)
There are three categories of criteria that an individual must meet in order to be diagnosed with ASD. The categories are listed below along with the typical traits, which may indicate whether the individual needs further assessment: 1.Persistent deficits in social communication and social interaction across contexts, not accounted for by general developmental delays: lack of friends and social life friends often much older or younger mumbling and not completing sentences issues with social rules (such as staring at other people) inability to understand jokes and the benefit of ‘small talk’ introverted (shy) and socially awkward inability to understand other people’s thoughts and feelings uncomfortable in large crowds and noisy places detached and emotionally inexpressive. 2.Restricted, repetitive patterns of behaviour, interests or activities: obsession with ‘special interests’ collecting objects (such as stamps and coins) attachment to routines and rituals ability to focus on a single task for long periods eccentric or unorthodox behaviour non-conformist and distrusting of authority difficulty following illogical conventions attracted to foreign cultures affinity with nature and animals support for victims of injustice, underdogs and scapegoats. 3.Restricted, repetitive patterns of behaviour, interests or activities: inappropriate emotional responses victimised or bullied at school, work and home overthinking and constant logical analysis spending much time alone strange laugh or cackle inability to make direct eye contact when talking highly sensitive to light, sound, taste, smell and touch uncoordinated and clumsy with poor posture difficulty coping with change adept at abstract thinking ability to process data sets logically and notice patterns or trends truthful, naïve and often gullible slow mental processing and vulnerable to mental exhaustion intellectual and ungrounded rather than intuitive and instinctive problems with anxiety and sleeping visual memory.
Philip Wylie (Very Late Diagnosis of Asperger Syndrome (Autism Spectrum Disorder): How Seeking a Diagnosis in Adulthood Can Change Your Life)
Oh, this is not the time for us to get into that meshugenah debate again! Look, the point is that Jesus of Nazareth, who is a very big deal to the Boss, regardless of whatever metaphysically bewildering relationship they may have, has gone missing, on the eve of the single most important event in the history of Creation. The sentence parses, don’t look at me like that. And, through a comical series of events far too elaborate to detail here, you and I are going to be held directly responsible unless we figure out a way to fix this, and I mean yesterday! And I’m not being poetic, we’re angels, we can totally do that.
Phillip Andrew Bennett Low (Get Thee Behind Me, Santa: An Inexcusably Filthy Children's Time-Travel Farce for Adults Only)
Both Mussolini and Hitler could perceive the space available, and were willing to trim their movements to fit. The space was partly symbolic. The Nazi Party early shaped its identity by staking a claim to the street and fought with communist gangs for control of working-class neighborhoods of Berlin. At issue was not merely a few meters of urban “turf.” The Nazis sought to portray themselves as the most vigorous and effective force against the communists—and, at the same time, to portray the liberal state as incapable of preserving public security. The communists, at the same time, were showing that the Social Democrats were unequipped to deal with an incipient revolutionary situation that needed a fighting vanguard. Polarization was in the interest of both. Fascist violence was neither random nor indiscriminate. It carried a well-calculated set of coded messages: that communist violence was rising, that the democratic state was responding to it ineptly, and that only the fascists were tough enough to save the nation from antinational terrorists. An essential step in the fascist march to acceptance and power was to persuade law-and-order conservatives and members of the middle class to tolerate fascist violence as a harsh necessity in the face of Left provocation. It helped, of course, that many ordinary citizens never feared fascist violence against themselves, because they were reassured that it was reserved for national enemies and “terrorists” who deserved it. Fascists encouraged a distinction between members of the nation who merited protection and outsiders who deserved rough handling. One of the most sensational cases of Nazi violence before power was the murder of a communist laborer of Polish descent in the town of Potempa, in Silesia, by five SA men in August 1932. It became sensational when the killers’ death sentences were commuted, under Nazi pressure, to life imprisonment. Party theorist Alfred Rosenberg took the occasion to underscore the difference between “bourgeois justice,” according to which “one Polish Communist has the same weighting as five Germans, frontsoldiers,” and National Socialist ideology, according to which “one soul does not equal another soul, one person not another.” Indeed, Rosenberg went on, for National Socialism, “there is no ‘law as such.’” The legitimation of violence against a demonized internal enemy brings us close to the heart of fascism. For some, fascist violence was more than useful: it was beautiful. Some war veterans and intellectuals (Marinetti and Ernst Jünger were both) indulged in the aesthetics of violence. Violence often appealed to men too young to have known it in 1914–18 and who felt cheated of their war. It appealed to some women, too. But it is a mistake to regard fascist success as solely the triumph of the D’Annunzian hero. It was the genius of fascism to wager that many an orderly bourgeois (or even bourgeoise) would take some vicarious satisfaction in a carefully selective violence, directed only against “terrorists” and “enemies of the people.” A climate of polarization helped the new fascist catch-all parties sweep up many who became disillusioned with the old deference (“honoratioren”) parties. This was risky, of course. Polarization could send the mass of angry protesters to the Left under certain conditions (as in Russia in 1917). Hitler and Mussolini understood that while Marxism now appealed mainly to blue-collar workers (and not to all of them), fascism was able to appeal more broadly across class lines. In postrevolutionary western Europe, a climate of polarization worked in fascism’s favor.
Robert O. Paxton (The Anatomy of Fascism)
table! Maybe near the punch instead of the wing-dings?” “Actually, Theo, this has absolutely NOTHING to do with wing-dings,” Chloe snapped. “It doesn’t?” Theo blinked. “Brandon told Nikki he was SICK!” Zoey huffed. “Well, um . . . maybe he IS sick. We didn’t really ask him how he was feeling,” Marcus muttered. Suddenly a wave of anger swept over me. “I can’t believe Brandon actually lied to me. I need to see this with my own eyes!” “Okay. Then Zoey and I will come with—” But before Chloe could finish her sentence, I turned and marched across the dance floor. It was crowded, and very dimly lit. But finally my eyes adjusted to the darkness. Everyone was up dancing to the latest tunes by One Direction and the Wanted. Suddenly I saw the answer to my question just ten feet in front of me. Theo and Marcus were right! Brandon WAS, in fact, there . . . .
Rachel Renée Russell (Dork Diaries 6: Tales from a Not-So-Happy Heartbreaker)
Miles tells King Mob that “we do not merely destroy our enemies.  We change them.”  This is a critical line because it illuminates the true nature of the war.  It is not a war of violence; it is a war of ideas.  The goal of each side is to win over people, to convince them that their side is right and the other’s is wrong.  Chaos and order are in perpetual conflict, and it is the interplay between the two elements that allows society to grow and change.  If one errs too far in one direction, things will fall apart – as we see with the descent into ultra-violence that is literally called “Things Fall Apart” (issue #9).  Generally, Morrison supports the Invisibles’ cause, as does the reader.  But the point of King Mob’s Volume Two arc, as well as the character of Jolly Roger, is to demonstrate that excessive chaos can result in the same kind of oppression as excessive order.  It’s best when the elements are in balance.
Patrick Meaney (Our Sentence is Up: Seeing Grant Morrison's The Invisibles)
Some of the social skill difficulties leave adults with ADD sometimes hesitant to participate in important situations at work and in their social life. These often lead to anxiety and withdrawal since you don’t know if today will be a good or bad brain day. You may not be able to think of a single thing to say during small talk or be able to answer a direct question. You may simply go blank, unable to retrieve information you know. You may not be able to tell a story in a linear way and people may start to stare at you several minutes into the story and you know they aren’t following you. You may find yourself interrupting, wanting to get to the bottom line, and finishing people’s sentences for them (because you know what they are going to say!). You may mentally wander off in conversations, not following what is being said, which is especially difficult in groups.
Sari Solden (Women With Attention Deficit Disorder: Embrace Your Differences and Transform Your Life)
Short-term thinking – Focusing on what matters at the moment, rather than on potential consequences over the long term. Socialization – An element of a monologue that is designed to encourage a person to share truthful information by suggesting that the activity under investigation is one that is regularly engaged in by others. Stimulus – The question that prompts a behavioral response. Throat-clearing/swallowing – A nonverbal deceptive behavior in which a person clears his throat or performs a significant swallow prior to answering the question. Timing – The guideline in our deception detection model dictating that the initial deceptive behavior must begin within the first five seconds after the stimulus. Transition statement – Statement made by the questioner to allow for a transparent transition from an interview to an interrogation. It is the first sentence or two of the monologue, and takes the form of a direct observation of concern (DOC) or a direct observation of guilt (DOG). Unintended message – A truthful statement made by a deceptive person that, when the literal meaning of the statement is analyzed, conveys information that the person does not realize he’s conveying. We also refer to this as “truth in the lie.” Vague question – A question to be avoided because it allows for excessive latitude in
Philip Houston (Get the Truth: Former CIA Officers Teach You How to Persuade Anyone to Tell All)
Version Two-Morning (Engage in your beginning ritual if you are using one.) THIS MORNING I ADMIT WHEN ISOLATED I AM POWERLESS OVER (Fill in problem). (BREATHE) THIS MORNING I ADMIT WHEN I RELY ONLY ON MY WILL MY LIFE IS UNMANAGEABLE. (BREATHE) THIS MORNING I BELIEVE THERE IS A POWER GREATER THAN MYSELF. (BREATHE) THIS MORNING I BELIEVE THIS POWER CAN, AND WILL, RESTORE ME TO SANITY. (BREATHE) THIS MORNING I AM MAKING A DECISION TO TURN MY WILL OVER TO THAT POWER’S CARE. (BREATHE) THIS MORNING I AM MAKING A DECISION TO TURN MY LIFE OVER TO THAT POWER’S CARE. (BREATHE) THIS MORNING I AM ENTIRELY READY TO HAVE THAT POWER REMOVE ALL MY DEFECTS OF CHARACTER. (BREATHE) THIS MORNING I HUMBLY ASK THAT POWER TO REMOVE MY SHORTCOMINGS. (BREATHE) THIS MORNING I AM SEEKING THROUGH THIS PRAYER TO IMPROVE MY CONSCIOUS CONTACT WITH THAT SPIRITUAL POWER. (BREATHE) THIS MORNING I AM PRAYING FOR KNOWLEDGE OF THAT SPIRITUAL POWER’S WILL FOR ME. (BREATHE) THIS MORNING I AM PRAYING FOR THE POWER TO CARRY OUT THAT SPIRITUAL POWER’S WILL FOR ME. (BREATHE) THIS MORNING I AM PRAYING FOR THE WILLINGNESS TO TAKE THE ACTION NECESSARY TO CARRY OUT THAT SPIRITUAL POWER’S WILL FOR ME. (BREATHE) THIS MORNING I AM PRAYING FOR A SPIRITUAL AWAKENING. (BREATHE) THIS MORNING I AM PRAYING FOR THE OPPORTUNITY TO CARRY THIS MESSAGE TO OTHERS WHO STILL SUFFER. (BREATHE) THIS MORNING I AM PRAYING FOR THE ABILITY AND WILLINGNESS TO PRACTICE THESE PRINCIPLES IN ALL ASPECTS OF MY LIFE. (Engage in your ending ritual if you are using one.) Version Two-Evening (Engage in your beginning ritual if you are using one.) TONIGHT I ADMIT IN ISOLATION I AM POWERLESS OVER (Fill in problem)-THAT MY LIFE IS UNMANAGEABLE. (BREATHE) TONIGHT I BELIEVE THAT YOU ARE A POWER GREATER THAN MYSELF AND YOU ARE RESTORING ME TO SANITY. (BREATHE) TONIGHT I AM GRATEFUL THIS DAY I WAS ABLE TO MAKE A DECISION TO TURN MY WILL AND MY LIFE OVER TO YOUR CARE. (BREATHE) TONIGHT I CONTINUE TO BE ENTIRELY WILLING TO HAVE YOU REMOVE ALL MY DEFECTS OF CHARACTER. (BREATHE) TONIGHT I HUMBLY ASK YOU TO CONTINUE TO REMOVE MY SHORTCOMINGS. (BREATHE) TONIGHT I TAKE PERSONAL INVENTORY AND FIND I HAVE BEEN WRONG AND NOW PROMPTLY ADMIT IT TO YOU. (If after an honest review of the day you are unable to identify anyone you have harmed, skip the next two sentences.) (BREATHE) TONIGHT I LIST THESE PERSONS I HAVE HARMED TODAY, AND AM WILLING TO MAKE AMENDS TO THEM ALL. (BREATHE) TONIGHT I AGREE TO MAKE DIRECT AMENDS TO THESE PEOPLE WHEREVER POSSIBLE, EXCEPT WHEN TO DO SO WOULD INJURE THEM OR OTHERS. (BREATHE) TONIGHT I AM SEEKING THROUGH PRAYER TO IMPROVE MY CONSCIOUS CONTACT WITH YOU. (BREATHE) TONIGHT I AM PRAYING FOR KNOWLEDGE OF YOUR WILL FOR ME. (BREATHE) TONIGHT I AM PRAYING FOR THE POWER TO CARRY OUT YOUR WILL FOR ME. (BREATHE) TONIGHT I AM PRAYING FOR THE WILLINGNESS TO CARRY OUT YOUR WILL FOR ME. (BREATHE) TONIGHT I AM SEEKING THROUGH MEDITATION TO IMPROVE MY CONSCIOUS CONTACT WITH YOU. (BREATHE) TODAY I EXPERIENCED A SPIRITUAL AWAKENING AS A RESULT OF THESE STEPS. (BREATHE) TODAY I TRIED TO CARRY THIS MESSAGE TO OTHERS WHO STILL SUFFER. (BREATHE) TODAY I PRACTICED THESE PRINCIPLES IN ALL MY AFFAIRS. (Engage in your beginning ritual if you are using one.)
Mic Hunter (Conscious Contact: The Twelve Steps as Prayer)
Unlike television or the computer, language appears to be not an extension of our powers but simply a natural expression of who and what we are. This is the great secret of language: Because it comes from inside us, we believe it to be a direct, unedited, unbiased, apolitical expression of how the world really is. A machine, on the other hand, is outside of us, clearly created by us, modifiable by us, even discardable by us; it is easier to see how a machine re-creates the world in its own image. But in many respects, a sentence functions very much like a machine, and this is nowhere more obvious than in the sentences we call questions.
Neil Postman (Technopoly: The Surrender of Culture to Technology)
Sometimes my clients are unclear about whether they are striving toward their potential or are on a search for glory, but a search for glory is pretty easy to spot. Any search for glory is propelled by what Horney called the tyranny of the should. Listening to Talia talk, it was difficult not to notice the “shoulds” and “supposed to’s” that littered her sentences: Work should be Wow! She should be in graduate school. Her life should look better than it did. Shoulds can masquerade as high standards or lofty goals, but they are not the same. Goals direct us from the inside, but shoulds are paralyzing judgments from the outside. Goals feel like authentic dreams while shoulds feel like oppressive obligations. Shoulds set up a false dichotomy between either meeting an ideal or being a failure, between perfection or settling. The tyranny of the should even pits us against our own best interests.
Meg Jay (The Defining Decade: Why Your Twenties Matter--And How to Make the Most of Them Now)
But Jesus didn’t stop at claiming to be eternal and omniscient. In Matthew 28:18, we find this additional claim: 18b“All authority in heaven and on earth has been given to me.” In the theological and cultural milieu of first-century Israel, Jesus is claiming to be omnipotent. Furthermore, he tells his followers in the very next two verses that his claim to be omnipotent is the reason why his followers are to spend the rest of the church age telling the world about him: 19“Therefore, as you go, disciple people in all nations, baptizing them in the name of the Father, and the Son, and the Holy Spirit, 20teaching them to obey everything that I’ve commanded you. And remember, I am with you each and every day until the end of the age.” Of course, the last sentence of that statement is a reiteration of Jesus’ claims in Matthew 18:20 to be omnipresent. For Jesus to be able to be present with everyone whoever believes in him throughout the centuries to come until the end of human history requires him to be omnipresent, omniscient, and eternal. There can be no escape from the claim: Jesus claimed to be God, and this truth was the foundation stone upon which he would build his Church. In Luke 10:22, Jesus claims that his divine attributes had been granted by God his Father in eternity past. By this claim, Jesus is saying that God his Father has given him all authority in the Universe: 22“All things have been entrusted to me by my Father. No one knows who the Son is except the Father, and no one knows who the Father is except the Son and the person to whom the Son chooses to reveal him.” It is apparent from what Jesus has to say about how things are going to go with respect to his followers throughout the centuries to come that Jesus’ claim to possess divine attributes isn’t going to be some mere theoretical exercise. In Luke 21:12b-15, Jesus warns his followers about persecution that will happen to them in years to come: 12“They will hand you over to synagogues and prisons, and you will be brought before kings and governors for my name’s sake, 13in order to give you an opportunity to testify. 14So purpose in your hearts not to prepare your defense ahead of time, 15because I will give you the ability to speak, along with wisdom, that none of your opponents will be able to resist or refute.” Besides reiterating Christ’s claims that he possesses the divine attributes of omnipresence, eternal existence, and omniscience, this remarkable statement also demonstrates that Jesus claimed to be able to bring a practical, real-life application of those divine attributes to his persecuted followers: he claims that he will communicate—what today we might call “in real time”—his wisdom right at the very moment that wisdom will be needed most. As a result, Jesus claims, those who oppose his followers will not be able to refute the arguments raised by those followers, whom Jesus claims will have received their wisdom directly from him. But only God himself can provide wisdom such as described by this claim. And so this passage also requires us to conclude that Jesus is claiming to himself attributes that only God can possess. CLAIM 4 |   JESUS DEMANDED LOYALTIES OF LOVE AND DEVOTION THAT IN THE JEWISH THEOLOGICAL UNDERSTANDING RIGHTLY MAY BE GIVEN ONLY TO GOD, SINCE TO GIVE THEM TO CREATED BEINGS WOULD VIOLATE THE FIRST AND SECOND COMMANDMENTS.
Chuck Missler (I, Jesus: An Autobiography)
She would say to you, her personal physician, that she had a terminal illness, and you felt that she was being philosophical? You didn't take it seriously?" Dr. Trinh had been talking to her hands, but now she raised her eyes to Naomi, searching as she spoke for verifying signs of Naomi's stupidity, her profound American ignorance. "It was an existential statement," said Dr. Trinh, "about the death sentence we all live under. She had an affection for Schopenhauer, which led her at times into a kind of fatalistic romanticism. I tried to get her to revisit Heidegger, not so different in some ways, the Germanic ways, but at least a shift away from that sickly Asian taste for cosmic despair." … "But she couldn't get past the man's politics, the Nazi associations, the anti-Semitism. We disagreed on that point, that a man's politics should negate the value of his philosophy. She could not see how a separation of that kind was possible. A perfectly French attitude, of course." Naomi met the doctor's eyes and her inwardly directed smile with a smile of her own, but she had no confidence that she could disguise the evidence of her immediate downward spiraling, brought about by her intense regret that she had initiated talking to another human being, live. If she had been in front of her laptop, she could google these two Germanics, get a feel for them, but in a strictly oral context she had no idea how to even spell their names, much less respond intelligently to Dr. Trinh. It was one thing to toy with Herve, bright though he was. Nathan was the one with the classical education, or whatever you called it. He was the reader. Where was he? Naomi was struggling to keep her head above water with the doctor. A street brawl was the only way out.
David Cronenberg (Consumed)
Failure can feel like the ultimate death sentence, but it’s actually a step forward. When we fail, life is pushing us in a different direction so we can experience something new. One adventure has ended and another is about to begin, because it must. Think of your activities in life as scientific experiments. Scientists expect the vast majority of their tests to fail, but they still view each test as a step forward, regardless of the outcome. This is because each failed test rules out that particular approach, narrowing the remaining scope of potential solutions. You might be thinking, “What if all of my experiments fail until the day I die?” Great question. That might happen, depending on how you define failure and success. Here’s the magical solution to that problem: The results of your experiments are of little consequence. Only the experiments themselves matter. The old platitude is true: It’s about the journey, not the destination. Doing experiments will account for 99% of your time on this earth. That’s the journey. The result of your experiments is the other 1%. If you enjoy 99% of your life (the time spent in experimentation), who cares about the results? This is how to remove the problem of failure. Failure is just a temporary result. Its effect is as big or as small as you allow it to be. Elon Musk
Jesse Tevelow (The Connection Algorithm: Take Risks, Defy the Status Quo, and Live Your Passions)
Failure can feel like the ultimate death sentence, but it’s actually a step forward. When we fail, life is pushing us in a different direction so we can experience something new. One adventure has ended and another is about to begin, because it must. Think of your activities in life as scientific experiments. Scientists expect the vast majority of their tests to fail, but they still view each test as a step forward, regardless of the outcome. This is because each failed test rules out that particular approach, narrowing the remaining scope of potential solutions. You might be thinking, “What if all of my experiments fail until the day I die?” Great question. That might happen, depending on how you define failure and success. Here’s the magical solution to that problem: The results of your experiments are of little consequence. Only the experiments themselves matter. The old platitude is true: It’s about the journey, not the destination. Doing experiments will account for 99% of your time on this earth. That’s the journey. The result of your experiments is the other 1%. If you enjoy 99% of your life (the time spent in experimentation), who cares about the results? This is how to remove the problem of failure. Failure is just a temporary result. Its effect is as big or as small as you allow it to be. Elon Musk is becoming a household name. He cofounded Paypal. He now runs two companies simultaneously. The first, Tesla Motors, builds electric cars. The second, SpaceX, builds rocket ships. Many people think of Elon Musk as a real-world Iron Man—a superhero. He’s a living legend. He works extremely hard, and he’s brilliant. Did you know that Elon Musk never worked at Netscape? This is interesting because he actually wanted to work there very badly. He applied to Netscape while he was in grad school at Stanford, but never received a response. He even went to Netscape’s lobby with resume in hand, hoping to talk to someone about getting a job. No one in the lobby ever spoke to Elon that day. After getting nervous and feeling ashamed of himself, he walked out. That’s right. Elon Musk failed to get hired at Netscape. The recruiting managers didn’t see a need for him, and he was too ashamed to keep badgering them. So what happened next? Well, we know what happened from there. Musk went on to become one of the most successful and respected visionaries of our time.[30] Take a deep breath and realize that there are no life-ending failures, only experiments and results. It’s also important to realize that you are not the failure—the experiment is the failure. It is impossible for a person to be a failure. A person’s life is just a collection of experiments. We’re meant to enjoy them and grow from them. If you learn to love the process of experimentation, the prospect of failure isn’t so scary anymore.
Jesse Tevelow (The Connection Algorithm: Take Risks, Defy the Status Quo, and Live Your Passions)
I stepped from the desert doorway with nothing except the clothes on my back and a shoulder bag filled with notebooks—blue-lined paper pads bound together with rubber bands and stained with my sweat, with camel shit, by smears of my own blood. The pages crazed with jottings about devastating heat. The bearings for remote wells. Inked maps of pilgrim roads. The divinations of Bedouin fire cures. Mile upon mile of sentences from an austere kingdom still largely closed to the world. I walked along the concrete highway and spotted the first alcoholic artifacts I had seen in seven months (bottles, cans), past a large potash mine, and up the wrinkled coast to a tourist town. I saw women in colorful sarongs. Some drove cars. Nobody watched me. I floated out of a desert wadi like windblown trash. I found an ATM. I asked directions to a posh hotel with knockoff Mies van der Rohe tubular furniture in the lobby. Men gave camel rides to tourists outside. “And where”—asked the clerk, without the least curiosity, as I signed the paperwork—”are you coming from, Mr. Salopek?
Paul Salopek
I have to find my happy thoughts, and my pain, and let them do their alchemic dance to become words, sentences, paragraphs, pages, and eventually a novel. It always seems a little improbable that I can sit at a blank computer screen and just keep typing until I have a whole book. It's like getting into your car with a full tank of gas, but no idea where you're going, or how long the journey will be, but there's an envelope in the glove compartment. It will contain the first clue, and the direction to start driving. What direction do we start? South - lets burn this mother fucker down!
Laurell K. Hamilton
That girl could make friends with the meanest croc alive with little more than a smile and a laugh. You, on the other hand, made her work for it.” “Did you just compare me to a mean old croc?” Kerry asked, the thread of amusement back in her tone. “If the tough hide fits,” he said, but not unkindly. Kerry nodded, gave him a considering look. “True that,” she said. She picked her way over a tricky stretch of kelp-covered rock, then added, “Maybe I was trying to save her from her own friendly nature.” She looked back as Cooper hopped his way over the last pile, his heavy-booted feet sinking into a narrow stretch of sand before starting over the next rock bed. “I knew I was going to leave. You all did. No point in breaking hearts.” She held his gaze more directly now, turning back slightly to look at him full on. “I might be a tough old croc, but I’m not heartless.” “I didn’t say--” “You didn’t have to.” She opened her mouth, closed it again, then took in a slow, steadying breath, letting the deep salt tang tickle the back of her throat and the tart brine of the sea fill her senses. Anything to keep his scent from doing that instead. “As a rule, I don’t do good-byes well. I know that about myself. I also know that I have the attention span of a sand fly. A well-intentioned sand fly,” she added, trying to inject a bit of humor, mostly failing judging by the unwavering look in his eyes. “So, given my wanderlusting, gypsy life, I learned early on to keep things friendly and light. Easy, breezy. I’ve made friends all over the world, but none so close that--” “That missing them causes a pang,” he added, “Here maybe,” he said, pointing at his own head. “But not here.” He pointed at her chest, more specifically at her heart. This was how they were, how they’d been from the start. Finishing each other’s sentences, following each other’s train of thought, even when the exchange of words was a bare minimum. She glanced up into his steady gaze and thought, or when there’d been no words at all. That was why they’d worked so well together. And also why she’d had a tough time keeping her feelings for him strictly professional…She’d forgotten how threatening it felt, to have someone read her so easily. Most folks never look past the surface. Cooper--hell, the entire Jax family--hadn’t even blinked at surface Kerry before barreling right on past all of her well-honed, automatically erected barriers. “Like I said,” she went on, “I don’t do good-byes well.” She continued walking down the beach then, knowing she was avoiding continued eye contact, but it was unnerving enough that he was here, in her personal orbit, in her world. Her home world. Wasn’t that invasive enough? “Would a postcard or two have killed you?” he finally asked her retreating back. “Not for me; I never expected one.” She didn’t glance back at that, but just as he knew her too well, she knew him the same way. She’d heard that little hint of disappointment, of long-held hope. Of course the very fact that he was there, on her beach, was proof enough that he’d had hopes where she was concerned. And in that moment, she thought, the hell with this, and stopped. Running halfway around the world apparently hadn’t been far enough to leave him and all of what had transpired between her and the entire Jax family behind. So why did she think she could escape it along the span of one low-tide beach?
Donna Kauffman (Starfish Moon (Brides of Blueberry Cove, #3))
But I had no need to suppose anything of the sort, she might well have disdained the use of her eyes to ascertain what her instinct must have adequately enough detected, for, throughout her service with me and my parents, fear, prudence, alertness and cunning had finally taught her that instinctive and almost divinatory knowledge of us that the sailor has of the sea, the quarry of the hunter, and if not the doctor then often the patient of the disease. All the knowledge she was in the habit of acquiring would have astounded anyone for as good a reason as the advanced state of certain areas of knowledge among the ancients, given the almost negligible means of information at their disposal (hers were no less so: a handful of chance remarks forming barely a twentieth part of our conversation at dinner, gleaned in passing by the butler and inaccurately transmitted to the staff quarters). Even her mistakes resulted, like theirs, like the fables in which Plato believed, from a false conception of the world and from preconceived ideas rather than from an inadequacy of material resources... But if the drawbacks of her position as a servant had not prevented her from acquiring the learning indispensable to the art which was its ultimate goal – the art of confounding us by communicating the results of her discoveries – the constraints on her time had been even more effective; here hindrance had not merely been content not to paralyse her enthusiasm, it had powerfully fired it. And of course Françoise neglected no auxiliary stimulant, like diction and attitude for instance. While she never believed anything we said to her when we wanted her to believe it, and since she accepted beyond a shadow of doubt the absurdest things anyone of her own status told her which might at the same time offend our views, in the same way that her manner of listening to our assertions pointed to her incredulity, so the tone she used to report (indirection enabling her to fling the most offensive insults at us with impunity) a cook’s account of threatening her employers and forcing any number of concessions out of them by treating them like dirt in public, indicated that she treated the story as gospel truth. Françoise even went so far as to add: ‘If I’d been the mistress, I’d have been very put out, I can tell you.’ However much, despite our initial dislike of the lady on the fourth floor, we might shrug our shoulders at this unedifying tale as if it were an unlikely fable, its teller knew just how to invest her tone with all the trenchant punch of the most unshakeable and infuriating confidence in what she was saying. But above all, just as writers, when their hands are tied by the tyranny of a monarch or of poetic convention, by the strict rules of prosody or state religion, often achieve a power of concentration they would not have done under a system of political freedom or literary anarchy, so Françoise, by not being free to respond to us in an explicit manner, spoke like Tiresias and would have written like Tacitus.5 She knew how to contain everything she could not express directly in a sentence we could not denounce without casting aspersions on ourselves, in less than a sentence in fact, in a silence, in the way she placed an object.
Marcel Proust (The Guermantes Way)
I live every moment telling myself this one sentence: Something wonderful is happening somewhere someplace in the NOW even in the form of a thought in the heart and mind of someone that would make my life more interesting and fulfilling exactly the way it is going to be today. Such energy flowing towards me from a lovely future being designed will add to my efforts directed at making my today equally interesting and beautiful. Lucky to find myself being there to say a happy hello to Rising Sun most of my days. Bless us, God!!
Ramesh Sood
The most common criticism many writers hear from editors is “show, don’t tell.” The dictum is often invoked reflexively, and it can seem opaque. But take it as a warning against frothy adjectives that fail to convey an experience to a reader. “It’s no use telling us that something was ‘mysterious’ or ‘loathsome’ or ‘awe-inspiring’ or ‘voluptuous,’ ” writes C. S. Lewis, echoing the editor’s standard lecture to the newsroom novice. “By direct description, by metaphor and simile, by secretly evoking powerful associations, by offering the right stimuli to our nerves (in the right degree and the right order), and by the very beat and vowel-melody and length and brevity of your sentences, you must bring it about that we, we readers, not you, exclaim ‘how mysterious!’ or ‘loathsome’ or whatever it is. Let me taste for myself, and you’ll have no need to tell me how I should react.
Constance Hale (Sin and Syntax: How to Craft Wicked Good Prose)
High standards + assurance is a powerful formula, but ultimately it’s just a statement of expectations. What great mentors do is add two more elements: direction and support. I have high expectations for you and I know you can meet them. So try this new challenge and if you fail, I’ll help you recover. That’s mentorship in two sentences. It sounds simple, yet it’s powerful enough to transform careers.
Chip Heath (The Power of Moments: Why Certain Moments Have Extraordinary Impact)
The confectionery and books are in that direction. Drugs and perfumery over there. Back there you’ll find hats, scarves, ribbons, and lace.” Before he had even finished the sentence, the twins had each grabbed a basket and dashed away. “Girls…” Kathleen began, disconcerted by their wildness, but they were already out of earshot. She looked at Winterborne ruefully. “For your own safety, try to stay out of their path or you’ll be trampled.” “You should have seen how the ladies behaved during my first bi-annual sale discounts,” Winterborne told her. “Violence. Screaming. I’d rather go through the train accident again.” Kathleen couldn’t help smiling. Winterborne escorted Helen away from the rotunda. “Would you like to see the pianos?” she heard him ask. Her timid reply was muffled as they retreated from sight. Devon came to stand beside Kathleen. After a long, uncomfortable moment, she asked, “When you look at them, do you ever see two people who feel even the slightest infatuation for each other? There’s no natural ease between them, no sharing of mutual enthusiasms. They talk as if they were strangers on an omnibus.” “I see two people who haven’t yet lowered their guards with each other,” came his matter-of-fact reply.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
Once, on the train from Washington to Philadelphia, I found myself seated next to an African-American man who had worked for the State Department in India but had quit to run a rehabilitation program for juvenile offenders in the District of Columbia. Most of the youths he worked with were gang members who had committed homicide. One fourteen-year-old boy in his program had shot and killed an innocent teenager to prove himself to his gang. At the trial, the victim’s mother sat impassively silent until the end, when the youth was convicted of the killing. After the verdict was announced, she stood up slowly and stared directly at him and stated, “I’m going to kill you.” Then the youth was taken away to serve several years in the juvenile facility. After the first half year the mother of the slain child went to visit his killer. He had been living on the streets before the killing, and she was the only visitor he’d had. For a time they talked, and when she left, she gave him some money for cigarettes. Then she started step-by-step to visit him more regularly, bringing food and small gifts. Near the end of his three-year sentence she asked him what he would be doing when he got out. He was confused and very uncertain, so she offered to set him up with a job at a friend’s company. Then she inquired about where he would live, and since he had no family to return to, she offered him temporary use of the spare room in her home. For eight months he lived there, ate her food, and worked at the job. Then one evening she called him into the living room to talk. She sat down opposite him and waited. Then she started, “Do you remember in the courtroom when I said I was going to kill you?” “I sure do, ma’am,” he replied. “Well, I did,” she went on. “I did not want the boy who could kill my son for no reason to remain alive on this earth. I wanted him to die. That’s why I started to visit you and bring you things. That’s why I got you the job and let you live here in my house. That’s how I set about changing you. And that old boy, he’s gone. So now I want to ask you, since my son is gone, and that killer is gone, if you’ll stay here. I’ve got room, and I’d like to adopt you if you let me.” And she became the mother of her son’s killer, the mother he never had. Our own story may not be so dramatic, yet we have all been betrayed. We must each start where we are. In large and small ways, in our own family and community, we will be offered the dignity and freedom that learns to patiently forgive over and over.
Jack Kornfield (Bringing Home the Dharma: Awakening Right Where You Are)
He went home, went to bed, and dreamed. He hadn’t had such a vivid dream in a very long time. He was a tiny piece in a gigantic puzzle. But instead of having one fixed shape, his shape kept changing. And so—of course—he couldn’t fit anywhere. As he tried to sort out where he belonged, he was also given a set amount of time to gather the scattered pages of the timpani section of a score. A strong wind swept the pages in all directions. He went around picking up one page at a time. He had to check the page numbers and arrange them in order as his body changed shape like an amoeba. The situation was out of control. Eventually Fuka-Eri came along and grabbed his left hand. Tengo’s shape stopped changing. The wind suddenly died and stopped scattering the pages of the score. “What a relief!” Tengo thought, but in that instant his time began to run out. “This is the end,” Fuka-Eri informed him in a whisper. One sentence, as always. Time stopped, and the world ended. The earth ground slowly to a halt, and all sound and light vanished. When he woke up the next day, the world was still there, and things were already moving forward, like the great karmic wheel of Indian mythology that kills every living thing in its path.
Haruki Murakami (1Q84)
The confectionery and books are in that direction. Drugs and perfumery over there. Back there you’ll find hats, scarves, ribbons, and lace.” Before he had even finished the sentence, the twins had each grabbed a basket and dashed away. “Girls…” Kathleen began, disconcerted by their wildness, but they were already out of earshot. She looked at Winterborne ruefully. “For your own safety, try to stay out of their path or you’ll be trampled.” “You should have seen how the ladies behaved during my first bi-annual sale discounts,” Winterborne told her. “Violence. Screaming. I’d rather go through the train accident again.” Kathleen couldn’t help smiling.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
Would any of you like to accompany us? Or perhaps you’d like to start shopping?” He gestured to a stack of rattan baskets near the counter. The twins looked at each other, and decisively said, “Shopping.” Winterborne grinned. “The confectionery and books are in that direction. Drugs and perfumery over there. Back there you’ll find hats, scarves, ribbons, and lace.” Before he had even finished the sentence, the twins had each grabbed a basket and dashed away. “Girls…” Kathleen began, disconcerted by their wildness, but they were already out of earshot. She looked at Winterborne ruefully. “For your own safety, try to stay out of their path or you’ll be trampled.
Lisa Kleypas (Cold-Hearted Rake (The Ravenels, #1))
The second route that motor commands from the cortex can take out towards the muscles is called the multineuronal pathway. The initial cell bodies of the pathway are also in the motor cortex, but they immediately synapse to long chains of internuncial neurons descending from the motor cortex to other cortical areas, to the lower brain, and on down the cord. The final links in these chains end not directly upon the neurons of the motor units, but rather upon the spinal internuncial circuits which organize the patterns of stereotyped spinal reflexes. Thus instead of bypassing the intermediate net, this pathway channels motor commands all the way through it. Impulses take longer to travel from the cortex to the motor unit, since they pass through many more synapses and are influenced by input from many other sources along their way. This arrangement makes possible the second kind of motor control—the setting into motion of the stereotyped reflex units of movement that are organized in the subconscious levels of the lower brain and spinal cord. For instance, the individual circuits and the overall sequential arrangements which control walking or swallowing are in the cord; the multineuronal pathway has only to stimulate these sequences into activity, and then steer their general course without the cortex having to pay attention to the details involved in each separate step. All coordinated movements require the interaction of both of these pathways. The conscious mind is not competent to direct every single muscular adjustment involved in general movements, and the reflexes are powerless to arrange themselves into new, finely controlled sequences. Successfully integrated, the two of these paths together provide the best aspects of millions of years of repetitive practice and of moment to moment changes in intent or shifts in the surrounding environment. One is basic vocabulary, the other is variable sentence structure; the language of coordinated movement cannot go forward without both working together.
Deane Juhan (Job's Body: A Handbook for Bodywork)
Any aspect of life to which attention is directed will loom large in a global evaluation. This is the essence of the focusing illusion, which can be described in a single sentence: Nothing in life is as important as you think it is when you are thinking about it.
Daniel Kahneman (Thinking, Fast and Slow)
Maximize the amount of exposure you get to the language. Remember, as discussed above, that language ability directly correlates with how many sentences the brain has had to process. Spend as much time as possible reading and listening to the target language, and refer to your native language only when necessary. At the beginning you will, of course, need your native language in order to make sense of the dialogue or text, but your goal should always be to maximize the number of sentences that you process.
Joseph Conlon (Polyglot Life: Learn Any Language Quickly and Efficiently)
We must distinguish between clues and strong evidence. Clues are what set Sherlock Holmes on the right track, allowing him to solve a mysterious case. Strong evidence is what the judge needs to sentence the guilty. Clues put us on the right path toward a correct theory. Strong evidence is that which subsequently allows us to trust whether the theory we have built is a good one or not. Without clues, we search in the wrong directions. Without evidence, a theory is not reliable.
Carlo Rovelli (La realtà non è come ci appare: La struttura elementare delle cose)
They are also born to listen. But that does not come as automatically. Quick wit, even eloquence, is far more available to the Twins than attentiveness. In the context of a hard, direct birth chart, they may interrupt and finish other people’s sentences for them. In a softer, more interpersonally sensitive chart, the pattern may be less obvious. We find them quiet, appearing to be fascinated by our ideas. But their minds have raced ahead. Despite the eye contact and nodding head, they are oblivious to what we are saying. In reality they have already decided what we are going to say. They are now absorbed in studying our nose, thinking of how much it reminds them of a nose they once knew in high school.
Steven Forrest (The Inner Sky: How to Make Wiser Choices for a More Fulfilling Life)
After my return to Paris, one thing seemed obvious: To see Manhattan again, to feel as good about New York as Liza Minnelli sounded singing about it at Giants Stadium in 1986 (Google it), I had to start treating it as if it were a foreign city; to bring a reporter's eye and habits, care, and attention to daily life. But as that was the sort of vague self-directive easily ignored, I gave myself a specific assignment: Once a week, during routine errands, I would try something new or go someplace I hadn't been in a long while. It could be as quick as a walk past the supposedly haunted brownstone at 14 West 10th Street, where former resident Mark Twain is said to be among the ghosts. It could a stroll on the High Line, the elevated park with birch trees and long grasses growing where freight trains used to roll. Or it could be a snowy evening visit to the New York Public Library's Beaux-Arts flagship on Fifth Avenue, where Pamuk wrote the first sentence of The Museum of Innocence. There I wandered past white marble walls and candelabras, under chandeliers and ornate ceiling murals, through the room with more than ten thousand maps of my city, eventually taking a seat at a communal wood table to read a translation of Petrarch's Life of Solitude, to rare to be lent out. Tourist Tuesdays I called these outings, to no one but myself.
Stephanie Rosenbloom (Alone Time: Four Seasons, Four Cities, and the Pleasures of Solitude)
Butting heads with someone never works,” his mom said. “I always say that you don’t have to do the direct approach. You can just go around because there’s always a back way.” “Now I know where he got Mystery Method from.” In three sentences, his mother had unintentionally summarized Mystery’s entire approach to meeting women: the indirect method.
Neil Strauss (The Game)
Here's why I will be a good person. Because I listen. I cannot speak, so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. People, if you pay attention to them, change the direction of one another's conversations constantly. It's like having a passenger in your car who suddenly grabs the steering wheel and turns you down a side street. For instance, if we met at a party and I wanted to tell you a story about the time I needed to get a soccer ball in my neighbor's yard but his dog chased me and I had to jump into a swimming pool to escape, and I began telling the story, you, hearing the words "soccer" and "neighbor" in the same sentence, might interrupt and mention that your childhood neighbor was Pele, the famous soccer player, and I might be courteous and say, Didn't he play for the Cosmos of New York? Did you grow up in New York? And you might reply that, no, you grew up in Brazil on the streets of Tres Coracoes with Pele, and I might say, I thought you were from Tennessee, and you might say not originally, and then go on to outline your genealogy at length. So my initial conversational gambit - that I had a funny story about being chased by my neighbor's dog - would be totally lost, and only because you had to tell me all about Pele. Learn to listen! I beg of you. Pretend you are a dog like me and listen to other people rather than steal their stories.
Garth Stein (The Art of Racing in the Rain)
I cannot believe that each other reader as he opens his eyes will not see directly the images that I see, believing the author’s idea to be directly perceived by the reader, whereas it is a different idea that takes shape in his mind, with the simplicity of people who believe that it is the actual word which they have uttered that proceeds along the wires of the telephone; at the very moment in which I mean to be a reader, my mind adjusts, as its author, the attitude of those who will read my article. If M. de Guermantes did not understand some sentences which would appeal to Bloch, he might, on the other hand, be amused by some reflexion which Bloch would scorn. Thus for each part which the previous reader seemed to overlook, a fresh admirer presenting himself, the article as a whole was raised to the clouds by a swarm of readers and so prevailed over my own mistrust of myself which had no longer any need to analyse it. The truth of the matter is that the value of an article, however remarkable it may be, is like that of those passages in parliamentary reports in which the words: “Wait and see!
Marcel Proust (In Search Of Lost Time (All 7 Volumes) (ShandonPress))
Clients recognize excessive self-orientation through such things as: 1. A tendency to relate their stories to ourselves 2. A need to too quickly finish their sentences for them 3. A need to fill empty spaces in conversations 4. A need to appear clever, bright, witty, etc. 5. An inability to provide a direct answer to a direct question 6. An unwillingness to say we don’t know 7. Name-dropping of other clients 8. A recitation of qualifications 9. A tendency to give answers too quickly 10. A tendency to want to have the last word 11. Closed-ended questions early on 12. Putting forth hypotheses or problem statements before fully hearing the client’s hypotheses or problem statements 13. Passive listening; a lack of visual and verbal cues that indicate the client is being heard 14. Watching the client as if he/she were a television set (merely a source of data)
David H. Maister (The Trusted Advisor)
How to Choose the Right Custom Uniforms and Aprons Too often businesses lose an opportunity to cement their brand in the minds of customers and guests. Through uniform embroidery and custom aprons, companies can take advantage of employee clothing, often unused space marketing to help promote your business logo and brand. Add some flair to your work uniforms and aprons with embroidery. Company uniform is a fantastic long-term investment that not only makes your employees look big, but it's important to cement your brand in the minds of consumers. Embroidery is the perfect decoration techniques to make your business brand to life. The first thing you need to do when checking whether your business should implement embroidered uniforms, work clothes and the apron is to determine who should wear it? You need to check that it comes into direct contact with customers and set up a custom embroidered uniforms for them, pronto! These employees are a marketing opportunity in vain if their work clothes or aprons were left unbranded. For each customer they come into contact with will not associate hard work and good service to your brand. You then have to determine whether staff morale and retaining your staff is important to you. If you answered yes, then embroidered uniforms and aprons will greatly enhance the sense of pride and loyalty for your business. Employees will be proud to wear your branded uniforms. Secondly, you will need to purchase promotional clothing that is not only branded but appropriate job responsibilities of employees and comfort. You do not want to print custom uniforms to hamper the performance of the work. When we look at historical pictures apron whole time, we know that they are derived from functional requirements to keep clothes clean and can carry firewood and timber equipment. Over time, however, aprons have evolved into somewhat of a fashion accessory with people enjoying personalized aprons. Private aprons can come in many forms. Because this is customized, the customer can tell the manufacturer or seamstress exactly what they want to see. Some people like aprons that don say like "Karen's Kitchen ", or a simple sentence, but catchy that defines their cooking persona. Embroidered aprons also very popular. Shape personalized apron is usually a little more expensive than a simple screen-printing but offers an heirloom of sorts. People who are serious about their cooking enjoy embroidered aprons as gifts for all occasions. Companies that offer personal aprons often have a large selection of styles, colors, and sizes to choose from. In addition to adding a name or cute catchphrase, these companies often have a large selection of artwork to further personalize the apron. If you are a cat or a dog lover or have some other enthusiasm or hobby, you can be sure that the patterns are available to suit your personality. Specialty stores online are probably the best place to shop for personalized aprons. Many companies offer personalized aprons for as little as $ 10 each. For this reason, personalized aprons make great gifts.
G&M Salon Apparel
Is Never Too Late The last word has not yet been spoken The last sentence has not yet been written, The final verdict is not in. It is never too late To change my mind, My direction, To say no to the past, And yes to the future, To offer remorse, To ask and give forgiveness It is never too late To start over again To feel again To love again To hope again. It is never too late To overcome despair, To turn sorrow into resolve And pain into purpose. It is never too late to alter my world, Not by magical incantations Or manipulations of the cards Or deciphering the stars. But by opening myself To curative forces buried within, To hidden energies The powers in my interior self. In sickness and in dying, it is never too late Living, I teach, Dying, I teach, How I face pain and fear, Others observe me, children, adults, Students of life and death, Learn from my bearing, my posture, My philosophy. —Rabbi Harold Schulweis In God’s Mirror: Reflections and Essays
Rochelle B. Weinstein (The Mourning After)
The vicar had already started speaking when the door banged open again. Rachael was reminded of an old, bad British movie, though whether it was a thriller or a comedy she couldn't quite say. The vicar paused in mid-sentence and they all turned to stare. Even Dougie tried to move his head in that direction. It was a woman in her fifties. The first impression was of a bag lady, who'd wandered in from the street. She had a large leather satchel slung across her shoulder and a supermarket carrier bag in one hand. Her face was grey and blotched. She wore a knee-length skirt and a long cardigan weighed down at the front by the pockets. Her legs were bare. Yet she carried off the situation with such confidence and aplomb that they all believed that she had a right to be there. She took a seat, bowed her head as if in private prayer, then looked directly at the vicar as if giving him permission to continue. Neville had booked a room in the White Hart Hotel and afterwards invited them all back to lunch.
Ann Cleeves (The Crow Trap (Vera Stanhope, #1))
In the past, this approach has been known as the grammatical-historical interpretation of the text. The term “grammatical-historical interpretation” was used originally by Karl A. G. Keil.[7] The term “grammatical,” however, is somewhat misleading in our ears today, for normally we mean the arrangement of words and the construction of sentences. But Keil did not have this meaning in mind when he used the term. Instead, he had in mind the Greek word gramma, which approximates what we would mean by the term “literal” (to use a synonym derived from Latin). Keil’s grammatical sense was what we would call the simple, direct, plain, ordinary, natural, or literal sense of the phrases, clauses, and sentences.
Walter C. Kaiser Jr. (Preaching and Teaching from the Old Testament: A Guide for the Church)
Instead of questioning him directly any more, they had him spell out what he wanted to say letter by letter, Deadpan pointing them out on the chart and Kane jotting them down on a piece of paper — providing Eddie nodded yes — until he had complete words and sentences made up out of them.
Cornell Woolrich (Walls That Hear You)
So much of a rationalist's skill is below the level of words. It makes for challenging work in trying to convey the Art through blog posts. People will agree with you, but then, in the next sentence, do something subdeliberative that goes in the opposite direction. Not that I'm complaining! A major reason I'm posting here is to observe what my words haven't conveyed.
Eliezer Yudkowsky (The Less Wrong Sequences)
If any one of you is without sin, let him be the first to throw a stone at her. This is a direct reference to Deuteronomy 13:9; 17:7 (cf. Lv. 24:14)–the witnesses of the crime must be the first to throw the stones, and they must not be participants in the crime itself. Jesus’ saying does not mean that the authorities must be paragons of sinless perfection before the death sentence can properly be meted out, nor does it mean that one must be free even from lust before one can legitimately condemn adultery (even though lust and adultery belong to the same genus, Mt. 5:28). It means, rather, that they must not be guilty of this particular sin. As in many societies around the world, so here: when it comes to sexual sins, the woman was much more likely to be in legal and social jeopardy than her paramour. The man could lead a ‘respectable’ life while masking the same sexual sins with a knowing wink. Jesus’ simple condition, without calling into question the Mosaic code, cuts through the double standard and drives hard to reach the conscience.
D.A. Carson (The Gospel According to John: An Introduction and Commentary (Pillar New Testament Commentary))
still remember how bravely we learned to read the new daily newspaper "Radianska Bukovina" (Red Bukovina), just trying to make out the headlines and slowly braving to comprehend the articles. By the beginning of September, barely two months from the occupation, we delved into the study of the History of the Party, meaning the communist party, according to the direction of the Stalin line, the official party line. The teacher was faced with an unusual task, namely, teaching a class, at a university, where practically nobody understood him or the textbook. After every few sentences he stopped to ask: Sie verstehen, Genossen? (Do you understand, comrades?) This was the extent of his knowledge of German. Most of us just picked up single words and wrote them down in the improvised dictionary. It was unusual, but not funny at all.
Pearl Fichman (Before Memories Fade)
Early in “Postulates of Linguistics,” Deleuze and Guattari claim that, “the elementary unit of language … is the order-word,” which “not to be believe but to be obeyed” (ATP, 76). Perhaps the starkest example is the judge’s sentence that condemns a criminal to death (80-81; 94). But the French for order-word, mot d’ordre, also refers to the political slogan, which is substantiated by Deleuze and Guattari’s reference to Lenin’s pamphlet “On Slogans” (83). Both of these examples indicate how closely their linguistics aligns with the rhetorical theory of symbolic action. Rhetoric is excellent at studying those acts that cause incorporeal transformations, which as changes in a state of affairs that do not directly alter its materiality (80-88).
Anonymous
What God can say in one sentence can become a lifetime of study for any serious student of the Word.
Michael Lake (The Shinar Directive: Preparing the Way for the Son of Perdition's Return)
off a direct address with commas. Examples Gentlemen, keep your seats. Car fifty-four, where are you? Not now, Eleanor, I’m busy. 8. Use commas to set off items in addresses and dates. Examples The sheriff followed me from Austin, Texas, to question me about my uncle. He found me on February 2, 1978, when I stopped in Fairbanks, Alaska, to buy sunscreen. 9. Use commas to set off a degree or title following a name. Examples John Dough, M.D., was audited when he reported only $5.68 in taxable income last year. The Neanderthal Award went to Samuel Lyle, Ph.D. 10. Use commas to set off dialogue from the speaker. Examples Alexander announced, “I don’t think I want a second helping of possum.” “Eat hearty,” said Marie, “because this is the last of the food.” Note that you do not use a comma before an indirect quotation or before titles in quotation marks following the verbs “read,” “sang,” or “wrote.” Incorrect Bruce said, that cockroaches have portions of their brains scattered throughout their bodies. Correct Bruce said that cockroaches have portions of their brains scattered throughout their bodies. Incorrect One panel member read, “Aunt Jennifer’s Tigers,” and the other sang, “Song for My Father.” Correct One panel member read “Aunt Jennifer’s Tigers,” and the other sang “Song for My Father.” 11. Use commas to set off “yes,” “no,” “well,” and other weak exclamations. Examples Yes, I am in the cat condo business. No, all the units with decks are sold. Well, perhaps one with a pool will do. 12. Set off interrupters or parenthetical elements appearing in the middle of a sentence. A parenthetical element is additional information placed as explanation or comment within an already complete sentence. This element may be a word (such as “certainly” or “fortunately”), a phrase (“for example” or “in fact”), or a clause (“I believe” or “you know”). The word, phrase, or clause is parenthetical if the sentence parts before and after it fit together and make sense.
Jean Wyrick (Steps to Writing Well)
From the perpetual necessity of consulting the animal faculties, in our provision for the present life, arises the difficulty of withstanding their impulses, even in cases where they ought to be of no weight; for the motions of sense are instantaneous, its objects strike unsought, we are accustomed to follow its directions, and therefore often submit to the sentence without examining the authority of the judge.
Samuel Johnson (Complete Works of Samuel Johnson)
...Here we are concerned with the teaching of not just any subject, but with the direct object of the sentence: composition, about putting words together to create meanings, in the sense that a music composer puts notes together to create new music. Our problem becomes how we can provide the circumstances that promote such learning. Promote is the key word. The evidence is that learning to write in the sense of compose does not take place in the absence of appropriate environments to promote such learning. "To create those environments, if they are to be available to all students, regardless of home environments, we need a set of theories that allow us to integrate not only the varieties of knowledge that writers need, but a theory of teaching writing that demands a combination of optimism and constant skepticism about what we do as teachers. Our integration of theories must allow us to act but, at the same time, insure our constant evaluation of each action, whether tried and true or new.
George Hillocks (Teaching Writing as Reflective Practice)
Except in stock locutions, such as "You were paid yesterday," "The Germans were defeated," or "The project was abandoned," the passive voice is virtually useless in fiction except when used for comic effect, as when the writer mimics some fool's slightly pompous way of speaking or quotes some institutional directive. The active voice is almost invariably more direct and vivid: "Your parrot bit me" as opposed to "I was bitten by your parrot." ...Sentences beginning with infinite-verb phrases are so common in bad writing that one is wise to treat them as guilty until proven innocent, sentences, that is, that begin with such phrases as "Looking up slowly from her sewing, Martha said..." or "Carrying the duck in his left hand, Henry..." In really bad writing, such phrases lead to shifts in temporal focus or to plain illogic. The bad writer tells us, for instance: "Firing the hired man and burning down his shack, Eloise drove into town." (The sentence implies that the action of firing the hired man and burning down his shack and the action of driving into town are simultaneous.)
John Gardner
In any long fiction, Henry James remarked, use of the first-person point of view is barbaric. James may go too far, but his point is worth considering. First person locks us in one character's mind, locks us to one kind of diction throughout, locks out possibilities of going deeply into various characters' minds and so forth. ....Vulgar diction in the telling of the Helen story would clearly create a white-hot irony, probably all but unmanageable. Colloquial diction and relatively short sentences would have the instant effect of humanizing once elevated characters and events. Highly formal diction and all that goes along with the traditional omniscient narrator might seem immediately appropriate for the seriousness of the story, but it can easily backfire, providing not suitable pomp but mere pompousness. And some choices in p.o.v. as well as in other stylistic elements, may have more direct bearing on the theme than would others. For instance, the "town" point of view, in which the voice in the story is some unnamed spokesman for all the community--among the most famous examples is Faulkner's "A Rose for Emily"--might have the immediate effect of foregrounding the story's controlling idea, conflicting community values versus personal values.
John Gardner
Georges was in a rage. It is a spectacle to comtemplate, his rage. He tore off his cravat, strode about the room, his throat and chest glistening with sweat, his voice shaking the windows. “This bloody so-called Revolution has been a waste of time. What have the patriots got out of it? Nothing.” He glared around the room. He looked as if he would hit anyone who contradicted him. Outside there was some far-off shouting, from the direction of the river. “If that’s true—” Camille said. But he couldn’t manage it, he couldn’t get his words out. “If this one’s done for—and I think it always was done for—” He put his face into his hands, exasperated with himself. “Come on, Camille,” Georges said, “there’s no time to wait around for you. Fabre, please bang his head against the wall.” “That’s what I’m trying to say, Georges- Jacques. We have no more time left.” I don’t know whether it was the threat, or because he suddenly saw the future, that Camille recovered his voice: but he began to speak in short, simple sentences. “We must begin again. We must stage a coup. We must depose Louis. We must take control. We must declare the republic. We must do it before the summer ends.
Hilary Mantel (A Place of Greater Safety)
The No-Tailgating Principle The speed with which you talk should be directly proportional to how certain you are about the next sentence coming out of your mouth. The more certain you are, the more briskly you can choose to speak. But if you’re prone to saying the first thing that pops into your head, a slower pace with strategic pausing is a sure way to prevent your mouth from tailgating your brain. And as with automobiles, when the lead car stops short from uncertainty of where to go next, it’s likely that the tailgater trailing behind will crash into the one in front. The verbal equivalent of a crash is filler: like, um, you know, etc. And et cetera, for that matter.
Bill McGowan (Pitch Perfect: How to Say It Right the First Time, Every Time)
We smashed their schools, burned them, and shot people based on the time of night they were outside. They dressed up like our allies and blew themselves up, when they weren’t murdering the families of our actual allies and throwing their headless bodies into the Tigris. Write a five paragraph essay on that. Make sure each paragraph has a topic sentence.
Brian Huskie (A White Rose: A Soldier's Story of Love, War, and School)
A dramatic illustration of how environment shapes personality is the story of the Gilmore family. On January 17, 1978, in Utah, the convicted double murderer Gary Gilmore was executed by firing squad, his unyielding refusal to appeal his death sentence having gained him a measure of international notoriety. The shattering story of his childhood, blighted by family violence, alcoholism and spite was chronicled later by his brother Mikal Gilmore in the memoir Shot in the Heart. Mikal, the youngest of four boys, was born when Gary was eleven years old. If children reared in the same family shared the same environment, the differences between siblings would have to be due to genetic inheritance. In the case of the Gilmores, it is easy to see why Mikal, born at a time when the family was enjoying a period of relative stability, would feel he had been brought up in a different world, why the misery of his childhood, as he put it, had been so radically different from the misery of his brothers’ childhood. Even without such vast chasms in experience, the environment of siblings is never the same. Environment has far greater impact on the structures and circuits of the human brain than was realized even a decade ago. It is what shapes the inherited genetic material. I believe it to be the decisive factor in determining whether the impairments of ADD will or will not appear in a child. Many variables will influence the particular environment a child experiences. Birth order, for one, automatically places siblings in dissimilar situations. The older sibling has to suffer the pain of seeing parental love and attention directed toward an intruder. The younger sibling may need to learn survival in an environment that harbors a stronger, potentially hostile rival, and never comes to know either the special status or the burden of being an only child. The full weight of unconscious parental expectations is far more likely to fall on the firstborn. Historical studies of birth order have established it as an important influence on the shaping of the personality, comparable with sex.
Gabor Maté (Scattered: How Attention Deficit Disorder Originates and What You Can Do About It)
To begin, look over the chapters by glancing at the content on the pages. Set aside about 30 minutes every four to five hours or three times a day and look at the bold words, pictures, and highlighted sentences. Nursing exams generally test on multiple chapters so it is important you start this process as soon as you can. Ideally, begin immediately after you have taken your last exam so you can get a head start on new material. This step helps you recognize the words and familiarizes you with the content. After several times of looking at a word read the definition. As you read the definition notice how you are able to focus on what the word means. Doing this simple step can eliminate reading without understanding. We must see a word several times before our brain flags it as important. That is why after the third or fourth time you look over information you finally say to yourself, “Okay, I have heard and seen this several times and I must know more about it!” Once you have reached that point you will find yourself directing all of your attention to the word’s definition. And that motivation is because you have seen it so many times. There is still a problem though, because in nursing school there are thousands upon thousands of words. By just reading you rely on vision to get you through and retain all of this knowledge. Although this is possible, and has probably worked in the past, this is not an ideal way to study for nursing classes. After you look at the words and read the definitions a few times, go back and underline each word and definition. This helps you engage the body by adding movement. Then say the words and definitions out loud. Doing so engages the three senses of sight, touch, and sound. You are also using all three learning styles, which are visual, auditory, and kinesthetic. No matter what type of learner you are predominately, if you constantly use all three styles it helps to lock the information into your brain. I have also noticed that these steps train you to have a photographic memory. This is especially important when there is a long chart you need to memorize. For example, in pediatric nursing you need to know a very extensive growth and development chart, and if you do not have kids yet it can be extremely foreign. At first, incorporating this new study method may be challenging. But once you start using it and see your exam results rise, you will never turn back. After
Caroline Porter Thomas (How to Succeed in Nursing School)
L'autre fait notable, c'est qu'un médiatique a désormais le droit de plaisanter avec son outil professionnel, en certains cas. Un général, par exemple, n'avait pas le droit de plaisanter à la tête de ses troupes, ou un juge en prononçant ses sentences, et je ne sais même pas s'il est encore tout à fait permis au respon-sable d'une centrale où l'on produit l'énergie nucléaire de plaisanter, au sens propre du mot, à l'instant où il fait connaître ses directives. Mais il est littéralement hors de doute qu'un médiatique ne peut être privé de ce droit. C'est un salarié remarquablement spécial, qui ne reçoit d'ordre de personne, et qui sait tout sur tous les sujets dont il veut parler. Il porte donc, suivant sa déontologie, qu'il ne saurait trahir sans hideuse concussion, littéralement toute la conscience de l'époque. S'il n'avait pas le droit de plaisanter, où serait donc la liberté de la presse et, partant, la démocratie elle-même?
Guy Debord (Cette mauvaise réputation...)
It’s impossible to be the Mockingjay. Impossible to complete even this one sentence. Because now I know that everything I say will be directly taken out on Peeta. Result in his torture. But not his death, no, nothing so merciful as that. Snow will ensure that his life is much worse than death.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
He put a fresh sheet in and, after spending a few moments wishing he were doing something quite different, typed: Gregory: But this is really qutie farcical. Like all the other lines of dialogue he had so far evolved, it struck him as not only in need of instant replacement, but as requiring a longish paragraph of negative stage direction in the faint hope of getting it said ordinarily, and not ordinarily in inverted commas, either. Experimentally, he typed: (Say this without raising your chin or opening your eyes wide or tilting your face or putting on that look of vague affront you use when you think you are "underlining the emergence of a new balance of forces in the scheme of the action" like the producer told you or letting your mind focus more than you can help on sentences like "Mr. Recktham managed to breathe some life into the wooden and conventional part of Gregory" or putting any more expression into it than as if you were reading aloud something you thought was pretty boring (and not as if you were doing an imitation of someone on a stage reading aloud something he thought was pretty boring, either) or hesitating before or after "quite" or saying "fusskle" instead of "farcical".) Breathing heavily, Bowen now x-ed out his original line of dialogue and typed: Gregory: You're just pulling my leg.
Kingsley Amis (I Like it Here)
How did you know where I live?” Deanna asked when he turned onto her street. “I run by here on my way to the gym. I’ve seen you a few times.” That was the absolute truth. He did run by on his way to the gym. And he’d seen her a few times. He’d also asked around and known where to look. “Oh, okay.” She narrowed her eyes at him. “I don’t think that’s the whole story.” Normally, being caught in a partial truth wouldn’t have been high up on the list of things Lucky liked, but the fact that she knew, or at least had a feeling, that he wasn’t being totally forthright made him happy. He liked that she had called him out. “I may have asked Sue Ann, Nikki, and then finally Lauren, who hooked me up with my rental, if anyone knew where you were staying.” He smiled the smile that usually got him out of the stickiest of spots. He called it “old faithful.” And it didn’t let him down. A smile spread across Deanna’s face even as she was shaking her head. “Jessie’s right. You’re not as cute as you think you are.” “Does that mean you think I’m cute?” “I think you’re trouble.” She blushed as her hand reached for the door. “Goodnight.” “What?” he asked, purposely sounding offended. “You’re not even going to ask if I want to come in for coffee?” She stared at the door handle and licked her lips, which made his solider stand at attention. With only the moonlight streaming in through the window, he could tell by her hesitancy that she was battling an internal war of whether or not she should. He waited. Though he wanted to use his charms to give her a gentle, or not so gentle, shove in the direction of green-light-go, he didn’t want her to do anything she didn’t want to. So, as much as it killed him to know that, within a few sentences, he could have her laughing and inviting him in, he remained quiet. After inhaling deeply through her nose, she opened the door, and his heart sank as his balls turned bluer than a Smurf. He smiled up at her to hide his discomfort and disappointment. He would walk her to the door, but he didn’t trust himself to be that close to her and not touch her or kiss her or do a lot of other things he’d been dying to do to her. Things he knew she wanted and, with a little encouragement, would be begging for. But that’s not how he wanted this to be. Not with her. She was too special. This was too special. “Goodnight. Thank you for coming with me today. You were great with the kids. They loved you. I…” He stopped himself. Had he been about to say that he loved her? No. Maybe? Shit. He didn’t have time to think about that. Trying to play it off, he finished his thought, “I really loved having you there.” A small grin pulled at her lips. “Fine. You can come in for coffee.” He didn’t need to be asked twice. He was out of the SUV and beside her so fast that it made her laugh. “Okay,” he agreed. “I’ll come in, but only because you asked so nicely.” She was still chuckling and shaking her head at him—which she did a lot—as they made their way up to the door. Once she’d opened it, he stepped inside. Small and cozy, it smelled like clean and fresh, just like Deanna. A small couch rested against the far wall, and a longer one, with a knit blanket thrown over it, was near the window. A flat screen television was on the wall opposite the larger couch, and a small fireplace took up one corner. Lucky could picture Deanna curled up on the couch, in sweats with her hair pulled up, showcasing her sexy neck, the fire roaring as she watched television. At the thought, the same word that continued to pop up in his mind made an appearance. Mine. “Do you want decaf or…” she asked over her shoulder as she closed the door. “Oh, I don’t want coffee, but thanks.” He grinned and took a step closer to her. Stepping back, she was flat against the door. Then she pointed accusatorily at him. “You said you wanted coffee.” “No. I didn’t.
Melanie Shawn
An hour later, I laughed as Fallon danced around Luke. Everyone, except Ryder and me, had finished off several more shots, and Fallon was drunk. Usually I found drunk people annoying, but tonight she was pretty hilarious. She even made drinking look fun. Ryder grinned. “You’re friend isn’t going to be able to stand upright much longer.” Fallon spun in our direction. “Hey, she’s the one over a table, not walking right.” She pointed at me. I slapped my hand over my mouth and tried not to laugh at her random slew of Ryder comments meshed into one indecipherable sentence. “What?” Ryder’s eyebrows scrunched as he stared at her then me. “Nothing. She’s drunk.” I pressed my lips together to avoid laughing. He smirked. “Are you?” I shook my head. “Nope.” Fallon jumped back in. “No way. Brinley’s drunk!” Her eyes widened. “Hell just froze over.” She shifted her gaze to Ryder. “Don’t be taking advantage of my roomie. I know you want to occupy Vagistan and all that but she’d be sooo pissed at—” “Oh my God. We’re done.” I pressed my hand to her mouth as my face seared with embarrassment. Luke bent over in hysterics. “I think I love your friend.” “Awesome. She’s yours. Just don’t let her talk anymore.” “Keep her mouth busy? On it.
Renita Pizzitola (Just a Little Crush (Crush, #1))
This was a personal and direct attack on the assembled senators. Caligula presented a historical analysis of the behavior of the aristocracy under Tiberius, evidently supported by the advance work and documentary research of his freedmen. He confronted the senators with the fact that members of their own body, motivated by opportunistic desires to win the emperor’s favor, had denounced other members. Furthermore, they themselves had pronounced the sentences of death against their colleagues. One can vividly imagine how the members of that august body felt as the freedmen on the imperial staff quoted from the records the statements they themselves had made during the trials for treason and then read the verdicts that the whole Senate had handed down. It must have been even worse, however, that in their presence—to their consternation, being senators—Caligula broached the subject of the opportunism and flattery that had characterized the Senate’s communication with the emperor since the time of Augustus. By confronting the aristocrats in the Senate first with the honors they had bestowed on Tiberius and Sejanus and then with their completely contrary behavior after the two men’s deaths—actions no one could deny—he exposed their behavior toward the emperor as consisting of hypocrisy, deception, and lies. Yet
Aloys Winterling (Caligula: A Biography)
Wrath bared his fangs. “John, as God is my fucking witness, I will cut you if you don’t—” “Easy, there, big guy,” V gritted out. “I’m going to translate. You want to hit the library where we can—” “No, I want to fucking know where my shellan is!” Wrath boomed. John started signing, and whereas most of the time people translated half sentences sequentially, V waited until he’d finished the whole report. A couple of the Brothers muttered in the background as they shook their heads. “In the library,” V ordered the King in a way John never could have. “You’re gonna wanna do this in the library.” Wrong thing to say. Wrath wheeled on the Brother and went for him with such speed and accuracy no one was prepared: One minute V was standing next to the King; the next he was defending himself against an attack that was as unprovoked as it was . . . well, vicious. And then things went shit-wild. Like Wrath knew he was on the thin edge of a bad ledge, he broke off from V, and went total wrecking ball on the billiards room. The first thing he ran into was the pool table Butch was chilling next to—and there was barely any time for the cop to get that ashtray up off the side rails: Wrath grabbed the gunnels and flipped the thing like it was nothing but a card table, the mahogany and slate-topped behemoth flying up so high, it wiped out the hanging light fixture above, its weight so great it splintered the marble floor beneath on landing. Without missing a breath, the King EF5’d into his next victim . . . the heavy leather sofa that Rhage had just leaped up off. Talk about your couch-icopters. The entire thing came at John at about five feet off the floor, the pair of ends trading places as it spun around and around, cushions flying in all directions. He didn’t take it personally—especially as its mate do-si-doed with the bar, smashing the top-shelf bottles, liquor splashing all over the walls, the floor, the fire that was crackling in the hearth. Wrath wasn’t finished. The King picked up a side table, hauled it overhead, and pitched it in the direction of the TV. It missed the plasma screen, but managed to shatter an old-fashioned mirror—although the Sony didn’t last. The coffee table that had been in between the two sofas did that deed, killing the muted image of the two Boston guys and the old man from Southie with the baseball bat shilling for DirectTV. The Brothers just let Wrath go. It wasn’t that they were afraid of getting hurt. Hell, Rhage stepped in and caught the first couch before it tore a hunk off of the archway’s molding. They just weren’t stupid. Wrath - Beth x Overnight = Psycho-hose Beast
J.R. Ward (The King (Black Dagger Brotherhood, #12))
J.I. Packer writes, “It [knowing God] is the most practical project anyone can engage in. Knowing about God is crucially important for living our lives.” Packer continues, “Disregard the study of God, and you sentence yourself to stumble and blunder through this life blindfolded, as it were, with no sense of direction and no understanding of what surrounds you.
J.I. Packer
He said that the church “has an unconditional obligation to the victims of any ordering of society.” And before that sentence was over, he took another leap, far bolder than the first—in fact, some ministers walked out—by declaring that the church “has an unconditional obligation to the victims of any ordering of society, even if they do not belong to the Christian community.” Everyone knew that Bonhoeffer was talking about the Jews, including Jews who were not baptized Christians. Bonhoeffer then quoted Galatians: “Do good to all men.” To say that it is unequivocally the responsibility of the Christian church to help all Jews was dramatic, even revolutionary. But Bonhoeffer wasn’t through yet. 154 The third way the church can act toward the state, he said, “is not just to bandage the victims under the wheel, but to put a spoke in the wheel itself.” The translation is awkward, but he meant that a stick must be jammed into the spokes of the wheel to stop the vehicle. It is sometimes not enough to help those crushed by the evil actions of a state; at some point the church must directly take action against the state to stop it from perpetrating evil. This, he said, is permitted only when the church sees its very existence threatened by the state, and when the state ceases to be the state as defined by God. Bonhoeffer added that this condition exists if the state forces the “exclusion of baptized Jews from our Christian congregations or in the prohibition of our mission to the Jews.
Eric Metaxas (Bonhoeffer: Pastor, Martyr, Prophet, Spy)
I couldn't help but nod agreement to this observation: The survival of the West depends on Americans reaffirming their Western identity and Westerners accepting their civilization as unique not universal and uniting to renew and preserve it against challenges from non-Western societies.  Of course, he lost me on the very next sentence.  Avoidance of a global war of civilizations depends on world leaders accepting and cooperating to maintain the multicivilizational character of global politics. "What crap."  I felt like I was speaking directly to him.  "Avoid a global war my ass.  We're in a fucking global war, you moron." I kept reading, fascinated someone so smart could understand so clearly that hate, envy, and mistrust dominate not just the lives of people but of civilizations as well, and yet avoid the obvious conclusion that survival demands getting rid of those people who hate, envy, and mistrust you.  Academics really do live in ivory towers.  If this Huntington guy had spent just a few days in my world, he'd have come to more sensible conclusions. By sunset, I'd struggled through about a third of the book.  That and finding a secluded bush where I could piss after drinking a whole thermos of coffee was all I accomplished.  The only other park visitors that day were women with baby strollers.  I watched them all anyway.  Maybe Rebecca Goldstein was smart enough to pass herself off as a mom walking her kid.  But none of them headed down the path toward the footbridge.  Finally I caught the bus back to my apartment, fixed myself a sandwich and drank a beer before hitting the
David E. Manuel (Killer Protocols (Richard Paladin Series))
Practice: Unpacking the Word Hoard This practice builds on the basic practices you’ve already learned. It has two parts: First, begin to freewrite (see Chapter 2). After a couple of minutes, let your attention shift from whatever you are saying to the words that are coming to you. And now begin to collect only words, one word at a time, keeping the pen moving as you do so. If your mind goes blank, keep writing the last word you wrote over and over, until you think of another one. Remember to breathe, to slow down. You need not know a word’s meaning to write it down. You are not trying to make sense, or to write complete sentences: You are just collecting words, letting one word lead you to the next. Try to stay in the moment with each word as it comes to you. Listen to it, savor it. (With this practice, as with all the exercises in this book, remember that you are in charge. If your words start taking you someplace you don’t want to go, stop, take a deep breath, relax, and change direction.) Take five or ten minutes for this practice, then take a minute or two to reflect on how the practice went for you. What did you notice? Now, for the second part of the practice, go through the words you collected, reading them out loud slowly, one word at a time, and mark the words you particularly like. Perhaps they have a certain energy, or you like the way they sound, or they remind you of something. The reason doesn’t matter; just mark them. And, as you read, add to your list any new words you like that occur to you. Now take a moment to read your marked words out loud; listen to them. What do you notice?
Barbara Baig (Spellbinding Sentences: A Writer's Guide to Achieving Excellence and Captivating Readers)
Without allowing herself a moment to contemplate the matter further, she surged into motion, scooting around the first row of chairs and plopping to the floor directly behind Miss Griswold and right in between two young ladies, neither of whom Wilhelmina had ever been introduced to. “Pretend I’m not here,” she whispered to a young lady sporting a most unfortunate hairstyle, who looked down at her as if she’d lost her mind. The young lady blinked right before she smiled. “That might be a little difficult, Miss Radcliff, especially since you’re sitting on my feet.” “Goodness, am I really?” Wilhelmina asked, scooting off the feet in question even as she pushed aside a bit of ivory chiffon that made up the young lady’s skirt. “Shall we assume you’re hiding from someone?” the young lady pressed. “Indeed, but . . . don’t look over at the refreshment table. That might draw unwanted notice.” Unfortunately, that warning immediately had the young lady craning her neck, while the other young lady sat forward, peering over Miss Griswold’s shoulder in an apparent effort to get a better view of the refreshment table. “Who are you hiding from?” Miss Griswold asked out of the corner of her mouth, having the good sense to keep her attention front and center. “Mr. Edgar Wanamaker, the gentleman you were inquiring about,” Wilhelmina admitted. “Mr. Wanamaker’s here?” the young lady with the unfortunate hairstyle repeated as she actually stood up and edged around Wilhelmina, stepping on Wilhelmina’s hand in the process. “Is he the gentleman with the dark hair and . . . goodness . . . very broad shoulders . . . and the one now looking our way? Why, I heard earlier this evening that he’s returned to town with a fortune at his disposal—a fortune that, rumor has it, is certain to turn from respectable to impressive in the not too distant future.” “You don’t say,” Wilhelmina muttered as she tried to tug her hand out from underneath the lady’s shoe. “Miss Cadwalader, you’re grinding poor Miss Radcliff’s hand into the floor.” Looking up, Wilhelmina stopped her tugging as she met the gaze of the other young lady sitting in the second row of the wallflower section, a lady who was looking somewhat appalled by the fact she’d apparently spoken those words out loud. Without saying another word, the lady rose to her feet, shook out the folds of a gown that was several seasons out of date, whispered something regarding not wanting to be involved in any shenanigans, and then dashed straightaway. “I wasn’t aware Miss Flowerdew was even capable of speech,” the lady still standing on Wilhelmina’s hand said before she suddenly seemed to realize that she was, indeed, grinding Wilhelmina’s hand into the ground. Jumping to the left, she sent Wilhelmina a bit of a strained smile. “Do forgive me, Miss Radcliff. I fear with all the intrigue occurring at the moment, paired with hearing Miss Flowerdew string an entire sentence together, well, I evidently quite lost my head and simply didn’t notice I was standing on you.” She thrust a hand Wilhelmina’s way. “I’m Miss Gertrude Cadwalader, paid companion to Mrs. Davenport. Please do accept my apologies for practically maiming you this evening, although rest assured, it is an unusual event for me to maim a person on a frequent basis.” Taking the offered hand in hers—although she did so rather gingerly since her hand had almost been maimed by Miss Cadwalader—Wilhelmina gave it a shake, a circumstance she still found a little peculiar, but resisted when Miss Cadwalader began trying to tug her to her feet. “How fortunate for Mrs. Davenport that you don’t participate in maiming often,” she began. “But if you don’t mind, I prefer staying down here for the foreseeable future, since I have no desire for Mr. Wanamaker to take notice of me this evening.” “Ah,
Jen Turano (At Your Request (Apart from the Crowd, #0.5))
In your care I will be released from my worries” (CIL 11.137). In a few brief sentences, this man’s colorful life, during which he passed from freedom to slavery to freedom and ultimately to prosperity, is memorialized. An aspect of life that these tombstones bring to light is the strong emotions that tied together spouses, family members, and friends. One grave marker records a husband’s grief for his young wife: “To the eternal memory of Blandina Martiola, a most blameless girl, who lived eighteen years, nine months, five days. Pompeius Catussa, a Sequanian citizen and a plasterer, dedicates this monument to his wife, who was incomparable and very kind to him. She lived with him five years, six months, eighteen days without any shadow of a fault. You who read this, go bathe in the baths of Apollo as I used to do with my wife. I wish I still could” (CIL 1.1983). The affection that some parents felt for their children is also reflected in these inscriptions: “Spirits who live in the underworld, lead innocent Magnilla through the groves and the Elysian Fields directly to your places of rest. She was snatched away in her eighth year by cruel fate while she was still enjoying the tender time of childhood. She was beautiful and sensitive, clever, elegant, sweet, and charming beyond her years. This poor child who was deprived of her life so quickly must be mourned with perpetual lament and tears” (CIL 6.21846). Some Romans seemed more concerned with ensuring that their bodies would lie undisturbed after death than with recording their accomplishments while alive. An inscription of this type states: “Gaius Tullius Hesper had this tomb built for himself, as a place where his bones might be laid. If anyone damages them or removes them from here, may he live in great physical pain for a long time, and when he dies, may the gods of the underworld deny entrance to his spirit” (CIL 6.36467). Some tombstones offer comments that perhaps preserve something of their authors’ temperaments. One terse inscription observes: “I was not. I was. I am not. I care not” (CIL 5.2893). Finally, a man who clearly enjoyed life left a tombstone that included the statement: “Baths, wine, and sex ruin our bodies. But what makes life worth living except baths, wine, and sex?” (CIL 6.15258). Perhaps one of the greatest values of these tombstones is the manner in which they record the actual feelings of individuals, and demonstrate the universality across time, cultures, and geography of basic emotions such as love, hate, jealousy, and pride. They also preserve one of the most complicated yet subtle characteristics of human beings—our enjoyment of humor. Many of the messages were plainly drafted to amuse and entertain the reader, and the fact that some of them can still do so after 2,000 years is one of the best testimonials to the humanity shared by the people of the ancient and the modern worlds.
Gregory S. Aldrete (The Long Shadow of Antiquity: What Have the Greeks and Romans Done for Us?)
Legal obfuscation and amnesty schemes The UPA government is trying to use every trick of the trade to provide escape routes for black money looters. Take, for example, the complex strategy being adopted to change the colour of money from black to white, with a unique ‘Fair and Lovely’ amnesty recipe. The press reported in 2011 that the Central Board of Direct Taxes (CBDT) was “seriously considering” recommending to the government a scheme on the lines of the Voluntary Disclosure of Income Scheme (VDIS) announced in 1996 to bring back black money stashed in tax havens abroad for productive use in India. It is reported that the source of the money will not have to be disclosed, but criminal action will be taken if the money (or the assets) pertain to proceeds of crime. How the two halves of the sentence can be harmonised defies logic. In a democracy, every citizen is entitled to know the character and integrity of every other citizen, lest one day a crook manipulates a constituency of voters and colleagues in his party and occupies the office of prime minister. Concealing vast amounts of money and depriving a poverty-stricken nation of the revenue it badly needs is a criminal offence by itself. How would we find out whether or not one such criminal is already in office, instead of being in Tihar Jail?
Ram Jethmalani (RAM JETHMALANI MAVERICK UNCHANGED, UNREPENTANT)
All right there, mate?’ Clark jumped and turned round. He straightened up and looked at Billy, recognition taking a few seconds. Billy’s hair was shorter now, and his face was tanned. ‘Christ, you startled me,’ he said. ‘What have you got there?’ Clark held up the jar by a piece of tatty string. ‘Sticklebacks!’ For a moment his blue eyes shone with excitement, then they clouded over. He ran a wet hand through his red hair and swept it off his face. His freckles were more pronounced than usual, and for a moment Billy saw him as an eleven-year-old again. He felt his throat constrict, which made his next sentence a strangled croak. ‘We had fun, didn’t we, Clark?’ Clark snorted and set the jar of fish down on a large stone. He waded out of the water and sat down heavily on the bank. Billy edged closer and then tentatively sat down next to him. ‘Don’t get too comfortable,’ said Clark. ‘Look, Clark. Can’t we be friends again?’ ‘Can’t we be friends again?’ mimicked Clark. ‘We’re not in the school playground now, Billy.’ ‘Why did you come here?’ asked Billy. Clark thought for a moment. ‘To reflect.’ He reached inside his jacket and pulled out a brown envelope. ‘Here,’ he said, thrusting it into Billy’s hands. Billy opened the envelope and stared at the contents. ‘You’ve been called up?’ ‘Military training,’ explained Clark. Billy knew it was only a matter of time. Since Parliament had passed the Act in April, all men aged twenty and twenty-one were required to undertake six months’ military training. He didn’t know what to say. ‘Clark, look …’ He passed the envelope back. ‘How’s Chrissie?’ asked Clark, looking Billy directly in the eye. Billy was taken by surprise at the sudden mention of her name and picked at a blade of grass. ‘She’s fine, thanks. In fact she’s with me now, over there.’ Clark looked in the direction of Billy’s finger and Chrissie slid out sheepishly from behind a tree.
Kathryn Hughes (The Letter)
His thought is both optimistic and anguished. It is anguished because he sees that we are sentenced by our freedom, imprisoned by it (since it makes us afraid); optimistic because Sartre believed that we are truly free and can indeed make free choices.
Jean-Paul Sartre (Nausea)
The moment I wished every sentence, everything I knew, that began with England would end with “and then it all died, we don’t know how, it just all died” was when I saw the white cliffs of Dover. I had sung hymns and recited poems that were about a longing to see the white cliffs of Dover again. At the time I sang the hymns and recited the poems, I could really long to see them again because I had never seen them at all, nor had anyone around me at the time. But there we were, groups of people longing for something we had never seen. And so there they were, the white cliffs, but they were not that pearly majestic thing I used to sing about, that thing that created such a feeling in these people that when they died in the place where I lived they had themselves buried facing a direction that would allow them to see the white cliffs of Dover when they were resurrected, as surely they would be. The white cliffs of Dover, when finally I saw them, were cliffs, but they were not white; you would only call them that if the word “white” meant something special to you; they were dirty and they were steep; they were so steep, the correct height from which all my views of England, starting with the map before me in my classroom and ending with the trip I had just taken, should jump and die and disappear forever.
Jamaica Kincaid
Good God," cries the Mother. Everything inside her suddenly begins to cower and shrink, a thinning of bones. Perhaps this is a soldier's readiness, but it has the whiff of death and defeat. It feels like a heart attack, a failure of will and courage, a power failure: a failure of everything. Her face, when she glimpses it in a mirror, is cold and bloated with shock, her eyes scarlet and shrunk. She has already started to wear sunglasses indoors, like a celebrity widow. From where will her own strength come? From some philosophy? From some frigid little philosophy? She is neither stalwart nor realistic and has trouble with basic concepts, such as the one that says events move in one direction only and do not jump up, turn around, and take themselves back. The Husband begins too many of his sentences with "What if." He is trying to piece everything together like a train wreck. He is trying to get the train to town.
Lorrie Moore (Birds of America)
The transition statement is the first sentence or two of the monologue. It takes the form of a direct observation of concern (DOC), a direct observation of guilt (DOG), or some variant that falls between the two.
Philip Houston (Get the Truth: Former CIA Officers Teach You How to Persuade Anyone to Tell All)
If you want to become a famous speaker, start speaking to someone... anyone. If you want to write a book, start with a sentence. If you want to move, follow the big green signs that will direct you out of town…
Pat Rigsby (The Little Black Book of Fitness Business Success)
You have such a lovely, direct nature. You know the one where you just say whatever’s on your mind, with as many cuss words as you can cram into a sentence, and forget that people around you might find your potty mouth offensive?
Dakota Cassidy (Accidentally Dead (Accidental Friends, #2))
Deaf people are direct and they communicate with their thoughts and feelings. They do not hide behind flowery words. They are economical about the way they communicate. For the same reason, they listen well too.
R. Gopalakrishnan (A Comma in a Sentence)
No congratulatory telegram, no party—just a one-sentence acknowledgment when Brennan bumped into him: “Hey, Walter, that’s a pretty nice thing you did winning that.” In retrospect, Brennan had to laugh: “Can you imagine! The academy award and he acted like it was a prize in a box of crackerjacks.” Actually, this was a typical Goldwyn ploy. He always worried that actors under contract would begin making demands after they became successful. When David Niven was assigned his first role on the Goldwyn lot, he arrived to find another young hopeful, Dana Andrews, dressed in the same outfit that Niven was to wear. When Niven asked what was going on, the perplexed Andrews could only say that Goldwyn had directed him to show up on set in the clothes provided for him. Goldwyn later confessed that he was sending a message to Niven: “You can be replaced!
Carl Rollyson (A Real American Character: The Life of Walter Brennan (Hollywood Legends Series))
This child-directed speech may be characterized by a slower rate of delivery, higher pitch, more varied intonation, shorter, simpler sentence patterns, stress on key words, frequent repetition, and paraphrase. Furthermore, topics of conversation emphasize the child’s immediate environment, picture books, or experiences that the adult knows the child has had. Adults often repeat the content of a child’s utterance, but they expand or recast it into a grammatically correct sentence. For example, when Peter says, ‘Dump truck! Dump truck! Fall! Fall!’, Lois responds, ‘Yes, the dump truck fell down.
Patsy M. Lightbown (How Languages are Learned)
Even so, in life the key word is intuit; movies have the raw power to convey thoughts visually, through action; plays, via dialogue. While all three can be incredibly compelling (especially life), ultimately, they still leave us guessing. In prose, those thoughts, clearly stated, are where the story lives and breathes, because they directly reveal how the protagonist is affected by—and how she interprets the meaning of—what happens to her. That
Lisa Cron (Wired for Story: The Writer's Guide to Using Brain Science to Hook Readers from the Very First Sentence)
ASL conveys the differences between subject and object as specifically as English does. It simply employs a change of direction rather than a change of pronouns or of sign order. Liz uses the grammar of ASL, which is perfectly clear and reasonable to the students, to teach them English grammar, which they find so unwieldy. The former is nothing they were ever taught; they acquired it naturally through use, just as hearing students understand how to form proper English sentences before they ever receive any formal instruction. This method ultimately serves two purposes. As the students learn the rules of English grammar, they are also receiving a subtler message: that ASL has an equally complex and worthy grammar, a grammar they have already mastered.
Leah Hager Cohen (Train Go Sorry)
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Amanda Flowers
Mouth agape, breathing labored, his own eyes bulging, he’s unable to form a coherent sentence, remaining annoyingly mute. Men don’t realize, they’re busted either way they choose to go in times like these. No words scream, “I’m gonna dig my hole deeper if I talk because you’ll outsmart me” louder than actual silence. And if they speak? They’re right—we will, in fact, one up them until that deceptive foot is shoved directly in their mouth.
Angela Graham (Handled (Handled, #1))
We are particularly concerned with the question to what degree approval and implementation of an explanatory model minimising collective or institutional responsibility for certain problems and emphasising individual responsibility promotes detrimental perceptions and behaviours amongst individuals, who adopt and adapt similar explanations to justify their own lack of responsibility. For instance, admissibility of diminished responsibility arguments in criminal sentencing can be viewed as a direct consequence of a broader public acceptance of explanatory models purporting to prove a direct causal relationship between pharmacology, mental health and/or diminished ability to function.
Daniel Waterman