Slippery Short Quotes

Long human words (the longer the better) were easy, unmistakable, and rarely changed their meanings . . . but short words were slippery, unpredictable, changing their meanings without any pattern.

What does it feel like to be alive? Living, you stand under a waterfall. You leave the sleeping shore deliberately; you shed your dusty clothes, pick your barefoot way over the high, slippery rocks, hold your breath, choose your footing, and step into the waterfall. The hard water pelts your skull, bangs in bits on your shoulders and arms. The strong water dashes down beside you and you feel it along your calves and thighs rising roughly backup, up to the roiling surface, full of bubbles that slide up your skin or break on you at full speed. Can you breathe here? Here where the force is the greatest and only the strength of your neck holds the river out of your face. Yes, you can breathe even here. You could learn to live like this. And you can, if you concentrate, even look out at the peaceful far bank where you try to raise your arms. What a racket in your ears, what a scattershot pummeling! It is time pounding at you, time. Knowing you are alive is watching on every side your generation's short time falling away as fast as rivers drop through air, and feeling it hit.

It is so easy to get sucked into the if-only game, and playing it is a short and slippery slide into despair.

Love is not a shining star. Love is not the warm glow of the sun. Love is a river. Sometimes it’s shallow and other times a mile deep. It flows toward some and away from others. It’s rocky, slippery, and you can drown in it if you’re not careful. It creates ripples in the lives around us, and all we can hope for is to be a part of that river, no matter where it leads or how short the journey may be.

Home—what other home existed for one who belonged nowhere, but the stormy one in the heart of another for a short time? Was not this the reason why love, when it struck the hearts of the homeless, shook and possessed them so completely—because they had nothing else? Had he not for this very reason tried to avoid it? And had it not followed him and overtaken him and struck him down? It was harder to rise again on the slippery ice of a foreign land than on familiar and accustomed ground.

Since Sienna was in an unusually cooperative mood, the session went well. He was returning from it midmorning - after a short detour - when a small naked body barreled into him in one of the main corridors. Steadying the boy with Tk, he looked down. The child lifted a finger to his lips. "Shh. I'm hiding." With that, he went behind Judd and scrambled into a small alcove. "Quickly! Not sure why he obeyed the order, Judd backed up to stand in front of the alcove, arms crossed. A flustered Lara came running around the corner a few seconds later. "Have you seen Ben? Four-year-old. Naked as a jaybird?" "How tall is he?" Judd asked in his most overbearing Psy manner. Lara stared. "He's four. How tall do you think he is? Have you seen him or not?" "Let me think...did you say he was naked?" "He was about to be bathed. Slippery little monkey." A giggle from behind Judd. Lara's eyes widened and then her lips twitched. "So you haven't seen him?" "Without a proper description, I can't be sure." The healer was obviously trying not to laugh. "You shouldn't encourage him - he's incorrigible as it is." Judd felt childish hands on his left calf and then Ben poked his head out. "I'm incorwigeable, did ya hear?" Judd nodded. "I do believe you've been found. Why don't you go have your bath?" "Come on, munchkin." Lara held out a hand. Surprisingly strong baby arms and legs wrapped around Judd's leg. "No. I wanna stay with Uncle Judd." Lara anticipated his question. "Ben spends a lot of time with Marlee." "I spend a lot of time with Marlee," a small voice piped up.

Suddenly she saw a man who was snapping her picture. She stared at him and realized that he was short, had black hair, a hard face, and was wearing a gray suit. He looked to be of Italian descent. Could he possibly be Benny the Slippery One Caputti?

Beware, then, of the long word that's no better than the short word: "assistance" (help), "numerous" (many), "facilitate" (ease), "Individual" (man or woman), "remainder" (rest), "initial" (first), "implement" (do), "sufficient" (enough), "attempt" (try), "referred to as" (called), and hundreds more. Beware of all the slippery new fad words: paradigm and parameter, prioritize and potentialize. They are all weeds that will smother what you write. Don't dialogue with someone you can talk to. Don't interface with anybody.

If ‘myth’ is a slippery term, so is ‘classical’. It is common shorthand for ‘ancient Greek and Roman’. But this shorthand has a history, and a bias.

He should have known better because, early in his learnings under his brother Mahmoud, he had discovered that long human words (the longer the better) were easy, unmistakable, and rarely changed their meanings . . . but short words were slippery, unpredictable, changing their meanings without any pattern. Or so he seemed to grok. Short human words were never like a short Martian word—such as “grok” which forever meant exactly the same thing. Short human words were like trying to lift water with a knife.

Natural” is a word that invites suspicion. It should always present itself in quotation marks, A sign that its meaning is slippery. Humans can justify almost anything by calling it natural. Naturalness is the pervasive myth—the one to root out of your head.

Darknesse and light divide the course of time, and oblivion snares with memory, a great part even of our living beings; we slightly remember our felicities, and the smartest stroaks of affliction leave but short smart upon us. Sense endureth no extremities, and sorrows destroy us or themselves. To weep into stones are fables. Afflictions induce callosities, miseries are slippery, or fall like snow upon us, which notwithstanding is no unhappy stupidity. To be ignorant of evils to come, and forgetfull of evils past, is a mercifull provision in nature, whereby we digest the mixture of our few and evil days, and our delivered senses not relapsing into cutting rememberances, our sorrows are not kept raw by the edge of repetitions.

There was a doily on the chest of drawers. I eyed it warily. I have nothing against doilies, but they’re a slippery slope. You start with doilies, then pretty soon it’s crocheted table runners and then it’s a short step to antimacassars.

Love is not a shining star. Love is not the warm glow of the sun. Love is a river. Sometimes it’s shallow and other times a mile deep. It flows toward some and away from others. It’s rocky, slippery, and you can drown in it if you’re not careful. It creates ripples in the lives around us, and all we can hope for is to be a part of that river, no matter where it leads or how short the journey may be. I hoped one day to be deep in the waters of a river that flowed back to me, one that spanned such a distance that I couldn’t see the shore. But I knew in my heart I would always be the one standing on the outside, watching others fall into the deep end.

He stood just near the club’s steps, his back to me along the foggy English night, and it was not until I’d passed him and began my ascent of the many steps that I’d heard his voice. The voice I knew, in all my years of living upon the Earth, that I would never forget. Even then I had known this. It was the slippery way of his tongue, or perhaps it was the coolness of which his words passed across the air and slid its way into my ears as though they were only meant for me.

Pre-forty, you can wash your face with Tide and use Vaseline for moisturizer, toss on a little mascara and lip gloss, and you're a friggin' cover girl. Those of us on the slippery slope that is the Other Side of Forty can testify-- those days are so over. You pore over labels promising everything short of actual rebirth-- you will buy most of them for an average of $450 per quarter once-- and none of them will work. You will still be getting older and poorer with every passing purchase.

Taken to extremes, life is a process of reorientation after shame or glory and when anxiety sweeps in there is a relief at not having left any definite tracks. Before you understand where the emotion is going to lead, you talk to anyone and everyone about the object of your love. All of a sudden, this stops. By then the ice is already thin and slippery. You realize that every word could expose your infatuation. Feigning indifference is as hard as acting normally and fundamentally the same thing. There is a resistance in the party who wants to leave, a fear of the unknown, of the hassle and of changing one's mind. A party not wanting to be left must exploit that resistance. But then they must restrain their need for clarity and honesty. The matter must remain unformulated. A party not wanting to be left must leave it to the one wanting to go to express the change. That is the only way to keep a person who does not want to be with you. Hence the widespread silence in the relationships of the world. Love needs no words. For a short period you can put your trust in wordless emotion. But in the long run there is no love without words and no love with words alone. Love is a hungry beast. It feeds off touch and repeated assurances. The sense of desolation in a flat that your lover has just left is the most complete sense of desolation that exists. Her desperation being real, she was extra-sensitive to the ways desperation could be expressed. When the brain perceives contact as possible, every houris too long. That is the state of enslavement. The state in which the prospect of intoxication takes over the organism.

Speaking of… I gotta go. I need to be at the field.” His voice rumbled through his chest and against my ear as he spoke. I sighed and stepped out of his arms. I was sad that our couple days together were over and I would be here tonight without him. Classes started tomorrow, and I knew we were going to see a lot less of each other now that the semester was starting. “I’ll walk you out,” I said and followed him to the door. Ivy was still digging through my clothes and called out a good-bye. “Just stay inside,” he said, palming the handle. “It’s cold and slippery out there. You’ll be safer in here.” I grimaced. “You’re probably right.” He grinned. “I’ll call you later, ‘kay?” I nodded. He released the door handle and closed the distance between us with one step. The toes of his shoes bumped against my boots and the front of his jacket brushed against me. My stomach fluttered and my heart rate doubled. The effect he had on me was nothing short of amazing. I tipped my head back so I could look up into his eyes, and the corner of his mouth lifted. He looked at me with so much affection in his gaze that emotion caught in my throat. He didn’t have to say anything because I heard everything just by looking in his eyes. My fingers curled around the hem of his shirt and tangled in the cotton fabric, and at the same time I stretched up, he bent down. The feel of his lips against me was my favorite sensation. Nothing compared to the way his mouth owned mine. His tongue stretched out, sweeping through my mouth with gentle pressure, and I sighed into him and sagged forward. A low laugh vibrated his chest and he pulled back. “Be careful walking to class tomorrow, huh? Don’t fall and hurt yourself.” I nodded, barely comprehending his words. He slipped out the door before reality came flooding back. I rushed forward, caught the closing door, and called out his name. He stopped and turned. The lopsided, knowing smile on his face was smug. “Good luck at practice,” I called, ignoring the few girls who stopped to watch us. “Thanks, baby.” I swear every girl within earshot sighed. I couldn’t even blame them. I shut the door and leaned against it. Ivy put her hands on her hips and looked at me. “I’m gonna need a mega supply of barf bags to put up with you two this semester.” I smiled.

What is a novel, anyway? Only a very foolish person would attempt to give a definitive answer to that, beyond stating the more or less obvious facts that it is a literary narrative of some length which purports, on the reverse of the title page, not to be true, but seeks nevertheless to convince its readers that it is. It's typical of the cynicism of our age that, if you write a novel, everyone assumes it's about real people, thinly disguised; but if you write an autobiography everyone assumes you're lying your head off. Part of this is right, because every artist is, among other things, a con-artist. We con-artists do tell the truth, in a way; but, as Emily Dickenson said, we tell it slant. By indirection we find direction out -- so here, for easy reference, is an elimination-dance list of what novels are not. -- Novels are not sociological textbooks, although they may contain social comment and criticism. -- Novels are not political tracts, although "politics" -- in the sense of human power structures -- is inevitably one of their subjects. But if the author's main design on us is to convert us to something -- - whether that something be Christianity, capitalism, a belief in marriage as the only answer to a maiden's prayer, or feminism, we are likely to sniff it out, and to rebel. As Andre Gide once remarked, "It is with noble sentiments that bad literature gets written." -- Novels are not how-to books; they will not show you how to conduct a successful life, although some of them may be read this way. Is Pride and Prejudice about how a sensible middle-class nineteenth-century woman can snare an appropriate man with a good income, which is the best she can hope for out of life, given the limitations of her situation? Partly. But not completely. -- Novels are not, primarily, moral tracts. Their characters are not all models of good behaviour -- or, if they are, we probably won't read them. But they are linked with notions of morality, because they are about human beings and human beings divide behaviour into good and bad. The characters judge each other, and the reader judges the characters. However, the success of a novel does not depend on a Not Guilty verdict from the reader. As Keats said, Shakespeare took as much delight in creating Iago -- that arch-villain -- as he did in creating the virtuous Imogen. I would say probably more, and the proof of it is that I'd bet you're more likely to know which play Iago is in. -- But although a novel is not a political tract, a how-to-book, a sociology textbook or a pattern of correct morality, it is also not merely a piece of Art for Art's Sake, divorced from real life. It cannot do without a conception of form and a structure, true, but its roots are in the mud; its flowers, if any, come out of the rawness of its raw materials. -- In short, novels are ambiguous and multi-faceted, not because they're perverse, but because they attempt to grapple with what was once referred to as the human condition, and they do so using a medium which is notoriously slippery -- namely, language itself.

Just as the two of them finished their plump white asparagus spears in white sauce, they were served a selection of grilled vegetables. To think that onions could become so sweet and rich simply by grilling them! Rika had never been a fan of shishito peppers, but the ones on the plate in front of her were fragrant, with a gentle taste. Before she knew it, she'd devoured many more vegetables than she had the other night in that Japanese bistro, just a few dozen meters from here. She was fairly sure that the red meat being cooked on a section of the hotplate not far from where they were sitting was for them. Eventually, clear juice began oozing from its surface. Even the smell of the melting fat was appealing and mild--- not aggressive or meaty. She watched transfixed as the red turned to pale pink, as the white fat grew translucent. The meat was cut up and served to them in pieces. Rika imagined it would be steaming hot, but when she brought one of the chunks to her lips, she found it to be just the right temperature. The comfort it brought was that of a warm, affectionate tongue entering her mouth. When she bit into the aromatic seared surface of the meat, the juice from the moist, rare sections came seeping out, making the lining of her cheeks tremble. A blood-colored filament flickered across her vision. 'Apparently the garlic-butter rice here is truly out of this world. They use plenty of butter, as well as the leftover meat juices.' Rika was looking at the rice cooking on the hotplate as she spoke. Cloaked in their mantle of amber butter, the grains shimmied and danced before her eyes. There was a sizzle as the chef poured on some soy sauce, and then the short, spirited tango was over. Bowls of the glistening bronze rice appeared before them. Swathed in meat juice and butter, each and every grain shone potently. The rich, heady aroma of the soy sauce stoked Rika's appetite. The garlic singed to a deep brown unleashed a perilous bitterness and astringency across her palate. Slippery with fat, the rice slid across the plane of her tongue and down her throat. The meat she'd eaten before had been fantastically flavorsome, but this rice that had absorbed its juices was truly formidable in its taste. With each movement of her jaw, she felt a new lease of power surging up her body. The sense of fullness brought on a comfortable lethargy, and Rika felt she could happily drop off right at that moment.