Underline Or Use Quotes

Solitude is used to teach us how to live with other people. Rage is used to show us the infinite value of peace. Boredom is used to underline the importance of adventure & spontaneity. Silence is used to teach us to use words responsibly. Tiredness is used so that we can understand the value of waking up. Illness is used to underline the blessing of good health. Fire is used to teach us about water. Earth is used so that we can understand the value of air. Death is used to show us the importance of life.

My favourite part of the gospels was in Matthew, when Jesus said: love your enemies, bless those who curse you, do good to those who hate you, and pray for those who spitefully use you and persecute you. I shared in this desire for moral superiority over my enemies. Jesus always wanted to be the better person, and so did I. I underlined this passage in red pencil several times, to illustrate that I understood the Christian way of life.

I used to underline passages in my English books, because certain lines crawled off the page, because those lines were magic and they meant something on a cosmic scale.

There is nothing wrong with underlining personal agency, but there is something unfair about using personal responsibility as a basis for assigning blame while simultaneously denying those who are being blamed the opportunity to exert agency in their lives

But in every way, the shared metaphors we use of female access to power - 'knocking on the door', 'storming the citadel', 'smashing the glass ceiling', or just giving them a 'leg up' - underline female exteriority. Women in power are seen as breaking down barriers, or alternatively as taking something to which they are not quite entitled.

As I write this it’s occurring to me that the books I most adore are the ones that archive the people who have handled them—dogears, or old receipts used as bookmarks (always a lovely digression). Underlines and exclamation points, and this in an old library book! The tender vandalisms by which, sometimes, we express our love.

God uses silence to teach us to use words responsibly. He uses tiredness so that we can understand the value of waking up. He uses illness to underline the blessing of good health. God uses fire to teach us about water. He uses earth to explain the value of air. He uses death to show us the importance of life.

It’s only when all one knows of life is abstracted and used as an underlining statement of significant patterning that you have what is both beautiful and permanent.

Perhaps it's my destiny to remain a bookkeeper forever, and for poetry and literature to remain simply butterflies that alight on my head and underline my own ridiculousness by their very beauty. In the future I'll be living quietly in a little house somewhere, enjoying a peaceful existence not writing the book I'm not writing now and, so as to continue not doing so, I will use different excuses to the ones I use now to avoid actually confronting myself.

Using something real does not destroy the fantastical; it underlines it.

There is a difference between details and clutter. Clutter is the books on your shelf that you’re never going to read, the stacked-up papers that have been untouched for months, the endless flotsam and jetsam in your car, your closet, your garage, your kitchen, your bedroom, and your office. Clutter is all those clothes that you haven’t worn in years filling all those shelves and drawers. Clutter is all those possessions you’ve got piled in the garage just in case you might need them someday. Even though it’s been seven years since you first made those piles and haven’t looked in them since. Details are those pictures that remind you why you do what you do. Details are those books that are filled with underlining and notes. Or the books that you actually will read. Details are those few items of clothing that you actually do wear. Details are those objects you use regularly that help you do better whatever it is you do. Details are the tools of your craft. Details remind you who you are, where you’ve been, and what your path is.

In college I used to underline sentences that struck me. They were not necessarily the same sentences the professors pointed out, which would turn up for further explication on an exam. I noted them for their clarity, their rhythm, their beauty and their enchantment. For surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do.

The industrialisation of England had quickened during Hardy’s life and in the novel he places great importance on rural culture and the need of man to interact with, and understand the natural world, however indifferent it may be to human survival. The author does not sketch a portrait of an idyllic rural scene, but highlights and details the devastating consequences and brute force of the natural world. Hardy uses these disasters to underline the prominence of chance or luck in life, rather than benevolent design by a creator and how this might impact moral decisions. Impressionist art also influences Hardy’s perception of reality and what knowledge each individual is capable of attaining in any situation.

Shit, had I used irregardless again? I’d carelessly used the word once in a five-page response in her class, and she’d double-underlined it and written NO in the margin.

I think of the beauty in the obvious, the way it forces us to admit how it exists, the way it insists on being pointed out like a bloody nose, or how every time it snows there is always someone around to say, “It’s snowing.” But the obvious isn’t showing off, it’s only reminding us that time passes, and that somewhere along the way we grow up. Not perfect, but up and out. It teaches us something about time, that we are all ticking and tocking, walking the fine line between days and weeks, as if each second speaks of years, and each month has years listening to forever but never hearing anything beyond centuries swallowed up by millenniums, as if time was calculating the sums needed to fill the empty belly of eternity. We so seldom understand each other. But if understanding is neither here nor there, and the universe is infinite, then understand that no matter where we go, we will always be smack dab in the middle of nowhere. All we can do is share some piece of ourselves and hope that it’s remembered. Hope that we meant something to someone. My chest is a cannon that I have used to take aim and shoot my heart upon this world. I love the way an uncurled fist becomes a hand again, because when I take notes, I need it to underline the important parts of you: happy, sad, lovely. Battle cry ballistic like a disaster or a lipstick earthquaking and taking out the monuments of all my hollow yesterdays. We’ll always have the obvious. It reminds us who, and where we are, it lives like a heart shape, like a jar that we hand to others and ask, “Can you open this for me?” We always get the same answer: “Not without breaking it.” More often than sometimes, I say go for it.

We cannot feel badly for those who intentionally harm us. If we do, we will not be free from their heavy chains. Pity gives way to excuses and excuses will soften the heart of anyone. It’s a part of the human condition. It is the double-edged sword of compassion. Those who have been targeted are often very empathetic people. They may identify with being sensitive spirited. In the recovery community, it is called being an Empath. The dance between an empath and an abuser is one of control, mind games, and mockery. This is why education is such a critical step in the healing process. Tenderness from empaths will be used against them time and time again by psychological abusers. In Healing from Hidden Abuse, we have a lot of material to cover. My desire is that you will not feel rushed to quickly get through it from cover to cover. I enjoy reading books slowly, and reflecting on the words I have read. I will often sit down with a pen in hand and underline key phrases or sentences that jump out at me. That way, I can later go back and quickly remind myself of the nuggets that originally were meaningful. I would encourage you to do the same here. If you do push through this material, maybe consider coming back around for a second read and taking time to reflect a little

I have underlined words and sentences in one of the Bibles that has always been my study Bible, but when I look at those words and sentences now, I can’t remember why they were underlined. One day I was rereading a short story by Joanne Greenberg, and I came across a long passage that I had marked off, but as I looked at it, I couldn't remember why. Perhaps I had meant to ask her about it the next time we talked on the phone, but now I have no idea what it could be that I wanted to ask her. My Revised Standard version of the Bible is filled with markings, for I have gone through it word for word with study groups at least four times, and of course, I have used it on various occasions to begin speeches. I know that the underlined passages served some purpose, but here and there are verses that have no special meaning to me. It is almost as if a friend had secretly opened the book and made some markings just to tease me. What was the spirit trying to say to me then that I no longer need to hear? Or, what was I listening for then that I no longer care about?

Pearl introduces an original story, in a form which was to become one of the most frequent in mediaeval literature, the dream-vision. Authors like Chaucer and Langland use this form, in which the narrator describes another world - usually a heavenly paradise - which is compared with the earthly human world. In Pearl, the narrator sees his daughter who died in infancy, 'the ground of all my bliss'. She now has a kind of perfect knowledge, which her father can never comprehend. The whole poem underlines the divide between human comprehension and perfection; these lines show the gap between possible perfection and fallen humanity which, thematically, anticipate many literary examinations of man's fall, the most well known being Milton's late Renaissance epic, Paradise Lost.

My favorite part of the gospels was in Matthew, when Jesus said: love your enemies, bless those who curse you, do good to those who hate you, and pray for those who spitefully use you and persecute you. I shared in this desire for moral superiority over my enemies. Jesus always wanted to be the better person, and so did I. I underlined this passage in red pencil several times, to illustrate that I understood the Christian way of life.

I read the passage Owen had underlined most fervently in his copy of St. Thomas Aquinas—“ Demonstration of God’s Existence from Motion.” I read the passage over and over, sitting on Owen Meany’s bed. Since everything that is moved functions as a sort of instrument of the first mover, if there was no first mover, then whatever things are in motion would be simply instruments. Of course, if an infinite series of movers and things moved were possible, with no first mover, then the whole infinity of movers and things moved would be instruments. Now, it is ridiculous, even to unlearned people, to suppose that instruments are moved but not by any principal agent. For, this would be like supposing that the construction of a box or bed could be accomplished by putting a saw or a hatchet to work without any carpenter to use them. Therefore, there must be a first mover existing above all—and this we call God.

I bump into a group of girls congregating around a locker. Jessica, Willow (who is notably the only Willow enrolled in our 397-student class and in our 1,579-student school), and Abby. Miney has labeled them in my notebook, in block letters and underlined with a Sharpie:THE POPULAR BITCHES. When she first used this designation, Miney had to give me a long lecture about how this wasn’t an oxymoron, how someone could be both popular, which I presumed meant that lots of people liked you, and at the same time also be a bitch, which I presumed would have the opposite outcome. Apparently popularity in the context of high school has a negative correlation with people actually liking you but a high correlation with people wanting to be your friend. After careful consideration, this makes sense, though in my case, I am both an outlier and a great example of the fact that correlation does not imply causation. I am nice to everyone but without any upside: People neither like me nor want to be my friend.

Historically, from around the sixteenth century “white and black connoted purity and filthiness, virginity and sin, virtue and baseness, beauty and ugliness, beneficence and evil, God and the devil” (p.6). Jordan has observed that from about 1680 there was a marked shift from the terms “free” and “christian”, which colonists had applied to themselves, toward the use of the new self-identifying term of “white”. Skin color was of such importance that by the beginning of the eighteenth century it had been employed as a rationale for enslavement. For instance, in 1709, a Samuel Seawall purportedly recorded in his diary that a Spaniard who had petitioned the Massachusetts Council for manumission had been opposed by a captain on the basis that any one of his dusty color was destined to be a slave. Jordan, who related the story, commented that the prevalent attitude underlined the existence of a “we” and a “they” group in slave society based on the visible characteristic of skin color, a stereotyping that was to become permanent. Yet the ideology of racism did not supplant the ideology of religion and the ideology of slavery. What happened was that each contributed tenets

Up near the top, underlined and in capitals were the words: 'READ THIS.' Jay grimaced as she wondered what she was in for. Would it be a semi-literate political rant, a half-baked conspiracy theory or a quasi-religious manifesto? Perhaps it was just a very long suicide note: a self-pitying list of misfortune and hardship. Whatever it was she doubted it would contain anything useful. Unable to put it off any longer, she finished her coffee and began: 'We are all stories that we tell ourselves, memories selected to fit our chosen form. What becomes of us when there is no-one there to read?

My mother has followed us into the house. My mother is the name I’ve given his grief. She was gone long before I knew what death was so, for me, she is an abstract loss, a game of guessing at the life I might have lived. My mother is a collection of stories and inanimate objects. She is a wedding ring in my father’s bedside drawer, a rosehips-flavored tea bag in the back of our kitchen cupboard that we both refuse to use or throw out. She is a picture of someone standing on the rims too far away to see. She is a book underlined only to page seven. She is a pair of burnt rosebushes in the yard that Pop won’t dig up. She is the line between his eyebrows, the groove where his smile would be. She is a feeling in the gut I can’t name or move.

I read the passage Owen had underlined most fervently in his copy of St. Thomas Aquinas—“Demonstration of God’s Existence from Motion.” I read the passage over and over, sitting on Owen Meany’s bed. Since everything that is moved functions as a sort of instrument of the first mover, if there was no first mover, then whatever things are in motion would be simply instruments. Of course, if an infinite series of movers and things moved were possible, with no first mover, then the whole infinity of movers and things moved would be instruments. Now, it is ridiculous, even to unlearned people, to suppose that instruments are moved but not by any principal agent. For, this would be like supposing that the construction of a box or bed could be accomplished by putting a saw or a hatchet to work without any carpenter to use them. Therefore, there must be a first mover existing above all—and this we call God.

The need for strict discipline as a basis for all military action is equally evident in the remaining texts. According to Ssu-Ma the perfect army, placed far in the legendary past, requires neither rewards nor punishments. To make use of rewards but impose no punishments is the height of instruction; to impose punishments but issue no rewards is the height of awesomeness. Finally, employing a mixture of both punishments and rewards—combining sticks with carrots, as modern terminology has it—will end up by causing Virtue to decline. Thus the basic idea of dao, which underlines every one of these texts, breaks through once again. Governed by necessity, the best-disciplined army is so flawless that it requires neither rewards nor punishments. Behaving as if it were a single personality, it will follow its commander of its own accord. However, as the remaining texts make clear, this is an ideal that is rarely, if ever, attained.

descriptive grammars, that is, they set out to account for the language we use without necessarily making judgements about its correctness. However, the word ‘grammar’, as we have seen, can be used to indicate what rules exist for combining units together and whether these have been followed correctly. For example, the variety of English I speak has a rule that if you use a number greater than one with a noun, the noun has to be plural (I say ‘three cats’, not ‘three cat’). Books which set out this view of language are prescriptive grammars which aim to tell people how they should speak rather than to describe how they do speak. Prescriptive grammars contain the notion of the ‘correct’ use of language. For example, many people were taught that an English verb in the infinitive form (underlined in the example below) should not be separated from its preceding to. So the introduction to the TV series Star Trek …to boldly go where no man has gone before is criticised on the grounds that to and go should not be

Now don't think I've lost my mind - but I'll tell you, I'll look at some of the cards I have, some of Van Gogh's pictures of the poor, the coal miners, or Daumier's, and I talk to those pictures! I look, and I speak. I get strength form the way those writers and artists portrayed the poor, that's how I've kept going all these years. I pray to God and go visit him in churches; and I have my conversational time with Van Gogh or with Dickens - I mean, I'll look at a painting reproduced on a postcard, that I use as a bookmark, or I read one of those underlined pages in one of my old books, and Lord, I've got my strength to get through the morning or afternoon! When I die, I hope people will say that I tried to be mindful of what Jesus told us - his wonderful stories - and I tried my best to live up to his example (we fall flat on our faces all the time, though!) and I tried to take those artists and novelists to heart, and live up to their wisdom (a lot of it came from Jesus, as you probably know, because Dickens and Dostoyevsky and Tolstoy kept thinking of Jesus themselves all through their lives).

I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?

Jesus and the apostles and prophets were men of courage. God sent them and us out into the world to open our mouths and make a holy ruckus for all evil and every kind of darkness. But this is not an easy, carefree existence, and there are temptations at every point to compromise, to ease up, to settle down. Nobody announces that they are going to compromise. It all begins very subtly. And the terrifying thing is that it frequently begins with a Bible verse used to defend it. The Devil prowls about as an angel of light. We begin reading the Bible selectively, which is to say, we begin to limit what we will let God say. We begin to limit God’s authority. It’s much easier and more convenient to skim piously while underlining and highlighting the passages that make us feel happy and warm inside, or apply only to other people out there, because it’s scary to do anything else. When we substitute faithfulness with this sort of cowardice, we do so telling ourselves that we’re actually doing the right thing. In reality we have substituted the living God for an idol, but our idols are trimmed out in our pet theological frills. We call our compromise boldness, but it is actually fear. Idols are fear incarnate.

The choice of 'eastern Europe' as a frame of reference requires a word of explanation. The term is used here in a provisional manner and indeed a rather arbitrary one, with the lower-case form intended to underline this. The travellers set out from places that stretch from Kiev to Rijeka, and from Gdansk to Crete. The eastern Europe that they represent includes the lands that lie between the Baltic in the north and the Mediterranean in the south; between Russia in the east and Italy, Austria and Germany in the west. These boundaries were set in part by the limits of the possible: had resources permitted, accounts by travellers from the Baltic countries or by Austrian Germans, among others, might equally well have been included here. My aim has been to assemble a representative selection of travel writings from this region: the anthology includes accounts from some twenty languages, by more than one hundred authors, written over a period of more than 450 years, beginning in the sixteenth century and finishing with a book published in 2004. The writers travel to Ireland in the west, to Istanbul in the east—and any number of places in between. But why group these particular east European travels through Europe together, in a single volume? The answer lies partly in eastern Europe's relationship to the idea of Europe itself.

I think pain is the most underrated emotion available to us," the Count said. "The Serpent, to my interpretation, was pain. Pain has been with us always, and it always irritates me when people say 'as important as life and death' because the proper phrase, to my mind, should be, 'as important as pain and death.'" The Count fell silent for a time then, as he began and completed a series of complex adjustments. "One of my theories," he said somewhat later, "is that pain involves anticipation. Nothing original, I admit, but I'm going to demonstrate to you what I mean: I will not, underline not, use the Machine on you this evening. I could. It's ready and tested. But instead I will simply erect it and leave it beside you, for you to stare at the next twenty-four hours, wondering just what it is and how it works and can it really be as dreadful as all that." He tightened some things here, loosened some more over there, tugged and patted and shaped. The Machine looked so silly Westley was tempted to giggle. Instead, he groaned again. "I'll leave you to your imagination, then," the Count said, and he looked at Westley. "But I want you to know one thing before tomorrow night happens to you, and I mean it: you are the strongest, the most brilliant and brave, the most altogether worthy creature it has ever been my privilege to meet, and I feel almost sad that, for the purposes of my book and future pain scholars, I must destroy you.

During a recent lunch with a close friend who is also the mother of two young children, Diana told of an incident which underlines not only the current state of her relationship with her husband but also the protective nature of her son William. She told her friend that the week that Buckingham Palace decided to announce the separation of the Duke and Duchess of York was understandably a trying time for her. She had lost an amicable companion and was acutely aware that the public spotlight would once again fall on her marriage. Yet her husband seemed unmoved by the furore surrounding the separation. He had spent a week touring various stately homes, gathering material for a book he is writing on gardening. When he returned to Kensington Palace he failed to see why his wife should feel strained and rather depressed. He airily dismissed the departure of the Duchess of York and launched, as usual, into a disapproving appraisal of Diana’s public works, especially her visit to see Mother Teresa in Rome. Even their staff, by now used to these altercations, were dismayed by this attitude and felt some sympathy when Diana told her husband that unless he changed his attitude towards her and the job she is doing she would have to reconsider her position. In tears, she went upstairs for a bath. While she was regaining her composure, Prince William pushed a handful of paper tissues underneath the bathroom door. “I hate to see you sad,” he said.

The importance of ethical governance, exemplified by the Norwegian Pension Fund, is highlighted by a deplorable UK government proposal in 2016 to set up a Shale Wealth Fund.38 The fund would receive up to 10 per cent of the revenue generated by fracking (hydraulic fracturing) for shale gas, which could amount to as much as £1 billion over twenty-five years. This would be paid out to communities hosting fracking sites, which could decide to use the money for local projects or distribute it to households in cash. It is hard to avoid the conclusion that this is a bribe to secure local approval of environmentally threatening fracking operations, to which there has been considerable public opposition. Beyond that, there are many equity questions. Why should only people who happen to live in areas with shale gas be beneficiaries? How would the recipient community be defined? Would the payments go only to those living in the designated community at the time the fracking started? Would they be paid as lump sums or on a regular basis, and how long would they last? What about future generations? Can cash payments compensate for the risk of harm to the air, water, landscape and livelihoods? All these questions cast doubt on the equity and ethics of any selective scheme. They underline the need for the principles of wealth funds and dividends from them to be established before they are implemented, and for a governance structure that is independent from government and business. But

I brought her food, but it stayed untouched on the plate no matter how I tried to cajole her into eating. When I caught her taking twenty minutes to eat a single almond, I began wondering if there was some kind of Watsonian guide for the care and keeping of Holmeses. When I sent my father an email to that effect (subject line I Need Your Help, postscript Still haven't forgiven you and won't). he responded that, yes, over the years he'd written down an informal series of suggestions in his journal; he'd do his best to adapt and type them up for me. When the list arrived the next day, it was twelve pages long, single-spaced. The suggestions ran from the obvious (8. On the whole, coaxing works rather better than straightforward demands) to the irrelevant (39. Under all circumstances, do not allow Holmes to cook your dinner unless you have a taste for cold unseasoned broth) to the absurd (87. Hide all firearms before throwing Holes a surprise birthday party) to, finally, the useful (1. Search often for opiates and dispose of as needed; retaliation will not come often, though is swift and exacting when it does - do not grow attached to one's mirrors or drinking glasses; 2. During your search, always begin with the hollowed-out heels of Holmes's boots; 102. Have no compunctions about drugging Holmes's tea if he hasn't slept; 41. Be prepared to receive compliments once every two to three years; 74.) (underlined twice) (Whatever happens, remember it is not your fault and likely could not have been prevented, no matter your efforts).

I had become something of a bird man – a passion that has remained with me – and could tell a Himalayan griffon from a bearded vulture and could identify the streaked laughing thrush, the orange bullfinch, Tytler’s leaf warbler and the Kashmir flycatcher, which was threatened then, and must surely by now be extinct. The trouble with being in Dachigam was that it had the effect of unsettling one’s resolve. It underlined the futility of it all. It made one feel that Kashmir really belonged to those creatures. That none of us who were fighting over it – Kashmiris, Indians, Pakistanis, Chinese (they have a piece of it too – Aksai Chin, which used to be part of the old Kingdom of Jammu and Kashmir), or for that matter Pahadis, Gujjars, Dogras, Pashtuns, Shins, Ladakhis, Baltis, Gilgitis, Purikis, Wakhis, Yashkuns, Tibetans, Mongols, Tatars, Mon, Khowars – none of us, neither saint nor soldier, had the right to claim the truly heavenly beauty of that place for ourselves. I was once moved to say so, quite casually, to Imran, a young Kashmiri police officer who had done some exemplary undercover work for us. His response was, ‘It’s a very great thought, Sir. I have the same love for animals as yourself. Even in my travels in India I feel the exact same feeling – that India belongs not to Punjabis, Biharis, Gujaratis, Madrasis, Muslims, Sikhs, Hindus, Christians, but to those beautiful creatures – peacocks, elephants, tigers, bears . . .’ He was polite to the point of being obsequious, but I knew what he was getting at. It was extraordinary; you couldn’t – and still cannot – trust even the ones you assumed were on your side. Not even the damn police.

lay there fresh and raw from having been carved open to bring her granddaughter into the world—the past ran me down. I had a vision like the kind people describe when they’re near death. For one brief second, it was as if a curtain had been lifted. I saw a long line of people, faceless in the distance, familiar as they got closer: my great-grandparents, my grandparents, my parents. I was at the front of this row of human dominoes, my infant in my arms, and as my forefathers and -mothers toppled behind me, they pushed the next generation into motion. There was no escape; their collective weight would crush me and my baby. I had started out as an egg inside Malabar, just as she had begun as an egg inside Vivian, and so on, each of our fates charted from the depths of our mothers. What little I knew about my grandparents and great-grandparents had been constructed around a sturdy fact or two, embellished perhaps by a shy smile in a grainy photograph or an underlined sentence in a book or letter. The specifics of their lives would remain unknown to me, as mine would be to the baby I held. But our collective history would shape my daughter, and there was something noxious in our matrilineal line. Malabar was the only mother I had, but she was not the mother I wanted to be. Here was my choice: I could continue down the well-trod path upon which I’d been running for so very long and pass along this inheritance like a baton, as blithely as I did my light hair and fair skin. My daughter could do her best to outrun it. She would grow up to be beautiful and smart and agile, as I used to be, as her grandparents were, as her great-grandparents were before them. Or I could slow down, catch my breath, and look mindfully for a new path. There had to be another way and I owed it to my daughter to find it.

The woman glares at him and, after taking a breath, forges on. "One other issue I'd like to raise is how you have authors here separated by sex." "Yes, that's right. The person who was in charge before us cataloged these and for whatever reason divided them into male and female. We were thinking of recataloging all of them, but haven't been able to as of yet." "We're not criticizing you for this," she says. Oshima tilts his head slightly. "The problem, though, is that in all categories male authors are listed before female authors," she says. "To our way of thinking this violates the principle of sexual equality and is totally unfair." Oshima picks up her business card again, runs his eyes over it, then lays it back down on the counter. "Ms. Soga," he begins, "when they called the role in school your name would have come before Ms. Tanaka, and after Ms. Sekine. Did you file a complaint about that? Did you object, asking them to reverse the order? Does G get angry because it follows F in the alphabet? Does page 68 in a book start a revolution just because it follows 67?" "That's not the point," she says angrily. "You're intentionally trying to confuse the issue." Hearing this, the shorter woman, who'd been standing in front of a stack taking notes, races over. "Intentionally trying to confuse the issue," Oshima repeats, like he's underlining the woman's words. "Are you denying it?" "That's a red herring," Oshima replies. The woman named Soga stands there, mouth slightly ajar, not saying a word. "In English there's this expression red herring. Something that's very interesting but leads you astray from the main topic. I'm afraid I haven't looked into why they use that kind of expression, though." "Herrings or mackerel or whatever, you're dodging the issue." "Actually what I'm doing is shifting the analogy," Oshima says. "One of the most effective methods of argument, according to Aristotle. The citizens of ancient Athens enjoyed using this kind of intellectual trick very much. It's a shame, though, that at the time women weren't included in the definition of 'citizen.'" "Are you making fun of us?" Oshima shakes his head. "Look, what I'm trying to get across is this: I'm sure there are many more effective ways of making sure that Japanese women's rights are guaranteed than sniffing around a small library in a little town and complaining about the restrooms and the card catalog. We're doing our level best to see that this modest library of ours helps the community. We've assembled an outstanding collection for people who love books. And we do our utmost to put a human face on all our dealings with the public. You might not be aware of it, but this library's collection of poetry-related material from the 1910s to the mid-Showa period is nationally recognized. Of course there are things we could do better, and limits to what we can accomplish. But rest assured we're doing our very best. I think it'd be a whole lot better if you focus on what we do well than what we're unable to do. Isn't that what you call fair?

Yoel Goldenberg makes exhibitions, photographs, models and media craftsmanship. His works are an examination of ideas, for example, validness and objectivity by utilizing an exhaustive methodology and semi exploratory exactness and by referencing documentaries, 'actuality fiction' and prominent experimental reciprocals. Yoel Goldenberg as of now lives and works in Brooklyn. By challenging the division between the domain of memory and the domain of experience, Goldenberg formalizes the circumstantial and underlines the procedure of synthesis that is behind the apparently arbitrary works. The manners of thinking, which are probably private, profoundly subjective and unfiltered in their references to dream universes, are much of the time uncovered as collections. His practice gives a valuable arrangement of metaphorical instruments for moving with a pseudo-moderate approach in the realm of execution: these fastidiously arranged works reverberate and resound with pictures winnowed from the fantastical domain of creative energy. By trying different things with aleatoric procedures, Yoel Goldenberg makes work in which an interest with the clarity of substance and an uncompromising demeanor towards calculated and insignificant workmanship can be found. The work is detached and deliberate and a cool and unbiased symbolism is utilized. His works are highlighting unplanned, unintentional and sudden associations which make it conceivable to overhaul craftsmanship history and, far and away superior, to supplement it. Consolidating random viewpoints lead to astounding analogies. With a theoretical methodology, he ponders the firmly related subjects of file and memory. This regularly brings about an examination of both the human requirement for "definitive" stories and the inquiry whether tales "fictionalize" history. His gathered, changed and own exhibitions are being faced as stylishly versatile, specifically interrelated material for memory and projection. The conceivable appears to be genuine and reality exists, yet it has numerous countenances, as Hanna Arendt refers to from Franz Kafka. By exploring dialect on a meta-level, he tries to approach a wide size of subjects in a multi-layered route, likes to include the viewer in a way that is here and there physical and has faith in the thought of capacity taking after structure in a work. Goldenberg’s works are straightforwardly a reaction to the encompassing environment and uses regular encounters from the craftsman as a beginning stage. Regularly these are confined occasions that would go unnoticed in their unique connection. By utilizing a regularly developing file of discovered archives to make self-ruling works of art, he retains the convention of recognition workmanship into every day hone. This individual subsequent and recovery of a past custom is vital as a demonstration of reflection. Yoel’s works concentrate on the powerlessness of correspondence which is utilized to picture reality, the endeavor of dialog, the disharmony in the middle of structure and content and the dysfunctions of dialect. To put it plainly, the absence of clear references is key components in the work. With an unobtrusive moderate methodology, he tries to handle dialect. Changed into craftsmanship, dialect turns into an adornment. Right then and there, loads of ambiguities and indistinctnesses, which are intrinsic to the sensation, rise up to the top

MY DAILY WALK How well do you know your Old Testament?     That may seem like an unusual question to ask as you begin reading the New Testament. But you’ll quickly discover that the key to unlocking the New is a foundational knowledge of the Old. In order to persuade his fellow Jews to believe in Jesus as their long-awaited Messiah and King, Matthew used the Old Testament as proof. When Jesus faced the triple temptation by Satan in the wilderness, he quoted Deuteronomy as his basis of defense.     Underline each Old Testament quotation you find in today’s reading. (Hint: watch for such phrases as “this occurred to fulfill the Lord’s message through his prophet.”) Then spend a few extra minutes looking up those Old Testament prophecies that became New Testament realities. Wouldn’t it be fitting to close your time in God’s Word today by thanking God that his centuries-old promises are trustworthy?

So what can we generalize about Victorian vampires? They are already dead, yet not exactly dead, and clammy-handed. They can be magnetically repelled by crucifixes and they don’t show up in mirrors. No one is safe; vampires prey upon strangers, family, and lovers. Unlike zombies, vampires are individualists, seldom traveling in packs and never en masse. Many suffer from mortuary halitosis despite our reasonable expectation that they would no longer breathe. But our vampires herein also differ in interesting ways. Some fear sunlight; others do not. Many are bound by a supernatural edict that forbids them to enter a home without some kind of invitation, no matter how innocently mistaken. Dracula, for example, greets Jonathan Harker with this creepy exclamation that underlines another recurring theme, the betrayal of innocence (and also explains why I chose Stoker’s story “Dracula’s Guest” as the title of this anthology): “Welcome to my house! Enter freely and of your own will.” Yet other vampires seem immune to this hospitality prohibition. One common bit of folklore was that you ought never to refer to a suspected vampire by name, yet in some tales people do so without consequence. Contrary to their later presentation in movies and television, not all Victorian vampires are charming or handsome or beautiful. Some are gruesome. Some are fiends wallowing in satanic bacchanal and others merely contagious victims of fate, à la Typhoid Mary. A few, in fact, are almost sympathetic figures, like the hero of a Greek epic who suffers the anger of the gods. Curious bits of other similar folklore pop up in scattered places. Vampires in many cultures, for example, are said to be allergic to garlic. Over the centuries, this aromatic herb has become associated with sorcerers and even with the devil himself. It protected Odysseus from Circe’s spells. In Islamic folklore, garlic springs up from Satan’s first step outside the Garden of Eden and onion from his second. Garlic has become as important in vampire defense as it is in Italian cooking. If, after refilling your necklace sachet and outlining your window frames, you have some left over, you can even use garlic to guard your pets or livestock—although animals luxuriate in soullessness and thus appeal less to the undead. The vampire story as we know it was born in the early nineteenth century. As

Is there a cost to this booming virtual social life? Does it impact our kids’ person-to-person skills? Emerging research shows it does and underlines the need to balance tech enthusiasm with encouraging our kids to use age-old practices like turning toward each other, face-to-face.

You can file your nails, make appointments, clean a shelf, throw in a load of laundry, or write a thank-you note. One pastor gave a copy of the book of Psalms to everyone in his congregation. He suggests they use it when they have a minute or so of "waiting" time. Why not make a list of what you can accomplish in five minutes so you'll be ready the next time you have a little spare time? ant some quick reminders to get more out of life? • In your Bible underline verses that remind you of how much you're loved by God. Check back when you need to be reminded. • Mend a broken relationship. Don't hesitate to say you're sorry. • Hang around with loving, giving people. Their attitude and joy are contagious. And we need all the love we can get, don't we? • Practice delight! The more you notice and rejoice in what God has done, the more positive and loving you'll feel. e spontaneous and throw a party. You can make just about any occasion special. Now don't laugh, but being spontaneous sometimes takes a little planning. For instance, you'll want to have something fun to eat in the freezer that you can prepare

And on that note, if you find anything of value here, make it yours. The value isn’t that a particular person said it or wrote it, but that you can use it. So scribble notes in the margins. Underline. Highlight. Write down where you disagree and write me back. Think about your own life as you read. The point, after all, is not just to read. The point is to read in a way that leads to better thinking, and to think in a way that leads to better living.   And

3. Develop a personal learning style Having known your personal profile, you can pick the learning style that can give you the most benefits. There are three common types of learning styles; Visual, Auditory and Kinesthetic. By identifying the learning style that best suit your profile, you will be able to maximize your strengths and compensate for your weaknesses. Visual Learning – If your dyslexia isn’t anything related to your visual processing or any visual dyslexia, this learning type may just suit you. Visual learners like to see things with the eyes. They likely think in pictures and uses different illustrations, diagrams, charts, graphs, videos and mind maps when they study. If you are a visual learner it will be useful to rewrite notes, put information on post-it notes and stick it everywhere, and to re-create images in the mind. Auditory Learning – Auditory learners, on the other hand, think in verbal words rather than in pictures. The best they can do to learn is to tape the information and replay it. It also helps if they discuss the materials that must be learned with others by participating in class discussions, asking questions to their teachers and even trying teaching others. It is also helpful to use audio books and read aloud when trying to memorize information. Kinesthetic Learning – Kinesthetic learners are those who are better to learn with direct exposure to the activity. They are the ‘hands-on’ people and learn best when they actually do something. For them, wiring a circuit board would be much more informative than listening to a lecture about circuits or reading a text book or about it. However, it may also help to underline important terms and meanings and highlight them with bright colors, write notes in the margin when learning from text and repeat information while walking. 4. Don’t force your mind Don’t force your mind to do something beyond your ability. Don’t force yourself to enter a library and finish reading a shelf of books in one day. Be patient on yourself. Take everything slowly and learn step by step. Do not also push yourself if you are not in the mood to read, it will just cause you unnecessary stress. 5.

The warrior of light has learned that God uses solitude to teach us how to live with other people. He uses rage to show us the infinite value of peace. He uses boredom to underline the importance of adventure and spontaneity. God uses silence to teach us to use words responsibly. He uses tiredness so that we can understand the value of waking up. He uses illness to underline the blessing of good health. God uses fire to teach us about water. He uses earth so that we can understand the value of air. He uses death to show us the importance of life

Clutter is all those possessions you’ve got piled in the garage just in case you might need them someday. Even though it’s been seven years since you first made those piles and haven’t looked in them since. Details are those pictures that remind you why you do what you do. Details are those books that are filled with underlining and notes. Or the books that you actually will read. Details are those few items of clothing that you actually do wear. Details are those objects you use regularly that help you do better whatever it is you do. Details are the tools of your craft. Details remind you who you are, where you’ve been, and what your path is.

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.

Researchers found, over a large sample of books, that the word “you” was twelve times more likely to appear in the most underlined sentences than other sentences. People, in other words, really like sentences that include the word “you.

The negative attitude toward the description of ultimate reality by words is common to all Buddhist doctrine. The dictum used by Bodhidharma is only a drastic way of bringing people to this original attitude which underlines the importance of direct spiritual experience and discredits intellectual speculation.

Showing Christ as African, Asian, or Central American underlines the universality of his humanity. The depiction of the Holy Spirit as a hummingbird rather than a dove on the Mexican cruz de ánimas (Fig. 9.2) is a modest but striking instance of using meaningful visual language for a particular culture.

but my favorite part of the used bookstore is the fact that the books are used. i love to read a book that someone else has previously owned and underlined all their favorite passages. if they have written in the columns the book is worth double its weight, its like not only do you read what the author is saying but what the other reader is feeling.

Have you used it to completion?” He clenched his jaw. “How is that relevant?” And how had she gleaned what was between them? Yrene only wrote something down. “What are you writing?” he demanded, cursing the damned chair for keeping him from storming to rip the paper out of her hands. “I’m writing a giant no.” Which she then underlined.

If subaltern voices are to be made visible in a fashion that parts ways with the cultural Left’s humanist playbook of empathetic imaginings, a new revolutionary grammar is needed. Indeed such a grammar requires constructing new bonds of solidarity, based not on common enemies or goals but, as just underlined, loss and peril. It is shared trauma (exploitation, dispossession, alienation, oppression) that enables political groups to forge alliances, but as chapter 4 emphasized, universal emancipation also means giving up a degree of privilege/enjoyment, especially on the part of the included. It is the curbing of enjoyment, after all, that underlies a politics of egalitarian justice, since the point is not to aspire to the lifestyle of the privileged, but to reconfigure the system to minimize “privilege” (i.e., social inequalities). This is particularly the case in our current environmental crisis, which increasingly demands making do without new wealth creation (e.g., public transit instead of personal automobiles, computers using recycled rather than new materials, etc.). As Eisenstein and McGowan state, everyone “claims to want solidarity, but few want to pay the price for it. It does not require hatred of an enemy or the willingness to kill for the collective but the self-inflicted violence of the rupture. The solidarity that forms in the rupture is a solidarity without ground because the bond that exists is nothing but the shared absence of ground” (2012, 94). Without self-violence, without the will to unplug from the system and its rewards, critique will only ever be the semblance of critique, reform without transformation.

in 2020, Robert F. Anda, the co–principal investigator of the initial ACE study, came out with an article and a YouTube video stating that ACEs were a relatively crude way of measuring childhood trauma.[6] The scores are remarkably helpful epidemiologically—for people to understand the overall significance of childhood trauma on public health. But Anda underlined that ACEs are not a good measure of an individual’s life span or health outcomes. There is a wide level of variation for each score. For example, a person with an ACE score of 1 who had extremely frequent instances of their trauma might be just as traumatized as someone with a score of 6 who witnessed a broader breadth of events but experienced them on a much rarer basis. As the following chart shows, there is a lot of overlap. Clearly, people with higher scores do face genuinely larger risks. But the scores are not hard-and-fast determinants. ACE scores also don’t account for whether a child had good resources, such as adults who provided them with safe and loving relationships or therapists who taught them to manage their stress better. They don’t account for gender variation, as PTSD manifests differently in men and women. In his article, Anda cautioned that using ACE scores as an individual screening tool has several risks, including that ACEs “may stigmatize or lead to discrimination…generate client anxiety about toxic-stress physiology, or misclassify individual risk.”[7]

One of the epithets the Buddha acquired over the years was “the Doctor of the World.” A reason for this is that the central insight and framework that he taught, known as the Four Noble Truths, is cast in the formulation of a classical Indian medical diagnosis. The format begins with the nature of the symptom. In this particular kind of psychological or spiritual disease, the symptom is dukkha, the experience of dissatisfaction; this is the First Noble Truth. The second element in this diagnostic format is the cause of that symptom, which the Buddha outlined as being self-centered craving, greed, hatred, and delusion. These are the toxins that Matthieu referred to, the negative afflictive emotions, habits, and qualities that the mind gets caught up in and that poison the heart; this is the Second Noble Truth. The third element is the prognosis, and the good news is that it is curable. This is the Third Noble Truth, that the experience of dissatisfaction can end; we can be free from it. The fourth element—and the Fourth Noble Truth—is the methodology of treatment: what the Buddha laid out as the way to heal this wound. It’s known in some expressions as the Eightfold Path, but it can be outlined in three fundamental elements: first, responsible behavior or virtue, living a moral and ethical life; second, mental collectedness, meditation, and mind training; and third, the development of insightful understanding in accordance with reality, or wisdom. These three elements are the fundamental treatment for this psychological, spiritual ailment of dissatisfaction. I should underline that the Buddha didn’t make any claim to have a monopoly on truth. When somebody once asked him, “Is it the case that you’re the only one who really understands the way things are, and that all other spiritual teachings are incorrect, all other paths are erroneous?” He said, “No, by no means.” It’s not a matter of the way the teachings are framed, the language or symbolism that one uses. It is simply the presence or absence of these three central qualities: ethical behavior, mental collectedness, and wisdom. If any spiritual path contains those three elements, then it will certainly lead to the possibility and the actuality of freedom, peace, a harmony within oneself, and an easefulness in life. If it doesn’t contain those elements, then it cannot lead to easefulness, peace, and liberation.

The influence of the langues d’oc and d’oïl produced a situation in which French had started exporting itself even before it had become a fully developed language with a coherent writing system. Between the tenth and fifteenth centuries, Romance impressed itself on Europe as the language of worldly business, helping to relegate Latin to the religious sphere, although the latter did remain a language of science and philosophy for many more centuries. In the Mediterranean region, fishermen, sailors and merchants used a rudimentary version of langue d’oc mixed with Italian that people called the lingua franca (“Frankish language”), and over time this spoken language soaked up influences from Italian, Spanish and Turkish. (Today a lingua franca is any common language used in economics, diplomacy or science, in a context where it is not a mother tongue.) The Mediterranean lingua franca never evolved into anyone’s mother tongue, which is why there are very few written traces of it. A rare rendition of it appears in a seventeenth-century comedy by the French playwright Molière, who had been a wandering actor before he entered Louis XIV’s Court. In his Le bourgeois gentilhomme (The Would-Be Gentleman), Molière creates the character of a fake Turk who speaks in lingua franca (for obvious comical effect): Se ti sabir, / Ti respondir; se non sabir, / Tazir, Tazir. Mi star Mufti / Ti qui star ti? Non intendir, / Tazir, tazir. If you know, / you must respond. If you don’t know, / you must shut up. I am the Mufti, / who are you? I don’t understand; / shut up, shut up.2 It was the Crusades, which were dominated by the French, that turned lingua franca into the dominant language in the Mediterranean. More than half a dozen Crusades were carried out over nearly three centuries. Many Germans and English also participated, but the Arabs uniformly referred to the Crusaders as Franj, caring little whether they said oc, oïl, ja or yes. Interestingly, Arabic, the language of the common enemy, gave French roughly a thousand terms, including amiral (admiral), alcool (alcohol), coton (cotton) and sirop (syrup). The great prevalence of Arabic words in French scientific language—terms such as algèbre (algebra), alchimie (alchemy) and zéro (zero)—underlines the fact that the Arabs were definitely at the cutting edge of knowledge at the time.

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

There are two prediction strategies you should use during the 30-second break to help you hear the answers to Completion questions: ·     Underlining the keywords, and identifying nouns, adjectives, verbs, adverbs, prepositions and articles.

Organize Reread your five freewriting entries (or mentally revisit them if you burned them) and your nine surprise visit entries. Underline what stands out to you, using it to create a personal sketch as I've done on the previous pages. It's for your eyes only. Be candid. At the end of each sketch, write at least two sentences speculating how you could use what you've discovered as either a character trait or a plotline in your novel, similar to what I've done in my Step Three example. Don't worry if you're vague at this point. Each exercise in this book builds on the one before it, so you'll be guided toward how to develop your novel at each step in the process.

The fact that low performers were more likely to be using—or integrating against—custom software developed by another company underlines the importance of bringing this capability in-house.

A strong sense of citizenship--a new concept in a new nation--was essential to securing the Union. And when he used the word American in this section of the manuscript, he underlined the term twice for emphasis.

As anyone who has ever read a used book knows, nothing exposes readers to quite such a high degree of nakedness as the underlinings and marginalia they live behind...

All of this heavily underlines the republican argument that, at the end of the day, monarchies look out for themselves and are propelled by their own agendas, interests, and bank accounts. This enormous fortune speaks volumes about the monarchy’s motivations for sticking around way beyond its sell-by date and why they use the idea of “serving the Crown” as a protective shield.

LAW 2 NEVER PUT TOO MUCH TRUST IN FRIENDS; LEARN HOW TO USE ENEMIES {Judgment} "Keep yourself cautious of putting total confidence in your friends, because familiarity breeds uncomplacent and leads to disloyalty." Instead, learn to use your foes as tools for growth and insight. You may traverse the hazardous rivers of power with knowledge and discernment if you embrace the complexity of friendship and hatred." Robert Greene delves into the complicated dynamics of trust, friendship, and animosity in the second chapter. This chapter underlines the significance of exercising caution with friends while also acknowledging the strategic value of building ties with foes.

As Coates explains, hedges like these “are used to respect the face needs of all participants, to negotiate sensitive topics, and to encourage the participation of others.” These interpersonal tools are especially handy for women, who almost always dive into sensitive territory at some point during their discussions. Coates collected some enlightening data on how women hedge with one another from a group discussion among female friends about Britain’s notorious Yorkshire Ripper case of the early 1980s. The speakers were recalling how, during the hunt for the perpetrator, the police asked the public to consider their family members as suspects. At one point, a woman named Sally revealed that she once thought for a second that the killer might have been her husband. The hedges in her statement are underlined: “Oh god yes well I mean we were living in Yorkshire at the time and I—I mean I. I mean I did/ I sort of thought well could it be John?” These hedges here are not representative of Sally’s indecision—she isn’t hedging or breaking off her sentences due to, as Otto Jespersen said, “talking without having thought out what [she is] going to say.” Sally knows exactly what she wants to get across. But because the topic at hand is so sensitive, she needs the wells and I means so she doesn’t come off as brusque and unfeeling. “Self-disclosure of this kind can be extremely face-threatening,” Coates explains. “Speakers need to hedge their statements.” This is true in so many situations. For instance, saying something along the lines of, “I mean, I just feel like you should maybe, well, try seeing a therapist” is a gentler, easier-to-hear way of saying, “You should see a therapist.” The latter statement, though direct, could come across as cold in the context of a heart-to-heart conversation. The hedged version is more tactful and open, inviting of the listener’s point of view, and leaves space for them to interject or share a different perspective (unlike “You should see a therapist,” which is closed off and doesn’t make room for anyone else’s input).