Underlined Or Put In Quotes

I want to go home. Then he mentally underlined the last sentence three times, rewrote it in huge letters in red ink, and circled it before putting a number of exclamation marks next to it in his mental margin.

Of course.” She fluffed her hair. “I don’t want to brag, but I’m very high maintenance.” “Uh, I think low maintenance is what’s desirable.” “Low maintenance is what’s forgettable. You might want to write that down, underline it, circle it and put a star by it. It’s golden.” With barely a breath, she added, “Now let’s find out if we’re compatible, shall we?

Low maintance is what's forgettable. You might want to right that down, underline it, circle it and put a star by it. It's golden.

So they were pen pals now, Emma composing long, intense letters crammed with jokes and underlining, forced banter and barely concealed longing; two-thousand-word acts of love on air-mail paper. Letters, like compilation tapes, were really vehicles for unexpressed emotions and she was clearly putting far too much time and energy into them. In return, Dexter sent her postcards with insufficient postage: ‘Amsterdam is MAD’, ‘Barcelona INSANE’, ‘Dublin ROCKS. Sick as DOG this morning.’ As a travel writer, he was no Bruce Chatwin, but still she would slip the postcards in the pocket of a heavy coat on long soulful walks on Ilkley Moor, searching for some hidden meaning in ‘VENICE COMPLETELY FLOODED!!!!

Of course.” She fluffed her hair. “I don’t want to brag, but I’m very high maintenance.” “Uh, I think low maintenance is what’s desirable.” “Low maintenance is what’s forgettable. You might want to write that down, underline it, circle it and put a star by it. It’s golden.” With

Low maintenance is what's forgettable. You might want to wright that down, underline it, circle it and put a star by it. It's golden.

Here’s what I’ve got, the reasons why our marriage might work: Because you wear pink but write poems about bullets and gravestones. Because you yell at your keys when you lose them, and laugh, loudly, at your own jokes. Because you can hold a pistol, gut a pig. Because you memorize songs, even commercials from thirty years back and sing them when vacuuming. You have soft hands. Because when we moved, the contents of what you packed were written inside the boxes. Because you think swans are overrated. Because you drove me to the train station. You drove me to Minneapolis. You drove me to Providence. Because you underline everything you read, and circle the things you think are important, and put stars next to the things you think I should think are important, and write notes in the margins about all the people you’re mad at and my name almost never appears there. Because you make that pork recipe you found in the Frida Khalo Cookbook. Because when you read that essay about Rilke, you underlined the whole thing except the part where Rilke says love means to deny the self and to be consumed in flames. Because when the lights are off, the curtains drawn, and an additional sheet is nailed over the windows, you still believe someone outside can see you. And one day five summers ago, when you couldn’t put gas in your car, when your fridge was so empty—not even leftovers or condiments— there was a single twenty-ounce bottle of Mountain Dew, which you paid for with your last damn dime because you once overheard me say that I liked it.

Look at your list of MITs and underline the one that you know you’d put off indefinitely if you had the chance. Get started on this task before you have a chance to think about it. Don’t work on your other tasks until it’s finished.

In the face of this situation we would be better off to dispense now with a number of the concepts which have underlined our thinking with regard to the Far East. We should dispense with the aspiration to 'be liked' or to be regarded as the repository of a high-minded international altruism. We should stop putting ourselves in the position of being our brothers' keeper and refrain from offering moral and ideological advice. We should cease to talk about vague — and for the Far East — unreal objectives such as human rights, the raising of the living standards, and democratization. The day is not far off when we are going to have to deal in straight power concepts. The less we are hampered by idealistic slogans, the better.

Edmund took in the boy's mended jacket, the eyes underlined in shadows, the skin above his upper lip chapped raw from a dripping nose gone unattended, and saw the sort of hunger whose endless digs a pit in a person. Being eleven, Edmund wouldn't have put it quite in those words, but he recognized it nonetheless.

Most of the books I have are indicators of my insecurity. I really wanted to be an intellectual. I really wanted to understand Sartre. I thought that was what made people smart. I have tried to read Being and Nothingness no fewer than twenty times in my life. I really thought that every answer had to be in that book. Maybe it is. The truth is, I can’t read anything with any distance. Every book is a self-help book to me. Just having them makes me feel better. I underline profusely but I don’t retain much. Reading is like a drug. When I am reading from these books it feels like I am thinking what is being read, and that gives me a rush. That is enough. I glean what I can. I finish some of the unfinished thoughts lingering around in my head by adding the thoughts of geniuses and I build from there. There are bookmarks in most of the denser tomes at around page 20 to 40 because that was where I said, “I get it.” Then I put them back on the shelf.

Hardly had Juana had time to get settled when there was a clatter in the courtyard. The night sprang into excitement; instructions were shouted, torches brought. And suddenly the doors burst open; suddenly Philip -- hot, handsome, disheveled -- strode in. Philip was blond and sturdy; the gunpowder-train of Juana's emotions, long and dark and twisting, exploded at last. Philip's eyes must have seen, if nothing else, a girl in virginal flush, a young body of sixteen. He could hardly endure the formal presentations of the nobles. As soon as they were ended, he did what is generally referred to as commanding the nearest cleric to marry them on the spot. This person, however -- the Spaniard don Diego Villaescusa, Dean of Jaen -- it was not in Philip's power to order about. But the fact that it must have been Juana who gave the command only serves to underline the mutuality of their haste and hunger. The Dean did as he was bidden; the ignited youngsters kneeled; Philip hurried Juana out. In a room on the rez de chaussee overlooking the turbulent river they tore off their clothes. Someone had managed to get a gilded crucifix nailed on the ceiling above the bed -- surely one of the unnoticed ornaments (and, as things turned out, one of the most inappropriate) ever put up.

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.

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?

He regarded his briefcase. It was full of student papers—114 essays entitled “What I Wish.” He had been putting off reading them for over a week. He opened the briefcase, then paused, reluctant to look inside. How many student papers had he read in these twelve years? How many strokes of his red pen had he made? How many times had he underlined it’s and written its. Was there ever a student who didn’t make a mischievous younger brother the subject of an essay? Was there ever a student who didn’t make four syllables out of “mischievous”? This was the twelfth in a series of senior classes that Miles was trying to raise to an acceptable level of English usage, and like the previous eleven, this class would graduate in the spring to make room for another class in the fall, and he would read the same errors over again. This annual renewal of ignorance, together with the sad fact that most of his students had been drilled in what he taught since they were in the fifth grade, left him with a vague sense of futility that made it hard for him to read student writing. But while he had lost his urge to read student papers, he had not lost his guilt about not reading them, so he carried around with him, like a conscience...

To enjoy a book like [Froissart’s Chronicles] thoroughly I find I have to treat it as a sort of hobby and set about it seriously. I begin by making a map on one of the end leafs: then I put in a genealogical tree or two. Then I put a running headline at the top of each page: finally I index at the end all the passages I have for any reason underlined. I often wonder — considering how people enjoy themselves developing photos or making scrapbooks — why so few people make a hobby of their reading in this way. Many an otherwise dull book which I had to read have I enjoyed in this way, with a fine-nibbed pen in my hand: one is making something all the time and a book so read acquires the charm of a toy without losing that of a book.

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.

Beside the kit she’d put together were several books, and because he was reluctant to open the sealed plastic container and look at the contents, he browsed through the books. The titles told him a lot about Rose. She planned well for things. One book was on natural childbirth, another focused on nutrition for the pregnant woman. Both books had been read many times. The pages were worn and dog-eared. Another book on parenting caught his attention. He flipped through it and found many passages underlined. There were notes in the margin Rose had made to herself, multiple reminders to find other titles on various subjects. Like Kane, Rose could kill a man with her bare hands without blinking, but diapering a baby was out of their realm of expertise. He closed the book slowly, the revelation hitting him hard. She had to be every bit as scared as he was over the birth of their child. She had no more experience than he did. Just because she was a woman didn’t mean that she understood any of this. She’d never had parents to give her a blueprint. Neither of them had the least idea of what they were doing, but at least Rose was trying. She was determined that their child would have the chance in life she never had—to grow up in a loving home.

The Clintons’ last act before leaving the White House was to take stuff that didn’t belong to them. The Clintons took china, furniture, electronics, and art worth around $360,000. Hillary literally went through the rooms of the White House with an aide, pointing to things that she wanted taken down from shelves or out of cabinets or off the wall. By Clinton theft standards $360,000 is not a big sum, but it certainly underlines the couple’s insatiable greed—these people are not bound by conventional limits of propriety or decency. When the House Government Reform and Oversight Committee blew the whistle on this misappropriation, the Clintons first claimed that the stuff was given to them as gifts. Unfortunately for Hillary, gifts given to a president belong to the White House—they are not supposed to be spirited away by the first lady. The Clintons finally agreed to return $28,000 worth of gifts and reimburse the government $95,000, representing a fraction of the value of what they took. One valuable piece of art the Clintons attempted to steal was a Norman Rockwell painting showing the flame from Lady Liberty’s torch. Hillary had the painting taken from the Oval Office to the Clinton home in Chappaqua, but the Secret Service got wind of it and sent a car to Chappaqua to get it back. Hillary was outraged. Even here, though, the Clintons got the last laugh: they persuaded the Obama administration to let the Clinton Library have the painting, and there it hangs today. In Living History, Hillary put on a straight face and dismissed media reports about the topic. “The culture of investigation,” she wrote, “followed us out the door of the White House when clerical errors in the recording of gifts mushroomed into a full-blown flap, generating hundreds of news stories over several months.”17

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

In his Bible that day or the next, Bonhoeffer was reading Psalm 74. This was the text he happened to be meditating upon. What he read startled him, and with his pencil he put a vertical line in the margin to mark it, with an exclamation point next to the line. He also underlined the second half of verse 8: “Sie verbrennen alle Häuser Gottes im Lande.” (“They burn all of God’s houses in the land.”) Next to the verse he wrote: “9.11.38.” Bonhoeffer saw this as an example of God speaking to him, and to the Christians in Germany. God was telling him something through his Word that day, and as he meditated and prayed, Bonhoeffer realized that the synagogues that had been burned in Germany were God’s own. This was when Bonhoeffer most clearly saw the connection: to lift one’s hand against the Jews was to lift one’s hand against God himself. The Nazis were attacking God by attacking his people. The Jews in Germany were not only not God’s enemies; they were his beloved children. Quite literally, this was a revelation.

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.

Low maintenance is what's forgettable. You might want to write that down, underline it, circle it and put a star by it.

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.

For Buddhapalita's consequences are clearly nonimplicative negations, which is underlined by the fact that he-just like Nagarjuna-exhaustively negates all four possibilities of arising. Moreover, when commenting on Nagarjuna's own consequences in The Fundamental Verses, Bhavaviveka explicitly regards them as negating one alternative without implying any other or committing Nagarjuna to their reversed meaning."" But when he turns to Buddhapalita's consequences, as we have seen, he takes the exact opposite stance. That Bhavaviveka so obviously changes his way of evaluating consequences, depending on whether they were put forward by Nagarjuna or Buddhapalita, is hard to interpret as anything other than Bhavaviveka simply treating Buddhapalita unfairly here.

These sentences, heavily underlined by R. C., present Luther’s idea that the law is a “schoolmaster” that points us to Christ. To put it existentially, as Luther does, the law makes us despair over our inability. Therefore, we need a righteousness extra nos, outside of us. This stresses, again, the necessity of the doctrine of imputation. Luther was the original imputationist.

Having written the definitive anthem of the 1970s, David simply gave it away. Some thought that this was a self-serving act, designed to underline his own musical omnipotence. Bob Grace, the man who’d overseen most of Bowie’s recent songs, is emphatic that in giving away the song, Bowie paid a price: “I thought that was a mistake. If David had put out ‘All the Young Dudes’ himself that autumn, he would have been huge beyond our comprehension. It was great he gave [Mott] the song, but I’m convinced it cost him.” The argument ignores the fact that Bowie remained, at heart, a fan. This was simply a spontaneous act, and in any case the music was pouring out of him.

Under the mattress was a file containing background info on every kid in our class. Parents’ names, date of birth, hobbies. Mina had put a lot of emphasis on hobbies, underlining some of them, like wrestling, boxing, and law for Daniel. The emphasis on sports and extracurricular interests would make sense…if you were filling out applications for a dating service.

My breakfast nearly came up as I stared at the huge, colorful banner strung overhead between two pine trees. ERIC RICHARDS: WELCOME TO CAMP PINETREE!!! “Who put that there?” I gasped to Lettie, who had been sitting with me at breakfast. Eric’s name was painted in neon colors and underlined six times. “Cabins five and six. Isn’t it great?” Lettie looked proud. “I wanted to tell you, but the rest of the girls wanted it to be a surprise.” It was a surprise all right--just like getting hit in the head with a baseball bat.

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.