Vacancy Related Quotes

The vacancy left by absence of worship is filled by mere killing of time and by boredom, which is directly related to inability to enjoy leisure; for one can only be bored if the spiritual power to be leisurely has been lost. There is an entry in Baudelaire... "One must work, if not from taste then at least from despair. For, to reduce everything to a single truth: work is less boring than pleasure.

Fifth wheel employees are those who are a result of the mistake made by the human resources wing, i.e. by recruiting wrong person to the wrong job just to fill in the vacancy and then expect better performance. Further such an employee is unable to put in his best and is just an additional mass available within the organization.

The vacancy left by absence of worship is filled by mere killing of time and by boredom, which is directly related to inability to enjoy leisure; for one can only be bored if the spiritual power to be leisurely has been lost.

If you have right you save her...You have right to scold her

But where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and careness; or if the had, all my past life was now a blot, a blind vacancy in which I distinguished nothing.

But where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and caresses; or if they had, all my past life was no a blot, a blind vacancy in which I distinguished nothing.

But where were my friends and relations? No father had watched my infant days, no mother had blessed me with smiles and caresses; or if they had, all my past life was now a blot, a blind vacancy in which I distinguished nothing. From my earliest remembrance I had been as I then was in height and proportion. I had never yet seen a being resembling me or who claimed any intercourse with me. What was I? The question again recurred, to be answered only with groans.

I delighted in investigating the facts relative to the actual world; she busied herself in following the aerial creations of the poets. The world was to me a secret, which I desired to discover; to her it was a vacancy, which she sought to people with imaginations of her own.

Concerns about relative position also appear to affect labor force participation by much more than traditional economic factors. The economists David Neumark and Andrew Postlewaite, for example, investigated the labor force status of three thousand pairs of full sisters, one of whom in each pair did not work outside the home. Their aim was to discover what determined whether the other sister in each pair would seek paid employment. None of the usual economic suspects mattered much—not the local unemployment, vacancy, and wage rates, not the other sister’s education and experience. A single variable in their study explained far more of the variance in labor force participation rates than any other: a woman whose sister’s husband earned more than her own husband was 16 to 25 percent more likely than others to seek paid employment.43 As the essayist H. L. Mencken observed, “A wealthy man is one who earns $100 a year more than his wife’s sister’s husband.

(a) A writer always wears glasses and never combs his hair. Half the time he feels angry about everything and the other half depressed. He spends most of his life in bars, arguing with other dishevelled, bespectacled writers. He says very ‘deep’ things. He always has amazing ideas for the plot of his next novel, and hates the one he has just published. (b) A writer has a duty and an obligation never to be understood by his own generation; convinced, as he is, that he has been born into an age of mediocrity, he believes that being understood would mean losing his chance of ever being considered a genius. A writer revises and rewrites each sentence many times. The vocabulary of the average man is made up of 3,000 words; a real writer never uses any of these, because there are another 189,000 in the dictionary, and he is not the average man. (c) Only other writers can understand what a writer is trying to say. Even so, he secretly hates all other writers, because they are always jockeying for the same vacancies left by the history of literature over the centuries. And so the writer and his peers compete for the prize of ‘most complicated book’: the one who wins will be the one who has succeeded in being the most difficult to read. (d) A writer understands about things with alarming names, like semiotics, epistemology, neoconcretism. When he wants to shock someone, he says things like: ‘Einstein is a fool’, or ‘Tolstoy was the clown of the bourgeoisie.’ Everyone is scandalized, but they nevertheless go and tell other people that the theory of relativity is bunk, and that Tolstoy was a defender of the Russian aristocracy. (e) When trying to seduce a woman, a writer says: ‘I’m a writer’, and scribbles a poem on a napkin. It always works. (f) Given his vast culture, a writer can always get work as a literary critic. In that role, he can show his generosity by writing about his friends’ books. Half of any such reviews are made up of quotations from foreign authors and the other half of analyses of sentences, always using expressions such as ‘the epistemological cut’, or ‘an integrated bi-dimensional vision of life’. Anyone reading the review will say: ‘What a cultivated person’, but he won’t buy the book because he’ll be afraid he might not know how to continue reading when the epistemological cut appears. (g) When invited to say what he is reading at the moment, a writer always mentions a book no one has ever heard of. (h) There is only one book that arouses the unanimous admiration of the writer and his peers: Ulysses by James Joyce. No writer will ever speak ill of this book, but when someone asks him what it’s about, he can’t quite explain, making one doubt that he has actually read it.

Devenir indépendante signifie donc remettre de l’ordre en soi, et non renoncer à toute vie sexuelle ou amoureuse – loin de là. À part dans un cas, peut-être : quand nous entretenons des relations suivies ou épisodiques avec des hommes non par réel désir, mais par addiction à leur regard, par conformisme, parce que cela « se fait », ou par peur d’être seule. Certaines jugent alors indispensable d’apprendre à s’en passer complètement, pour y revenir plus tard en ayant bâti un socle d’autonomie. Dans Une révolution intérieure, Gloria Steinem évoque une musicienne de sa connaissance, du nom de Tina, qui avait l’habitude de lâcher tout ce qu’elle était en train de faire dès qu’un homme lui manifestait de l’intérêt. Elle finit par prendre une mesure radicale : « Pendant cinq ans, elle composa, voyagea, vécut seule, vit des amis, mais elle refusa toutes les sollicitations masculines. Elle répara sa maison, prit des vacances dans des lieux inconnus et enseigna l’écriture de chansons. Elle vécut une vie pleine, mais une vie qui n’incluait ni sexe ni romance. » Au début, ce fut difficile : « Sans se voir à travers les yeux d’un homme, elle n’était même pas sûre d’exister. Mais, peu à peu, elle commença à prendre plaisir à se réveiller seule, à parler à son chat, à quitter une fête quand elle en avait envie. Pour la première fois, elle sentit son “centre” se déplacer des hommes à un nouveau lieu à l’intérieur d’elle-même. » Au bout de cinq ans, elle rencontra un homme très différent de ceux qu’elle attirait et qui l’attiraient auparavant, et elle l’épousa.

Oh, dey put me under arrest one day for vacancy in Bartow. When de judge found out Ah had a job of work. He took and searched me and when he found out Ah had a deck of cards on me, he charged me wid totin' concealed cards, and attempt to gamble, and gimme three months. Then dey made out another charge 'ginst me. 'Cused me of highway shufflin', and attempt to gamble. You know dese white folks sho hates tuh turn a n****r loose, if every dey git dey hands on 'im.

Section 2. The President shall be Commander in Chief of the Army and Navy of the United States, and of the Militia of the several States, when called into the actual Service of the United States; he may require the Opinion, in writing, of the principal Officer in each of the executive Departments, upon any Subject relating to the Duties of their respective Offices, and he shall have Power to grant Reprieves and Pardons for Offenses against the United States, except in Cases of impeachment. He shall have Power, by and with the Advice and Consent of the Senate, to make Treaties, provided two thirds of the Senators present concur; and he shall nominate, and by and with the Advice and Consent of the Senate, shall appoint Ambassadors, other public Ministers and Consuls, Judges of the supreme Court, and all other Officers of the United States, whose Appointments are not herein otherwise provided for, and which shall be established by Law: but the Congress may by Law vest the Appointment of such inferior Officers, as they think proper, in the President alone, in the Courts of Law, or in the Heads of Departments. The President shall have Power to fill up all Vacancies that may happen during the Recess of the Senate, by granting Commissions which shall expire at the End of their next session.

In conclusion, it is appropriate to say something about the destiny of the face, in the world that we have entered – a world in which eros is being rapidly detached from inter-personal commitments and redesigned as a commodity. The first victim of this process is the face, which has to be subdued to the rule of the body, to be shown as overcome, wiped out or spat upon. The underlying tendency of erotic images in our time is to present the body as the focus and meaning of desire, the place where it all occurs, in the momentary spasm of sensual pleasure of which the soul is at best a spectator, and no part of the game. In pornography the face has no role to play, other than to be subjected to the empire of the body. Kisses are of no significance, and eyes look nowhere since they are searching for nothing beyond the present pleasure. All this amounts to a marginalization, indeed a kind of desecration, of the human face. And this desecration of the face is also a cancelling out of the subject. Sex, in the pornographic culture, is not a relation between subjects but a relation between objects. And anything that might enter to impede that conception of the sexual act – the face in particular – must be veiled, marred or spat upon, as an unwelcome intrusion of judgement into a sphere where everything goes. All this is anticipated in the pornographic novel, Histoire d’O, in which enslaved and imprisoned women are instructed to ignore the identity of the men who enjoy them, to submit their faces to the penis, and to be defaced by it. A parallel development can be witnessed in the world of sex idols. Fashion models and pop stars tend to display faces that are withdrawn, scowling and closed. Little or nothing is given through their faces, which offer no invitation to love or companionship. The function of the fashion-model’s face is to put the body on display; the face is simply one of the body’s attractions, with no special role to play as a focus of another’s interest. It is characterized by an almost metaphysical vacancy, as though there is no soul inside, but only, as Henry James once wrote, a dead kitten and a ball of string. How we have arrived at this point is a deep question that I must here pass over. But one thing is certain, which is that things were not always so. Sex symbols and sex idols have always existed. But seldom before have they been faceless. One of the most famous of those symbols, Simonetta Vespucci, mistress of Lorenzo da Medici, so captured the heart of Botticelli that he used her as the model for his great painting of the Birth of Venus. In the central figure the body has no meaning other than the diffusion and outgrowth of the soul that dreams in the face – anatomically it is wholly deformed, and a girl who actually looked like this would have no chance in a modern fashion parade. Botticelli is presenting us with the true, Platonic eros, as he saw it – the face that shines with a light that is not of this world, and which invites us to transcend our appetites and to aspire to that higher realm where we are united to the forms – Plato’s version of a world in which the only individuals are souls. Hence the body of Botticelli’s Venus is subservient to the face, a kind of caricature of the female anatomy which nevertheless takes its meaning from the holy invitation that we read in the eyes above.

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