Verbs For Quotes

Everybody can be great...because anybody can serve. You don't have to have a college degree to serve. You don't have to make your subject and verb agree to serve. You only need a heart full of grace. A soul generated by love.

So what you're saying is you can't explain it." "I did explain it." "No, you used nouns and verbs together in a pleasing but illogical format.

Love is a verb, not a noun. It is active. Love is not just feelings of passion and romance. It is behavior. If a man lies to you, he is behaving badly and unlovingly toward you. He is disrespecting you and your relationship. The words “I love you” are not enough to make up for that. Don’t kid yourself that they are.

I believe in love the verb, not the noun.

I live on Earth at present, and I don’t know what I am. I know that I am not a category. I am not a thing — a noun. I seem to be a verb, an evolutionary process – an integral function of the universe.

Compassion is a verb.

No, you used nouns and verbs together in a pleasing but illogical format.

I fight back laughter. “As you wish.” "Did you really just Princess Bride me?” “Did you really just use Princess Bride as a verb?

our obsessive desire to make and have and do and say and go and get—six of the seven most common verbs in English—may ultimately steal away our ability to be, the most common verb in English.

We are not nouns, we are verbs. I am not a thing - an actor, a writer - I am a person who does things - I write, I act - and I never know what I'm going to do next. I think you can be imprisoned if you think of yourself as a noun.

Hope is a verb with its shirtsleeves rolled up.

But what is memory if not the language of feeling, a dictionary of faces and days and smells which repeat themselves like the verbs and adjectives in a speech, sneaking in behind the thing itself,into the pure present, making us sad or teaching us vicariously...

Ski. Sled. Play basketball. Jog. Run. Run. Run. Run home. Run home and enjoy. Enjoy. Take these verbs and enjoy them. They're yours, Craig. You deserve them because you chose them. You could have left them all behind but you chose to stay here. So now live for real, Craig. Live. Live. Live. Live. Live.

Oscar Wilde said that if you know what you want to be, then you inevitably become it - that is your punishment, but if you never know, then you can be anything. There is a truth to that. We are not nouns, we are verbs. I am not a thing - an actor, a writer - I am a person who does things - I write, I act - and I never know what I am going to do next. I think you can be imprisoned if you think of yourself as a noun.

This is my living faith, an active faith, a faith of verbs: to question, explore, experiment, experience, walk, run, dance, play, eat, love, learn, dare, taste, touch, smell, listen, speak, write, read, draw, provoke, emote, scream, sin, repent, cry, kneel, pray, bow, rise, stand, look, laugh, cajole, create, confront, confound, walk back, walk forward, circle, hide, and seek.

Her majesty is one verb short of a sentence.

Love is a verb. Love – the feeling – is the fruit of love the verb or our loving actions. So love her. Sacrifice. Listen to her. Empathize. Appreciate. Affirm her.

So you must wake up every morning knowing that no promise is unbreakable, least of all the promise of waking up at all. This is not despair. These are the preferences of the universe itself: verbs over nouns, actions over states, struggle over hope.

Elmore Leonard's Ten Rules of Writing 1. Never open a book with weather. 2. Avoid prologues. 3. Never use a verb other than "said" to carry dialogue. 4. Never use an adverb to modify the verb "said”…he admonished gravely. 5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose. 6. Never use the words "suddenly" or "all hell broke loose." 7. Use regional dialect, patois, sparingly. 8. Avoid detailed descriptions of characters. 9. Don't go into great detail describing places and things. 10. Try to leave out the part that readers tend to skip. My most important rule is one that sums up the 10. If it sounds like writing, I rewrite it.

This is why you must love life: one day you're offering up your social security number to the Russian Mafia; two weeks later you're using the word calve as a verb.

God,' he said, 'I have to have you.' 'Take me. Own me. Use me. Pick a verb. Just please.' 'Fuck you. I'm going to fuck you. That's my verb.

I want to see the thirst inside the syllables I want to touch the fire in the sound: I want to feel the darkness of the cry. I want words as rough as virgin rocks.” - Verb.

What is an adjective? Nouns name the world. Verbs activate the names. Adjectives come from somewhere else. The word adjective (epitheton in Greek) is itself an adjective meaning 'placed on top', 'added', 'appended', 'foreign'. Adjectives seem fairly innocent additions, but look again. These small imported mechanisms are in charge of attaching everything in the world to its place in particularity. They are the latches of being.

Become. It was a verb that had always obsessed me...I wanted to become, even though I had never known what. And I had become, that was certain, but without an object, without a real passion, without a determined ambition.

Take these verbs and enjoy them. They're yours, Craig. You deserve them because you chose them. You could have left them all behind but you chose to stay here.

Mother is a verb. It's something you do. Not just who you are.

Possess. Have. Hold. Enjoy. Control. Dominate. Pick your verb, Ms. Fairchild. I intend to explore so very many of them.

Sometimes I feel there are doors lurking in the creases of every sentence, with periods for knobs and verbs for hinges.

Teach them the quiet verbs of kindness, to live beyond themselves. Urge them toward excellence, drive them toward gentleness, pull them deep into yourself, pull them upward toward manhood, but softly like an angel arranging clouds. Let your spirit move through them softly.

His sentences didn't seem to have any verbs, which was par for a politician. All nouns, no action.

I am convinced that creativity is a priori to the integrity of the universe and that life is regenerative and conformity meaningless.

Love as a verb. Love as a commitment.

Autumn teaches us that fruition is also death; that ripeness is a form of decay. The willows, having stood for so long near water, begin to rust. Leaves are verbs that conjugate the seasons.

He lived at a little distance from his body, regarding his own acts with doubtful side-glances. He had an odd autobiographical habit which led him to compose in his mind from time to time a short sentence about himself containing a subject in the third person and a verb in the past tense.

And what is a kiss, specifically? A pledge properly sealed, a promise seasoned to taste, a vow stamped with the immediacy of a lip, a rosy circle drawn around the verb 'to love.' A kiss is a message too intimate for the ear, infinity captured in the bee's brief visit to a flower, secular communication with an aftertaste of heaven, the pulse rising from the heart to utter its name on a lover's lip: 'Forever.

My wife and I just don't have the same feelings for each other we used to have. I guess I just don't love her anymore and she doesn't love me. What can i do?" "The feeling isn't there anymore?" I asked. "That's right," he reaffirmed. "And we have three children we're really concerned about. What do you suggest?" "love her," I replied. "I told you, the feeling just isn't there anymore." "Love her." "You don't understand. the feeling of love just isn't there." "Then love her. If the feeling isn't there, that's a good reason to love her." "But how do you love when you don't love?" "My friend , love is a verb. Love - the feeling - is a fruit of love, the verb. So love her. Serve her. Sacrifice. Listen to her. Empathize. Appreciate. Affirm her. Are you willing to do that?

I am leaking letters and dripping verbs and bathing myself in the actions they long to take.

The Psalms wrap nouns and verbs around our pain better than any other book.

He was intrigued by the power of words, not the literary words that filled the books in the library but the sharp, staccato words that went into the writing of news stories. Words that went for the jugular. Active verbs that danced and raced on the page.

The soul is a verb." He impales a lit candle on a spike. "Not a noun.

I wonder at my incapacity for easy banter, smooth conversation, empty words to fill awkward moments. I don't have a closet filled with umms and ellipses ready to insert at the beginnings and ends of sentences. I don't know how to be a verb, an adverb, any kind of modifier. I'm a noun through and through.

The word "love" is most often defined as a noun, yet al the more astute theorists of love acknowledge that we would all love better if we used it as a verb.

Man fucks woman; subject verb object.

how can I say 'I love you', if I know the love is you .. the word 'love' either as a verb or a noun would be destroyed in front of you

I am very flattered. I have also become a verb as in "I have cumberbatched the UK audience" apparently. Who knows, by the end of the year I might become a swear word too! It's crazy and fun and very flattering.

Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M. C. Escher.

Observations,” he says. “Four imperial Unseelie guards were the only commonality I was able to isolate endemic to both scenes.” They’d been standing, armed, at the dock doors, overseeing the delivery. He gives me a sidewise look. “Wow. That was, like, a whole sentence. With nouns and verbs and connective tissue. Endemic. Fancy word.

Pollution is nothing but resources we're not harvesting. We allow them to disperse because we've been ignorant of their value.

Sydney! Stop. Think of something else. Conjugate Latin verbs. Recite the periodic table.

I do so like all-encompassing words. Verb, adjective, noun. Yes, you are shitted.

Verbing weirds language.

Who dreamt and made incarnate gaps in Time & Space through images juxtaposed, and trapped the archangel of the soul between 2 visual images and joined the elemental verbs and set the noun and dash of consciousness together jumping with sensation of Pater Omnipotens Aeterna Deus to recreate the syntax and measure of poor human prose and stand before you speechless and intelligent and shaking with shame

A poet is a verb that blossoms light in gardens of dawn, or sometimes midnight.

The whole life lies in the verb seeing.

You never push a noun against a verb without trying to blow up something.

whenever the literary german dives into a sentence, this is the last you are going to see of him till he emerges on the other side of his atlantic with his verb in his mouth.

Love is a verb.

Verbs. All of them tiring.

We watched TV. I went home late. That’s what happened. Got it?” I fight back laughter. “As you wish.” “Did you really just Princess Bride me?” “Did you really just use Princess Bride as a verb?

If there were a verb meaning "to believe falsely," it would not have any significant first person, present indicative.

God is a verb

First they came for the verbs, and I said nothing because verbing weirds language. Then they arrival for the nouns, and I speech nothing because I no verbs.

God is a verb

The French verb aimer has two meanings. And that’s why he liked her, and loved her. She spoke to him in a language that, no matter how hard you studied it, could not be completely understood.

Love is not a state of enthusiasm. It's a verb. It implies action, demonstration, ritual, practices, communication, expression. It's the ability to take responsibility of one's own behavior. Responsibility is freedom.

There are only two ways to influence human behavior: you can manipulate it or you can inspire it. Very few people or companies can clearly articulate WHY they do WHAT they do. By WHY I mean your purpose, cause or belief - WHY does your company exist? WHY do you get out of bed every morning? And WHY should anyone care? People don’t buy WHAT you do, they buy WHY you do it. We are drawn to leaders and organizations that are good at communicating what they believe. Their ability to make us feel like we belong, to make us feel special, safe and not alone is part of what gives them the ability to inspire us. For values or guiding principles to be truly effective they have to be verbs. It’s not “integrity,” it’s “always do the right thing.” It’s not “innovation,” it’s “look at the problem from a different angle.” Articulating our values as verbs gives us a clear idea - we have a clear idea of how to act in any situation. Happy employees ensure happy customers. And happy customers ensure happy shareholders—in that order. Leading is not the same as being the leader. Being the leader means you hold the highest rank, either by earning it, good fortune or navigating internal politics. Leading, however, means that others willingly follow you—not because they have to, not because they are paid to, but because they want to. You don’t hire for skills, you hire for attitude. You can always teach skills. Great companies don’t hire skilled people and motivate them, they hire already motivated people and inspire them. People are either motivated or they are not. Unless you give motivated people something to believe in, something bigger than their job to work toward, they will motivate themselves to find a new job and you’ll be stuck with whoever’s left. Trust is maintained when values and beliefs are actively managed. If companies do not actively work to keep clarity, discipline and consistency in balance, then trust starts to break down. All organizations start with WHY, but only the great ones keep their WHY clear year after year.

No proper princess would come out looking for dragons," Woraug objected. "Well I'm not a proper princess then!" Cimorene snapped. "I make cherries jubillee and I volunteer for dragons, and I conjugate Latin verbs-- or at least I would if anyone would let me. So there!

He was just alive," [Gansey] said helplessly. "He just taught us four irregular verbs last week. And you killed him.

Hyacinth,” Lady Bridgerton said in a vaguely disapproving voice, “do try to speak in complete sentences.” Hyacinth looked at her mother with a surprised expression. “Biscuits. Are. Good.” She cocked her head to the side. “Noun. Verb. Adjective.” “Hyacinth.” “Noun. Verb. Adjective.” Colin said, wiping a crumb from his grinning face. “Sentence. Is. Correct.

Le verbe lire ne supporte pas l’impératif. Aversion qu’il aime partager avec quelques autres : le verbe « aimer »… le verbe « rêver »…

Can verbs be made up? I'll tell you one. I heaven you, so my wings will open wide to love you boundlessly.

Or, God, maybe this was just life. For everyone on the planet. Maybe the Survivor's Club wasn't something you "earned," but simply what you were born into when you came out of your mother's womb. Your heartbeat put you on the roster and then the rest of it was just a question of vocabulary: the nouns and verbs used to describe the events that rocked your foundation and sent you flailing were not always the same as other people's, but the random cruelties of disease and accident, and the malicious focus of evil men and nasty deeds, and the heartbreak of loss with all its stinging whips and rattling chains... At the core, it was all the same.

People don't stop being bullies when they grow up. They just dress differently to fool you.

He was a bad painter and a vicious gossip, with a vocabulary composed almost entirely of obscenities, guttural verbs, and the word “postmodernist.

Soul is a verb.

I do not want to be human. I want to be myself. They think I’m a lion, that I will chase them. I will not deny that I have lions in me. I am the monster in the wood. I have wonders in my house of sugar. I have parts of myself I do not yet understand. I am not a Good Robot. To tell a story about a robot who wants to be human is a distraction. There is no difference. Alive is alive. There is only one verb that matters: to be.

El verbo leer, como el verbo amar y el verbo soñar, no soporta ‘el modo imperativo’. Yo siempre les aconsejé a mis estudiantes que si un libro los aburre lo dejen; que no lo lean porque es famoso, que no lean un libro porque es moderno, que no lean un libro porque es antiguo. La lectura debe ser una de las formas de la felicidad y no se puede obligar a nadie a ser feliz. The verb reading, like the verb to love and the verb dreaming, doesn't bear the imperative mode. I always advised to my students that if a book bores them leave it; That they don't read it because it's famous, that they don't read a book because it's modern, that they don't read a book because it's antique. The reading should be one of the ways of happiness and nobody can be obliged to be happy.

So what you’re saying is you can’t explain it.” “I did explain it.” “No, you used nouns and verbs together in a pleasing but illogical format.

English loves to stay out all night dancing with other languages, all decked out in sparkling prepositions and irregular verbs. It is unruly and will not obey—just when you think you have it in hand, it lets down its hair along with a hundred nonsensical exceptions.

parenting isn't a noun but a verb--an ongoing process instead of an accomplishment. And that no matter how many years you put into the job, the learning curve is, well, fairly flat.

Evident in every small act of kindness, it was love as a verb. Love that made me feel more complete than I had ever felt in my glamorous, Jimmy Choo filled past.

If the nails are weak, your house will collapse. If your verbs are weak and your syntax is rickety, your sentences will fall apart.

Nouns and verbs are the guts of the language. Beware of covering up with adjectives and adverbs.

Swiftboating enters the English language as a verb that means attacking strength instead of weakness. In feminist and other social justice contexts, this has long been called trashing, attacking leaders for daring to write, speak, or lead at all. Taking away the good is even more lethal than pointing out the bad. p.189

Our happiness is completely and utterly intertwined with other people: family and friends and neighbors and the woman you hardly notice who cleans your office. Happiness is not a noun or verb. It's a conjunction. Connective tissue.

Looping. Some days are so dark I can't see anything but a miserable fog of number after number, word after word, clouds of verbs and nouns and none of them the ones that will make time go backward.

A kiss, when all is told, what is it? An oath taken a little closer, a promise more exact. A wish that longs to be confirmed, a rosy circle drawn around the verb 'to love'. A kiss is a secret which takes the lips for the ear, a moment of infinity humming like a bee, a communion tasting of flowers, a way of breathing in a little of the heart and tasting a little of the soul with the edge of the lips!

I like to think of home as a verb, something we keep recreating.

I’ve heard it said: ‘By his home you shall know him’; and we all know that we must pay attention to anyone who reverses the subject and auxiliary verb in his sentence.

The soul is a verb. . . . Not a noun.

Create inclusion - with simple mindfulness that others might have a different reality from your own.

Make mistakes. Be free. Be bold. Treat teenage as a verb,

I’m tired of wanting to respond but never knowing what face you’ll be wearing, not knowing what mean or nice words you’ll be saying, so I stay silent knowing I can’t take another round of your uncontrolled verbs, your misinterpretations of my world. So many men? Yes, I have so many men, didn’t know that this text-fighting, me on the other side crying was exclusive to just us two.

What brings you onto my property?” Rhev said, cradling his mug with both hands and trying to absorb its warmth. “Got a problem.” “I can’t fix your personality, sorry.” Lassiter laughed, the sound ringing through the house like church bells. “No.. I like myself just as I am, thank you.” “Can’t help your delusional nature, either.” “I need to find an address.” “Do I look like the phone book?” “You look like shit, as a matter of fact.” “And you with the compliments.” Rhev finished his coffee. “What makes you think I’d help you?” “Because.” “You want to toss in a couple of nouns and verbs there? I’m lost.” Lassiter grew serious, his ethereal beauty losing its SOP fuck-yourself smirk. “I’m here on official business.” Rhev frowned. “No offense, but I thought your boss pink-slipped your ass.” “I’ve got one last shot at being a good boy.

...and love, as an act, lacks a verb

To knot a sentence up properly, it has to be thought out carefully, and revised. New phrases have to be put in; sudden changes of subject must be introducted; verbs must be shifted to unsuspected localities; short words must be excised with ruthless hand; archaisms must be sprinkled like sugar-plums upon the concoction; the fatal human tendency to say things straightforwardly must be detected and defeated by adroit reversals; and, if a glimmer of meaning yet remain under close scrutiny, it must be removed by replacing all the principal verbs by paraphrases in some dead language.

Consider incompleteness as a verb.

I," she [the Holy Spirit] opened her hands to include Jesus and Papa, "I am a verb. I am that I am. I will be who I will be. I am a verb! I am alive, dynamic, ever active and moving. I am a being verb. And as my very essence is a verb, I am more attuned to verbs than nouns. Verbs such as confessing, repenting, living, loving, responding, growing, reaping, changing, sowing, running, dancing, singing, and on and on. Humans, on the other hand, have a knack for taking a verb that is alive and full of grace and turning it into a dead noun or principle that reeks of rules. Nouns exist because there is a created universe and physical reality, but the universe is only a mass of nouns, it is dead. Unless 'I am' there are no verbs and verbs are what makes the universe alive.

German wasn’t good for conversation because you had to wait to the end of the sentence for the verb, and so couldn’t interrupt.

I am the androgyne, I am the living mind you fail to describe in your dead language the lost noun, the verb surviving only in the infinitive the letters of my name are written under the lids of the newborn child

This is not the time to be passive. This is the time to shape, sculpt, paint, participate… the time to get sweaty, to get dirty, to fall in love, to forgive, to forget, to hug, to kiss… this is the time to experience, participate and live your life as a verb.

Anyone who has tried to learn a foreign language knows only too dearly that languages can be full of pointless irregularities that increase complexity considerably without contributing much to the ability to express ideas. English, for instance, would have losed none of its expressive power if some of its verbs leaved their irregular past tense behind and becomed regular.

Badassery: 1. (noun) the practice of knowing one’s own accomplishments and gifts, accepting one’s own accomplishments and gifts and celebrating one’s own accomplishments and gifts; 2. (noun) the practice of living life with swagger : SWAGGER (noun or verb) a state of being that involves loving oneself, waking up “like this” and not giving a crap what anyone else thinks about you. Term first coined by William Shakespeare.

Every romantic knows that love was never a noun; it is a verb.

In my heart, I knew that Whorf was right. I knew I thought differently in Turkish and English - not because thought and language were the same, but because different languages forced you to think about different things. Turkish, for example, had a suffix, -mis, that you put on verbs to report anything you didn't witness personally. You were always stating your degree of subjectivity. You were always thinking about it, every time you opened your mouth. The suffix -mis had not exact English equivalent. It could be translated as "it seems" or "I heard" or "apparently." I associated it with Dilek, my cousin on my father's side - tiny, skinny, dark-complexioned Dilek, who was my age but so much smaller. "You complained-mis to your mother," Dilek would tell me in her quiet, precise voice. "The dog scared-mis you." "You told-mis your parents that if Aunt Hulya came to America, she could live in your garage." When you heard -mis, you knew that you had been invoked in your absence - not just you but your hypocrisy, cowardice, and lack of generosity. Every time I heard -mis, I felt caught out. I was scared of the dogs. I did complain to my mother, often. The -mis tense was one of the things I complained to my mother about. My mother thought it was funny.

Privilege is provisional. Privilege can be denied, withheld, offered grudgingly and summarily withdrawn. Entitlement is impervious to the kinds of verbs that modify privilege. Our people have had to work, scrape for privilege, gobble it down when those who would snatch it away weren’t looking. Keep a close watch.

They've a temper, some of them--particularly verbs: they're the proudest--adjectives you can do anything with, but not verbs--however I can manage the whole lot of them!

I'd hoped the language might come on its own, the way it comes to babies, but people don't talk to foreigners the way they talk to babies. They don't hypnotize you with bright objects and repeat the same words over and over, handing out little treats when you finally say "potty" or "wawa." It got to the point where I'd see a baby in the bakery or grocery store and instinctively ball up my fists, jealous over how easy he had it. I wanted to lie in a French crib and start from scratch, learning the language from the ground floor up. I wanted to be a baby, but instead, I was an adult who talked like one, a spooky man-child demanding more than his fair share of attention. Rather than admit defeat, I decided to change my goals. I told myself that I'd never really cared about learning the language. My main priority was to get the house in shape. The verbs would come in due time, but until then I needed a comfortable place to hide.

He had been thinking of how landscape moulds a language. It was impossible to imagine these hills giving forth anything but the soft syllables of Irish, just as only certain forms of German could be spoken on the high crags of Europe; or Dutch in the muddy, guttural, phlegmish lowlands.

And pretty is not even the right word. She burns. She's a verb.

What are American dry-goods? asked the duchess, raising her large hands in wonder and accentuating the verb. American novels, answered Lord Henry.

Sorry about your sausage dog.

A bay is a noun only if water is dead. When bay is a noun, it is defined by humans, trapped between its shores and contained by the word. But the verb wiikwegamaa—to be a bay—releases the water from bondage and lets it live. “To be a bay” holds the wonder that, for this moment, the living water has decided to shelter itself between these shores, conversing with cedar roots and a flock of baby mergansers. Because it could do otherwise—become a stream or an ocean or a waterfall, and there are verbs for that, too. To be a hill, to be a sandy beach, to be a Saturday, all are possible verbs in a world where everything is alive. Water, land, and even a day, the language a mirror for seeing the animacy of the world, the life that pulses through all things, through pines and nuthatches and mushrooms. This is the language I hear in the woods; this is the language that lets us speak of what wells up all around us.[…] This is the grammar of animacy.

A father is as much a verb as a mother.

I thought art was a verb, rather than a noun.

The whole of nature is a conjugation of the verb to eat, in the active and passive.

I learned that love means nothing unless it’s acted upon. Love isn’t real without intent. It’s a verb. It isn’t passive.

I was doing a terrible thing in using the very books you clung to, to rebut you on every hand, on every point! What traitors books can be! You think they're backing you up, and then they turn on you. Others can use them, too, and there you are, lost in the middle of the moor, in a great welter of nouns and verbs and adjectives.

Generosity has little to do with giving gifts, and everything to do with giving space to others to be who they are.

When we know what we most fear, we know what we most care about.

I manage a toast to the Christmas tree and one to the sweet absurdity in the miracle of the verb to be. Lucky you, lucky me.

The whole of nature is a conjugation of the verb to eat, in the active and passive.

The boy spoke two words, the first a short guttural verb, the second “you.

In a language as idiomatically stressed as English, opportunities for misreadings are bound to arise. By a mere backward movement of stress, a verb can become a noun, an act a thing. To refuse, to insist on saying no to what you believe is wrong, becomes at a stroke refuse, an insurmountable pile of garbage.

Speaking does harm, sows confusion and weakens things that are obvious. Speaking makes me tremble inside. I don't think I have ever said anything really important in my entire life -- there's a lack of words for the most important things anyway. (I must make a list of missing words -- top of it I'll put a verb that means something in between "I sense" and "I see.")

They waited for the elevator. " Most people love butterflies and hate moth," he said. "But moths are more interesting - more engaging." "They're destructive." "Some are, a lot are, but they live in all kinds of ways. Just like we do." Silence for one floor. "There's a moth, more than one in fact, that lives only on tears," he offered. "That's all they eat or drink." "What kind of tears? Whose tears?" "The tears of large land mammals, about our size. The old definition of moth was, 'anything that gradually, silently eats, consumes, or wages any other thing.' It was a verb for destruction too. . . .

Faith is revelation. And in order to receive revelation you have to be open. Belief is about closing yourself off -- a lie you tell yourself to make the world fit in with how you've decided it should be. Real faith is an action - a verb. It's truth unfolding.

Like most children, theirs was a relation based on verbs, not nouns.

At a basic level, your personal mission has to be rooted in the story of you, the sum of your life experiences, and what you want to achieve in the future. It is like a blueprint for your life that is filled with action verbs and themes that you associate with achieving a sense of abundance, and which extends beyond material resources.

You see, in our family we don't know whether we're coming or going - it's all my grandmother's fault. But, of course, the fault wasn't hers at all: it lay in language. Every language assumes a centrality, a fixed and settled point to go away from and come back to, and what my grandmother was looking for was a word for a journey which was not a coming or a going at all; a journey that was a search for precisely that fixed point which permits the proper use of verbs of movement.

The bed we loved in was a spinning world of forests, castles, torchlight, clifftops, seas where we would dive for pearls. My lover’s words were shooting stars which fell to earth as kisses on these lips; my body now a softer rhyme to his, now echo, assonance; his touch a verb dancing in the centre of a noun. Some nights, I dreamed he’d written me, the bed a page beneath his writer’s hands. Romance and drama played by touch, by scent, by taste. In the other bed, the best, our guests dozed on, dribbling their prose. My living laughing love - I hold him in the casket of my widow’s head as he held me upon that next best bed. - Anne Hathaway

I hate all these crazy verbs, using a subjunctive to get what’s happened in the future and the past mixed up.

I use the verb 'to torment,' as I observed to be your own method, instead of 'to instruct,' supposing them to be now admitted as synonymous.

She’s my wife. (Stryker) Was. You seem to have forgotten an important verb tense. (Zephyra)

I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads on the island, for the Neverland is always more or less an island, with astonishing splashes of colour here and there, and coral reefs and rakish-looking craft in the offing, and savages and lonely lairs, and gnomes who are mostly tailors, and caves through which a river runs, and princes with sex elder brothers, and a hut fast going to decay, and one very small old lady with a hooked nose. It would be an easy map if that were all, but there is also first day at school, religion, fathers, the round pond, needle-work, murders, hangings, verbs that take the dative, chocolate-pudding day, getting into braces, say ninety-nine threepence for pulling out your tooth yourself, and so on, and either these are part of the island or they are another map showing through, and it is all rather confusing, especially as nothing will stand still. Of course the Neverlands vary a good deal. John’s, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents...

Modern western man has some basic misconceptions about the nature of happiness. The origin of the word is instructive: happiness stems from the root verb to happen, which implies that our happiness is what happens.

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: * Avoid run-on sentences they are hard to read. * Don't use no double negatives. * Use the semicolon properly, always use it where it is appropriate; and never where it isn't. * Reserve the apostrophe for it's proper use and omit it when its not needed. * Do not put statements in the negative form. * Verbs has to agree with their subjects. * No sentence fragments. * Proofread carefully to see if you any words out. * Avoid commas, that are not necessary. * If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. * A writer must not shift your point of view. * Eschew dialect, irregardless. * And don't start a sentence with a conjunction. * Don't overuse exclamation marks!!! * Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. * Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. * Write all adverbial forms correct. * Don't use contractions in formal writing. * Writing carefully, dangling participles must be avoided. * It is incumbent on us to avoid archaisms. * If any word is improper at the end of a sentence, a linking verb is. * Steer clear of incorrect forms of verbs that have snuck in the language. * Take the bull by the hand and avoid mixed metaphors. * Avoid trendy locutions that sound flaky. * Never, ever use repetitive redundancies. * Everyone should be careful to use a singular pronoun with singular nouns in their writing. * If I've told you once, I've told you a thousand times, resist hyperbole. * Also, avoid awkward or affected alliteration. * Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. * Always pick on the correct idiom. * "Avoid overuse of 'quotation "marks."'" * The adverb always follows the verb. * Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)

...she had always known under her mind and now she confessed it: her agony had been, half of it, because one day he would say farewell to her, like that, with the inflexion of a verb. As, just occasionally, using the word 'we' - and perhaps without intention - he had let her know that he loved her.

She longed for cutlasses, pistols, and brandy; she had to make do with coffee, and pencils, and verbs.

I'm uncomfortable with verbs; they expect too much.

Mother is a verb, not a noun.

It is the German who is so uncourteous to his verbs

My relationship stays strong because I serenade her with my actions and I write poetry in her heart with my deeds. My endless love is expressed with more than just my words; my love is lived as a verb.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are “being” and “having” thoroughly inaccurate verbs in the twisted skein of desire, where having someone’s body to touch and being that someone we’re longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M. C. Escher.

It's a beautiful thing, the destruction of words. Of course the great wastage is in the verbs and adjectives, but there are hundreds of nouns that can be got rid of as well. It isn't only the synonyms; there are also the antonyms. After all, what justification is there for a word which is simply the opposite of some other words? A word contains its opposite in itself. Take 'good,' for instance. If you have a word like 'good,' what need is there for a word like 'bad'? 'Ungood' will do just as well--better, because it's an exact opposite, which the other is not. Or again, if you want a stronger version of 'good,' what sense is there in having a whole string of vague useless words like 'excellent' and 'splendid' and all the rest of them? 'Plusgood' covers the meaning, or 'doubleplusgood' if you want something stronger still...In the end the whole notion of goodness and badness will be covered by only six words--in reality, only one word. Don't you see the beauty of that, Winston?

Instead of a book, what if we're actually writing (or not writing) in the margins of our lives? What if our lives are books? What is the sign of our presence? Are we pressing into the margins our interpretations and questions? Are we circling offending verbs and drawing furious arrows to the margin where we scrawl "irony," "frustration," "voiceless," "unfair!" Or do we simply turn the pages, passively receiving what's given, furiously disagreeing but remaining silent about it?

Monster” is derived from the Latin noun monstrum, “divine portent,” itself formed on the root of the verb monere, “to warn.” It came to refer to living things of anomalous shape or structure, or to fabulous creatures like the sphinx who were composed of strikingly incongruous parts, because the ancients considered the appearance of such beings to be a sign of some impending supernatural event. Monsters, like angels, functioned as messengers and heralds of the extraordinary. They served to announce impending revelation, saying, in effect, “Pay attention; something of profound importance is happening.

It was the English word she used. It was in English that the past was unilateral; in Bengali, the word for yesterday, kal, was also the word for tomorrow. In Bengali one needed an adjective, or relied on the tense of a verb, to distinguish what had already happened from what would be.

Love is a word that is constantly heard, Hate is a word that is not. Love, I am told, is more precious that gold. Love, I have read, is hot. But hate is the verb that to me is superb, And love but a drug on the mart. Any kiddie in school can love like a fool, But hating, my boy, is an art.

My language limitations here are real. My vocabulary is adequate for writing notes and keeping journals but absolutely useless for an active moral life. If I really knew this language, there would surely be in my head, as there is in Webster's or the Dictionary of American Slang, that unreducible verb designed to tell a person like me what to do next.

love means nothing unless it’s acted upon. Love isn’t real without intent. It’s a verb. It isn’t passive. But most of all, love means sacrifice. Whatever love asks of you must be given, no matter the price.

Strunk and White don’t speculate as to why so many writers are attracted to passive verbs, but I’m willing to; I think timid writers like them for the same reason timid lovers like passive partners. The passive voice is safe.

In my old age, I have come to believe that love is not a noun but a verb. An action. Like water, it flows to its own current. If you were to corner it in a dam, true love is so bountiful it would flow over. Even in separation, even in death, it moves and changes. It lives within memory, in the haunting of a touch, the transience of a smell, or the nuance of a sigh. It seeks to leave a trace like a fossil in the sand, a leaf burning into baking asphalt.

Un baiser, mais à tout prendre, qu'est-ce? Un serment fait d'un peu plus près, une promesse Plus précise, un aveu qui peut se confirmer, Un point rose qu'on met sur l'i du verbe aimer; C'est un secret qui prend la bouche pour oreille, Un instant d'infini qui fait un bruit d'abeille, Une communion ayant un goût de fleur, Une façon d'un peu se respirer le coeur, Et d'un peu se goûter au bord des lèvres, l'âme!

Kugelmass, unaware of this catastrophe, had his own problems. He had not been thrust into Portnoy's Complaint, or into any other novel, for that matter. He had been projected into an old textbook, Remedial Spanish, and was running for his life over a barren, rocky terrain as the word tener ("to have") - a large and hairy irregular verb - raced after him on its spindly legs.

The worst of this sorry bunch of semi-educated losers are those who seem to glory in being irritated by nouns becoming verbs. How dense and deaf to language development do you have to be? If you don’t like nouns becoming verbs, then for heaven’s sake avoid Shakespeare who made a doing-word out of a thing-word every chance he got. He TABLED the motion and CHAIRED the meeting in which nouns were made verbs

Here’s the thing, effective parenting and, more specifically, effective discipline, don’t require punishment. Equating discipline with punishment is an unfortunate, but common misconception. The root word in discipline is actually disciple which in the verb form means to guide, lead, teach, model, and encourage. In the noun form disciple means one who embraces the teaching of, follows the example of, and models their life after.

In an ideal world, the time English speakers devote to steeling themselves against, and complaining about, things like Billy and me, singular they, and impact as a verb would be better spent attending to genuine matters of graceful oral and written expression.

But still, I’d be darned if I was going to be one of those Americans who stomp around Italy barking commands in ever-louder English. I was going to be one of those Americans who traversed Italy with my forehead knit in concentration, divining wordsw from their Latin roots and answering by wedging French cognates into Italian pronunciations spliced onto a standard Spanish verb conjugation.

Do not put statements in the negative form. And don't start sentences with a conjunction. If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. Never use a long word when a diminutive one will do. Unqualified superlatives are the worst of all. De-accession euphemisms. If any word is improper at the end of a sentence, a linking verb is. Avoid trendy locutions that sound flaky. Last, but not least, avoid cliches like the plague.

It's always the chest of the other person we lean back against for support, we only really feel supported or backed up when, as the latter verb itself indicates, there's someone behind us, someone we perhaps cannot even see and who covers our back with their chest, so close it almost brushes our back and in the end always does, and at times, that someone places a hand on our shoulder, a hand to calm us and also to hold us. That's how most married people and most couples sleep or think they sleep, the two turn to the same side when they say goodnight, so that one has his or her back to the other throughout the whole night, when he or she wakes up startled from a nightmare, or is unable to get to sleep, or is suffering from a fever or feels alone and abandoned in the darkness, they have only to turn round and see before them the face of the person protecting them, the person who will let themselves be kissed on any part of the face that is kissable (nose, eyes and mouth; chin, forehead and cheeks, the whole face) or perhaps, half-asleep, will place a hand on their shoulder to calm them, or to hold them, or even to cling to them.

Love is never a relationship; love is relating. It is always a river, flowing, unending. Love knows no full stop; the honeymoon begins but never ends. It is not like a novel that starts at a certain point and ends at a certain point. It is an ongoing phenomenon. Lovers end, love continues—it is a continuum. It is a verb, not a noun. And why do we reduce the beauty of relating to relationship? Why are we in such a hurry? Because to relate is insecure, and relationship is a security. Relationship has a certainty; relating is just a meeting of two strangers, maybe just an overnight stay and in the morning we say goodbye. Who knows what is going to happen tomorrow? And we are so afraid that we want to make it certain, we want to make it predictable. We would like tomorrow to be according to our ideas; we don’t allow it freedom to have its own say. So we immediately reduce every verb to a noun. You

And there was never a better time to delve for pleasure in language than the sixteenth century, when novelty blew through English like a spring breeze. Some twelve thousand words, a phenomenal number, entered the language between 1500 and 1650, about half of them still in use today, and old words were employed in ways not tried before. Nouns became verbs and adverbs; adverbs became adjectives. Expressions that could not have grammatically existed before - such as 'breathing one's last' and 'backing a horse', both coined by Shakespeare - were suddenly popping up everywhere.

A good poem is a tautology. It expands one word by adding a number which clarify it, thus making a new word which has never before been spoken. The seedword is always so ordinary that hardly anyone perceives it. Classical odes grow from and or because, romantic lyrics from but and if. Immature verses expand a personal pronoun ad nauseam, the greatest works bring glory to a common verb. Good poems, therefore, are always close to banality, over which, however, they tower like precipices.

The Germans have an inhuman way of cutting up their verbs. Now a verb has a hard time enough of it in this world when it's all together. It's downright inhuman to split it up. But that's just what those Germans do. They take part of a verb and put it down here, like a stake, and they take the other part of it and put it away over yonder like another stake, and between these two limits they just shovel in German. from "Disappearance of Literature

The Sanscrit language, whatever be its antiquity, is of a wonderful structure; more perfect than the Greek, more copious than the Latin, and more exquisitely refined than either, yet bearing to both of them a stronger affinity, both in the roots of verbs and the forms of grammar, than could possibly have been produced by accident; so strong indeed, that no philologer could examine them all three, without believing them to have sprung from some common source, which, perhaps, no longer exists; there is a similar reason, though not quite so forcible, for supposing that both the Gothic and the Celtic, though blended with a very different idiom, had the same origin with the Sanscrit; and the old Persian might be added to the same family.

Did I want to be like him? Did I want to be him? Or did I just want to have him? Or are "being" and "having" thoroughly inaccurate verbs in the twisted skein of desire, where having someone's body to touch and being that someone we're longing to touch are one and the same, just opposite banks on a river that passes from us to them, back to us and over to them again in this perpetual circuit where the chambers of the heart, like the trapdoors of desire, and the wormholes of time, and the false-bottomed drawer we call identity share a beguiling logic according to which the shortest distance between real life and the life unlived, between who we are and what we want, is a twisted staircase designed with the impish cruelty of M.C. Escher.

You're not a lawyer. You're someone who helps people deal with legal matters. You're not a doctor. You're a fellow who saves people's lives or gives them the right advice to improve their health. Add a verb to your identity – it keeps you sane; not a pompous noun – which may only boost your ego; it may distract you from your purpose, from the actions you need to take. Your job is to do something, not to be something.

The streetlight outside my house shines on tonight and I'm watching it like it could give me a vision. James ain't talked ever and he looks at that streetlight like it was a word and maybe like it was a verb. James wanted to streetlight me and make me bright and beautiful so all the moths and bats would circle me like I was the center of the world an held secrets.

Je pense que je t'aime, she'd said numerically--'I think that I like you.' Or, 'I think that I love you.' The French verb aimer has two meanings. And that's why he liked her, and loved her. She spoke to him in a language that, no matter how hard you studied it, could not be completely understood.

Listen to them again: ‘I love you.’ Subject, verb, object: the unadorned, impregnable sentence. The subject is a short word, implying the self-effacement of the lover. The verb is longer but unambiguous, a demonstrative moment as the tongue flicks anxiously away from the palate to release the vowel. The object, like the subject, has no consonants, and is attained by pushing the lips forward as if for a kiss. ‘I love you.’ How serious, how weighted, how freighted it sounds.

Saw you walking barefoot taking a long look at the new moon's eyelid later spread sleep-fallen, naked in your dark hair asleep but not oblivious of the unslept unsleeping elsewhere Tonight I think no poetry will serve Syntax of rendition: verb pilots the plane adverb modifies action verb force-feeds noun submerges the subject noun is choking verb disgraced goes on doing now diagram the sentence

You can all supply your own favorite, most nauseating examples of the commodification of love. Mine include the wedding industry, TV ads that feature cute young children or the giving of automobiles as Christmas presents, and the particularly grotesque equation of diamond jewelry with everlasting devotion. The message, in each case, is that if you love somebody you should buy stuff. A related phenomenon is the ongoing transformation, courtesy of Facebook, of the verb 'to like' from a state of mind to an action that you perform with your computer mouse: from a feeling to an assertion of consumer choice. And liking, in general, is commercial culture's substitution for loving.

My education and that of my Black associates were quite different from the education of our white schoolmates. In the classroom we all learned past participles, but in the streets and in our homes the Blacks learned to drop s’s from plurals and suffixes from past-tense verbs. We were alert to the gap separating the written word from the colloquial. We learned to slide out of one language and into another without being conscious of the effort. At school, in a given situation, we might respond with “That’s not unusual.” But in the street, meeting the same situation, we easily said, “It be’s like that sometimes.

You cannot easily fit women into a structure that is already coded as male; you have to change the structure. That means thinking about power differently. It means decoupling it from public prestige. It means thinking collaboratively, about the power of followers not just of leaders. It means, above all, thinking about power as an attribute or even a verb (‘to power’), not as a possession.

In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there

I had many things to say, I did not have the words to say them. Painfully aware of my limitations, I watched helplessly and language became an obstacle. It became clear that it would be necessary to invent a new language... I would pause at every sentence, and start over and over again. I would conjure up other verbs, other images, other silent cries. It still was not right. But what exactly was “it”? “It” was something elusive, darkly shrouded for fear of being usurped, profaned. All the dictionary had to offer seemed meager, pale, lifeless.

I said, you fuckfaced shitstain,”—his words were low, slow, measured— “get the fuck away from her, or I will fucking fuckily fuck you the fuck up.” I stared at Dan, my lips parting in wonder. He’d just used some variation of the F-word as a noun, verb, adverb, and adjective all in one sentence. I didn’t know whether to be mortified or impressed.

In the world “out there,” there are no verbs, no speech events, and no adjacency pairs. There are particles of matter moving around in certain recurrent and yet not fully predictable patterns. We interpret such experiences as and through symbolic means, including linguistic expressions. That’s what it means to be human.

Of an inanimate being, like a table, we say “What is it?” And we answer Dopwen yewe. Table it is. But of apple, we must say, “Who is that being?” And reply Mshimin yawe. Apple that being is. Yawe— the animate to be. I am, you are, s/he is. To speak of those possessed with life and spirit we must say yawe. By what linguistic confluence do Yahweh of the Old Testament and yawe of the New World both fall from the mouths of the reverent Isn’t this just what it means, to be, to have the breath of life within, to be the offspring of creation The language reminds us, in every sentence, of our kinship with all of the animate world.

P.S. A typo? No, Winnow. I simply forgot to add a footnote, which should have read as: *outshine: transitive verb a. to shine brighter than b. to excel in splendor or showiness You remember how you said that word to me in the infirmary, post-trenches? You believed I had come to the Bluff to outshine you. And I would speak this word back to you now, but only because I would love to see you burn with splendor. I would love to see your words catch fire with mine.

The shamanic Quechuan word for empath is “Qawaq” which means “one who sees.” It comes from the verb “Qaway” which means “to see” the living energy. The Incas believe that people born with the ability to experience the energy of others have a great blessing as they are able to connect to their Souls and the Spirit of existence much more easily than others.

watch your tense and case oh baby i want to be your direct object. you know, that is to say i want to be on the other side of all the verbs i know you know how to use. i've seen you conjugate: i touch you touched you heard she knows who cares i'm interested in a few decent prepositions: above, over, inside, atop, below, around and i'm sure there are more right on the tip of your tongue. i am ready to spend the present perfect splitting your infinitive there's an art to the way you dangle your participle and since we're being informal it's okay to use a few contractions, like wasn't (going to) shouldn't (have) and a conjunction: but (did it anyway) and i'm really really glad you're not into dependent clauses since all i'm really interested in is your bad, bad grammar and your exclamation point.

I was gradually coming to have a mysterious and shuddery reverence for this girl; nowadays whenever she pulled out from the station and got her train fairly started on one of those horizonless transcontinental sentences of hers, it was borne in upon me that I was standing in the awful presence of the Mother of the German Language. I was so impressed with this, that sometimes when she began to empty one of these sentences on me I unconsciously took the very attitude of reverence, and stood uncovered; and if words had been water, I had been drowned, sure. She had exactly the German way; whatever was in her mind to be delivered, whether a mere remark, or a sermon, or a cyclopedia, or the history of a war, she would get it into a single sentence or die. Whenever the literary German dives into a sentence, that is the last you are going to see of him till he emerges on the other side of his Atlantic with his verb in his mouth.

when an individual or a group of individuals is kept in a situation of inferiority, the fact is that he or they are inferior. But the scope of the verb to be must be understood; bad faith means giving it a substantive value, when in fact it has the sense of the Hegelian dynamic: to be is to have become, to have been made as one manifests oneself. Yes, women in general are today inferior to men; that is, their situation provides them with fewer possibilities: the question is whether this state of affairs must be perpetuated.

Whatever language we speak, before we begin a sentence we have an almost infinite choice of words to use. A, The, They, Whereas, Having, Then, To, Bison, Ignorant, Since, Winnemucca, In, It, As . . . Any word of the immense vocabulary of English may begin an English sentence. As we speak or write the sentence, each word influences the choice of the next ― its syntactical function as noun, verb, adjective, etc., its person and number if a pronoun, its tense and number as a verb, etc. ,etc. And as the sentence goes on, the choices narrow, until the last word may very likely be the only one we can use.

Loving she realises is a verb. It is an act. It is not enough to say you love someone, and then forget about them, or trust a relationship will stay strong simply because you share a house or children or a life. Loving requires acts of love. It requires thinking of your spouse, doing things for them to make them happy. It requires acting in loving ways, even when you are tired, or bogged down with work, or so stressed you are waking up every night with a jaw sore from grinding your teeth. They forgot to do that, she now knows. They forgot to love each other. They expected love to continue, without putting any work into it, and today she knows this is why her marriage failed.

At times poetry is the vertigo of bodies and the vertigo of speech and the vertigo of death; the walk with eyes closed along the edge of the cliff, and the verbena in submarine gardens; the laughter that sets on fire the rules and the holy commandments; the descent of parachuting words onto the sands of the page; the despair that boards a paper boat and crosses, for forty nights and forty days, the night-sorrow sea and the day-sorrow desert; the idolatry of the self and the desecration of the self and the dissipation of the self; the beheading of epithets, the burial of mirrors; the recollection of pronouns freshly cut in the garden of Epicurus, and the garden of Netzahualcoyotl; the flute solo on the terrace of memory and the dance of flames in the cave of thought; the migrations of millions of verbs, wings and claws, seeds and hands; the nouns, bony and full of roots, planted on the waves of language; the love unseen and the love unheard and the love unsaid: the love in love.

In the middle of a novel, a kind of magical thinking takes over. To clarify, the middle of the novel may not happen in the actual geographical centre of the novel. By middle of the novel I mean whatever page you are on when you stop being part of your household and your family and your partner and children and food shopping and dog feeding and reading the post—I mean when there is nothing in the world except your book, and even as your wife tells you she’s sleeping with your brother her face is a gigantic semi-colon, her arms are parentheses and you are wondering whether rummage is a better verb than rifle. The middle of a novel is a state of mind. Strange things happen in it. Time collapses.

The police never saw a noun they didn't want to turn into a verb, so it quickly became "to action", as in you action me to undertake a Falcon assessment, I action a Falcon assessment, a Falcon assessment has been actioned and we all action in a yellow submarine, a yellow submarine, a yellow submarine. This, to review a major inqurity is to review the list of "actions" and their consequences, in the hope that you'll spot something that thirty-odd highly trained and experienced detectives didn't.

There Comes the Strangest Moment There comes the strangest moment in your life, when everything you thought before breaks free-- what you relied upon, as ground-rule and as rite looks upside down from how it used to be. Skin's gone pale, your brain is shedding cells; you question every tenet you set down; obedient thoughts have turned to infidels and every verb desires to be a noun. I want--my want. I love--my love. I'll stay with you. I thought transitions were the best, but I want what's here to never go away. I'll make my peace, my bed, and kiss this breast… Your heart's in retrograde. You simply have no choice. Things people told you turn out to be true. You have to hold that body, hear that voice. You'd have sworn no one knew you more than you. How many people thought you'd never change? But here you have. It's beautiful. It's strange.

The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one's country: a longing for country, for home. What in English is called "homesickness." Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe ("I yearn for you," "I'm nostalgic for you"; "I cannot bear the pain of your absence"). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m'ennuie de toi (I miss you), but the word s'ennuyer is weak, cold -- anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).

I don't know what you mean by 'glory,'" Alice said. Humpty Dumpty smiled contemptuously. "Of course you don't---till I tell you. I meant 'there's a nice knock-down argument for you!'" "But glory' doesn't mean 'a nice knock-down argument,'" Alice objected. "When I use a word," Humpty Dumpty said, in rather a scornful tone, "it means just what I choose it to mean---neither more nor less." "The question is," said Alice, "whether you can make words mean so many different things." "The question is," said Humpty Dumpty, "Which is to be master---that's all." Alive was too much puzzled to say anything, so after a minute Humpty Dumpty began again. "They've a temper, some of them---particularly, verbs, they're the proudest---adjectives you can do anything with, but not verbs---however, I can manage the whole lot! Impenetrability! That's what I say!

Salvation, then, is not “going to heaven” but “being raised to life in God’s new heaven and new earth.” But as soon as we put it like this we realize that the New Testament is full of hints, indications, and downright assertions that this salvation isn’t just something we have to wait for in the long-distance future. We can enjoy it here and now (always partially, of course, since we all still have to die), genuinely anticipating in the present what is to come in the future. “We were saved,” says Paul in Romans 8:24, “in hope.” The verb “we were saved” indicates a past action, something that has already taken place, referring obviously to the complex of faith and baptism of which Paul has been speaking in the letter so far. But this remains “in hope” because we still look forward to the ultimate future salvation of which he speaks in (for instance) Romans 5:9, 10.

{Yogananda on the death of his dear friend, the eminent 20th century scientist, Luther Burbank} His heart was fathomlessly deep, long acquainted with humility, patience, sacrifice. His little home amid the roses was austerely simple; he knew the worthlessness of luxury, the joy of few possessions. The modesty with which he wore his scientific fame repeatedly reminded me of the trees that bend low with the burden of ripening fruits; it is the barren tree that lifts its head high in an empty boast. I was in New York when, in 1926, my dear friend passed away. In tears I thought, 'Oh, I would gladly walk all the way from here to Santa Rosa for one more glimpse of him!' Locking myself away from secretaries and visitors, I spent the next twenty-four hours in seclusion... His name has now passed into the heritage of common speech. Listing 'burbank' as a transitive verb, Webster's New International Dictionary defines it: 'To cross or graft (a plant). Hence, figuratively, to improve (anything, as a process or institution) by selecting good features and rejecting bad, or by adding good features.' 'Beloved Burbank,' I cried after reading the definition, 'your very name is now a synonym for goodness!

Lee’s hand shook as he filled the delicate cups. He drank his down in one gulp. “Don’t you see?” he cried. “The American Standard translation orders men to triumph over sin, and you can call sin ignorance. The King James translation makes a promise in ‘Thou shalt,’ meaning that men will surely triumph over sin. But the Hebrew word, the word timshel—‘Thou mayest’—that gives a choice. It might be the most important word in the world. That says the way is open. That throws it right back on a man. For if ‘Thou mayest’—it is also true that ‘Thou mayest not.’ Don’t you see?” “Yes, I see. I do see. But you do not believe this is divine law. Why do you feel its importance?” “Ah!” said Lee. “I’ve wanted to tell you this for a long time. I even anticipated your questions and I am well prepared. Any writing which has influenced the thinking and the lives of innumerable people is important. Now, there are many millions in their sects and churches who feel the order, ‘Do thou,’ and throw their weight into obedience. And there are millions more who feel predestination in ‘Thou shalt.’ Nothing they may do can interfere with what will be. But “Thou mayest’! Why, that makes a man great, that gives him stature with the gods, for in his weakness and his filth and his murder of his brother he has still the great choice. He can choose his course and fight it through and win.” Lee’s voice was a chant of triumph. Adam said, “Do you believe that, Lee?” “Yes, I do. Yes, I do. It is easy out of laziness, out of weakness, to throw oneself into the lap of deity, saying, ‘I couldn’t help it; the way was set.’ But think of the glory of the choice! That makes a man a man. A cat has no choice, a bee must make honey. There’s no godliness there. And do you know, those old gentlemen who were sliding gently down to death are too interested to die now?” Adam said, “Do you mean these Chinese men believe the Old Testament?” Lee said, “These old men believe a true story, and they know a true story when they hear it. They are critics of truth. They know that these sixteen verses are a history of humankind in any age or culture or race. They do not believe a man writes fifteen and three-quarter verses of truth and tells a lie with one verb. Confucius tells men how they should live to have good and successful lives. But this—this is a ladder to climb to the stars.” Lee’s eyes shone. “You can never lose that. It cuts the feet from under weakness and cowardliness and laziness.” Adam said, “I don’t see how you could cook and raise the boys and take care of me and still do all this.” “Neither do I,” said Lee. “But I take my two pipes in the afternoon, no more and no less, like the elders. And I feel that I am a man. And I feel that a man is a very important thing—maybe more important than a star. This is not theology. I have no bent toward gods. But I have a new love for that glittering instrument, the human soul. It is a lovely and unique thing in the universe. It is always attacked and never destroyed—because ‘Thou mayest.

Literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verb ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.

The belief that science proceeds from observation to theory is still so widely and so firmly held that my denial of it is often met with incredulity. I have even been suspected of being insincere- of denying what nobody in his senses would doubt. But in fact the belief that we can start with pure observation alone, without anything in the nature of a theory is absurd; as may be illustrated by the story of the man who dedicated his life to natural science, wrote down everything he could observe, and bequeathed his priceless collection of observations to the Royal Society to be used as evidence. This story should show us that though beetles may profitably be collected, observations may not. Twenty-five years ago I tried to bring home the same point to a group of physics students in Vienna by beginning a lecture with the following instructions : 'Take pencil and paper; carefully observe, and write down what you have observed!' They asked, of course, what I wanted them to observe. Clearly the instruction, 'Observe!' is absurd. (It is not even idiomatic, unless the object of the transitive verb can be taken as understood.) Observation is always selective. It needs a chosen object, a definite task, an interest, a point of view, a problem. And its description presupposes a descriptive language, with property words; it presupposes similarity and classification, which in their turn presuppose interests, points of view, and problems.

Interbeing: If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. Without a cloud, there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper. The cloud is essential for the paper to exist. If the cloud is not here, the sheet of paper cannot be here either. So we can say that the cloud and the paper inter-are. “Interbeing” is a word that is not in the dictionary yet, but if we combine the prefix “inter-” with the verb “to be,” we have a new verb, inter-be. Without a cloud and the sheet of paper inter-are. If we look into this sheet of paper even more deeply, we can see the sunshine in it. If the sunshine is not there, the forest cannot grow. In fact, nothing can grow. Even we cannot grow without sunshine. And so, we know that the sunshine is also in this sheet of paper. The paper and the sunshine inter-are. And if we continue to look, we can see the logger who cut the tree and brought it to the mill to be transformed into paper. And we see the wheat. We know the logger cannot exist without his daily bread, and therefore the wheat that became his bread is also in this sheet of paper. And the logger’s father and mother are in it too. When we look in this way, we see that without all of these things, this sheet of paper cannot exist. Looking even more deeply, we can see we are in it too. This is not difficult to see, because when we look at a sheet of paper, the sheet of paper is part of our perception. Your mind is in here and mine is also. So we can say that everything is in here with this sheet of paper. You cannot point out one thing that is not here-time, space, the earth, the rain, the minerals in the soil, the sunshine, the cloud, the river, the heat. Everything co-exists with this sheet of paper. That is why I think the word inter-be should be in the dictionary. “To be” is to inter-be. You cannot just be by yourself alone. You have to inter-be with every other thing. This sheet of paper is, because everything else is. Suppose we try to return one of the elements to its source. Suppose we return the sunshine to the sun. Do you think that this sheet of paper will be possible? No, without sunshine nothing can be. And if we return the logger to his mother, then we have no sheet of paper either. The fact is that this sheet of paper is made up only of “non-paper elements.” And if we return these non-paper elements to their sources, then there can be no paper at all. Without “non-paper elements,” like mind, logger, sunshine and so on, there will be no paper. As thin as this sheet of paper is, it contains everything in the universe in it.

Because this painting has never been restored there is a heightened poignance to it somehow; it doesn’t have the feeling of unassailable permanence that paintings in museums do. There is a small crack in the lower left, and a little of the priming between the wooden panel and the oil emulsions of paint has been bared. A bit of abrasion shows, at the rim of a bowl of berries, evidence of time’s power even over this—which, paradoxically, only seems to increase its poetry, its deep resonance. If you could see the notes of a cello, when the bow draws slowly and deeply across its strings, and those resonant reverberations which of all instruments’ are nearest to the sound of the human voice emerge—no, the wrong verb, they seem to come into being all at once, to surround us, suddenly, with presence—if that were made visible, that would be the poetry of Osias Beert. But the still life resides in absolute silence. Portraits often seem pregnant with speech, or as if their subjects have just finished saying something, or will soon speak the thoughts that inform their faces, the thoughts we’re invited to read. Landscapes are full of presences, visible or unseen; soon nymphs or a stag or a band of hikers will make themselves heard. But no word will ever be spoken here, among the flowers and snails, the solid and dependable apples, this heap of rumpled books, this pewter plate on which a few opened oysters lie, giving up their silver. These are resolutely still, immutable, poised for a forward movement that will never occur. The brink upon which still life rests is the brink of time, the edge of something about to happen. Everything that we know crosses this lip, over and over, like water over the edge of a fall, as what might happen does, as any of the endless variations of what might come true does so, and things fall into being, tumble through the progression of existing in time. Painting creates silence. You could examine the objects themselves, the actors in a Dutch still life—this knobbed beaker, this pewter salver, this knife—and, lovely as all antique utilitarian objects are, they are not, would not be, poised on the edge these same things inhabit when they are represented. These things exist—if indeed they are still around at all—in time. It is the act of painting them that makes them perennially poised, an emergent truth about to be articulated, a word waiting to be spoken. Single word that has been forming all these years in the light on the knife’s pearl handle, in the drops of moisture on nearly translucent grapes: At the end of time, will that word be said?