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A person has to have confidence in what he's going to do. If he don't, he's not going to do it long. He has to have confidence first in his idea and next in himself. Two men have different ideas and they go to work on them. Now the first fella's idea may come up soon. Your may linger a long, long time, but any idea, if it's well done, will come up in its own time. You can plant five seeds at the same moment - tomato, potato, cabbage, lettuce, beets - place them at the same moment. ANd they all don't come up at the same time. If the beet would get discouraged because the cabbage come up in front of him, then there wouldn't be no beets. And if the cabbage would get discouraged because the tomato come up before his program, then there wouldn't be no cabbage. Now the evidence of a test that's gonna come in your time of doing is the sacrifice. Hungry - that's in the making of the program. Broke - that's in the making of the program. All these things will discourage you. But you can't let them discourage you. I believed that I would do a thing, and I went to work doin' it. -Lewis Michaux, Harlem Bookseller ↗
#men
Support your partner in their interests. You never know when batting practice, kung fu movie moves, or even a poker night might come in handy during a zombie infestation. ↗
Alderic, Knight of the Order of the City and the Assault, hereditary Guardian of the King's Peace of Mind, a man not unremembered among the makers of myth, pondered so long upon the Gibbelins' hoard that by now he deemed it his. Alas that I should say of so perilous a venture, undertaken at dead of night by a valorous man, that its motive was sheer avarice! Yet upon avarice only the Gibbelins relied to keep their larders full, and once in every hundred years sent spies into the cities of men to see how avarice did, and always the spies returned again to the tower saying that all was well. It may be thought that, as the years went on and men came by fearful ends on that tower's wall, fewer and fewer would come to the Gibbelins' table: but the Gibbelins found otherwise. ("The Hoard Of The Gibbelins") ↗
He can't get it up!" Richard is exultant... Oh God. This is how rumors start. This is how misunderstandings happen and archdukes get shot and world wars begin. "Listen, both of you!" I say fiercely. "Lottie has said nothing whatsoever to me about anything being up...or down." "Mine is up," volunteers Noah matter-of-factly, and I gasp in horror before I can stop myself. OK, Fliss. Don't overreact. Be cool. Be an enlightened parent. "Really, darling? Gosh. Well." My cheeks have flamed. Both men are waiting with expressions of glee. "That's...that's interesting, sweetheart. Maybe we'll have a little talk about it later. Our bodies do wonderful, mysterious things, but we don't always talk about them in public." I give a meaningful look to Richard. Noah seems perplexed. "But the lady talked about it. She told me to put it up." "What?" I stare at him in confusion. "For takeoff. 'Put your tray table up." "Oh." I gulp. "Oh, I see. Your tray table." I can feel a snort of mirth rising. "Poor Uncle Ben's tray table doesn't go up," says Richard, deadpan. ↗
INELUCTABLE MODALITY OF THE VISIBLE: AT LEAST THAT IF NO MORE, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it, it is a gate, if not a door. Shut your eyes and see. Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six: the nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the nebeneinander ineluctably. I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it: they do. My two feet in his boots are at the end of his legs, nebeneinander. Sounds solid: made by the mallet of Los Demiurgos. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a'. Won't you come to Sandymount, Madeline the mare? Rhythm begins, you see. I hear. A catalectic tetrameter of iambs marching. No, agallop: deline the mare. Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. Basta! I will see if I can see. See now. There all the time without you: and ever shall be, world without end. ↗
A brick could be used as gift for the man who has everything. Here’s a tip: that man doesn’t have everything, because I just stole his wallet. But I can’t very well give him a gift of something I’ve just grifted. So while he’s pondering the meaning of the brick as a present, I’m off spending his money. It’s win-win for both of us. And by both of us I mean me and you, not me and him, because naturally you’ll be my accomplice, my partner, and as such you’re entitled to half. Of half. But since I’m paying you 25%, you’re paying for dinner. ↗
#brick-and-blanket-iq-test #brick-and-blanket-responses #brick-and-blanket-test #brick-and-blanket-uses #funny
While mass-media images of biological "males" feminizing themselves have the subversive potential to highlight ways conventionally defined femininity is artificial (a point feminists make all the time), the images rarely function this way. Trans women are both asked to prove their femaleness through superficial means and denied the status of "real" women because fo the artifice involved. After all, masculinity is generally defined by how a man behaves, while femininity is judged by how a woman presents herself. Thus, the media is able to depict trans women donning feminine attire and accessories without ever allowing them to achieve "true" femininity or femaleness. Further, by focusing on the most feminine of artifices, the media encourages the audience to see trans women as living out a sexual fetish. But sexualizing their motives for transitioning not only belittles trans women's female identities; it also encourages the objectification of women as a group. ... Thus...[this type of message] sexualizes the very concept of female identity and reduces all women (trans or otherwise) to mere feminine artifacts [ex. applying make-up, perfume, putting on jewelry]. ↗
