No subscription or hidden extras
Read through the most famous quotes by topic #la
She stared into his eyes and announced, “A good-bye kiss.” It was at that Raid stopped dead. “What?” “Raiden, the gig is up,” she declared, and Raid closed his eyes. Jesus, how could the woman be so infuriating and so fucking cute all at once? He opened his eyes and asked, “The gig is up?” She leaned into him and hissed, “Yes.” Fuck, he wanted to kiss her. He also wanted to shake her. “Baby, it’s jig,” he corrected, and her head jerked, which made that mess of hair on her head jerk, which reminded him he wanted his hands in that hair. Then elsewhere. He needed to speed this shit up. “Sorry?” she asked, sounding confused, and he looked from her hair to her eyes and saw she was, in fact, confused. Yeah. Infuriating. And fucking cute. “The jig is up, not the gig,” he told her. Her eyes narrowed. “Seriously? You’re correcting my street lingo?” “Think that street lingo was the street lingo about eight decades ago, Hanna. So now it’s just lingo. ↗
Riley shook her head. “I married Brad after I got my Associate's degree in culinary arts. I worked in the Bakery at the same grocery store as Brad, and now I'm a stay at home mom.” She paused. “If you remember my senior yearbook, I was voted most likely to be the best mom.” “Oh, you have time yet.” Stella joked and Riley backhanded her in the ribs. “You're an awesome mom. Be glad you haven't proven anyone wrong. It's not all it's cracked up to be.” She paused. “That same yearbook said I'd be in prison with a wife named Roberta.” ~Conversation between Riley and Stella, "Sugar and Spies: Spy Sisters Book 1 ↗
Nay, 'twill be this hour ere I have done weeping. All the kind of the Launces have this very fault. I have received my proportion, like the prodigious son, and am going with Sir Proteus to the Imperial's court. I think Crab, my dog, be the sourest-natured dog that lives. My mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur shed one tear. He is a stone, a very pebble stone, and has no more pity in him than a dog. A Jew would have wept to have seen our parting. Why, my grandam, having no eyes, look you, wept herself blind at my parting. Nay, I'll show you the manner of it. This shoe is my father. No, this left shoe is my father. No, no, this left shoe is my mother. Nay, that cannot be so neither. Yes, it is so, it is so -- it hath the worser sole. This shoe with the hole in it is my mother, and this my father. A vengeance on't! There 'tis. Now, sir, this staff is my sister, for, look you, she is as white as a lily and as small as a wand. This hat is Nan, our maid. I am the dog. No, the dog is himself, and I am the dog -- O, the dog is me, and I am myself. Ay, so, so. Now come I to my father: 'Father, your blessing.' Now should not the shoe speak a word for weeping. Now should I kiss my father -- well, he weeps on. Now come I to my mother. O, that she could speak now like a wood woman! Well, I kiss her -- why, there 'tis: here's my mother's breath up and down. Now come I to my sister; mark the moan she makes. Now the dog all this while sheds not a tear nor speaks a word! ↗
A file on a hard disk does indeed contain information of the kind that objectively exists. The fact that the bits are discernible instead of being scrambled into mush - the way heat scrambles things - is what makes them bits. But if the bits can potentially mean something to someone, they can only do so if they are experienced. When that happens, a commonality of culture is enacted between the storer and the retriever of the bits. Experience is the only process that can de-alienate information. Information of the kind that purportedly wants to be free is nothing but a shadow of our own minds, and wants nothing on its own. It will not suffer if it doesn't get what it wants. But if you want to make the transition from the old religion, where you hope God will give you an afterlife, to the new religion, where you hope to become immortal by getting uploaded into a computer, then you have to believe information is real and alive. So for you, it will be important to redesign human institutions like art, the economy, and the law to reinforce the perception that information is alive. You demand that the rest of us live in your new conception of a state religion. You need us to deify information to reinforce your faith. ↗
Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways. ↗
#editing #fantasy #genre #magic #mainstream
He is a Londoner, too, in his writings. In his familiar letters he displays a rambling urban vivacity, a tendency to to veer off the point and to muddle his syntax. He had a brilliantly eclectic mind, picking up words and images while at the same time forging them in new and unexpected combinations. He conceived several ideas all at once, and sometimes forgot to separate them into their component parts. This was true of his lectures, too, in which brilliant perceptions were scattered in a wilderness of words. As he wrote on another occasion, "The lake babbled not less, and the wind murmured not, nor the little fishes leaped for joy that their tormentor was not." This strangely contorted and convoluted style also characterizes his verses, most of which were appended as commentaries upon his paintings. Like Blake, whose prophetic books bring words and images in exalted combination, Turner wished to make a complete statement. Like Blake, he seemed to consider the poet's role as being in part prophetic. His was a voice calling in the wilderness, and, perhaps secretly, he had an elevated sense of his status and his vocation. And like Blake, too, he was often considered to be mad. He lacked, however, the poetic genius of Blake - compensated perhaps by the fact that by general agreement he is the greater artist. ↗
When Coleridge tried to define beauty, he returned always to one deep thought; beauty, he said, is unity in variety! Science is nothing else than the search to discover unity in the wild variety of nature,—or, more exactly, in the variety of our experience. Poetry, painting, the arts are the same search, in Coleridge’s phrase, for unity in variety. ↗
An diesem Punkt gibt es keinen einzigen ihrer »Werte« [der Zivilisation des Westens] mehr, an den sie noch auf irgendeine Art zu glauben vermöchte, und jede Affirmation wirkt auf sie wie eine schamlose Tat, wie eine Provokation, die man besser zerlegen, dekonstruieren und in den Zustand des Zweifels zurückführen sollte. Der westliche Imperialismus heute, das ist der des Relativismus, des »Das ist deine Ansicht«, das ist der kleine Seitenblick oder der verletzte Protest gegen all das, was dumm genug, primitiv genug oder selbstgefällig genug ist, um noch an etwas zu glauben, um noch irgendetwas zu behaupten. Es ist dieser Dogmatismus der Infragestellung, der in der gesamten universitären und literarischen Intelligenzija komplizenhaft mit dem Auge zwinkert. Unter den postmodernistischen Geistesgrößen ist keine Kritik zu radikal, solange sie ein Nichts an Gewissheit umhüllt. Vor einem Jahrhundert verursachte jede ein wenig lärmmachende Negation einen Skandal, heute liegt er in jeder Affirmation, die nicht zittert. ↗
