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Read through the most famous quotes by topic #tin
My honey child, them housing projects Cannot contain her multitudes A sunbeam, hard upon her Just a fly strugglin’ through her braid loops Watch me prove to ‘em I’m more than nothin’ But a ragamuffin with homesick eyes Yes, when it gets to be the same old thing Shorty you ought to come and see about me My love, she is a drummer Than industrial steel, her backbone tougher The eloping night and the honey moon that trails Just dirt ‘neath her finger nails I’ll be down on them crossroads ‘Til daybreak winks a bright eye And if it gets to be the same old thing Shorty you ought to come and see about me She’s heard all the right things And they did not persuade her She has no use for your words What she wants is your labor ‘Cause when gringos speak of minorities They tend to keep their voices low Ah, but when that gets to be the same old thing Shorty you ought to come and see about me ↗
#bravado #love #poverty #station #valentine-xavier-bronzeville
It’s destiny; the stars have aligned perfectly to bring us together as friends. You cannot argue with what’s meant to be, once the stars have spoken, it is absolute,” he uttered, all smug and knowing. Shocked that he used the word destiny, I cocked my head and shot him a look—for the first time actually seeing Parker. He was pretty…too pretty to be a guy; streaky blond hair—as if each streak had been strategically placed—dark eyes, pale skin, and a charming smile that dimpled in one cheek. “Destiny has already found me, with a clearly marked path for my future,” I retorted. “Then you are doubly fortunate, to have it find you twice.” Parker smiled again, his eyes eerily piercing into mine. ↗
Elise hid her face in his shoulder, embarassed, "Kane! What will they think?" She whispered against his neck. "That we're newly bonded and I can't keep my hands off of my lovely mate." And sure enough, the good natured calls that accompanied them across the yard left her in no doubt that the others were thinking exactly that. ↗
#funny #humor #kane #mating #nicky-charles
Several factors besides skill are more significant in professional writers than in most amateurs. One is love of the surface level of language: the sound of it; the taste of it on the tongue; what it can be made to do in virtuosic passages that exist only for their own sake, like cadenzas in baroque concerti. Writers in love with their tools are not unlike surgeons obsessed with their scalpels, or Arctic sled racers who sleep among their dogs even when they don't have to ↗
#love
The only power that can effect transformations of the order (of Jesus) is love. It remained for the 20th century to discover that locked within the atom is the energy of the sun itself. For this energy to be released, the atom must be bombarded from without. So too, locked in every human being is a store of love that partakes of the divine- the imago dei, image of god…And it too can be activated only through bombardment, in its case, love’s bombardment. The process begins in infancy, where a mother’s initially unilateral loving smile awakens love in her baby and as coordination develops, elicits its answering smile… A loving human being is not produced by exhortations, rules and threats. Love can only take root in children when it comes to them- initially and most importantly from nurturing parents. Ontogenetically speaking, love is an answering phenomenon. It is literally a response. ↗
It was our passion for words and our ardent desire to write that drew me and Michael together, and the same that drove us apart. Michael wanted to be a great playwright, like the former master Molière. He had high ambitions and scorned what I wrote as frivolous and feminine. ‘All these disguises and duels and abductions,’ he said contemptuously, one day a year or so after our affair began, slapping down the pile of paper covered with my sprawling handwriting. ‘All these desperate love affairs. And you wish me to take you seriously.’ ‘I like disguises and duels.’ I sat bolt upright on the edge of my bed. ‘Better than those dreary boring plays you write. At least something happens in my stories.’ ‘At least my plays are about something.’ ‘My stories are about something too. Just because they aren’t boring doesn’t mean they aren’t worthy.’ ‘What are they about? Love’ He clasped his hands together near his ear and fluttered his eyelashes.’ ‘Yes, love. What’s wrong with writing about love? Everyone longs for love.’ ‘Aren’t there enough love stories in the world without adding to them? ‘Isn’t there enough misery and tragedy?’ Michael snorted with contempt. ‘What’s wrong with wanting to be happy? ‘It’s sugary and sentimental.’ ‘Sugary? I’m not sugary.’ I was so angry that I hurled my shoes at his head. ↗
The show doesn’t go on because it’s ready; it goes on because it’s 11:30. This is something Lorne [Michaels] has said often about Saturday Night Live, but I think it’s a great lesson about not being too precious about your writing. You have to try your hardest to be at the top of your game and improve every joke you can until the last possible second, and then you have to let it go. You can’t be that kid standing at the top of the waterslide, overthinking it. You have to go down the chute. (And I’m from a generation where a lot of people died on waterslides, so this was an important lesson for me to learn.) You have to let people see what you wrote. It will never be perfect, but perfect is overrated. Perfect is boring on live TV. What I learned about ‘bombing’ as an improviser at Second City was that bombing is painful, but it doesn’t kill you. No matter how badly an improv set goes, you will still be physically alive when it’s over. What I learned about bombing as a writer at Saturday Night is that you can’t be too worried about your ‘permanent record.’ Yes, you’re going to write some sketches that you love and are proud of forever—your golden nuggets. But you’re also going to write some real shit nuggets. And unfortunately, sometimes the shit nuggets will make it onto the air. You can’t worry about it. As long as you know the difference, you can go back to panning for gold on Monday. ↗
How could you do that to me?" I repeat. I don´t have to itemize. He knows what I speak of. Eventually N produces three answers, in this order: 1. "Because I am a complete rotter." I silently agree, but it´s a cop-out: I have maggots, therefore I am dead. 2. "I was stressed at work and unhappy and we were always fighting...and you know I was just crazy..." I cut him off, saying, "You don´t get to be crazy. You did exactly what you chose to do." Which is true, he did. It is what he has always done. He therefore seems slightly puzzled at the need for further diagnosis, which may explain his third response: 3. "I don´t know." This, I feel instinctively, is the correct answer. How can I stay angry with him for being what he is? I was, after all, his wife, and I chose him. No coincidences, that´s what Freud said. None. Ever. I wipe my eyes on my sleeve and walk toward the truck, saying to his general direction, "Fine. At least now I know: You don´t know." I stop and turn around and fire one more question: a bullet demanding attention in the moment it enters the skin and spreads outward, an important bullet that must be acknowledged. "What did you feel?" After a lengthy pause, he answers. "I felt nothing." And that, I realize too late, was not the whole truth, but was a valid part of the truth. Oh, and welcome to the Serengeti. That too. ↗
Attraction The whites of his eyes pull me like moons. He smiles. I believe his face. Already my body slips down in the chair: I recline on my side, offering peeled grapes. I can taste his tongue in my mouth whenever he speaks. I suspect he lies. But my body oils itself loose. When he gets up to fix a drink my legs like derricks hoist me off the seat. I am thirsty, it seams. Already I see the seduction far off in the distance like a large tree dwarfed by a rise in the road. I put away objections as quietly as quilts. Already I explain to myself how marriages are broken-- accidentally, like arms or legs. ↗
