ellauri061.html on line 635: Latin blunder for self-defense’s se defendendo is sic, either a befogged muddling of a professional legal term, or a post-Freudian slip, or (least likely) a very oblique and subtle jab at Gately from a Ewell intimate with the graveyard scene from Hamlet — namely V.i. 9.
ellauri082.html on line 141: he’s with a very sad kid and they’re in a graveyard digging some dead guy’s head up and it’s really important, like Continental-Emergency important, and Gately’s the best digger but he’s wicked hungry, like irresistibly hungry, and he’s eating with both hands out of huge economy-size bags of corporate snacks so he can’t really dig, while it gets later and later and the sad kid is trying to scream at Gately that the important thing was buried in the guy’s head and to divert the Continental Emergency to start digging the guy’s head up before it’s too late, but the kid moves his mouth but nothing comes out, and Joelle van D. appears … while the sad kid holds something terrible up by the hair and makes the face of somebody shouting in panic: Too Late. (934)
ellauri107.html on line 402: In crisis over whether he’s a man or nuts. I'd say nuts. He is a sexual extremist and erotomaniac, a sociopath and wannabe paedophile, rummaging in the knicker drawer of his best friend’s teenage daughter. A habitual liar, a graveyard onanist, a childless despiser of families and couples; a joyous micturator over all laughter, hope, goodness and wholesomeness (a peculiarly American obsession: see also David Lynch), Sabbath entertains us with his negativity.
ellauri182.html on line 137: Marriage for most Japanese women is still a social trap, commonly known as “the graveyard of life.” It means the end of a career, of economic independence. And since heterosexual love in Japan usually means marriage, an increasing number of career women are stuck with celibacy, with or without trips abroad.
ellauri262.html on line 398: When Sayers was six, her father started teaching her Latin.[4] She grew up in the tiny village of Bluntisham in Huntingdonshire after her father was given the living there as rector of Bluntisham-cum-Earith. The church graveyard next to the elegant Regency-style rectory features the surnames of several characters from her mystery The Nine Tailors. She was inspired by her father's restoration of the Bluntisham church bells in 1910. The nearby River Great Ouse and the Fens invite comparison with the book's vivid description of a massive flood around the village.
ellauri364.html on line 521: Take the body to the graveyard

xxx/ellauri087.html on line 456: Further in the field of science fiction, Ursula K. Le Guin wrote a Hugo-nominated short story whose title, "Vaster than Empires and More Slow", is taken from the poem. Ian Watson notes the debt of this story to Marvell, "whose complex and allusive poems are of a later form of pastoral to that which I shall refer, and, like Marvell, Le Guin's nature references are, as I want to argue, "pastoral" in a much more fundamental and interesting way than this simplistic use of the term." There are other allusions to the poem in the field of Fantasy and Science Fiction: the first book of James Kahn's "New World Series" is titled "World Enough, and Time"; the third book of Joe Haldeman's "Worlds" trilogy is titled "Worlds Enough and Time"; and Peter S. Beagle's novel A Fine and Private Place about a love affair between two ghosts in a graveyard. The latter phrase has been widely used as a euphemism for the grave, and has formed the title of several mystery novels.
xxx/ellauri136.html on line 45: A: Gone to graveyards, everyone.
xxx/ellauri136.html on line 47: Q: Where have all the graveyards gone, long time passing?
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