ellauri011.html on line 833: Simppeleitä lauseita, hintsusti sanoja, latteita pointteja, tyylimokia:
ellauri051.html on line 681: 121 I wish I could translate the hints about the dead young men and women, Kunpa voisin kääntää vihjeet kuolliesta nuorista miehistä ja naisista,
ellauri051.html on line 682: 122 And the hints about old men and mothers, and the offspring taken soon Ja vihjeet vanhuxista ja mammoista, ja liian pian vieroitetuista lapsista.
ellauri069.html on line 608: Her oiled, athletic slaves, her languid hints Orjat öljytyt ja vihjeet kivun
ellauri112.html on line 675: Tully’s like a hip millennial Marry Poppins. It all seems too good to be true. Their deepening connection hints at something that’s either eerie or profoundly healing. Are they dykes?
ellauri133.html on line 71: Dialogue. Normally, dialogue is great and really lifts a story, but if you don't have any idea about the characters who are talking, it won't work. One line of speech can work. For instance "All cars proceed immediately to Main Street. Major riot in progress." establishes the setting and gives a lot of hints about the MC. What Main Character? This MUST be some tv watching imbecile who can't handle more than one face at a time. And why those fucking patrol cars again?
ellauri146.html on line 799: The poet experiences childhood as a resource because it is gone, and his 'rebirth' as a poet is not a function of recapturing the truth and joy of his youth; rather, it is a function of understanding the truth of his present life, as the life of remembering things past and turning them into poetry. Thus, "the poet's journey" is not "towards restoring his childhood perception" (204) nor "in quest of his lost voice" (193), but it is his writing about such a journey that hints at and finally exposes his recognition that childhood perception is dead, but the memory of its being is still with him. The poet's "heart's truth," contrary to the child's and the grown man's apparent truth, is the acknowledgment of time.
ellauri156.html on line 637: It all seems to be over. David is not looking for another wife; he is not even looking for an affair. He is looking for a conquest. That should have happened on the battlefield, not in the bedroom! Things take a very different turn when Bathsheba sends word to David that she is pregnant. David first seeks to cover up his sin by ordering Joab to send Uriah home on furlough, ostensibly to give David a report on the war. David's efforts to get Uriah into bed with Bathsheba begin as subtle hints, then change to veiled orders, and then turn crass as David seeks to get Uriah to do drunk what he will not do sober. When these efforts fail (due to Uriah's noble character), David sends Uriah back to Joab, with written orders to Joab to put him to death in a way that makes it seem like a casualty of war. Joab does as he is told and sends word to David: “Mission accomplished.” It is here that our apparently never-ending story resumes.
ellauri180.html on line 447: In summary: a man speaks to some unidentified (and possibly imaginary) auditor, telling us how, on a dark and stormy (or rainy and windy) night, he waited in his cottage for his lover, Porphyria, to arrive. When she turns up, it’s clear Porphyria is of a higher social class than the male speaker: he’s punching above his weight, as they say. Note how she glides in as if she owns the place, and as if she walks on air rather than on the ground like us mere mortals. She wears a hat, cloak, and shawl, and her gloves are soiled, suggesting that they are not used to slumming it in a common man’s cottage and attending to his fire and grate. The fact that she also takes the lead – suggesting she is perhaps used to ordering servants to do her bidding – further hints at her highborn status: she calls to the speaker, and she takes his arm and puts it around her waist. Then, the clincher (in more ways than one): we are told "she Too weak, for all her heart’s endeavour,
ellauri182.html on line 78: At Yuichi’s home, Mikage is introduced to Eriko and soon finds out that Yuichi’s mother was once his father; s/he is a transsexual who runs a club of some sort. Eriko is a clear allusion to Banana's daddy. Yuichi hints that s/he has undergone a sex change, when he tells Mikage that s/he has “had everything ‘done.’” There is a hole now where the pecker used to be.
ellauri192.html on line 279: After this, explanation becomes speculative. Significant literature is inseparable from ideology and political feelings. There are more than hints that political considerations were implicit in the omission of Pound, Claudel, Malraux and Brecht. Too right, too right, too right, too left. The thoroughly embarrassing preference of Heinrich B"oll in 1972 over that far greater writer G"unter Grass was wholly typical of the Swedish Academy's bias towards the middle ground of urbane and liberal decencies. (Look! We tried to do the umlauts and almost did! But these are Germans, and Günther is an ex nazi too.) The great imaginings of terror and utopia, be they of the left or of the right, are not welcome. The 1957 choice of the young Camus haloed a literary persona and style of vision emblematic of the Stockholm ideal.
ellauri257.html on line 522: Sadly, nothing in Alma’s narrative hints at the emotional turmoil Singer left in his wake, although in the 1970s she told Kresh that abandoning the Wasserman family left such a sour taste in her mouth that she convinced herself it was better to stay forever with Singer despite his infidelities than to cause another emotional uproar. By most accounts, the lingering effects of her divorce made for bad blood toward Singer among Alma’s children and their extended family.
ellauri315.html on line 322: Kornilov muodosti neljästä tuhannesta miehestään kolme rykmenttiä kenraali SL Markovin, eversti Nezhintsevin, kenraali Afrikan P. Bogaewskyn johdolla ja pataljoonan kenraali Borovskiin johdolla. Toinen tuhat siviiliä seurasi armeijaa, mukaan lukien poliitikot VN Lvov, LV Polovtsev, LN, Novosiltsev ja NP Shchetnina sekä toimittajat, professorit, sotilaiden vaimot, lääkärit, terapeutit ja sairaanhoitajat.
xxx/ellauri121.html on line 344: Sullivan rightly traces Atwood’s notable self-confidence to those early years, but she also ignores the hints in her own narrative that Atwood’s family, like any other, had its neurotic tics—and that Atwood certainly carried her own share of psychic stress into adulthood. Where else does the buried grief, anger and sense of calamity in her writing come from?
xxx/ellauri179.html on line 123: On the war trail, he drops hints about Rima and her whereabouts. Thanks to Abel's "bravery", the Indians caught Rima in the open, chased her up the giant tree. They heaped brush underneath it and burned Rima. Good work Abel.
xxx/ellauri179.html on line 943: Elephints a-pilin’ teak Efelantit kasasivat tiikkiä
xxx/ellauri259.html on line 699: The movie is based on the cult novel by Kari Hotakainen, itself a comedic, exaggerated vision of the author's own bohemian life. A newspaper editor hints at Hotakainen (Martti Suosalo) that he should write autobiographical texts about real-world subjects. The lonely and quiet writer is confused since he has little life of which to write about. So he decides to buy a used car and write about the experience. But he has to meet some strange people such as the nihilistic salesman Kartio (Matti Onnismaa) and the jobless layabout Pera (Janne Hyytiäinen), in order to do so. Pera in particular will stop at nothing to get his hands on the same car Hotakainen has been viewing, which sparks up a huge rivalry. These flabby machos drive the disgruntled small guy over the edge.
17