ellauri028.html on line 203: Sorry about that last paragraph, anyways, this could be one of the most easily readable and most underrated philosophical books ever. This is a read that delves into some deep thinking. Triggers the mind. In fact, my mind just got triggered. Why don't I just stop doing these reviews publicly and require people to pay me for reviews rather than willingly exploit myself as cheap and free entertainment? Why do I feel I need to keep doing these reviews? I am cutting myself short! Perhaps I would get more satisfaction out of keeping these reviews to myself? I don't know, who am I kidding... This is not entertaining the least and no person in their right mind would ever pay a dime for this drivel...I need another drink...
ellauri052.html on line 311: Journals contain numerous trivial details, which bear ample witness to the "plain living and high thinking" of the Wordsworth household—and, in this edition, samples of these details are given—but there is no need to record all the cases in which the sister wrote, "To-day I mended William's shirts," or "William gathered sticks," or "I went in search of eggs," etc. etc. In all cases, however, in which a sentence or paragraph, or several sentences and paragraphs, in the Journals are left out, the omission is indicated by means of asterisks. Nothing is omitted of any literary or biographical value.
ellauri096.html on line 593: Maldoror is a modular (sic) work primarily divided into six parts, or cantos; these parts are further subdivided into a total of sixty chapters, or verses. Parts one through six consist of fourteen, sixteen, five, eight, seven and ten chapters, respectively. With some exceptions, most chapters consist of a single, lengthy paragraph.[b] The text often employs very long, unconventional and confusing sentences which, together with the dearth of paragraph breaks, may suggest a stream of consciousness, or automatic writing. Over the course of the narrative, there is often a first-person narrator, although some areas of the work instead employ a third-person narrative. The book's central character is Maldoror, a figure of evil who is sometimes directly involved in a chapter's events, or else revealed to be watching at a distance. Depending on the context of narrative voice in a given place, the first-person narrator may be taken to be Maldoror himself, or sometimes not. The confusion between narrator and character may also suggest an unreliable narrator.
ellauri100.html on line 335: Having said that, I acknowledge that I sometimes adopt a biting or dismissive tone. (See, for example, the fourteen words that follow the em-dash two paragraphs above.) If you will read my blog carefully, however, you will find that my views are grounded in facts and logic. Where you disagree with or question something that I say in a particular post, search this blog and the list of favorite posts for more on the same subject. If you cannot or will not take the time to do that, don’t bother to comment unless you do it politely and give your reasons for disagreeing with me. I will reply politely, factually, and logically.
ellauri107.html on line 398: He’s a supernova of sin, or a Roman candle, or a fire cracker at the very least, blazing away in Roth’s virtuoso paragraphs; blinding us with his astonishing misogyny, his exponential misanthropy, his audacious nihilism.
ellauri111.html on line 369: The Bible teaches that the ONLY way to have eternal life is through the Lord Jesus Christ, the Son of God. I quote the relevant paragraphs:
ellauri111.html on line 379: You can see that the main paragraphs come from John (who was not present) and Paul (who was not present either). George and Ringo say nothing, as usual. (Well, there's Norwegian wood, and Yellow submarine, but they're completely beside the point.) All you need is love!
ellauri112.html on line 796: If I kept the 7th day as the Sabbath rest, then I’d be “a debtor to keep the whole law”, and then I will “become estranged from Christ” and “fallen from grace” (Gal. 5:3-4). I will not be estranged from Christ and fall from His grace nor will I teach my family nor my congregation family this. Who wants to keep all those 10 plus obsolete paragraphs anyway? Love is all you need.
ellauri115.html on line 416: In his reply to Rousseau, Hume (unwisely) demanded that Rousseau identify his accuser and supply full details of the plot. To the first, Rousseau's answer was simple and powerful: "That accuser, Sir, is the only man in the world whose testimony I should admit against you: it is yourself." To the second, Rousseau supplied an indictment of 63 lengthy paragraphs containing the incidents on which he relied for evidence of the plot and how Hume had deviously pulled it off. This he mailed to his foe on July 10 1766. The whole document managed to be simultaneously quite mad but resonating with inspired mockery and tragic sentiment.
ellauri133.html on line 63: The most important sentence of your novel is the first one. The most important paragraph is the first one. The most important page... well, you get the idea. Without a great opening, no-one will read your book. Fuck you! If your readers are so wimpy fuck them too!
ellauri133.html on line 65: It has to introduce your main character. You don't have to go into details, but you need enough to show if the MC is male or female, old or young, and ideally, give an idea of their personality. The opening has to show, or at least hint at, the inciting incident, the problem that starts the story for the MC. Most important, your opening has to grab the reader. Very few people have the patience to wade through pages of description before the action starts. Work on the first paragraph, and particularly the first line, until no-one can resist reading on. So, a few ways to get it wrong. Fuck the main character! This too is just for narcissist nincompoops who can't read about anything but themselves.
ellauri152.html on line 685: In Rabbeinu Tam's Tefillin, the paragraph "And if you listen ..." (Devarim 11:13:21), which warns of the consequences of violating the dog's willy, din, harsh justice, precede the paragraph of "Hear O Israel ..." (Devarim 6:4-8), which declares our belief in the Almighty. Since this verse applies to even the sinners of Israel, it alludes to the dog's attribute of compassion, cheese. In Rabbeinu Tam's Tefillin, the aspect of harshness, din, precedes that of mercy, cheese, alluding to the dog's original intention to run the world through harshness, din.
ellauri152.html on line 687: In Rashi's Tefillin, however, the paragraph of compassion precedes the paragraph of harshness. This alludes to the way the dog presently runs the world - with compassion. Since most people are dependent on the dog's compassion for their very existence, the halacha is according to Rashi's view. Therefore, the obligation to wear Tefillin is fulfilled through donning Rashi's Tefillin. They're like basic earplugs.
ellauri159.html on line 1167: It´s OK to postpone starting a project if the topic doesn’t grab you. When at a deadline, use your prolific imagination to find an angle that interests you. Free-write or cluster to generate ideas. Look to newspapers, magazines, or the internet for inspiration. Write a strong opening paragraph to get your creativity flowing.
ellauri159.html on line 1175: You first estimate accurately how long a writing project will take. Then you generally dive into the first draft and develop a framework (table of contents). You may find it helpful to start with the closing paragraph to give yourself an end point to strive for. Don’t let this limit you, though: be prepared to rearrange the structure and change your conclusions as you explore the subject in more depth.
ellauri172.html on line 260: Other writers [who?] have opted to deny the validity of the illustration. A typical [citation needed] counter-argument is that rationality as described in the paradox is so limited as to be a straw man version of the real thing. The idea that a random decision could be made is sometimes used as an attempted justification for faith. The argument is that, like the starving ass, we must make a choice to avoid being frozen in endless doubt. Other counter-arguments exist. [This paragraph was total balderdash, if I may say so.]
ellauri188.html on line 142: Referring to the last paragraph in Mr. Wester's communication-It would appear that if one is dependent, as was the writer, upon trading schooners to get from Tahiti to the Marquesas, then amongst these islands and return to Tahiti, his program for work in these two groups would take more than a year and his estimate of expense might, in consequence, be exceeded. Sometimes one is obliged to wait from one month to three to get the opportunity to move from one island in the Marquesas to another forty or fifty or eighty miles away, so rare and uncertain are the visits of these schooners. Further, in the absence of any regular means of communication, one has to seize any chance opportunity of transportation or run the risk of being marooned for a long period. On the other hand, if a schooner were chartered, which is the best possible way of visiting and working among the South Sea Islands, schooner, captain, crew and provisions would cost about $1,000 per month (this figure was obtained from an authoritative source) and a year on shipboard might not be needed. Under such conditions Mr. Wester's calculation of $8,500 for a year's work in the Marquesas and Societies may not be far out of the way.
ellauri194.html on line 510: The opening paragraph of a biographical article should neutrally describe the person, provide context, establish notability and explain why the person is notable, and reflect the balance of reliable sources.
ellauri194.html on line 514: The noteworthy position(s) or role(s) the person held should usually be stated in the opening paragraph. However, avoid overloading the lead paragraph with various and sundry roles; instead, emphasize what made the person notable. Incidental and non-noteworthy roles (i.e. activities that are not integral to the person's notability) should usually not be mentioned in the lead paragraph.
ellauri248.html on line 87: "I am intensely aware, by the way, that this story does not show me in a particularly flattering light. I am aware that, within an impressively short time of meeting me, Rosalind had me coming to heel like a well-trained dog: running up and down stairs to bring her coffee, nodding along while she bitched about my partner, imagining like some starstruck teenager that she was a kindred soul. But before you decide to despise me too thoroughly, consider this: she fooled you, too. You had as good a chance as I did. I told you everything I saw, as I saw it at the time. And if that was in itself deceptive, remember, I told you that, too: I warned you, right from the beginning, that I lie." As if that excused anything... and NO, she didn't "fool" me, because YOU'RE the narrator and YOU'RE the one telling the story. This paragraph probably ticked me off more than anything else in the book.
ellauri264.html on line 513: The Shulchan Aruch (and its forerunner, the Beit Yosef) follow the same structure as Arba'ah Turim by Rabbi Jacob ben Asher. There are four volumes, each subdivided into many chapters and paragraphs:
ellauri270.html on line 313: This seemingly idyllic beginning establishes a setting at odds with the violent resolution of the story. Early details, such as sun and flowers, all have positive connotations, and establish the theme of the juxtaposition of peace and violence. The lottery is mentioned in the first paragraph, but not explained until the last lines.
ellauri336.html on line 368: The other point I’d like to make is that a woman’s hair is cited (somewhere,) as her crown. After she is married, the beauty of her hair is only available for her husband to see. This helps makes her seductive to him. I also have to say that I can’t imagine having an intimate relationship with a woman with a shaved head as I have referenced in the previous paragraph.
ellauri360.html on line 74: “A Sentimental Novel,” the final published work of the novelist and theorist Alain Robbe-Grillet, appeared in France four months before his death, in 2008, and in English translation last spring. The content of the novel contributed to the lag in its translation: “A Sentimental Novel” (reviewed this summer in Briefly Noted) is a compendium of Robbe-Grillet’s sadistic fantasies, which, he said, he had catalogued since adolescence. The work consists of two hundred and thirty-nine numbered paragraphs that form a sort of sadist’s rhapsody about the sexual initiation of a fourteen-year-old girl, Gigi. Gigi’s travails are recounted in exacting detail, against a lushly imagined mise-en-scène, with elaborate furnishings, torture devices, and a proliferation of young companions. Okei siis Robbe liittyy pitkään jonoon kynäilijäpedofiilejä. Ei siinä mitään, kukapa ei pitäisi latuskarintaisista teinitytöistä. Mutta pakkoko niitä on silleen rääkätä?
xxx/ellauri123.html on line 1045: Many a true word is spoken in jest, especially about the kinship between eros and thanatos. FUCK! KILL! Puuttuu enää EAT! The two closest glimpses Humbert gives us of his own self-hatred are not without their death wish—made explicit in the closing paragraphs—and their excremental aspects: "I am lanky, big-boned, wooly-chested Humbert Humbert, with thick black eyebrows and a queer accent, and a cesspoolful of rotting monsters behind his slow boyish smile." Two hundred pages later: "The turquoise blue swimming pool some distance behind the lawn was no longer behind that lawn, but within my thorax, and my organs swam in it like excrements in the blue sea water in Nice." And then there's the offhand aside "Since (as the psychotherapist, as well as the rapist, will tell you) the limits and rules of such girlish games are fluid …" in which it takes a moment to notice that "therapist" and "the rapist" are in direct apposition.
xxx/ellauri127.html on line 120: In his lifetime, Nabokov received many contrary and often puzzled reviews. The Hollywood producer Robert Evans famously flew to Switzerland in 1968 to read an advance copy of the novel “Ada” in one day. “It was torture,” he recalled. Dwight Macdonald hated “Pale Fire” on behalf of Partisan Review, calling it “unreadable . . . too clever by half . . . Philistine . . . false” — and he hadn’t even finished his first paragraph!
xxx/ellauri129.html on line 447: I appreciate the novella has a plot, but this strength is not enough to overcome the story´s weaknesses, which for me were 1) overly long paragraphs of narrative--one went for almost six pages, and 2) a lack of understanding until almost halfway through the story what the stakes for the protagonist were.
xxx/ellauri137.html on line 757: Suzy I agree with you entirely about the romance/relationship angle in this (and all her) books. I find the descriptions of life in Japan & art history engrossing, but the shift in to her personal life is shallow and inexplicable. I frequently stare at those paragraphs wondering, what's Rei's problem, whats Massey's problem? Rei's choice of friends are also pretty bad.
xxx/ellauri166.html on line 448: Why was the Song of Moses (sehän oli se Deuteronomian loppuluritus!) deemed suitable as a tefillin parchment? In all likelihood because both the second paragraph of the Shema, as well as the verses immediately after the Song of Moses in Parashat Ha’azinu, contain references to length of days. A contribution to the wearer's longevity. Nobody is in a particular hurry to get to Paradise. Ei kiirettä kuin pirulla Heinolan markkinoille. Hiivitään ennemminkin hiljaa kuin tiaisen kivittäjä. In conclusion, The archaeological evidence, together with consideration of various biblical passages and even of halakhah, suggests that tefillin were originally practiced as a longevity amulet. Lisää aiheesta: https://www.thetorah.com/article/the-origins-of-tefillin
xxx/ellauri178.html on line 138: While she wrote that the 1,096-page epic cemented Foster-Wallace as “one of the big talents of his generation, a writer of virtuosic talents who can seemingly do anything”, she also quoted Henry James in calling Jest a “loose, baggy monster”, adding that it read like a “vast, encyclopedic compendium of whatever seems to have crossed Mr Wallace’s mind”. In his 2012 biography of the late Foster-Wallace, DT Max wrote that the writer “told a friend he hid in his room for two days and cried after reading yet another paragraph of Rei devoted to parallels between his first book and Pynchon’s most popular novel”.
xxx/ellauri179.html on line 298: An unmatched introduction to Hemingway’s particular skill as a writer is the beginning of A Farewell to Arms, certainly one of the most pregnant opening paragraphs in the history of the modern American novel. In that passage the power of concentration reaches a peak, forming a vivid and charged sequence, as if it were a 10-second video summary. It is packed with events and excitement, yet significantly frosty, as if unresponsive and numb, like a silent flashback dream sequence in which bygone images return, pass in review and fade away, leaving emptiness and quietude behind them. The lapidary writing approaches the highest style of poetry, vibrant with meaning and emotion, while the pace is maintained by the exclusion of any descriptive redundancy, of obtrusive punctuation, and of superfluous or narrowing emotive signs:
xxx/ellauri187.html on line 294: From the 16th century onwards, a number of Catholic saints prayed to Saint Joseph, invoked his help and protection and encouraged others to do so. In Introduction to the Devout Life Francis de Sales included Joseph along with the Virgin Mary as saints to be invoked during prayers following an examination of conscience. Teresa of Avila attributed her recovery of health to Joseph and recommended him as an advocate. In her biography The Story of a Soul, Thérèse of Lisieux stated that for a period of time, she prayed every day to "Saint Joseph, Father and Protector of Virgins..." and felt safe from danger as a result. The three mentioned in this paragraph were all Doctors of the Church.
xxx/ellauri199.html on line 289: First of all I would like to clarify what poetry is and isn´t. Writing poetry is best described as a composition that uses literary techniques and is not prose. Writing Prose is best described as writing that uses ordinary speech or language, such as a story or letter. However, there is such a thing as prose poetry that does use poetic devices, but it is still written in journal, letter or paragraph or story form. Poetry is written with a certain poetic structure of line breaks and stanzas. We will get more into the structure of poetry later in the course. Now that we have that cleared up, let´s forge ahead.
xxx/ellauri304.html on line 554: Here’s what we add to make Temple Dogs a paragraph long:
xxx/ellauri304.html on line 629: Suppose you want to write a “big book.” No genre junk for you. Okay. Here’s what you need to know. A “big book” is just a genre novel that got bigger. More pages, more everything. just make it a little bigger, a little more breathless, give it a little more end-of-the-world panache. Think of selling it to Hollywood where they call it high concept but what that really means is that it’s a very short outline of a book for people who can’t read a whole book or even a whole paragraph at once and their mind starts to wander after one sentence. Where was I? Ah yes:
xxx/ellauri307.html on line 741: Danilla oli surkea muusikonura länsirannikolla jota nöyrä, sittemmin eroprosessissa kusetettu vaimo Blythe koitti turhaan buustata. Brown and his wife Blythe moved to Rye, New Hampshire in 1993, samana vuonna jolloin ize sain karkoituxen Kouvolaan. Brown became an English teacher at his alma mater Phillips Exeter, and gave Spanish classes to 6th, 7th, and 8th graders at Lincoln Akerman School, a small school for K–8th grade with about 250 students, in Hampton Falls. Aikamoinen mahalasku tuli Danille(kin). While on vacation in Tahiti in 1993, Brown read Sidney Sheldon's (n.h.) novel The Doomsday Conspiracy, and was inspired to become a writer of thrillers. He started work on Digital Fortress, setting much of it in Seville, where he had studied in 1985. He also co-wrote a humor book with his wife, 187 Men to Avoid: A Survival Guide for the Romantically Frustrated Woman, under the pseudonym "Danielle Brown". Brown's first three novels had little success, with fewer than 10,000 copies in each of their first printings. His fourth novel, The Da Vinci Code, became a bestseller, going to the top of the New York Times Best Seller list during its first week of release in 2003. It is one of the most popular books of all time, with 81 million copies sold worldwide as of 2009. Its success has helped push sales of Brown's earlier flops. Brown's prose style has been criticized as clumsy, to say the least. The Da Vinci Code committed style and word choice blunders in almost every paragraph. Recurring elements that Brown prefers to incorporate into his novels include a simple hero pulled out of their familiar setting and thrust into a new one with which they are unfamiliar, an attractive female sidekick/love interest, foreign travel, imminent danger from a pursuing villain, antagonists who have a disability or genetic disorder, and a 24-hour time frame in which the story takes place.
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