ellauri053.html on line 956: And this the cranny is, right and sinister,
ellauri133.html on line 851: After publishing her debut novel The Road Through the Wall (1948), a semi-autobiographical account of her childhood in California, Jackson gained significant public attention for her short story "The Lottery", which presents the sinister underside of a bucolic American village.
ellauri145.html on line 537: Nietzsche’s image, through no more fault of his own than Hawking´s (LOL), has grown in a similar way to that of Hawking. We all have a vague notion of what the Ubermensch is, we’ve all heard “God is dead,” and we all know Nietzsche was a crazy philosopher with a giant mustache who wrote really hard books and scared his contemporaries and was apparently a favorite of the Nazis. There are little quips and quotes from him around the internet that sound awfully cryptic and enigmatic. And the publishing industry plays on this image, too: I have a copy of Beyond Good And Evil with a black cover and the title text printed in red and white, and the color scheme looks a little sinister. I strongly suspect that, if Nietzsche did not have a popular image as a crazy nihilist Nazi Ubermensch from the 1800s, the publisher would not have made the decision to print his books with a black and red color scheme. A cursory look at Amazon’s book listing also shows copies of Thus Spake Zarathustra with a picture of a panther’s eyes on the cover, glowering at the reader. Because… “Nietzsche was that crazy German writer or philosopher or whatever, right? And he was, like, an anarchist or nihilist or Nazi or something, right? Didn’t he kill God or something like that? Yeah.”
ellauri160.html on line 149: London found Pound amusing. The newspapers interviewed him, and he was mentioned in Punch magazine, which on 23 June 1909 described "Mr. Ezekiel Ton" as "the most remarkable thing in poetry since Robert Browning ... blending the imagery of the unfettered West, the vocabulary of Wardour Street, and the sinister abandon of Borgiac Italy". The phrase "Wardour Street English" denotes the use of near-obsolete words for effect, such as anent; this derives from the once great number of antique shops in the area. anent means about, concerning. Did you know?
ellauri161.html on line 560: Haha, yeah, he is—and amen to that. This is the truest, most on-point movie I saw in 2021. McKay gets sinister in Don’t Look Up, and I, for one, am glad somebody is being appropriately nasty in pointing out how absolutely moronic humans have become in the new millennium. Sorry, folks: We are fucking up big time; McKay knows it; and he’s pulling no punches.
ellauri221.html on line 309: A space shuttle called the Moonraker, built by Drax Industries, is on its way to the U.K. when it is hijacked in mid-air and the crew of the 747 carrying it is killed. Bond immediately is called into action, and starts the investigation with Hugo Drax. While at the Drax laboratories, Bond meets the brilliant and stunning Dr. Holly Goodhead, a N.A.S.A. astronaut and C.I.A. Agent who is investigating Drax for the U.S. Government. One of Drax´s thugs, the sinister Chan, attempts to kill 007 at the lab, but when that fails, he follows Bond to Venice and tries again there. Bond and Goodhead follow Drax´s trail to Brazil, where they once again run into the seven-foot Goliath Jaws, a towering giant with metal teeth. Escaping from him, they discover the existence of a huge space station undetected by U.S. or Soviet radar, and a horrible plot by Drax to employ nerve gas in a genocidal project. James and Holly must quickly find a way to stop Hugo Drax before his horrific plans can be put into effect.
ellauri243.html on line 74: Kenenkähän sorkat tässäkin on olleet sopassa? Koitappa arvata. Oikea käsi on suorempi ja parempi, vasurit on homopettereitä tai muuten sinisterejä.
ellauri309.html on line 521: In 2011, when asked if he would have done things differently, Billy said he would have spent more time at home with his family, studied more, fucked more, and preached less. Additionally, he said he would have participated in fewer conferences. Graham had a steamy relationship with Queen Elizabeth II. Graham was outspoken against communism and supported the American Cold War policy, including the Vietnam War. In 2009, more Nixon tapes were released, in which Graham is heard in a 1973 conversation with Nixon referring to Jewish journalists as "the synagogue of Satan". He further stated that the role of wife, mother, and homemaker was the destiny of "real womanhood" according to the Judeo-Christian ethic. Graham's daughter Bunny recounted her father denying her and her sisters higher education. Graham regarded homosexuality as a sin, and in 1974 described it as "a sinister form of perversion". AIDS oli ehkä jumalan designoima rangaistus pyllyhommista.
ellauri420.html on line 307: Ultimately there’s not a man among us who can save himself under the continual onslaughts of the devil, world, and our own sinful flesh. Some things we can handle, but others are above our pay grade. If it were just a matter of working harder or working smarter, we could tackle that. Usually, that is. But you can’t outwit Satan. You can’t single handedly tackle the sinister influences of this fallen world any more than you can keep a lid on the raging impulses and obsessions of your own sinful nature. For that you need both hands.
ellauri434.html on line 191: English language readers are unlikely to recognise the author of The Master and Margarita in the author of “Kiev — town”. Beyond Ukraine, Bulgakov tends to be revered as a writer who spoke truth to power, who stood for freedom and creative resilience. The vagaries of censorship and serendipity by which Bulgakov’s novels reached their readers against all odds seem to belong to the magical environment of The Master and Margarita, to a world where “manuscripts don’t burn”. So entrenched is this perception among Bulgakov’s English fans that when the National Theatre staged John Hodge’s Collaborators,a counterfactual play in which Bulgakov and Stalin start to act as each other’s ghost writers, audiences were horrified. One letter to the Times Literary Supplement fumed: “This insulting portrayal of Mikhail Bulgakov as a pathetic puppet manipulated by Stalin into collaborating with and even prompting his atrocities cannot be justified”. Those keen to defend Bulgakov’s reputation might find it interesting that his writing was marshalled in support of one more genocidal leader of Russia in 2019. A pro-separatist weekly newspaper from Donets’k reprinted “Kiev — town” among its articles belittling the Ukrainian state and sinister editorials calling for Russia to “be more active in Donbas”.¨
ellauri434.html on line 193: Bulgakov’s canonisation is also perpetuated in UK universities. As a new lecturer, I was taken to task by a senior colleague for including Collaborators in an undergraduate comparative literature course on political drama. How could I present students with Hodge’s nasty falsehoods about a great anti-Soviet writer? I agreed to repair the damage by pairing Collaborators with Andrew Upton’s The White Guard, a version in English of Bulgakov’s play The Day of the Turbins. Confusingly, Upton gave his version the name of the Bulgakov’s novel, The White Guard, on which The Day of the Turbins is based. That was the novel, intended to be a War and Peace for the twentieth century, that Bulgakov hoped to finish during his visit to Kyiv in 1923. Set in the years of civil war that followed the 1917 revolution, it depicts a principled and loving Russian Empire family, the Turbins, who are beset on all sides by invading forces, political opportunists, avant-garde writers, and brutish Ukrainian nationalists. By 1925, only two thirds of the novel had been published when the journal in which it was serialised was shut down. Undeterred, Bulgakov began to adapt the novel as a play for the Moscow Arts Theatre. While very popular, The Day of the Turbins was more akin to pre-revolutionary Chekhov than the dystopian dramas, propagandistic mass spectacles, and constructivist films set on Mars of its time. The play’s survival into the 1940s was probably facilitated by means of an ambiguous musical conclusion: the arrival of the Red Army in Kyiv and singing of the Internationale could be at once sinister, ironic, or celebratory. Where Stalin and the censors were certain that the play celebrated Bolshevik power, my colleague was convinced that the ending demonstrated Bulgakov’s concealed and stalwart opposition to the same.
xxx/ellauri086.html on line 621: Dupin explains that the gunshot distraction was arranged by him and that he left a duplicate letter to ensure his ability to leave the hotel without D— suspecting his actions. If he had tried to seize it openly, Dupin surmises D— might have had him killed. As both a political supporter of the queen and old enemy of the minister [who had done an evil deed to Dupin in Vienna in the past], Dupin also hopes that D— will try to use the power he no longer has, to his political downfall, and at the end be presented with a quotation from Prosper Jolyot de Crébillon's play Atrée et Thyeste that implies Dupin was the thief: Un dessein si funeste, S'il n'est digne d'Atrée, est digne de Thyeste (If such a sinister design isn't worthy of Atreus, it is worthy of Thyestes).
xxx/ellauri122.html on line 920: If he attempts to leave from the missions he's assigned, he'll be in violation of a sinister bureacratic rule called Catch-22. Readers are left at the edge of their toilet seats.
xxx/ellauri157.html on line 510: The Nazis, who discounted Hesse as merely a “victim of Jewish psychoanalysis,” blamed it all on Freud. In the April 1936 issue of Die Neue Litteratur, Will Vesper, employing predictable anti-Semitic tropes, characterized Hesse as a traitor and held him up as a classic example of Jewry’s sinister influence in general and of the insidious poisoning of the German soul by Freud’s psychoanalysis in particular:
xxx/ellauri187.html on line 645: The Jewish community in Chicago, one of the wealthiest in the world, has always exercised an extremely powerful degree of behind the scenes influence in the Windy City, an influence just as pervasive and powerful (if not more so) as that of the Italian organized crime syndicates, all the more sinister for being far less visible. Read more in Saul Bellow's Adventures of Augie March.
xxx/ellauri427.html on line 177: Quite possibly the stupidest book I've ever read, full of the stupidest characters ever written. I kept reading because I thought, surely, there will be a reason these people keep going off with these sinister people, who terrify them. Suddenly Marco's brain will kick on and he'll realize that the black yacht is THE black yacht...
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