ellauri052.html on line 960: During an awkward sexual encounter with Harriet Wasserman, she remembered “asking him for permission, as if it were a museum objet d’art, ‘Can I touch this?’” Many of his mistresses remained in love and in touch with him. Scott Fitzgerald said that Hemingway “needed a new woman for each big book”; Bellow lost a woman with each big book. He spilled sperm as he spilled ink, and sex both interfered with and inspired his writing. Bellow created and lived on turbulence, thrived on chaos, courted conflict and was inspired by personal cataclysm. He reported that one lover (mies vai nainen?) “caused me grandes dificultades in England and in the south, but I finished Sammler just the same.” The bearers of erogenous zones (either sex) made him feel younger, “it was a way of avoiding the Angel of Death,” and he cherished their provocative bitchiness. Bellow’s emotional upheavals — his guilt and remorse, multitudinous failings and need for self-condemnation — made him beat his breast at his private Wailing Wall. Se oli kuin kunkku David jolle tuotiin neitosia pyllynlämmittimixi.
ellauri053.html on line 940: Thou comest. New Year, whirling in a frantic dance amidst the stampede of the wind-lashed clouds and infuriate showers, while trampled by thy turbulence are scattered away the faded and the frail in an eddying agony of death.
ellauri131.html on line 742: Evolutionary biologist Jerry Coyne issued a similar takedown, by simply highlighting some of Chopra's more outlandish claims, including his idea that the moon only exists because of human consciousness, the suggestion that mass prayer or meditation has the ability to "simmer down the turbulence in nature," as well as the nonsensical statement "Consciousness is the driver of evolution. Every time I eat your pussy or you suck my banana it transforms into a human." Coyne labels Chopra's ideas as "pseudoscience, pure and simple," and accuses him of "pushing a noxious brew of quantum physics, evolutionary biology, and "universal consciousness.'" Ouch.
ellauri197.html on line 214: If art is to assist in mitigating sorrow, turbulence, and evil, then it must filter out the bathos that brings on hysterics. Art serves society as a sort of safety valve wherein viewers view the performance with some distance. That distance must then be framed in a way that not only lowers the temperature on sorrow but also elevates with the beauty of the truth the content portrays.
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