ellauri066.html on line 726: The restaurant manager at Nya Car- negiebryggeriet brew- ery pub, David Manly, 38, says: “We feel like we’re living in a different world to other countries. We’re incredibly grateful.”
ellauri066.html on line 729: Sporting one of the Tegnell T-shirts, student Isabell Håkansson, 26, says: “I’m happy everything is open and we’re not locked down.”
ellauri077.html on line 329: Another aspect that defined his thoughts was the concept that would later inspire the work of other great writers such as Kafka, Unamuno, or philosopher Ludwig Wittgenstein. We’re talking about "anxiety", the feeling that never disappears. This is because it also helps us become aware that there are more options in life, that we’re free to jump into the void or take a step back and seek other solutions, like happy homosexuality. There’s always an alternative to suffering, but suffering itself helps "it" grow.
ellauri100.html on line 1363: Jean-Paul Sartre is sitting at a French cafe, revising his draft of Being and Nothingness. He says to the waitress, “I’d like a cup of coffee, please, with no cream.” The waitress replies, “I’m sorry, Monsieur, but we’re out of cream. How about with no milk?”
ellauri109.html on line 466: To be sure in this one matter we Differ much, but in everything else we’re like twins
ellauri111.html on line 241: “It’s strange,” he said, almost as if he was talking to himself. “My English and American readers don’t seem to read it very much. Of course, I do say some rude things about England in it and I know what they say in return—that’s it’s full of Russian jingoism, all very retrograde and reactionary. In my own view, though, it has some of the best things I’ve ever written in it. In fact, that’s where you’ll find this story we’re talking about right now.”
ellauri112.html on line 661: As a nation, we’re well-used to the stereotype of the Irish mammy. Generally speaking though, the mother as a comical, level-headed supporting character is not unique to us, Jews and Italians have them too, and Latinos, I bet. Sometimes she’s the self-sacrificing figure who will do anything for her children, sometimes she’s neurotic and controlling, suppressing the growth and social development of her kids, who are typically the leads. Rarely has she ever taken front-of-stage.
ellauri161.html on line 590: Don’t Look Up wants to paint our inaction with regard to climate change as the result of denialism and being distracted by silly things like, say, a movie streaming on Netflix. But climate change isn’t a comet headed our way in less than a year — a lousy, faulty metaphor for where we’re at right now. Except that IT IS! It's probably too late already. Now get a big mouth fuck goddam Allison Willmore,
ellauri161.html on line 643: That’s not a point that hasn’t been made before, and it’s not like there are new notions here about what people might do with their last moments. But there’s something deceptively big and complicated about considering the human capacity to (not) address the largest challenges to their own survival as certain systems prevent action being taken — and people’s ability to recognize that a happy ending isn’t automatic but could be possible with thought and work. There’s such tragedy in the idea of, among many other things, being stuck in a loop of distraction at the expense of progress. Perpetual escapism that prevents escape, with what we’re looking away from and how continually being updated in the stories on the subject.
ellauri161.html on line 671: For the majority of the film (not Talladega, the new one), we’re bouncing from one republican caricature to the next. Streep is a female version of Donald Trump. Jonah Hill is a fratty version of Donald Trump Jr. Mark Rylance is a right-wing version of Tim Cook. (What a joke, he's way too poor.) And Ron Perlman is a red-eyed version of General Turgidson. When General Turgidson wonders aloud what kind of name "Strangelove" is, saying to Mr. Staines (Jack Creley) that it is not a "Kraut name", Staines responds that Strangelove's original German surname was Merkwürdigliebe ("Strange love" in German) and that "he changed it when he became a citizen". A kike anyway, by the name.
ellauri182.html on line 133: Toward the climax of the story, when Mikage is climbing a hotel balcony in a daring moment of “utter desperation,” she contemplates the concept of free will. Up to this point in the story, Mikage has tended to believe in fate and in premonitions, which are beliefs that other powers are making decisions for her. She has also stated that “we have so little choice,” and that “we live like the lowliest worms.” Undergoing an existential change, Mikage finally admits to herself and the reader that human beings are ultimately free because “we’re constantly making choices. With the breaths we take every day, with the expression in our eyes, with the daily actions we do over and over, we decide.” She states that even when people think that they are being acted upon by outside forces, they are in reality choosing their situations and actions, sometimes subconsciously.
ellauri194.html on line 328: "I usually get just a tissue” a female inmate says as she describes her experience bouncing from detention facility to detention facility and being denied feminine products. “Television doesn’t show you when we’re treated like animals and denied basic necessities."
ellauri219.html on line 820: Evans could not help himself: he muttered the aside “some might say we’re seeking to make the world Safe for Feudalism.”
ellauri263.html on line 371: That’s how we’re plunged back into Fauda, Arabic for “chaos”, Israel’s international Netflix hit, which the streaming service picked up in 2016. Released on 24 May, the series returns with its tight, testy unit of Arabic-speaking Israeli special force infiltrators who work undercover in the Palestinian West Bank to track and kill wanted terrorists.
ellauri324.html on line 584: feeling generous. If for some strange reason we’re paying
ellauri336.html on line 640: “It has not been a gradual growth. It’s been the type of growth that puts such a strain on the community that we’re unable to keep up with what we need to handle the crowds, the influx. Our housing shortage is really epidemic. It puts a burden on our school districts. We need teachers but we can’t bring teachers in because we have no place for them to stay,” Collins said.
xxx/ellauri103.html on line 193: But what does this have to do with writing fiction? The moral of the sombrero scandals is clear: you’re not supposed to try on other people’s hats. Yet that’s what we’re paid to do, isn’t it? Step into other people’s shoes, and try on their hats. Try their underwear for size. Make fun of them when they don't say Calvin Klein, or have skidmarks on them.
xxx/ellauri103.html on line 233: And here’s the bugbear, here’s where we really can’t win. At the same time that we’re to write about only the few toys that landed in our playpen, we’re also upbraided for failing to portray in our fiction a population that is sufficiently various.
xxx/ellauri166.html on line 299: Shechinah שכינה (also spelled Shekhinah) is derived from the word shochen שכן, “to dwell within.” The Shechinah is Cod or that which Cod is dwelling within. Sometimes we translate Shechinah as “The Divine Presence.” The word Shechinah is feminine, and so when we refer to Cod as the Shechinah, we say “She.” Of course, we’re still referring to the same One Cod, just in a different modality. After all, you were probably wondering why we insist on calling Cod “He.” We’re not talking about a being limited by any form—certainly not a body that could be identified as male or female. "It" would be better, only it reminds one too much of Freud's id. "They" would sound dangerously polytheistic.
xxx/ellauri218.html on line 445: The workers’ decision to strike was about far more than money. One sanitation worker, a shop steward, said it all at a standing-room-only union meeting two days before the vote: “We may handle garbage but we’re not garbage.”
xxx/ellauri265.html on line 435: There’s a lot of interest internationally, and what I’ve picked up is that everyone recognizes that America is particularly sick, that we’re worse off than other countries. But on the other hand, they see the signs in their own country. And so there’s a lot of interest in what’s happening in America, because it’s clear this could be a problem that many liberal democracies are going to face — or are beginning to face — in the social media age.
xxx/ellauri312.html on line 1055: yaaaaaawwwwwwwwwwnnnnnn… my god, this is soooo boring. And there are still 10 pages. Daniel, dude, why did you make that so boring….. what?…… boring topic? No man, there’s no such thing as a boring topic. There’s just boring presentation… yeah… look, we’re live so I can’t explain that now but we’ll talk later, okay… … … cool… oh, can you fetch me a coffee? Thanks.
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