The fact that I am writing about this shows that this was not the perfect crime. The conspiracy was exposed though the conspirators have yet to be caught. My hunch is that it was a small group of colluders who tried to dupe many innocent people. A small size would explain why there are so many eyewitnesses who reported the signs of conspiracy, but we have yet to hear from a whistleblower who admits to being part of the plot. Being the middle or rear part of a human centipede makes whistling kinda hard.
ellauri067.html on line 400: Clausewitz, Carl von (1780-1831) 182; Prussian general whose writings, especially On War, advocated the concept of total war, in which all the enemy´s territory, property, and citizens are attacked. Clausewitz oli megaluokan paskiaisia. Siihen liittyen L-5227 164; bomb developed by Spottbilligfilm AG to blind "whole populations".
ellauri067.html on line 439: How much, or how little influence drugs, particularly hallucigenic drugs like lysergic acid diethylamide, LSD, had on Pynchon’s narrative is unknown. If Siegel, however, is to be believed, and he should be despite any resentment he felt regarding Pynchon’s affair with his wife, then the writing of Gravity’s Rainbow was heavily influenced by drugs. In Pynchon’s most famous quote regarding this particular novel, which is notoriously difficult to interpret, he is alleged to have told Siegel,
ellauri067.html on line 441: “I was so fucked up while I was writing it . . . that now I go back over some of those sequences and I can’t figure out what I could have meant.”
ellauri067.html on line 472: J. P. Morgan saw the writing on the wall, that Edison was losing ground to Westinghouse, and the newly formed General Electric was formed to take on Westinghouse in the head to head battle to develop AC power distribution systems.
ellauri069.html on line 67: Their memoir is an attempt to understand their gambling obsession as a way of coping with guilt over his death. “The addiction to gambling, with the unsuccessful struggles to break the habit and the opportunities it affords for self-punishment, is a repetition of the compulsion to masturbate,” Freud says in “Dostoevsky and Parricide”; “the relation between efforts to suppress it and fear of the father are too well known to need more than a mention.” No one believes Freud anymore, of course. A great deal of his writing is, at one level of explicitness or another, about the authority of fathers and the struggle for autonomy. (And Barthelme was a close reader of Freud.)
ellauri069.html on line 89: Barthelme believed himself to be working in the tradition of Joyce and Samuel Beckett, and that his appropriation of popular, commercial, and other sub-artistic elements (instruction manuals, travel guides, advertisements, sentences from newspaper articles, and so on) in his writing was done as a means of making literature, not subverting it or announcing its obsolescence. Daugherty thinks that many people have got Barthelme wrong.
ellauri069.html on line 91: Barthelme incorporates bits from other people’s texts into his stories, and a good deal of his writing sounds like (and some of it plainly is) pastiche, as though it had been composed in the style, or spoken in the voice, of someone else.
ellauri069.html on line 93: It can certainly look, in short, as though Barthelme, like Warhol, were simply dropping the question of whether something counts as literature or not, since markers of the literary are impossible to find in his writing. The high-art traditionalist has no place to hang his beret. Daugherty’s purpose is to convince us that this was not Barthelme’s intention.
ellauri069.html on line 127: Sidney Joseph "S.J." Perelman (February 1, 1904 – October 17, 1979) was an American humorist and screenwriter. He is best known for his humorous short pieces written over many years for The New Yorker. He also wrote for several other magazines, including Jude, as well as books, scripts, and screenplays. Perelman received an Academy Award for screenwriting in 1956.
ellauri071.html on line 111: By 1929 Coward was one of the world's highest-earning writers, with an annual income of £50,000, more than £2,800,000 in terms of 2018 values. Coward thrived during the Great Depression, writing a succession of popular hits.
ellauri072.html on line 566: Let’s disagree. Wallace’s writing is not as difficult to read as it is famed to be, nor as pandering to entertain as he worried it was. Wallace writes in grammatically correct sentences; he tells jokes; and his work, if you are wired a certain way, will affect you emotionally.
ellauri073.html on line 254: Hahaha look at you you fat fuck. You choose to spend your time bashing a man who has been dead for a decade, and there's no real reason for it other than the obvious jealousy that consumes you as an ugly person, inside and out. You break your criticism down into two distinctions: Foster's writing and his character. First, on your criticism of his character, I will say that it is entirely ironic that you choose to do so, considering that in your mediocre (that's right buddy your disgustingly fat ass as it is right now is entirely more mediocre than most unmistakably mediocre things, including (but not limited to) the entire Oakland Athletics organization) life your accomplishments include being - and here I'm just being honest with you, and it's possible that you may have heard this already in your pathetic, insufferable life but just hear me out -- LITERALLY THE FATTEST, BALDEST, AND JUST FLAT OUT UGLIEST PIECE OF SHIT PERSON I HAVE EVER SEEN. (For more on that here's a link to a picture I found of Matt online during a quick goggle search: https://www.google.com/sear....
ellauri073.html on line 258: Really, I would have expected one of the first pictures I saw of Matt Fartey to be one of professional caliber, but interestingly enough the first thing that came up when I searched his name was that picture -- a picture so startling in all that it conveys that it was almost too much for me to witness its allure and then continue along on this tirade; luckily I am a man of strong willpower, and so I was able to continue writing after seeing that picture without shooting myself in the head.) Anyways where was I...oh that's right! Matt Fartey's "accomplishments" and character! Well ladies and gents, he runs a fucking hate blog. Enough said. I doubt he even earns much from it too, though he obviously earns enough to afford an adequate amount of fast food meals that will surely keep his little hate-filled body going until the age of 47, where he will surely die of a collapsed lung or heart attack. When they find his body he will be mistaken for Matt FOLEY, which will obviously be a total disparagement on the late Chris Farley. If you know, you know.
ellauri073.html on line 275: Quickly on your attacks on Wallace's writing style, I will mention that -- contrary to your rather baffling notions -- people did enjoy Infinite Jest and other works of his. They will continue to do so for decades. Listen Fartey: his work will live on. People recognize great writing wherever it materializes. Forget your distaste of footnotes, or your struggle in understanding the themes and ideals his work encompasses. His audience is clearly beyond you, so try to see that not everyone feels the same as you. You don't have to like his writing, but when you detract from it it makes it even more apparent that you are the lesser man. Your comments on Foster's writing ability led me to some of your other articles, and to be completely honest, it wasn't all bad. I genuinely enjoyed your "Fucking vs. Making Love" poetry bit, although it did seem like a cheap knockoff of Black Coffee Blues. Regardless, I can still acknowledge that the piece had its moments. However (and this is where I want you to pay attention you tub of lard), the piece can also be slammed in several areas. This is highly important, as we can see the parallels between this aspect of "Fucking vs. Making Love" and anything David Foster Wallace wrote. When it comes down to it, your writing can be criticized stylistically and formatically just like his can; the only difference is that there are few that actually give a shit about your writing, whereas Wallace's work is meaningful to the point where people have legitimate incentive to think critically about it. So defile it with your petty blog posts all you want, but at the end of the day you're the one who's only making yourself look bad, and as a heavily obese man based in Europe you are surely having few problems achieving this in the status quo, since Europeans are notably fatist.
ellauri073.html on line 448: I’m a writer, and write for money, (as in "a private dancer, a dancer for money", Tina Turner) although I will also accept acclaim. I also teach writing. How are you?
ellauri073.html on line 516: Sally is remembered as a wickedly funny, funnily wicked, generous and compassionate woman who made friends everywhere she went. She had an unmatched love for the English language and inspired countless others — including her students, children and grandchildren — to pursue their passion of writing. She was fearless in every sense of the world, and in the final years of her life, tried many new things, such as zip-lining, main-lining, and attending monthly poetry slams.
ellauri077.html on line 613: Wallace saw this (psycho) kind of writing as simply an example of self-love. Like the Onan whose name is another Wallu acronym-pun, these writers were working out of “the part that just wants to be loved” (i.e. the wiener) rather than “out of the part [. . .] that can love,” that is the “artichoke’s heart”.
ellauri077.html on line 806: Pretentious diction. Words like phenomenon, element, individual (as noun), objective, categorical, effective, virtual, basic, primary, promote, constitute, exhibit, exploit, utilize, eliminate, liquidate, are used to dress up a simple statement and give an aire of scientific impartiality to biased judgements. Adjectives like epoch-making, epic, historic, unforgettable, triumphant, age-old, inevitable, inexorable, veritable, are used to dignify the sordid process of international politics, while writing that aims at glorifying war usually takes on an archaic color, its characteristic words being: realm, throne, chariot, mailed fist, trident, sword, shield, buckler, banner, jackboot, clarion.
ellauri077.html on line 810: The jargon peculiar to Marxist writing (hyena, hangman, cannibal, petty bourgeois, these gentry, lackey, flunkey, mad dog, White Guard, etc.) consists largely of words translated from Russian, German, or French; but the normal way of coining a new word is to use Latin or Greek root with the appropriate affix and, where necessary, the size formation. It is often easier to make up words of this kind (deregionalize, impermissible, extramarital, non-fragmentary and so forth) than to think up the English words that will cover one´s meaning. The result, in general, is an increase in slovenliness and vagueness.
ellauri077.html on line 816: Meaningless words. In certain kinds of writing, particularly in art criticism and literary criticism, it is normal to come across long passages which are almost completely lacking in meaning. Words like romantic, plastic, values, human, dead, sentimental, natural, vitality, as used in art criticism, are strictly meaningless, in the sense that they not only do not point to any discoverable object, but are hardly ever expected to do so by the reader. When one critic writes, "The outstanding feature of Mr. X's work is its living quality," while another writes, "The immediately striking thing about Mr. X's work is its peculiar deadness," the reader accepts this as a simple difference opinion. If words like black and white were involved, instead of the jargon words dead and living, he would see at once that language was being used in an improper way.
ellauri078.html on line 34: Infinity is something we are introduced to in our math classes, and later on we learn that infinity can also be used in physics, philosophy, social sciences, etc. Infinity is characterized by a number of uncountable objects or concepts which have no limits or size. This concept can be used to describe something huge and boundless. It has been studied by plenty of scientists and philosophers of the world, since the early Greek and early Indian epochs. In writing, infinity can be noted by a specific mathematical sign known as the infinity symbol (∞) created by John Wallis, an English mathematician who lived and worked in the 17th century.
ellauri080.html on line 420: writings/Jungian_Typology.pdf">Villagedesignin expertti aloittaa jungilaisten kontribuution luonnekysymyxiin näin.
ellauri080.html on line 729: At school, his academic results were described as mediocre. One report concluded that Gandhi was “good at English, fair in Arithmetic and weak in Geography; conduct very good, bad handwriting.” His first English teacher was an Irishman, and so Gandhi spoke English with an Irish accent.
ellauri080.html on line 783: During Gandhi's time as a dissident in South Africa, he discovered a male youth had been harassing two of his female followers. Gandhi responded by personally cutting the girls' hair off, to ensure the "sinner's eye" was "sterilised". Gandhi boasted of the incident in his writings, pushing the message to all Indians that women should carry responsibility for sexual attacks upon them. Such a legacy still lingers. In the summer of 2009, colleges in north India reacted to a spate of sexual harassment cases by banning women from wearing jeans, as western-style dress was too "provocative" for the males on campus.
ellauri082.html on line 45: Elizabeth Lee Wurtzel (July 31, 1967 – January 7, 2020) was an American writer and journalist, known for the confessional memoir Prozac Nation, which she published at the age of 27. Her work often focused on chronicling her personal struggles with depression, addiction, career, and relationships. Wurtzel's work drove a boom in confessional writing and the personal memoir genre during the 1990s, and she was viewed as a voice of Generation X. In later life, Wurtzel worked briefly as an attorney before her death from breast cancer.
ellauri082.html on line 103: More than anything the biography is a testament to something even DFW himself would have said: do not build monuments to individuals. His genius is in his work, and in his case his work was both in writing and in acting; the DFW one sees and hears in interviews is DFW as spinner of fiction, not DFW as himself. One need not pretend David Foster Wallace was a god of sincerity and morality and self-awareness; his work clearly shows he was not.
ellauri082.html on line 114: Herb: Is there no “ending” to “Infinite Book” because there couldn’t be? Or did you just get tired of writing it?
ellauri082.html on line 272: Frost was 38, pushing forty. Frost wrote the poem in June 1922 at his house in Shaftsbury, Vermont. He had been up the entire night writing the long poem "New Hampshire" and had finally finished when he realized morning had come. He went out to view the sunrise and suddenly got the idea for "Stopping by Woods on a Snowy Evening".[2] He wrote the new poem "about the snowy evening and the little horse as if I'd had a hallucination" in just "a few minutes without strain."
ellauri082.html on line 312: I’ve chosen to blog this particular passage, which runs ten pages in lenght, for a few reasons, the most honest reason being its unrelenting frankly honest potrayal of a person in the midst of a serious marijuana dependancy. Erdedy’s chapter has him eagerly awaiting the delivery of 200 grams of high-resin weed, of which he will force himself to smoke in its entirety in one hazy fog-induced sitting. Wallace, writing in the 3rd person, manages to get close enough to Erdedy’s running internal monologue to present to us a deeply troubled young man’s addiction and the lenghts he is willing to go to–whislt also attempting to redeem himself through his numerous attempts in kicking the addiction–in order to satisfy his intense cravings.
ellauri089.html on line 62: Heinlein's experience in the Navy exerted a strong influence on his character and writing. In 1929, he graduated from the Naval Academy with the equivalent of a Bachelor of Arts degree in Engineering, ranking fifth in his class academically but with a class standing of 20th of 243 due to disciplinary demerits.
ellauri089.html on line 96: When Robert A. Heinlein opened his Colorado Springs newspaper on April 5, 1958, he read a full-page ad demanding that the Eisenhower Administration stop testing nuclear weapons. The science fiction author was flabbergasted. He called for the formation of the Patrick Henry League and spent the next several weeks writing and publishing his own polemic that lambasted "Communist-line goals concealed in idealistic-sounding nonsense" and urged Americans not to become "soft-headed".
ellauri089.html on line 124: During the 1930s and 1940s, Heinlein was deeply interested in Alfred Korzybski's general semantics and attended a number of seminars on the subject. His views on epistemology seem to have flowed from that interest, and his fictional characters continue to express Korzybskian views to the very end of his writing career.
ellauri089.html on line 144: Somehow, in the writing of juveniles, only Heinlein gets away with being Heinlein.
ellauri090.html on line 124: Rubião tries to stay away from Sophia, but he finds an envelope addressed in Sophia’s handwriting to Carlos Maria. When he confronts her with the envelope, she tells him to open it. He refuses and leaves. Although Carlos Maria had flirted with Sophia, the envelope contains only a circular about a charitable committee on which Sophia serves.
ellauri092.html on line 318: It is no wonder that as a young Christian, devouring many of the writings by Tozer, Murray, Lawrence and others led me into severe confusion and ultimately pushed me into the Charismatic Movement seeking what I thought was “holiness.” Turns out it was my unchecked emotions that pushed and pulled me.
ellauri093.html on line 909: The above words came fresh in my mind in writing. They were often used by my beloved father, when he led his children to the throne of grace in family worship. If they find an echo in the hearts of the readers I shall be deeply thankful.
ellauri095.html on line 109: The term also gained currency among a group that studied Classics and dabbled in pederastic poetry from the 1870s to the 1930s. The writings of this group are now known by the phrase Uranian poetry. The art of Henry Scott Tuke and Wilhelm von Gloeden is also sometimes referred to as Uranian.
ellauri095.html on line 157: Usually writing Miltonic sonnets of 14 lines, he experimented with such unusual forms as a “curtal” sonnet of 10 2/5 lines (“Pied Beauty”) and a “caudal” sonnet of 24 lines (“That Nature is a Heraclitean Fire”). As an experimenter, he was a modern poet before “modern” poetry existed.
ellauri095.html on line 184: Hopkins was a supporter of linguistic purism in English. In an 1882 letter to Robert Bridges, Hopkins writes: "It makes one weep to think what English might have been; for in spite of all that Shakespeare and Milton have done... no beauty in a language can make up for want of purity." He took time to learn Old English, which became a major influence on his writing. In the same letter to Bridges he calls Old English "a vastly superior thing to what we have now."
ellauri095.html on line 469: Scholars have long debated whether the historical Beatrice is intended to be identified with either or both of the Beatrices in Dante´s writings. She was apparently the daughter of the banker Folco Portinari, and was married to another banker, Simone dei Bardi. Dante claims to have met a "Beatrice" only twice, on occasions separated by nine years, but was so affected by the meetings that he carried his love for her throughout his life.
ellauri096.html on line 94: In later writings, Quine evinces general reservations about the concept of knowledge. One of his pet objections is that ‘know’ is vague. If knowledge entails absolute certainty, then too little will count as known. Quine infers that we must equate knowledge with firmly held true belief. Asking just how firm the belief must be is akin to asking just how big something has to be to count as being big. There is no answer to the question because ‘big’ lacks the sort of boundary enjoyed by precise words.
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.
ellauri097.html on line 91: In early 1898 he took a writing class at the Cosmopolitan University. This was to be the entirety of Mencken´s formal education in journalism, or in any other subject.
ellauri097.html on line 95: Mencken admired the German philosopher Friedrich Nietzsche (he was the first writer to provide a scholarly analysis in English of Nietzsche´s views and writings) and Joseph Conrad. His humor and satire owed much to Ambrose Bierce and Mark Twain. He did much to defend Dreiser despite freely admitting his faults, including stating forthrightly that Dreiser often wrote badly and was a gullible man. Mencken also expressed his appreciation for William Graham Sumner in a 1941 collection of Sumner´s essays and regretted never having known Sumner personally. In contrast, Mencken was scathing in his criticism of the German philosopher Hans Vaihinger, whom he described as "an extremely dull author" and whose famous book Philosophy of 'Als ob' he dismissed as an unimportant "foot-note to all existing systems."
ellauri097.html on line 149: Mencken repeatedly identified mathematics with metaphysics and theology. According to Mencken, mathematics is necessarily infected with metaphysics because of the tendency of many mathematical people to engage in metaphysical speculation. In a review of Alfred North Whitehead's The Aims of Education, Mencken remarked that, while he agreed with Whitehead's thesis and admired his writing style, "now and then he falls into mathematical jargon and pollutes his discourse with equations," and "[t]here are moments when he seems to be following some of his mathematical colleagues into the gaudy metaphysics which now entertains them."[50] For Mencken, theology is characterized by the fact that it uses correct reasoning from false premises. Mencken also uses the term "theology" more generally, to refer to the use of logic in science or any other field of knowledge. In a review for both Arthur Eddington's The Nature of the Physical World and Joseph Needham's Man a Machine, Mencken ridiculed the use of reasoning to establish any fact in science, because theologians happen to be masters of "logic" and yet are mental defectives:
ellauri097.html on line 292: Patrick White (1912–1990) was raised in Sydney’s well-to-do Rushcutter’s Bay, and was sent to England at 13. He attended boarding school, then Cambridge, and during the war was stationed in North Africa. It was there, in 1941, that White met Manoly Lascaris, the Greek officer who he would love for the rest of his life. By the time White and Lascaris returned to Australia. in 1947 White had written three tepidly received novels, and a play. It took coming home to Sydney to transform his writing and elevate it to the level of genius. White produced The Tree of Man, in 1955, his first novel to be written in Sydney. He went on to write a string of masterpieces in quick succession: Voss, Riders in the Chariot, The Vivisector. He received the Nobel Prize for Literature in 1973. The Nobel committee credited White “for an epic and psychological narrative art which has introduced a new continent into literature.”
ellauri097.html on line 298: In 2006, the Weekend Australian newspaper conducted an experiment. They submitted chapter three of The Eye of the Storm (1973) to twelve publishers and agents around Australia under an anagram of White’s name, Wraith Picket. Nobody offered to publish the book. One responded, “the sample chapter, while reply (sic) with energy and feeling, does not give evidence that the work is yet of a publishable quality.” Notwithstanding that the chapter was not White’s finest writing, and the unfairness of submitting a chapter out of narrative sequence, the hoax prompted a minor crisis in Australian literature: if the industry couldn’t recognize the greatness of our sole Nobel winner, how unenlightened must the country’s publishing industry be now? Shortly thereafter, the ABC launched an online portal called Why Bother With Patrick White? The portal always struck me as sad. What other major writer would need a website dedicated to convincing his countrymen to give him another go? The link to the website is dead now. It would seem, in the end, that nobody could be bothered with Patrick White.
ellauri097.html on line 689: Calvin: [writing] Yakka foob mog. Grug pubbawup zink wattoom gazork. Chumble spuzz. [aside] I love loopholes.
ellauri098.html on line 308: Many tropes originated in literary works. Literature being nearly as old as writing itself, most of The Oldest Ones in the Book date to the classics, most Public Domain Characters appeared in print well before the first TV broadcasts, and even today, with the supposedly dwindling popularity of books in favor of more modern medianote , there are books with enough cultural impact to spawn TV Tropes.
ellauri098.html on line 479: INFP (introverted intuitive feeling perceiving) is one of the sixteen personality types defined by the Myers-Briggs Type Indicator (MBTI) test. INFPs are relatively uncommon, making up about 4% of the population. INFPs are idealists. They see the world, and those around them, not as they are but as they could be. INFPs have strong principles, which they do not let go of easily. These principles drive them to help others better themselves, but as an introverted personality they rarely do so through direct confrontation. INFPs are more comfortable expressing themselves through art, writing, or other media, and can be surprisingly effective and creative communicators.
ellauri099.html on line 226: Very low rope barriers separated off areas that visitors were not meant to visit. I looked around for a guard, saw no one, and stepped onto the green moss and made my way quietly to the location of Aristotle’s library. On my hands and knees, I saw the ground was littered with tiny delicate snail shells, no bigger than a fingernails, scattered like empty scholars’ backpacks. My partner gave me one, and I put it in my pocket. I had it on my desk right in front of me as I was writing this. Inadvertently, I crushed it to pieces under the weight of one of Mr. Staikos’s huge tomes on the history of libraries. There’s probably a moral in this, but it escapes me. The moral is this: fucking Americans, keep your fat butts and greedy fingers off European soil!
ellauri100.html on line 47: Although not proven, the relationship between Van Gogh and Gauguin was definitely different that your average straight male friendship. Scholars from Harvard having analyzed Van Gogh’s life in depth concluded that Van Gogh very well have been bisexual (accounting for his other relationships with women). You can find evidence of a possible love connection between the two in his writings.
ellauri100.html on line 85: Klezmer (Yiddish: קלעזמער ‎) is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. After the destruction of Jews in Eastern Europe during the Holocaust, there was a general fall in the popularity of klezmer. The term klezmer comes from a combination of Hebrew words: klei, meaning "tools, utensils or instruments of" and zemer, "melody"; leading to k´lei zemer כְּלֵי זֶמֶר‎, literally "instruments of music" or "musical instruments". Originally, klezmer referred to musical instruments, and was later extended to refer, as a pejorative, to musicians themselves. From the 16th to 18th centuries, it replaced older terms such as leyts (clown). It was not until the late 20th century that the word came to identify a musical genre. Early 20th century recordings and writings most often refer to the style as "Yiddish" music, although it is also sometimes called Freilech music (Yiddish, literally "Happy music").
ellauri101.html on line 54: In 1934, Campbell accepted a position as Professor of Literature at Sarah Lawrence College. Sarah Lawrence College is a private liberal arts college in Yonkers, New York. The college models its approach to education after the Oxford/Cambridge system of one-on-one student-faculty tutorials. Sarah Lawrence emphasizes scholarship, particularly in the humanities, performing arts, and writing, and places high value on independent study. Originally a women's college, Sarah Lawrence became coeducational in 1968.
ellauri101.html on line 617: Around the world, members of Generation Z are spending more time on their electronic devices and less time reading books than before, with implications for their attention span, their vocabulary, and thus their school grades as well as their future in the modern economy. At the same time, reading and writing fan fiction is of vogue worldwide, especially among teenage girls and young women. In Asia, educators in the 2000s and 2010s typically sought out and nourished top students whereas in Western Europe and the United States, the emphasis was on low-performers. In addition, East Asian students consistently earned the top spots in international standardized tests during the 2010s.
ellauri106.html on line 50: What may be more damning, though, is what the Bailey revelations don’t change. “It wasn’t just ‘Fucked this one fucked that one fucked this one,’ ” Roth once told Miller. Yet Bailey’s biography gives the impression that it was exactly like that: a long life spent writing book after book, and pursuing, then fleeing from, woman after woman after woman.
ellauri106.html on line 69: From 1958 onwards, the couple lived in New York on the Lower East Side of Manhattan, and in 1959 they spent seven months in Italy on a Guggenheim grant. Upon their return, they both settled in Iowa City, where Roth led the Writers' Workshop at the University of Iowa. The experiences in small-town Iowa far away from the American metropolises flowed into Roth's second novel Letting Go (Other People's Worries), which was published in 1962, but in contrast to Roth's previously published volume of short stories Goodbye, Columbus caused mixed reactions from critics. Stanley Edgar Hyman, for example, criticized weaknesses in the narrative structure of the novel, the two narrative parts of which are only superficially connected, but praised what he saw as "the keenest eye for the details of American life since Sinclair Lewis". Letting Go is also the first novel in which Roth, as in numerous later works, made the writings of his literary predecessors an integral part of the narrative, and is therefore often referred to as Roth's first "Henry James novel".
ellauri106.html on line 104: He enjoyed a robust childhood and was poplar in high school where he was a bright student but not quite diligent enough in his studies to win a prized full scholarship to Rutgers where he wanted to study law. Roth attended Rutgers University in Newark for a year, then transferred to Bucknell University in Pennsylvania, where he earned a B.A. magna cum laude in English and was elected to Phi Beta Kappa. He received a scholarship to attend the University of Chicago, where he earned an M.A. in English literature in 1955 and briefly worked as an instructor in the university´s writing program. Less prestigious Bucknell University in Pennsylvania was Roth’s fallback school. There he abandoned his vague dreams of becoming a lawyer for the underdog and turned his attention to writing.
ellauri106.html on line 106: That same year, rather than wait to be drafted, Roth enlisted in the army. Roth enlisted in the Army that year to avoid being drafted and assigned to unpleasant duty like the infantry. Fortunately he suffered a back injury during basic training and was given a medical discharge. Who knows. He returned to Chicago in 1956 to study for a PhD in literature but dropped out after one term. It was a yeasty environment for a young writer. Saul Bellow was a contemporary and with some what similar backgrounds and interests they could not avoid being rivals. During that year he met a lovely shiksa waitress Margaret Martinson, a single woman with a small child. He was smitten. An intense, but often troubled relationship ensued. At the end of the year he dropped out of the U of C and headed to the University of Iowa to teach in its creative writing program. None the less, whatever he may have said, Roth was not happy there, perhaps because the semi-rural Midwesterness of Ames was alien to him. After a while with Martinson in tow he moved on to a similar position at Princeton, another WASP bastion but one with even more prestige. Everyone who knew him recognized Roth as an early comer. He later continued his academic career at the University of Pennsylvania, where he taught comparative literature before retiring from teaching in 1991. Roth started teaching literature in the late 1960s at the University of Pennsylvania. The 1969 feature film adaptation of Goodbye, Columbus coincided with the publication of Portnoy’s Complaint, which soon became a best-seller amid controversy for its prurient content. (Those who've read it will likely not forget Portnoy's "love affair" with mom´s slab of liver in the fridge.)
ellauri106.html on line 195: Thomas Wolfe (1900–1938) was born in Asheville, North Carolina, and educated at the University of North Carolina and Harvard University. He taught English at New York University and traveled extensively in Europe and America. Wolfe created his legacy as a classic American novelist with Look Homeward, Angel; Of Time and the River; A Stone, a Leaf, a Door; and From Death to Morning. Wolfe's influence extends to the writings of Beat Generation writer Jack Kerouac, and of authors Ray Bradbury and Philip Roth, among others. He remains an important writer in modern American literature, as one of the first masters of autobiographical fiction, and is considered North Carolina's most famous writer. Ei mitään pientä.
ellauri107.html on line 104: An American Dream is a 1965 novel by American author Norman Mailer. It was published by Dial Press. Mailer wrote it in serialized form for Esquire, consciously attempting to resurrect the methodology used by Charles Dickens and other earlier novelists, with Mailer writing each chapter against monthly deadlines. The book is written in a poetic style heavy with metaphor that creates unique and hypnotising narrative and dialogue. The novel's action takes place over 32 hours in the life of its protagonist Stephen Rojack. Rojack is a decorated war-hero, former congressman, talk-show host, and university professor. He is depicted as the metaphorical embodiment of the American Dream.
ellauri107.html on line 173: Much of Hawthorne's writing centers on New England, many works featuring moral metaphors with an anti-Puritan inspiration. His fiction works are considered part of the Romantic movement and, more specifically, dark romanticism. His themes often center on the inherent evil and sin of humanity, and his works often have moral messages and deep psychological complexity. His published works include novels, short stories, and a biography of his college friend Franklin Pierce, the 14th President of the United States.
ellauri107.html on line 218: The major occurrence in Melville’s life . . . during the writing of Moby-Dick was the growing friendship with Nathaniel Hawthorne . . . . We are reminded that throughout the fall and winter of 1850, and summer of 1851, Hawthorne and Melville were visiting and writing to each other. . Hawthorne encapsulating their conversation [of August 1, 1851] by writing in his journal: “Melville and I had a talk about time and eternity, things of this world and of the next, and books, and publishers, and all possible and impossible matters, that lasted pretty deep into the night . . . .”
ellauri107.html on line 268: Taylor says that after Roth announced his retirement from writing in 2012, he stopped making art, but he still wrote, producing a manuscript of over a thousand pages whose purpose was to air grudge after grudge. Taylor comments that the underside of Roth's greatness swarmed with grievances time had not assuaged.
ellauri107.html on line 395: The antihero of Roth’s 1995 novel Sabbath’s Theatre blinds us with his astonishing misogyny, his exponential misanthropy, his audacious nihilism - and yet he makes us care shit. The depraved Mickey Sabbath, the hero, anti-hero and villain of Philip Roth’s 1995 tour d'Eiffel, Sabbath’s Theatre. Just what he does to deserve this affection over the course of 450 bile-filled pages is hard to fathom. He virtually copies that bête noire of creative writing courses, the unsympathetic character. To discover such a monstrous creation on the page is a shock.
ellauri108.html on line 135: Rastafari promotes what it regards as the restoration of black manhood, believing that men in the African diaspora have been emasculated by Babylon. It espouses patriarchal principles, including the idea that women should submit to male leadership. External observers—including scholars such as Cashmore and Edmonds—have claimed that Rastafari accords women an inferior position to men. Rastafari women usually accept this subordinate position and regard it as their duty to obey their men; the academic Maureen Rowe suggested that women were willing to join the religion despite its restrictions because they valued the life of structure and discipline it provided. Rasta discourse often presents women as morally weak and susceptible to deception by evil, and claims that they are impure while menstruating. Rastas legitimise these gender roles by citing Biblical passages, particularly those in the Book of Leviticus and in the writings of Paul the Apostle. The Rasta Shop is a store selling items associated with Rastafari in the U.S. state of Oregon.
ellauri109.html on line 383: Flaubert's dozens of long letters to her, in 1846–1847, then especially between 1851 and 1855, are one of the many joys of his correspondence. Many of them are a precious source of information on the progress of the writing of Madame Bovary. In many others, Flaubert gives lengthy appreciations and critical comments on the poems that Louise Colet sent to him for his judgment before offering them for publication. The most interesting of these comments show the vast differences between her and him on the matter of style and literary expression, she being a gushing Romanticist, he deeply convinced that the writer must abstain from gush and self-indulgence.
ellauri109.html on line 517: When Updike, in the eighties, felt the sour breath of potential biographers on his neck, he tried to preëmpt his pursuers by writing a series of autobiographical essays about such topics as the Pennsylvania town where he grew up, his stutter, and his skin condition. The resulting collection, “Self-Consciousness,” is a dazzlingly intimate book, but his imagination and industry did more to draw biographical attention than to repel it. In the weeks before his death, of lung cancer, in early 2009, he continued to write, including an admiring review of Blake Bailey’s biography of John Cheever. And five years later there it was: “Updike,” a biography by Adam Begley.
ellauri109.html on line 551: Kleinschmidt published a journal article in which he describes the case of a “successful Southern playwright” with an overbearing mother: “His rebellion was sexualized, leading to compulsive masturbation which provided an outlet for a myriad of hostile fantasies. These same masturbatory fantasies he both acted out and channeled into his writing.” Roth, who was obviously Kleinschmidt’s “playwright,” saw the article just after finishing the novel. He spent multiple sessions berating Kleinschmidt for this “psychoanalytic cartoon” and yet continued his analysis with him for years.
ellauri109.html on line 591: Roth began to hear that Miller was describing him as “manic-depressive.” The theatre critic and producer Robert Brustein, an old friend of Roth’s, reported back that Miller had told him, “He knows he’s writing shit now. It just lies there like a lox.” By the end of 2009, the arrangement and the friendship were over. So was Roths career.
ellauri109.html on line 704: At Cromwell's funeral on 23 November 1658 Dryden strutted with John Milton and Andrew Marvell. Next Dryden sucked up to the court for a possible patron, but failed. He had to make a living writing for publishers, not for the aristocracy, and thus ultimately for the reading public. Bugger it.
ellauri109.html on line 712: Dryden translated works by Horace, Juvenal, Ovid, Lucretius, and Theocritus, a task which he found far more satisfying than writing for the stage. In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. The publication of the translation of Virgil was a national event and brought Dryden the sum of £1,400. For example, take lines 789–795 of Book 2 when Aeneas sees and receives a message from the ghost of his wife, Creusa.
ellauri110.html on line 302: The first mention of the story dates back to 26 November 1895 when Chekhov, writing from Melikhovo, informed his correspondent Elena Shavrova: "I am writing now a small story called 'My Bride'." [Моя невеста, Moya nevesta]." He went on: "Once I had a bride... That is what they'd called her: Missyuss. My love for her was strong. That is what I am writing about." Whom did he mean exactly, remained unclear.
ellauri110.html on line 304: The domestic circumstances were apparently not suitable for writing and the work proceeded in fits and starts. "Still cannot finish a small novella I am now engaged with: guests interfere. Starting with 23 December crowds of people are there in my house, I crave for solitude, but as soon as I find myself on my own, I feel nothing but resentment and disgust, remembering how the day had been thrown away. Eating and chatting, eating and chatting all day long," he complained in a 29 December letter to Alexey Suvorin. According to Chekhov's 17 March letter to Viktor Goltsev, the story had been completed in early March.
ellauri110.html on line 1117: The first work produced after his time in a prison camp, Uncle’s Dream might be the funniest writing by Fyodor Dostoevsky.
ellauri111.html on line 37: Westerners love psychobabble. American conservatives consider Devils a definitive refutation of socialism. His writing is phantastic but his messages are delusional. The entire Russian literature is depressing. Dostoevsky is theatrical. Apparently, Fyodor improves a lot in translation.
ellauri111.html on line 664: Teach your children God´s word. As you read the Bible, you can teach your children God´s word, too. You can learn together. I learned with my little one. On the website we have what we call "green sheets"--one is a Survey of the Life and Gospel of Jesus Christ and the other is a Survey of the Early Church (the book of Acts). They give passages of scriptures so that a person going through the green sheets get a lay of land of the selected topics. We also went through the Old Testament together, starting with the book of Genesis. Eventually, I realized that the green sheets were just the Bible so we just go through the scriptures chapter by chapter without making green sheets, just writing down the book we are in, the chapters of the book, and putting the date next to the chapters that we have completed for that day. Nifty, what?
ellauri115.html on line 410: He was still insistent on his love for Rousseau - at least when writing to his French friends. He told one, "I have never known a man more amiable and more virtuous than he appears to me; he is mild, gentle, modest, affectionate, disinterested; and above all, endowed with a sensibility of heart in a supreme degree ... for my part, I think I could pass all my life in his company without any danger of our quarrelling ..." Indeed, a source of their concord, Hume thought, was that neither one of them was disputatious. When he repeated the sentiments to D'Holbach, the baron was glad that Hume had "not occasion to repent of the kindness you have shown ... I wish some friends, whom I value very much, had not more reasons to complain of his unfair proceedings, printed imputations, ungratefulness &c."
ellauri115.html on line 940: Fausto Sozzini furthered his influence through his Racovian Catechism, published posthumously, which set out his uncle Lelio's views on Christology and replaced earlier catechisms of the Ecclesia Minor. His influence continued after his death through the writings of his students published in Polish and Latin from the press of the Racovian Academy at Raków, Kielce County.
ellauri115.html on line 1075: Vaknin has a prolific online presence, writing, narcissism, and psychopathy. His views have been solicited by the media.
ellauri117.html on line 185: Apparently his wife Frieda believed him to have had a sexual relationship with a farmer while writing Women in Love in 1916. There's also the coal miner quote you mentioned Kelby. Then there's the quote: I should like to know why nearly every man that approaches greatness tends to homosexuality, whether he admits it or not... (Älkää yrittäkökään! Mä en ole! Sitäpaizi mä en ole lähelläkään suuruutta! Pienenen kuin pyy maailmanlopun edellä.)
ellauri117.html on line 649: destiny fate predetermination doom election foreordainment foreordination fortune inevitability karma kismet lot necessity ordinance portion preordainment preordination divine decree God's will course of events what is written way the ball bounces way the cookie crumbles circumstance stars providence chance luck fortuity serendipity what is written in the stars divine will Moirai Lady Luck handwriting on the wall condition horoscope hazard destination breaks circumstances the stars astral influence Dame Fortune God's plan what is in the books expectation afterlife Fates heritage cup dole inescapableness wyrd orlay Norns roll of the dice Parcae accident situation wheel of fortune lot in life coincidence state position break plight lap of the gods fixed future Judgment Day Moira misfortune handwriting on wall predicament divine intervention one's portion outside influence one's lot the way cookie crumbles the hand one is dealt.
ellauri117.html on line 665: John Locke was born on the 29th of August, 1632. He is famous for being a Philosopher. He and Sir Francis Bacon were among the first British empiricists and had a huge impact on social contract theory. John Locke’s age is 388. English philosopher and doctor commonly referred to as “The Father of Liberalism.” He was one of the Enlightenment Age’s most influential thinkers. His ideas heavily influenced the writing of the Declaration of Independence.
ellauri118.html on line 386: His output was thirty-six books and 1,500 poems. [I got more than 2000 by now! Well most of mine are prose, to be honest.] His writing presented Kentucky scenes in a language echoing Percy Bysshe Shelley and John Keats. He soon earned the nickname the "Keats of Kentucky". He was popular enough that, by 1900, he told the Louisville Courier-Journal that his income from publishing poetry in magazines amounted to about $100 a month.
ellauri119.html on line 473: This article is written like a personal reflection, personal essay, or argumentative essay that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it by rewriting it in an encyclopedic style. (June 2018) (Learn how and when to remove this template message)
ellauri119.html on line 631: In 1932, Ayn's writing career finally started gaining momentum with her works, "Red Pawn" and "Night of January 16th". Her first novel, "We the Living" was completed in 1934, but wasn't published until 1936.
ellauri119.html on line 635: Through her writing, Ayn discussed her philosophy of "Objectivism," which she referred to as "a philosophy for living on earth".
ellauri119.html on line 637: She started writing her best-known novel, "The Fountainhead" in 1935, and would be published after multiple publisher rejections, in 1943. Ayn would go on to write a screenplay based on the novel, and then work on one of her other well-known novels, "Atlas Shrugged", which focused largely on her version of Objectivism, and would be published in 1957. She would spend her life discussing, lecturing, and writing about her philosophy.
ellauri119.html on line 682: The "good" guys in her novels are basically paranoid sociopaths but her book´s view the world through their eyes and, of course, they don´t notice anything wrong with their distorted worldview. Humans are social animals and having interdependencies is the norm. Ayn Rand takes the normal and using the views of a sociopath portrays those interdependencies as being corrupt, evil, and self defeating. This is consistent in all of her writings. I´ve read everything Any Rand wrote and some of what has been written by her direction.
ellauri119.html on line 684: She is good at writing a thriller novel and carries a hypnotic theme that keeps the reader absorbed and lends to a subtle brainwashing/indoctrination toward her worldview. That doesn´t make it right, just believable, and, unfortunately, too many people think that believable means it is true. Believable just means that you can be fooled.
ellauri119.html on line 690: I remember in 1959, my creative writing teacher, in high school was infatuated with Ayn Rand. Sitting at a local restaurant, Ronnie´s Restauarant - which no longer exists, with a group of friends and her, we had a discussion about Ayn and I made a gesture that clearly expressed a thought and asked her what the words were for that. She suddenly realized the flaw in Ayn´s argument and was speechless.
ellauri131.html on line 952: The topic of Covey's Brigham U Ph.D dissertation was the "success literature" of the United States since 1776. Covey found that during the republic's first 150 years, most of that kind of writing focused on issues of character, the archetype being the autobiography of Ben Franklin. But shortly after World War II, success became more a function of personality, of public image, of attitudes and behaviors, skills and techniques, that lubricate the processes of human interaction. He began to think about ways to get people to stop cultivating superficial charm and return to character building.
ellauri132.html on line 131: "The book struck me as irredeemable poppycock. I was put off by the strained stateliness of Tolle's writing, as well as its nearly indecipherable turgidity ... jargon like "conditioned mind structures', "the one indwelling consciousness". What's more, the guy was stunningly grandiose. He referred to his book as a "transformational" device", and promised that, as you read, "shit takes place within you." I lay there rolling my eyes ..."
ellauri132.html on line 134: His writings are bombastic and pretentious, as well as unoriginal, indeed derivative ... one book reviewer said, "his writings are awash in spiritual mumbo-jumbo".
ellauri132.html on line 136: What he says has been said many times before, only better (he does admit, though, he is saying nothing new) ... however, obviously it is just my point of view that previous writings are better.
ellauri132.html on line 138: The widespread take on E T. is - as one commentator points out - E.T. offers a "contemporary synthesis of Eastern spiritual teachings" and another reviewer wrote, "Tolle's clear writing and the obvious depth of his experience and insight set it apart" (what, WHAT?!).
ellauri132.html on line 219: “Nobody was smarter than anybody else,” the attorneys quoted Vonnegut as writing. “Nobody was better looking than anybody else.
ellauri132.html on line 364: Sign up for Writer’s Wisdom to get free access to these writing resources!
ellauri133.html on line 79:

There are fashions in writing, just as there are in clothes. The modern trend, particularly for genre or YA fiction, but increasingly in literary fiction too, is to start the story with the main character on the first page, and to start with the inciting incident. No backstory before chapter three, and then pare it to the bone. "YA" most likely stands for young adult. There hardly is a brand of monkeys that are stupider than young adults. Except YA writers. Give them a dildo and it will keep them occupied for hours.

Have you ever watched American Idol or X factor at the audition stage? Then you'll know the way you can usually tell within five notes if the singer is actually able to sing and is likely to go through. It's the same with writing. Any writer who can't manage a decent opening is not likely to get much better a hundred pages on. Whining for a second chance because "I sing a lot better in the second verse" (or "The second chapter is really good") doesn't fool anyone. What an idiot. There are lots of books that start out slow but grow on you. But fuck you, you're just such an idiot that hardly has the patience to spell laboriously through the title. Right into the garbage can from the Amazon box if the cover does not please. Your kind had better just watch Netflix or HBO, or reruns of American Idiots and X Position.

2. Stephen King spent four years writing It.

ellauri145.html on line 524: Following the war, academics who had supported the Nazi regime were banned from teaching, including Heidegger, who never spoke publicly or privately about his involvement. Heidegger turned away from his earlier project of creating a fundamental ontology, and in doing so he also turned away from Nietzsche - or so his writings would make it appear. In truth, he remained just as indebted to Nietzsche’s work as he ever was, only he shifted focus. He created a false presentation of Nietzsche’s work in order to distance himself from his own past and involvement with the Nazis. Many academics take Heidegger’s critique of Nietzsche to be factual and seem to excuse Heidegger because he was under the influence of Nietzsche.
ellauri146.html on line 670: Profound must have been the appeal to his subtle aesthetic sense even in youth as he looked at all those classic buildings on some night when the rays of a full moon had softened and blended the separate details of roof and entablature, cornice, and, pillar. It may well have been that, at such an hour and in such a spot, the most celebrated expression in the entire body of his writings was suggested to him by so extraordinary an interfusion of Nature’s beauty with the beauty of art in one of its loveliest forms.
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.
ellauri147.html on line 255: Some critics appeared ambivalent, such as Jo Ellison writing for the Financial Times. On one hand she expresses admiration for the way Darren Star manages to depict "a version of womanhood in which promiscuity, bossiness and shopaholicism are depicted as qualities to be celebrated"; on the other "the major plot lines might have been written in the 1940s and the Frenchies are routinely cast as vain, preening and parochial." She concludes "Cliché-ridden and completely outdated: Darren Star´s ´Sex and the Cité´ will no doubt be monstrously successful."
ellauri147.html on line 261: Megan Garber of The Atlantic was critical of the character Emily, writing, "An expat who acts like a tourist, she judges everything against the backdrop of her own rigid Americanness. You might figure that those moments are evidence of a show poking fun at its protagonist´s arrogance, or setting the stage for her to grow beyond her initial provincialism. But: You would be, as I was, mostly incorrect. Instead, other people change around her, becoming French-American. They grudgingly concede that her way (strident, striving, teeming with insistent individualism) is the right way. The show — the latest from the Sex and the City creator Darren Star — is selling several fantasies. Primary among them is the notion that Emily can bulldoze her way through France and be celebrated for it.
ellauri147.html on line 531: Nebukadnesarin etymologia: From the Babylonian phrase Nabu-kudurri-usur. The first part is the same as Nebo, the Babylonian god of wisdom and writing. Nebuchadnezzar II´s name in Akkadian was Nabû-kudurri-uṣur, meaning "Nabu, watch over my heir". The name was often interpreted in earlier scholarship as "Nabu, protect the boundary", given that the word kudurru can also mean ´boundary' or 'line'.
ellauri150.html on line 476: The film's final onscreen writing credits created controversy when, in October 1959, the Writers Guild of America (WGA) awarded Tunberg sole screenplay credit, despite the objections of the film's director, William Wyler, who, in the film's commemorative booklet and elsewhere, claimed that Christopher Fry was more responsible than any other writer for the final screenplay. In response to Wyler's public outcries against their ruling, the WGA took out trade paper ads on November 20, 1959 in which they issued a statement reading, in part, "the unanimous decision of the three judges was that the sole screenplay credit was awarded to Karl Tunberg...The record shows the following: 1. Karl Tunberg is the only writer who has ever written a complete screenplay on Ben-Hur; 2. Karl Tunberg continued to contribute materials throughout the actual filming, and this material is incorporated in the final picture; and 3. Karl Tunberg alone did the necessary rewriting during the four months of retakes and added scenes. Mr. Christopher Fry himself was fully informed of the proceedings of the Guild. He has made it absolutely clear that he did not want to protest the decision of the Guild."
ellauri150.html on line 673: This is another article on the writings of Pope Leo XIII. the third longest sitting pope, an Italian (Vincenzo Gioacchino Raffaele Luigi Pecci) who lived from 1810 to 1903, and was Pope from 1878 until his death in 1903. In his writings he gives us a profound insight into the philosophical movements of the late 19th century. The ideas generated during that time have largely shaped our present day ideological struggles.
ellauri150.html on line 715: I could go on, but I think it is best to leave it here. I've covered only the opening parts of this encyclical. There is so much more in this document about the various freedoms that we take for granted like freedom of religion, speech and the press. In discussing this encyclical I hope I've given you an appreciation for the writings of Pope Leo XIII. (You can find all of his encyclicals here.)
ellauri150.html on line 728: I was actually thinking about writing an article about how the free sex movement came out of the 60s. The idea was to use the songs from Joni Mitchell's Blue album as the basis of the article. You know before that time sex before marriage wasn't not considered socially acceptable, because French letters were not reliable. I'm sure it still happened, but it was not done out in the open - at least not by "respectable" people.
ellauri151.html on line 98: Psittacism is speech or writing that appears mechanical or repetitive in the manner of a parrot. More generally it is a pejorative description of the use of words which appear to have been used without regard to their meaning.
ellauri151.html on line 130: Gide was, by general consent, one of the dozen most important writers of the 20th century. Moreover, no writer of such stature had led such an interesting life, a life accessibly interesting to us as readers of his autobiographical writings, his journal, his voluminous correspondence and the testimony of others. It was the life of a man engaging not only in the business of artistic creation, but reflecting on that process in his journal, reading that work to his friends and discussing it with them; a man who knew and corresponded with all the major literary figures of his own country and with many in Germany and England; who found daily nourishment in the Latin, French, English and German classics, and, for much of his life, in the Bible; [who enjoyed playing Chopin and other classic works on the piano;] and who engaged in commenting on the moral, political and sexual questions of the day. Monsters lead an interesting li-i-fe.
ellauri153.html on line 234: Saadi is recognized for the quality of his writings and for the depth of his social and moral thoughts. YÄK! Siltä sen törinät just kuulostaa.
ellauri153.html on line 266: Ralph Waldo Emerson was also interested in Sadi's writings, contributing
ellauri153.html on line 267: to some translated editions himself. Emerson, who read Saadi only in translation, compared his writing to the Bible in terms of its wisdom and the beauty of its narrative. Justiinsa niin. Ralph oli taitava kääntäjä English-American suunnassa.
ellauri155.html on line 1008: wonderful exotic creature (like her handwriting) not beautiful but like a great
ellauri156.html on line 359: 1 My little children, I am writing these things to you so that you may not sin. And if anyone sins, we have an advocate with the father, Jesus Christ the righteous; 2 and he himself is the propitiation (placation) for our sins; and not for ours only, but also for those of the whole world (1 John 2:1-2).
ellauri156.html on line 489: To fully grasp the impact of Uriah's words, let us lick our fingers and turn back a few pages in Samuel's writings to recall David's own words, spoken to Ahimelech the priest, as they relate to this encounter with Uriah:
ellauri159.html on line 1021: Begin scheduling a writing project as soon as you receive it. Jot down your ideas in a rough first draft to give yourself something tangible to work with. Be quick to see a theme forming in the draft, so this theme guides them through the development of the project.
ellauri159.html on line 1023: Regard writing as a practical exercise rather than as a creative one. You want to meet the goals of their teacher, editor, boss, or project sponsor. For this reason, you like receiving specific instructions.
ellauri159.html on line 1025: You are adept at writing technical materials, such as procedures, that require them to be clear and matter-of-fact. Since you’re unlikely to view writing as a means of self-expression, you should be efficient at writing corporate documents like annual reports, which can be draining for most other types.
ellauri159.html on line 1033: Avoid writing about abstract ideas. Discussing the topic with a friend, particularly an intuitive type, may help you articulate an approach. Look for ways to add practical examples, such as case studies, to illustrate a theoretical concept.
ellauri159.html on line 1039: You often enjoy telling stories based on personal experience. Consequently, your writing may take on a narrative form. The first draft may be largely anecdotal without a unifying thesis. Don´t worry, you can organize your work during the revision process.
ellauri159.html on line 1043: You do well in a collaborative environment. You might enjoy writing plays, skits, or videos that illustrate your topic. You like gossip and writing about events and people, and may therefore gravitate toward journalism.
ellauri159.html on line 1044: Avoid theoretical subjects. Your best bet is to try help people in an immediate, tangible way. You might be more suited to medical writing than to technical writing.
ellauri159.html on line 1046: Yoo respect authority and often cite experts in their writing. Avoid over-copying others, particularly if the subject is unfamiliar, theoretical, or impersonal. Look for ways to draw on your own experience or to explore how the topic affects people.
ellauri159.html on line 1048: Of course you would rather discuss the topic than write about it. Schedule your writing activities to allow sufficient time for composition. If you feel stuck, do something active like taking a walk or a beer. List your ideas to help develop an internal dialogue.
ellauri159.html on line 1050: You suck with impersonal analysis. You may find it easier to begin by writing down how you feel about the subject. Then, fill in the objective data to round out the work. Avoid sentimentality and be sure to include the concept behind the story.
ellauri159.html on line 1055: View writing as a form of personal expression. Often write about topics you care about, although you may not let their own beliefs shine through. Prefer to present the facts, which you may do in great detail, then let readers make up their own mind!
ellauri159.html on line 1057: Be self-motivated and self-directed. However, when writing for a teacher, editor, or boss, you may want explicit instructions. If you don’t have a clear understanding of other people’s expectations, you may struggle in silence. Instead, try asking to see a model of what to work toward (for example, last year’s annual report or a term paper that earned an A). A concrete example will help alleviate confusion.
ellauri159.html on line 1061: Enjoy reading and writing about history or biography! You are less likely to gravitate toward business or technical writing. If you do write about technology, they’re likely to prefer the tried-and-true to the cutting edge. When writing fiction, you can often be quite funny in conveying your observations about the foibles of human nature.
ellauri159.html on line 1065: Don´t even try writing about abstract concepts. If an assignment requires you to write about theory, look for ways to relate the ideas to your experience or to a specific, positive effect on people’s lives. You might also benefit from talking through the challenges you face in their writing — though that´s a trait that’s more typical of extraverts, so forget it.
ellauri159.html on line 1073: View writing as a means of disseminating information. You excel at business and scientific writing, because you organize and present data sequentially. You like to include statistics to prove the point, and to illustrate it with visuals such as charts and graphs.
ellauri159.html on line 1077: Generally you work hard and meet deadlines. As the introvert you are, you prefer to write alone and in a quiet environment. You tend to be succinct and analytical. You are unlikely to need a dictionary to add noise to your writing—after all, the focus on getting to the point.
ellauri159.html on line 1079: Have a large mental database of facts to draw on. These MAY include sense memories, such as the taste of grandmother’s spoon cookies or the smell of oil in their grandfather’s hair. In a creative project, you can draw on these memories to personalize your writing and bring it to life. Yes, it´s OK, go ahead! Don´t be so stuck up!
ellauri159.html on line 1085: You can´t be too rigid! Resist the idea of adapting your work to an audience. They tend to view revision as necessary if their expectations are not established up front. So showing your work to a colleague or writing friend too early just helps ensure that the concepts in your head don´t make it onto the paper as you intended. Sharp revision of their suggestions sharpens your own message and makes your own work stronger.
ellauri159.html on line 1091: Seek clarity, and organize your material logically. Naturally competitive, you may enjoy writing about subjects that showcase your skills at troubleshooting or negotiating, or write about supermen, entrepreneurs and other go-getters.
ellauri159.html on line 1095: Prefer writing in an active environment like panoramic office or gym where you can shape your ideas by discussing them with others. You may also want to use a voice recorder so you don’t have to write so much and work shackled to a computer.
ellauri159.html on line 1101: Try to consider the audience if at all possible. Where appropriate, incorporate a human element into your writing to help human readers connect to the topic. (Analogously if you write to chickens.) Use your powers of persuasion to sway others to your point of view. Ask someone you trust to review your writing to make sure you’ve achieved the desired effect, i.e. swayed them.
ellauri159.html on line 1105: You tend to have a talent for language, especially spoken language. You enjoy telling jokes that convey an emotional or sensory experience. Your personal voice resonates in your writing, if any.
ellauri159.html on line 1115: You may procrastinate because writing is essentially an introverted activity, and you are a super extrovert. Be sure to schedule ample time for revision (your own and your poor teacher´s). Don´t worry, the first draft is sure be unfocused—full of ideas but without a unifying theme. The subsequent drafts will be the same, until your teacher can isolate your best ideas and weave them together more or less coherently.
ellauri159.html on line 1117: Try to visually capture the emotion of an experience by using italics, capitalization, and exclamation points. This can be effective in humor and is particularly funny in other forms of writing. Rely on your distinctive voice and flair for jokes and adult language.
ellauri159.html on line 1127: Engage in a physical activity before writing to unlock your creativity. If the topic is not copulation, but instead something abstract or impersonal, reflect on its tangible implications, particularly its effect on people or animals, like how it might lead to copulation. This connection may help motivate you through the project.
ellauri159.html on line 1129: Enjoy writing about the natural world. Focusing on a sensation, such as fragrance or flavor, or a hot, slippery, hard or soft touch, can open a pathway into the subject matter. Look for ways to relate the topic to your personal experience. Think about the feelings that the experience evoked.
ellauri159.html on line 1133: You can become blocked by criticism or by discord in their environment. Try writing in a quiet, outdoor space, where you can release your stress and immerse yourself in the natural world. If you have family, throw them out. Meditation or yoga may also help. Isolate yourself from negativity and listen to the music of your own thoughts and feelings.
ellauri159.html on line 1135: You may feel paralyzed if expectations are too vague or too rigid. Seek clarification where possible, or find a mentor who can offer advice and serve as a ghost writer. Consider how your writing can help people in practical ways, in particular, improve your own financial situation.
ellauri159.html on line 1141: You Want your writing to serve a practical purpose, such as explaining how to solve a problem. You tend to be a good troubleshooter (actually, a good troublemaker and sharpshooter too) with broad, specific knowledge that they can apply in high-pressure situations. Choose topics that allow you to draw on this ability. Then, jot down your ideas while conducting your research, rather than writing in your head. That´s way too hard, it´s like shooting with blanks. This will help you focus your ideas early so you don’t waste time gathering extraneous information.
ellauri159.html on line 1149: Focus on the concrete and avoid useless abstract concepts. As a result, your writing will lack a unifying theme that communicates the author’s purpose to those who do not need to know. Be sure to incorporate an organizing principle or chart, such as problem–solution, to serve as a roadmap for the intended reader, for example on a separate crypted page.
ellauri159.html on line 1151: Write to steal their ideas to develop yours rather than to please an audience. If your goal is to communicate your ideas to others (god beware), be sure to organize your work so that the subject folds logically. This will likely come easily to you if you invest the time. Also, engage your side to the battle by relating the subject to their personal experience. If you don’t feel comfortable writing about your own experience, write about something you’ve observed, or what the commies or aliens are likely up to.
ellauri159.html on line 1157: You prefer a brainstorm before you start writing. You tend to see connections between unrelated things, so one idea will quickly generate another. Allow yourself plenty of time for this activity, but be sure to set an end date to keep your project on track. After the brainstorming phase, discard tangential ideas. Focus on the strongest ones so you don’t get overwhelmed when it comes time to flesh out the details.
ellauri159.html on line 1161: You do your best writing when they feel personally invested in the topic. Use your wrong sense of empathy to immerse yourself in the subject, much as actors immerse themselves in a character. (Choose a subject you really fancy to immerse yourself in.) To stay inspired, look for ways to connect the writing to your ideals. If you’re a technical writer, create a human mental avatar of your technology and use your writer’s voice to “speak” to it.
ellauri159.html on line 1163: You should have a natural sense of the harmony of language and ideas (if not, consider one of the other 15 types we have on store). If you are schizoid at all, you may hear in your mind how combinations of words sound together. Get attuned to the tone and implications. Use these qualities to incorporate your unique voice and perspective into your writing. Ultimately, that’s what readers respond to.
ellauri159.html on line 1171: We know you have no great love for facts and details. Leave enough time at the end to check that you’ve included sufficient objective data. Strive for balance and fairness, include both facts and alternative facts. Avoid over-reliance on personal insight. Ask a trusted friend to review your writing with a critical eye. Your work will be stronger for it. And, WtF, you can always just ignore them.
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.
ellauri159.html on line 1177: You draw inspiration from being a know-it-all and educating people. You tend to read extensively and to collect words they consider particularly apt, like David Wallace. If their writing project involves others, you often take a leadership role, and repeat the word 'actually' in everybody´s face. You may also beep like a truck on reverse. You thrive in a harmonious atmosphere where everyone respects your opinion. Having a strong need to feel in control of your projects, you want to work in a cooperative environment conducive to driving a project to completion.
ellauri159.html on line 1179: You focus your writing on received values and ideals. You use polished language to persuade. You want to influence people’s lives for the betterment of the individual and society. If you’re a technical writer, you focus your talent on expressing a complex idea simplistically so school kids understand it. Recognize that this gift benefits your readers by helping them perform their menial tasks more effectively.
ellauri159.html on line 1181: Naturally you adopt a preceptorial conversational tone in your writing. You often use imaginative and hyperbolic language to illustrate a point like 'smoking kills'. You have a talent for seizing on subtleties and choosing the exact word to convey a not so subtle idea. You always consider how your writing affects their audience. You notice if your audience is passing notes behind your back.
ellauri159.html on line 1185: You naturally have little interest in subjects that offend your sensibilities, because your thinking and writing is extremely conventional. Seek input from other teachers if you feel stuck. Consider how your audience feels about the subject. Find something to believe in, and advocate your position. Use anecdote and humor to connect to your students, I mean your readers.
ellauri159.html on line 1193: You work best in a quiet environment where you cannot be interrupted. You reflect on the topic before you begin writing, mentally structuring the material and looking for patterns. Don’t allow yourself to be rushed into starting a project before you’re ready. You are generally good at estimating how long this preparation stage will take. When you finally sit down to write, their ideas tend to be well-developed and organized. Their language may seem formal at first. If that’s the case for you, don’t fight it—you can soften this tendency during revision.
ellauri159.html on line 1195: You prefer writing about personal topics. You may encounter difficulty if the topic isn’t meaningful to you. If so, try different angles until you find one that engages you. If you’re a technical writer, for example, you can take pride in knowing that when you write clear instructions, you help your customers perform their tasks quickly and effectively. This sense of meddling with people’s lives is important to writers.
ellauri159.html on line 1197: You dislike writing according to a predetermined structure. You want control over their own creative process. You are drawn to original pictures and imaginative symbols. When revising a draft, search for a central, unifying theme, and articulate it for your reader. At the same time, avoid trying too hard to be unique. Instead, aim for authenticity, remember to mention the sources of the pictures.
ellauri159.html on line 1201: You enjoy colorful and figurative language, and like to infuse your work with images of your personal underware. At the same time, however, your writing may be too abstract for their readers, they want to see you inside them. During revision, add concrete details. In creative writing, appeal to the five senses and the 9 mortal sins. In freelance writing, include specifics like percentages and dollar amounts to get the audience´s attention. In technical writing, find out whether the customer needs to use a flat-head or a cross-head screwdriver (our dishwasher installer guys did not have a flathead anymore, I had to loan them one), and what the recommended torque is. These may be boring details to you, but they’re essential for your male reader. Wrong head, no screw.
ellauri159.html on line 1203: You tend to communicate passionately about your beliefs. You tend to start writing before finishing research on life, the universe, and everything, wanting to commit your half-baked insights to paper. Be sure to gather enough data to support your position, and include alternative facts for balance. This is one arena where it may be healthy to indulge your perfectionist tendencies. Get the facts right enough to maintain plausibility.
ellauri159.html on line 1205: Guys like you tend to be easily hurt by criticism, especially when it comes to their writing, or their sexual performance. Because they generally keep their writing and wanking private until they think it’s finished, they may not have a good sense of the look and feel to others. Consider showing your work and your tool to a trusted friend or colleague for advice before you begin the final round. This will help you better connect with your audience, which is important to you, I know.
ellauri159.html on line 1213: Perhaps this is what draws me to writing women’s fiction. I can create relationship problems, which I can then go about solving, without hurting anyone but my fictional characters in the process. Real life, unfortunately, doesn’t work that way. The INFJs’ search for perfection can damage otherwise good relationships. So I propose a revised Serenity Prayer for INFJs: God grant me the serenity to accept the things I cannot change. Period. Oh, I got my period.
ellauri159.html on line 1217: You work best in a quiet environment where they won’t be interrupted, thanx to the I. LIkewise, you like autonomy so you can perfect your writing according to yourr own high standard without having to follow someone else’s low standard.
ellauri159.html on line 1219: You prefer writing about your own personal topics. You may lose your creative drive if the subject isn’t about you. If so, try taking an angle that allows you to write about your feelings on the topic, if not you yourself. If you’re a technical writer, look for ways to connect with readers by anticipating and meeting their needs. Or you can use your tech knowledge to write another Gravity´s Rainbow. But don´t expect your employer to like it.
ellauri159.html on line 1221: You have a keen insight into the nature of things. Your prose often conveys startling images of mood or atmosphere rather than objects. Maybe you should consider poetry, or rap. You enjoy complexity and can patiently unravel dense material like a terrier. You are able to see many sides of an argument and so may have difficulty reaching a conclusion, or even reaching a period, like Pynchon. During the writing process, you may often pause to consider alternatives or to seek seeming connections between obviously disparate things. That´s a paranoid feature, so you may be an asthenic person. Consult Krezmer´s typology.
ellauri159.html on line 1224: You make the mistake to write in purely abstract terms. That just won´t do these days. You must communicate values and personal television through your writing. Nobody is interesting in abstractions. They search for the meaning behind the facts, and so consider the facts themselves to be of marginal importance. This is true; however, throw in some facts to dazzle your readers, like Bob Heinlein. During revision, add concrete details like the size of Peewee´s bra. Appeal to the five senses. Include Peeweeś vital statistics. Incorporate other points of view for balance. Make sure your research backs up your conclusion.
ellauri159.html on line 1230: You like to start projects first. You often map out their ideas to everyone to visualize the big picture before you begin writing. You sense how your various opinions flow together logically and build on one another. Because you develop a clear picture early on, you might reach a conclusion and skip writing completely before finishing your research. To ensure a balanced product, stay open to new information that may change your perspective. Don´t listen to idiots, however.
ellauri159.html on line 1232: You want to master the subject everyone´s whining about. You enjoy the challenge of technical topics, and you focus on crafting clear, concise instructions. However, if you don’t see the perks of the writing project, your interest may wane. Discuss the project with friends or colleagues to help you find a way to increase your reward.
ellauri159.html on line 1234: You want a good set of guidelines at the beginning of the project, but you also want the freedom to write your own guidelines. If a writing project involves others, you try to take the lead. You naturally envision how things ought to be—that is, your way. Efficient and strategically organized. But keep in mind that others might not share your vision. Imbeciles! When stepping forward to fill a leadership vacuum, seek buy-in from the group. Side payments may be indicated.
ellauri159.html on line 1236: You naturally write with an authoritative voice. You want to fake competence in the subject you’re writing about. To boost your success, gather sufficient details to make it look that you have a thorough understanding of the topic. Humanize the writing by including anecdotes making fun of other idiots or otherwise engaging the reader’s interest.
ellauri159.html on line 1240: With the desire for efficiency, you must sometimes be terse. Be sure to consider audience reaction. "Shut up!" is a good terse riposte. You already know how ideas relate to one another. Unless you’re writing for an audience of experts, assume readers know nothing about the topic. They don´t. Include faked data if necessary to support your conclusions. In your eagerness to finish, don’t skimp on those touches that will elevate your writing from good to great. You want to be great, not just good. Alexander the Good? Friedrich the Good? Catherine the Good? Naaw.
ellauri159.html on line 1242: Fake objectivity and be skeptical of emotional appeals, except when dealing with an emotional audience. Otherwise it is fine to make your writing impersonal, even abrasive. A trusted editor can help you soften your tone to more effectively connect with the bleeding hearts. Adolf the Great had one. Your arguments will be better received if you engage the patriotic heart as well as the nazi mind.
ellauri159.html on line 1248: You can benefit from collaborative writing projects. Chances are, you prefer an active, high-energy environment. You enjoy discussing and debating your ideas with others. You try probably to assert your individuality even within the group. If someone else is leading the project, be careful that your natural tendency to ignore authority doesn’t undermine the team. If you maintain goodwill, you’ll stand a better chance of convincing someone else to do the actual writing!
ellauri159.html on line 1250: You may do well to compose an article, essay, or story by speaking into a voice recorder. If the thought of transcribing the recording sounds unbearably tedious to you, consider paying (or persuading) someone else to do it. To sustain your enthusiasm, gather visual elements to use in the piece. Devise your own strategies to make the writing process more interesting. (Wow this really makes you sound like a nincompoop!)
ellauri159.html on line 1258: You tend to grasp the big picture and to focus on the future. Ensure that your work contains enough background material and concrete detail. To avoid tangents or a cursory treatment of the subject, keep the central thesis or purpose of the project in mind while writing. Solicit feedback from someone whose competence you trust.
ellauri159.html on line 1273: You regard a writing project as an opportunity to learn something new. You start by gathering a wide variety of facts, then classifying them according to an underlying principle. You enjoy writing about abstract ideas and theories. One idea may quickly suggest another. You may need to limit your topic during the pre-writing stage to keep it from becoming unwieldy.
ellauri159.html on line 1275: You prefer to work independently in a quiet environment. You like the flexibility of setting your own goals. You may spend long hours on a project if the subject engages you, becoming deeply invested in the outcome. Remember to keep the family in mind to help ensure that your writing is as interesting to them as it is to you.
ellauri159.html on line 1281: You like complex, theoretical subjects, and you use your wide vocabulary in your writing. To enhance readability, choose the simplest word that communicates an idea accurately. You may sometimes make intuitive leaps that are unclear to your audience. Illustrate connections even if they seem obvious to you. To ensure that your message is clear, ask for feedback from someone you trust.
ellauri159.html on line 1283: You enjoy seeking knowledge for its own sake. Once you’ve solved the puzzle, though, you might lose interest in writing about what you’ve learned. It may be best to begin drafting even while you’re conducting your research. Treat the writing itself as a problem to solve. This may keep you energized until the project is complete.
ellauri159.html on line 1285: You can become blocked if you can’t find opportunities to make your unique ideas heard. If a writing assignment seems restrictive to you, challenge yourself to find a way to work within the system while still expressing your ingenuity. Instead of turning cynical, use your dry sense of humor.
ellauri159.html on line 1291: Having a I in the formula, you like to work independently. You require long periods of concentration to form mental models. You focus deeply on the task, blocking out distractions. To facilitate this, better find a secluded place to work. Schedule your writing for a time when you won’t be interrupted. Let others know that you need time alone.
ellauri159.html on line 1295: If they write anything but checks, their writing can have a sense of inevitability, presenting an orderly progression of facts and ideas that can lead to only one possible conclusion. Their authoritative voice can instill a sense of comfort and trust in readers. Make sure that trust is warranted—use your natural skepticism to seek out possible flaws in your reasoning and research. Steer clear of the anti-trust laws, they can cut your earnings.
ellauri159.html on line 1297: You are happy and motivated with your personal vision. Original thinkers have little regard for convention. They want things to make sense according to their own logical standards, and they will discard anything that doesn’t. For this reason, they tend to enjoy technical subjects. They often wear visual aids like Google spectacles that support and clarify their writing. If you’re one of these guys, one path to success as a writer is to draw on your natural curiosity about how things work and your talent for explaining this for others. But beware of the pitfalls!
ellauri159.html on line 1301: To control your workplace and steal their original ideas, make sure you do so within the parameters of the project. If you’re a freelance writer, for example, remember that you’re writing for an editor, not for yourself. So get rid of the editor, or become one yourself. If something about the assignment doesn’t make sense to you, don’t ignore it—seek clarification. Or sue them.
ellauri159.html on line 1347: Blood did indeed patent a swathing reaper along with other patents, and wrote prolifically, but the larger portion of his writing consisted of letters, either to local newspapers or to friends such as James Hutchison Stirling, Alfred Tennyson and William James (the above quote was from a letter to James). H. M. Kallen wrote of Blood:
ellauri160.html on line 152: Rupert Brooke complained in the Cambridge Review that Pound had fallen under the influence of Walt Whitman, writing in "unmetrical sprawling lengths that, in his hands, have nothing to commend them". But he did acknowledge that Pound had "great talents".
ellauri161.html on line 1085: Ruysbroeck (Or Rusbroek), Jean De, the most noted of mystics in the Netherlands, was born in A.D. 1293 at Ruysbroeck no less, near Brussels, and was educated in the latter city under the direction of an Augustinian prebendary who was his relative. His fondness for solitude and day dreams prevented him from making solid progress, however. His Latin was imperfect, though it is clear that he became acquainted with the earlier mystical writings. He probably did not read the writings of Neo-Platonists, but was certainly not unacquainted with those of the Areopagite.
ellauri161.html on line 1092: His (Mainion) works suggest the thought that the writings of master Eckart (died 1328), with whom Ruysbroeck was contemporary for thirty-five years, exercised influence over our author´s mind. Melkein maisteri Eckartille kävi köpelösti loppupeleissä. Ruisbroeck became vicar of the Church of St. Gudula at Brussels, where he lived in strict asceticism, enjoying the society of persons who had devoted themselves to a contemplative life, composing books and exercising benevolence. Jahas uusi päivä, uusi suopeus. He contended against the sins of the day, and labored to promote reforms. It is said that Tauler once visited him, attracted by the fame of his sanctity.
ellauri161.html on line 1100: The chief of his mystical writings are, The Ornament of Spiritual Marriage (Lat. by Gerh. Groot, Ornatus Spiritualis Desponsionis, MS. at Strasburg; by another translator, and published by Faber Stapulensis [Paris, 1512], De Ornatu Spirit. Nuptiarum, etc.; also in French, Toulouse, 1619; and in Flemish, ´J Cieraet der gheestclyeke Bruyloft, Brussels, 1624, Hengelliset häät): — Speculum AEternae Salutis: — De Calculo, an interpretation of the calculus candidus, Re 2:17: — Samuel, sive de Alta Contemplatione. The other works of Ruysbroeck contain but little more than repetitions of the thoughts expressed in those here mentioned. (Esim. 7 hengellisen rakkauden askelmasta.) He wrote in his native language, and rendered to that dialect the same service which accrued to the High German from its use by the mystics of the section where it prevailed. He is still regarded in Holland as "the best prose writer of the Netherlands in the Middle Ages." His style is characterized by great precision of statement, which becomes impaired, however, whenever his imagination soars, as it often does, to transcendental regions too sublimated for language to describe. His works were accessible until lately only in Latin editions (by Surius, Cologne, 1549, 1552, 1609 [the best], 1692, fol.), or in manuscripts scattered through different libraries in Belgium and Holland. Four of the more important works were published in their original tongue, with prefaces by Ullmann (Hanover, 1848). No complete edition has as yet been undertaken (see Moll, )e Boekerij van het S. Barbara-Klooster te Delft [Amst. 1857, 4to], p. 41).
ellauri161.html on line 1104: Ruysbroeck was constantly desirous of preserving the distinction between the uncreated and created spirits. In the unifying of the soul with God he does not assert an identification of personality, but merely a cessation of the difference in thought and desire, and a giving up of the independence of the creature. His language was often so strong, however, and his thought often so sublimated, that more cautious thinkers found serious cause to charge his writings with pantheism. This was true of Gerson (Opp. vol. 1, pt. 1, p. 59 sq.).
ellauri161.html on line 1112: Few mystics have ascended to the empyrean where Ruysbroeck so constantly dwelt; and the endeavor to compress into forms of speech the visions seen in a state where all clear and real apprehension is at an end occasioned the fault of indefiniteness with which his writings must be charged. His influence over theological and philosophical thought was not so great as that exercised by Eckart and Tauler, and was chiefly limited to his immediate surroundings. The Brotherhood of the Common Life (q.v.) was founded by Gerhard Groot, one of Ruysbroeck´s pupils, and its first inception may perhaps be traced back to Ruysbroeck himself — a proof that he was not wholly indifferent to the conditions of practical life.
ellauri162.html on line 113: After the war, he worked in insurance before writing Sous le soleil de Satan (1926, Under the Sun of Satan). He won the Grand Prix du roman de l'Académie française for The Diary of a Country Priest (Journal d'un curé de campagne), published in 1936.
ellauri162.html on line 178: One of the early writing prophets, Hosea used his own marital experience as a symbolic representation of God and Israel: God the husband, Israel the wife. Hosea´s wife left him to go with other men; Israel left the Lord to go with other gods. Hosea searched for his wife, found her and brought her back; God would not abandon Israel and brought them back even though they had forsaken him.
ellauri163.html on line 48: He wrote the drama Got fun nekome (God of Vengeance) in the winter of 1906 in Cologne, Germany. It is about a Jewish brothel owner who attempts to become respectable by commissioning a Torah scroll and marrying off his daughter to a yeshiva student. Set in a brothel, the play includes Jewish prostitutes and a lesbian scene. I. L. Peretz famously said of the play after reading it: "Burn it, Asch, burn it!" Instead, Asch went to Berlin to pitch it to director Max Reinhardt and actor Rudolph Schildkraut, who produced it at the Deutsches Theater. God of Vengeance opened on March 19, 1907 and ran for six months, and soon was translated and performed in a dozen European languages. It was first brought to New York by David Kessler in 1907. The audience mostly came for Kessler, and they booed the rest of the cast. The New York production sparked a major press war between local Yiddish papers, led by the Orthodox Tageplatt and even the secular Forverts. Orthodox papers referred to God of Vengeance as "filthy," "immoral," and "indecent," while radical papers described it as "moral," "artistic," and "beautiful". Some of the more provocative scenes in the production were changed, but it wasn't enough for the Orthodox papers. Even Yiddish intellectuals and the play's supporters had problems with the play's inauthentic portrayal of Jewish tradition, especially Yankl's use of the Torah, which they said Asch seemed to be using mostly for cheap effects; they also expressed concern over how it might stigmatize Jewish people who already faced much anti-Semitism. The association with Jews and sex work was a popular stereotype at the time. Other intellectuals criticized the writing itself, claiming that the second act was beautifully written but the first and third acts failed to support it.
ellauri164.html on line 402: Unbelievable, lame, boring, melodramatic, but says some interesting stuff about language. For the protagonist, a priest writing a journal, literary creation is an act of resistance and subversion. The novel also contrasts human language with God's language in a self-reflective way that I have not often found in Christian novels. (less)
ellauri164.html on line 733: In reality, the people who were writing this story knew that Moses did not lead them into the Promised Land. In fact, he had completed his assignment long ago. God had instructed him to lead the people out of Egypt (Ex. 3:10). They were out of Egypt. His job was done. So maybe this wasn't a punishment at all; maybe it was a reward! He was roughly 120 years of age at this point. They all knew that settling into the Promised Land would have its challenges. That land was fully occupied, and many battles were ahead of them. Surely it was time to let Joshua take over. It was time for Moses to rest. Granted, there might have been other ways for God to accomplish this, but the writers of the story chose to tell it like this. The end result is that Moses was free of his responsibility to the people, free to be with God on the mountaintop.
ellauri171.html on line 937: As for the matter concerning those enemies: people from your country and your own ships did this! And people from your country committed these transgression(s)...I am writing to inform you and protect you. Be aware!
ellauri171.html on line 954: In Canaanite mythology there were twin mountains Targhizizi and Tharumagi which hold the firmament up above the earth-circling ocean, thereby bounding the earth. W. F. Albright, for example, says that El Shaddai is a derivation of a Semitic stem that appears in the Akkadian shadû ("mountain") and shaddā'û or shaddû'a ("mountain-dweller"), one of the names of Amurru. Philo of Byblos states that Atlas was one of the Elohim, which would clearly fit into the story of El Shaddai as "God of the Mountain(s)". Harriet Lutzky has presented evidence that Shaddai was an attribute of a Semitic goddess, linking the epithet with Hebrew šad "breast" as "the one of the Breast". The idea of two mountains being associated here as the breasts of the Earth, fits into the Canaanite mythology quite well. The ideas of pairs of mountains seem to be quite common in Canaanite mythology (similar to Horeb and Sinai in the Bible). The late period of this cosmology makes it difficult to tell what influences (Roman, Greek, or Hebrew) may have informed Philo's writings.
ellauri180.html on line 123: This journal will help you envision your ideal life and then identify the unconscious attachments that are preventing you from living it. Through a series of writing prompts and exercises as well as some of Brianna’s favorite quotes, most popular articles, and new passages, it will help you sort through the conflicting thoughts, feelings, and fears that are preventing you from becoming the person you want and need to be. You do not need more motivation or drive to start building the life of your dreams. You need to better understand who you are, why you keep re-creating comfortable pain patterns, and why you may not really want what is it you think you do.
ellauri180.html on line 212: Gairdner made the astute observations that the slow period of preputial development corresponded with the age of incontinence. He felt that the prepuce had a protective role and noted that meatal ulceration only occurred in circumcised boys. Recently, a doctor writing anonymously in the BMJ provided an analogy suggesting that the prepuce is to the glans what the eyelid is to the eye.
ellauri180.html on line 244: How realistic is it to make money from writing?
ellauri180.html on line 246: How do you deal with relatives not giving positive support of your writing?
ellauri180.html on line 250: How do i stop overusing some phrases when writing or talking?
ellauri180.html on line 260: How do you go back to the same level of writing?
ellauri180.html on line 278: For those of you that struggled to start writing your stories, what finally motivated you to do so?
ellauri180.html on line 288: How to talk about your writing without feeling embarrassed
ellauri181.html on line 554: *Franklin Covey Co., trading as FranklinCovey and based in Salt Lake City, Utah, is a provider of leadership, individual effectiveness, and business execution training and assessment services for organizations and individuals. The company was formed on May 30, 1997, as a result of merger between Hyrum W. Smith's Franklin Quest and Stephen R. Covey's Covey Leadership Center. Among other producz, the company has marketed the FranklinCovey planning system, modeled in part on the writings of Benjamin Franklin, and The 7 Habiz of Highly Effective People, based on Covey's research into leadership ethics.
ellauri182.html on line 115: Some reviewers thought Kitchen was superficial in style and substance, and overly sentimental. Todd Grimson in the Los Angeles Times Book Review wrote that, ‘“Kitchen’ is light as an invisible pancake, charming and forgettable ... The release of information to the reader seems unskilled, or immature, weak in narrative or plot.” Elizabeth Hanson of the New York Times Book Review took issue with the overall effect of the book, writing that “the endearing characters and amusing scenes in Ms. Yoshimoto’s work do not compensate for frequent bouts of sentimentality.” Hanson added that the book’s main appeal for English-language readers “lies in its portrayal of the lives of young Japanese who are more into food and death than sex. EAT! KILL! but do not FUCK!".
ellauri182.html on line 175: It was during this exile that Shinran cultivated a deeper understanding of his own beliefs based on Hōnen's Pure Land teachings. In 1210 he married Eshinni, the daughter of an Echigo aristocrat. Shinran and Eshinni had several children. His eldest son, Zenran, was alleged to have started a heretical sect of Pure Land Buddhism through claims that he received special teachings from his father. Zenran demanded control of local monto (lay follower groups), but after writing a stern letter of warning, Shinran disowned him in 1256, effectively ending Zenran's legitimacy.
ellauri183.html on line 76: Loppuikänsä Bernad opetti luovaa kirjoittamista Vermontissa Benningtonin naisten collegessa. Ann joka oli sentään käynyt Cornellin typed his manuscripz and reviewed his writing. Oliko Berniellä sillä aikaa jimbajambaa coedien hameissa? New York Times tietäisi muttei kerro ilmaisexi. In the book The Natural by Bernard Malamud the main character Roy Hobbs had a very distinct flaw, a flaw that millions of American men and women both have..... an obsession with sex which affected his character and which made him a very unsuccessful man.
ellauri183.html on line 170: The dilemma is not unique to Abraham's situation. Kierkegaard was writing for 19th-century readers who regarded themselves as Christians – that is to say, as people who believed in the authority and goodness of God. By emphasising the difficulty of understanding Abraham's response to the divine command, he emphasises the difficulty of faith izelf. Implicit in his analysis of the story of Abraham is the question: would you do what Abraham did? How could you do such a thing? It seems unlikely that anyone who really thinx about these questions would conclude that he or she would have acted as Abraham did. Just as Abraham's faith is tested by God in the Book of Genesis, so the reader's own faith is tested by personal reflection on the biblical story.
ellauri184.html on line 44: Mailer was raised in Brooklyn, first in Flatbush on Cortelyou Rd and later in Crown Heights at the corner of Albany and Crown Streets. Mailer graduated from Boys High School and entered Harvard College in 1939, when he was 16 years old. As an undergraduate, he was a member of the Signet Society. Mousiken poiei kai ergazou, tee musaa ja duunaa. At Harvard, he majored in engineering sciences, but took writing courses as electives. He published his first story, "The Greatest Thing in the World," at the age of 18, winning Story magazine's college contest in 1941.
ellauri184.html on line 46: After graduating in 1943, Mailer married his first wife Beatrice "Bea" Silverman in January 1944, just before being drafted into the U.S. Army. Hoping to gain a deferment from service, Mailer argued that he was writing an "important literary work" which pertained to the war. This deferral was denied, and Mailer was forced to enter the Army. After training at Fort Bragg, Mailer was stationed in the Philippines with the 112th Cavalry. Merihevosilla varmaan mentiin.
ellauri184.html on line 50: Neiti Mallory kertoo tästä lisää: "Norman was an oxymoron — an overweight senior citizen who was one of the best lovers I ever had." Mallory writes that Mailer never had erectile dysfunction: "Not once. Not in nine years..." Vanhasta Naahumista tulee mieleen Norssin voimistelunopettaja Lahtinen ja Star Warsin Yoda. “Each week he’d want to play a new game . . . doctor, manicurist, masseur, Hollywood director (that was his favorite).” “When our relationship ended, I realized that . . . Norman had never been on my team and had been slandering my writing and me behind my back.”
ellauri184.html on line 80: Mailer's fifth novel, Why Are We in Vietnam? was even more experimental in its prose than An American Dream. Published in 1967, the critical reception of WWVN was mostly positive with many critics, like John Aldridge in Harper's, calling the novel a masterpiece and comparing it to Joyce. Mailer's obscene language was criticized by critics such as Granville Hicks writing in the Saturday Review and the anonymous reviewer in Time. Eliot Fremont-Smith calls WWVN "the most original, courageous and provocative novel so far this year" that's likely to be "mistakenly reviled". Other critics, such as Denis Donoghue from the New York Review of Books praised Mailer for his verisimilitude "for the sensory event". Donoghue recalls Josephine Miles' study of the American Sublime, reasoning WWVN's voice and style as the drive behind Mailer's impact.
ellauri184.html on line 82: In 1972, Joyce Carol Oates called Vietnam "Mailer's most important work"; it's "an outrageous little masterpiece" that "contains some of Mailer's finest writing" and thematically echoes John Milton's Paradise Lost.
ellauri184.html on line 86: Mailer spent a longer time writing Ancient Evenings, his novel of Egypt in the Twentieth Dynasty (about 1100 BC), than any of his other books. He worked on it for periods from 1972 until 1983. It was also a bestseller, although reviews were generally negative. Harold Bloom, in his review said the book "gives every sign of truncation", and "could be half again as long, but no reader will wish so", while Richard Poirier called it Mailer's "most audacious book".
ellauri184.html on line 92: Critical response to Mailer's Jesus novel was mixed. Jack Miles, writing for Commonweal, found the book "a quiet, sweet, almost wan little book, a kindly offering from a New York Jew to his wife's Bible Belt family." He noted that there was "something undeniably impressive about the restraint" of the style that Mailer undertook in composing the novel. He concluded that the novel was neither one of Mailer's best works, nor would it stand out amongst the bibliography of books inspired by the life of Christ, but that it had received unfairly harsh reviews from other critics.
ellauri184.html on line 93: Critics such as Reynolds Price, writing for The New York Times, pointed to a "lack of inventiveness", based upon the fact that Mailer took so few liberties with the biblical text. Nuchem was a little disappointed with the low share of bad reviews it got.
ellauri184.html on line 738: As the eldest son in His family, Jesus had a cultural obligation to care for His mother, and He passed that obligation on to one of His closest friends. John would have certainly obeyed this command. Mary was most likely one of the women in the upper room and was present when the church was established in Jerusalem (Acts 1:12–14). She probably continued to stay with John in Jerusalem until her death. It is only later in John’s life that his writings and church history reveal John left Jerusalem and ministered in other areas. By then he had probably got rid of mamma Maria.
ellauri185.html on line 368: However, perturbed by the problem of evil, he lost his own faith at the age of eight, and turned to poetry-writing. Se oli Balliolin miehiä kuten parkinsonin vaivaama Nick Ostler. Evil ei ole mikään probleema ellei ole uskovaisia.
ellauri188.html on line 147: Since writing the above I have received a letter from Dr. Linton in which he says: "... I certainly do not think that either the full-blooded Marquesans or the breadfruit are in immediate danger of extinction. The natives of Uapu and Uahuka are slightly on the increase and those of Fatuhiva are holding their own."
ellauri189.html on line 75: After leaving the army, he spent several years traveling through western Europe, staying some time in Paris, climbing Mont Blanc in 1818, and spending a good portion of his inherited fortune. He returned to his estate in Volhynia in 1821, where he began an ill-fated affair with a married woman and began writing. He moved to Warsaw in 1824, where he published the poetic novel Maria at his own expense in 1825, and died in poverty the next year in unclear circumstances.
ellauri191.html on line 112: "the greatest living master of the art of historical writing, with special reference to his monumental work A History of Rome"
ellauri191.html on line 243: "in appreciation of the lofty idealism, vivid imagination and spiritual perception that characterize her writings"
ellauri191.html on line 528: "for her idealistically inspired writings, which with plastic clarity picture the life on her native island and with depth and sympathy deal with human problems in general"
ellauri191.html on line 642: "for the strict artistry with which he has carried on the classical Russian traditions in prose writing"
ellauri191.html on line 819: "for his inspired writings, which while growing in boldness and penetration, exemplify the classical humanitarian ideals and high qualities of style"
ellauri191.html on line 835: "for his comprehensive and artistically significant writings, in which human problems and conditions have been presented with a fearless love of truth and keen psychological insight"
ellauri191.html on line 885: "in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought"
ellauri191.html on line 1081: "for his realistic and imaginative writings, combining as they do sympathetic humour and keen social perception"
ellauri191.html on line 1097: "for his eminent lyrical writing, inspired by a deep feeling for the Hellenic world of culture"
ellauri191.html on line 1163: "for her outstanding lyrical and dramatic writing, which interprets Israel's destiny with touching strength"
ellauri191.html on line 1216: "for his writing, which – in new forms for the novel and drama – in the destitution of modern man acquires its elevation"
ellauri191.html on line 1270: "for his writing, which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature"
ellauri191.html on line 1320: "for writings that catch the dewdrop and reflect the cosmos"
ellauri191.html on line 1369: "for a creative poetic writing, which illuminates man's condition in the cosmos and in present-day society, at the same time representing the great renewal of the traditions of Spanish poetry between the wars"
ellauri191.html on line 1438: "for writings marked by a broad outlook, a wealth of ideas and artistic power"
ellauri191.html on line 1587: "for impassioned writing with wide horizons, characterized by sensuous intelligence and humanistic integrity"
ellauri191.html on line 1604: "who through her magnificent epic writing has – in the words of Alfred Nobel – been of very great benefit to humanity"
ellauri191.html on line 1784: "for writing that upholds the fragile experience of the individual against the barbaric arbitrariness of history"
ellauri191.html on line 1999: "for her polyphonic writings, a monument to suffering and courage in our time"
ellauri192.html on line 259: Jaroslav Seifert made his debut with the poetry collection Mesto v slzách (1921) (City in Tears). His writings include more than 30 poetry collections. Seifert was a highly regarded poet in his native country. Melody and rhythm characterize his poetry, which is inspired by folk songs, common speech and everyday scenes. At the heart of Seifert’s poems is humanity, and he criticizes the totalitarian state’s attempts to reduce the opportunities and freedom of the individual.
ellauri192.html on line 327: His poetry, said James Ragan, director of the USC graduate school’s professional writing program, “was at all times optimistic, reflecting a championing of the human self. I think that’s primarily why he was awarded the Nobel Prize, because he suggested a new liberated spirit in writing (behind the Iron Curtain) after the Stalin era. Although he was a Communist as a youth, he became disillusioned with the party in the late 1920s. Thereafter, he was in and out of party favor during the turbulent decades that followed in Czechoslovakia. The state-run news agency, in announcing his death Friday, described him as “a prominent Czech poet, national artist (and) winner of the 1984 Nobel Prize for Literature.”
ellauri192.html on line 886: Ilya Ilf (Ilya Arnoldovich Feinsilberg) (Russian: Илья Арнольдович Файнзильберг, 1897-1937) and Yevgeny Petrov (Yevgeniy Petrovich Katayev or Russian: Евгений Петрович Катаев, 1902-1942) were two Ukrainian prose authors of the 1920s and 1930s.They did much of their writing together, and are almost always referred to as "Ilf and Petrov". Bet Ilf was Jewish. Ilya Arnoldovich Ilf (born Iehiel-Leyb Aryevich Faynzilberg, Russian: Иехи́ел-Лейб Арьевич Фа́йнзильберг[1]) (15 October [O.S. 3 October] 1897 in Odessa – 13 April 1937, Moscow), was a popular Soviet journalist and writer of Jewish origin who usually worked in collaboration with Yevgeni Petrov during the 1920s and 1930s. Their duo was known simply as Ilf and Petrov. Together they published two popular comedy novels The Twelve Chairs (1928) and The Little Golden Calf (1931), as well as a satirical book Odnoetazhnaya Amerika (often translated as Little Golden America) that documented their journey through the United States between 1935 and 1936.
ellauri194.html on line 252: As one nomadic people followed another on the Eurasian steppes, so the identification of Gog and Magog shifted. In the 9th and 10th centuries these kingdoms were identified by some with the lands of the Khazars, a Turkic people whose leaders had converted to Judaism and whose empire dominated Central Asia–the 9th-century monk Christian of Stavelot referred to Gazari, said of the Khazars that they were "living in the lands of Gog and Magog" and noted that they were "circumcised and observing all [the laws of] Judaism". Arab traveler ibn Fadlan also reported of this belief, writing around 921 he recorded that "Some hold the opinion that Gog and Magog are the Khazars".
ellauri194.html on line 311: They drew on French philosopher Michel Foucault's writings on sexuality and his notion that bodies are given meaning by discourse and social structures of knowledge and power. The binary oppositions (man/woman, gay/straight) on which discourse, and thus subjectivity, are founded are revealed to be not fixed, but fluid, fictional – and can, therefore, be destabilised. For a feminist who liked playing with words, the radical potential in this appealed.
ellauri196.html on line 679: Brando was raised a Christian scientist from Pfalz. Kasvoi kompostista kuin krispaattorissa wilttaantunut Pak Choi. His mother, known as Dodi Rypäleitä Perseessä, was unconventional for her time; she smoked, wore pants, and drove cars. She helped Henry Ford begin his acting career. However, she was an alcoholic and often had to be brought home from bars in Chicago by her alcoholic husband. Brando expressed sadness when writing about his mother: she preferred getting drunk to caring for us. No wonder Buddy.
ellauri196.html on line 900: Elfriede Jelinek, an Austrian Jew, won the Nobel in Literature in 2004. According to the committee, she got it for revealing the absurdity of society´s cliches and their subjugating power. Take that, society´s cliches! One Swedish Academy member wasn´t exactly a fan. He quit in a fit, claiming that Jelinek´s writing is "whining, unenjoyable public pornography". Bet if it had been enjoyable private pornography, then his stance would have been different.
ellauri196.html on line 902: Jelinek, born in the eastern Austrian town of Mürzzuschlag on October 20, 1946, grew up in Vienna. As a young woman, she dealt with her father´s neuropathy, mother´s psychopathy and her own mental problems. Under the influence of her "demonic" mother, Jelinek said she was "trained" as a child prodigy in dance and music. She said she began writing to escape her mother´gs patronizing, dominating behavior.
ellauri197.html on line 151: - This poem appears in a section entitled "A Woman Old and New". Yeats is obviously writing from the perspective of a female, not in his own voice. Thus the poem does not reveal homosexuality, but is rather an imaginative recreation of that woman's musings.
ellauri198.html on line 342: Browning claimed that the poem came to him in a dream, saying "I was conscious of no allegorical intention of writing it ... I do not know what I meant beyond that, and I do not know now. But I am very fond of it."
ellauri198.html on line 714: Allen Johnston of The New York Times was disappointed with how the series progressed; while he marveled at the "sheer absurdity of King's existence" and complimented King's writing style, he said preparation would have improved the series, stating "King doesn't have the writerly finesse for these sorts of games, and the voices let him down." Michael Berry of the San Francisco Chronicle called the series "highfalutin hodgepodge".
ellauri198.html on line 831: His several boring plays featured fictional heroic ancient Irish warrior Cuchulain. A later poem concludes with a brash announcement: “There’s more enterprise in walking naked.” This indecent departure from a conventional 19th-century manner disappointed his contemporary readers, who preferred the pleasant musicality of such familiar poems as “The Lake Isle of Innisfree,” which he wrote in 1890. "I think all happiness depends on the energy to assume the mask of some other person, on strutting as somebody else but yourself", he said. Yeats and his lamentable wife held more than 400 sessions of automatic writing, producing nearly 4,000 pages that Yeats avidly and patiently studied and organized. What an idiot.
ellauri203.html on line 242: Writing in the Los Angeles Times, a professor of Slavic languages praised their Dostoevsky translations, stating "the reason they have succeeded so well in bringing Dostoevsky into English is not just that they have made him sound bumpy or unnatural but that they have managed to capture and differentiate the characters' many bumpy and unnatural voices." A literary critic and essayist, wrote in The Sewanee Review that their Dostoevsky translations "have recaptured the rough and vulgar edge of Dostoevsky's style. This tone of the vulgar that Dostoevsky's writings are full of, so morbidly excessively, they have translated into a vernacular equal to his own." But recently, writing in The New York Review of Books in 2016, a critic argued that Pevear and Volokhonsky have established an industry of taking everything they can get their hands on written in Russian and putting it into flat, awkward English. Other translators have voiced similar criticism, both in Russia and in the English-speaking world. A Slavic studies scholar has written in Commentary that Pevear and Volokhonsky take glorious works and reduce them to awkward and unsightly muddles. Criticism has been focused on the excessive literalness of the couple's translations and the perception that they miss the original tone of the authors.
ellauri204.html on line 735: Sexton's work towards the end of the sixties has been criticized as "preening, lazy and flip" by otherwise respectful critics. Some critics regard her dependence on alcohol as compromising her last work. However, other critics see Sexton as a poet whose writing matured over time.
ellauri204.html on line 776: Ranskassa Artaudilla diagnosoitiin skitsofrenia, ja hän vietti seuraavat yhdeksän vuotta mielisairaaloissa ainakin Rodezissa ja Ivry-sur-Seinessä. Artaudin mukaan hän tunsi sairauden myötä menettäneensä identiteettinsä, sillä hän tuli tietoiseksi tavallisesti tiedostamattomista kehon toiminnoista. Hän juuttui painajaiseen, jossa tiedosti lihaksensa, luunsa ja mahansa, jonka toiminnot pitivät samanlaista läpsytystä kuin lippu myrskyssä. Hän hahmotti kätensä ja jalkansa kuin verisinä vanuina, etäisinä ja väärissä paikoissa olevina. Artaud lopetti kirjoittamisen ja piirtämisen pitkäksi aikaa mutta aloitti uudelleen sähköhoidon jälkeen. Anttonin suuta oli lähes mahdoton tukkia. Yllättävää sikäli että Anttoni koitti vapauttaa teatteria sanataiteen kahleista. Nimi "kohti kriittistä teatteria" oli ihan väärä, A. oli täysin kritiikitön ja epäpoliittinen oikispaskiainen. Artaud was not into politics at all, writing things like: 'I shit on Marxism.'
ellauri206.html on line 61: Show, don't tell is a technique used in various kinds of texts to allow the reader to experience the story through actions, words, thoughts, senses, and feelings rather than through the author's exposition, summarization, and description. It avoids adjectives describing the author's analysis, but instead describes the scene in such a way that readers can draw their own conclusions. The technique applies equally to nonfiction and all forms of fiction, literature including haiku and Imagism poetry in particular, speech, movie making, and playwriting.
ellauri206.html on line 65: Its having become, by the mid-twentieth century, an important element in Anglo-Saxon narratological theory, according to dramatist and author Arthur E. Krows, the American dramatist Mark Swan told Krows about the playwriting motto "Show – not tell" on an occasion during the 1910s. In 1921, the same distinction, but in the form picture-versus-drama, was utilized in a chapter of Percy Lubbock's analysis of fiction, The Craft of Fiction. In 1927, Swan published a playwriting manual that made prominent use of the showing-versus-telling distinction throughout.
ellauri206.html on line 71: In 2017, Vietnamese-American writer Viet Thanh Nguyen (n.h.) questioned the validity of continuing to teach "show, don't tell" in creative writing classes in a New York Times op-ed on the subject. His position was that such teaching is biased against immigrant writers, who may describe emotions in ways readers from outside their culture might not understand, rendering "tell" necessary. Like the squeaky smiley that shows just raised eyebrows and no smiling mouth. Because a smile does not count for anything out there. Everybody smiles all the time.
ellauri210.html on line 763:

Benjamin Péret: Death to the Pigs and other writings

Salman Rushdie on kenties nykyajan tärkein kirjailija. Kenties ei. Kaikki tyypit kirjassa on Salmanin omia avataareja kuin kärpäsen verkkosilmiä. I shall explore briefly how the book, in its depiction of the characters as they grapple with language - conception, speech, writing - embodies a form of courage. Tai sitten ei. Kenties se on pelkkää narsismia taas. "Language is courage: the ability to conceive a thought, to speak it, and by doing so to make it true".(281) . Paskan marjat Rushdie, turpa kii tai se turpoo kii. Gibreel, Shaitan, Salman, Baal, kaikki on Rushdieita eri housuissa. Pamela ja Allie on sen ensimmäisiä anglosaxi vaimoja.
ellauri429.html on line 849: Marandi also alluded to a conspiracy theory suggesting that the action reflected an attempt by Iran's enemies to harm its image, writing "is it a coincidence that just when we are on the verge of revitalising the nuclear agreement, America makes claims about an attempted assassination of Bolton and then this happens?" Marandi's statement referenced the United States Department of Justice's allegation that Iran had planned to assassinate US national security advisor John Bolton in 2020.
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 229: (I should say that I am not writing this for fun, but out of bitterness).
ellauri435.html on line 173: Ameryn nimi oli alunperin Sepp Mayer. "Amery’s genius is to point out that Wittgenstein exposed his inability to lift himself above historical and linguistic (anti-Semitic) bias when he wrote about Freud’s literary style. While “Freud writes excellently and it is a pleasure to read him…he is never great in his writing”. In response to this, Amery notes that while “every literary historian agrees” that Freud was the “greatest philosophical writer in the German language,” for “Wittgenstein he could not be great, since greatness is a dimension that no Jew is permitted to achieve”. Wittgenstein sees Freud as "way too clever for his own good".
ellauri439.html on line 103: I was suspected at Harvard Coop of having stolen my own credit card cause I had a woman's name, Lauri. Seriously, most you yanks are insular morons who seriously lack a decent education. Edit: disabling comments. Too many people are writing answers to the question in the comments field of my answer.
ellauri443.html on line 103: He had turned around, like a climber turns around and looks back down the mountain, reviewing the path he has traveled, no longer immersed in the ascent. A long time ago—so long that he had forgotten the author’s name—he read some memorable lines in a story about a man who is trying to ­translate another story, by a much more famous author. In these lines—which, my neighbor said, he still remembers to this day—the translator says that a ­sentence is born into this world neither good nor bad, and that to ­establish its character is a question of the subtlest possible adjustments, a process of intuition to which exaggeration and force are fatal. Those lines concerned the art of writing, but looking around himself in early middle-age my neighbor began to see that they applied just as much to the art of living. Everywhere he looked he saw people as it were ruined by the extremity of their own experiences, and his new parents-in-law appeared to be a case in point.
ellauri443.html on line 129: Even so, Cusk, who now lives in London, says she was shocked by the reaction to her second memoir, about the breakdown of her relationship. Julie Burchill called Aftermath: On Marriage and Separation “brilliant”. Elsewhere Cusk was pilloried. Camilla Long's hostile piece won the Hatchet Job of the Year award, writing the novelist off as "a brittle little dominatrix and peerless narcissist who exploits her husband and her marriage with relish", and who "describes her grief in expert, whinnying detail". Almost as good as this bit on Salman Rushdie's memoir Joseph Anton: "an unembarrassed sense of what he is owed as an embattled, literary immortal-in-waiting pervades his book",
ellauri443.html on line 139: Aftermath, wrote Long last March, "is crammed with mad, flowery metaphors and hifalutin creative-writing experiments", including "hectic passages on Greek tragedy" in which she compares herself with Clytemnestra and Oedipus. But, points out Long, despite her mention that she "got into Oxford", Cusk manages repeatedly to give the wrong name for Antigone's brother: he is Polynices, not Polylectes. Hah, ketään Polylektestä ei edes ole Wikipediassa. Polydektes (m.kreik. Πολυδέκτης) oli kreikkalaisessa mytologiassa Serifoksen kuningas, Magneen ja nimettömäksi jääneen najadin poika joka kivettyi kun Perseus näytti sille Gorgon pään.
ellauri443.html on line 145: Because her early work looked a bit like chick lit and because she then moved on to write about being a mother, she attracts lots of readers in search of something comfy who then feel cheated when they don’t get it, and maybe a bit judged and threatened too. But are there enough readers for Cusk’s sort of writing without them?
ellauri443.html on line 150: It all figures. Cusk’s prose was heavy and gilded, with something of the hippo-and-the-pea effect H.G. Wells observed in the later Henry James: what exactly was it all those words were struggling to capture? Was that hippo wearing a tutu for the hell of it or was it undergoing an emergency of self-definition? she’s trying to build things with the A-Level English syllabus that it simply isn’t designed for. This is one of the things unsympathetic readers find annoying about her writing, Even on a topic as overdetermined as motherhood, this little hippo is determined to do it on her own.
ellauri444.html on line 69: His writing explores "human frailty—moral ambiguity, intrigue, nuance, doubt, and cowardice". The fallibility of Western democracy – and of its secret services – is a recurring theme, as are suggestions of a "possible" east–west moral equivalence.
ellauri444.html on line 71: Sarvisankainen virkamiesmäinen Yrjö Hymiö was an "antidote" to James Bond, a character le Carré called "an international gangster" rather than a spy and who he felt should be excluded from the canon of espionage literature. Le Carré's writing entered intelligence services themselves. John popularized the terms 'mole', 'honeytrap', 'scalphunter', 'lamplighter' to name a few.
ellauri444.html on line 104: "My father was a tough man", said Smith. "He was used to working with his hands and had massively developed arms from cutting metal. He was a boxer, a hunter, very much a man's man. I don't think he ever read a book in his life, including mine." His mother loved books, read to him every night and later gave him novels of escape and excitement, which piqued his interest in fiction; however, his father dissuaded him from pursuing writing. "There's no money in it", he said. "My father was a colonialist and I followed what he said until I was in my 20s and learned to think for myself", he said. "I didn't want to perpetuate injustices so I left Rhodesia in the time of Ian Smith."
xxx/ellauri027.html on line 312: The seminars slowed to a crawl. Wilber’s health deteriorated greatly (he was diagnosed with a rare disease that keeps him bed-ridden). He stopped writing. Ten years on, despite developing some fans in academia (some in high places), Wilber’s work had yet to be tested or peer-reviewed in a serious journal. Much of his posting online devolved into bizarre spiritual claims (such as this one about an “enlightened teacher” who can make crops grow twice as fast by “blessing them”).
xxx/ellauri068.html on line 68: The events in Germany since January 30, 1933, when Nazis came to power and declared as their aim the march to the east to capture resourcesand "living space" greatly contributed to it. The USSR realized the enormous importance of the national question and recognized the great role of the country´s history and patriotism in the consolidation of the society. There was mounting criticism of romanization. It was admitted that, in some cases, there had been overreliance on the alphabetical creativity of the linguists,engaged in language construction, which manifested itself in the creation of individual alphabets for numerically very small dialects, as well as in the overly largenumber of letters for some alphabets, in frequent disregard for the practical problemsof language construction and in the exclusive use of the Latin as a possible basis forthe creation of writing for the illiterate peoples, as well as in the insufficient attentionto the use of other alphabets (Novyi alfavit (The New Alphabet), 1934).
xxx/ellauri068.html on line 219: So what did I do? I chose to remember that Borges is not a writer of the era of Facebook and autofiction; that it is not true that he hides in his texts, speaks little about himself (in fact, the opposite is true: how often in his work does his double appear, the character called Borges?); he simply does not do it the way in which we are accustomed today; that, like his friend Alfonso Reyes, Borges learned the classical notion of decorum, which is a set of rules of style when writing and also a certain principle of discretion, an obligation not to say absolutely everything that is very likely inconceivable to many people today.
xxx/ellauri075.html on line 122: Today, Shestov is little known in the English-speaking world. This is partly because his works have not been readily available. Partly the specific themes he discusses are unfashionable and "foreign". A sombre and yet ecstatic atmosphere permeates his writings. And his quasi-nihilistic position and religious outlook are an unsettling and incongruous combination, at first sight.
xxx/ellauri075.html on line 151: He developed his thinking in a second book on Fyodor Dostoyevsky and Frederich Nietzsche, which increased Shestov's reputation as an original and incisive thinker. In All Things Are Possible (published in 1905) Shestov adopted the aphoristic style of Friedrich Nietzsche to investigate the difference between Russian and European Literature. Although on the surface it is an exploration of numerous intellectual topics, at its base it is a sardonic work of Existentialist philosophy which both criticizes and satirizes our fundamental attitudes towards life situations. D.H. Lawrence, who wrote the Foreword to S.S. Koteliansky's literary translation of the work, summarized Shestov's philosophy with the words: " 'Everything is possible' - this is his really central cry. It is not nihilism. It is only a shaking free of the human psyche from old bonds. The positive central idea is that the human psyche, or soul, really believes in itself, and in nothing else". Shestov deals with key issues such as religion, rationalism, and science in this highly approachable work, topics he would also examine in later writings such as In Job's Balances. Shestov's own key quote from this work is probably the following: "...we need to think that only one assertion has or can have any objective reality: that nothing on earth is impossible. Every time someone wants to force us to admit that there are other, more limited and limiting truths, we must resist with every means we can lay hands on".
xxx/ellauri075.html on line 182: Today, Shestov is little known in the English-speaking world. This is partly because his works have not been available in English. Partly the specific themes he discusses are unfashionable and "foreign". A sombre and yet ecstatic atmosphere permeates his writings. And his quasi-nihilistic position and religious outlook are an unsettling and incongruous combination, at first sight.
xxx/ellauri075.html on line 207: Trained in the neo-Kantian tradition with Ernst Cassirer and immersed in the work of the phenomenologists Edmund Husserl and Martin Heidegger, Strauss established his fame with path-breaking books on Spinoza and Hobbes, then with articles on Maimonides and Farabi. In the late 1930s his research focused on the rediscovery of esoteric writing, thereby a new illumination of Plato and Aristotle, retracing their interpretation through medieval Islamic and Jewish philosophy, and encouraging the application of those ideas to contemporary political theory.
xxx/ellauri075.html on line 305: Klages was a central figure of characterological psychology and the Lebensphilosophie school of thought. Prominent elements of his philosophy include: the opposition between life-affirming Seele and life-denying Geist; reality as the on-going creation and interpretation of sensory images, rather than feelings; a biocentric ethics in response to modern ecological issues and militarism; an affirmation of eroticism in critique of both Christian patriarchy and the notion of the "sexual"; a theory of psychology focused on expression, including handwriting analysis; and a science of character aimed at reconciling the human ego to the divide it effectuates between living beings.
xxx/ellauri075.html on line 336: Waltulla oli siionistijuutalaisia kavereita mm Martin Buber (der Jude-lehden toimittaja). Se puuhasteli myös Stefan Georgen kanssa (miinuspisteitä). In ‘The Concept of Criticism in German Romanticism’ (1920), Benjamin presents interlinked concepts of language, sacred text, a projected reworking of Kant’s limited concept of experience, and a new approach to criticism and Romanticism as a tracing of the absolute in early Romantic writing (paljon miinuspisteitä). Benjamin argued for an ‘immanent criticism’ which would engage in some ways quite mystically with a text’s internal structures and divine traces (roppakaupalla miinusta).
xxx/ellauri076.html on line 249: The Coasters are an American rhythm and blues/rock and roll vocal group who had a string of hits in the late 1950s. Beginning with "Searchin'" and "Young Blood", their most memorable songs were written by the songwriting and producing team of Leiber and Stoller. Although the Coasters originated outside of mainstream doo-wop, their records were so frequently imitated that they became an important part of the doo-wop legacy through the 1960s.
xxx/ellauri081.html on line 164: Additionally, what is the purpose of the Tyger by William Blake? It would be a mistake to say that Blake's purpose in writing "The Tyger" was to show that God is the source of pain and violence in the world, just as it would be a mistake to assume that Blake's purpose in writing "The Lamb" was to convert people to a belief in Jesus Christ.
xxx/ellauri086.html on line 75: About Lindsfarne Gospels Bede explains how each of the four Evangelists was represented by their own symbol: Matthew was the man, representing the human Christ; Mark was the lion, symbolising the triumphant Christ of the Resurrection; Luke was the calf, symbolising the sacrificial victim of the Crucifixion; and John was the eagle, symbolising Christ's second coming. A collective term for the symbols of the four Evangelists is the Tetramorphs. Each of the four Evangelists is accompanied by their respective symbol in their miniature portraits in the manuscript. In these portraits, Matthew, Mark, and Luke are shown writing, while John looks straight ahead at the reader holding his scroll. The Evangelists also represent the dual nature of Christ. Mark and John are shown as young men, symbolising the divine nature of Christ, and Matthew and Luke appear older and bearded, representing Christ's mortal nature.
xxx/ellauri086.html on line 83: ONAN, as almost everybody knows, was killed by God for the heinous crime of "spilling his seed upon the ground". This, throughout history, has associated him with masturbation, beginning with the writings of Clement of Alexandria. And I agree, that when DFW mentions O.N.A.N., that connotation is implied. But that's not why God was mad at Onan. If you go read the whole sordid story in Genesis 38: when God killed Onan's brother, for reasons which are a bit obscure, leaving his widow childless, it was the custom that Onan was required to marry her and father a child upon her. This child would legally be his brother's. This was known as Levirate marriage. Onan didn't want any children who weren't legally his, so Onan "went in" to his brother's wife but pulled out early and "spilled his seed on the ground". So Onan's real sin was refusing to Consumate his Levirate Marriage. Now, once God whacked Onan, his widow had to wait for his remaining brother to grow up. But she got tired of waiting and put on a veil(!!!!) and tricked Onan's father into having sex with her. So a painting of the "Consummation of the Levirates" might be Onan's father banging his sons' wife....
xxx/ellauri086.html on line 617: Dupin says he had visited the minister at his hotel. Complaining of weak eyes he wore a pair of green spectacles, the true purpose of which was to disguise his eyes as he searched for the letter. In a cheap card rack hanging from a dirty ribbon, he saw a half-torn letter and recognized it as the letter of the story's title. Striking up a conversation with D— about a subject in which the minister is interested, Dupin examined the letter more closely. It did not resemble the letter the prefect described so minutely; the writing was different, and it was sealed not with the "ducal arms" of the S— family, but with D—'s monogram. Dupin noticed that the paper was chafed as if the stiff paper was first rolled one way and then another. Dupin concluded that D— wrote a new address on the reverse of the stolen one, re-folded it the opposite way and sealed it with his own seal.
xxx/ellauri086.html on line 888: Poe describes his method in writing "The Raven" in the essay "The Philosophy of Composition", and he claims to have strictly followed this method. It has been questioned whether he really followed this system, however. T. S. Eliot said: "It is difficult for us to read that essay without reflecting that if Poe plotted out his poem with such calculation, he might have taken a little more pains over it: the result hardly does credit to the method."
xxx/ellauri086.html on line 890: "The Philosophy of Composition" is Edgar Allan Poe's theory about how good writers write when they write well. He concludes that length, "unity of effect" and a logical method are important considerations for good writing. He also makes the assertion that "the death... of a beautiful woman" is "unquestionably the most poetical topic in the world". Poe uses the composition of his own poem "The Raven" as an example. The essay first appeared in the April 1846 issue of Graham's Magazine. It is uncertain if it is an authentic portrayal of Poe's own method.
xxx/ellauri086.html on line 900: Poe dismissed the notion of artistic intuition and argued that writing is methodical and analytical, not spontaneous. He writes that no other author has yet admitted this because most writers would "positively shudder at letting the public take a peep behind the scenes... at the fully matured fancies discarded in despair... at the cautious selections and rejections"
xxx/ellauri103.html on line 154: Drivel had written eight novels and published seven (one novel could not find a publisher) before writing We Need to Talk About Kevin, which she called her "make or break" novel due to the years of "professional disappointment" and "virtual obscurity" preceding it.
xxx/ellauri103.html on line 156: In an interview with the IRA Bomb magazine, Drivel listed her novels' subject matter up to the publication of We Need to Talk About Kevin as "anthropology of the Northern Irish Trouble, first love, rock-and-roll drumming and immigration, , demography and epidemiology, inheritance, tennis and spousal competition, terrorism and cults of personality". Rather than writing traditionally sympathetic characters, Drivel prefers to create characters like herself, who are "hard to love."
xxx/ellauri103.html on line 162: Drivel has written drivel for The Wall Street Journal, the Financial Times, The New York Times, The Economist and many other suspect economically liberal publications. In July 2005, Shriver began writing a column for The Guardian, in which she shared her low opinion on maternal wards within Western society, the pettiness of British tax authorities, and the importance of libraries (she plans to hide whatever assets remain at her death in the Belfast Library).
xxx/ellauri103.html on line 182: My thrust is that the socialist ideologies recently come into vogue challenge my right to write fiction at all. Meanwhile, the kind of fiction we are “allowed” to write is in danger of becoming so hedged, so circumscribed, so tippy-toe, that we’d indeed be better off not writing the anodyne drivel to begin with. At least I am, because drivel is all I do.
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 250: Thus in the world of identity politics, fiction writers better be careful. If we do choose to import representatives of protected groups, special rules apply. If a character happens to be black, they have to be treated with kid gloves, and never be placed in scenes that, taken out of context, might seem disrespectful. But that’s no way to write. We know that most criminals are black anyway, and many if not most blacks are criminal. Writing to hide that fact would be writing fiction, and we fiction writers have your responsibility toward the white audience. The burden is too great, the self-examination paralysing. The natural result of that kind of criticism in the Post is that next time I don’t use any black characters, lest they do or say anything that is short of perfectly admirable and lovely. (No ei munkaan olis pitänyt alottaa tätä albumia, jossa haukutaan törkimyxiä jotka sattuu olemaan naisia. Äkkiä se kääntyyy naisten haukkumisexi sillä tekosyyllä, että ne sattuu olemaan törkimyxiä. Ehkä se onkin sitä!)
xxx/ellauri103.html on line 260: In describing a second-generation Mexican American who’s married to one of my main characters in The Mandibles, I took care to write his dialogue in standard American English, to specify that he spoke without an accent, and to explain that he only dropped Spanish expressions tongue-in-cheek. I would certainly think twice – more than twice – about ever writing a whole novel, or even a goodly chunk of one, from the perspective of a character whose race is different from my own – because I may sell myself as an iconoclast, but I’m as anxious as the next person about attracting big money. But I think that’s a loss. I think that indicates a contraction of my fictional universe that is not good for the books, and not good for my purse.
xxx/ellauri103.html on line 285: The reading and writing of fiction is obviously driven in part by a desire to look inward, to be self-examining, reflective. But the form is also born of a desperation to break free of the claustrophobia of our own experience. For instance, after I have looked inward between my legs for a long time, I like to look at my drummer boy who is sort of sticking out.
xxx/ellauri103.html on line 294: Halfway through the novel, suddenly my protagonist has lost the right leg instead of the left one. My idea of lesbian sex is drawn from wooden internet porn. Efforts to persuasively enter the lives of others very different from us may fail: that’s a given. But maybe rather than having our heads taken off, we should get a few bucks for trying. After all, most fiction sucks. Most writing sucks. Mine does anyway. Most things that people make of any sort suck. But that doesn’t mean we shouldn’t make anything. Or that we should not suck. I do, however badly, and my drummer boy loves it.
xxx/ellauri113.html on line 89: On the Fourfold Root of the Principle of Sufficient Reason (German: Ueber die vierfache Wurzel des Satzes vom zureichenden Grunde) is an elaboration on the classical Principle of Sufficient Reason, written by German philosopher Arthur Schopenhauer as his doctoral dissertation in 1813. The principle of sufficient reason is a powerful and controversial philosophical principle stipulating that everything must have a reason or cause. Schopenhauer revised and re-published it in 1847. The work articulated the centerpiece of many of Schopenhauer's arguments, and throughout his later works he consistently refers his readers to it as the necessary beginning point for a full understanding of his further writings.)
xxx/ellauri114.html on line 279: This may explain why Ezekiel, who wrote from Babylon at the same time Jeremiah was writing from Jerusalem, identified one of the major participants in the Battle of Ezekiel 38 as being Persia, and not Elam. God might have informed him, as He did Jeremiah, that the Elamites would be conquered and scattered to the four winds by their Persian neighbors.
xxx/ellauri116.html on line 386: Simone de Beauvoir, who Sartre playfully referred to as “The Beaver,” never published a piece of writing without her partner’s input until after his death. Likewise, he referred to her as a “filter” for his books, and some scholars have even made the case that she wrote some of them for him.
xxx/ellauri121.html on line 314: The books he wrote were never “hot”, but they were never read, so no harm done. His novels were well crafted but never quite took off — what the French call connerie pure. In 1996, he decided to stop writing novels altogether, and concentrate on childcare and cooking & laughing at Peggy's jokes. Kinda ironic given they didnt ever marry tho. It’s as if he made sure to stick around long enough for her new sequel to The Handmaid’s Tale – The Testaments – to be published. Considerate.
xxx/ellauri121.html on line 323: James "Jim" Polk was the long time editorial director of House of Anansi Press and edited two books by Charles Taylor, as well as work by Margaret Atwood, George Grant, Northrop Frye, and many others. With a literature PhD (which Peggy never finished) he has taught at Harvard, Idaho, Ryerson and Alberta, and has written a comic novel, a stage comedy about Canadian publishing, articles, short stories, and criticism about Canadian writers and writing. As an advisor at the Ontario Ministry of Culture, he worked on grants for theatre and books, developed a tax credit for publishers and remodelled the Trillium Book Prize to include Franco Ontarian writing. He lives in Toronto and, trained as a pianist, still practices daily, playing classics and show-tunes in seclusion.
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/ellauri121.html on line 537: Cultural anthropology, Taoism, feminism, and the writings of Carl Jung all had a strong influence on Le Guin´s work.
xxx/ellauri122.html on line 242: If you want to be sarcastic in writing (for example in an email), try putting an exclamation mark in brackets after your sarcastic comment, like this:
xxx/ellauri122.html on line 922: Tätä kirjaa en ole jaxanut lukea useista yrityxistä huolimatta, se on niin tympäisevä. Catch-22 is a satirical war novel by American author Joseph Heller. He began writing it in 1953; the novel was first published in 1961. Often cited as one of the most significant novels of the twentieth century, beats me why. Heller was born on May 1, 1923, in Coney Island in Brooklyn, son of poor Jewish parents, Lena and Isaac Donald Heller, from Russia. Heller said that the novel had been influenced by Svejk, Céline, Waugh and Nabokov. Hilariously funny, the novel’s insights are also deadly serious. It is a debris of sour jokes.
xxx/ellauri122.html on line 1092: Capote was born Truman Streckfus Persons in New Orleans, Louisiana, on September 30, 1924. His father, Arch Persons, was a well-educated ne'er-do-well from a prominent Alabama family, and his mother, Lillie Mae Faulk, was a pretty and ambitious young woman so anxious to escape the confines of small-town Alabama that she married Arch in her late teens. Capote's early childhood with Arch and Lillie Mae was marked by neglect and painful insecurity that left him with a lifelong fear of abandonment. His life gained some stability in 1930 when, at age six, he was put in the care of four elderly, unmarried cousins in Monroeville, Monroe County. He lived there full-time for three years and made extended visits throughout the decade. Capote was most influenced by his cousin Sook, who adored him and whom he celebrated in his writings. He also forged what would become a lifelong friendship with next-door neighbor Nelle Harper Lee, who later won the Pulitzer Prize for her book, To Kill a Mockingbird. Capote appears in the novel as the character Dill.
xxx/ellauri123.html on line 557: And here I am now, an engineering school dropout, writing this self-help shit instead, giving clues to the equally clueless.
xxx/ellauri123.html on line 745: Evidence is presented that the author of Lolita, Vladimir Nabokov, was himself consciously a pedophile who acted out his desires vicariously through his writing. Drawing upon his literary works and biography, the manifest and genetic origins of Nabokov´s pedophilia are traced back to an unresolved oedipal conflict complicated by childhood sexual abuse. Humbert Humbert, the protagonist in the novel Lolita, is the classic literary portrayal of a pedophile. Evidence is presented that the author of Lolita, Vladimir Nabokov, was himself consciously a pedophile who acted out his desires vicariously through his writing. Drawing upon his literary works and biography, the manifest and genetic origins of Nabokov´s pedophilia are traced back to an unresolved oedipal conflict complicated by childhood sexual abuse. The raw power of Lolita derives from the abreactive discharge of a libidinal cathexis denied any other mode of expression.
xxx/ellauri123.html on line 1097: young and started writing when she was in the
xxx/ellauri123.html on line 1104: singing, and writing for the school paper.
xxx/ellauri124.html on line 440: remarkable that I can still write — and even more remarkable that writing is
xxx/ellauri125.html on line 447: fantasies he both acted out and channeled into his writing.” Roth, who was
xxx/ellauri125.html on line 485: With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted. After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. With Walton's support, he began Call It Sleep in about 1930, completed the novel in the spring of 1934, and it was published in December 1934, to mostly good reviews. Yet the New York Herald Tribune's book critic Lewis Gannett foresaw that the book would not prove popular with its bleak depiction of New York's Lower East Side, but wrote readers would "remember it and talk about it and watch excitedly" for Roth's next book. Call It Sleep sold slowly and poorly, and after it was out-of-print, critics writing in magazines such as Commentary and Partisan Review kept praising it, and asking for it to be reprinted.[ After being republished in hardback in 1960 and paperback in 1964, with more than 1,000,000 copies sold, and many weeks on the New York Times bestseller list, the novel was hailed as an overlooked Depression-era masterpiece and classic novel of immigration. Today, it is widely regarded as a masterpiece of Jewish American literature. After Muriel's death in 1990, Roth moved into a ramshackle former funeral parlor and occupied himself with revising the final volumes of his monumental work, Mercy of a Rude Stream. It has been alleged that the incestuous relationships between the protagonist, a sister, and a cousin in Mercy of a Rude Stream are based on Roth's life. Roth's own sister denied that such events occurred. Roth attributed his massive writer's block to personal problems such as depression, and to political conflicts, including his disillusion with Communism. At other times he cited his early break with Judaism and his obsessive sexual preoccupations as probable causes. Roth died in Albuquerque, New Mexico, United States in 1995. The character E. I. Lonoff in Philip Roth's Zuckerman novels (The Ghost Writer and Exit Ghost in this case), is a composite of Roth, Bernard Malamud and fictional elements.
xxx/ellauri125.html on line 764: The next several years were marked by publicity surrounding Love's legal troubles and drug relapse, which resulted in a mandatory lockdown rehabilitation sentence in 2005 while she was writing a second solo album. That project became Nobody's Daughter, released in 2010 as a Hole album but without the former Hole lineup. Between 2014 and 2015, Love released two solo singles and returned to acting in the network series Sons of Anarchy and Empire. In 2020, she confirmed she was writing new music.
xxx/ellauri125.html on line 798: In September 1998, Hole released their third studio album, Celebrity Skin, which featured a stark power pop sound that contrasted with their earlier punk influences.She said she was influenced by Neil Young, Fleetwood Mac, and My Bloody Valentine when writing the album. Mullakin oli joku Fleetwood Mac albumi 70-luvulla.
xxx/ellauri127.html on line 256: Hegel (mentioned in p.259 TAL; he married in 1811 and his sister Christian Luise died in 1832) was fascinated by Goethe (and also by Jean-jacques Rousseau (allusion to him in p. TAL « Jean-jacques Humbert« ) and the French Revolution). Goethe published a « Theory of Colours » concerning the light spectrum (a hint, more about this in the final conclusion part). There are recurrent mentions of Goethe in Freud‘s writings. Schopenhauer cited Goethe’s novel « Wilhelm Meister’s Apprenticeship » as one of the four greatest novels ever written, along with « Tristram Shandy« , « La Nouvelle Heloïse« , and « Don Quixote« .
xxx/ellauri127.html on line 618: A person from Porlock was an unwelcome visitor to Samuel Taylor Coleridge during his composition of the poem Kubla Khan in 1797. Coleridge claimed to have perceived the entire course of the poem in an opiatic dream, but was interrupted by this visitor from Porlock while in the process of writing it. Kubla Khan, only 54 lines long, was never completed. Thus "person from Porlock", "man from Porlock", or just "Porlock" are literary allusions to unwanted intruders who disrupt inspired creativity.
xxx/ellauri127.html on line 620: In 1797, Coleridge was living at Nether Stowey, a village in the foothills of the Quantocks. However, due to ill health, he had "retired to a lonely farm house between Porlock and Lynton, on the Exmoor confines of Somerset and Devonshire". It is unclear whether the interruption took place at Culbone Parsonage (Culbone, penisluu, hehe) or at Ash Farm. (Ass farm, puofarmi, hehe.) Jossain sillä välillä takuulla. He described the incident in his first publication of the poem, writing about himself in the third person:
xxx/ellauri127.html on line 743: Endymion received scathing criticism after its release, and Keats himself noted its diffuse and unappealing style. Keats did not regret writing it, as he likened the process to leaping into the ocean to become more acquainted with his surroundings; in a poem to J. A. Hessey, he expressed that "I was never afraid of failure; for I would sooner fail than not be among the greatest." However, he did feel regret in its publishing, saying "it is not without a feeling of regret that I make it public." Not all critics disliked the work. eg. the poet Thomas Hood.  Henry Morley said, "The song of Endymion throbs throughout with a noble poet's sense of all that his art means for him. What mechanical defects there are in it may even serve to quicken our sense of the youth and freshness of this voice of aspiration." Meaning: Dig it mon. Endymionin jälkeen Keaz kommentoi sen vastaanottoa seuraavasti.
xxx/ellauri128.html on line 142: John Fletcher (1579–1625) was a Jacobean playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the early Restoration, his fame rivalled Shakespeare's. He collaborated on writing plays with Francis Beaumont, and also with Shakespeare on two plays.
xxx/ellauri128.html on line 525: He earned his living from writing, particularly popular historical novels such as I, Claudius; King Jesus; The Golden Fleece; and Count Belisarius. He also was a prominent translator of Classical Latin and Ancient Greek texts; his versions of The Twelve Caesars and The Golden Ass remain popular for their clarity and entertaining style. Graves was awarded the 1934 James Tait Black Memorial Prize for both I, Claudius and Claudius the God.
xxx/ellauri128.html on line 544: He had a good education at the lycée in Rouen, falling under the influence of a charismatic teacher, Émile-Auguste Chartier, known as “Alain.” Alain inspired other pupils, too, including Simone Weil and Raymond Aron, urging them to question received ideas. He gave Maurois a love of literature but also, perhaps surprisingly, urged him to take up the mill business after leaving school. Maurois did so, but in his Elbeuf office he kept a secret cupboard filled with Balzac novels and notebooks, and copied out pages of Stendhal to improve his writing style. He became a Kipling enthusiast, and learned excellent English. He travelled to Paris at least one day a week, and frequented brothels there.
xxx/ellauri128.html on line 603: The teachings of George Ivanovitch Gurdjieff played an important role in Anderson's life. Anderson met Gurdjieff in Paris and, together with Leblanc, began studies with him, focusing on his original teaching called The Fourth Way. Along with Katherine Mansfield and Jane Heap, she remains one of the most noted institutees of Gurdjieff´s, Institute for the Harmonious Development of Man, at Fontainebleau, near Paris, from October 1922 to 1924. Anderson studied with Gurdjieff in France until his death in October 1949, writing about him and his teachings in most of her books, most extensively in her memoir, The Unknowable Gurdjieff. By 1942 her relationship with Heap had cooled. Anderson sailed for the United States. Jane Heap had moved to London in 1935, where she led Gurdjieff study groups until her death in 1964. With her passage paid by Ernest Hemingway, Anderson met on the voyage Dorothy Caruso, widow of the singer and famous tenor Enrico Caruso. The two began a romantic relationship, and lived together until Dorothy´s death in 1955. Anderson returned to Le Cannet, and there she died of emphysema on October 19, 1973.
xxx/ellauri128.html on line 630: Maureen Patricia Duffy (born 21 October 1933) is an English poet, playwright, novelist and non-fiction author. Long an activist covering such issues as gay rights and animal rights, she campaigns especially on behalf of authors. She has received the Benson & Hedges Medal for her damn long writings.
xxx/ellauri129.html on line 672: William Wilkie Collins (8 January 1824 – 23 September 1889) was an English novelist and playwright known for The Woman in White (1859), and for The Moonstone (1868), which has been posited as the first modern English detective novel. Born to the London painter William Collins and his wife, he moved with the family to Italy when he was twelve, living there and in France for two years and learning Italian and French. He worked initially as a tea merchant. After publishing Antonina, his first novel, in 1850, Collins met Charles Dickens, who became a friend and mentor. Some Collins work first appeared in Dickens's journals Household Words and All the Year Round. They also collaborated on drama and fiction. Collins gained financial stability and an international following by the 1860s, but began to suffer from gout and became addicted to the opium he took for the pain, so that his health and writing quality declined in the 1870s and 1880s. Collins was critical of the institution of marriage: he split his time between widow Caroline Graves – living with her for most of his adult life, treating her daughter as his – and the younger Martha Rudd, by whom he had three children.
xxx/ellauri136.html on line 70: Anything and everything by Carl Jung - blows your mind and transforms your thinking, love his writing.
xxx/ellauri136.html on line 101: The Pilgrimage by Paulo Coelho—all of his spiritual writings are amazing. I picked this one because the story was closest to my own spiritual journey.
xxx/ellauri136.html on line 105: Annals of the Former World by John McPhee—this is me cheating so I don’t have to say “all of John McPhee’s geology writing”—John McPhee, who made reading about oranges (yes the fruit) interesting, got bit by the geology bug while researching for an essay about geology in the Southwest. I know this feeling. Again, this is engagingly written and most informative.
xxx/ellauri136.html on line 180: The idea of writing a book is so you can break all your rules, personal or not. The point of a writer is to write about characters you probably could never become or want to become. The best writers write outside of themselves. But with that written, not all writers write fiction. Some write memoirs or autobiographies. But maybe the personal rule they are breaking is publishing their personal life.
xxx/ellauri137.html on line 583: Playwriting Shakespeare Tourism Literary Poetry Literature Creative Writing Teaching History Courses Fiction Books Art Theatre American Literature English Literature Academic Writing Teaching English as a Second Language Higher Education Short Stories Freelance Writing Teaching Writing Music College Teaching Literary Criticism Grammar Novels Composition.
xxx/ellauri137.html on line 584: Playwriting, Poetry, Short Stories, Novels, Acting/Reading performance, Travel
xxx/ellauri137.html on line 586:

At Harvard, he majored in engineering sciences, but took the majority of his electives as writing courses. He published his first story, "The Greatest Thing in the World," at the age of 18, winning Story magazine's college contest in 1941.

Early in his career, Mailer typed his own works and handled his correspondence with the help of his sister, Barbara. After the publication of The Deer Park in 1955, he began to rely on hired typists and secretaries to assist with his growing output of works and letters. Among the women who worked for Mailer over the years, Anne Barry, Madeline Belkin, Suzanne Nye, Sandra Charlebois Smith, Carolyn Mason, and Molly Cook particularly influenced the organization and arrangement of his records.

In his writings, he often
xxx/ellauri404.html on line 334: Paizi ei helvetti, vaan näin: Kansainvälinen Q-projekti kokosi 2000-luvun vaihteessa useita kansainvälisesti tunnettuja tutkijoita rekonstruoimaan Q-lähteen sisältöä. Mukana olivat esimerkiksi John Kloppenborg, James Robinson ja Risto Uro. Vuonna 2001 julkaistu Q-rekonstruktio kokoaa niin sanotun Sanontojen evankeliumin (engl. Quotes Gospel) tai Q-evankeliumin muotoon, jossa kadonneen evankeliumin kokonaisuus on hahmotettavissa. Rekonstruktio on englanniksi luettavissa esimerkiksi John Kloppenborgin kotisivustolla täällä. (Jumala ei kenties enää vastaa tästä Toronton nummerosta. Jos ei, se on voi, hän tietää kyllä parhaiten. Onnexi saatana pitää varmuuskopioita mm. täällä. Lisäinfoa myös writings.com/q.html">täällä.) Outoa kyllä Kari Syreeniä ei mainita Q-lähteenä. Kenties sixi että se on menettänyt uskonsa. Uskottavuus meni samalla.
xxx/ellauri407.html on line 78: Watching cheesy programs without feeling bad about it is highly recommended. Ruth Doherty is an experienced digital writer and editor specializing in interiors, travel and lifestyle. With 20 years of writing for national sites under her belt, she’s worked for the likes of Livingetc.com, Standard, Ideal Home, Stylist and Marie Claire as well as Homes & Gardens. When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
xxx/ellauri410.html on line 241: That his bawdy verse was not published anywhere was a continuous joke in Eliotʼs correspondence. When they were finally available to the public in 1996, they received diverse labels: “scatological,” “scabrous,” “obscene,” “pornographic” and “x-rated,” “politically incorrect,” “racist” and “misogynist,” tending towards “coprophilia,” and “grotesquely graphic. In their childish and sordid sexuality these poems have little to do with one of the root meanings of ribald, which is amorous. Instead, they are "descriptions of huge penises, defecations, buggeries and group masturbations." Twenty years later, Eliot was writing Cats, and forgive me, I prefer the kink.
xxx/ellauri410.html on line 1247: Your concept of there being a holy mother that is both man and woman has no spiritual context, it's just a man-made myth invented to contradict the actual word of God. If this concept was indeed in "original scrolls and writings" and is "not difficult to understand" why is it too difficult for you to to quote?
xxx/ellauri415.html on line 50: Nylah Burton is a writer of good journalism and mediocre poetry. She has been described by racists and anti-Semites as “emotional, disrespectful, and volatile.” She thinks this is the best review of her writing she’s ever received. Her frigid grandma has it tattooed on her Fridgidaire. Here is what she writes:
xxx/ellauri427.html on line 164: The writing style feels awkward to me and I simply have no interest in reading any further. I simply don´t care if the mystery gets solved or what happens to any of the characters in the story.
xxx/ellauri427.html on line 199: One Way or Another sounded like a great mystery/thriller. The book, though, dragged on and on and on. I did not think it would ever end (and I really wanted it to end). It took me two tries to get through the whole book. Instead of being a thrilling page turner, it puts you to sleep. This book needed severe editing and rewriting. It had some good bones (the basic idea), but the final product was severely lacking.
xxx/ellauri427.html on line 201: I give One Way or Another 1.5 out of 5 stars (because the basic premise was decent). The writing is lackluster and the book contains a lot of unnecessary descriptive paragraphs. I was not riveted to the sadism and brutality that was prevalent in this book. I’m sure that this genre is very well enjoyed by many, just not by me.
xxx/ellauri438.html on line 173: Max Black was not interested in the psychology of stupid people. Amos was not interested in Mackintosh computers. Max Black (February 24, 1909 – August 27, 1988) was an Azerbaijan-born British-American philosopher who was a leading figure in analytic philosophy in the years after World War II. He made contributions to the philosophy of language, the philosophy of mathematics and science, and the philosophy of art, also publishing studies of the work of philosophers such as Frege. His translation (with Peter Geach) of Frege's published philosophical writing is a classic text. Black was born on February 24, 1909, in Baku, in present-day Azerbaijan. He was of Jewish descent.
xxx/ellauri441.html on line 347: Bernard Lewis was no scholar of Islam. He was a British colonial officer writing intelligence for his fellow officers on how to rule the Muslim world better. Today, when we think of Bernard Lewis’ legacy, we think of the Islamophobic industry that has US President Donald Trump and his gang of billionaires crowned at the White House.  This needs no further evidence and proof than looking at who is praising him after his death. “Bernard Lewis was one of the great scholars of Islam and the Middle East in our time. We will be forever grateful for his robust defense of Israel,” said Israeli Prime Minister Benjamin Netanyahu, himself, of course, another world-class authority on Islam and the Middle East! "As a true scholar and a great man,” chimed in newly minted US Secretary of State Mike Pompeo, another topnotch scholar in the field of Islamic studies, “I owe a great deal of my understanding of the Middle East to his work […] He was also a man who believed, as I do, that Americans must be more confident in the greatness of our country, not less. Thank you, Mr. Lewis, for your life of service.” “You simply cannot find a greater authority on Middle Eastern history,” this according to Dick Cheney, the former vice president who brought us waterboarding and Abu Ghraib torture chambers and who, of course, is also a stellar authority on Islamic history and doctrine himself.  Lewis was an ideological functionary, an intelligence officer, on par with Francis Fukuyama and Samuel Huntington, competing for the ears of powerful people to tell them how to hate Muslims more persuasively.
xxx/ellauri441.html on line 504: El-Ad has elaborated on his characterization of Israel is an apartheid state, writing that it was "apartheid 2.0". International organizations like Human Rights Watch and Amnesty International have arrived at the same conclusion as B'Tselem's description of Israel, describing it as an apartheid state in reports. And all this before the current genocide!
xxx/ellauri442.html on line 103: The tense logic of philosophy for managers is indexed to the present, unlike paradigmatic philosophy that uses backwards-looking operators. (Vähän tässä kyllä on pihlajanmarjan makua.) Mark C Taylor, in his important After God, writes:  thank God it is Friday. See also his The moment of complexity: Emerging network culture. University of Chicago Press. Look at the writings and lives of Dewey, Wittgenstein, and Foucault. Mitä oliko Deweykin hinuri? Ei ollut. The overriding theme of Dewey's works was his profound belief in democracy, be it in politics, education, or communication and journalism. On women he says, "I think too much of women in terms of sex.  Humanism means to me an erection, not a contraction, an expansion in which nature and the science of nature are made the willing servants of human good. To transact is learning to beat the odds or mitigate the common pitfalls involved with living a good and comfortable life by always factoring in the surrounding circumstances of people, places, things and the thinking behind any exchange of work to play. (Okay, touché, I don't quite know myself what that means.)"
xxx/ellauri442.html on line 233: After pursuing philosophical writings during the years of the Second World War, Polanyi in 1948 exchanged his chemistry professorship for a chair of ‘social studies’ at Manchester, retiring in 1959 to Merton College at Oxford as a senior research fellow. The reason was that he was something of a failure as chemist. His son shared a Nobel prize in chemistry. Ille faciet. Mikaa kismitti että Tomppa Kuhn pokkasi kunnian paradigmoilla. Tomppakin oli juutalainen, BTW.
xxx/ellauri442.html on line 291: As in noiseless farting, Eski jatkaa,  so in philosophy and in management, personal engagement is of the essence. Unique, startling, hope-creating, questions-intensive, suggestive style in a clown costume is a philosophical statement. The important interviews gathered in Rorty (2006) are my key source of inspiration. Long live also the literary philosophical genius of a Schopenhauer, Nietzsche or Bergson (a bunch of nincompoops) or, closer to us, the deep humanism and literary brilliance of Isaiah Berlin ✡︎ and George Steiner (Jori ✡︎, eikä Rudi ✡︎), the witty eloquence of Alain de Botton or André Comte-Sponville or the delightfully outrageous Peter Sloterdijk (n.h.). Berlin’s writings yield to no-one in their depth and insight.
xxx/ellauri442.html on line 447: The work of transcribing his spoken word often placed a strain on his secretaries. This reliance on dictation extended to his letters, which were recorded on a Grundig tape recorder. He would often dictate these letters while simultaneously conversing with friends, and his secretary would then transcribe them. At times, the secretary would inadvertently include the author's jokes and laughter in the transcribed text. The product of this unique methodology was a writing style that mimicked his spoken discourse—animated, quick, and constantly jumping from one idea to another. His everyday conversation was vividly mirrored in his works, complete with intricate grammar and punctuation.
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