A Quote by Lisa Kleypas
What flaw could you possibly find in his appearance?" "His posture," Hannah muttered. "What about it?" "He slouches." "He's an American. They all slouch. The weight of their wallets drags them over.
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When an archer desires to shoot his arrows successfully, he first takes great pains over his posture and aligns himself accurately with his mark. It should be the same for you who are about to shoot the head of the wicked devil. Let us be concerned first for the good order of sensations and then for the good posture of inner thoughts.'
A telkhine was hunched over a console, but he was so involved with his work, he didn't notice us. He was about five feet tall, with slick black seal fur and stubby little feet. He had the head of a Doberman, but his clawed hands were almost human. He growled and muttered as he tapped on his keyboard. Maybe he was messaging his friends on uglyface.com.
You have many flaws, he announced... “But there was one flaw that made all the other imperfections pale in comparison.” “Was?” she asked. “I don't have this flaw any longer?” “No, you don't.” “Pray tell,” she muttered in exasperation, “what was this terrible flaw?” He grinned. “You used to be English.
I know a bit about his [Sirk] life, but it's more about his style than biography. He was European and came out of a theater background, and could easily be defined as 'Brechtian.' He was expressionistic in his films, and was an example of those intensely intellectual artists who ended up working for American studios, and was handed the Ladies Home Journal and asked to adapt the stories for the screen. He found ways to use his artistry to make them interesting and nuanced, while critiquing American values in the process.
It was inevitable: Yankel fell in love with his never-wife. He would wake from sleep to miss the weight that never depressed the bed next to him, remember in earnest the weight of gestures she never made, long for the un-weight of her un-arm slung over his too-real chest, making his widower's rememberences that much more convincing and his pain that much more real.
What kind of man reads Playboy? He is fastidious about his appearance, his home and his possessions. He wants as much sex as possible and chooses sexual partners mostly on the basis of appearance. He is self-absorbed and doesn't want emotional involvement or commitment. He thinks a woman and children would be a burden.
But do you really mean, Sir," said Peter, "that there could be other worlds-all over the place, just round the corner-like that?" "Nothing is more probable," said the Profesor, taking off his spectacles and beginning to polish them, while he muttered to himself, "I wonder what they do teach them at these schools.
I am sure that nothing has such a decisive influence upon a man's course as his personal appearance, and not so much his appearance as his belief in its attractiveness or unattractiveness.
Every man's own character is written so all who will may read it, in the expression of his eyes, the tone of his voice, the posture of his body, the style of his clothes, and the nature of his deeds!
An Atlas, whose back is bowed and whose hands are busy holding up the world, has no arms to lift to deal with his own defense. Increase his burdens and you will crush him...This is our present posture...This suggestions I make...would...conserve American lives for American ends.
An actor is totally vulnerable. His total personality is exposed to critical judgment - his intellect, his bearing, his diction, his whole appearance. In short, his ego.
The science of psychology has been far more successful on the negative than on the positive side... It has revealed to us much about man's shortcomings, his illnesses, his sins, but little about his potentialities, his virtues, his achievable aspirations or his psychological health... We must find out what psychology might be if it could free itself from the stultifying effects of limited, pessimistic and stingy preoccupations with human nature.
My dear children!" Nellie whopped him upside the head with her backpack. "Ow!" Uncle Alistair curled over, cupping his hand over his good eye. "Nellie!" Amy said. "Sorry," Nellie muttered. "I thought he was one of the bad guys.
In fact, whatever exists in the universe, in essence, in appearance, in the imagination, the painter has first in his mind and then in his hands ... it lies in his power to create them . . .
Speed is the form of ecstasy the technical revolution has bestowed on man. As opposed to a motorcyclist, the runner is always present in his body, forever required to think about his blisters, his exhaustion; when he runs he feels his weight, his age, more conscious than ever of himself and of his time of life. This all changes when man delegates the faculty of speed to a machine: from then on, his own body is outside the process, and he gives over to a speed that is noncorporeal, nonmaterial, pure speed, speed itself, ecstasy speed.
The dark prince sat astride his black steed, his sable cape flowing behind him. A golden circlet bound his blond locks, his handsome face was cold with the rage of battle, and... "And his arm looked like an eggplant," Clary muttered to herself in exasperation.
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