But many, many stories were told; from what could be gathered, all fifty of the mine's inhabitants had reacted on each other, two by two, as in combinatorial analysis, that is to say, everyone with all the others, and especially every man with all the women, old maids or married, and every woman with all the men. All I had to do was to select two names at random, better if different sex, and ask a third person, "What happened with those two?" and lo and behold, a splendid story was unfolded for me, since everyone knew the story of everyone else.
One third, more or less, of all the sorrow that the person I think I am must endure is unavoidable. It is the sorrow inherent in the human condition, the price we must pay for being sentient and self-conscious organisms, aspirants to liberation, but subject to the laws of nature and under orders to keep on marching, through irreversible time, through a world wholly indifferent to our well-being, toward decrepitude and the certainty of death. The remaining two thirds of all sorrow is homemade and, so far as the universe is concerned, unnecessary.
In my opinion, visual effects are great when it compliments a good story, and action is great when it compliments a good story, but just to have them for the sake of having them, it gets a little boring, especially if you're talking a TV series. At least with a movie that's an hour and a half to two hours, you see it and you're impressed, and then you're out. With a series, if it's only that, week after week after week, there's nothing there to bring you back. You have to get invested in the characters and care about them and want to follow them.
Half an hour later, each of them had been given a complicated circular chart, and was attempting to fill in the position of the planets at their moment of birth. It was dull work, requiring much consultation of timetables and calculation of angles. “I’ve got two Neptunes here,” said Harry after a while, frowning down at his piece of parchment, “that can’t be right, can it?” “Aaaaah,” said Ron, imitating Professor Trelawney’s mystical whisper, “when two Neptunes appear in the sky, it is a sure sign that a midget in glasses is being born, Harry . . .
A lot of attention has been paid in Latin America to the new generation of nonfiction writers, authors like Julio Villanueva Chang, Diego Osorno, Cristóbal Peña, Gabriela Wiener, Leila Guerriero, Cristian Alarcón, among others. These are writers doing important, groundbreaking work. So the talent is there, as is the habit of radio listenership, and what we propose to do is unite the two. We want to have these immensely gifted journalists - men and women who've already revitalized the long-form narrative - we want them to tell their stories in sound.
I was just working in the shop and all of a sudden something just triggered in me, and I started shaking. And then I walked back into the house and my wife asked, 'What's the matter?' And I said, 'I don't feel good.' And tears, uncontrollable tears, was coming out of my eyes and she says, 'What's the matter?' And I told her. I said, 'I just thought about that execution that I did two days ago, and everybody else's that I was involved in.' And what it was, something triggered within, and it just, everybody - all of these executions all sprung forward.
Civil rights, as we may remember, are reducible to three primary heads; the right of personal security; the right of personal liberty; and the right of private property. In a state of slavery, the two last are wholly abolished, the person of the slave being at the absolute disposal of his master; and property, what he is incapable, in that state, either of acquiring, or holding, in his own use. Hence, it will appear how perfectly irreconcilable a state of slavery is to the principles of a democracy, which form the basis and foundation of our government.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
If there is something that you have to do, resist the temptation to do it under duress. Ask yourself, "What's the worst thing that would happen if I didn't do this?" And if you can get away with not doing it at all, don't do it. And then imagine what would it feel like to have this done. Spend a day or two, if you can, just 15 minutes here, 5 minutes here, 2 minutes here, here and here, imagining it completed in a way that pleases you! And then, the next time you decide that you're going to take action about it, the action is going to be a whole lot easier.
You wish they understood, as you do, that there is no escape and never was, that from the moment two cells combined to become one they were doomed. You wish they understood that there is joy in this fact, greater joy and love in just this one last moment than they experienced in the entirety of their lives. Because even in this last moment there is still Everything, whole galaxies and eons, the sum total of every experience across time, shrunk to the head of a pin, theirs for the asking, right here, right now. And so anything, anything, anything is possible.
I had two chances to fail [working for Disney]. The first one, they said was "too juvenile." The second one was,they give you general areas to work in. They said, "Set 'My Fair Lady' in ancient Egypt."I came up with this idea about an Egyptian princess, and I gave her, as a sidekick, a little scarab. I had a telephone meeting with the executive "handling" me, and he said, "I looked over the notes. Very cute. But lose the beetle.Beetles don't talk." Well, how do you answer that? I said, "Excuse me just a moment, I've got a teacup calling me on the other line."
There was a time, with the Berlin Wall down, that [it looked as if] the UN finally could do what it was set up to do, the rivalry between the two camps would dissipate, and we could all co-operate. And then, of course, Iraq came and blew it all apart. These upheavals will always take place in the world, and the design and construct of the UN ideally should be such that it can deal with these upheavals, and possibly influence them, and survive and thrive, but it doesn't work out that way, because as an organisation we are so dependent on the same member states.