欧宝娱乐

“She hugged him and said, 鈥淔lowers and ravens,鈥� because she wanted him to know she remembered.
Then she hugged Matthew and said, 鈥淢y love,鈥� because he was her favorite.
She said nothing at all to Declan, because he wasn鈥檛 there.”
― Maggie Stiefvater, The Dream Thieves

“In many a case, the phrase 鈥業鈥檇 like to get to know you better鈥� is a euphemism for 鈥業 want us to fuck.”
― Mokokoma Mokhonoana

“If I鈥檓 asking what kind of 鈥榬eturn鈥� I should be expecting on the sacrifices I鈥檓 making, I have in that question revealed the need to 鈥榬eturn鈥� that question to wherever I found it and have the word 鈥榬eturn鈥� edited out of it.”
― Craig D. Lounsbrough

“袠蟹屑芯褉芯褋褜 锌芯谢懈胁邪谢邪 锌褉芯褏芯卸懈褏: 薪邪谐褉邪卸写邪谢邪 懈褏 谐褉懈锌锌邪屑懈; 胁屑械褋褌械 褋 褌芯薪泻芯褞 锌褘谢褜褞 写芯卸写褟 懈薪褎谢褍褝薪褑褘 懈 谐褉懈锌锌褘 蟹邪锌芯谢蟹邪谢懈 锌芯写 锌褉懈锌芯写薪褟褌褘泄 胁芯褉芯褌薪懈泻: 谐懈屑薪邪蟹懈褋褌邪, 褋褌褍写械薪褌邪, 褔懈薪芯胁薪懈泻邪, 芯褎懈褑械褉邪, 褋褍斜褗械泻褌邪; 懈 褋褍斜褗械泻褌 (褌邪泻 褋泻邪蟹邪褌褜, 芯斜褘胁邪褌械谢褜) 芯蟹懈褉邪谢褋褟 褌芯褋泻谢懈胁芯; 懈 谐谢褟写械谢 薪邪 锌褉芯褋锌械泻褌 褋褌械褉褌芯-褋械褉褘屑 谢懈褑芯屑; 褑懈褉泻褍谢懈褉芯胁邪谢 芯薪 胁 斜械褋泻芯薪械褔薪芯褋褌褜 锌褉芯褋锌械泻褌芯胁, 锌褉械芯写芯谢械胁邪谢 斜械褋泻芯薪械褔薪芯褋褌褜, 斜械蟹 胁褋褟泻芯谐芯 褉芯锌芯褌邪 鈥� 胁 斜械褋泻芯薪械褔薪芯屑 褌芯泻械 褌邪泻懈褏 卸械, 泻邪泻 芯薪,鈥� 褋褉械写懈 谢褢褌邪, 谐褉芯褏芯褌邪, 褌褉械锌械褌邪薪褜褟, 锌褉芯谢械褌芯泻, 褋谢褍褕邪褟 懈蟹写邪谢懈 屑械谢芯写懈褔薪褘泄 谐芯谢芯褋 邪胁褌芯屑芯斜懈谢褜薪褘褏 褉褍谢邪写 懈 薪邪褉邪褋褌邪褞褖懈泄 谐褍谢 卸械谢褌芯-泻褉邪褋薪褘褏 褌褉邪屑胁邪械胁 (谐褍谢 锌芯褌芯屑 褍斜褘胁邪褞褖懈泄 褋薪芯胁邪), 胁 薪械锌褉械褉褘胁薪芯屑 芯泻褉懈泻械 谐芯谢芯褋懈褋褌褘褏 谐邪蟹械褌褔懈泻芯胁.”
― Andrei Bely, Petersburg

“...in our world, even if you express your true thoughts, you must do so in an appropriately euphemistic way.”
― Cixin Liu, The Dark Forest

“You could not have had a conversation about women鈥檚 right to vote and men鈥檚 need to grant it without naming women and men. (...) Naming who has access and who doesn鈥檛 guides our efforts in challenging injustice.”
― Robin DiAngelo, White Fragility: Why It's So Hard for White People to Talk About Racism

“When he took a bite of his sandwich, the bread seemed to swell up in his mouth. He could hardly swallow it and pushed his plate aside.”
― Steig Larsson, The Girl with the Dragon Tattoo: Books 1-3

“No writer ever knows enough words but he doesn鈥檛 have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax.
My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results.
I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: 鈥榩anoply鈥� meaning 鈥榓 full set of armor鈥�, 鈥榗alendar鈥� meaning 鈥榓 printed index to a jumbled group of related manuscripts or papers鈥�.
鈥擟hapter IX 鈥淚ntellectual Equipment鈥�, page 306”
― James A. Michener, The World Is My Home: A Memoir

“I suppose my attitude toward the creative process is much like that of Alexandre Dumas pere when he was approached by a young aspirant who boasted that he was going to write a novel much better than either 鈥淭he Three Musketeers鈥� or 鈥淭he Count of Monte Cristo鈥�.
鈥楬ave you an attractive setting?鈥� the veteran writer asked politely, and the young man replied: 鈥楾he greatest! Ominous islands. Gleaming castles. Wooded glens with gracious mansions.鈥�
鈥楬ave you interesting characters?鈥�
鈥楰ings and princesses and dubious cardinals.鈥�
鈥楤ut have you a logical plot to tie this together?鈥�
鈥楢 most ingenious one. Twists and turns that will bewilder and delight.鈥�
Said Dumas: 鈥榊oung man, you鈥檙e in excellent shape. Now all you need are two hundred thousand words, and they鈥檇 better be all the right ones.鈥欌€�
鈥擟hapter IX, 鈥淚ntellectual Equipment鈥�, pages 311-312”
― James A. Michener, The World Is My Home a Memoir