Honesty is the best policy, says the familiar axiom; but people who are honest on that principle defraud no one but themselves.
Sometimes the last thing learners need is for their preferred learning style to be affirmed. Agreeing to let people learn only in a way that feels comfortable and familiar can restrict seriously their chance for development.
Nature, which alone is good, is wholly familiar and common.
... in the happy laughter of a theatre audience one can get the most immediate and numerically impressive guarantee that there is nothing in one's mind which is not familiar to the mass of persons living at the time.
While it may not heighten our sympathy, wit widens our horizons by its flashes, revealing remote hidden affiliations and drawing laughter from far afield; humor, in contrast, strikes up fellow feeling, and though it does not leap so much across time and space, enriches our insight into the universal in familiar things, lending it a local habitation and a name.
New York has her wilderness within her own borders; and though the sailors of Europe are familiar with the soundings of her Hudson, and Fulton long since invented the steamboat on its waters, an Indian is still necessary to guide her scientific men to its headwaters in the Adirondack country.
What new thoughts are suggested by seeing a face of country quite familiar, in the rapid movement of the rail-road car!
A couple of pieces of advice for the kids who are serious about writing are: first of all, to read everything you can get your hands on so you can become familiar with different forms of writing: fiction, non-fiction, poetry, journalism. That's very important. And also keep a journal. Not so much, because it's good writing practice. Although it is, but more because it's a wonderful source of story starters.
It's always difficult when you want to do something really new, and you also want it to reach the masses, because the majority of people want to see what they've already seen before, or that they're already familiar with. To open the majority of peoples' minds to something new is difficult.
Most of the time, I'm working in places I'm not familiar with. Sometimes it's Slovakia, and sometimes it's Hawaii. Not to bash on Slovakia, but I really did enjoy Hawaii.
I read a random issue when I was a kid, but no, I wasn't super familiar with the characters [Captain Victory] until I started researching them. What I found once I started reading back issues however, was this crazy, sprawling, [Jack] Kirby space epic.
Setting off unknown to face the unknown, against parental opposition, with no money, friends, or influence, ran it a close second. Clichés like "blazing trails," flying over "shark-infected seas," "battling with monsoons," and "forced landings amongst savage tribes" became familiar diet for breakfast. Unknown names became household words, whilst others, those of the failures, were forgotten utterly except by kith and kin.
Anywhere in New York, anywhere in the country, somewhere there's going to be a Coke sign. People identify with Coke. You can write a novel about New York and people from the country will read it if they feel that you've made them familiar with New York.
At first you're doing it for yourself, it's about what sounds good to you. It's about expressing yourself. Then you get comfortable as an artist and you find yourself and people get familiar.
Even when other powers have been lost and people may not even be able to understand language, they will nearly always recognize and respond to familiar tunes. And not only that. The tunes may carry them back and may give them memory of scenes and emotions otherwise unavailable for them.
I like to tell untold true stories, or the lesser-known aspects of larger, familiar stories. I think people or topics that are slightly on the edge or outside the mainstream often reveal more than better-known stories.
I don't love playing new songs in a festival environment. Because when it comes to a festival a lot of people probably won't know your band really well at all so playing more familiar songs is a little more conducive in having a better show.
When you teach on a familiar text, you're capitalizing on common knowledge. When you teach on an unfamiliar text, you're having to build a bridge of understanding, and we need to do that as well.
I can't imagine how American readers will react to a novel, but if the story is appealing it doesn't matter much if you don't catch all the detail. I'm not too familiar with the geography of nineteenth century London, for instance, but I still enjoy reading Dickens.
You make sexiness strong by balancing it out: something familiar with something unfamiliar, something masculine with something feminine, something streamlined with something rococo. It's a Yin and Yang. Women are made of layers, your mood shifts, no one is neither one extreme nor the other.
You have this idea that you think is awesome. You want to have that broadest group you possibly can. You don't want to just talk to 1 type of person and learn that, you want to get familiar with the space.
I am thoughtful about introducing terms that tend to be in circulation primarily in academic circles. "Homonormativity" and "homonationalism" are by no means solely academic terms, and in fact circulate in important ways in many activist circles, but in general I find them to be terms that most people I meet are not familiar with.
I spent a good portion of my life being unable to honor my feelings. When I started the process of having real friendships it was a huge change. I still struggle with it because it is not familiar ground.
As a student in England, I studied French and English literature. I read L'Etranger and the rhythm of the novel felt familiar to me - very African.
If a book has a predictable storyline or familiar situations, there's little satisfaction for me in writing it. A woman deciding which man she'll spend her life with? I've read that story a million times, but a stepmother deciding which of her children she'll save in a freak accident? Now that's a challenge.
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