When you choose whether to make or keep a covenant with God, you choose whether you will leave an inheritance of hope to those who might follow your example.
From what might appear to you to be small choices, the Lord will lead you to the happiness you want. Through your choices He will be able to bless countless others.
The problems of our day loom ominously before us... Surrounded by the sophistication of modern living, we look heavenward for that unfailing sense of direction, that we might chart and follow a wise and proper course. Our Heavenly Father will not leave our sincere petition unanswered.
It might sound contrary to the wisdom of the world to suggest that one who is burdened with sorrow should give thanks to God. But those who set aside the bottle of bitterness and lift instead the goblet of gratitude can find a purifying drink of healing, peace, and understanding.
Even if you do something that others might consider wrong, you should at least be willing to talk about it and tell your parents what you're doing because you believe it's right.
But now, instead of discussion and argument, brute force rises up to the rescue of discomfited error, and crushes truth and right into the dust. 'Might makes right,' and hoary folly totters on in her mad career escorted by armies and navies.
Try as I might, I could not look at an overhead projection of a growth profit matrix and stay conscious.
I always live in the present. I never dream about what might happen. Why? It might not.
I love the combination of smartness, pain, and what one might call conscious postmodern trashiness in this book: a version of the erotic full of nervous tension which animates the sensuality, and also Zimroth's feeling for words, compressed, ironic, withholding, but also 'asking for it . . . the siege, the thrill, the battle fatigue.' A profoundly urban book, of harsh memory and fantasy, set in harsher reality.
Hump it, bump it, whack it! It might be a recipe for a good sex life but it won't win the World Cup.
When I was 5, someone thought it was smart to let me watch The People Under the Stairs. It might not have even been that scary, but I do remember skinned people in cages under the stairs and a man who lived in a wall without a tongue… and that’s why I cry after sex.
I know a lot of people have a hard time talking dirty - they dont know what to say, how to start, or when to end it. Also, at first they will think they sound ridiculous. And they might. But let me just say that talking dirty is so important in sex. And its pretty easy. To wit: Establish from the very beginning that you like this. And trust me, you want to do it early on. Because if you wait too long to introduce the concept, your Special Lady Friend will be a little thrown and might not take you seriously.
Failed relationships can be described as so much wasted makeup. Forget the laughs, forget the fights, forget the sex, forget the jealousy. But take off your hat and observe a moment's silence for the legions of unknown tubes of foundation, mascara, eyeliner, blusher and lipstick who died that it might all have been possible. But who died in vain.
Sex might satisfy, food might fuel, love might sustain, but without coffee, what is the point?
Which country is real, mine or the teacher's? My wish is that we might progressively lose our confidence in what we think we believe and the things we consider stable and secure, in order to remind ourselves of the infinite number of things still waiting to be discovered.
What children can do with the assistance of others might be in some sense even more indicative of their mental development than what they can do alone
Thus if we know a child has had sufficient opportunity to observe and acquire a behavioral sequence, and we know he is physically capable of performing the act but does not do so, then it is reasonable to assume that it is motivation which is lacking. The appropriate countermeasure then involves increasing the subjective value of the desired act relative to any competing response tendencies he might have, rather than having the model senselessly repeat an already redundant sequence of behavior.
I was the first records editor at Rolling Stone, and there were no rules. There was nothing to fall back on as to how do you write about this kind of music, so people were trying absolutely everything with a great sense of freedom and experimentation and success and failure, and a feeling of, “My God, people are actually paying attention to this. Let’s pretend they aren’t because we don’t want to be intimidated by what somebody might think of what we’re saying.
Every deadline was a crisis … No doubt it has something to do with a deep-seated personality defect, or maybe a kink in whatever blood vessel leads into the pineal gland … On the other hand, it might easily be something as simple and basically perverse as whatever instinct it is that causes a jackrabbit to wait until the last possible second to dart across the road in front of a speeding car.
It's been my habit of mind, over these years, to understand that every situation in which human beings are involved can be turned on its head. Everything someone assures me to be true might not be. Every pillar of belief the world rests on may or may not be about to explode. Most things don't stay the way they are very long. Knowing this, however, has not made me cynical. Cynical means believing that good isn't possible; and I know for a fact that good is. I simply take nothing for granted and try to be ready for the change that's soon to come.
But, like all metaphoric wars, the copyright wars are not actual conflicts of survival. Or at least, they are not conflicts for survival of a people or a society, even if they are wars of survival for certain businesses or, more accurately, business models. Thus we must keep i mind the other values or objectives that might also be affected by this war. We must make sure this war doesn't cost more than it is worth. We must be sure it is winnable, or winnable at a price we're willing to pay.
The truth is I am inventing the maybe. I can only make the choices I make, so why torture myself with what I might have done, when all I can handle is what I have done? The Maybe Islands are hostile to human life.
Performance wasnt something that I intended to do. I was doing work that was about process, about the meaning of the making, trying to have a love-hate relationship with the object. I always feel safer if I can bring the viewer back to the making of it. I try to do that in a lot of different ways, by residue, by touch, by these processes that are basic to all of our lives...that people might relate to in terms of process, everyday activities- bathing, eating, etc.
If God were to appear in my room, obviously I would be in awe, but I don't think I would be humble. I might cry, but I think he would dig me like crazy.
Think of a country where people were admired for running away in battle, or where a man felt proud of double-crossing all the people who had been kindest to him. You might just as well try to imagine a country where two and two made five.
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