Read through the most famous quotes by topic #ria
Reírse de ellos, ridiculizarlos, hacerlos sentir desamparados; sólo así podría cambiar algo. Una labor de Sísifo, sí, pero vale la pena emprenderla y, además, reduce la monotonía de la vida. Si resulta imposible humanizar esos rostros de hormigón armado que los políticos aspiran a adquirir desde su primer pinche puestecito, al menos se podría logra hacer visibles algunas craqueladuras. Los jóvenes están hasta la madre de tanta tontería, ya ni siquiera se asoman al Museo de Antropología para no ver reproducidos en la Coatlicue los hieráticos gestos de sus dirigentes. Es necesario que todo el mundo aprenda a reírse de esos monigotes ridículos y siniestros que dirigen a la nación como si por su boca se expresara la historia, no la viva, eso nunca, sino la que ellos han embalsamado. Cualquier novedad los amedrenta. ↗
Now some of you will say that the two are one and the same - happiness and joy - but this is not so. Happiness is a feeling. Happiness is fleeting, dependent on the moment, the circumstances, even the weather. Joy is transcendent, enduring, and, in the biblical context, is not an emotion. Joy is an attitude of the heart. Joy brings us peace, a refuge in the midst of troubles. God gives us joy through His Spirit. But the enemy tries to steal your joy and give you temporary happiness instead. Now, is there anything wrong with being happy? Nee, but it cannot last. So, you may wonder why I bring up the difference between these two - it is simple really. [...] marriage is sacred before the Lord, a decision for a lifetime, but too often I think young people look upon it as a source of happiness. Do not look at marriage this way. See it as a reservoir of joy, a deep, welling spring that endures the icy blast of temper, the bite of an angry word, the void of loneliness in a heart hungry for talk when there is no response. [...] Seek joy in each other, not happiness. ↗
But if all maximizing models are really arguing is that “people will always seek to maximize something,” then they obviously can’t predict anything, which means employing them can hardly be said to make anthropology more scientific. All they really add to analysis is a set of assumptions about human nature. The assumption, most of all, that no one ever does anything primarily out of concern for others; that whatever one does, one is only trying to get something out of it for oneself. In common English, there is a word for this attitude. It’s called “cynicism.” Most of us try to avoid people who take it too much to heart. In economics, apparently, they call it “science. ↗
Imperial is like Robert Caro’s The Power Broker with the attitude of Mike Davis’s City of Quartz, if Robert Caro had been raised in an abandoned grain silo by a band of feral raccoons, and if Mike Davis were the communications director of a heavily armed libertarian survivalist cult, and if the two of them had somehow managed to stitch John McPhee’s cortex onto the brain of a Gila monster, which they then sent to the Mexican border to conduct ten years of immersive research, and also if they wrote the entire manuscript on dried banana leaves with a toucan beak dipped in hobo blood, and then the book was line-edited during a 36-hour peyote séance by the ghosts of John Steinbeck, Jack London, and Sinclair Lewis, with 200 pages of endnotes faxed over by Henry David Thoreau’s great-great-great-great grandson from a concrete bunker under a toxic pond behind a maquiladora, and if at the last minute Herman Melville threw up all over the manuscript, rendering it illegible, so it had to be re-created from memory by a community-theater actor doing his best impression of Jack Kerouac. With photographs by Dorothea Lange. (Viking has my full blessing to use that as a blurb.) ↗
When a man isn't married, it takes all the excitement out of the relationship. When a man is married, he just gets clingy and wants to leave his wife for you. That is why the only satisfying love affair a woman can have is with a boy. A boy on the cusp of manhood offers heterogeneous possibilities for monogamous adultery. ↗
No, you will listen. For once, you're going to hear something that doesn't fit into your neat, compartmentalized world of order and logic and reason. Because this isn't reasonable. If you're terrified, believe me--this scares the hell out of me, too. You asked about Rose? I tried to be a better person for her--but it was to impress her, to get her to want me. But when I'm around you, I want to be better because...well, because it feels right. Because I want to. You make me want to become something greater than myself. I want to excel. You inspire me in every act, every word, every glance. I look at you, and you're like...like light made into flesh. I said it on Halloween and meant every word: you are the most beautiful creature I have ever seen walking this earth. And you don't even know it. You have no clue how beautiful you are or how brightly you shine. ↗
The husband is the head of the wife just in so far as he is to her what Christ is to the Church - read on - and give his life for her (Eph. V, 25). This headship, then, is most fully embodied not in the husband we should all wish to be but in him whose marriage is most like a crucifixion; whose wife receives most and gives least, is most unworthy of him, is - in her own mere nature - lease lovable. For the Church has not beauty but what the Bride-groom gives her; he does not find, but makes her, lovely. The chrism of this terrible coronation is to be seen not in the joys of any man's marriage but in its sorrows, in the sickness and sufferings of a good wife or the faults of a bad one, in his unwearying (never paraded) care or his inexhaustible forgiveness: forgiveness, not acquiescence. As Christ sees in the flawed, proud, fanatical or lukewarm Church on earth that Bride who will one day be without spot or wrinkle, and labours to produce the latter, so the husband whose headship is Christ-like (and he is allowed no other sort) never despairs. ↗
I end up watching this movie about some girl who's supposed to be so smart and edgy and unpopular. She wears glasses, that's how you know she's so smart. And she's the only one that has dark hair in the school- a place that looks like Planet Blond. Anyway, she somehow ends up going to the prom- hello, gag- and she doesn't wear her glasses, so suddenly she's all beautiful. And she's bashful and shy because she doesn't feel comfortable wearing a dress. But then the guy says something like, "Wow, I never knew you were so pretty," and she feels on top of the world. So, basically, the whole point is she's pretty. Oh, and smart, too. But what's really important here is that she's pretty. For a second I think about Katie. About her thin little Clarissa Le Fey. It must be a pain being fat. There are NO fat people on Planet Blond. I don't get it. I mean, even movies where the actress is smart- like they seem like they'd be smart in real life, they're all gorgeous. And they usually get a boyfriend somewhere in the story. Even if they say they don't want one. They always, always end up falling in love, and you're supposed to be like, "Oh, good." I once said this to my mom, and she laughed. "Honey, Hollywood... reality- two different universes. Don't make yourself crazy." Which made me feel pretty pathetic. Like I didn't know the difference between a movie and the real world. But then when everyone gets on you about your hair and your clothes and your this and your that, and "Are you fat?" and "Are you sexy?" you start thinking, Hey, maybe I'm not the only one who can't tell the difference between movies and reality. Maybe everyone really does think you can look like that. And that you should look like that. Because, you know, otherwise you might not get to go to the prom and fall in love. ↗
