language

There is absolutely nothing feminine about the colour pink, or, anything bad-luck'ish about the colour black _ in itself.

It says a lot about Sandberg__ brand of feminism that this campaign focuses on policing language rather than bringing attention to important issues that have real impact on women and girls

We speak, but it is God who teaches.

She had to fight against developing too combative a personality or becoming altogether a misanthrope. She suddenly caught herself. "Misanthrope" is someone who dislikes everybody, not just men.And they certainly had a word for someone who hates women: "misogynist." But the male lexicographers had somehow neglected to coin a word for the dislike of men. They were almost entirely men themselves, she thought, and had been unable to imagine a market for such a word.

Male supremacy is fused into the language, so that every sentence both heralds and affirms it. Thought, experienced primarily as language, is permeated by the linguistic and perceptual values developed expressly to subordinate women. Men have defined the parameters of every subject. All feminist arguments, however radical in intent or consequence, are with or against assertions or premises implicit in the male system, which is made credible or authentic by the power of men to name. No transcendence of the male system is possible as long as men have the power of naming... As Prometheus stole fire from the gods, so feminists will have to steal the power of naming from men, hopefully to better effect.

In the grammar of the phallus -- the I, I, I -- [woman] can't utter female experience.

Language is music. Written words are musical notation. The music of a piece of fiction establishes the way in which it is to be read, and, in the largest sense, what it means. It is essential to remember that characters have a music as well, a pitch and tempo, just as real people do. To make them believable, you must always be aware of what they would or would not say, where stresses would or would not fall.

[Referring to passage by Alice Munro] Finally, the passage contradicts a form of bad advice often given young writers -- namely, that the job of the author is to show, not tell. Needless to say, many great novelists combine "dramatic" showing with long sections of the flat-out authorial narration that is, I guess, what is meant by telling. And the warning against telling leads to a confusion that causes novice writers to think that everything should be acted out -- don't tell us a character is happy, show us how she screams "yay" and jumps up and down for joy -- when in fact the responsibility of showing should be assumed by the energetic and specific use of language.

I mutter and mutter and no one to listen. I speak my words in Japanese and my daughter will not hear them. The words that come from our ears, our mouths, they collide in the space between us."Obachan, please! I wish you would stop that. Is it too much to ask for some peace and quiet? You do this on purpose, don__ you? Don__ you! I just want some peace. Just stop! Please, just stop.""Gomennasai. Waruine, Obachan wa. Solly. Solly."Ha! Keiko, there is method in my madness. I could stand on my head and quote Shakespeare until I had a nosebleed, but to no avail, no one hears my language. So I sit and say the words and will, until the wind or I shall die. Someone, something must stand against this wind and I will. I am.

It was always this way: The more people talked, the more they obscured. You didn't need to argue for the truth. You could see it.

The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction.

First off, I call them "children", not "kids". I am a child, and I am not ashamed to be one; time will cure this unfortunate condition. "Kid" is the cutesy name adults call children, because they think "child" sounds too scientific and clinical. I refuse to call myself by their idiotic pet name. Your grandmother might call you "Snugglepants Lovebotton", but that's not how you introduce yourself to strangers. I also refuse to use terms like "teen", "tween", and etc. I find them patronizing and putrid. They are fake words, used to disguise the truth--that anyone under the age of eighteen is legally (and that's the only thing that matters) a child.

The Art of Writing for Children is the knowledge of what is significant to them

From time to time I try to imagine this world of which he spoke--a culture in whose mythology words might be that precious, in which words were conceived as vessels for communications from the heart; a society in which words are holy, and the challenge of life is based upon the quest for gentle words, holy words, gentle truths, holy truths. I try to imagine for myself a world in which the words one gives one's children are the shell into which they shall grow, so one chooses one's words carefully, like precious gifts, like magnificent gifts, like magnificent inheritances, for they convey an excess of what we have imagined, they bear gifts beyond imagination, they reveal and revisit the wealth of history. How carefully, how slowly, and how lovingly we might step into our expectations of each other in such a world.

Kids use words in ways that release hidden meanings, revel the history buried in sounds. They haven't forgotten that words can be more than signs, that words have magic, the power to be things, to point to themselves and materialize. With their back-formations, archaisms, their tendency to play the music in words--rhythm, rhyme, alliteration, repetition--children peel the skin from language. Words become incantatory. Open Sesame. Abracadabra. Perhaps a child will remember the word and will bring the walls tumbling down.

If I could speak all the languages of earth and of angels, but didn't love others, I would only be a noisy gong or a clanging cymbal.

From language to no-language is the journey and certainly every master has to use lies to attract you, to make you aware of your mindlessness, your stupidity. That's why I tell you to relish this very moment, and when you squeeze out the juice of every moment, then you will realise that there is nothing worthy in this world, then for the first time you start turning IN-wards, not otherwise!

The more words I have, the more distinct, precise my perceptions become--and such lucidity is a form of joy.