Rick Black writes with the honed elegance of a poet so in command of lyric sentiment and the efficient evocative use of language that what results is indeed as urgent and vulnerable as true prayer ... There is something profoundly human and completely necessary about Star of David.
With Head Off & Split, Nikky Finney establishes herself as one of the most eloquent, urgent, fearless and necessary poets writing in America today. What makes this book as important as anything published in the last decade is the irresistible music, the formal dexterity and the imaginative leaps she makes with metaphor and language in these simply stunning poems. This is a very, very important achievement.
Language is a weapon, keep it honed!
I know what the structure of the language is.
The more I think about language, the more it amazes me that people ever understand each other at all.
To me, that's the biggest problem with hip-hop today is the fact that everyone believes that all of hip-hop is rap music, and that, when you say "hip-hop," it's synonymous with rap. That when you say "hip-hop," you should be thinking about breakdancing, graffiti art, or MCing - which is the proper name for rap - DJing, beat-boxing, language, fashion, knowledge, trade. You should be thinking about a culture when you say, "hip-hop.".
French is a foreign language, but I've been speaking it since I was 18 so it's second nature to me.
It's very hard having a career in different continents and two different languages.
I really like acting in French. It's actually quite different for me, from acting in English. It's fun acting in a foreign language. You're liberated or freed from preconceptions.
I want to eat good Italian food and get better at their language. It seems so romantic too.
Someone gave me the Love Languages book, and that has been the best book I've ever read about relationships and has helped me the most.
As you can see, I speak many languages, including the language of sex.
If only"the saddest words in the English language.
In many ways, religion comes from the same place in us that art comes from. The language of the human heart if poetry
Make peace with guilt. Guilt is a poisonous illusion. Many languages don't even have a word for guilt.
The initial 18th-, 19th-century intention was to give the less-educated lower classes a way to move up into this new, rising middle class, to enable them to fit in. So our view of language as being class-based is an unintended consequence of the drive to help educate rising businessmen.
I certainly self-police my language depending on who I'm talking to. I try to be very careful about using filler words, about not drawling certain vowels, even when I can't say "drawl" without drawling. That's kind of sad, because self-policing inhibits communication. You're more focused on the words coming out of your mouth or that should not be coming out of your mouth than making a connection with the person you're speaking to.
Whenever you try and simplify how people speak, it's just hard to squish them into a simple rule. Language doesn't work that way.
I make the case in the book that Standard English, that language we all aspire to live and move and have our being within, is actually based on a fiction. It's not anyone's native way of speaking or writing. That's why we have to take classes in it. Language is just really squishy.
Language is the primary way we communicate with each other, and we have really strong feelings about what words mean, and about good language and bad. Those things are really based on sort of an agglutination of half-remembered rules from high school or college, and our own personal views on language and the things we grew up saying, the things we grew up being told not to say.
There's a measure of prescriptivism and descriptivism in every dictionary. Prescriptivism believes that the language should mirror the best practices of English, and editors are prescriptivist in so far as they don't want to let things they consider to be inelegant or ungrammatical into print.
Language is a signifier - it points to something. But those somethings change sometimes. Where the line comes down is that change is not in the dictionary first, it's not: change the signifier and the signified will go away.
It's very easy, when things like the gay marriage write-in happen, to get sick of how people view language and say, "ah, come on it's just a dictionary." But then you hear from people who say if you take out "retarded" it won't exist anymore, and there will be no slurs for people to call my child. And that's just heartrending.
Most people, if they think at all about the dictionary, think of it as this fixed object given to us from on high. It is the thing that legitimizes language and makes language real. You never think that it's actually compiled by living, breathing nerds like me. When you realize that it's compiled by people, it becomes a different thing, a different kind of document.
We may have different religions, different languages, different colored skin, but we all belong to one human race.
Beneath the surface of states and nations, ideas and language, lies the fate of individual human beings in need. Answering their needs will be the mission of the United Nations in the century to come.
Generals often find a way of dealing with generals on the officer-to-officer level. In the hierarchy of the military and with the almost similar structure and similar language, they find a way of dealing with each other.
I can't relate to lazy people. We don't speak the same language. I don't understand you. I don't want to understand you.
Language must resound with all the harmonies of music. The writer must always, at all times, find the tremulous word which captures the thing and is able to draw a sob from my soul by its very rightness.
I really want to do a film in another language. My dad's from Germany, so it'd be really cool to do a film in German. I'm not quite fluent, but I can get there. And my accent's pretty good. I wouldn't feel too out of my element.
With some exceptions in science fiction and other genres I have small difficulty in avoiding anything that could be called American literature. I feel it is unnatural, not I think entirely because it uses a language that is not mine, however closely akin to my own.
We ought to be keeping in mind that the technology is not just hardware and machinery, it is also software. So you can think of languages of the technology and writing of the technology and the social justice of the technology in what social justice does is reduce impacts on the Earth because the most impact is from the poorest and richest people.
Even though we can't communicate using the same language, we use music instead.
Nothing is impossible for a man with a strong will. The possible is in store only for a man who loves the future. There is no word "impossible" in the Korean language.
Initially, before I came to Hollywood, I thought that the language barrier would be the biggest challenge, but I realized that actors all around the world, regardless of language, are all the same.
It is difficult to disturb the common usage of Korean that is bent to the perspective of a male-oriented society. Korean society is based on both a politics and history that have been disguised as a solid society of solid male poems, a solid written language, fixed rules of how to write literature, and a narrative language.
Since the boundary of the world of poetry is fluid, the language in it is also fluid. Hence, the language that is outside of the poetry world, namely the language that is not the language of poetry, cannot go into the poetry world.
Poems are a dance of language that comes out when my body taps into the rhythm of language. Rhythm gets us naked and exposes our selves completely.
The language of poetry is not stuck in place. Nothing can own language. I think, however, the genre of poetry itself is very feminine and motherly.
I came to grotesque language in the patriarchal culture under the dictatorship. The body that was broken into pieces is a sick body. I put the disease of this world and my sick body together.