Facility Quotes (displaying: 1 - 30 of 134 quotes )
Americans have a taste fo?rocking-chairs. A flippant critic might suggest that they select rocking-chairs so that, even when they are sitting down, they need not be sitting still. Something of this restlessness in the race may really be involved in the matter; but I think the deeper significance of the rocking-chair may still be found in the deeper symbolism of the rocking-horse. I think there is behind all this fresh and facile use of wood a certain spirit that is childish in the good sense of the word; something that is innocent, and easily pleased.
Her efforts received encouragement. In fact, they were welcomed as the Tallises began to understand that the baby of the family possessed a strange mind and a facility with words. The long afternoons she spent browsing through the dictionary and thesaurus made for constructions that were inept, but hauntingly so: the coins a villain concealed in his pocket were 'esoteric,' a hoodlum caught stealing a car wept in 'shameless auto-exculpation,' the heroine on her thoroughbred stallion made a 'cursory' journey through the night, the king's furrowed brow was the 'hieroglyph' of his displeasure.
She knew her duty inside and out. The prosperity of the cash drawer brought happiness to husband and wife. Not that Madame Puta was bad looking, not at all, she could even, like so many others, have been rather pretty, but she was so careful, so distrustful that she stopped short of beauty just as she stopped short of life—her hair was a little too well dressed, her smile a little too facile and sudden, and her gestures a bit too abrupt or too furtive. You racked your brains trying to figure out what was too calculated about her and why you always felt uneasy when she came near you. This instinctive revulsion that shopkeepers inspire in anyone who goes near them who knows what's what, is one of the few consolations for being as down at heel as people who don't sell anything to anybody tend to be.
Such is the facility with which mankind believe at one and the same time things inconsistent with one another, and so few are those who draw from what they receive as truths, any consequences but those recommended to them by their feelings, that multitudes have held the undoubting belief in an Omnipotent Author of Hell, and have nevertheless identified that being with the one best conception they were able to form of perfect goodness.
She was the most wonderful woman for prowling about the house. How she got from one story to another was a mystery beyond solution. A lady so decorous in herself, and so highly connected, was not to be suspected of dropping over the banisters or sliding down them, yet her extraordinary facility of locomotion suggested the wild idea.
The great bulk of the legal voters of the South were men who owned no slaves; their homes were generally in the hills and poor country; their facilities for educating their children, even up to the point of reading and writing, were very limited; their interest in the contest was very meagre--what there was, if they had been capable of seeing it, was with the North; they too needed emancipation.
Charles Lutwidge Dodgson (January 27, 1832? January 14, 1898), better known by the pen name Lewis Carroll, was an English author, mathematician, logician, Anglican clergyman, and photographer. His most famous writings are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass as well as the poems "The Hunting of the Snark" and "Jabberwocky", all considered to be within the genre of literary nonsense. His facility at word play, logic, and fantasy has delighted audiences ranging from children to the literary elite. But beyond this, his work has become embedded deeply in modern culture. He has directly influenced many artists. There are societies dedicated to the enjoyment and promotion of his works and the investigation of his life in many parts of the world including North America, Japan, the United Kingdom, and New Zealand. His biography has recently come under much question as a result of what some call the "Carroll Myth." Source: Wikipedia
To describe this film as dishonest and demagogic would almost be to promote those terms to the level of respectability. To describe this film as a piece of crap would be to run the risk of a discourse that would never again rise above the excremental. To describe it as an exercise in facile crowd-pleasing would be too obvious. Fahrenheit 9/11 is a sinister exercise in moral frivolity, crudely disguised as an exercise in seriousness. It is also a spectacle of abject political cowardice masking itself as a demonstration of 'dissenting' bravery.
In North Carolina, I stopped to gas up at a Humble Oil station, then walked around the corner to use the toilet. There were two doors and three signs. MEN was neatly stenciled over one door, LADIES over the other. The third sign was an arrow on a stick. It pointed toward the brush-covered slope behind the station. It said COLORED. Curious, I walked down the path, being careful to sidle at a couple of points where the oily, green-shading-to-maroon leaves of poison ivy were unmistakable... There was no facility. What I found at the end of the path was a narrow stream with a board laid across it on a couple of crumbling concrete posts... If I ever give you the idea that 1958's all Andy-n-Opie, remember the path, okay? The one lined with poison ivy. And the board over the stream.
Conversation! Supple sentences, with first and second meanings and overtones beyond, outrageous challenges with cleverly planned slip-points, rebuttals of elegant brevity; deceptions and guiles, patient explanations of the obvious, fleeting allusions to the unthinkable. As a preliminary, the conversationalist must gauge the mood, the intelligence and the verbal facility of the company. To this end, a few words of pedantic exposition often prove invaluable.
I soon began to sense a fundamental perceptual difficulty among male scholars (and some female ones) for which 'sexism' is too facile a term. It is really an intellectual defect, which might be termed 'patrivincialism' or patrochialism': the assumption that women are a subgroup, that men's culture is the 'real' world, that patriarchy is equivalent to culture and culture to patriarchy, that the 'great' or 'liberalizing' periods of history have been the same for women as for men...
As long as I stared at the clock, at least the world remained in motion. Not a very consequential world, but in motion nonetheless. And as long as I knew the world was still in motion, I knew I existed. Not a very consequential existence, but an existence nonetheless. It struck me as wanting that someone should confirm his own existence only by the hands of an electric wall clock. There had to be a more cognitive means of confirmation. But try as I might, nothing less facile came to mind.
Glory is largely a theatrical concept. There is no striving for glory without a vivid awareness of an audience... The desire to escape or camouflage their unsatisfactory selves develops in the frustrated a facility for pretending -- for making a show -- and also a readiness to identify themselves wholly with an imposing spectacle.
The arts of conversation which his circle cultivated were, in great part, the gossipacious arts: that of making much out of little, of displaying your wit and inventive facility, your ability to amuse, without boring your listeners with too many ideas, or unpleasantly stretching their minds on the rack of an “issue.” It was a world which took an intense but mainly anecdotal interest in people, and which was therefore also on its guard against just the same exposure of itself which it so assiduously sought to gain against others.
The silence lasted precisely five seconds, during which time eyes roamed other eyes, several throats were cleared, and no one moved in his chair. It was as if a decision were being reached without discussion: evasion was to be avoided. Congressman Efrem Walters, out of the hills of Tennessee by way of the Yale Law Review, was not to be dismissed with facile circumlocution that dealt with the esoterica of clandestine manipulations. Bullshit was out.
I had never before been a special fan of that great comedian Phyllis Diller, but she utterly won my heart this week by sending me an envelope that, when opened, contained a torn-off square of brown-bag paper of the kind suitable for latrine duty in an ill-run correctional facility. Duly unfurled, it carried a handwritten salutation reading as follows: Money's scarce. Times are hard. Here's your f******Xmas card. I could not possibly improve on the sentiment, but I don't think it ought to depend on the current austerities. Isn't Christmas a moral and aesthetic nightmare whether or not the days are prosperous?
Here the phenomenologist has nothing in common with the literary critic who, as has frequently been noted, judges a work that he could not create and, if we are to believe certain facile condemnations, would not want to create. A literary critic is a reader who is necessarily severe. By turning inside out like a glove an overworked complex that has become debased to the point of being part of the vocabulary of statesmen, we might say that the literary critic and the professor of rhetoric, who know-all and judge-all, readily go in for a simplex of superiority. As for me, being an addict of felicitous reading, I only read and re-read what I like, with a bit of reader's pride mixed in with much enthusiasm.