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Short stories and some short novels are close to poetry--with the fewest words they capture the essence of a situation, of a human being. It's like trying to pin down the eternal moment.
We all get habituated, right? You get up in the morning, have your coffee, and read your newspaper, and that’s great. Everybody loves life in its mundane, daily aspects. It’s what makes us feel secure. But I also start to go numb a little bit and I don’t see what’s around me. So I put myself in a new situation and suddenly I’m really seeing the person next to me, hearing music, and I’m smelling, and I can’t help but want to write it down.
We are aware that many national farm organizations are putting forth various plans to provide both short- and long-term relief to our nation's agricultural producers. While we believe long-term solutions are essential, the current situation demands a more immediate response.
This poem is one of a series, all of them elegiac in intention, and subject to the strange forces of mourning that let loose illogical developments, into impossible configurations of thought. The poem is built of non-sequiturs, because that's what's left in the wake of the death. We cannot follow the dead, whether they are persons or ideas. Instead we remain, but in a situation that, in their absence, makes no sense.
The worst situations in the world always start with the words, 'trust me.'
It depends on the situation. I mean, on one hand there's the argument that people should be left alone on the other hand, there's the argument to wade in a stop slaughters in places like Bosnia and Kosovo and what we probably should have done in Rwanda.
Acting is a win-win situation. There is no risk involved. That's why I get tired of hearing actors who try to make out that there's a downside to it. Fame is an odd thing. It bugs you a little bit, but it's really not bad.
My encounters with racism are sort of second-hand situations where I might be standing around with a group of white friends and someone makes a comment that they wouldn't make at my family reunion.
The people who could do most to improve the situation of so many women and children are in fact, men.
Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.
I give the character a history and a full life; this way the tears come naturally for the character in whatever situation calls for tears. Also, sometimes a certain song will help me feel emotions that evoke tears.
I could not bounce back from my divorce - emotionally - I just could not bounce back. With any bad situations I’d experienced before - a bad game or my two previous divorces - I got over them. This time I just could not get out of the hole. The anxiety attacks were frequent and extensive. I had weight loss, which I’d never had before. I couldn’t stop crying. And if I wasn’t crying, I was angry, bitter, hateful and mean-spirited. I couldn’t sleep - couldn’t concentrate. It just got crazy.
I've just had some of the worst situations with the most beautiful girls, who I just could not stand talking to anymore. The physical only lasts for so long.
I have a thing against reality shows. I think they are so fake. I think they are produced before they begin. I think people know where they're going, what they're going to say, what the situation is. These things just don't happen and you know that.
Once in a while a good opportunity would come along, like the first 'Playhouse 90 ever to air - working in television afforded me my best opportunities. The (film) industry was going through such turmoil at the time - studios didn't know where to go anymore, they were falling apart, television was there. They didn't know what kind of films people wanted. The European films were making a huge impact because those films wanted real people in real situations.
We were just a little immature in the past. I think we actually wanted to create difficult situations for ourselves just to be able to use that emotion for stimulation.
Everybody that's living in this earth is living in a situation. It's not narrow-minded to the point where everybody is serious and nobody has a personality. I think people die telling jokes.
And I think right now I'm just enjoying finding something such as One Weekend a Month where I can really resonate with this woman's history and her situation.
I'm a fatalist. I believe things happen for a reason, that you attract people and situations that are meant to fulfil your path.
We’re all women. We all have the same wonderful situations happen to us, the same horrific situations. We all get our hearts broken.
Let's say you're in a situation where crystal meth can help you. Like, I don't know, you have too many teeth.
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