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21 " A further sign of health is that we don't become undone by fear and trembling, but we take it as a message that it's time to stop struggling and look directly at what's threatening us. "
22 " Fear has a lot of flavors and textures. There's a sharp, silver fear that runs like lightning through your arms and legs, galvanizes you into action, power, motion. There's heavy, leaden fear that comes in ingots, piling up in your belly during the empty hours between midnight and morning, when everything is dark, every problem grows larger, and every wound and illness grows worse. And there is coppery fear, drawn tight as the strings of a violin, quavering on one single note that cannot possibly be sustained for a single second longer—but goes on and on and on, the tension before the crash of cymbals, the brassy challenge of the horns, the threatening rumble of the kettle drums. That's the kind of fear I felt. Horrible, clutching tension that left the coppery flavor of blood on my tongue. Fear of the creatures in the darkness around me, of my own weakness, the stolen power the Nightmare had torn from me. And fear for those around me, for the folk who didn't have the power I had. "
― Jim Butcher , Grave Peril (The Dresden Files, #3)
23 " The most effective weapon a parent has to control a child is the withdrawal of love or its threat. A young child between the ages of three and six is too dependent on parental love and approval to resist this pressure. Robert's mother, as we saw earlier, controlled him by " cutting him out." Margaret's mother beat her into submission, but it was the loss of her father's love that devastated her. Whatever the means parents use, the result is that the child is forced to give up his instinctual longing, to suppress his sexual desires for one parent and his hostility toward the other. In their place he will develop feelings of guilt about his sexuality and fear of authority figures. This surrender constitutes an acceptance of parental power and authority and a submission to the parents' values and demands. The child becomes " good" , which means that he gives up his sexual orientation in favor of one directed toward achievement. Parental authority is introjected in the form of a superego, ensuring that the child will follow his parents' wishes in the acculturation process. In effect, the child now identifies with the threatening parent. Freud says, " The whole process, on the one hand, preserves the genital organ wards off the danger of losing it; on the other hand, it paralyzes it, takes its function away from it. "
24 " This essay is intended to serve as a reminder that immense and threatening divisions in mankind can spring from differences between virtues as well as from envies and greeds. When the virtues on each part are largely inapprehensible by the other, the danger is heightened by Man's natural fear of what he does not understand, and his inclination to suppose it not worth understanding. To attack it easier than to study. There are also, in this case of China and the West, intense and complex cultural vanities on both sides to be taken into account: vanities largely inexplicable the one to the other... "
― Ivor A. Richards , Richards on Rhetoric: I.A. Richards: Selected Essays (1929-1974)
25 " Storms are relentless and unforgiving. You know it's there, you feel it surrounding you, threatening to consume you should you dare to look, dare to behold the captivating wonder...Yet, fear grips. For although you know that it could swallow you whole and rip you to shreds, if you do not, eventually, the storm will dissipate, leaving you trembling and empty...We storms know this... "
― Virginia Alison
26 " Is there anything in your life trying to slip off? Is your health threatening to leave you? Is your joy threatening to go? Is your job in jeopardy? Is your marriage shaking? Is there anything that you have been looking for in life? Is there anything near you that is about leaving you? Is there anything that you ever lost that was so dear to you? Jesus asked me to tell you that whatever that is gone out of your hand will come back again. Whatever that has gone out of your hand that you need to stay back with you will come back again. "
27 " Being one’s true and honest self can often be dangerous; and poetry should always be a place where, if only between the pages, that danger and energy and fear and excitement and love can fizz and spark without ever threatening to burn something down. "
― Andrew McMillan
28 " I forgive youAll I had to offer you was sadnessMy eyes shed sadnessMy face speaks sadnessMy lips smile sadnessMy voice spews sadnessMy touch spreads sadnessI forgive you for leaving, for I have become an infectious incurable virus threatening to destroy everything you are notSuch a happy delicate thing she is, isn't she?She has no idea, does she?How long before you turn her into sadness... "
29 " Joyful friends, mostly loyal, they hadn't abandoned their protector before the gathering storm; and despite the threatening sky, despite the shuddering earth, they remained, smiling, considerate, and as devoted to misfortune as they had been to prosperity. "
― Alexandre Dumas , The Man in the Iron Mask (The D'Artagnan Romances, #3.4)
30 " They leave the genitals off Barbie and Ken, but they manufacture every kind of war toy. Because sex is more threatening to us than aggression. There have been strict rules about sex since the beginning of written rules, and even before, if we can believe myth. I think that's because it's in sex that men feel most vulnerable. In war they can hype themselves up, or they have a weapon. Sex means being literally naked and exposing your feelings. And that's more terrifying to most men than the risk of dying while fighting a bear or a soldier. "
― Marilyn French , The Women's Room
31 " No man owns me. All man can do is practice the timeless, criminal art of threatening to separate my soul from her physical host. "
― Tiffany Madison
32 " ...a kid, maybe eight years old, ran up and poked her in the ribs with a plastic laser weapon, making electric zinging noises as he repeatedly pulled the trigger. “You’re dead,” he said victoriously. His mother came hurrying up, looking harassed and helpless. “Damian, stop that!” She gave him a smile that was little more than a grimace. “Don’t bother the nice people.” “Shut up,” he said rudely. “Can’t you see they’re Terrons from Vaniot.”The kid poked her in the ribs again. “Ouch!” He made those zinging noises again, taking great pleasure in her discomfort. She plastered a big smile on her face and leaned down closer to precious Damian, then cooed in her most alienlike voice, “Oh, look, a little earthling.” She straightened and gave Sam a commanding look. “Kill it.” Damian’s mouth fell open. His eyes went as round as quarters as he took in the big pistol on Sam’s belt. From his open mouth began to issue a series of shrill noises that sounded like a fire alarm. Sam cursed under his breath, grabbed Jaine by the arm, and began tugging her at a half-trot toward the front of the store. She managed to snag her purse from the buggy as she went past. “Hey, my groceries!” she protested. “You can spend another three minutes in here tomorrow and get them,” he said with pent-up violence. “Right now I’m trying to keep you from getting arrested.”“For what?” she asked indignantly as he dragged her out of the automatic doors. People were turning to look at them, but most were following the sounds of Damian’s shrieks to aisle seven. “How about threatening to kill that brat and causing a riot?” “I didn’t threaten to loll him! I just ordered you to. "
― Linda Howard , Mr. Perfect
33 " I do so love my witches and wicked queens. I find myself drawn to feminine archetypes that previous generations have found threatening or dangerous: crones, oracles, madwomen, Amazons, virgins who aren’t helpless, bad mothers. I love to give the vagina dentata voice. It so rarely gets to speak for itself. "
― Catherynne M. Valente
34 " His heart cracked, and he fell in love. He wondered if she would marry him. “Tu sei pazzo,” she told him with a pleasant laugh. “Why am I crazy?” he asked. “Perché non posso sposare.” “Why can’t you get married?” “Because I am not a virgin,” she answered. “What has that got to do with it?” “Who will marry me? No one wants a girl who is not a virgin.” “I will. I’ll marry you.” “Ma non posso sposarti.” “Why can’t you marry me?” “Perché sei pazzo.” “Why am I crazy?” “Perché vuoi sposarmi.” Yossarian wrinkled his forehead with quizzical amusement. “You won’t marry me because I’m crazy, and you say I’m crazy because I want to marry you? Is that right?” “Si.” “Tu sei pazz’!” he told her loudly. “Perché?” she shouted back at him indignantly, her unavoidable round breasts rising and falling in a saucy huff beneath the pink chemise as she sat up in bed indignantly. “Why am I crazy?” “Because you won’t marry me.” “Stupido!” she shouted back at him, and smacked him loudly and flamboyantly on the chest with the back of her hand. “Non posso sposarti! Non capisci? Non posso sposarti.” “Oh, sure, I understand. And why can’t you marry me?” “Perché sei pazzo!” “And why am I crazy?” “Perché vuoi sposarmi.” “Because I want to marry you. Carina, ti amo,” he explained, and he drew her gently back down to the pillow. “Ti amo molto.” “Tu sei pazzo,” she murmured in reply, flattered. “Perché?” “Because you say you love me. How can you love a girl who is not a virgin?” “Because I can’t marry you.” She bolted right up again in a threatening rage. “Why can’t you marry me?” she demanded, ready to clout him again if he gave an uncomplimentary reply. “Just because I am not a virgin?” “No, no, darling. Because you’re crazy. "
― Joseph Heller , Catch-22
35 " What was it like then to witness the transformation wrought by this construction? A geometric idea of precision suddenly imposed on a landscape, lived on and in for centuries. The land itself like a body submitted to military discipline. Or like a mind, tutored along certain acceptable pathways, so that finally all that lies outside certain avenues of thought begins to assume an air of unreality.The land of course is still there. Only now it has receded into the background. It is what you see in your peripheral vision as you speed down the highway. The complexity of it, the intricate presence of it, has been reduced now to a single word, jungle. If once you breathed its breath or slept surrounded by its dark or wakened with its light, you no longer remember. You tell yourself life has improved. The jungle is in the past. To enter it is to stray from the path, or to be pulled down into some unknown depth. It is an exotic place, intriguing but also unpredictable, uncontrolled, threatening the well-paved order of existence. "
― Susan Griffin , A Chorus of Stones: The Private Life of War
36 " This intensely lyrical vision of the pregant woman in [i]Hope I[i] is set in an ambiguous context peopled with masks, death's heads and allegorical monsters such as Sin, Disease, Poverty and Death, all threatening the incipient life. "
― Gilles Néret , Gustav Klimt: 1862-1918
37 " I'm being pulled under - father and farther from the surface. My lungs continue to scream for air. Panic is building inside me, threatening to combust. I can't break free.Help! I can't break free!I open my mouth to scream. "
― Ashley Earley , Alone in Paris
38 " I have occupied this idle, empty winter with writing a story. It has been written to please myself, without thought of my own vanity or modesty, without regard for other people's feelings, without considering whether I shock or hurt the living, without scrupling to speak of the dead.The world, I know, is changing. I am not indifferent to the revolution that has caught us in its mighty skirts, to the enormity of the flood that is threatening to submerge us. But what could I do? In the welter of the surrounding storm, I have taken refuge for a moment on this little raft, constructed with the salvage of my memory. I have tried to steer it into that calm haven of art in which I still believe. I have tried to avoid some of the rocks and sandbanks that guard its entrance.[from the introduction] "
― , Olivia
39 " Our children start out as good readers and will remain so if the adults around them nourish their enthusiasm instead of trying to prove themselves. If we stimulate their desire to learn before making them recite out loud; if we support them in their efforts instead of trying to catch them out; if we give up whole evenings instead of trying to save time; if we make the present come alive without threatening them with the future; if we refuse to turn pleasure into a chore but nurture it instead. If we do all this, we ourselves will rediscover the pleasure of giving freely-- because all cultural apprenticeship is free. "
― Daniel Pennac , Comme un roman
40 " Like the shadow of deathThe residue of heartbreakAlways lingers in the backgroundWith its darkness threatening to consume you "
