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Quote by Jack Cartland

“Mike shifted the arm holding Brent's wrists so his armpit was just above Brent's face. Brent inhaled deeply, taking in Mike's spicy, manly scent. The aroma ...sent a rush of desire and lust through Brent." While the Summer Lasts”

Quote by Jack Cartland

Book:While the Summer Lasts
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While the Summer Lasts

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Jack Cartland

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“...at Newsweek only girls with college degrees--and we were called "girls" then--were hired to sort and deliver the mail, humbly pushing our carts from door to door in our ladylike frocks and proper high-heeled shoes. If we could manage that, we graduated to "clippers," another female ghetto. Dressed in drab khaki smocks so that ink wouldn't smudge our clothes, we sat at the clip desk, marked up newspapers, tore out releveant articles with razor-edged "rip sticks," and routed the clips to the appropriate departments. "Being a clipper was a horrible job," said writer and director Nora Ephron, who got a job at Newsweek after she graduated from Wellesley in 1962, "and to make matters worse, I was good at it.”

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Book:The Good Girls Revolt: How the Women of Newsweek Sued their Bosses and Changed the Workplace
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“Such, nearly, was the state of the French theatre before the appearance of Voltaire. His knowledge of the Greeks was very limited, although he now and then spoke of them with enthusiasm, in order, on other occasions, to rank them below the more modern masters of his own nation, including himself still, he always felt himself bound to preach up the grand severity and simplicity of the Greeks as essential to Tragedy. He censured the deviations of his predecessors therefrom as mistakes, and insisted on purifying and at the same time enlarging the stage, as, in his opinion, from the constraint of court manners, it had been almost straitened to the dimensions of an antechamber. He at first spoke of Shakspeare's bursts of genius, and borrowed many things from this poet, at that time altogether unknown to his countrymen; he insisted, too, on greater depth in the delineation of passion—on a stronger theatrical effect; he called for a scene more majestically ornamented; and, lastly, he frequently endeavoured to give to his pieces a political or philosophical interest altogether foreign to poetry. His labours hare unquestionably been of utility to the French stage, although in language and versification (which in the classification of dramatic excellences ought only to hold a secondary place, though in France they alone almost decide the fate of a piece), he is, by most critics, considered inferior to his predecessors, or at least to Racine. It is now the fashion to attack this idol of a bygone generation on every point, and with the most unrelenting and partial hostility. His innovations on the stage are therefore cried down as so many literary heresies, even by watchmen of the critical Zion, who seem to think that the age of Louis XIV. has left nothing for all succeeding time, to the end of the world, but a passive admiration of its perfections, without a presumptuous thought of making improvements of its own. For authority is avowed with so little disguise as the first principle of the French critics, that this expression of literary heresy is quite current with them.”

PoetryDramaVoltaireRoastSchlegel
Book:Lectures on Dramatic Art and Literature
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