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Quote by Jennifer L. Armentrout

“I sat back, crossing my arms. 'Why are you even here? You could've left once you realised I was okay.' 'I could've left, but like I said before, it would be incredibly rude to leave someone unconscious on the ground,' he returned. 'Well, aren't I lucky that you're a polite pervert?' Ash laughed, low and smoky. 'Why haven't you left, liessa?”

Quote by Jennifer L. Armentrout

Book:A Shadow in the Ember
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A Shadow in the Ember

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Jennifer L. Armentrout

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“I'm not sure why I'm still here talking to you.' 'Perhaps you feel indebted to me since I watched over you while you were unconscious.' 'I was unconscious for a few moments. It's not like you stood guard for endless hours.' 'I am quite important. Those moments felt like hours.' 'I do not like you,' I said. He eyes shifted to mine, and that curve of his lips remained. 'But you see, you do. That's why you're still here and no longer threatening to claw my eyes out.' I snapped my mouth shut. Ash winked. 'The clawing of the eyes could still happen,' I warned him. 'I don't think so.' He bit down on that lower lip of his again, the act snagging my gaze once more. 'Besides the fact that you know you won't succeed, you said I was beautiful, and clawing my eyes out would ruin that, wouldn't it?”

FunnyFlirtingJennifer L ArmentroutTeasingAshA Shadow In The EmberFlesh And FireNyktosSera MierelSeraphina Mierel
Book:A Shadow in the Ember
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“...humor is, in fact, a Filipino national weapon---one that is utilized not only to reflect social foibles and cultural beliefs that allow Filipinos to find belonging in using humor as a response to crippling national horrors, but one that is used to train an apparently disparaging look at themselves as victims of embarrassing and painful historical, political, or cultural circumstances. We see in these texts that the laughter that resonates in the Filipino is more than just an acceptable national trait that underscores the fixed Filipino stereotype of cheerfulness and pleasantness.”

HumorPhilippinesFilipinoFilipino CultureFilipino Humor
Author:Maria Rhodora G. Ancheta
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“Hero had the sense that Pol's Ilocano was stuck in time, that he only wanted to speak it with the people he'd always spoken it to, but even when Hero and Pol spoke in Ilocano with each other in California, there was a playacting stiffness in their voices that hadn't been there back in Vigan, when Hero used to hang on every word.”

LanguageImmigrationFilipinoImmigrant ExperienceFamily DynamicsFilipino AuthorsFilipino CultureIntergenerational Relations
Book:America Is Not the Heart
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“Hero opened her mouth, still unsure of whether to use English or Tagalog when talking to Paz. Paz had a habit of speaking to Roni in a mixture of English, Tagalog, and Pangasinan. It felt like Roni didn't really know the difference between Tagalog and Pangasinan, and moved between the two interchangeably as if they were one language. Nobody had told her otherwise, Hero supposed. But for Hero, listening to the mixture was like listening to a radio whose transmission would occasionally short out; she'd get half a sentence, then nothing -- eventually the intelligible parts would start back up, but she'd already lost her place in the conversation. But when Pol would come in, they'd switch to English, and like adjusting a dial to get a sharper signal, Hero would be able to tune in again.”

LanguageImmigrationFilipino AuthorsThird Culture KidsFilipino Culture
Book:America Is Not the Heart
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“There is so much information in one Hebrew word that translators are hard pressed to decide how much information should be cut. Since the first official translation (the Septuagint), Jewish translators advocated translating Hebrew (for outsiders) at the 'story' level. pg viii”

Song Of SongsSong Of SolomonGoyimHidden MeaningsSeptuagintGreek Is InferiorHebrew TranslationStory LevelSurface Level
Book:Song of Songs: The Book for Daughters
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