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COPYRIGHT: John Barnden, 2019.
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`Murdered? My grandmother?' I laugh and can't stop. (* IN MY HEAD, my
giggles LOOK LIKE BARBED WIRE.*) `Don't be silly. People don't murder
terminal cancer patients. ... '
[[Text]]
(* She hears all the voices from when she was little, soothing, strengthening.
Don't be scared, not of monsters, not of witches, not of big dogs.
And now, snapping loud from every
direction: Be scared, you have to be scared, ordering like this is
your one absolute duty. Be scared you're fat, ... Be scared of strangers. ... Be scared you won't do well
enough in your examinations, ... Be scared terrified petrified that
everything you are is every kind of wrong. Good girl.*)
At the same time, (* in a cool untouched part of her mind, SHE SEES THE MOON. SHE FEELS THE SHIMMER OF WHAT IT MIGHT LOOK LIKE in their own private midnight.*..) ...
She says, `We're different now. That was the whole point. So we need to be doing something different. Otherwise ... [dots in original]'
She doesn't know how to say what (..* SHE SEES. That moment in the glade SLIDING AWAY, BLURRING. Them [she and her frineds] dulling slowly back to normal.*)
[[Text: source, p.149]]
{First paragraph uses IDEAS AS INTERNAL UTTERANCES.
Second switches immediately to a mix of COGNIZING AS SEEING and MIND AS PHYSICAL SPACE.
NB also the SERIAL COMPOUNDING of the remebering-as-seeing metaphor with a
seeing-as-feeling metaphor.
The second and later paragraphs allude to an occasion when "she" and her friends at
her boarding school
escaped late at night and spent time in a moonlit glade in a nearby wood.]
Of course, she was devastated [on hearing that her husband Alex had
slept with her best friend Lydia]. But (* she floated above that in her
mind, OBSERVING IT WRYLY.*)
[[Text]]
{Mixed with MIND AS PHYSICAL SPACE}
He left the police and set up the investigation agency after (* his
marriage DISAPPEARED IN FRONT OF HIS EYES.*)
[[Text: source]]
{Mixed with a metaphor of the marriage as a physical object.}
(* My memories of them [two childood friends] had (* RUBBED THIN WITH
OVERUSE, WORN TO FRAIL COLOUR TRANSPARENCIES FLICKERING ON THE WALLS OF
MY MIND:*..) Jamie scrambling intent and surefooted up to a high
branch, Peter's laugh arcing out of the _trompe-l'oeil_ dazzle of green
ahead. Through some slow sea-change (..* they had become children OUT OF
A HAUNTING STORYBOOK, bright myths from a lost civilisation;*) it was
hard to believe they had once been real and my friends.
[[Text:
p.161]]
{mixed with MIND AS PHYSICAL SPACE;
NB also change from the images being on a wall and in a storybook}
Unleashed, (* my mind threw out great streams of IMAGES LIKE A SLIDE SHOW
running on fast-forward, and gradually I learned the knack of reaching
out to catch one as they flew past, holding it lightly and WATCHING as
it unfurled in my hands.*)
[[Text:
p.242]]
{mixed with IDEAS AS EXTERNAL ENTITIES and MIND AS PHYSICAL OBJECT}
And in this condition she had been aware of (* a stately, simple
musical phrase, playing and repeating itself, in the SHADOWY ungraspable
WAY OF AUDITORY MEMORY, following her to the bedside, ...*)
[[Text:
source, p.80]]
{NB mixing with IDEAS AS PHYSICAL OBJECTS.}
For a fraction of a second, I knew what those words meant. [NP]
I didn't want to know. (* I pushed them OUT OF SIGHT.*)
[[Text:
source, p.157]]
{Mixing with IDEAS AS PHYSICAL OBJECTS.
NB: The words are ones written at a murder scene.
The words (in their mental manifestation) are portrayed as seen, movable physical objects.}
(* The conclusion *..) I've been strenuously trying to avoid reaching
(..* GLOWS IN NEON IN MY BRAIN: ... *)
[[Text: source, p.19]]
And yet she knew that something had woken her. A thought, an idea, a
memory. [NP] She pulled her duvet up to her chin and closed her eyes,
thinking, concentrating, trying to remember, trying to (* hold on to THE
SHAPE THAT WAS JUST AT THE EDGE OF HER VISION,, SLIDING BACK INTO THE
SHADOWS.*..) And then, (..* LIKE A FLASH OF BRIGHTNESS,*) she had
it. She looked at the clock by her bed and saw it was nearly
three. ... [S]he knew that she wouldn't go back to sleep, not with (* THIS
SHIMMER IN HER BRAIN.*)
[[Text: source, p.217]]
{serially mixed with IDEAS AS PHYSICAL OBJECTS}
he overpowered her into a torpor, into (* A SHUTTING OF HER EYES AND HER
THOUGHTS,*) ...
[[Text:
source, p.47]]
(* UNDIMMED BY DOUBT *)
[[Text:
source, p.47]]
yet she failed (* TO SEE HERSELF IN The Willows, she failed altogether
to imagine it.*)
[[Text:
source, p.101]]
I kept it secret. (* I wrapped it up very very tightly in an invisible
cloak *..) so that (..* I COULDN'T SEE IT *) ... and the whole denial
experience ... put me in good stead.
[[Speech: source]]
{Mixing with IDEAS and EMOTIONS AS PHYSICAL OBJECTS}
Did I believe this? I did not, but (* WATCHED THIS PATTERN RUNNING *)
(* in one part of mind while another commented on it in derision.*)
[[Text: source, p.389]]
{Mixing with MIND PARTS AS PERSONS.}
"I (* LOOK AROUND and know *) that I am going to pay for it big time," ...
[[Text:
source]]
But (* I COULD SEE IN MY MIND'S EYE *) the placid winding streets (ways,
lanes, drives) of Fernwood (* leading back farther and farther into the
dimness of the past *) I had already spent there, ...
[[Text:
source p.172]]
(* A dream remained, trailing faint tatters of memory, like soiled
rags across his mind, half-dissolving but still CLEAR enough *) to leave
(* a legacy of unease.*)
[[Text: source p.362]]
{mixing with MIND AS PHYSICAL SPACE and IDEAS AS PHYSICAL OBJECTS}
The one thing that still troubled Marigold, of course, was the thought
of her step-mother's arrival, and this (* hung over her mind like a dark
angry cloud.*) She had tried to (* put the thought from her *)
altogether, but she discovered, to her mounting dismay, that she
could not (* wave it away merely by SHUTTING HER EYES.*) The fact that
she had not yet seen her step-mother made no difference; she still (*
felt her dislike of her (* rise up *) just as intensely as at first, and
it (* BLOTTED OUT *) all her other feelings.
[[Text: source]]
{"wave it away ... EYES": (parallel?) mixing with IDEAS AS EXTERNAL
ENTITIES.}
I tried to sleep but (* INFORMATION DRIFTED PAST MY EYES *) and questions
spoke because I could not shut them off.
[[Text: source p.138]]
(* IT WAS THEN THAT THE IDEA SLITHERED LIKE A SNAKE INTO MY MIND,
SHOWING ITSELF OPENLY FOR THE FIRST TIME*): if anyone was going to marry
Vanessa Forde, why shouldn't it be me?
[[Text: source p.35]]
(*I THOUGHT ABOUT IT FROM SEVERAL DIFFERENT ANGLES*)
and (*IT STILL LOOKED GOOD*).
[[Text: source p.261-2]]
The whole prospect of action seemed so impossible that just thinking
about it made my eyelids feel leaden, (* MY BRAIN FOGGED OVER.*)
[[Text: source p.305]]
Be prepared to look your interviewer in the eye and (* STAND UP FOR YOUR
VIEWPOINT *) without being aggressive or narrow-minded.
[[Text: source]]
For a moment the thought of Protima's importunate demands for the
refrigerator came into Ghote's mind, but (* HE THRUST THE VISION LOYALLY AWAY *)
[[Text: source p.214-215]]
It was as if he had (* GLEANED SOME IMPRESSIONS *), some impressions that needed
to be discussed, but which had not yet congealed into a set of ideas.
[[Text: source p.278]]
If you are applying to Oxford, Cambridge, Durham, Kent, St Andrew's or
York you ought (* TO BE CLEAR WHAT ARE THE DIFFERENCES *) between collegiate universities and others.
[[Text: source]]
He had done no more than miserably (* STARE AT THE PROBLEM *)
[[Text: source p.41]]
(* THE INSPECTOR TOOK THE VEILED POINT. *)
[[Text: source p.61]]
he was able to contemplate the complications of his waking existence without (*
THE REMOTEST TRACE OF WORRY. *)
[[Text: source p.109]]
(* BLIND WAVES OF PANIC SWEPT OVER AND OVER HIM. *)
[[Text: source p.161]]
he felt too depressed even to think of the possible steps he could take
(* TO GET A FRESH ANGLE *) .
[[Text: source p.249-250]]
As the new presenter, Nicholas Witchell is chiefly celebrated for sitting on a
lesbian during a news bulletin, you switched on at dawn with some cynicism. (*
IT WAS SOON CLEAR, HOWEVER,*) that this was broadsheet television.
[[Text: source; <jab 6>]]
As (* JEFFREY RICHARDS SHOWED IN THE FIRST OF THREE TALKS *) ..., you can always
get past a lack of obvious data to find out the sort of thing that goes on in
bedrooms.
[[Speech: source; <jab 42>]]
(* RICHARDS MADE IT WORRYINGLY CLEAR *) how far the Church was responsible for
enshrining such illiberal attitudes
[[Speech: source; <jab 45>]]
As Richards pointed out, the fact that the history of sexuality has had to wait
so long to be written (* SHOWS *) the strength of the taboos we have inherited
[[Speech: source; <jab 58>]]
The last thing a secretary of state would normally have time to do is (* TO SEE
IF *) the historic royal palaces are being run in a way to maximise profit
[[Speech: source; <jab 11>]]
The bland presentation of the palaces is something which, (* IN MS TURTON'S
VIEW, *) leaves them vulnerable to gross misinterpretation.
[[Speech: source; <jab 39>]]
a great deal of (* knowledge *) about the historical side of the palaces but
that has not yet been (* PRESENTED *) to the public.
[[Speech: source; <jab 44>]]
A recent survey...(* SHOWED *) that a high proportion...
[[Speech: source; <jab 84>]]
I must (* POINT OUT *)...
[[Speech: source; <jab 22>]]
(* KEEP YOUR EYE ON THE NOTICE BOARDS *)
[[Speech: source; <jab 54>]]
a day to (* MAKE IT CLEAR *) who was in charge
[[Speech: source; <jab 67>]]
(* WE HAVE ALSO MADE IT VERY CLEAR *) that upon the signing of a cease fire, but
not before, all coalition forces will be drawn back.
[[Speech: source; <jab 69>]]
he issues of identity construction and (* PERCEPTION OF *) gender relations in
society ...
[[Text: source; <jab 102>]]
a short story narrated (* FROM TWO VIEWPOINTS *)
[[Text: source; <jab 119>]]
In his discussion Nash includes analyses of various authorial devices...both the
cognitive (* CHARACTER PERCEPTION *) and plot comprehension and affective...
[[Text: source; <jab 111>]]
... (* HE HADN'T THE FOGGIEST IDEA OF *) what, what he was doing ...
[[Speech: source; <jab 4>]]
(* I WAS LOOKING FORWARD *) to talk a bit.
[[Speech: source; <jab 34>]]
(* I CAN'T SEE THAT *) they can afford to be a high profile company.
[[Speech: source; <jab 39>]]
it is their event, and (* WE DON'T WANT TO BE SEEN TO *) hijack it
[[Speech: source; <jab 48>]]
Two (* IMAGES JOSTLE IN THE MIND.*)
[[Speech: source]]
{mixed metaphor, w. IDEAS-AS-PERSONS-or-other-ANIMATE-BEINGS}
First, she [Belinda] had to accept that she'd been raped, then she had to
accept that it was Philippe. Let me be (* BLIND *) for a while, was what she
was really saying. But Sara was afraid there would be a price for that (*
BLINDNESS.*)
[[Text: source p.168]]
Belinda was letting Sara hug her, letting heat collect between them, and
maybe it was that which (* MADE ANOTHER IMAGE MOVE INTO SARA'S MIND.*) She (*
imagined *) herself blindfolded, unbuttoning Belinda's shirt ... It was the
blindfold that made her willing to (* EXPLORE THE SCENARIO,*) ... (* HER
EMOTIONS WOULDN'T BE BLINKING WARNING LIGHTS AT HER; they'd be somewhere else,
on the next street, waiting for her to regain her sight.*)
[[Text: source p.128]]
But (* SHE COULDN'T LOOK AT THE WHOLE IMAGE---JUST JIGSAW PIECES OF IT. SHE SAW
their mouths, hungry and afraid,*) but then (* her thoughts panicked and ran
away.*)
[[Text: source p.128]]
Despite the confusion of time zones and altitudes, and the
strange, floating feeling they produce, (* SARA'S MIND FELT TOTALLY FOCUSED.*)
[[Text: source p.86]]
She would try later to (* REMEMBER if he'd said anything, but ALL OF IT
SEEMED OUT OF FOCUS.*)
[[Text: source p.84]]
She knew she was (* PAINTING A PICTURE IN HER MIND OF *) Paris and Anthony, and
things that she wanted to come true. It was a different experience of
(* fantasy *) from any she'd had before.
[[Text: source p.68]]
{nesting within a thought}
And this way (* I HELD STEADY AFORE MY MIND *) that I would for
certain come one day and see my boy ...
[[Text: source p.272]]
All the truth of my position (* CAME FLASHING ON ME;*)
[[Text: source p.270]]
... and (* PAINTING BRILLIANT PICTURES OF *) her plans for me.
[[Text: source p.195]]
And with a click, several things fell into place in Tommy's brain.
(* Had he been blind up to now? .....*)
[[Text: source p.126]]
{NB: nested within implicit IDEAS AS INTERNAL UTTERANCES}
` ... So you've got to (* LOOK AROUND *) and (* ask, How sexy is the environment? And
how much pressure is there to have sex?*) When the cues are (* SEEN AS *)
pressure, sex is no longer fun. ... ' [quoted from a book]
[[Text: source p.78]]
{NB: collocation w. IDEAS AS INTERNAL UTTERANCES}
It was at that moment, as Tryfan gazed on their love together, and perhaps (*
WITH THEIR WORDS DURING THEIR LONG CONVERSATIONS ABOUT the Stillstone STILL IN
HIS MIND, that the FIRST DEFINITE MEMORIES of the Midsummer Night when he had
got lost BEGAN TO STIR IN HIS MIND.*) [NP] ... as (* THOSE MEMORIES BECAME
CLEARER AND HE SAW AGAIN, IN HIS MIND, THE GLIMMER OF the Stillstone.*)
[[Text: source]]
{NB: mixing w. MIND AS PHYSICAL SPACE}
In his nightmares he did, when he remembered the power in the mole who had
faced him contemptuously somewhere among these slate tips. He knew where. (*
slowly he admitted the memory to his mind *) and (* SAW AGAIN THE GREAT MOLE *) ...
[[Text: source p.627]]
{NB: mixing w. MIND AS PHYSICAL SPACE}
Across the country, it's (* becoming clear *) that living together, a
lingering artifact of the counter-culture '60s, (* IS BEING VIEWED IN THE COOL
LIGHT OF THE '90s *) much like lava lamps and earth shoes.
[[Text: source]]
{NB: nesting within ``becoming clear that''}
He had run through the tunnels, round to this
second viewing point the sound of the song echoing in his ears and (* THE
PICTURE OF THE INTRUDING Bracken IN HIS MIND, BUT WITH WHAT INTENT HE HAD NO
IDEA.*)
[[Text: source p.572]]
Yet as she left alone, how vulnerable she seemed, and for the first time (* HE
SAW VERY CLEARLY *) how much in need of protection she really was.
[[Text: source p.439]]
Mandrake's massive body moved uncomfortably in the (* DARK, HIS OWN DARK,
ACHING WITH THE LIFELONG EFFORT OF SEEING BEYOND THE WHIRLING BLIZZARD IN HIS
MIND AND FAILING, ALWAYS NOT QUITE SEEING,*) ...
[[Text: source p.334]]
(* ALL HAD FADED AWAY FROM HIS MIND BUT ITS SIZE AND MAJESTY, AND HIS SENSE
THAT HE WAS PART OF IT.*)
[[Text: source p.288]]
With each word that Rune now spoke (* A PICTURE OF HIS [Mandrake's] REBECCA,
HIS DAUGHTER REBECCA, HIS UNTOUCHED CHILD, HARDENED ON THE EDGE OF HIS MIND
WHERE NOMOLE [sic] AT FIRST LIKES TO LOOK, BUT TO WHICH A JEALOUS MOLE MAY
EASILY BE DRAWN.*)
[[Text: source p.241]]
{mixing with MIND AS PHYSICAL SPACE}
{NB: is ``jealous mole'' a metonymy for the self of such a mole? -- because the
thing to which the mole is drawn is within the mole. Note that the sentence
would normally be classfied as MIND WITHIN PHYSICAL SPACE.}
(* HE SAW FOR A MOMENT PAST THE IMPENETRABLE, IMPASSIVE FACE OF THE Stone INTO
THE WORLD OF TRUST AND LOVE BEYOND IT.*)
[[Text: source p.226]]
He had always scoffed at Jennifer when she talked about spirits, presences.
(* HOW HAD HE BEEN SO BLIND? THE WHOLE HOUSE REEKED OF HESTER.*)
[[Text: source p.529]]
{plausibly, clumsy parallel mixing with COGNIZING AS SMELLING}
It was difficult to (* concentrate.*) Someone had turned the dials up and the
whole room was writhing with (* CLOUDS OF STEAM, SWIRLING IN HIS EYES, HIS
MIND.*)
[[Text: source p.129]]
{Mixing with MIND AS CONTAINER.}
{NB: zeugma-avoidance on steam swirling.}
He could (* SEE HER *..) now, nine months gone with Charles, her small face and
narrow frame contradicted by that awesome bulge. [NP] He (..* groped out his
hands towards her,*) touched only hard wet wood, (* forced his mind back to
plans and timetable.*)
[[Text: source p.128]]
{NOTE: It's clear that he's only seeing her mentally; but note the real groping.}
His brother [Lyn] must be forced to (* SEE HIS OWN ADVANTAGE.*)
[[Text: source p.118]]
{Mixing with metonymy of OBJECT FOR IDEA.}
What treatment I gave to that proud man, and how I may yet be made by him to suffer for it.
(* THOSE THOUGHTS, condensed into a moment of COMPLEX
VISION, FLASHED IN ROSE'S MIND LIKE SOME TERRIFYING AERIAL EXPLOSION.*)
[[Text: source p.572]]
(* HE COULD SEE, he thought, HER TERRIBLE UNHAPPINESS,*) ...
[[Text: source p.510]]
{NB: nesting within thought}
He (* SOUGHT DILIGENTLY in her despair for THE TINY SPARK OF HOPE WHICH
COULD BE KINDLED INTO A FLAME.*)
[[Text: source p.488]]
(* THE LITTLE INFINITESIMAL SPARK OF HOPE *..) which she had gained simply from
Jenkin's presence (..* WAS EXTINGUISHED. IT WAS BLACKNESS AGAIN, RAVAGED,
SMASHED, CRUSHED, PULVERISED BLACKNESS, LIKE THE NIGHT AFTER THE EARTHQUAKE,
ONLY THE DARK WAS SILENT, THERE WERE NO VOICES, NO ONE WAS THERE, ONLY HERSELF,
HER VAST AWFUL SMASHED UP SELF.*)
[[Text: source p.485]]
{NB: mixing with MIND PARTS AS PERSONS and MIND-AS-BODY.}
But (* THIS IDEA, awful as it was, WAS SHADOWY,*..) and tortured him less than
some very particular (..* IMAGES *) of ...
[[Text: source p.485]]
... (* EVERYTHING TO DO WITH JENKIN WAS MISTED OVER AND CONTAMINATED BY
CRIMOND;*)
[[Text: source p.484]]
(* A SLIGHT HAZE HAD perhaps always, for her, RESTED UPON HIM *) because of an
old jealousy of Gerard's affection for him, a sense as if one day Jenkin might
take Gerard away from her altogether.
[[Text: source p.474]]
(* HE MEDITATED FOR A WHILE, WATCHING HIS THOUGHTS AT FIRST SCAMPERING, THEN
DRIFTING.*)
[[Text: source p.430]]
... and if it did not happen was that not because there were (* GOOD REASONS,
INVISIBLE PERHAPS *) but good, why it should not happen?
[[Text: source p.369]]
Another theory is that in attempting to distract ourselves from one thought by
thinking of another, the brain creates associations between the two thoughts.
As a result, the distracting thought actually helps to (* bring back the
thought *) it was intended to (* MASK.*)
[[Text: source]]
I was (* PICTURING AN ARREST.*) Lots of public glory for you.
[[Text: source]]
Now his (* MIND HAD CURIOUSLY BLANKED, emptied but for the presence in it of a
small black Scottie dog *) ...
[[Text: source]]
{mixed metaphor, w. MIND AS PHYSICAL SPACE}
(* Stop it, stop, Philip said to himself as he said unavailingly each time
*) his (* IMAGINATION TURNED IN THIS DIRECTION.*)
[[Text: source]]
{mixed metaphor, w. IDEAS AS INTERNAL UTTERANCES?}
He hadn't wanted to know if the police had found the murderer ... (* BLOTTING
OUT THE WHOLE BUSINESS FROM HIS MIND,*) he had avoided everything that might be
associated with it ...
[[Text: source]]
... if you have told a lie about something you have done ... you very quickly
(* FORGET ALL ABOUT IT, SOMETHING INSIDE YOUR MEMORY BLOTS IT OUT.*)
[[Text: source]]
Her face blanked as it sometimes did when she was disappointed. All animation
departed, all feeling, and (* IT WAS AS IF THOSE EYES TURNED INWARDS TO
CONTEMPLATE THE WORKINGS OF HER MIND.*)
[[Text: source]]
[Philip] had lost interest in everything and everybody but Senta. (* SHE
OCCUPIED HIS MIND, SHE HAD MOVED INTO HIS MIND AND LAIN DOWN ON THE BED FROM
WHERE SHE STARED INTO HIS INNER EYES.*)
[[Text: source]]
{METONYMY: THING-FOR-IDEA}
Philip thought about Senta, her body as white as marble, those over-large
breasts, ... [NP] (* HE SWITCHED HIS MIND AND HIS IMAGE-MAKING ON TO HER FACE
*) ...
[[Text: source]]
(* [Cheryl's] name and A KIND OF VAGUE PICTURE OF HER HAD BEEN IN HIS MIND,*)
[[Text: source]]
It was a laugh that came from deep inside and (* MELTED THE STONY VIEW OF THE
WORLD *) which I'd held for so long.
[[Text: source]]
{NB: SERIAL MIXING w. METAPHOR/METONYMY in ``stony view''.}
[My office-mates] were bored and fed-up. My hen party ...[orig dots] the disco
after the wedding, (* HOVERED LIKE OASES ON THEIR HORIZONS.*)
[[Text: source]]
All these things flowed through U Po Kyin's mind swiftly and for the most
part (* IN PICTURES.*)
[[Text: source]]
{The "pictures" cancel the verbal quality of the thoughts, portrayed via
represented-thought in previous paragraph.}
I wanted to stay awake and hear but I was sleepy. (* MY MIND WAS LIKE ONE
SMALL ANIMAL, ALERT BUT FRIGHTENED, IN A CORNER OF A HUGE CAVE. IT WAS TRYING
TO SEE OUT OF THE LARGE DARKNESS TO THE LIGHT, STRAINING.*)
[[Text: source]]
(* THE LID OF MY CONSCIOUSNESS HAS BECOME THINNER,*) thanks to my
trials. I now begin to (* SEE BEYOND MY FORMER DAILY PERCEPTIONS,*) of a closed
material world. Gleams and flashes come to me: the close sense of great
movement in the world just beyond our own, (* THE SENSE OF His Presence and
Intention hovering, focused, above us---almost, I may say, like a cloud.*..)
[[Text: source]]
Night and day I am beset by intimations of the end---it is close
now. ... through (* EROSION OF MY HAPPINESS AND SELF-INTEREST *) I have come to
a state where (* THE GROSSER DELUSIONS FALL FROM MY EYES, AND THE INNER TRUTH
BECOMES CLEAR TO MY VISION.*)
[[Text: source]]
In the kitchen the burning peat smells like smokey bacon, suddenly (* MEMORY
IMPRINTS ITSELF ON MY VISION, AND THE TEMPLATE OF PAST LOSS FITS SO EXACTLY ON
THE PRESENT *) (ironic that it should be bacon, peat---the latter unknown in my
previous existence, the fomer unknown in my present) that I cannot move.
[[Text: source]]
I have read and reread Edward's letter. ... (* I CAN SEE HIM,*) waking
before dawn, setting out with his bag of tools ...
[[Text: source]]
I could not sleep that night, although there were no thoughts that kept me
awake. No plots, no plans, no fears that I can name. Rather, (* A DULLNESS.*..)
A kind of (..* DARKNESS INSIDE MYSELF.*)
[[Text: source]]
It seems to me (* IN SOME DARK RECESS OF MY MIND *) that ...
[[Speech: source]]
When one (* `SEES' A MATHEMATICAL TRUTH,*) one's consciousness breaks into this
world of ideas, and makes direct contact with it (`accessible via the
intellect'). ... When mathematicians communicate, this is made possible by each
one having a direct route to truth,*) the consciousness of each being
in a position to (* PERCEIVE *) mathematical truths directly, through this
process of (* `SEEING.'*) (Indeed, often the act of perception is accompanied
by words like `Oh, I see'!)
[[Text: source p.428]]
The work grows; I keep expanding it, (* CONCEIVING IT MORE AND MORE CLEARLY *)
until I have the entire composition finished in my head though it may be long.
[[Text: source p.423]]
My guess is that even with the sudden (* FLASH OF INSIGHT,*) apparently
produced ready-made by the unconscious mind, ...
[[Text: source p.422]]
The conversation stopped momentarily as we crossed a side road, and resumed
again at the other side. Evidently, during those few moments, (* AN IDEA
occurred to me, but then THE ENSUING CONVERSATION BLOTTED IT FROM MY MIND! *)
[[Text: source p.420]]
This idea crystallized the (* NEBULOUS *) mental meanderings ...
[[Text: source p.48]]
{mixed metaphor}
... a (* QUITE CLEAR DECISION *) to embrace death.
[[Text: source p.66]]
His youthful prank of being a policeman had (..* FADED FROM HIS
MIND;*) he did not (* think *) of himself as the representative of [the police
unit].
[[Text: source p.66]]
And this (* HIGH PRIDE *) in being human had (* LIFTED HIM
UNACCOUNTABLY TO AN INFINITE HEIGHT ABOVE THE MONSTROUS MEN AROUND HIM.*..)
... he (..* LOOKED DOWN *) upon all their sprawling eccentricities from the
starry pinnacle of the commonplace.
[[Text: source p.66]]
When the President's [.e., Sunday's] eyes were on him he felt as if he were (*
MADE OF GLASS.*)
[[Text: source p.62]]
`No,' said the policeman placidly, `he has a fancy for always sitting in a
pitch-dark room. He says it (* MAKES HIS THOUGHTS BRIGHTER.*) Do come along.'
[[Text: source p.48]]
{NB: zeugma-avoidance -- dark/brighter}
But more important, Ben will provide his peers with a WINDOW to a world few
of them would otherwise (* SEE, *) teaching them acceptance, tolerance,
perspective and creativity.
[[Text: source]]
The more pertinent question is whether Chrysler can survive more than a few
years as an independent company. The consensus is no, with most BETTING it will
end up in a partnership or merger. Last February, after extensive analysis,
Ford (* TOOK A LOOK *) and passed.
[[Text: source]]
Iacocca concedes cost cutting slowed development of the LH, but (* SEES *)
a silver lining.
[[Text: source]]
{note: ``silver lining'' fits normal patient selection restriction for ``see''}
As Iacocca (* SEES *) it, if car sales stay depressed for the next
year or two, the country will have more to worry about than Chrysler.
[[Text: source]]
The NFL has been playing exhibition games in Europe, Canada and Japan over
the last few years, (* LOOKING *) to deepen and expand its market, with some
success.
[[Text: source]]
Yet what this all adds up to, in America anyway, is something that (* LOOKS
SUSPICIOUSLY *) like the USFL, the last league that tried and failed to take
root in the spring, a time when sports fans traditionally TURN THEIR ATTENTION
to baseball, as well as basketball and hockey playoffs.
[[Text: source]]
He claims to (* SEE *) no conflict between any of that and his frequent (and
public) condemnations of materialism.
[[Text: source]]
They include her worshipful fiance (Robert Loggia), who, like Lear, is
initally skeptical of the spiritual but comes to (*SEE THE LIGHT.*)
[[Text: source]]
Southwestern Bell is key partner in the investment group that recently
purchased TelMex, with (* AN EYE TOWARD *) upgrading Mexico's antiquated phone
system.
[[Text: source]]
San Antonio has always been (* VIEWED AS *) the weak sister of the big
regional centers of Houston and Dallas.
[[Text: source]]
At first glance, (* IT LOOKS LIKE *) a Republican intramural Little Big
Horn, ...
[[Text: source]]
(* THE TRUTH THEY SEE *) is that Dan Quayle just doesn't have it, even if
they don't KNOW exactly what "it" might be.
[[Text: source]]
But Quayle, like Nixon, knows he can't do that. (* IT WOULD LOOK *) as if he
had been ousted.
[[Text: source]]
(* LOOKING BACK,*) refuting the "wimp factor" was an easy political task
for Bush, requiring only REMINDERS of his World War II service, a few
pork rinds and Ronald Reagan's departure.
[[Text: source]]
In the gulf crisis, (* QUAYLE WAS QUICK TO SEE *) the need for a
congressional resolution supporting the use of force.
[[Text: source]]
A bit WISHFULLY, perhaps, Quayle aides (* thought they SAW *) an
opportunity to make voters take (* A FRESH LOOK.*)
[[Text: source]]
{NB: nesting}
It had been a long night: the party started with beer and graduated to
Russian vodka. Marty downed shot after shot until he vomited on someone's leg.
He thinks he spent an hour face down in the middle of the street. The
ambulance ride to the hospital (* WAS A BLUR,*) too. In fact, (* MARTY'S ONLY
VIVID MEMORY *) of his 18th birthday is the morning after.
[[Text: source]]
"When you're doing analysis (* YOU ARE FOCUSING ON *) what the patient is
experiencing moment to moment," he says.
[[Text: source]]
"(* WE'VE NEVER SEEN *) confidence collapse this deep before
an actual slowdown," says Jason Bram ...
[[Text: source]]
"(* PRIMAKOV LOOKS AT *) Saddam, and (* HE SEES *) a longstanding Soviet
relationship that he wants to preserve if he possibly can," says ANDREI
KORTUNOV, ...
[[Text: source]]
So far, (* THE KING {l.case} [Hussein] DOESN'T SEE *) much progress in the
direction of negotiation. He (* seems not to know *) of any back-channel talks
between Washington and Baghdad, ...
[[Text: source]]
To suggest that social security be subjected to hasty deficit-cutting action
in the heat of ill-tempered negotiations is (* SHORTSIGHTED FOLLY.*)
[[Text: source]]
Today (* I SEE FEMINISM AS *) the great experiment that failed, and women in
my generation, its perpetrators, are the casualties.
[[Text: source]]
For 40 years most conservatives have had a (* BIFURCATED VISION *) of
government: It should be bold abroad but tentative at home.
[[Text: source]]
But if we ignore our child's needs, (* WE CAN LOSE SIGHT OF *) what the
holidays should be about --- giving, understanding and harmony.
[[Text: source]]
{NB: most of passage is in upper case in the file}
It took awhile, but (* SHE FINALLY SAW THROUGH *) the "thought" behind her
husband's selection.
[[Text: source]]
{NB: most of passage is in upper case in the file}
Every time I asked him a question I had such (* hope;*) it was (* LIKE *) opening the
shutters in a new house and looking for the view, and every window faced a
blank wall.
[[Text: source]]
As the months went by, Geri chose not to (* SEE *) what was so obvious to
everyone around her.
[[Text: source]]
Emotional investment in a relationship often (* BLINDS US *) to those elements
that (* DON'T FIT THE SCENARIO WE'VE CONSTRUCTED IN OUR MIND.*)
[[Text: source]]
Many of us use our skill for denial to (* BLOT OUT PAINFUL KNOWLEDGE *)
about ourselves in order to maintain a positive self-image,
[[Text: source]]
Whatever the reason, some truths are just too hard for us to accept. "There
may be (* A FLICKER OF RECOGNITION, BUT IT'S SNUFFED OUT *) immediately," says
Los Angeles psychologist Susan Brace. "(* DARKNESS IS PREFERABLE TO
THREATENING SELF-AWARENESS *) ... "
[[Text: source]]
{note: first marked bit: it is not the recognition that is actually doing the `seeing'}
Twelve-step programs have proved particularly successful in this arena. "What
we do is (* METAPHORICALLY HOLD A MIRROR UP TO THE PARTICIPANTS *) and say,
'You see what we see? What are you going to do about it?,"' says Linda, ...
[[Text: source]]
Taking on the responsibility of a baby can be scary, and your husband may be
(* FOCUSING ON *) that to the exclusion of any other concern.
[[Text: source]]
In such a case, the (* FOCUS OF THE ANXIETY *) can be on the wife who is
becoming dependent, rather than on the baby.
[[Text: source]]
She advises couple to each identify their strong points and (* SEE HOW *)
they can complement each other in the business.
[[Text: source]]
Avoiding controversial material (* NARROWS THE OUTLOOK *..) of children and
gives them an (...* UNREALISTIC VIEW *...) of the world. One of the major
functions of a good school, after all, is to teach children to acquire the
(...* FULL RANGE OF KNOWLEDGE *) needed for sound judgements.
[[Text: source]]
Until now, much of what we've been told about how sexuality develops has been
based on what doctors (* SAW *) in the families of troubled children. It's
helpful--and reassuring--finally to (* SEE *) what happens in healthy, caring,
and committed families like the ones in this survey.
[[Text: source]]
It also lets the child (* SEE THAT *) he has a real parent, someone who tells
the truth and also has a right to her own feelings.
[[Text: source]]
I was completely (* BLIND TO *) what other industrialized countries are doing
for their families.
[[Text: source]]
{NB: whole sentence in upper case}