687 books
—
807 voters
Liliana
https://www.goodreads.com/cohnina


“Kurz darauf ging es AUF KLASSENFAHRT ins Sauerland, in die Jugendherberge Burg Bielstein, und alles war genau so grausam, wie es eben auf solchen Fahrten in diesem Alter ist, stinkende Schlafsäle mit Etagenbetten, auf deren Matratzen die Exzessgeschichte der Räume mittels Flecken recht anschaulich kartiert ist, labbrig-bitterer Hagebuttentee aus Metallkannen, Himbeermarmelade aus Eimern, Graubrot mit Gummikäse, entsetzlich marmorierte Wurstscheiben.”
― Panikherz
― Panikherz

“John Ronald Reuel Tolkien wrote his first story aged seven. It was about a “green great dragon.” He showed it to his mother who told him that you absolutely couldn’t have a green great dragon, and that it had to be a great green one instead. Tolkien was so disheartened that he never wrote another story for years.
The reason for Tolkien’s mistake, since you ask, is that adjectives in English absolutely have to be in this order: opinion-size-age-shape-colour-origin-material-purpose Noun. So you can have a lovely little old rectangular green French silver whittling knife. But if you mess with that word order in the slightest you’ll sound like a maniac. It’s an odd thing that every English speaker uses that list, but almost none of us could write it out. And as size comes before colour, green great dragons can’t exist.”
― The Elements of Eloquence: How to Turn the Perfect English Phrase
The reason for Tolkien’s mistake, since you ask, is that adjectives in English absolutely have to be in this order: opinion-size-age-shape-colour-origin-material-purpose Noun. So you can have a lovely little old rectangular green French silver whittling knife. But if you mess with that word order in the slightest you’ll sound like a maniac. It’s an odd thing that every English speaker uses that list, but almost none of us could write it out. And as size comes before colour, green great dragons can’t exist.”
― The Elements of Eloquence: How to Turn the Perfect English Phrase

“J.R.R. Tolkien has become a sort of mountain, appearing in all subsequent fantasy in the way that Mt. Fuji appears so often in Japanese prints. Sometimes it’s big and up close. Sometimes it’s a shape on the horizon. Sometimes it’s not there at all, which means that the artist either has made a deliberate decision against the mountain, which is interesting in itself, or is in fact standing on Mt. Fuji.”
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Liliana’s 2022 Year in Books
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