“Postmodern science - by concerning itself with such things as undecidables, the limits of precise control, conflicts characterized by incomplete information, "fracta", catastrophes, and pragmatic paradoxes - is theorizing its own evolution as discontinuous, catastrophic, nonrectifiable, and paradoxical.”

“Postmodern science - by concerning itself with such things as undecidables, the limits of precise control, conflicts characterized by incomplete information, "fracta", catastrophes, and pragmatic paradoxes - is theorizing its own evolution as discontinuous, catastrophic, nonrectifiable, and paradoxical.”

“Lara Jean, why do you have to remember every little thing? It's not healthy.”

“When Jean and his mother left Etreuilles, Monsieur Sureau had gathered for them great boxfuls of hawthorn and of snowballs which Madame Santeuil had not the courage to refuse. But, as soon as Jean's uncle had gone home, she threw them away, saying that they already had more than enough in the way of luggage. And then Jean cried because he had been separated from the darling creatures which he would have liked to take with him to Paris, and because of his mother's naughtiness.”

“Writing has become more than just a profession, and hobby…it has become a way to express my feelings and pour my entire soul into the pages of my books. Thank God for the little things in life that makes us feel infinite and tranquil…the little things that make way for us to escape reality and enter new worlds that we create. -Nina Jean Slack”

“Her first really great role, the one that cemented the “Jean Arthur character,” was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra’s Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra’s rendition of Kaufman and Hart’s You Can’t Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). “Jean Arthur is my favorite actress,” said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. “. . . push that neurotic girl . . . in front of the camera . . . and that whining mop would magically blossom into a warm, lovely, poised and confident actress.” Capra obviously recognized that Jean was often frustrated in her career choice.”

“The heart that bleeds, knows true heartache.-Nina Jean Slack”

“Jean smirked, and delicately swirled the mic in his hands, careful not to make a sound. “Oui. C’est normal. C'est pas spécial. I will give you something worthy of Holmes.” Jean set down the mic and proceeded toward the couple. As he approached them, he fiddled with his mustache for a moment, and then pulled it sharply. He winced at the sensation. “I have it,” he declared confidently. “You sir, are a thief.”

“Jean's desires, like those of all men in love, were concentrated on the impossible.”

“I find that is the best way to write during emotional scenes...put yourself and your emotions in every single word.-Nina Jean Slack”

“When I stay in one Place, I can hardly think at all; my body had to be on the move to set my mind going." Jean-Jacques Rousseau.”

“Twas easier to disarm the god of strengthThan this Hippolytus, for HerculesYielded so often to the eyes of beauty,As to make triumph cheap.― Jean Racine, Phèdre”