Every time I do an interview people ask similar questions, such as "What is the most significant story that you have revealed?" [... ] There really is only one overarching point that all of these stories have revealed, and that is-and I say this without the slightest bit of hyperbole or melodrama; it's not metaphorical and it's not figurative; it is literally true-that the goal of the NSA and it's five eyes partners in the English speaking world-Canada, New Zealand, Australia and especially the UK-is to eliminate privacy globally, to ensure that there could be no human communications that occur electronically, that evades their surveillance net; they want to make sure that all forms of human communications by telephone or by Internet, and all online activities are collected, monitored, stored and analyzed by that agency and by their allies. That means, to describe that is to describe a ubiquitous surveillance state; you don't need hyperbole to make that claim, and you do not need to believe me when I say that that's their goal. Document after document within the archive that Edward Snowden provided us declare that to be their goal. They are obsessed with searching out any small little premise of the planet where some form of communications might take place without they being able to invade it.
Any time you make an analogy to horrific people in history, Mussolini or Hitler, people say, 'Oh, you're exaggerating, you're talking about, it's hyperbole.' Maybe it is. ... But I would say is that if you are not concerned that democracy could produce bad people, I don't think you're really thinking this through too much.
Perhaps MacKinnon should reflect on these suggestions that the censorship issue is not so simple-minded, so transparently gender-against-gender, as she insists. She should stop calling names long enough to ask whether personal sensationalism, hyperbole, and bad arguments are really what the cause of sexual equality now needs.
Every time some new huckster of angst-ridden metaphor is appointed by Art Forum, the congregation genuflects, stroking the catalog like a handful of Rosary beads, and starts spreading that old gospel according to Hyperbole. No questions asked... And thus the bill of goods is sold, all along the line. An art historical snake, swallowing its own tale.
Young people are dazzled by the brilliancy of antithesis, and employ it. Matter-of-fact men, and those who like precision, naturally fall into comparisons and metaphor. Sprightly natures, full of fire, and whom a boundless imagination carries beyond all rules, and even what is reasonable, cannot rest satisfied even with hyperbole. As for the sublime, it is only great geniuses and those of the very highest order that are able to rise to its height.
Jean de la Bruyere
It was wonderful love that Christ should rather die for us than for the angels that fell. They were creatures of a more noble extract, and in all probability might have brought greater revenues of glory to God; yet that Christ should pass by those golden vessels, and make us clods of earth into stars of glory -- Oh, the hyperbole of Christ's love!
This is not hyperbole. It is possible for the average professor to have been taught by leftists, grown up in a left-leaning city, read only left-leaning books, entertained by leftists in pop culture and became a professor without holding a job outside academia. How can we expect these professors to adequately explain what people who oppose them believe?
From authors whom I read more than once I learn to value the weight of words and to delight in their meter and cadence -- in Gibbon's polyphonic counterpoint and Guedalla's command of the subjunctive, in Mailer's hyperbole and Dillard's similes, in Twain's invectives and burlesques with which he set the torch of his ferocious wit to the hospitality tents of the world's colossal humbug . . . I know no other way out of what is both the maze of the eternal present and the prison of the self except with a string of words.
Lewis H. Lapham
A poem must be authentic. It could be flowery, it could have the most brilliant metaphor, it could be bursting with onomatopoeia and alliteration, assonance and consonance, hyperbole and paradox, from every end, it could have daring syntax and clever cacophony, it could have a neat and ordered rhyme scheme... but, if it loses its authenticity, its ability to convey the very heart and soul of the poet, then all the euphony and cacophony in the world cannot make up for the loss of its identity as a poem. And that is the true cacophony.
In the distance, I see a frightful storm brewing in the form of un-tethered government debt. I choose the words -"frightful storm' - deliberately to avoid hyperbole. Unless we take steps to deal with it, the long-term fiscal situation of the federal government will be unimaginably more devastating to our economic prosperity than the subprime debacle and the recent debauching of credit markets that we are working right now so hard to correct.
Richard W. Fisher
The feminist movement as we have come to know it in recent decades is fundamentally a "con."... As it is considered treasonous to criticise a sister feminist, no standards of accuracy or honesty are ever enforced. Hyperbole and deceit thus become the formula for success, "peer review" playing no role in reining in misinformation. Any would-be feminist who raises scholarly objections to the rampant misinformation is branded an 'enemy of women' and is drummed out of the movement.
Hyperbolic Suggestion is-as one might infer from the term's literal interpretation-a method of suggestion induced upon the subject (or subjects), in question, through the blatant and immoderate invocation of hyperbole. Simply stated, excessive exaggeration induces a trance upon the recipient, rendering him or her remarkably susceptible to suggestion. Thus, through the use of a multitude of descriptive adjectives and superlatives, neural mechanisms and pathways are overloaded, as canals and bypasses are burrowed into the thick of the gray matter. The dendrites are, through this process, tuned to a predetermined frequency by which the seeds of suggestion can be sown. When this occurs, the subject becomes incredibly compliant to any orders given at a certain tone of voice. In some cases, orders need not be given. The subject's attitudes might well be so affected by the hyperbole as to affect his natural tendencies... Emmanuel silently wondered if there existed a perfect combination of words or phrases that could somehow-as in the case of Hyperbolic Suggestion-subvert even the most stubborn of wills. Then again, maybe it wasn't so much the words as it was how they were spoken: if he achieved exactly the most desirable intonation, rhythm, timing, pitch and pronunciation in his speaking, would his verbal appeals somehow make greater inroads in garnering their consent? There had to be some optimal combination of aspirated consonants, diphthongs, facial expressions and inflection he could somehow affect in order to persuade them effectively. But it seemed that to search for this elusive mixture of ingredients would only prove an onerous task, conceivably of little benefit. In view of this sobering reality, he decided instead to try out a completely different approach from those previous: it occurred to him that his attempts at persuasion might be slightly more effective if he carried them out as dialogues, rather than as monologues.
And lastly, Chairman Khrushchev has compared the United States to a worn-out runner living on its past performance, and stated that the Soviet Union would out-produce the United States by 1970. Without wishing to trade hyperbole with the Chairman, I do suggest that he reminds me of the tiger hunter who has picked a place on the wall to hang the tiger's skin long before he his caught the tiger. This tiger has other ideas.
John F. Kennedy
Despite my resistance to hyperbole, the LHC belongs to a world that can only be described with superlatives. It is not merely large: the LHC is the biggest machine ever built. It is not merely cold: the 1.9 kelvin (1.9 degrees Celsius above absolute zero) temperature necessary for the LHC's supercomputing magnets to operate is the coldest extended region that we know of in the universe-even colder than outer space. The magnetic field is not merely big: the superconducting dipole magnets generating a magnetic field more than 100, 000 times stronger than the Earth's are the strongest magnets in industrial production ever made. And the extremes don't end there. The vacuum inside the proton-containing tubes, a 10 trillionth of an atmosphere, is the most complete vacuum over the largest region ever produced. The energy of the collisions are the highest ever generated on Earth, allowing us to study the interactions that occurred in the early universe the furthest back in time.
But then, not long after, in another article, Loftus writes, "We live in a strange and precarious time that resembles at its heart the hysteria and superstitious fervor of the witch trials." She took rifle lessons and to this day keeps the firing instruction sheets and targets posted above her desk. In 1996, when Psychology Today interviewed her, she burst into tears twice within the first twenty minutes, labile, lubricated, theatrical, still whip smart, talking about the blurry boundaries between fact and fiction while she herself lived in another blurry boundary, between conviction and compulsion, passion and hyperbole. "The witch hunts, " she said, but the analogy is wrong, and provides us with perhaps a more accurate window into Loftus's stretched psyche than into our own times, for the witch hunts were predicated on utter nonsense, and the abuse scandals were predicated on something all too real, which Loftus seemed to forget: Women are abused. Memories do matter. Talking to her, feeling her high-flying energy the zeal that burns up the center of her life, you have to wonder, why. You are forced to ask the very kind of question Loftus most abhors: did something bad happen to her? For she herself seems driven by dissociated demons, and so I ask. What happened to you? Turns out, a lot. (refers to Dr. Elizabeth F. Loftus)
The idealized market was supposed to deliver 'friction free' exchanges, in which the desires of consumers would be met directly, without the need for intervention or mediation by regulatory agencies. Yet the drive to assess the performance of workers and to measure forms of labor which, by their nature, are resistant to quantification, has inevitably required additional layers of management and bureaucracy. What we have is not a direct comparison of workers' performance or output, but a comparison between the audited representation of that performance and output. Inevitably, a short-circuiting occurs, and work becomes geared towards the generation and massaging of representations rather than to the official goals of the work itself. Indeed, an anthropological study of local government in Britain argues that 'More effort goes into ensuring that a local authority's services are represented correctly than goes into actually improving those services'. This reversal of priorities is one of the hallmarks of a system which can be characterized without hyperbole as 'market Stalinism'. What late capitalism repeats from Stalinism is just this valuing of symbols of achievement over actual achievement. [... ] It would be a mistake to regard this market Stalinism as some deviation from the 'true spirit' of capitalism. On the contrary, it would be better to say that an essential dimension of Stalinism was inhibited by its association with a social project like socialism and can only emerge in a late capitalist culture in which images acquire an autonomous force. The way value is generated on the stock exchange depends of course less on what a company 'really does', and more on perceptions of, and beliefs about, its (future) performance. In capitalism, that is to say, all that is solid melts into PR, and late capitalism is defined at least as much by this ubiquitous tendency towards PR-production as it is by the imposition of market mechanisms.
Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk, " "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms: Avoid run-on sentences they are hard to read. Don't use no double negatives. Use the semicolon properly, always use it where it is appropriate; and never where it isn't. Reserve the apostrophe for it's proper use and omit it when its not needed. Do not put statements in the negative form. Verbs has to agree with their subjects. No sentence fragments. Proofread carefully to see if you any words out. Avoid commas, that are not necessary. If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. A writer must not shift your point of view. Eschew dialect, irregardless. And don't start a sentence with a conjunction. Don't overuse exclamation marks!!! Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents. Writers should always hyphenate between syllables and avoid un-necessary hyph-ens. Write all adverbial forms correct. Don't use contractions in formal writing. Writing carefully, dangling participles must be avoided. It is incumbent on us to avoid archaisms. If any word is improper at the end of a sentence, a linking verb is. Steer clear of incorrect forms of verbs that have snuck in the language. Take the bull by the hand and avoid mixed metaphors. Avoid trendy locutions that sound flaky. Never, ever use repetitive redundancies. Everyone should be careful to use a singular pronoun with singular nouns in their writing. If I've told you once, I've told you a thousand times, resist hyperbole. Also, avoid awkward or affected alliteration. Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death. Always pick on the correct idiom. "Avoid overuse of 'quotation "marks."'" The adverb always follows the verb. Last but not least, avoid cliches like the plague; seek viable alternatives." (New York Times, November 4, 1979; later also published in book form)