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1969

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The 1969 page groups 7 quotes under one canonical topic hub so readers and answer engines can cite a stable source instead of fragmented search results.

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You__e drunk. They__ arrest you on the spot._ __hat? There__ no law against driving a car when you__e drunk._ He swayed back and forth while he spoke. __esides, I__ not drunk._ __ine, you__e not drunk, but you__e been drinking and there is a law that says you can__ drive when you__e drunk. It__ called driving while intoxicated or driving under the influence or something like that. I__l drive._ __mmm_ Never heard of it. Okay- you drive.

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In terms of "quiet" bourgeois democracy two fundamental possibilities are open to the industrial worker: identification with the bourgeoisie, which holds a higher position in the social scale, or identification with his own social class, which produces its own anti-reactionary way of life. To pursue the first possibility means to envy the reactionary man, to imitate him, and, if the opportunity arises, to assimilate his habits of life. To pursue the second of these possibilities means to reject the reactionary man's ideologies and habits of life. Due to the simultaneous influence exercised by both social and class habits, these two possibilities are equally strong. The revolutionary movement also failed to appreciate the importance of the seemingly irrelevant everyday habits, indeed, very often turned them to bad account. The lower middle-class bedroom suite, which the "rabble" buys as soon as he has the means, even if he is otherwise revolutionary minded; the consequent suppression of the wife, even if he is a Communist; the "decent" suit of clothes for Sunday; "proper" dance steps and a thousand other "banalities," have an incomparably greater reactionary influence when repeated day after day than thousands of revolutionary rallies and leaflets can ever hope to counterbalance. Narrow conservative life exercises a continuous influence, penetrates every facet of everyday life; whereas factory work and revolutionary leaflets have only a brief effect.

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Why isn't the manuscript ready? Because every book is more work than anyone intended. If authors and editors knew, or acknowledged, how much work was ahead, fewer contracts would be signed. Each book, before the contract, is beautiful to contemplate. By the middle of the writing, the book has become, for the author, a hate object. For the editor, in the middle of editing, it has become a two-ton concrete necklace. However, both author and editor will recover the gleam in their eyes when the work is completed, and see the book as the masterwork it really is.

SV
Samuel S. Vaughan

Editors on Editing: What Writers Need to Know About What Editors Do