Quotes & Sayings About Good Body Language

WHAT MAKES A GOOD LISTENER? 1. Not interrupting. 2. Showing that you empathize: not criticizing, arguing, or patronizing. 3. Establishing a physical sense of closeness without invading personal space. 4. Observing body language and letting yours show you are not distracted but attentive. 5. Offering your own self-disclosures, but not too many, or too soon. 6. Understanding the context of the other person's life. 7. Listening from all four levels: body, mind, heart, and soul. — Deepak Chopra

I think I am good in the department of body language and fighting, and stuff like that. It's just natural to me, maybe because I love sports. — Antonio Banderas

Every sentence has its drumbeat. rhythm is one of the most powerful dimensions of language: it separates tribes, united families, soothes children, and shocks us into new awarenesses. Every good writer, marching to his or her own drumbeat, marks out a vibrational field as home territory. The cadences of our sentences carry echos of ancestry and influence as surely as the double helix that orchstrates the life of the body. — Marilyn Chandler McEntyre

It was over Ed's shoulder that I really saw Milli for the first time. She was standing there just looking at me. Ed glanced at Milli and then, like a good friend, Ed walked away.
I have a few mental photographs I can see in my mind's eye. One of them is Milli, hands on her hips, looking me up and down as if the bike and I were one lean machine. Her body language, the gleam in her eyes, the tease in her smile, all combined into an erotic femme challenge. Milli set the action into irresistible motion by lifting on eyebrow. — Leslie Feinberg

Good writing arises out of obsession. With obsession there is emotional depth and a certain weight and gravity to the language and story. Without obsession I would be empty, and, literally, I wonder if I would even have any substance. The body is like a cathedral, and the cathedral needs music and prayer filling its grand spaces. Obsession turning over and over within the body creates music, prayer, substance that, although providing the depth, weight, and gravity I first evoked, also allows for lyricism, lightness, and flight up into the various arches and ellipses of the cathedral. Obsession is filled with slowness - and so obsession in my writing, for good or bad, doesn't come about because of an immediate intellectual idea or problem, nor a quick flash of inspiration. There's this slow energy at work, and I begin to become a part of that when I'm very close to silence. — Fred Arroyo

The policy or advantage of [immigration] taking place in a body (I mean the settling of them in a body) may be much questioned; for, by so doing, they retain the language, habits, and principles (good or bad) which they bring with them. Whereas by an intermixture with our people, they, or their descendants, get assimilated to our customs, measures, and laws: in a word, soon become one people. — George Washington

Ah, but it wasn't just her lovely face that haunted him. Nor the soft, lush body he was increasingly desperate to see liberated from that woolen cocoon. It was the way she'd so willingly owned up to the truth. The way her spirit had sparked when he'd told her to put aside her art. The way she'd practically made sweet, innocent love to him with her eyes when he'd said he cared if she lived or died.
Good Lord. The laughable irony of it. He'd wasted weeks of his adolescence memorizing sonnets, spent years perfecting little murmured innuendos. Only to learn the most seductive phrase in the English language was something akin to: All things being equal, I'd rather not see you mauled by a shark. — Tessa Dare

When language is treated beautifully and interestingly, it can feel good for the body: It's nourishing; it's rejuvenating. — Aimee Bender

Things had changed between them nevertheless. They were children of a time and culture which mistrusted love, 'in love', romantic love, romance in toto, and which nevertheless in revenge proliferated sexual language, linguistic sexuality, analysis, dissection, deconstruction, exposure. They were theoretically knowing: they knew about phallocracy and penisneid, punctuation, puncturing and penetration, about polymorphous and polysemous perversity, orality, good and bad breasts, clitoral tumescence, vesicle persecution, the fluids, the solids, the metaphors for these, the systems of desire and damage, infantile greed and oppression and transgression, the iconography of the cervix and the imagery of the expanding and contracting Body, desired, attacked, consumed, feared. — A.S. Byatt

He walked to the exit, skirting the pools of vapor light purely out of habit, but he saw that the last lamp was unavoidable, because it was set directly above the exit gate. So he saved himself a further perimeter diversion by walking through the next-to-last pool of light, too. At which point a woman stepped out of the shadows. She came toward him with a distinctive burst of energy, two fast paces, eager, like she was pleased to see him. Her body language was all about relief. Then it wasn't. Then it was all about disappointment. She stopped dead, and she said, "Oh." She was Asian. But not petite. Five-nine, maybe, or even five-ten. And built to match. Not a bone in sight. No kind of a willowy waif. She was about forty, Reacher guessed, with black hair worn long, jeans and a T-shirt under a short cotton coat. She had lace-up shoes on her feet. He said, "Good evening, ma'am." She was looking past his shoulder. He said, "I'm the only passenger. — Lee Child

Places are fragmentary and inward-turning histories, pasts that others are not allowed to read, accumulated times that can be unfolded but like stories held in reserve, remaining in an enigmatic state, symbolizations encysted in the pain or pleasure of he body. 'I feel good here': the well-being under-expressed in the language it appears in like a fleeting glimmer is a spatial practice. — Michel De Certeau

BODY LANGUAGE
Said my feet, "Hey, let's go dancin'."
Said my tongue, "Let's have a snack."
Said my brain, "Let's read a good book."
Said my eyes, "Let's take a nap."
Said my legs, "Let's just go walkin'."
Said my back, "Let's take a ride."
Said my seat, "Well, I'll just sit right here,'Til all of you decide. — Shel Silverstein

I'll be a son of a bitch," Patrick said.
Aidan could barely make his eyes move, forcing them from the papers onto him. "What?"
"I make a living, even life and death judgments, by reading peoples' body language, their raw reactions to situations. And I'd almos swear you've never seen those documents before."
"Well," Aidan said, swallowing hard, calculating what fame and money had cost him. "I'd say you're damn good at your job, because I haven't. — Laura Spinella

My mother finally took me to a child psychologist, who knew exactly what I was, but she just couldn't accept it and kept trying to tell my folks I was reading their body language and was very observant, so I had good reason to imagine I heard people's thoughts. Of course, she couldn't admit I was literally hearing people's thoughts because that just didn't fit into her world. — Charlaine Harris

One day the girl is taking a bath and calls out. The widow comes into the tiny bathroom and the water surrounding the girl's legs is clouded with crimson. She slaps the girl in the face and smiles and kisses her on the cheeks. She says, "May you bloom." The girl doesn't flinch. The widow tells her, "This is the first language of your body. It is the word ne. When you bleed each month, as when the moon comes and goes in its journey, you leave the world of men. You enter the body of all women, who are connected to all of nature." The girl asks, "Why is it the word ne?" The widow responds, "When you bleed, this word is more powerful than any word you could ever speak. It is a blood word. It binds you to animals and trees and the moon and the sun. Where men take blood in the world in hunting and war, women give blood. It is the word ne because it closes the room of a woman's body to men." The widow places her hands into the water and says, "Good. You are alive. You and I are alive. — Lidia Yuknavitch