She has referenced this independence from major labels in song more than once, including " The Million You Never Made " ( Not A Pretty Girl ), which discusses the act of turning down a lucrative contract, " The Next Big Thing " ( Not So Soft ), which describes an imagined meeting with a label head-hunter who evaluates the singer based on her looks, and " Napoleon " ( Dilate ), which sympathizes sarcastically with an unnamed friend who did sign with a label.

An early work, She ' iltot (" Questions ") by Achai of Shabcha ( c. 752 ), discusses over 190 Mitzvot — exploring and addressing various questions on these.

She discusses his newly found fame, but he denies being a hero and drops her off for free.

She discusses how antecedent genres place powerful constraints on the rhetor and may cause them to become " bound by the manacles of the antecedent genre " ( Jamieson 414 ).

She discusses problems that arise when children pose as adults online.

She discusses the death of her former employer, while her conversation with Tintin is recorded by a reel-to-reel tape recorder hidden under the counter.

She has contributed to the feminist movement with such works as her memoir The Woman Warrior, which discusses gender and ethnicity and how these concepts affect the lives of women.

She subsequently became a journalist as well as a social worker and discusses " The Night of the Meek " at length in her partially autobiographical book about child actors, Pretty Babies, published in 1983 by McGraw-Hill.

She discusses both the cancer and hepatitis diagnoses in further depth in her second memoir, Memories, Dreams and Reflections.

She discusses how mothers are continually making trade-offs between quality and quantity " and weighing the best possible actions for both her and her infant.

She also discusses the connections between feminism and vegetarianism, and patriarchy and meat eating, historically and through the reading of literary texts.

She discusses a wish for people to feel that they are loved by God.

She has a weekly program entitled In Bed with Susie Bright distributed through audible. com, where she discusses a variety of social, freedom of speech and sex-related topics.

She discusses the struggles of Jeannette Corbiere Lavell and Yvonne Bédard in the early 1970s, two women who had both lost their Indian status for marrying white men.

" She also discusses her relationship with her partner, Heather Poe.

She discusses this on FaceCulture. nl, as well as on AfterEllen. com.

She discusses Picasso and his mistress Fernande.

She next discusses spending the summer with Gertrude in Fiesole while Picasso goes to Spain.

She tells her friend Liz ( Marisa Tomei ) and discusses her bad luck with men.

She discusses the conflicts that some women may face in this journey to self-actualization, including their own fears and resistance from others.

She finds that early Christianity was uncomfortably zealous and apocalyptic ; and, after a brutal rape by a Roman soldier, discusses the role of government and its duties to abused citizens with Roman Emperor Marcus Aurelius.

She also discusses the advance of the Islamic Ottoman Empire into Europe, ending in the disastrous Battle of Nicopolis.

She discusses Hilton Kramer's objection to the piece as an extension of Modernist ideas about art, stating, " the piece blatantly subverts modernist value systems, which privilege the ‘ pure ’ aesthetic object over the debased sentimentality of the domestic and popular arts ".

She discusses her psychoanalytic sessions with Rene Allendy and Otto Rank at length.

She lay there, making no effort to get back on her feet.

She drank greedily, and murmured, `` Thank you '', as he lowered her head.

She rubbed her eyes and stretched, then sat up, her hands going to her hair.

She stared at him, her eyes wide as she thought about what he had said ; ;

She got to her feet, staggered, and almost fell.

She sat down at the table, shaking her head.

She clung to him, talking to him, and dabbing at her eyes.

She was carrying a quirt, and she started to raise it, then let it fall again and dangle from her wrist.

She showed her surprise by tightening the reins and moving the gelding around so that she could get a better look at his face.

She said, and her tone had softened until it was almost friendly.

She had picked up the quirt and was twirling it around her wrist and smiling at him.

She swung the quirt again, and this time he caught her wrist and pulled her out of the saddle.

She came down against him, and he tried to break her fall.

She wiped it off with the sleeve of her coat.

She brought up her free hand to hit him, but this time he was quicker.

She finally regained her balance and got up in the saddle.

She had offered to walk, but Pamela knew she would not feel comfortable about her child until she had personally confided her to the care of the little pink woman who chose to be called `` Auntie ''.

She remembered little of her previous journey there with Grace, and she could but hope that her dedication to her mission would enable her to accomplish it.