Sentence examples for interrupted halfway from inspiring English sources

Grub was the silly one who came tumbling in late, having obviously been interrupted halfway through a ham sandwich.

Except for the goatherd's story, which remains in the center, like a hub, the other narratives are interrupted halfway through and then pick up again in reverse order, so that the book rewinds itself like a palindrome.

The pack hunted down a small breakaway for most of the day, though the chase was interrupted halfway through the stage when a large black dog ran across the road.

"Basically we have a difficulty in that I don't think we are moving the programme along fast enough, and the critique I am giving is not getting through to the audience because I am being interrupted halfway through.

When the arrangements work, Mr. Stipe's fine whine is better than ever: he joins a drum machine for the gentle man-and-machine duet "I've Been High," and leads the band on the breezy summer anthem "Imitation of Life," which is interrupted halfway through by a frothy electronic solo.

In 1971 Jack Straw – who went on to be home and foreign secretary in Tony Blair's government – was giving his farewell speech as president of the National Union of Students when he was interrupted halfway through for an important announcement: Barclays Bank had stopped financing the Cahora Bassa dam project in Mozambique.

This would have been all well and good, apart from the fact that, by following the money trail with the help of his one remaining ally in the FBI, Ballard was able to interrupt the engagement halfway through.

Halfway through she is interrupted by her grandson, and the focus reverses, singing to him about how he would have loved his great-grandmother.

The second session was interrupted by a rain shower about halfway through, but most of the leading runners managed to get out to do their lower-fuel runs on the 'soft' tyre before it hit.

Well after the halfway point, the silence is finally interrupted by Chris Peck's score, contributing not quite recognizable sounds: banging tools, machinery, squeaking glass, spacey chimes, voices.

Halfway through our interview we are interrupted by two grey-haired men who turn out to be none other than Hans Ulrich Obrist, director of the Serpentine Gallery, and Klaus Biesenbach, curator-at-large of Moma in New York.