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The first is relentlessly used by Howard French, a veteran American reporter with a Ghanaian wife who has been based in both Africa and China for the New York Times and speaks Chinese, enabling him to converse with an array of Chinese people in Africa, from rugged bricklayers in Zambia and brothel madams in Liberia, to engineers in Mali and farmers in Mozambique.
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His use of language is relentlessly inventive, violent, fresh, precise.
But Buddhist spiritual practice is relentlessly exacting.
He is relentlessly optimistic.
The movie is relentlessly upbeat.
Its language is relentlessly concrete.
The book is relentlessly teleological.
Coleridge is relentlessly optimistic.
It is relentlessly academic.
What Marseille is not is relentlessly bourgeois.
The language throughout is relentlessly post-watershed.
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CEO of Professional Science Editing for Scientists @ prosciediting.com