Quotes of All Topics . Occasions . Authors
Brent Berlin and Paul Kay in Basic Color Terms demonstrate exhaustively and empirically, the very simple thesis that anywhere in the world, as a language develops and acquires names for color, the colors always enter in the same order. The most primitive are black and white. Then red. Then either green or yellow.
Your problem is how you are going to spend this one odd and precious life you have been issued. Whether you're going to spend it trying to look good and creating the illusion that you have power over people and circumstances, or whether you are going to taste it, enjoy it and find out the truth about who you are.
It's different when the person you love dies. There's an awful finality to death. But it is final. The end. And there's the funeral, family gatherings, grieving, all of those necessary rituals. And they help, believe me. When the object of your love just disappears, there's no way to deal with the grief and pain.
There was a deliberate voluptuousness that was both thrilling and repulsive. And as she arched her neck she actually licked her lips like an animal till I could see in the moonlight the moisture Then lapped the white, sharp teeth. Lower and lower went her head. I closed my eyes in a languorous ecstasy and waited.
The history of Buenos Aires is written in its telephone directory. Pompey Romanov, Emilio Rommel, Crespina D. Z. de Rose, Ladislao Radziwil, and Elizabeta Marta Callman de Rothschild - five names taken at random from among the R's - told a story of exile, desolation, disillusion, and anxiety behind lace curtains.
And He [God] and you are two things of such a kind that if you really get into any kind of touch with Him you will, in fact, be humble--delightedly humble, feeling the infinite relief of having for once got rid of all the silly nonsense about your own dignity which has made you restless and unhappy all your life.
I have been trying to make the reader believe that we actually are, at present, creatures whose character must be, in some respects, a horror to God, as it is, when we really see it, a horror to ourselves. This I believe to be a fact: and I notice that the holier a man is, the more fully he is aware of that fact.
And since we cannot deceive the whole human race all the time, it is most important thus to cut every generation off from all others; for where learning makes a free commerce between the ages there is always the danger that the characteristic errors of one may be corrected by the characteristic truths of another.
But do you really mean, Sir," said Peter, "that there could be other worlds-all over the place, just round the corner-like that?" "Nothing is more probable," said the Profesor, taking off his spectacles and beginning to polish them, while he muttered to himself, "I wonder what they do teach them at these schools.
In those days, Christmas still retained a certain aura of magic and mystery. The powdery light of winter, the hopeful expressions of people who lived among shadows and silence, lent that setting a slight air of promise in which at least children and those who had learned the art of forgetting could still believe.
We all need one another; much and often. Just as every human creature needs a place to be alone in, a sacred, private "home" of his own, so all human creatures need a place to be together in, from the two who can show each other their souls uninterruptedly, to the largest throng that can throb and stir in unison.
Deliver me from Swedish furniture. Deliver me from clever art. And the phone rang and Tyler answered. "If you don't know what you want," the doorman said, "you end up with a lot you don't." May I never be complete. May I never be content. May I never be perfect. Deliver me, Tyler, from being perfect and complete.
We must get back into relation, vivid and nourishing relation to the cosmos and the universe. The way is through daily ritual, andis an affair of the individual and the household, a ritual of dawn and noon and sunset, the ritual of the kindling fire and pouring water, the ritual of the first breath, and the last.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
These short stories establish Sontag's originality . . . her unique vision, her success with experiments in the form . . . Sontag makes a wonderful stew of the past, the life caught in memory and imagination, serves it all up lavishly laced with silences, and provides us with a gourmand's series of short courses.
America can be a very hysterical country intellectually and very puritanical, too. You probably have fun in private, but to the rest of the world you seem to hate fun - to be big on agendas and short on spontaneity. The image you present is one of appalling conformity. The thought police is what you are ruled by.
I connect fashion to other peoples' elegance, but not my own. I don't think I've ever felt elegant. I've felt appropriate, but never elegant, and I wonder what that must be like. I like it when other people are elegant - I prefer it - but I can't do it myself. I honestly think it's some form of autistic disorder.
Sooner mayest thou trust thy pocket to a pickpocket than give loyal friendship to the man who boasts of eyes to the heart never mounts in dew! Only when man weeps he should be alone, not because tears are weak, but they should be secret. Tears are akin to prayer,--Pharisees parade prayers, imposters parade tears.
The feminization of America has made emotions sacrosanct while condemning as cold and unfeeling rigorous concepts such as duty andhonor. Propelled by incessant hosannas to woman's "finer" this and "softer" that, we make emotional decisions instead of ethical ones and then congratulate ourselves for having "heart.
But the effect of her being on those around her was incalculably diffusive: for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.
My own heroes are the dreamers, those men and women who tried to make the world a better place than when they found it, whether in small ways or great ones. Some succeeded, some failed, most had mixed results... but it is the effort that's heroic, as I see it. Win or lose, I admire those who fight the good fight.
Fantasy is silver and scarlet, indigo and azure, obsidian veined with gold and lapis lazuli. Reality is plywood and plastic, done up in mud brown and olive drab. Fantasy tastes of habaneros and honey, cinnamon and cloves, rare red meat and wines as sweet as summer. Reality is beans and tofu, and ashes at the end.
All lovers in the world are alike: they fall in love by chance; they see each other, and are attached to each other by the features of their faces; they illuminate each other by the fierce preference which is akin to madness; they assert the reality of illusions; and for a moment they change falsehood into truth.
The friendship of fine-hearted, generous boys, nurtured amid the romance-engendering comforts and elegancies of life, sometimes transcends the bounds of mere boyishness, and revels for a while in the empyrean of a love which only comes short, by one degree, of the sweetest sentiment entertained between the sexes.
truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.
You’re touching me,” I chided him. He caressed my back, sliding his hand down, hitting every sensitive point I hadn’t even known I had. “No, this is touching you. That was just accidental contact.” “Oh? Good to know. If you touch me again and I break your arm off, you can be sure it will be completely accidental.
Machiavelli says that if as a ruler you accept that your every action must pass moral scrutiny, you will without fail be defeated by an opponent who submits to no such moral test. To hold on to power, you have not only to master the crafts of deception and treachery but to be prepared to use them where necessary.
All of these declarations of what writing ought to be, which I had myself-though, thank God I had never committed them to paper-I think are nonsense. You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that at all anymore.
Life is more than a theory, and love of truth butters no bread: old men who have had to struggle along their way, who know the endless bitterness, the grave moral deterioration which follow an empty exchequer, may well be pardoned for an over-wish to see their sons secured from it; hunger, at least, is a reality.
People have reflected on the quality of time ever since they've been writing. I suppose I have thought about and written about the question of living in the present - but it only lasts for an instant, and then everything becomes the past. The future, you know nothing about, except for some anticipations you have.
I think that the desire to be cruel and to hurt (with words because any other way might be dangerous to ourself) is part of human nature. Parties are battles (most parties), a conversation is a duel (often). Everybody's trying to hurt first, to get in the dig that will make him or her feel superior, feel triumph.
But I always need to identify with a character to write about him or her - and by "identify," I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.
But I always need to identify with a character to write about him or her - and by 'identify,' I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.
Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.
Being blocked, being uncertain, sitting there not knowing, waiting, abiding with it: this is the work. If you don't have the tolerance for that you're in great trouble. If you want to call it a writer's block... that doesn't seem a very useful name for that kind of abiding that I think is the essence of the work.
At its best, fiction cultivates fantasy and compassion; at its worst, memoir provokes schadenfreude and prurience. The ugly truth, I fear, is that many people are drawn to sensational memoirs for the same reason they watch 'The Apprentice': they like to witness actual suffering, before-your-very-eyes humiliation.
At first blush, it seems odd that loser lit books are rejected initially, then go on to be fiercely loved by legions of readers. This apparent contradiction might be due to the fact that if they didn't screw up their lives, most losers would be the kind of power-elite, Type A go-getters whom readers love to hate.
Most professional fighters, male and female, hold day jobs, but the women's game attracts a wide social spectrum: hash slingers, teachers, police officers, landscapers, stuntwomen. Many are wives and mothers. Their husbands or boyfriends work their corners, or hide in arena restrooms, scared to watch their bouts.
If there's a black cat that crosses the street in my path, I will turn around and walk 20 minutes out of my way to not cross it. You know how in New York there's a lot of scaffolding? I won't walk under scaffolding or under ladders. I wear things like a baseball player wears things that are supposed to have luck.
One of the big ways in which I felt my own writing life shaped by recovery had to do with my relationship to other people's stories. And one of the things I loved most about recovery was the way in which, in meetings and through fellowship, you are constantly kind of paying attention to lives outside of your own.
You are putting yourself in serious danger...' I think that I preferred to put myself in serious danger rather than confront my shame. My shame at not having become someone, the shame of not having made my parents proud after all the sacrifices they had made for me. The shame of having become a mediocre nihilist.
Most romances aren't swept aside by big historical events. Most romances in the history of the world fall apart because of other, smaller happenings. History can sometimes be in the background, the thing which instead of rupturing your life merely irritates you by pressing itself now and then into the foreground.
A man who wants to die feels angry and full of life and desperate and bored and exhausted, all at the same time; he wants to fight everyone, and he wants to curl up in a ball and hide in a cupboard somewhere. He wants to say sorry to everyone, and he wants everyone to know just how badly they've all let him down.
Surely we all occasionally buy books because of a daydream we're having - a little fantasy about the people we might turn into one day, when our lives are different, quieter, more introspective, and when all the urgent reading, whatever that might be, has been done. We never arrive at that point, needless to say.
All the Oscars stuff for 'An Education' was incredibly exciting, especially because it was such an underdog project - no one would give us the money for it, and we all nearly gave up because it wasn't getting anywhere, then suddenly a breakthrough and this really lovely film, which then took on a life of its own.
We should not forget that when we limp away afflicted through the spirit, it is not to the factory gates or to the corporate steps we pilgrimage. Instead we go to the sea for its salt. We find shade under the sycamores on the great avenues. Or we go to the rivers where water tells us modestly of its own sickness.
A civilization can easily drown in what it knows as in what doesn't know. Consider,' he continued, Gotho's Folly. Gotho's curse was in being too aware - of everything. Every permutation, every potential. Enough to poison every scan he cast on the world. It availed him naught, and worse, he was aware of even that.
The budget should be balanced, the Treasury should be refilled, public debt should be reduced, the arrogance of officialdom should be tempered and controlled, and the assistance to foreign lands should be curtailed lest Rome become bankrupt. People must again learn to work, instead of living on public assistance.
A weapon based on Time . . ." mused Viktor Mulciber. "Well, why not? The one force no one knows how to defeat, resist, or reverse. It kills all forms of life sooner or later. With a Time-weapon you could become the most feared person in history." "I'd rather be loved," said Root. Mulciber shrugged. "You're young.
I hear footsteps and Four's hands wrap around my wrists. I let him pry my hands from my eyes. He encloses one of my hands perfectly between two of his. The warmth of his skin overwhelms the ache in my fingers from holding the bars. "You all right?" he asks, pressing our hands together. "Yeah." He starts to laugh.