Quotes of All Topics . Occasions . Authors
Never did she find anything so difficult as to keep herself from losing her temper when she was suddenly disturbed while absorbed in a book. People who are fond of books know the feeling of irritation which sweeps over them at such a moment. The temptation to be unreasonable and snappish is one not easy to manage.
Nobody can live in society without conventions. The reason why sensible people are as conventional as they can bear to be is that conventionality saves so much time and thought and trouble and social friction of one sort or another that it leaves them much more leisure time for freedom than unconventionality does.
I was told that my diet was so poor that I could not repair the bones that were broken and operated on. So I have just had an Xradiograph taken; and lo! perfectly mended solid bone so beautifully white that I have left instructions that, if I die, a glove stretcher is to be made of me and sent to you as a souvenir
I have enormous respect for the human being because they're asked to take on a lot. And I don't think there's any easy solution. But I think the journey is what you have to finally be satisfied with, but not be afraid of the lessons one has to learn... it ends up as grace. And you grow; you find a way to continue.
I'm going to start work on developing a series for HBO, because I'm naturally given to episodic stories of considerable length. And I won't have to listen to complaints about how wordy and long my work is if you can watch it on your telephone on the subway: You can make it conform to your day as if it were a book.
But I am not sure it would contain any short stories. For the short story is a minor art, and it must content itself with moving, exciting and amusing the reader. ...I do not think that there is any (short story) that will give the reader that thrill, that rapture, that fruitful energy which great art can produce.
I thought I would write something that would make some people uncomfortable. . . . What intrigued me, I think, was the idea of women of my own generation who were successful, intelligent, coming to power and suddenly in the public arena. I started to think about what they are allowed and what they are not allowed.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.
Obviously VIA DOLOROSA is completely artificial. It is as highly wrought as any of my plays. But basically all the artifice is to disguise itself so you don't feel it's there. You're attempting to make the artifice like a pane of glass that simply leads you through to the subject - not to decorate the bloody glass.
I literally would go to see Tina Turner any opportunity I had because being in the presence of Tina Turner was like being in the presence of transformative energy, and feminist transformative energy. I remember thinking to myself, whatever this is, it's revolution. Whatever this is, it's change embodied in a woman.
The enchantment of the sky, ever changing beauty almost ignored. Beyond words, without fixed form, not to be understood, or stated. It ravished away dullness, worry, even pain. It graces life when nothing else does. It is the first marvel of the day. Even when leaden grey it is still a friend, withdrawn for a time.
All industries are brought under the control of such people [film producers] by Capitalism. If the capitalists let themselves be seduced from their pursuit of profits to the enchantments of art, they would be bankrupt before they knew where they were. You cannot combine the pursuit of money with the pursuit of art.
You do not settle whether an argument is justified by merely showing that it is of some use. The distinction is not between useful and useless experiments but between barbarous and civilized behaviour. Vivisection is a social evil because if it advances human knowledge, it does so at the expense of human character.
During the last considerable epidemic at the turn of the century, I was a member of the Health Committee of London Borough Council, and I learned how the credit of vaccination is kept up statistically by diagnosing all the revaccinated cases (of smallpox) as pustular eczema, varioloid or what not---except smallpox.
I'm part Spanish. My paternal grandfather came from Spain via Singapore to Manila. On my mother's side it's more mixture, with a Filipino mother and a father who was Scotch Irish-French; you know, white American hybrid. And I also have on my father's side a great-great-grandmother who was Chinese. So, I'm a hybrid.
Everything I write doesn't appear to be biography until later. I often say that I've never written about anything I've experienced. Of course, that's not true. But it doesn't appear familiar to me at all. And maybe that's because I have to be in a kind of coma in order to write. If it appeared familiar, I wouldn't.
Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."
If you could stop every atom in its position and direction, and if your mind could comprehend all the actions thus suspended, then if you were really, really good at algebra you could write the formula for all the future; and although nobody can be so clever as to do it, the formula must exist just as if one could.
Do you dare to accuse wine of clouding the reason? Quote me more marvelous effects than those of wine. Look! when a man drinks, he is rich, everything he touches succeeds, he gains lawsuits, is happy and helps his friends. Come, bring hither quick a flagon of wine, that I may soak my brain and get an ingenious idea.
The blues are important primarily because they contain the cultural expression and the cultural response to blacks in America and to the situation that they find themselves in. And contained in the blues is a philosophical system at work. And as part of the oral tradition, this is a way of passing along information.
Come, my Celia, let us prove, While we can, the sports of love, Time will not be ours for ever, He, at length, our good will sever; Spend not then his gifts in vain: Suns that set may rise again; But if once we lose this light, 'Tis with us perpetual night. Why should we defer our joys? Fame and rumour are but toys.
I feel like I've been very blessed in the sense that I've had the veracity of spirit to not be stopped and, at the same time, the protective energy and the generosity of those who have come before me, who saw something inside of me and, therefore, invited me into rooms that I would not have been inside of otherwise.
In the period before the arrival of Mrs. Thatcher, politics had been in such low esteem. Everything was so hedged, so mealy-mouthed. Then along came this woman who seemed to have no manners at all and said exactly what she thought. Everyone's eyes were popping and their jaws were dropping, and I really enjoyed that.
Has it occurred to you that transmigration is at once an explanation and a justification of the evil of the world? If the evils we suffer are the result of sins committed in our past lives, we can bear them with resignation and hope that if in this one we strive toward virtue out future lives will be less afflicted.
Life is an endless, truly endless struggle. There's no time when we're going to arrive at a plateau where the whole thing gets sorted. It's a struggle in the way every plant has to find it's own way to stand up straight. A lot of the time it's a failure. And yet it's not a failure if some enlightenment comes from it.
The play is really a kind of nightmare. It ought to flow rapidly and effortlessly from one moment to another. In London, we had difficulty with the set, which required too much effort to move around. Having gotten the benefit of seeing it done once, I wanted to work on the script, to make it sharper and more pointed.
On the much revered family of North American mythology - and a metaphor for the Ruling Alliance: Sacred family! .... The supposed home of all the virtues, where innocent children are tortured into their first falsehoods, where wills are broken by parental tyranny, and self-respect smothered by crowded, jostling egos.
I think that as a playwright, if I detail that environment, then I'm taking away something from them [designers]. I'm taking away their creativity and their ability to have input themselves, not just to follow what the playwright has written. So I do a minimum set description and let the designers create within that.
An activist is someone who cannot help but fight for something. That person is not usually motivated by a need for power or money or fame, but in fact is driven slightly mad by some injustice, some cruelty, some unfairness, so much so that he or she is compelled by some internal moral engine to act to make it better.
IN MY LIFELONG STUDY OF HUMAN BEINGS, I HAVE FOUND that no matter how hard they might try, they have found no way yet to prevent the arrival of Monday morning. And they do try, of course, but Monday always comes, and all the drones have to scuttle back to their dreary workaday lives of meaningless toil and suffering.
My generation of playwrights have grown up writing for studio theatres, and so the task of writing for more than ten or so actors is a huge challenge. Logistically, it's like doing an enormous Sudoku. Making sure everyone is in the right place at the right time in the right order instantly sends me into a cold sweat.
Thou shalt not, it is said, make unto thee any graven image of God. The same commandment should apply when God is taken to mean the living part of every human being, the part that cannot be grasped. It is a sin that, however much it is committed against us, we almost continually commit ourselves--Except when we love.
So "Grand Theft Auto," for those who don't know, is the video game series where players pretend to drive cars around these virtual cities, getting points for winning street races and killing people and generally creating mayhem. So, of course, we should make the robots practice driving in a violent, lawless dystopia.
And it was about then, about that time, that I began to find life unsatisfactory as an explanation of itself and was forced to adopt the method of the artist of not explaining but putting the blocks together in some other way that seems more significant to him. Which is a rather fancy way of saying I started writing.
The whole thing about writing a play is that it's all about controlling the flow of information traveling from the stage to the audience. It's a stream of information, but you've got your hand on the tap, and you control in which order the audience receives it and with what emphasis, and how you hold it all together.
I think that it's worthwhile to explore the ways in which you write the person that's writing your plays as opposed to simply assuming that it's all a natural process and there's no design in it. Because your public persona is designed, to a certain extent, and you can have fun and profit at various times doing that.
It's not a natural translation, transition, to take something from stage to screen. Onstage your action is communicated through the spoken word primarily, and on screen it's communicated through pictures. So it's always been kind of unnatural to take something that lives on the stage and turn it into moving pictures.
Perhaps it would have been possible to see in him a new Prometheus...the hero who for the good of mankind exposes himself to the agonies of the damned...undaunted by failure, by an unceasing effort of courage holding despair at bay, doggedly persistent in the face of self-doubt, which is the artist's bitterest enemy.
When she liked anyone it was quite natural for her to go to bed with him. She never thought twice about it. It was not vice; it wasn't lasciviousness; it was her nature. She gave herself as naturally as the sun gives heat or the flowers their perfume. It was a pleasure to her and she liked to give pleasure to others.
As Asian-Americans, the charge that is often lobbed against us is sort of the least original: the idea that somehow we're perpetual foreigners, that we can't be trusted, and that even my father, who was patriotic to the point that it was kind of a joke among his children, would be accused of being disloyal to America.
My father has always been interested in discarding the past. He's never much liked China or the whole idea behind China or Chinese ways of thinking. He's always been much more attracted to American ways of thinking. He feels Americans are more open - they tell you what they think - and he's very much that way himself.
I suggest that US foreign policy can still be defined as "kiss my ass or I'll kick your head in." But of course it doesn't put it like that. It talks of "low intensity conflict..." What all this adds up to is a disease at the very centre of language, so that language becomes a permanent masquerade, a tapestry of lies.
As I grew up, everything started getting grey and dull. I could still remember the amazing intensity of the world I'd lived in as a child, but I thought the dulling of perception was an inevitable consequence of age - just as a lens of the eye is bound gradually to dim. I didn't understand that clarity is in the mind.
Sisterhood is important because we are all we have to stand on. We have to stand near and by each other, pray for one another, and share the joys and the difficulties that women face in the world today. If we don't talk about it among ourselves, then we are made silent by the patriarchy, and that serves us no purpose.
I think if you look at where things are in this current political climate, you'll see that everything is polarized. Everyone has their own eco chamber that they can operate in; there aren't a lot of people interacting with each other. For me, with something like film, that's an opportunity to try to bridge those gaps.
I try to interpret how people subjectively experience life. Everyone has a great, horrible opera inside him. I feel that my plays, in a way, are very old-fashioned. They’re pre-Freudian in the sense that the Greeks and Shakespeare worked with similar assumptions. Catharsis isn’t a wound being excavated from childhood.
Of course you always had that detached quality as if you were playing a game without much concern over whether you won or lost, and now that you've lost the game, not lost but just quit playing, you have that rare sort of charm that usually only happens in very old or hopelessly sick people, the charm of the defeated.
Cheating is not the American way. It is small, while we are large. It is cheap, while we are richly endowed. It is destructive, while we are creative. It is doomed to fail, while our gifts and responsibilities call us to achieve. It sabotages trust and weakens the bonds of spirit and humanity, without which we perish.
I know that you're selfish, selfish beyond words, and I know that you haven't the nerve of a rabbit, I know you're a liar and a humbug, I know that you're utterly contemptible. And the tragic part is'--her face was on a sudden distraught with pain--'the tragic part is that notwithstanding I love you with all my heart.
That's all that counts. People being sorry. Makes you feel better; gives you a sense of dignity, and that's all that's important; a sense of dignity. And it doesn't matter if you don't care or not, either. You got to have a sense of dignity, even if you don't care, 'cause, if you don't have that, civilization's doomed.