Quotes of All Topics . Occasions . Authors
I’m a goddess of destruction. Tell me honestly that you find nothing exciting about the idea of a billion people screaming out for mercy when there’s no one left who cares what befalls them. Of the entire earth being rained on by all manner of demons bent on ultimate torture and sacrifice. Them ripping and shredding human flesh as they claw in a drunken frenzy fueled by their hatred of everything. Drinking blood in an orgy of terror...ahhh, the beauty of annihilation. There’s nothing like it.(Apollymi)
Next, take a look at the quality of the people who surround you. Do these people back you emotionally, or not? If they don't back you, are they at least passive? If not, get rid of them. Sometimes it is hard to drop off your mates at the great bus stop of life. But remember, your energy will only rise in direct relationship to the number of things you are able to get rid of - not to the things you acquire. By getting rid of things, attitudes, encumbrances, and blocks of one kind or another, things fly.
An attitudinal sea change. I think that's the hardest one to fix. Presidential directives, bills, provisions can all be rescinded, repealed, amended, but attitudes linger. The hardest thing is going to be to try to reverse an attitude, a bunker mentality that equates secrecy with either security or heightened efficiency and that regards transparency as an invitation to mischief and trespass. This default position of operating in the shadows is going to be somewhat appealing to whomever inherits office.
The reality that is present to us and in us: call it being...Silence. And the simple fact that by being attentive, by learning to listen (or recovering the natural capacity to listen) we can find ourself engulfed in such happiness that it cannot be explained: the happiness of being at one with everything in that hidden ground of Love for which there can be no explanations.... May we all grow in grace and peace, and not neglect the silence that is printed in the center of our being. It will not fail us.
And so I began to read,' Sorkar said. 'And at first the complete works were like a jungle, the language was quicksand. Metaphors turned beneath my feet and became biting snakes, similes fled from my grasp like frightened deer, taking all meaning with them. All was alien, and amidst the hanging, entangling creepers of this foreign grammar, all sound became a cacophany. I feared for myself, for my health and sanity, but then I thought of my purpose, of where I was and who I was, of pain and I pressed on.
The Lighthouse was then a silvery, misty-looking tower with a yellow eye, that opened suddenly, and softly in the evening. Now— James looked at the Lighthouse. He could see the white-washed rocks; the tower, stark and straight; he could see that it was barred with black and white; he could see windows in it; he could even see washing spread on the rocks to dry. So that was the Lighthouse, was it? No, the other was also the Lighthouse. For nothing was simply one thing. The other Lighthouse was true too.
Though it is disguised by the illusion that a bureaucracy accountable to a majority of voters, and susceptible to the pressure of organized minorities, is not exercising compulsion, it is evident that the more varied and comprehensive the regulation becomes, the more the state becomes a despotic power as against the individual. For the fragment of control over the government which he exercises through his vote is in no effective sense proportionate to the authority exercised over him by the government.
In the South you are ashamed of being a virgin. Boys. Men. They lie about it. Because it means less to women, Father said. He said it was men invented virginity not women. Father said it's like death: only a state in which the others are left and I said, But to believe it doesn't matter and he said, That's what's so sad about anything: not only virginity and I said, Why couldn't it have been me and not her who is unvirgin and he said, That's why that's sad too; nothing is even worth the changing of it.
When someone tells you, 'I love you,' and then you feel, 'Oh, I must be worthy after all,' that's an illusion. That's not true. Or someone says, 'I hate you,' and you think, 'Oh, God, I knew it; I'm not very worthy,' that's not true either. Neither one of these thoughts hold any intrinsic reality. They are an overlay. When someone says, 'I love you,' he is telling you about himself, not you. When someone says, 'I hate you,' she is telling you about herself, not you. World views are self views-literally.
To the exponents of the Perennial Philosophy, the question whether Progress is inevitable or even real is not a matter of primary importance. For them, the important thing is that individual men and women should come to the unitive knowledge of the divine Ground, and what interests them in regard to the social environment is not its progressiveness or non-progressiveness (whatever those terms may mean), but the degree to which it helps or hinders individuals in the their advance towards man's final end.
Of course, we carry inside of ourselves our parents. Even when they are dead, we carry them inside ourselves. And they are carrying inside themselves their dead parents and so on and so forth. There is a legacy of language and culture and religion. In some cases, family stories told by grandparents to little grandchildren. When I say my novels are set in Israel in the last seventy years, this entails the fact that they begin hundreds or thousands of years earlier in time. Everybody comes from somewhere.
One goes on writing partly because it is the only available way of earning a living. It is a hard way and highly competitive. My heart drops into my bowels when I enter a bookshop and see how fierce the competition is...There is also a privier reason for pushing on, and that is the hopeless hope that someday that intractable enemy language will yield to the struggle to control it... Mastery never comes, and one serves a lifelong apprenticeship. The writer cannot retire from the battle; he dies fighting.
[The Head of Radio Three] had been ensnared by the Music Director of the college and a Professor of Philosophy. These two were busy explaining to the harassed man that the phrase "too much Mozart" was, given any reasonable definition of those three words, an inherently self-contradictory expression, and that any sentence which contained such a phrase would be thereby rendered meaningless and could not, consequently, be advanced as part of an argument in favour of any given programme-scheduling strategy.
The white youth of today have begun to react to the fact that the American Way of Life is a fossil of history. What do they care if their old baldheaded and crew-cut elders don't dig their caveman mops? They couldn't care less about the old, stiff-assed honkies who don't like their new dances: Frog, Monkey, Jerk, Swim, Watusi. All they know is that it feels good to swing to way-out body-rhythms instead of dragging across the dance floor like zombies to the dead beat of mind-smothered Mickey Mouse music.
Learning from our mistakes is critical for improving, but even I don't have patience for ranking my regrets. Regret is a negative emotion that inhibits the optimism required to take on new challenges. You risk living in an alternative universe, where if only you had done this or that differently, things would be better. That's a poor substitute for making your actual life better, or improving the lives of others. Regret briefly, analyze and understand, and then move on, improving the only life you have.
The information glut has become a ruling cliche. As all resources - from energy to information - become more abundant, the presure of economic scarcity falls ever more heavily on one key residual, and that single shortage looms ever more stringent and controlling. The governing scarcity of the information economy is time: the shards of a second, the hours in a day, the years in a life, the latency of memory, the delay in aluminum wires, the time to market, the time to metastasis, the time to retirement.
In terms of the game theory, we might say the universe is so constituted as to maximize play. The best games are not those in which all goes smoothly and steadily toward a certain conclusion, but those in which the outcome is always in doubt. Similarly, the geometry of life is designed to keep us at the point of maximum tension between certainty and uncertainty, order and chaos. Every important call is a close one. We survive and evolve by the skin of our teeth. We really wouldn't want it any other way.
An event is not any more intrinsically intelligible or unintelligible because of the pace at which it moves. For a man who does not believe in a miracle, a slow miracle would be just as incredible as a swift one. The Greek witch may have turned sailors to swine with a stroke of the wand. But to see a naval gentleman of our acquaintance looking a little more like a pig every day, till he ended with four trotters and a curly tail, would not be any more soothing. It might be rather more creepy and uncanny.
If there is one fact we really can prove, from the history that we really do know, it is that despotism can be a development, often a late development and very often indeed the end of societies that have been highly democratic. A despotism may almost be defined as a tired democracy. As fatigue falls on a community, the citizens are less inclined for that eternal vigilance which has truly been called the price of liberty; and they prefer to arm only one single sentinel to watch the city while they sleep.
And all over the countryside, he knew, on every crest and hill, where once the hedges had interlaced, and cottages, churches, inns, and farmhouses had nestled among their trees, wind wheels similar to those he saw and bearing like vast advertisements, gaunt and distinctive symbols of the new age, cast their whirling shadows and stored incessantly the energy that flowed away incessantly through all the arteries of the city. ... The great circular shapes of complaining wind-wheels blotted out the heavens.
If writing novels is like planting a forest, then writing short stories is more like planting a garden. The two processes complement each other, creating a complete landscape that I treasure. The green foliage of the trees casts a pleasant shade over the earth, and the wind rustles the leaves, which are sometimes dyed a brilliant gold. Meanwhile, in the garden, buds appear on the flowers, and colorful petals attract bees and butterflies, reminding us of the subtle transition from one season to the next.
The ego, as a collection of our past experiences, is continually offering miserable lines of thought. It's as if there were a stream with little fish swimming by, and when we hook one of them there is a judgment. The ego is constantly judging everybody and everything. It has its constant little chit chat about things that can happen in the future, things about the past, too, and these are the little fish that swim by. And what we learn to do-this is why it takes work-is to not reach out and grab a fish.
Bayle, when writing on "Comets," discovered this; for having collected many things applicable to his work, as they stood quoted in some modern writers, when he came to compare them with their originals, he was surprised to find that they were nothing for his purpose! the originals conveyed a quite contrary sense to that of the pretended quoters, who often, from innocent blundering, and sometimes from purposed deception, had falsified their quotations. This is an useful story for second-hand authorities!
These principles laid down as in variable rules: that one must pay a card sharper, but need not pay a tailor; that one must never tell a lie to a man, but one may to a woman; that one must never cheat any one, but one may a husband; that one must never pardon an insult, but one may give one and so on. These principles were possibly not reasonable and not good, but they were of unfailing certainty, and so long as he adhered to them, Vronsky felt that his heart was at peace and he could hold his head up.
The workmen's revolution, with the terrors of destruction and murder, not only threatens us, but we have already been living upon its verge during the last thirty years, and it is only by various cunning devices that we have been postponing the crisis. The hatred and contempt of the oppressed people are increasing, and the physical and moral strength of the richer classes are decreasing: the deceit which supports all this is wearing out, and the rich classes have nothing wherewith to comfort themselves.
Kartik places a sovereign in the lady's cup, and I know that it's likely all he has. "Why did you do that?" I ask. He kicks a rock on the ground, balancing it nimbly between his feet like a ball. "She needed it." Father says it isn't good to give money to beggers. They'll only spend it unwisely on drink or other pleasures. "She might buy ale with it." He shrugs. "Then she'll have ale. It isn't the pound that matters; it's the hope...I know what it's like to fight for things that others take for granted.
Many things that human words have upset are set at rest again by the silence of animals. Animals move through the world like a caravan of silence. A whole world, that of nature and that of animals, is filled with silence. Nature and animals seem like protuberances of silence. The silence of animals and the silence of nature would not be so great and noble if it were merely a failure of language to materialize. Silence has been entrusted to the animals and to nature as something created for its own sake.
And life goes on, which seems kind of strange and cruel when you're watching someone die. But there's a joy and an abundance of everything, like information and laughter and summer weather and so many stories. My mother urges me to write them down because, "You're the last of the Markhams, my love." So I record dates and journeys and personalities and traits and heroes and losers and weaknesses and strengths and I try to capture every one of those people because one day I'll need what they had to offer.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
Prosperity, pleasure and success, may be rough of grain and common in fibre, but sorrow is the most sensitive of all created things. There is nothing that stirs in the whole world of thought to which sorrow does not vibrate in terrible and exquisite pulsation. The thin beaten-out leaf of tremulous gold that chronicles the direction of forces the eye cannot see is in comparison coarse. It is a wound that bleeds when any hand but that of love touches it, and even then must bleed again, though not in pain.
The immersive stories of This Is Paradise are a lithe blend of formal invention and traditional narrative pleasures. As such they reflect Kristiana Kahakauwila's intimate but expansive vision of a Hawai'i forged from the collisions of past and present, here and there. Her protagonists are as richly distinctive as the pidgin they speak, and yet each struggles profoundly with identity-that negotiation between ourselves and the world, which is at once Hawaiian, American, universally and compellingly human.
Her phone rang again. “What?” she snapped as she answered it. Myrnin, of course. “Are you on your way?” “No!” “Claire, there are things to do.” “Here, too,” she said. “And I’m staying here, believe me.” Myrnin was silent for a beat, and then he said, “Bob would be very disappointed in you.” “Bob the spider?” “He looks at you like a mother, you know. I’m surprised at your lack of work ethic. Think of the example you set for—” She hung up on him and turned the phone on vibrate and relaxed in Shane’s arms.
Clothes, when abstracted from the flow of present time and their transmogrifying function on the human body, and seen as forms in themselves, are strange tubes and excrescences worthy of being classed with such facial decorations as the ring through the nose or the lip-stretching disk. But how enchanting they become when seen togetherwith the qualities they bestow on their wearer! What happens then is no less than the infusion, into some tangled lines on a piece of paper, of the meaning of a great word.
Anarchism is no patent solution for all human problems, no Utopia of a perfect social order, as it has often been called, since on principle it rejects all absolute schemes and concepts. It does not believe in any absolute truth, or in definite final goals for human development, but in an unlimited perfectibility of social arrangements and human conditions which are always straining after higher forms of expression, and to which for this reason one can assign no definite terminus nor set any fixed goal.
I was woundering what he would say, what word could sum me up right then, when i saw the lights come across his face, blaringly yellow, and suddenly he was brighter, and brighter, and i asked him what was happening, what was wrong. I remember only that light, so strong it spilled across my shoulders, and lit up his face, and how scared he looked as something big and loud hit my door, sending glass shattering across me, little sparks catching the light like diamonds, as they fell, with me, into the dark.
I never asked my mother where babies came from but I remember clearly the day she volunteered the information....my mother called me to set the table for dinner. She sat me down in the kitchen, and under the classic caveat of 'loving each other very, very much,' explained that when a man and a woman hug tightly, the man plants a seed in the woman. The seed grows into a baby. Then she sent me to the pantry to get placemats. As a direct result of this conversation, I wouldn't hug my father for two months.
As an exercise in appreciation, try for one hour to feel grateful for every single thing you find yourself doing. When you read, be grateful you can see and read. When you walk, be grateful for the use of your feet. When you talk, be grateful for the ability to communicate with others. For a full hour do not take even the smallest action for granted. Be aware of every detail of what you can do. Anyone who does this daily for even a short time will have a much greater appreciation for everything he does.
I think, ultimately, the problem with something like this is that you actually have so many more opportunities to say something than you actually have things worth saying. And then, as an artist who doesn't want to do bad work, gosh, how do you fill up all that space when you really don't have anything actually worthwhile to say? And that's what makes the job tough, because the fans get mad - "That's not funny," or "You've been sucking for several months now." And you go, "It's not my fault! I'm trying."
Pornography reveals that male pleasure is inextricably tied to victimizing, hurting, exploiting; that sexual fun and sexual passion in the privacy of the male imagination are inseparable from the brutality of male history. The private world of sexual dominance that men demand as their right and their freedom is the mirror image of the public world of sadism and atrocity that men consistently and self-righteously deplore. It is in the male experience of pleasure that one finds the meaning of male history.
It is easy to forget now, how effervescent and free we all felt that summer. Everything fades: the shimmer of gold over White Cove; the laughter in the night air; the lavender early morning light on the faces of skyscrapers, which had suddenly become so heroically tall. Every dawn seemed to promise fresh miracles, among other joys that are in short supply these days. And so I will try to tell you, while I still remember, how it was then, before everything changed-that final season of the era that roared.
Women smirk at baldness. How adorable would they find it if they began to lose their breasts in their late twenties? If both tits just shrunk up - unevenly I might add - and eventually turned into wine-cork nubs. Then it would be a different story. Then men would get the pity that they deserve. As far as I'm concerned, baldness is the male breast cancer only worse, because almost everyone gets it. True, it's not life threatening. Just social-life threatening. But in New York City, there is no difference.
With a cold"--she spoke evenly, lowering her eyes a little--"now is the hardest time. Maybe even harder than dying. But this is probably as bad as it can get. You might come to fear the next time you get a cold; it will be as bad as this, but if you just hold steady, it won't be. For the rest of your life. That's how it works. You could take the negative view and live in fear: Will it happen again? But it won't hurt so much if you just accept it as a part of life." With that she looked up at me, smiling.
Failure is easy to measure. Failure is an event.Harder to measure is insignificance. A nonevent. Insignificance creeps, it dawns, it gives you hope, then delusion, then one day, when you’re not looking, it’s there, at your front door, on your desk, in the mirror, or not, not any of that, it’s the lack of all that. One day, when you are looking, it’s not looking, no one is. You lie in your bed and realize that if you don’t get out of bed and into the world today, it is very likely no one will even notice.
The Winter Woman is as wild as a blizzard, as fresh as new snow. While some see her as cold, she has a fiery heart under that ice-queen exterior. She likes the stark simplicity of Japanese art and the daring complexity of Russian literature. She prefers sharp to flowing lines, brooding to pouting, and rock and roll to country and western. Her drink is vodka, her car is German, her analgesic is Advil. The Winter Woman likes her men weak and her coffee strong. She is prone to anemia, hysteria, and suicide.
The best stories I have heard were pointless, the best books those whose plot I can never remember, the best individuals those whom I never get anywhere with. Though it has been practised on me time and again I never cease to marvel how it happens that with certain individuals whom I know, within a few minutes after greeting them we are embarked on an endless voyage comparable in feeling and trajectory only to the deep middle dream which the practised dreamer slips into like a bone slips into its sockets
Since it is to the advantage of the wage-payer to pay as little as possible, even well-paid labor will have no more than what is regarded in a particular society as the reasonable level of subsistence. The lower ranks of labor will commonly have less, and if public relief were afforded even up to the wage-level of the lowest ranks of labor, that relief would compete in the labor market; check or dry up the supply of wage-labor. It would tend to render the performance of work by the wage-earner redundant.
You say you love your wife. You depend on her; she has given you her body, her emotions, her encouragement, a certain feeling of security and well-being. Then she turns away from you; she gets bored or goes off with someone else, and your whole emotional balance is destroyed, and this disturbance, which you don't like, is called jealousy. There is pain in it, anxiety, hate and violence. So what you are really saying is, 'As long as you belong to me I love you but the moment you don't I begin to hate you.
Perception without the perceiver in meditation is to commune with the height and depth of the immense. This perception is entirely different from seeing an object without an observer, because in the perception of meditation there is no object and therefore no experience. can, however, take place when the eyes are open and one is surrounded by objects of every kind. But then these objects have no importance at all. One sees them but there is no process of recognition, which means there is no experiencing.
It wasn't about wanting to die or having nothing left to live for; it was about letting go. You live your life doing what you're supposed to do, following the rules, following your conscience no matter what your gut tells you - and most times, that's okay. Control is good. It allows you to believe in certainty and absolutes, like lining up the perfect shot. But when you hold on for so long, and hold on so tight, every once in a while you have to close your eyes and jump." Kelley Armstrong - Exit Strategy
Most mainline Protestant churches are, to one degree or another, post-Christian. If they no longer seem disposed to converting the unbelieving to Christ, they can at least convert them to the boggiest of soft-left clichés, on the grounds that if Jesus were alive today he’d most likely be a gay Anglican bishop in a committed relationship driving around in an environmentally friendly car with an “Arms are for Hugging” sticker on the way to an interfaith dialogue with a Wiccan and a couple of Wahhabi imams.