Quotes of All Topics . Occasions . Authors
'Gorilla Man' is a composite of a few individuals, but the song itself was actually inspired by James Taylor. I spied his 'Gorilla' album laying on my floor and in some altered state, instantly started singing the chorus. It was fun to write. There's an old notebook with at least three more verses in it somewhere.
Get a notebook, my young folks, a journal that will last through all time, and maybe the angels may quote from it for eternity. Begin today and write in it your goings and comings, your deepest thoughts, your achievements and your failures, your associations and your triumphs, your impressions and your testimonies.
I was obsessed with Lil' Bow Wow growing up, and you couldn't see the white of my walls because they were plastered with his photos. This is even more embarrassing: I had a notebook full of facts about Bow Wow and different pictures. I basically made a biography notebook about him and his life when he was, like, 13.
You may want to keep a commonplace book which is a notebook where you can copy parts of books you think are in code, or take notes on a series of events you may have observed that are suspicious, unfortunate, or very dull. Keep your commonplace book in a safe place, such as underneath your bed, or at a nearby dairy.
People are curious. A few people are. ... They will put things together, knowing all along that they may be mistaken. You see them going around with notebooks, scraping the dirt off gravestones, reading microfilm, just in the hope of seeing this trickle in time, making a connection, rescuing one thing from the rubbish.
Growing up, I'd already decided I wanted to be a beatnik. A Bohemian poet, I thought. Or a musician. Maybe an artist. I'd dress in black turtlenecks and smoke Gitanes. I'd listen to cool jazz in clubs, getting up to read devastating truths from my notebook, leaning against the microphone, cigarette dangling from my hand.
I'm a compulsive note-taker, and I used to feel self-conscious about pulling out my little notebook and taking notes during a casual conversation. Then I noticed that people really seemed to enjoy it; the fact that I was taking notes made their remarks seem particularly insightful or valuable. Now I don't hold myself back.
... when one reflects on the books one never has written, and never may, though their schedules lie in the beautiful chirography which marks the inception of an unexpressed thought upon the pages of one's notebook, one is aware, of any given idea, that the chances are against its ever being offered to one's dearest readers.
I was a very creative child. I played the saxophone and piano, and I was always writing poetry and stories, or drawing in my notebook. I just tried to express myself through as many creative outlets as possible. And in high school, I started to get really into photography and videography and would spend hours working on it.
More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.
Writing on a computer feels like a recipe for writer's block. I can type so fast that I run out of thoughts, and then I sit there and look at the words on the screen, and move them around, and never get anywhere. Whereas in a notebook I just keep plodding along, slowly, accumulating sentences, sometimes even surprising myself.
There's no other company that could make a MacBook Air and the reason is that not only do we control the hardware, but we control the operating system. And it is the intimate interaction between the operating system and the hardware that allows us to do that. There is no intimate interaction between Windows and a Dell notebook.
My inspiration comes from everywhere, just walking down the street and I never know where it's going to come from, so I keep a notebook with me at all times and the only criteria for anything making it into that notebook is if it stops me in my tracks for even an instant, if it catches my eye or my ear and I just write it down.
I had never walked on the street alone when I was growing up in Calcutta, up to age 20. I had never handled money. You know, there was always a couple of bodyguards behind me, who took care if I wanted... I needed pencils for school, I needed a notebook, they were the ones who were taking out the money. I was constantly guarded.
Where past generations had film cameras, scrapbooks, notebooks, and that part of the brain which stores memories, we now have a smartphone app for every conceivable recording need. The thing is, all that time you spend logging and then curating the quotidian aspects of your daily life is time taken away from actually doing things.
Co-operating critics comb the studios like big-league scouts, prepared to spot the art of the future and to take lead in establishing reputations. Art historians stand by ready with cameras and notebooks to make sure every novel detail is safe for the record. The tradition of the new has reduced all other traditions to triviality.
I'm not superstitious in my normal daily life but I get that way about writing, even though I know it's all bullshit. But I began that way and so, that's the way it is. My ritual is I never use a typewriter or computer. I just write it all by hand. It's a ceremony. I go to a stationary store and buy a notebook and then fill it up.
Unless you turn out to be a shining and ballistic genius, then, trust me, if you want to do this then you're going to be spending the next few years doing little else. This is a thing you do at a table with a notebook and a keyboard, and there's no getting away from it. Put in the hours. You don't get to turn off 'being a writer.'
Yes, there is no doubt that paper is patient and as I don't intend to show this cardboard-covered notebook, bearing the proud name of "diary," to anyone, unless I find a real friend, boy or girl, probably nobody cares. And now I come to the root of the matter, the reason for my starting a diary: it is that I have no such real friend.
The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.
I keep threatening to keep a formal journal, but whenever I start one it instantly becomes an exercise in self-consciousness. Instead of a journal I manage to have dozens of notebooks with bits and pieces of stories, poems, and notes. Almost every thing I do has its beginning in a notebook of some sort, usually written on a bus or train.
When I was a kid, the punishment I disliked the most was writing sentences. My mother loved to make me record my transgressions--always a minimum of five hundred times--and she even bought special spiral notebooks for me to fill up.... No matter how many notebooks I went through, there was always another one waiting in the kitchen drawer.
My art feels like it's real disobedient. I can fill notebooks with observations and maybe they find their way into the work unconsciously, which is great. I've never been able to directly plug, like to take a little snip that I've picked up on the street and transfer it into a story. I don't know what's wrong, but it never works that way.
I'm an internet junkie. There, I said it. That's the first step, right? I also have a thing for making lists. Oh man, nothing beats turning to a fresh, clean page in a notebook, taking out a nice pen, and starting a list. There's so much potential there. So much to do, so little time! So hey, why not spend some of that time making a list.
When I'm travelling, I always take my little notebook and scribble things down as I watch them; I'm very much geared to everything that's happening. Whereas, the diary I keep is just about a record of a day I've spent. When I'm filming, I'm looking quite intensely at everything I see and trying to get my own eye on what we're going through.
Until I reached my late teens, there was not enough money for luxuries - a holiday, a car, or a computer. I learned how to program a computer, in fact, by reading a book. I used to write down programs in a notebook and a few years later when we were able to buy a computer, I typed in my programs to see if they worked. They did. I was lucky.
When I am praying the most eloquently, I am getting the least accomplished in my prayer life. But when I stop getting eloquent and give God less theology and shut up and just gaze upward and wait for God to speak to my heart He speaks with such power that I have to grab a pencil and a notebook and take notes on what God is saying to my heart.
What I try very hard to do is have an hour or so in the morning when I leave the house and don't have my phone with me. I'll go sit in a cafe and read and handwrite in my notebook and not be facing a screen. My head will be clear. I will be able to hear myself think. Because honestly for the rest of the day it's just screens, screens, screens.
It's not like I would see anyone and be like, "Oh yes, that person looks like maybe I had an impact on them." I don't think I did. I don't think I ever was that well known, to have an impact. And I haven't seen comics that I go, "Oh, yes! That person is terribly unprepared, with their notebook, and going off on 50 tangents. There you are. That's me."
In a way, you normalize your own childhood to yourself, so I never thought about how much I wrote as a kid. So I was there, confronted with it - so many notebooks, so many tiny plays. Every week we put on a play. We had a big futon, so my sister and I would use the futon as our stage, and I wrote little skits and made her faint because I found it so funny.
When traveling, I usually keep a notebook: when home at my desk, the notebook serves mainly to remind me how little I saw at the time, or rather how I was noticing the wrong things. But the notes do spur memories, and it's the memories I trust. The wine stain on the page may tell me more than the words there, which usually strike me as hopelessly inadequate.
A journal is more than a memory goad. It's therapeutic. The simple act of opening a notebook to put words down stills the crosscurrents of worry, drawing to focus the essential though patterms that best defines us, intersecting those thoughts with the condition of our life at that exact moment. A journal is one of the few anchors the human condition allows us.
I use a computer, but before I begin each new book I keep a notebook. I write down everything that comes to mind during that period before I actually begin. It might take months or weeks. That notebook is my security blanket so that I never have to face a blank screen (or blank page). But I print out often and my best ideas usually come with a pencil in my hand.
An ordinary beginning, something that would have been forgotten had it been anyone but her. But as he shook her hand and met those striking emerald eyes, he knew before he'd taken his next breath that she was the one he could spend the rest of his life looking for but never find again. She seemed that good, that perfect, while a summer wind blew through the trees.
Leonardo da Vinci was comfortable being illegitimate, gay, a misfit, a heretic. But he also respected other people. He didn't get into disputations. He was a genius but he had a certain humility. In his notebooks you see lists of people he wanted to grill about things like how the water diversions in Milan work; he was always interested in learning from other people.
It always felt like the price of being a writer was that you would - even in the most terrible moments, there was a little phantom version of you sitting on your shoulder with a notebook going, I can use this. OK, look at the way that the light is glinting off the broken plastic on the road next to the blood. You can use this. And it was always a very strange feeling.
Once I have the idea for a story. I start collecting all kinds of helpful information and storing it in three-ring notebooks. For example, I may see a picture of a man in a magazine and say, 'That's exactly what the father in my book looks like!'...I save everything that will help--maps, articles, hand-jotted notes, bits of dialogue from conversations that I overhear.
I think when you're drinking you don't have the clarity to think about things. It's not easy to talk about obviously but I think quitting drinking was one of the most important decisions I've ever made for myself. It's not easy, especially when I'm touring and everyone is partying and I'm backstage playing Scrabble or drawing in my notebook because I'm a total nerd now.
I was sickly as a child and gravitated to books and drawing. During my early teen years, I spent hundreds of hours at my window, sketching neighborhood children at play. I sketched and listened, and those notebooks became the fertile field of my work later on. There is not a book I have written or a picture I have drawn that does not, in some way, owe them its existence.
The "sayings" of a community, its proverbs, are its characteristic comment upon life; they imply its history, suggest its attitude toward the world and its way of accepting life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech - it is a gift from heart to heart.
Goddard represented a unique combination of visionary dedication and technological brilliance. He studied physics because he needed physics to get to Mars. In reading the notebooks of Robert Goddard, I am struck by how powerful his exploratory and scientific motivations were - and how influental speculative ideas, even erroneous ones, can be on the shaping of the future.
My books happen. They tend to blast in from nowhere, seize me by the throat, and howl 'Write me! Write me now!' But they rarely stand still long enough for me to see what and who they are, before they hurtle away again. And so I spend a lot of time running after them, like a thrown rider after an escaped horse, saying 'Wait for me! Wait for me!' and waving my notebook in the air.
When I was a young comic in New York and I wasn't getting any work, I was wandering around the Lower East Side with my notebook. I would stop at the guitar place on St. Mark's and talk to that dude for a while, then I'd go to the bookstore and talk to that dude for a little while. I had a guy over at the record store, and I'd talk to him for a while. It kept me connected to life.
I kind of missed the whole running into each other thing. Provided a lot of excitement." "I don't miss that," I admitted, bending over and rummaging through my bag for my notebook. "That was really embarrassing." "It shouldn't have been." "Easy for you to say. You're the one who got plowed. I was doing the plowing." Cam's mouth opened. Oh my God, did I really just say that? I had.
If I'm writing... even a piece of a song... I write it down. If it still resonates six months down the line, a year, even five, those are the ones you put in your bag and you take to the studio. You come to realize, the ones that don't make it, they were only meant to live for that moment in your notebook or on the 4-track-and plenty of songs never get any farther than the 4-track.
(Heinrich von) Kleist would not be a Prussian if his first thought would not have been orderlinessand he would not be a German if he had not placed all his hopes of developing this inner orderliness into education. Education is the secret of life for him as for every German: studying, learning a lot from books, sitting in lectures, keeping notebooks, listening intently to professors.
My best times are midnight to six actually. I'll leaf through my notebooks and if something catches my eye and I feel like I want to transfer it from the notebook to the page, I do, and then comes this very strange process which is difficult to describe in that I'll write until I get stuck or I can't go any further or I'm boring myself or whatever and then I might go to another poem.
In my first class at the University of Kentucky, my American Literature professor came in, and the first sentence out of his mouth was "The central theme of American Literature is an attempt to reconcile what we've done to the New World." wrote that down in my notebook, and thought, "What is he talking about?" But that's what I think about now. The New World and what we've done to it.
The page of my notebook was filled with many messy integrals, but all of a sudden I saw emerge a formula for counting. I had begun to calculate a quantity on the assumption that the result was a real number, but found instead that, in certain units, all the possible answers would be integers. This meant that areas and volumes cannot take any value, but come in multiples of fixed units.
When the landscape buckles and jerks around, when a dust column of debris rises from the collapse of a block of buildings on bodies that could have been your own, when the staves of history fall awry and the barrel of time bursts apart, some turn to prayer, some to poetry: words in the memory, a stained book carried close to the body, the notebook scribbled by hand--a center of gravity.