I like Raymond Carver's poetry a lot.

I think Raymond is very honest about human relationships.

Boy, we'll get Raymond out and we won't go hungry anymore.

I knew Dave Raymond, who was the original Phillie Phanatic.

Peter Boyle on Everybody Loves Raymond is more of an insane Dad.

After 'Raymond,' there was this big feeling of, 'What do I do next?'

I read a lot of short fiction, like Kurt Vonnegut and Raymond Carver and Wells Tower.

I still love Carson McCullers and Raymond Carver and Toni Morrison and James Baldwin.

I not only read Raymond Chandler but read all the crime fiction classics. I was hooked.

I'm a huge fan of stuff like 'Planet Earth' and the American sitcom 'Everybody Loves Raymond.'

Raymond Chandler I love a lot, and the Austrian writer Thomas Bernhard. I really love his voice.

I like to think I'm writing in the tradition of Raymond Chandler, although I don't ape his style.

Raymond Carver is good. I think he'll be appreciated more and more. He's an easy writer to imitate.

Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I've ever known in my life.

I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.

Raymond Chandler once wrote that Dashiell Hammett gave murder back to the people who really committed it.

My act is a little raunchy. When people come to my club, I have to warn them it isn't Robert from 'Raymond.'

We're all individuals. Lee Raymond is Lee Raymond. He has his style. I am Rex Tillerson, and I have my style.

I watch the comedy shows like 'Married With Children,' 'Friends,' 'Family Guy,' and 'Everybody Loves Raymond.'

It's not a terribly original thing to say, but I love Raymond Carver. For one thing, he's fun to read out loud.

My mother, Maxine, was married at 16 to my father Raymond, and in 56 years together, he was the only man she ever had.

With 'The Big Lebowski,' we were really consciously thinking about doing a Raymond Chandler story, as much as it's about L.A.

I didn't want to have to follow 'Everybody Loves Raymond' with another sitcom. Let it be my sitcom legacy, and leave it at that.

I'm on my own when I say this, but I'm one of the few people that think that 'Everybody Loves Raymond' is better than 'Seinfeld.'

I'm a disciple of Raymond Chandler, who said in his essays that there's a quality of redemption in anything that can be called art.

I don't really get a chance to watch much television. I mostly watch BBC Worldwide and repeats of Seinfeld and Everybody Loves Raymond.

My literary heroes all wrote about L.A.: Joseph Wambaugh, Ross Macdonald, and Raymond Chandler were the three writers that made me want to be a writer.

I've always been a sci-fi/fantasy guy. My book reports in school, whenever you didn't have to do it on Shakespeare, I did it on, like, Piers Anthony and Raymond Feist.

Raymond Chandler managed to write about L.A. his whole career. Should I keep going writing about New York? Is that what I should be doing? Songwriting doesn't work that way.

The reason why I said yes to 'Sumit Sambhal Lega' was that this show is an official adaptation of the American series 'Everybody Loves Raymond,' which was a very popular show for nine years.

What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.

Right after 'Raymond' I had a world-is-my-oyster attitude, but I found out I don't like oysters. I had this existential emptiness. 'What is my purpose? Who am I?' I had a big identity crisis.

Cardinal Raymond Burke is a 66-year-old guy who lives in Rome, dresses like Queen Elizabeth, and talks like someone who majored in misogyny at some bogus, backwoods, Bible-banging tent school.

I was very lucky with 'Soap' and 'Who's the Boss,' which was great fun, and then went on 'Coach' and 'Everybody Loves Raymond.' I've been truly blessed, and the work has all been fun and a joy.

With 'Worst. Person. Ever.' I knew where it started and where it had to end, but I threw Raymond as many curveballs as I could along the way. He's like the coyote in the 'Road Runner' cartoons.

I can't believe how blessed I am! I'm married to the most wonderful man, Gene Raymond, whom I'm deeply in love with, and, my career is right where I want it to be. I can live like this forever!

My music is about where I am at the time. In 'Raymond vs. Raymond,' I was going through a lot of things, and it came out in my music. My marriage fell apart, and I was suddenly a single father.

I was reading some Raymond Carver. I really liked how he did that 'slice of life' thing. Because I'm not much of a reader I end up finding out about these things a long time after other people.

The Rosa and Raymond Parks Institute accepts people of any race. We don't discriminate against anyone. We teach people to reach their highest potential. I set examples by the way I lead my life.

And with regard to the Italian family we portrayed on 'Everybody Loves Raymond' - Italians and Jews do share two traits: all problems are solved with food, and the mother never leaves you alone.

Raymond Floyd. The man knows how to control situations. He was experienced. He didn't let me get overly excited; he kept me in check. It allowed me to free myself up, and I played really well with him.

In researching 'The Luminaries,' I did read quite a lot of 20th-century crime. My favourites out of that were James M. Cain, Dassiell Hammett, Raymond Chandler and Graham Greene and Patricia Highsmith.

Down the years, I have always enjoyed playing Raymond van Barneveld. There is always a frisson of excitement in the air, an edge to the contest that makes the sap rise, but it stops short of pure enmity.

I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.

John Dos Passos, Raymond Carver, Flaubert and William Maxwell were all very influential when I first started writing. Now, the writers I'm most interested in are the writers who are most unlike me: for example, Denis Johnson.

I'm going to get hated for saying this, but honestly, fantasy is easy to write because you can do anything. It's like when Raymond Chandler brings in a bloke with a gun when he's stuck - in fantasy, up pops a wizard, and off we go.

Some writers such as John Cheever and Raymond Carver seem to draw artistic energy from analyzing the realm of their own experiences - their social circles and memories and mores. I'm one of those who draw creative energy from the opposite.

It brings a smile to my face every time I look in the record book and see my name with the likes of Hutson and Lance Alworth and Raymond Berry, some of the fabled receivers of the NFL. It's all like a dream to me. I can't believe it's true.

Hardboiled crime fiction came of age in 'Black Mask' magazine during the Twenties and Thirties. Writers like Dashiell Hammett and Raymond Chandler learnt their craft and developed a distinct literary style and attitude toward the modern world.

I met a 13-year-old black child, Raymond, who had never been to school and had never learnt any words, yet it seemed to me that he was intelligent. It became apparent after a short period that Raymond thought in terms of visual signs and movements.

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