Flannery O'Connor Quotes
It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing.
Quotes to Explore
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I was certainly a better actor after my five years in Hollywood. I had learned to be natural - never to exaggerate. I found I could act on the stage in just the same way as I had acted in a studio: using my ordinary voice, eliminating gestures, keeping everything extremely simple.
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Whatever our creed, we stand with admiration before the sublime character of Jesus.
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My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.
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I'm not very good in crowds, so I usually try to become as small as possible.
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Growing up as a kid my father was British and a soccer player. His idol was a guy that passed the ball a lot, Stanley Matthews. Our family thought if you could be unselfish your teammates would always like you.
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I was this kid who had been raised in New York, and now all of a sudden, my mother decided that she was a Jewish divorcee and therefore she should be living in Miami Beach.
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Service to others seems the only intelligent choice for the use of wealth.
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The 1950s would be my ideal decade because I'm actually very traditional; I enjoy being at home, and I'm a complete nester.
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As a musician myself, it annoys the hell out of me to watch an actor trying to play a guitar out of time with the music.
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If you keep saying things are going to be bad, you have a good chance of being a prophet.
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We are more casual about qualifying the people we allow to act as advocates in the courtroom than we are about licensing electricians.
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Whenever I walk out on a stage, I'm begging for affection.
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I love the ubiquitous idly-dosa combination. In fact, that was my pet name as a kid! In school, I would bug the canteen boys to get me my daily quota of idly!
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The utilization of flat roofs as 'grounds' offers us a means of re-acclimatizing nature amidst the stony deserts of our great towns; for the plots from which she has been evicted to make room for buildings can be given back to her up aloft.
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Talking to other people who make low-budget movies, everyone kind of has the same struggle.
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I find the whole disdain for ageing crazy.
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There are no lines in nature, only areas of colour, one against another.
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If you are socially isolated, you are more vulnerable to stereotypes and myths; you won't have the opportunity to have conversations with someone who has a different social background than you.
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The yogi cannot be afraid to die, because he has brought life to every cell of his body. We are afraid to die, because we are afraid we have not lived. The yogi has lived.
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I want a man who knows something about himself. And is appalled. And has to forgive himself to get along.
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In a world full of danger, to be a potentially seeable object is to be constantly exposed to danger. Self-consciousness, then, may be the apprehensive awareness of oneself as potentially exposed to danger by the simple fact of being visible to others. The obvious defence against such a danger is to make oneself invisible in one way or another.
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So, I just kind of played the way I played and then eventually we kind of figured out what worked best for the band. So, I definitely changed my stuff up and I think we're playing really tight now.
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To array a man's will against his sickness is the supreme art of medicine.
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It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing.
