Charles D'Ambrosio (Charles Anthony D'Ambrosio, Jr) Quotes
The poet Amanda Nadelberg puts it nicely in an interview when she says "often what I listen for in poems is a sense that the writer is a little lost, not deliberately withholding information or turning on the heavy mystery machines, but honestly confounded - by the world? isn't it so? - and letting others listen in on that figuring." That's what engages me - the mind in motion, the drama of someone in the process of thinking - and it's the elusive mystery of those movements that I hope to capture in my essays.
Quotes to Explore
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There's nothing more fun to me than new characters and a new world.
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I think shortly after I got signed, it just started to dawn on me that I had something to say and that Yahweh put something in my heart to share with the world.
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The approach of death certainly concentrates the mind.
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Love me or hate me, both are in my favour. If you love me, I will always be in your heart, and if you hate me, I will be in your mind.
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I actually love doing period pieces, purely because it takes you into a different world, mentally. The clothes you have to wear are so far from our everyday clothes that it immediately helps with the character and putting you in that mind frame.
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The ultimate search engine would basically understand everything in the world, and it would always give you the right thing. And we're a long, long ways from that.
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It's hard to do a reality show when there's so much crying and drama.
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There have been times I've planted stuff in songs where four years later I'll be singing it from a subconscious, kind of chameleon little lizard mind... and at a certain moment, all of a sudden, I'll hear a line from a different vantage point and it'll change its meaning. It's something I wrote but it changed because I did.
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I didn't get my first pilot that I screen-tested for, and I really thought it was the end of the world. But it's fine, you know, you move on to something else.
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We have been deformed by educational and religious institutions that treat us as members of an audience instead of actors in a drama, so we become adults who treat democracy as a spectator sport.
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Perhaps if all the peoples of the world understand what war really means, we would eliminate it.
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Words have no power to impress the mind without the exquisite horror of their reality.
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I am fortunate to have the ability to lend my name to build the Olivia Newton-John Cancer and Wellness Centre in my hometown of Melbourne. It will be a state-of-the-art facility to help heal the whole person - body, mind and spirit.
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When you are away from the game and busy with other areas, you realize that the world does not revolve around baseball.
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The question of likability is a bit of a puzzler for me. You know, I don't write people with likability in mind. It's more whether or not I find them compelling.
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The message of the free world to any potential Palestinian leadership should be a simple one: Embrace democratic reform and we will embrace you.
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The most beautiful thing in the world is, of course, the world itself.
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I'm part of a speech therapy programme called the McGuire Programme. It teaches you a new way to breathe, a new way to speak, a brand new way of tackling the mind-sets that come with having a speech impediment. Mainly, it teaches you how to slow things down, and that has really helped me.
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In my opinion, it's more interesting to see magic happening in a world that feels grounded. If the world is already crazy, then anything can happen. So it's better to start with something real.
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I don't really get star-struck, but I do get talent struck. If I meet somebody that I think is just wildly talented and brilliant, that's when I start getting nervous.
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Death frames the high wire. But I don't see myself as taking risks. I do all of the preparations that a non-death seeker would do.
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When I look back at my childhood on the Ayrshire coast, I recall a basic devotion to the idea that human nature and national character are as unknowable as the weather's rationale.
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The poet Amanda Nadelberg puts it nicely in an interview when she says "often what I listen for in poems is a sense that the writer is a little lost, not deliberately withholding information or turning on the heavy mystery machines, but honestly confounded - by the world? isn't it so? - and letting others listen in on that figuring." That's what engages me - the mind in motion, the drama of someone in the process of thinking - and it's the elusive mystery of those movements that I hope to capture in my essays.
