Elizabeth Enright Quotes
The mullein had finished blooming, and stood up out of the pastures like dusty candelabra. The flowers of Queen Anne's lace had curled up into birds' nests, and the bee balm was covered with little crown-shaped pods. In another month -- no, two, maybe -- would come the season of the skeletons, when all that was left of the weeds was their brittle architecture. But the time was not yet. The air was warm and bright, the grass was green, and the leaves, and the lazy monarch butterflies were everywhere.
Quotes to Explore
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In the fall of 1943 we brought home our second son, whom we named Alexander.
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We're constantly striving for success, fame and comfort when all we really need to be happy is someone or some thing to be enthusiastic about.
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Sometimes one creates a dynamic impression by saying something, and sometimes one creates as significant an impression by remaining silent.
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I can remember only a few of the strange and curious words now dead but living and spoken by the English people a thousand years ago.
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As goes California, so goes the rest of the nation.
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Actors go inside the heads of other people and are not afraid of the complicated places you can find yourself.
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I'm a huge Wonder Woman fan - I have about 12 coffee mugs at home!
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Each emission of an alpha or beta ray accompanies the transmutation of an atom; the energy communicated to these rays comes from inside the atom.
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I don't need a piece of paper to suggest that I can commit myself.
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Because Mr. Mandela's early opponents invested so many resources into distorting the true nature of his advocacy, the singular historic moment millions now celebrate could have been tragically lost to guerrilla decontextualization.
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A man should never neglect his family for business.
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I'm the only one responsible for the choices I make and the opportunities I get. When you read the script, you don't know how it's going to shape up. You just know what you've been narrated.
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I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.
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When we think of war, the tendency is to picture young soldiers only in their military roles. To a large extent this dehumanizes the soldiers and makes it easier for society to commit them to combat.
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New York for me is about work. If L.A. were to become a West Coast version of that, I'd shoot myself. The climate, the lifestyle - it really fits as the yin to my New York yang.
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Death is a monster; death is horrible.
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My race and sex had a great deal more to do with what people believed I could do than with what I actually could do.
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If you are not making any mistakes, you are being excessively risk-averse. Investing involves risk, and that means you will occasionally be wrong. And although it is okay to be wrong, it is not okay to stay wrong.
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My beliefs encompass all religions. But I never show my religious inclination in my films. My characters have dark sides; they aren't the god-fearing characters. It wasn't a conscious decision. I'm a very lazy and emotional person who connects with the common man.
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I portray female characters, so I have the opportunity to change the way people look at them. Even if I wasn't consciously doing that, it would happen anyway just because of how I present as a woman, or as a person. I present in a way that's not stereotypical, even if I'm playing a stereotypical role.
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I like giving music-themed gifts. I've given a couple of music documentaries to boys. Especially if they don't have the same taste as me, I try to infiltrate their mind with my favourite bands.
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I think NBC got a little reluctant to get behind single-camera shows after 'Scrubs' didn't do what they thought it was going to do following 'Friends.'
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Nick Cardy's work helped define some of the things we see in comics today and take for granted. He broke out of the mold in terms of covers and layout and created a truly interactive experience for the reader that directly points back to his time with the Eisner studio.
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The mullein had finished blooming, and stood up out of the pastures like dusty candelabra. The flowers of Queen Anne's lace had curled up into birds' nests, and the bee balm was covered with little crown-shaped pods. In another month -- no, two, maybe -- would come the season of the skeletons, when all that was left of the weeds was their brittle architecture. But the time was not yet. The air was warm and bright, the grass was green, and the leaves, and the lazy monarch butterflies were everywhere.
