Ursula K. Le Guin Quotes
When you work in form, be it a sonnet or villanelle or whatever, the form is there and you have to fill it. And you have to find how to make that form say what you want to say. But what you find, always--I think any poet who's worked in form will agree with me--is that the form leads you to what you want to say.
Quotes to Explore
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I'm not even sure I have a style! All I know for sure is I don't want to look like everyone else.
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There are no sacred and unsacred places; there are only sacred and desecrated places. My belief is that the world and our life in it are conditional gifts.
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Food is everything. Food, friends, family: Those are the most important things in life.
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It's great when a director like Cameron Crowe can take what you do and fit it into what he's doing. If someone's a fan of you already, they can take what you do and make it work for what they're doing. You don't know their vision, and you're thinking, 'How is this guy going to take what I do and make it work in this movie?'
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I'm not of the American ilk that, you know, your lover needs to be your best friend and know you inside out. I think he should know you well enough to please you. Otherwise, what secret will there be to tell him when you're ninety?
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Television offered me the opportunity to do new things; I had written a lot of scripts other than scary movies. I had actually written some romantic comedies and stuff that I really wanted to try my hand at, and nobody would let me do that. Television allowed me to do anything I wanted.
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I have a theory that there are still parts of our mental worlds that are still based around the age of between five and eight, and we just kind of pretend to be grown-up.
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You don't drown by falling into water. You only drown if you stay there.
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Pictures must not be too picturesque.
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Of all the haunting moments of motherhood, few rank with hearing your own words come out of your daughter's mouth.
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I'm lucky in some ways in that I really don't need more than five or so hours of sleep.
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I believe that blues and jazz are the two uniquely American contributions into music.
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It will be thought that I am acting strangely in concerning myself at this day with what appears at first sight and simply a well-known method of fortune-telling.
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It's grueling never knowing if the audience is going to think you're funny. It's soul-destroying when they don't laugh.
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How it happened that Mastro Cherry, carpenter, found a piece of wood that wept and laughed like a child.
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People often ask me, was it hard to play this person or that person? Well, no, not really. Acting is what I do. It's my job.
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We at Fidelity view ourselves just as much a financial information processing company as an investment management firm. That may not be too newsworthy.
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My sister and I said, Dad, are you doing to do anything about that? And he mentioned treatments other people sent him that he'd been working on. So we thought it would be kind of cool to give these guys a real script.
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I actually think one of my strengths is my storytelling.
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I'm more interested in characters who are a little difficult.
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Are you doing the kind of work you were built for, so that you can expect to be able to do very large amounts of that kind and thrive under it? Or are you doing a kind of which you can do comparatively little.
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Put thou thy trust in God; In duty's path go on; Fix on His word thy steadfast eye; So shall thy work be done.
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I want to experiment with new techniques and become a "traditional baroque artist."
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When you work in form, be it a sonnet or villanelle or whatever, the form is there and you have to fill it. And you have to find how to make that form say what you want to say. But what you find, always--I think any poet who's worked in form will agree with me--is that the form leads you to what you want to say.
