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Quote by Karen Marie Moning

“You both talk too much,” the kid says. “Shut up. Don’t make me tell you again.” We shut up, which I find hysterically funny.”

Quote by Karen Marie Moning

Book:Iced
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Iced

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Karen Marie Moning
Karen Marie Moning

Karen Marie Moning, born on November 1, 1964, is a renowned fantasy author known for her unique magical worlds and complex character relationships. Her most famous work is the 'Ice and Fire' series. more

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“I’ve never paid any attention to time. Dancer says I’ve enjoyed a luxury most people never have. He hates clocks and watches and everything that has to do with time. He says people already have too many lost days and that most folks live in the past or the future but never the present, always saying stuff like “I’m unhappy because ‘X’ happened to me yesterday, or I’ll be happy again when ‘Y’ happens to me tomorrow.” He says time is the ultimate villain.”

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Book:Iced
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“I hate it when storm clouds roll in, heralded by dazzling claps of thunder and lightning that boast an ocean of tears. This majestic performance of bad temper manages to overshadow my pathetic attempts at pouting. No one broods like Mother Nature, hence she steals all the attention I was sulking after.”

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Book:Smile Anyway: Quotes, Verse, & Grumblings for Every Day of the Year
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““So, he’s pouting, right? That’s why he missed the ceremony,” I say over the instruments. “He’s been away from his home for some time. He had things to do. To prepare for your night together.” Gossamer’s furred wings buzz into action, lifting her off my shoulder. “Sure.” I smother a smile. “We both know he didn’t come because he would’ve been bored to tears. There’s too much orderliness for his liking.” She giggles in agreement—a tinkling sound that blends with the music.”

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“Not merely is the art of the second half of the fifth century influenced by the same experience which formed the ideas of the Sophists; a spiritual movement such as theirs, with its stimulating humanism, was bound to have a direct effect upon the outlook of the poets and artists. When we come to the fourth century there is no branch of art in which their influence cannot be traced. Nowhere is the new spirit more striking than in the new type of athlete which, with Praxiteles and Lysippus, now supplants the manly ideal of Polycletus. Their Hermes and Apoxyomenos have nothing of the heroic, of aristocratic austerity and disdain about them; they give the impression of being dancers rather than athletes. Their intellectuality is expressed not merely in their heads; their whole appearance emphasizes that ephemeral quality of all that is human which the Sophists had pointed out and stressed. Their whole being is dynamically charged and full of latent force and movement. When you try to look at them they will not allow you to rest in any one position, for the sculptor has discarded all thought of principal view-points; on the contrary, these works underline the incompleteness and momentariness of each ephemeral aspect to such a degree as to force the spectator to be altering his position constantly until he has been round the whole figure. He is thus made aware of the relativity of each single aspect, just as the Sophists became aware that every truth, every norm and every standard has a perspective element and alters as the view-point alters. Art now frees itself from the last fetters of the geometrical; the very last traces of frontality now disappear. The Apoxyomenos is completely absorbed in himself, leads his own life and takes no notice of the spectator. The individualism and relativism of the Sophists, the illusionism and subjectivity of contemporary art, alike express the spirit of economic liberalism and democracy—the spiritual condition of people who reject the old aristocratic attitude towards life, with all its gravity and magnificence, because they think they owe everything to themselves and nothing to their ancestors, and who give vent to all their emotions and passions with complete lack of restraint because so whole-heartedly convinced that man is the measure of all things.”

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Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
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