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D Quotes

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All D Quotes

“Do you know what I do sometimes? I look at buildings or up at the sky and because their plain features look like they could be from anywhere, I imagine I’m in your city. That we’re next to each other. That I’m somewhere different. If I want, I can be in New York at any time of the day and really believe it. It only lasts for a few seconds before I get dizzy.”

“Do you know what I mean by a music-maker? It's something quite different from a performer, you know. Different from someone who goes on a platform to demonstrate -- often very successfully -- how accomplished he or she may be. It means someone who serves the great art of music with heart and soul, as well as fingers and brain. It takes everything... to make the real thing. Above all, there must be that desire to serve, rather than to impress. To be humble rather than easily satisfied with oneself.”

“Do you know what I remember? When [my father] read to me. Stupid things, dragons and heroes. He wouldn’t turn a page until I reached over and took his hand. That big man made every step of the story my choice. I loved that. He died of the wasting, in a Denerim ward. Those last weeks I read to him. I had to take his hand to turn the pages. And I couldn’t tell if he was too weak, or if it was the old game…No one tells you how to mourn. And when someone says, “move on”, you take their hand and say “my choice.”

“Do you know what I've noticed?" asks Peter. "Whenever I have a particularly shitty day, it's surprising how often a drone is waiting at home with some great product to cheer me up again." "I'm glad you're satisfied with my service," says the drone. "Please rate me now." "An acquaintance of mine says that these things don't happen by chance," says Peter. "She says that the people who write the code--or perhaps I should say: the people that have the code written--want us to be happy, because frustration is unproductive. Dangerous, even.”

“Do you know what I want from you?” she heard him ask hoarsely. “Do you understand what’s going to happen if we don’t stop?” “Yes.” Matthew lifted his head and gave her a doubtful glance. “I’m not as innocent as you might think,” Daisy said earnestly. “I’m very well read.” He turned his face away, and she had the impression he was fighting a smile. Then he looked back at her with piercing tenderness. “Daisy Bowman,” he said unevenly, “I’d spend eternity in hell for one hour with you.” “Is that how long it takes? An hour?” His reply was rueful. “Sweetheart, at this point it would be a miracle if I lasted one minute.”

“Do you know what I've learned? That although ecstasy is the ability to stand outside yourself, dance is a way of rising up into space, of discovering new dimensions while still remaining in touch with your body. When you dance, the spiritual world and the real world manage to coexist quite happily. I think classical ballet dancers dance on pointe because they're simultaneously touching the earth and reaching up to the skies.”

“Do you know what it is that boosts her cooking the most?" "Erm... her strength, which lets her handle even bone-in meat as she will?" "That is an asset, yes. But her highest skill is exactly the opposite of power... it's her sensitivity. The lips are a part of the body that are particularly sensitive to heat. However, only hers are sensitive enough to tell the exact temperature. But Ikumi Mito's sensitivity shines brightest when she handles the meat with her hands. Watch her fingertips. Do you see the delicate grace with which she touches it? She is like a pianist, tickling the ivories in an elegant solo. It is a sonata of meat.”

“Do you know what it is?' [Toby] said thoughtfully. 'It's that they haven't had anything really awful happen to them. No wonder they seem so superficial and unfeeling.' It was certainly an interesting theory, ... [but] surely one didn't need to have suffered in order to possess empathy for those who had? All it required was a bit of imagination and a well-stocked library.”

“Do you know what it's like to love someone so much, that you can't see yourself without picturing her? Or what it's like to touch someone, and feel like you've come home? What we had wasn't about sex, or about being with someone just to show off what you've got, the way it was for other kids our age. We were, well, meant to be together. Some people spend their whole lives looking for that one person. I was lucky enough to have her all along.”

“Do you know what it took for Balanchine to put me, a black man, on stage with a white woman? This was 1957, before civil rights. He showed me how to take her [holding her delicately by the wrist]. He said, ‘put your hand on top.’ The skin colors were part of the choreography. He saw what was going to happen in the world and put it on stage.”