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I Quotes

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All I Quotes

“In my 20s, I was more cynical/despairing (even though I still wrote comically), but I often sent audiences home with rather dark last moments. After a while though, I don't want to send the audience home bummed out, or distressed ... I want to see what's hopeful. I'm not overly cheery all the time, and yet I'm not suicidal either. I do think people can make choices that make their lives happier.”

“In my 20s, my mom and I went and saw the bridges of Madison County, which are in Iowa, and I had seen that movie with Clint Eastwood and Meryl Streep. I've always done these Iowa road trips. I did this transcendental meditation course in Fairfield, Iowa. So I've known since my early 20s that someday I would buy a farm in Iowa.”

“In my 45-year career as an investment counselor, humility did show me the need for worldwide diversification to reduce risk. That career did help me to become more and more humble because statistics showed that when I advised a client to buy one stock to replace another, about one-third of the time the client would have done better to ignore my advice. In other endeavors, humility about how little I know has encouraged me to listen more carefully and more wisely.”

“In my 6-week stay in hospital (4 of them in the intensive care unit) for the treatment of Covid-19 that nearly killed me, I fought acute pneumonia, pulmonary embolism and thrombosis —all at the same time. To check the thrombosis, I had surgery. Had the surgery failed to check it, the doctors were going to amputate my left leg. Had that happened, that would have meant that, though I had come to the hospital with nothing, I left a LEGacy.”

“In my 6-week stay in hospital (4 of them in the intensive care unit) for the treatment of Covid-19 that nearly killed me, I fought acute pneumonia, pulmonary embolism and thrombosis —all at the same time. To check the thrombosis, I had surgery. Had the surgery failed to check it, the doctors were going to amputate my left leg. That would have meant that, though I had come to the hospital with nothing, I left a LEGacy.”

“In my [Impossibility] theorem I'm assuming that the information is a ranking. Each voter can say of any two candidates, I prefer this one to this one. So then we have essentially a ranking. It's a list saying this is my first choice. This is my second choice. Each voter, in principle, could be asked to give that entire piece of information. In the ordinary Plurality Voting, say as used in electing Congressmen, we generally only ask for the first choice. But, in principle, we could ask for more choices.”

“In my acquaintance with John Rawls, I found him to be a simple and honest man, who just by chance also happened to be the greatest moral philosopher of the twentieth century. I would like to think that I could emulate at least his modesty - his refusal to exaggerate his perception of himself and his place in the larger scheme of things - even if my work never compares with his in its importance.”

“In my actual imaginative contact with life, I am vastly more responsive to beauty than to horror - indeed, I never experience real cosmic horror except in infrequent nightmares. However, when I come to record my various imaginative experiences, I generally find that only the horror items have any uniqueness or originality. Others have seen the same beautiful things that I have seen, & have sung them more nobly.”

“In my arms is a woman who has given me a Skywatcher's Cloud Chart, a woman who knows all my secrets, a woman who knows just how messed up my mind is, how many pills I'm on, and yet she allows me to hold her anyway. There's something honest about all this, and I cannot imagine any other woman lying in the middle of a frozen soccer field with me - in the middle of a snowstorm even - impossibly hoping to see a single cloud break free of a nimbostratus.”

“In my art and life, I really strive to reverse the old adage that what you see is what you get. If I can be Coyote and practice my sneak-up, I can engage the viewers from a distance with one image and lure them in for exposure to another layer, which changes the initial view into quite a different reality. After all, that is what ethnic culture is all about - or even an ongoing relationship. What you see on the surface is never the same again one you begin to plumb the depths.”

“In my art history degree course, we did a module on palimpsests—medieval sheets of parchment so costly that, once the text was no longer needed, the sheets were simply scraped clean and reused, leaving the old writing faintly visible through the new. Later, Renaissance artists used the word pentimenti, repentances, to describe mistakes or alterations that were covered with new paint, only to be revealed years or even centuries later as the paint thinned with time, leaving both the original and the revision on view. Sometimes I have a sense that this house—our relationship in it, with it, with each other—is like a palimpsest or pentimento, that however much we try to overpaint Emma Matthews, she keeps tiptoeing back: a faint image, an enigmatic smile, stealing its way into the corner of the frame.”

“In my beginning is my end. In succession Houses rise and fall, crumble, are extended, Are removed, destroyed, restored, or in their place Is an open field, or a factory, or a by-pass. Old stone to new building, old timber to new fires, Old fires to ashes, and ashes to the earth Which is already flesh, fur and faeces, Bone of man and beast, cornstalk and leaf.”