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M Quotes

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All M Quotes

“My intention is not to define a perfect life and then cause an unhappy analysis of what you are not doing correctly or are incapable of doing.”

“My intention was to create a work of art which would transcend the visible, which cannot be perceived except in stages, with the understanding that it is a partial revelation and not the perpetuation of the existing. My aim is to show what can be seen within the limits of possibility which exists in the midst of coming into being.”

“My interactions with troubled or angry congregants have involved less explaining and more hand-holding. I have more than once paid a condolence call on a family to whom something so awful had happened that words seemed inadequate. So I didn’t offer words, beyond ‘I’m sorry, I feel so bad for you.’ I would often sit quietly with the grieving widow or parent for several minutes, and when I would get up to go, the mourner would throw her arms around me and say, ‘Thank you for being here with us.’ My presence represented God’s caring presence, the symbolic statement that God had not abandoned them. That reassurance, more than any theological wisdom, was what I was uniquely qualified to offer them.”

“My interest at the moment is to use my dreaming self (which I also access in shamanic journeying) to engage with the Earth. In my waking rational life I often forget about the Earth, or I get worried or confused by contradictory information. With my dreaming brain I can have access to powerful images of what is going on in the Earth, from day to day.”

“My interest has always been in the place where sex and race are both obscenely conspicuous and yet consciously suppressed, largely because of the liminal place that the Asian man occupies in the midst of it: an “honorary white” person who will always be denied the full perquisites of whiteness; an entitled man who will never quite be regarded or treated as a man; a nominal minority whose claim to be a “person of color” deserving of the special regard reserved for victims is taken seriously by no one. In an age characterised by the politics of resentment, the Asian man knows something of the resentment of the embattled white man besieged on all sides by grievances and demands for reparation, and something of the resentments of the rising social justice warrior, who feels with every fibre of their being that all that stands in the way of the attainment of their thwarted ambitions is nothing so much as a white man. Tasting of the frustrations of both, he is denied the entitlements of either.”

“My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.”