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T Quotes

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All T Quotes

“The thing is, and here we come to E. Gorey's Great Simple Theory About Art (which he has never tried to communicate to anybody else until now, so prepare for Severe Bafflement), that on the surface they are so obviously those situations that it is very difficult to see that they really are about something else entirely. This is the theory, incidentally, that anything is art, and it's the way I tell, is presumably about some certain thing, but is really always about something else, and it's no good having one without the other, because if you have the something it is boring and if you just have the something else it's irritating.”

“The thing is doing it, that's what it's all about. Not in the results of it. After all what is a risk? It's a risk not to take risks. Otherwise, you can go stale and repeat yourself. I don't feel like a person who takes risks. Yet there's something within me that must provoke controversy because I find it wherever I go. Anybody who cares about what he does takes risks.”

“The thing is, Gretchen's not even doing anything wrong. It's just this dynamic that's always kind of been there with us. Basically, there's a version of me who lives in Gretchen's head, and as long as I stay within a certain radius of that, we're fine. But when I veer too far off course-I start to feel kind of hazy sometimes. Maybe I'm more liquid than most people are. I always seem to take the shape of my container. Usually, it's a sort of relief, letting Gretchen remold me.”

“The thing is, I don't really have any coming-out narratives of my own. I never felt as though anyone was entitles to a red-carpet presentation of who I am and how I identify. When I initially found myself attracted to women in college, for example, I simply showed up at the next family function with my first girlfriend in tow and introduced her as such. I didn't call each family member ahead of time and instruct them to brace themselves, nor did I write lengthy letters detailing the intricacies of my new desires. Likewise, when I'm meeting people for the first time at parties or other social engagements and they post the inevitable, "So what do you do?" I respond as routinely as possible: "Oh, I work in the sex industry. You?" I'm not trying to be provocative; rather, I've always believed that being "out" is the most powerful tool of activism available to disadvantaged minority communities, sex workers included, I find that when you approach a supposedly radical issue (queerness, nonmonogamy, atheism, gender nonconformity) with the same nonchalance as you would a less controversial topic (accounting, marriage, the weather), you give the other party permission to treat it with the same accepting ambivalence. We're pack animals, and we're constantly comparing ourselves to one another. We look for approval from our peers, and in many cases we use their reactions and opinions to help guide our own. I often observe people, who I've just disclosed to, pause to shift their eyes and gauge the receptiveness of those around them before responding. It'd be a fascinating study if it weren't so disheartening.”

“The thing is, I don’t want my sadness to be othered from me just as I don’t want my happiness to be othered. They’re both mine. I made them, dammit. What if the elation is not another ‘bipolar episode’ but something I fought hard for? Maybe I jump up and down and kiss you too hard on the neck when I learn, upon coming home, that it’s pizza night because sometimes pizza night is more than enough, is my most faithful and feeble beacon. What if I’m running outside because the moon tonight is children’s-book huge and ridiculous over the line of pines, the sight of it a strange sphere of medicine?”

“The thing is, if you're an ugly goon when you're 15, you're an ugly goon for the rest of your life — until the day you die. You're always a goon, even if lots of years go by, even if you get married and have a kid, even if you're more successful than you ever thought you'd be in your wildest dreams. You're still that same goon who everybody laughed at. It never changes.”

“The thing is, masking isn't always good. It takes a lot of effort and energy to hide a big part of yourself, even if you're not doing it intentionally. Masking is a bit like going into survival mode. You do it because you have to, rather than because you want to; and while everyone has the ability to mask to some degree, for autistic people, we can spend most of our lives doing it without even realizing.”

“The thing is that I am a member of that sad, ever-dwindling minority... the child of an unbroken home. I have carried this albatross since the age of eleven, when I started at grammar school. Not a day would pass without somebody I knew turning out to be adopted or illegitimate, or to have mothers who were about to hare off with some bloke, or to have dead fathers and shabby stepfathers. What busy lives they led. How I envied their excuses for introspection, their ear-marked receptacles for every just antagonism and noble loyalty.”

“The thing is that my first novel, which was basically a mystery adventure story, won quite an important award in Spain for young adult fiction, and because of this it became a very successful book, and right now it's some sort of a standard title, it's read widely in many high schools in Spain, so I think, in a way, I was a victim of my own success in the field of young adult fiction, because it was never my own natural register. I never intended to write that kind of fiction, but I became very successful at it.”