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“You've got all these characters and yet, you're hovering over one character like a fly over a stinky diaper. Realize that you've got a kickass superpower: you can possess and take-over anybody inside the story. With the power of Point-of-View, you can drag us along for the ride. You can shove us into their eyes, their minds, you can force us to piggyback on their experiences past and present. Sometimes untangling a knotted-up tale means looking at it from different eyes: what better eyes than those of the other characters inside the story?”

“You've got Hezbollah in Arizona. You've got Mexican drug cartels operating in Arizona. You've got the steady stream of illegals over the border, and you've got people being killed now in Arizona. They are at their wits' end. Enforcing the law is the overall thing, and if there are some civil rights violations, so be it. That's how desperate the situation is. They want the law anyway.”

“You've got problems in Central Asia. And you've got problems within our own communities back home. So if we end up saying, look, this has nothing to do with Islam or it's got no connection with that broader question, then we look, frankly, as if we're in denial about the problem. And the interesting thing in the Middle East is that they have absolutely no problem there in identifying that as Islamist extremism and calling it that.”

“You've got that eternal idiotic idea that if anarchy came it would come from the poor. Why should it? The poor have been rebels, but they have never been anarchists; they have more interest than any one else in there being some decent government. The poor man really has a stake in the country. The rich man hasn't; he can go away to New Guinea in a yacht. The poor have sometimes been objected to being governed badly; the rich have always objected to being governed at all. Aristocrats were always anarchists, as you can see from the barons' wars.”

“You've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.”