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“Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap. It's like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here. And I can't get back to the right hole. I'm not going to be able to get this section back to the right hole - so I'm just going to have to cut it.”

“Nashville has always felt perfect. I don't think Third Man Records could exist in any other town that I know of in America. Anything smaller or larger than the size of Nashville, and also the music - the attention that's paid to music in that town is sort of the right kind. It's not too hipster and it's not too fake; it's something in the middle, which is really good ground for a place like Third Man Records, that aims to be genre-less. It's great to be able to have that kind of access.”

“The idea of some kind of objectively constant, universal literary value is seductive. It feels real. It feels like a stone cold fact that In Search of Lost Time, by Marcel Proust, is better than A Shore Thing, by Snooki. And it may be; Snooki definitely has more one-star reviews on Amazon. But if literary value is real, no one seems to be able to locate it or define it very well. We're increasingly adrift in a grey void of aesthetic relativism.”

“The City's going to be very very beautiful! Its going to be like a beautiful beautiful park in some places, and there in the lower level where the river flows right through the City there's going to be these beautiful trees growing on both sides, fruit trees with 12 different kinds of fruit, a different kind every month, think of that!-And leaves that'll be able to heal the people outside the City that are still sin-sick, and sick of their disobediences and their rebellion against God. We're going to be able to take those leaves outside and heal them!”

“Very beautiful situations have developed using chaos as part of the enlightened approach. There is chaos of all kinds developing all the time... If you are trying to stop those situations, you are looking for external means of liberating yourself, another answer. But if we are able to look into the basic situation, then chaos is the inspiration, confusion is the inspiration.”

“Paranoia imposes its own vision on the external world; it differs from other kinds of visionary experience in that the paranoid wants others to share his view—even insists on it. Paranoia is very like poetic creativity. This accounts for my fascination with certain people in whom this state of mind was evident: ‘characters’ met by chance, whose words and gestures would haunt me for years until, finally, in a poem I was able to dispel them.”

“Attention spans are changing. It's very noticeable. I am very aware that the kind of books I read in my childhood kids now won't be able to read. I was reading Kipling and PG Wodehouse and Shakespeare at the age of 11. The kind of description and detail I read I would not put in my books. I don't know how much you can fight that because you want children to read. So I pack in excitement and plot and illustrations and have a cliffhanger every chapter. Charles Dickens was doing cliffhangers way back when. But even with all the excitement you have to make children care about the characters.”

“The idea is to keep reinventing yourself. Once you attain a certain status as an actor, your fans start expecting from you and you should be able to fulfill them. That's why I try to choose as many different kind of roles as I can so that my fans are not disappointed with me. It would also get boring for me as an actor to keep repeating myself.”

“When I'm on set, I do whatever I can to find my focus. One thing that stays pretty consistent for all my jobs is, I listen to a lot of music while I'm working. Because when there's all this stuff going on, for me to be able to put on headphones and listen to music helps me keep my focus,. A big part of creating a character for me is finding the general palette for what kind of music I'm going to be listening to.”

“Maybe in the back of my mind I was kind of wishing that I would become a rock star, kind of wishing that I would reach enough people who would be willing to pay me for the music, that I would actually be able to live off of just writing the songs that I wanted to write. But I don't think I really admitted to myself that that was my goal.”

“There is an appearance of humility in the protestation that the truth is much greater than any one of us can grasp, but if this is used to invalidate all claims to discern the truth it is in fact an arrogant claim to a kind of knowledge which is superior to [all others]...We have to ask: 'What is the [absolute] vantage ground from which you claim to be able to relativize all the absolute claims these different scriptures make?”

“The woman is the man's glory, and she naturally delights in the praises which are assurances that she is fulfilling her function; and she gives herself to him who succeeds in convincing her that she, of all others, is best able to discharge it for him. A woman without this kind of "vanity" is a monster.”

“People do this a lot. They don't seem to realise that the future is just like now, but in a little while, so they say they're going to do things in anticipation of some kind of seismic shift in their worldview that never actually materializes. But everything's not going to be made of leather, the world won't stink of sherbet. Tomorrow is not some mythical kingdom where you'll grow butterfly wings and be able to talk to animals -- you'll basically feel pretty much the same way you do at the moment.”

“In fact, the influence of Schoenberg may be overwhelming on his followers, but the significance of his art is to be identified with influences of a more subtle kind - not the system, but the aesthetic, of his art. I am quite conscious of the fact that my Chansons madécasses are in no way Schoenbergian, but I do not know whether I ever should have been able to write them had Schoenberg never written.”

“This kind of internal "telepathic" intercourse, which was to serve me in all my wanderings, was at first difficult, innefective, and painful. But in time I came to be able to live through the experiences of my host with vividness and accuracy, while yet preserving my own individuality, my own critical intelligence, my own desires and fears. Only when the other had come to realize my presence within him could he, by a special act of volition, keep particular thoughts secret from me.”

“Chefs have only been able to work in restaurants, high-end cuisine. Why? Why haven't they been able to find other scenarios? For those chefs who want to do avant-garde cuisine, should they be finding their income in a restaurant? These are the kind of questions we are asking ourselves. So the new scenario will allow them to do whatever they want to do, whenever they want to do it.”