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“This is a very practical discussion about the fact that one of the largest coal companies in the world, Adani, wants to build one of the, develop one of the largest coal mines in Australia in this region of Australia. And if they get the green light to do that, that will secure the economic future of people in Rockhampton, and people in central Queensland. It will secure their jobs in the future, and that's what they're concerned about.”

“I wouldn't necessarily assume that because Capricornia has traditionally been a Labor seat, that it'll go back to the Labor Party this time because the big issue in Capricornia which is based on the city of Rockhampton is the fact that the economy is - the regional economy is in a poor shape as a result, in particular of the decline of the mining industry and they are looking to the Carmichael mine, the Adani project as containing all of the prospects that they see for their future and that is why people in Rockhampton are very, very fearful of a Labor-Greens government.”

“One of the senior Labor frontbenchers from Queensland, Terri Butler, said that she was against the Adani mine. So that is the clearest statement we've had from a person who would be a member of a Shorten government, that if there were to be a Shorten government as far as she's concerned, the Adani mine wouldn't go ahead. People in Rockhampton know that and they're very worried about it.”

“There were people whom I considered friends or loved ones who either abandoned me or betrayed me in ways I'd never have suspected. But there were others who had been barely acquaintances of mine whose loyalty and efforts on my behalf made me realize that not everyone was as inherently rotten as I'd previously believed. So it caused a violent split in my view of humanity - people turned out to be far worse and far better than I'd ever dreamed possible.”

“I was extremely lucky to get this project [Brief Interviews with Hideous Men]. It was one of those things that I worked on in college. A friend of mine asked me to do a stage reading of that book and I was just completely blown away because, at that point, I was like, 'Acting's having fun with your friends and making people laugh.'”

“I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.”

“One time, the Library of Congress was giving books to local libraries around the country on Islam. The library of a guy named Walter Jones, who's a member of Congress from North Carolina, got some books and resource materials, and he got up in the press and said he didn't want any Muslim books in the library. And the people said, "Wait a minute, that's kind of anti-Muslim." He said, "Oh no, Keith Ellison is a friend of mine." And I said, "You know what? We are friends, but you're wrong about this.”

“I definitely, at times, felt the pressures of life similar to the pressures anyone would feel growing up. The only difference was that maybe more people were aware of mine. But, if anything, I changed the pressure from negative to positive. So, instead of thinking everybody wanted to see me fail, I decided everybody wanted to see me win, since I wanted to see myself win.”

“Like Nietzsche's own writings on education, most of mine were relatively youthful ones. Both were inspired by a critical animus against prevailing trends in education: in Nietzsche's case, the production either of 'useless', dry-as-dust scholars or people 'useful' for the needs of an expanding industrial economy; in my case, a similar subjection of education to economic imperatives, but also to ideological obsessions, notably with promoting 'equality'.”

“I'm just looking forward to doing these videos with AXE. Doing more directing, collaborating with them, finding ways to kind of like tap into temptation with their market and their audience and mine and find cool, creative ways to get the brand out to people. And I think they're doing a really, really good job. So we've got some cool stuff coming up.”

“I have a process that I seem to always, to some degree, as a writer, adhere to, but I certainly have never imposed the way I write a novel on my students. When I had students, I never said, "You should never start writing a novel until you have the last sentence." I never did that, and I wouldn't do it now, but people now seem so interested in the process [of writing fiction] that I have to constantly make it clear when I describe mine that I'm not being prescriptive. I'm not proselytizing.”

“There's no way anyone's going to understand my own personal experiences, where the songs came from, because they're mine. But I was very conscious of leaving loads of space in the songs so that people could interpret them with their own memories, feelings, and emotions. I love the process of taking stuff away so that people could finish the songs themselves. I was hoping it'd end up being as universal as possible, even though it comes from the most personal place.”

“The thing that always attracted me to New York was the sense of being in a place where a lot of people had a lot of stories not unlike mine,' Rushdie says. 'Everybody comes from somewhere else. Everyone's got a Polish grandmother, some kind of metamorphosis in their family circumstances. That's a very big thing - the experience of not living where you started.”