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Originals Quotes

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Originals Quotes

“Our American past always speaks to us with two voices: the voice of the past, and the voice of the present. We are always asking two quite different questions. Historians reading the words of John Winthrop usually ask, What did they mean to him? Citizens ask, What do they mean to us? Historians are trained to seek the original meaning; all of us want to know the present meaning.”

“What is the end of Fame? 'tis but to fill A certain portion of uncertain paper: Some liken it to climbing up a hill, Whose summit, like all hills, is lost in vapour: For this men write, speak, preach, and heroes kill, And bards burn what they call their "midnight taper," To have, when the original is dust, A name, a wretched picture, and worse bust.”

“Born originals, how comes it to pass that we die copies? That meddling ape imitation, as soon as we come to years of indiscretion, (so let me speak,) snatches the pen, and blots out nature's mark of separation, cancels her kind intention, destroys all mental individuality. The lettered world no longer consists of singulars: it is a medley, a mass; and a hundred books, at bottom, are but one.”

“My major contribution to the format was to suggest that I be able to step out of the plot and speak directly to the audience, and then be able to go right back into the action. That was an original idea of mine; I know it was because I originally stole it from Thornton Wilder's play Our Town.”

“I was in the second year of my PhD when I first had the idea - I'd recently started working as a translator, which meant firstly that I was hearing about amazing-sounding books from other translators, and also that I was getting enough of an insider's view of the publishing industry to be aware of all the implicit biases that made it so difficult for these books to ever get published, especially if they weren't from European languages (harder to discover, editors can't read the original, lack of funding programmes, authors who don't speak English).”

“It seems to me that today, if the artist wishes to be serious - to cut out a little original niche for himself, or at least preserve his own innocence of personality - he must once more sink himself in solitude. There is too much talk and gossip; pictures are apparently made, like stock-market prices, by competition of people eager for profit; in order to do anything at all we need (so to speak) the wit and ideas of our neighbors as much as the businessmen need the funds of others to win on the market. All this traffic sharpens our intelligence and falsifies our judgment.”

“If we look round the world, there seem to be not above six distinct varieties in the human species, each of which is strongly marked, and speaks the kind seldom to have mixed with any other. But there is nothing in the shape, nothing in the faculties, that shows their coming from different originals; and the varieties of climate, of nourishment, and custom, are sufficient to produce every change.”

“We believe that we know something about the things themselves when we speak of trees, colors, snow, and flowers; and yet we possess nothing but metaphors for things - metaphors which correspond in no way to the original entities.”

“Man, even man debased by the neocapitalism and pseudosocialism of our time, is a marvelous being because he sometimes speaks. Language is the mark, the sign, not of his fall but of his original innocence. Through the Word we may regain the lost kingdom and recover powers we possessed in the far-distant past.”

“The Creation speaks a universal language, independent of human speech or human language, multiplied and various as they be. It is an ever-existing original, which every man can read. It cannot be forged; it cannot be counterfeited; it cannot be lost; it cannot be altered; it cannot be suppressed. It does not depend upon the will of man whether it shall be published or not; it publishes itself from one end of the earth to the other. It preaches to all nations and to all worlds; and this Word of God reveals to man all that is necessary for man to know of God.”

“Howard Altmann has found a way to make language transform itself. If the elusive moment between I and Thou could speak, it might be one of his quietly amazing lines-'you ask the silence to invert itself / like a gymnast in the dark . . . ' Without a trace of rhetoric, In This House reminds us of the power of poetry: to show us how to live in a world in which we are strangers. It's a thrill to come close to such an original and deeply realized art.”