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“Everything becomes agitated. Ideas quick-march into motion like battalions of a grand army to its legendary fighting ground, and the battle rages. Memories charge in, bright flags on high; the cavalry of metaphor deploys with a magnificent gallop; the artillery of logic rushes up with clattering wagons and cartridges; on imagination's orders, sharpshooters sight and fire; forms and shapes and characters rear up; the paper is spread with ink - for the nightly labor begins and ends with torrents of this black water, as a battle opens and concludes with black powder.”

“I like things to be orderly. For seven years I ate at Bob's Big Boy. I would go at 2:30, after the lunch rush. I ate a chocolate shake and four, five, six, seven cups of coffee-with lots of sugar. And there's lots of sugar in that chocolate shake. It's a thick shake. In a silver goblet. I would get a rush from all this sugar, and I would get so many ideas! I would write them on these napkins. It was like I had a desk with paper. All I had to do was remember to bring my pen, but a waitress would give me one if I remembered to return it at the end of my stay. I got a lot of ideas at Bob's.”

“The latest gorgeous entry in the Belknap Press' growing library of annotated Jane Austen novels arrives, this time the mighty Emma under the exactingly careful guidance of Bharat Tandon of the University of East Anglia. Belknap has once again done its end of the job superbly: the book is a physical treat-luxuriantly over-sized, heavy with quality paper and solid binding, decked out in a beautiful cover and dozens of well-chosen illustrations throughout. This is one of the prettiest Jane Austen volumes available in bookstoresthis season.”

“The mischief springs from the power which the monied interest derives from a paper currency which they are able to control, from the multitude of corporations with exclusive privileges which they have succeeded in obtaining, and unless you become more watchful in your states and check this spirit of monopoly and thirst for exclusive privileges you will in the end find that the most important powers of government have been given or bartered away.”

“I don't need a receipt for a doughnut. I'll just give you the money, and you give me the doughnut. End of transaction! We don't need to bring ink and paper into this! I can't imagine a scenario where I'd have to prove that I bought a doughnut. Some skeptical friend...'Don't even act like I didn't buy that doughnut! I've got the documentation right here! Oh, wait, it's back home, in the file. Under d...for doughnut.'”

“The Founders understood that democracy was important, but if you didn't filter it through a republican system you'd be just as likely to end up with a tyranny of the majority as you would with a healthy society. Don't worry, I won't quote the Federalist Papers, but trust me, it's in there.”

“I was working as a journalist for an Israeli paper in Paris, and my salary at the highest was fifty dollars a month. At the end of the month I always had palpitations; I didn't know how to pay my rent. Even after the war, I was often hungry. But that's part of the romantic condition of a student. To be a student in Paris and not be hungry is wrong.”

“I don't go to an office, so I write at home. I like to write in the morning, if possible; that's when my mind is freshest. I might write for a couple of hours, and then I head out to have lunch and read the paper. Then I write for a little bit longer if I can, then probably go to the library or make some phone calls. Every day is a little bit different. I'm not highly routinized, so I spend a lot of time wandering around New York City with my laptop in my bag, wondering where I'm going to end up next. It's a fairly idyllic life for someone who likes writing.”

“Cincinnati at that time was also beginning to realize it had major cartooning talent in Jim Borgman, at the city's other paper, and I didn't benefit from the comparison.His footsteps seemed like good ones to follow, so I cultivated an interest in politics, and Borgman helped me a lot in learning how to construct an editorial cartoon. Neither of us dreamed I'd end up in the same town on the opposite paper.”

“I remember one time I went to a party and I had to interview Reese Witherspoon. She was just in this movie "Freeway," it's like 1996. To prepare for the interview I went to meet her at this release party, and I end up getting in this fist fight with a guy. I'm not much of a fighter but I get in this fight and the press was all there and they saw me, and all of a sudden the next day in the paper was 'Simon Rex and his posse get in scuffle, and Simon crashes a bottle over a guy's head after smoking crack in the bathroom.' I saved the article forever.”

“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.”

“As part of our ongoing series of reports on the environment, 'America Goes Green,' we take on the question that can make otherwise competent adults quake with fear. We've all been there. You come to the end of the checkout line and then comes that question: 'Paper or plastic?' For that one brief moment, we grocery buyers are made to feel like the fate of the planet hinges on our decision.”

“In the psychological literature, depression is often seen as a defense against sadness. But I'll take sadness any day. There is no contest. Sadness carries identification. You know where it's been and you know where it's headed. Depression carries no papers. It enters your country unannounced and uninvited. Its origins are unknown, but its destination always dead-ends in you.”

“A cigarette is a roll of paper, tobacco, and drugs, with a small fire on one end and a large fool at the other. Some of its chief benefits are cancer of the lips and stomach, softening of the brain, funeral procesions, and families shrouded in gloom and grief. Although a great many people know this, they still smoke in order to appear sophisticated.”

“In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.”

“My school music teacher, Al Bennest, introduced me to jazz by playing Louis Armstrong's record of "West End Blues" for me. I found more jazz on the radio, and began looking for records. My paper route money, and later, money I earned working after school in a print shop and a butcher shop went toward buying jazz records. I taught myself the alto saxophone and the drums in order to play in my high school dance band.”

“What has brought unique, irreplaceable me - out of all the possibilities of life-here, now, to this? Was all my youth-the paper route after school, the stolen moments in the back seats of borrowed cars, the football workouts, the cramming for finals-meant to end this way, dying in a muddy paddy?”

“When I'm writing, it's about the page. It's not about the movie. It's not about cinema. It's about the literature of me putting my pen to paper and writing a good page and making it work completely as a document unto itself. That's my first artistic contribution. If I do my job right, by the end of the script, I should be having the thought, 'You know, if I were to just publish this now and not make it . . . I'm done.”

“I felt ugly, chubby, and stupid until I talked to my mom about it and she had me do a very good exercise that I recommend to every girl. She had me take a piece of paper and write down everything I liked and everything that I didn't like about my body and my life. By the end of the exercise, I realized that I had so many more things in my likes column. It showed me that while there are a few things in my dislikes column, I was giving ALL my attention to those few things!”

“My very first venture was a national student magazine to try to campaign against the [Vietnam] War. And so I wanted to be an editor. I wanted to bring the magazine out. And in order for the magazine to survive I had to worry about the printing and the paper manufacturing and the distribution. And, you know, I had to try to, at the end of the year, have more money coming in than going out.”

“I have a degree in cinema studies and the big paper I wrote at the end of that was about Judy Garland and Liza Minnelli. So I thought that I knew quite a bit about Judy Garland, but I read in passing that the Stonewall riots were a reaction to her death and I had never really read enough to know what that meant or how that could be true. I was interested in that I knew so much about Judy Garland, but I really didn't know this story.”

“Maybe boutique media, maybe people who are reading papers and talking to academics and whatnot, maybe they understand, because they're high-information. But a lot of people are still unaware that I never intended to end up in Russia. They're not aware that journalists were live-tweeting pictures of my seat on the flight to Latin America I wasn't able to board because the US government revoked my passport.”

“There was one sequence of days [making Lincoln in the Bardo] when I had halfway decided to use the historical nuggets, but I wasn't quite sure it would work. I'd be in my room for six or seven hours, cutting up bits of paper with quotes and arranging them on the floor, with this little voice in my head saying, "Hey, this isn't writing!" But at the end of that day, I felt that the resulting section was doing important emotional work”

“Movies are definitely more fun because there are so many different seasons in a movie. It is exciting to be drafting together. Writing a book is very hard, it's like writing 15 college term papers in a row, and you are just like, "when is going to end?" You can communicate so much more when you are writing a book, and you can go so much deeper.”

“[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and he'd pull an old scrap of paper out of his pocket and a little stub of a pencil, and he'd begin to make small drawings, about an inch and a half, two inches tall, of pots that he wanted to make. And they were beautiful drawings. I really wish I'd stolen some of those scraps of paper, because those drawings were exquisite explorations of his ideas of form and volume in a ceramic piece.”

“I've learned one thing, and that's to quit worrying about stupid things. You have four years to be irresponsible here, relax. Work is for people with jobs. You'll never remember class time, but you'll remember the time you wasted hanging out with your friends. So stay out late. Go out with your friends on a Tuesday when you have a paper due on Wednesday. Spend money you don't have. Drink 'til sunrise. The work never ends, but college does.”

“A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story. He will never forget the sweet poison of vanity in his blood and the belief that, if he succeeds in not letting anyone discover his lack of talent, the dream of literature will provide him with a roof over his head, a hot meal at the end of the day, and what he covets the most: his name printed on a miserable piece of paper that surely will outlive him. A writer is condemned to remember that moment, because from then on he is doomed and his soul has a price.”

“In the end, it was the Sunday afternoons he couldn't cope with, and that terrible listlessness that starts to set in about 2:55, when you know you've taken all the baths that you can usefully take that day, that however hard you stare at any given paragraph in the newspaper you will never actually read it, or use the revolutionary new pruning technique it describes, and that as you stare at the clock the hands will move relentlessly on to four o'clock, and you will enter the long dark teatime of the soul.”

“Jo's breath gave out here, and wrapping her head in the paper, she bedewed her little story with a few natural tears, for to be independent and earn the praise of those she loved were the dearest wishes of her heart, and this seemed to be the first step toward that happy end.”

“I’ll probably just stand in a corner, trying not to be noticed, until the decoration committee accidentally packs me into a box at the end of the night. There I will lie, crammed in between rolls of crepe paper, until the New Year’s dance two months from now. Jeffrey thought about this for a moment and said, Won’t they notice the box is too heavy when they go to put it away?”

“In a way, literature is true than life,' he said to himself. 'On paper, you say exactly and completely what you feel. How easy it is to break things off on paper! You hate, you shout, you kill, you commit suicide; you carry things to the very end. And that's why it's false. But it's damned satisfying. In life, you're constantly denying yourself, and others are always contradicting you. On paper, I make time stand still and I impose my convictions on the whole world; they become the only reality.”

“Every ending is arbitrary, because the end is where you write The end. A period, a dot of punctuation, a point of stasis. A pinprick in the paper: you could put your eye to it and see through, to the other side, to the beginning of something else. Or, as Tony says to her students, Time is not a solid, like wood, but a fluid, like water or the wind. It doesn't come neatly cut into even-sized length, into decades and centuries. Nevertheless, for our purposes we have to pretend it does. The end of any history is a lie in which we all agree to conspire.”