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“The Divine Comedy is a political poem and when you say poetry is not about - he's always quoted out of context, that "poetry makes nothing happen," that doesn't mean you shrug your shoulders and don't try to make anything happen. And Dante felt that poetry was engaged, there was a point of view; it's not my point of view, it's orthodox medieval Christianity, and I have my troubles with that. He didn't feel that you could just rule out so important a section of life - we care about these things, and it's out of caring about them that we write poetry.”

“There's a few scholars that object to how the italicized sections suggest that Native people are to take some part in the blame for how colonization occurred. But I say, "Yes they are." Not nearly as much blame as the colonizers, of course. But we are not just victims. I hate this idea that we are all just victimized and oppressed and etcetera etcetera. It's dehumanizing in its own way.”

“I write most of my first drafts on an old manual typewriter, a really old one. It's a big black metal "Woodstock" from about 1920. I try to write everything down at once, in one sitting. The longer stories in this collection are divided up into sections. Each section represents a different sitting, a different idea for the same story.”

“I hope that the relationship of the title to the novel [ What Belongs To You] gets more complex with each section of the book: that maybe it begins by resonating with the question of prostitution - to what extent can a body be commodified, what exactly are you renting or purchasing when you pay for sex - and deepens over the course of the book to address larger questions of ownership and belonging.”

“Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.”

“Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.”

“You know that this vignette and that vignette belong side by side, you know that a certain turn of phrase you've been saving will probably work best within a given section of the narrative. As in a jazz performance, writing lives or dies by what's produced in that moment. But that moment is attended by long preparation.”

“I was interested in the ways that artists responded to totalitarianism - the Czech Jazz Section, Romanian absurdist theatre, Brecht's alienation effect. The anything-goes, anarchic qualities of jazz and Surrealism seemed to offer a way to cross some of the forbidden frontiers of Eastern Europe.”

“I was born an ugly duckling due to my mother's ill health. She wasn't supposed to be pregnant, there were all kinds of complications, she couldn't survive a cesarean section etc. She said, "They didn't hand me a child, they handed me a purple melon." I heard that when I had grown up and had no idea of the whole story because the family album had pictures of a covered carriage and my mother smiling so I assumed I was asleep.”

“It seems all "protection" has to be monitored, considered, weighed and justified - I am suggesting we do that (but it's something Mary Shelley (and Gertrude Stein) also suggest). "Torch Song," the book's final section, looks at an arson committed by someone hired to protect the wilderness from fires, a catastrophic failure of protection!”

“There are five of us. We've all played in various bands together, in different combinations. I know that Todd [Cook] and Tony [Bailey] are my favorite rhythm section - they're just like a unit. I guess we've all just played together in various capacities, so when the band was coming together, it was sort of like we just chose members because they had similar sensibilities and also because they're just cool. We all got along real well.”

“I was young, but to me that was underground music. I had never heard anything like Venom or any of that stuff growing up in Louisville. That was sort of the only weird records I could find. All that stuff would be in the import section. And sometimes there would be some sort of goth type of stuff. But that was the stuff I was attracted to.”

“But when I realized it was actually going to be this portrait of the artist, birth to death, I had to then discover who Margaret as a young woman would be. I had to find the different voices for her throughout her life. I had a lot of fun discovering that. I had a lot of fun writing the childhood sections. By imagining her childhood, I was able to come up with this voice that matures as she gets older.”

“The reason the middle section switches to third person is, well, this is middle age. This is the part in her life where she loses track of something that was driving her and has to figure out what's going to drive the next part of her mission, this mission to be an author. I had to push back away from her for a while before we could come up to that really lyrical close third in the final section.”

“I was obsessed with the scientific instruments people were building and all the weird experiments they were doing. I did actually wind up working in some of that, but there were whole sections I'd written about these instruments that ultimately had to be abandoned when I realized that the book really was about Margaret Cavendish. I couldn't justify using all of them.”

“That's always attractive to me, to work with music whose form is a big question mark. Even many of my favorite bands growing up, when I was just a kid learning to play drums and guitar and everything, were bands like Pink Floyd, where the arrangement, the number of bars in each section is unconventional and often lopsided, and there will be small little instrumental interludes and that sort of thing. So those odd forms, as well as dark content, are the things that I think are continuous through all the type of projects that I've been attracted to.”

“With the Road King amp, you're able to switch power tubes and speakers and do all these different things. And I didn't want to have five different heads in my rack. And there's something about, when you do the type of setup that I have, unless you have a dedicated amp to a dedicated speaker and you're actually switching, you have to use the same power section of the main head that you're using.”

“I was in a store in Halifax, Nova Scotia that I love, sort of like an environmental friendly sort of store. But they had a great book section. So I went in there all the time. The woman who worked there - which I feel so bad; I've forgotten her name - she handed me the book and she said, "Hey, you should read this. I think it would make a good movie." I remember reading the back of it and I was like, "Huh." Then I just devoured the book and I was so moved by it and said, "Why don't we start developing this into a film?" So that's how it ['Into the Forest'] all started.”

“I suspect that relatively few people will sit down and read 1250 pages [ of The Enduring Authority of the Christian Scriptures.] all the way through from cover to cover. There may be some, but not everybody. But there are many, many, many different Christian, theological, pastoral, specialisms that are covered by one section or another of the book and this will become, therefore, a resource volume for many people.”

“You see, one strand...of anarchism believed that you needed to use essentially homeopathic doses of terror by assassinating people, et cetera, the so-called 'propaganda of the deed', and that this propaganda of the deed would rouse people up, give them confidence to rise up. Another section believed 'No, it was not by seeing something happen that people get confidence, but it's by acting', in other words, the movements must go among the people and produce small struggles, bigger struggles, to give people greater and greater confidence.”

“In '32 we organized the Young Negroes' Cooperative League and had some degree of success in terms of establishing stores and certainly buying clubs in various sections of the country. I was designated as - I don't know what exactly - I believe it was director. I'm not sure what it was, but it had to do with getting out the necessary mail and all of that - organization.”

“I believe, the NAACP began to try to organize parents of Negro children to file petitions with the boards of education regarding the integration of the school system. You had some very severe economic reprisals against people in Mississippi and in South Carolina. So, in order to try to help to meet some of the physical needs and the economic needs of people in Clarendon County [SC] who had been displaced from the land, and otherwise, and in certain sections of Mississippi, we organized in New York City something called "In Friendship".”

“What was really interesting in his speech, which, by the way, had (inaudible) footnotes - the written version of it - which might be a personal record for Donald Trump - the source of a lot of his numbers on the free trade section of the speech came from an organization called the Economic Policy Institute, which was a think tank or is a think tank that was founded by labor unions to promote the labor unions' point of view on free trade agreements.”

“I'd been influenced by reading books on art and colonies that existed in Paris and places like that and so when I came to Europe I came to France and I had very little money, and I had to live low and stayed in a bohemian section of Paris with a lot of other students, who were from medical school, science school and art school. We all lived in a kind of communal way and I was challenged politically, because I didn't have a clue and they would ask me questions about the Algerian War, which was very big in France in the late '50s.”