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Shadow Quotes

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“Thou silent power, whose welcome sway charms every anxious thought away; in whose divine oblivion drown'd, sore pain and weary toil grow mild, love is with kinder looks beguiled, and Grief forgets her fondly cherish'd wound; oh, whither hast thou flown, indulgent god? God of kind shadows and of healing dews, whom dost thou touch with thy Lethaean rod? Around whose temples now thy opiate airs diffuse?”

“Murphy had found a spot on the street, which made me wonder if she didn't have some kind of magical talent after all. Only some kind of precognitive ESP could have gotten us a parking space on the street, in the shadow of a building, with both of us in sight of the apartment building's entrance.”

“A big success can be very confusing if it comes too early in your life. When you are young, you are more vulnerable to vanity. I was 36 when I wrote The Shadow of the Wind and the success of it was very gradual. If you have this kind of success straight off, I think there is a danger you can become an idiot, because you don't have a perspective. It hasn't changed me a lot. I fly first class now. But those things don't change you. If I am pretentious, I was before, I haven't changed. The only thing is, I am less anxious now.”

“The fisherman has a harmless, preoccupied look; he is a kind of vagrant, that nothing fears. He blends himself with the trees and the shadows. All his approaches are gentle and indirect. He times himself to the meandering, soliloquizing stream; he addresses himself to it as a lover to his mistress; he woos it and stays with it till he knows its hidden secrets. Where it deepens his purpose deepens; where it is shallow he is indifferent. He knows how to interpret its every glance and dimple; its beauty haunts him for days.”

“A lady, that is an enlightened, cultivated, liberal lady - the only kind to be in a time of increasing classlessness - could espouse any cause: wayward girls, social diseases, unmarried mothers, and/or birth control with impunity. But never by so much as the shadow of a look should she acknowledge her own experience with the Facts of Life.”

“Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? ..I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience-and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.”

“Having lived in Utah all of my life, I can tell that in many ways I know of no place more lonely, no place more unfamiliar. When I talk about how it is both a blessing and a burden to have those kinds of roots, it can be terribly isolating, because when you are so familiar, you know the shadow.”

“A sea captain when he stands upon the bridge, or looks out from his deck-house, thinks much about God and about the world. Away in the valley yonder among the corn and the poppies men may well forget all things except the warmth of the sun upon the face, and the kind shadow under the hedge; but he who journeys through storm and darkness must needs think and think.”

“If you look at the image [ Portrait of the Artist as a Shadow of His Former Self ], it treads on a kind of popular stereotypical image of the black figure, in both its flatness and slightly comic edge. To take that image as a starting point and to render it in a proto-classical medium, like egg tempera, and then use a repertoire of classical compositional devices to make the picture was a way of setting up an engagement with art history.”

“That's a point that Dan Ellsberg has made for years. He said it's kind of like if you and I go into a grocery store to rob it, and I have a gun. The guy may give you the money in the cash register. I'm using the gun even if I don't shoot. Well that's nuclear weapons - essential to post-war deterrence - they cast a shadow over everything.”

“It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.”

“The film [Payback: Debt and the Shadow Side of Wealth] opens with an Albanian blood feud and goes on to delve into, for instance, prison systems, underpaid tomato pickers, the gulf oil spill. It's all woven together in a sensuous, oblique way that's not the same as the single-message kind of documentary we're used to, with an "answer" at the end. It's more like an exploration. Sort of like what you do with Birth of a Nation.”

“I couldn’t see Pritkin’s face very well, just a pale blur against the shadows, but he didn’t sound happy. Some people thought he had only one mode... pissed off. In reality, he had plenty of them. Over the past few weeks, I’d learned to tell the difference between real pissed off, impatient pissed off and scared pissed off. I suspected that this was the last kind. If so, that made two of us.”

“Men-kind shared this world for but a blink, then, sadly, they became enlightened, found science and religion. The new world of men left little room for magic or the magical creatures of old. Earth’s first children were driven into the shadows by flame and cold iron, by man’s insatiable need of conquest.”

“Ghosts Take shape under moonlight, materialize in dreams. Shadows. Silhouettes of what is no more. But ghosts don't bother me. The day brings bigger things to worry about than flimsy remains of yesterday. No, spooks don't scare me. Gauzy apparitions might prank your psyche or agitate your nightmares, but lacking flesh and blood they are powerless to hurt you-cannot hope to inflict the kind of damage that real, live people do.”

“Metaphysical ghosts cannot be killed, because they cannot be touched; but they may be dispelled by dispelling the twilight in which shadows and solidities are easily confounded. The Vital Principle is an entity of this ghostly kind; and although the daylight has dissipated it, and positive Biology is no longer vexed with its visitations, it nevertheless reappears in another shape in the shadowy region of mystery which surrounds biological and all other questions.”