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Towns Quotes

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Towns Quotes

“The sumptuous age of stars and images is reduced to a few artificial tornado effects, pathetic fake buildings, and childish tricks which the crowd pretends to be taken in by to avoid feeling too disappointed. Ghost towns, ghost people. The whole place has the same air of obsolescence about it as Sunset or Hollywood Boulevard.”

“I think of my father growing up in South Jersey, the son of second-generation German immigrant glassblowers. The opportunities for him of feeling that aspiration, that yearning, get out of the small town, connect to a larger world, get yourself to New York, wanting to play the piano at every opportunity, bonding with people who were on a similar path, ending up in Provincetown, which was kind of nexus for nonconformity, and artistic dropout reality.”

“I loved the city, so the feeling in 2001 [election] first was shock, then (I was) nervous, then scared but then it's - I really wasn't happy and ecstatic like I thought I (would be). I was immediately hit with the enormity of the responsibility and the fact that most people in that town - particularly those that voted for me were placing their hopes and dreams in me. That is a big, big stressful place to be.”

“Air and Water can just swirl around being swirly, and Fire is just kind of aggressive, but my gut feeling is that Earth needs to work for a living. Earth has stuff to be doing. Earth is busy. Earth is solid and responsible and works hard. Earth is reliable. Earth is the designated driver of the elements and will always come over and feed the cat when you're out of town.”

“There's a song called 'The Lights of My Hometown' that goes back to me growing up a regular kid. I mean, I lived in a town that I loved, but was too small for the dreams I was dreaming. You leave thinking the world has a lot more to offer than your hometown, only to realize years down the road that no matter where you grow up, you will never be able to recreate the innocence and feeling of 'home' anywhere else in the world. No matter who you are, or where that little town is, that's something we all have in common.”

“My parents sent me to a school across town, an integrated school, where I had the chance to meet and grow up with people who were from other parts of the world. ... I remember feeling that I would never have anything to contribute on St. Patrick's Day. I couldn't tell the stories that they might have been telling about their forebears and I felt left out.”

“Basically, I have found that people who have tried to start communities out of good feelings or hippie-dippie abstract concepts of love - it doesn't work. But if you just concentrate on what is the identity of your town - its waterfalls, its battles, its notable mill strike or those things - you dig into what your town is from its rock formations to its history to its food. Then this thing called community happens all the time.”

“I grew up in a whaling town. We didn't stop whaling in Australia until 1978. And I've always lived in fishing communities. You could say I'm from the Redneck Wing of marine conservation. Everything I know about the sea I learnt at the end of a spear or a hook. Seems weird to admit it, but I hunted and killed my way to enlightenment. Eventually you see where you've been. All the traces you leave are gaps and absences. And it's a sick feeling, knowing you might bequeath a full dose of Nothing to those who come after you.”

“It just amazed me that so many people came to see my show even to a place that I've never been to. I was independent for a long time and I knew every person who I sold my CD to. But now with a major record contract, you don't get to meet every person who buys your CD. It's a new feeling, and it's very inspiring that they have been waiting for me to come to their town and sing.”

“Growing up the way I did, it was tough being one of only a few black people in the town and in school. What my upbringing got me is never feeling completely safe emotionally. Never knowing when something racial was going to pop off based on how I look. So that's something I've carried with me personally and is reflected in my work.”

“Young poets worry that their experiences - whether urban or rural, immigrant or native, small town, suburb, or big city - aren't worthy of the written word. But for me the urge toward poetry, that seductive feeling of being swept away by words, was enough for me to overcome that fear that my experiences weren't worthy of poetry itself.”

“That’s what it was like to be alive. To move about in a cloud of ignorance; to go up and down trampling on the feelings of those...of those about you. To spend and waste time as though you had a million years. To be always at the mercy of one self-centered passion, or another. Now you know- that’s the happy existence you wanted to go back to. Ignorance and blindness. -Simon Stimson, OUR TOWN”

“There is something about talking in the night, with the shreds of sleep around your ears, with the silences between one remark and another, the town dark and dreaming beyond your own walls. It draws the truth out of you, straight from its little dark pool down there, where usually you guard it so careful, and wave your hands over it and hum and haw to protect people's feelings, to protect your own . . . You can bring out the jaggedest feelings - if you are my wife and know how to state them calm - into the night quiet. They will float there for consideration, harming no one.”

“This fear bears no analogy to any fear I knew before. This is the basest of all possible emotions, the feeling that was with us before we existed, before this building existed, before the earth existed. This is the fear that made fish crawl out onto dry land and evolve lungs, the fear that teaches us to run, the fear that makes us bury our dead.”

“The most important part of a RPG is the player feeling like they are taking the role of a character in a fully realised fantasy world. They can explore, visit various towns and places, talk to people, customise their character, collect various items, and defeat monsters. The story is not the focus of the experience and is only there to make the atmosphere of the fantasy world more interesting and engaging during the course of the game.”

“The longer I live here, the better satisfied I am in having pitched my earthly camp-fire, gypsylike, on the edge of a town, keeping it on one side, and the green fields, lanes, and woods on the other. Each, in turn, is to me as a magnet to the needle. At times the needle of my nature points towards the country. On that side everything is poetry. I wander over field and forest, and through me runs a glad current of feeling that is like a clear brook across the meadows of May. At others the needle veers round, and I go to town--to the massed haunts of the highest animal and cannibal.”