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Words Quotes

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Words Quotes

“What an astonishing thing a book is. It's a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you're inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working magic." [Cosmos, Part 11: The Persistence of Memory (1980)]”

“Writing and reading decrease our sense of isolation. They deepen and widen and expand our sense of life: they feed the soul. When writers make us shake our heads with the exactness of their prose and their truths, and even make us laugh about ourselves or life, our buoyancy is restored. We are given a shot at dancing with, or at least clapping along with, the absurdity of life, instead of being squashed by it over and over again. It's like singing on a boat during a terrible storm at sea. You can't stop the raging storm, but singing can change the hearts and spirits of the people who are together on that ship.”

“Mirth,” Dr. Tuttle said. “I like it better than joy. Happiness isn’t a word I like to use in here. It’s very arresting, happiness. You should know that I'm someone who appreciates the subtleties of human experience. Being well rested is a precondition, of course. Do you know what mirth means? M-I-R-T-H?" "Yeah. Like The House of Mirth," I said. "A sad story," said Dr. Tuttle. "I haven't read it." "Better you don't.”

“We cannot control the way people interpret our ideas or thoughts, but we can control the words and tones we choose to convey them. Peace is built on understanding, and wars are built on misunderstandings. Never underestimate the power of a single word, and never recklessly throw around words. One wrong word, or misinterpreted word, can change the meaning of an entire sentence and start a war. And one right word, or one kind word, can grant you the heavens and open doors.”

“I choose to choose few words each day. Yes! few words that count. Few words that can make impact. Few words that talk much. Few words that can make people ponder to wonder. Few words that are indelible. Few words that can leave distinctive footprints on minds. Though we may fail to mind our words, we shall never fail to mind the works of our words.”

“BY DISPOSITION OF ANGELS Messengers much like ourselves? Explain it. Steadfastness the darkness makes explicit? Something heard most clearly when not near it? Above particularities, these unparticularities praise cannot violate. One has seen, in such steadiness never deflected, how by darkness a star is perfected. Star that does not ask me if I see it? Fir that would not wish me to uproot it? Speech that does not ask me if I hear it? Mysteries expound mysteries. Steadier than steady, star dazzling me, live and elate, no need to say, how like some we have known; too like her, too like him, and a-quiver forever.”

“In the days of Prismatic Color not in the days of Adam and Eve, but when Adam was alone; when there was no smoke and color was fine, not with the refinement of early civilization art, but because of its originality; with nothing to modify it but the mist that went up, obliqueness was a variation of the perpendicular, plain to see and to account for: it is no longer that; nor did the blue-red-yellow band of incandescence that was color keep its stripe”

“ROSEMARY Beauty and Beauty’s son and rosemary— Venus and Love, her son, to speak plainly— born of the sea supposedly, at Christmas each, in company, braids a garland of festivity. Not always rosemary— since the flight to Egypt, blooming differently. With lancelike leaf, green but silver underneath, its flowers—white originally— turned blue. The herb of memory, imitating the blue robe of Mary, is not too legendary to flower both as symbol and as pungency. Springing from stones beside the sea, the height of Christ when thirty-three— it feeds on dew and to the bee “hath a dumb language”; is in reality a kind of Christmas-tree.”

“TO A GIRAFFE If it is unpermissible, in fact fatal to be personal and undesirable to be literal—detrimental as well if the eye is not innocent-does it mean that one can live only on top leaves that are small reachable only by a beast that is tall?— of which the giraffe is the best example— the unconversational animal. When plagued by the psychological, a creature can be unbearable that could have been irresistible; or to be exact, exceptional since less conversational than some emotionally-tied-in-knots animal. After all consolations of the metaphysical can be profound. In Homer, existence is flawed; transcendence, conditional; “the journey from sin to redemption, perpetual.”

“TO VICTOR HUGO OF MY CROW PLUTO “Even when the bird is walking we know that it has wings.”—VICTOR HUGO Of: my crow Pluto, the true Plato, azzurronegro green-blue rainbow — Victor Hugo, it is true we know that the crow “has wings,” however pigeon-toe- inturned on grass. We do. (adagio) Vivorosso “corvo,” although con dizionario io parlo Italiano— this pseudo Esperanto which, savio ucello you speak too — my vow and motto (botto e totto) io giuro è questo credo: lucro è peso morto. And so dear crow— gioièllo mio— I have to let you go; a bel bosco generoso, tuttuto vagabondo, s erafino uvaceo Sunto, oltremarino verecondo Plato, addio. (((((Impromptu equivalents for esperanto madinusa (made in U.S.A.) for those who might not resent them. azzurro-negro: blue-black vivorosso: lively con dizionario: with dictionary savio ucello: knowing bird botto e totto: vow and motto io giuro: I swear è questo credo: is this credo lucro è peso morto: profit is a dead weight gioièllo mio: my jewel a bel bosco: to lovely woods tuttuto vagabondo: complete gypsy serafino uvaceo: grape-black seraph sunto: in short verecondo: modest))))”

“I cannot decide whether it is an illness or a sin, the need to write things down and fix the flowing world in one rigid form. Bear believed writing dulled the spirit, stilled some holy breath. Smothered it. Words, when they’ve been captured and imprisoned on paper, become a barrier against the world, one best left unerected. Everything that happens is fluid, changeable. After they’ve passed, events are only as your memory makes them, and they shift shapes over time. Writing a thing down fixes it in place as surely as a rattlesnake skin stripped from the meat and stretched and tacked to a barn wall. Every bit as stationary, and every bit as false to the original thing. Flat and still and harmless. Bear recognized that all writing memorializes a momentary line of thought as if it were final. But I was always word-smitten.”

“The novelist’s happy discovery was to think of substituting for those opaque sections, impenetrable by the human spirit, their equivalent in immaterial sections, things, that is, which the spirit can assimilate to itself. After which it matters not that the actions, the feelings of this new order of creatures appear to us in the guise of truth, since we have made them our own, since it is in ourselves that they are happening, that they are holding in thrall, while we turn over, feverishly, the pages of the book, our quickened breath and staring eyes. And once the novelist has brought us to that state, in which, as in all purely mental states, every emotion is multiplied ten-fold, into which his book comes to disturb us as might a dream, but a dream more lucid, and of a more lasting impression than those which come to us in sleep; why, then, for the space of an hour he sets free within us all the joys and sorrows in the world, a few of which, only, we should have to spend years of our actual life in getting to know, and the keenest, the most intense of which would never have been revealed to us because the slow course of their development stops our perception of them.”

“If you’re going to love a poet you should know this. Our words are our truths. Our blood hums with verse. We break easily. Our words save us. Our stanzas keep us alive. If we loved you at all, we loved you truly. And you will never leave us but live under our skin and beneath the tips of our fingers and in the ink spill on blank page. Because poetry, like some love, is forever.”

“Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'.”

“Have you ever pondered the miracle of popcorn? It starts out as a tiny, little, compact kernel with magic trapped inside that when agitated, bursts to create something marvelously desirable. It’s sort of like those tiny, little thoughts trapped inside an author’s head that―in an excited explosion of words―suddenly become a captivating fairy tale!”