“There you are', said Efros [Granovsky, director of the State Jewish Chamber Theater, in 1920], leading me into a dark room, 'These walls are all yours, you can do what you like with them'. It was a completely demolished apartment that had been abandoned by bourgeois refugees. 'You see', he continued, 'the benches for the audience will be here; the stage there'. To tell the truth, all I could see there was the remains of a kitchen… And I flung myself at the walls. The canvases were stretched out on the floor. Workmen, actors walked over them. The rooms and corridors were in the process of being repaired; piles of shavings lay among my tubes of paint, my sketches. At every step one dislodged cigarette-ends, crusts of bread.”

As quoted in The Fabulous Fanny : The Story of Fanny Brice (1953) by Norman Katkov, p. 71
Context: Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.

"Call for 'A little extra effort'", The Times, 25 January 1962, p. 6.

Opening to Conservative Party political broadcast (24 January 1962), quoted in "Call for 'A little extra effort'", The Times (25 January 1962), p. 6 Macmillan decided to open by showing the television outside broadcast crew who had set up their equipment.

Ref: en.wikiquote.org - Harold Macmillan / Quotes / Prime Minister
1960s

Blood and Guts in High School (1978)

Refugee, written with Mike Campbell
Lyrics, Damn The Torpedoes (1979)

Diane L. Wilcox, Classic Tales of Mulla Nasreddin, Retold by Houman Farzad (1989), , p. 26

Source: Hard-Boiled Wonderland and the End of the World (1985), Chapter 40, Birds

On considering his wife's suggestion that he write his autobiography, Prologue, p. xiii
A Tale of Two Continents (1997)
Context: I made a discovery, perhaps known to others but new to me: I need not put myself center stage but can rather place myself at the side, like a Greek chorus. As the curtain rises, I can walk to the center and can speak as follows: I wish to tell you of happenings in the twentieth century, as I witnessed them and reflected upon them. You will see me return to center stage, but only occasionally. Once that imagery had gotten hold of me, I went back to Ida and said yes, I shall try.

Jace and Clary, pg. 244
Source: The Mortal Instruments, City of Ashes (2008)
Context: "I wish I could hate you. I want to hate you. I try to hate you. It would be so much easier if I did hate you. Sometimes I think I do hate you and then I see you and I-"
"And you what?"
"What do you think? Why should I tell you everything about how I feel when you never tell me anything. It's like banging my head on a wall, except at least if I were banging my head on a wall, I'd be able to make myself stop."

Highway of Eternity (1986)
Context: What your friend told you of his seeing of the time wall is true, Henry said in Boone's mind. I know he saw it, although imperfectly. Your friend is most unusual. So far as I know, no other human actually can see it; although there are ways of detecting time. I tried to show him a sniffler. There are a number of snifflers, trying to sniff out the bubble. They know there's something strange, but don't know what it is.