Quotes about bore
page 6

W.E.B. Du Bois photo
Isa Genzken photo
Peter Greenaway photo
Homér photo
Johann Wolfgang von Goethe photo

“Smoking stupefies a man, and makes him incapable of thinking or writing. It is only fit for idlers, people who are always bored, who sleep for a third of their lifetime, fritter away another third in eating, drinking, and other necessary or unnecessary affairs, and don’t know—though they are always complaining that life is so short—what to do with the rest of their time. Such lazy Turks find mental solace in handling a pipe and gazing at the clouds of smoke that they puff into the air; it helps them to kill time. Smoking induces drinking beer, for hot mouths need to be cooled down. Beer thickens the blood, and adds to the intoxication produced by the narcotic smoke. The nerves are dulled and the blood clotted. If they go on as they seem to be doing now, in two or three generations we shall see what these beer-swillers and smoke-puffers have made of Germany. You will notice the effect on our literature—mindless, formless, and hopeless; and those very people will wonder how it has come about. And think of the cost of it all! Fully 25,000,000 thalers a year end in smoke all over Germany, and the sum may rise to forty, fifty, or sixty millions. The hungry are still unfed, and the naked unclad. What can become of all the money? Smoking, too, is gross rudeness and unsociability. Smokers poison the air far and wide and choke every decent man, unless he takes to smoking in self-defence. Who can enter a smoker’s room without feeling ill? Who can stay there without perishing?”

Johann Wolfgang von Goethe (1749–1832) German writer, artist, and politician

Heinrich Luden, Rueckblicke in mein Leben, Jena 1847
Attributed

Dylan Moran photo
Oscar Levant photo

“John O'Hara was a terrible bore as a young man—always looking for a fight, and making sure he never found one.”

Oscar Levant (1906–1972) American comedian, composer, pianist and actor

Oscar Levant, as quoted in "Oscar the Magnificent" https://www.newspapers.com/newspage/161384355/

Richard Rodríguez photo
Rob Zombie photo

“In fact, gory horror movies don't rank on the [list of] movies that I like. Good horror movies are great, but I just like good movies. I don't just watch grade Z garbage. That bores me to death.”

Rob Zombie (1965) American singer

[2005-07-20, Carlo Cavagna, Interview: ROB ZOMBIE, 2008-02-01, http://www.aboutfilm.com/features/devilsrejects/zombie.htm]

Walt Disney photo

“Girls bored me — they still do. I love Mickey Mouse more than any woman I've ever known.”

Walt Disney (1901–1966) American film producer and businessman

As quoted in You Must Remember This (1975) by Walter Wagner

Emil Nolde photo

“You speak of errors... Men who are so correct and flawless are mostly boring; small weaknesses can be loved... One chief characteristic of the etchings gives me much pleasure: because out of them streams forth a tremendous life.”

Emil Nolde (1867–1956) German artist

in two letters, to Hans Fehr, 23 October and 22 November, 1905; as quoted by Hans Fehr, in: 'Aus Leben und Werkstatt', 'Das Kunstblatt' no. 7 (1919), pp. 205-6; as quoted in 'The Revival of Printmaking in Germany', I. K. Rigby; in German Expressionist Prints and Drawings - Essays Vol 1.; published by Museum Associates, Los Angeles County Museum of Art, California & Prestel-Verlag, Germany, 1986, p. 5
Nolde described in 1905 the role his experiments played in etching - in generating a subjective imagery and unorthodox surfaces that unlocked his own inner world
1900 - 1920

Josh Lucas photo
Slavoj Žižek photo

““I hate students,” [Zizek] said, “they are (as all people) mostly stupid and boring.
In a recent interview at this year’s Zizek Conference in Ohio, Zizek talked about his personal life before delving into his thoughts on teaching. “I hate giving classes,” Zizek said, citing office hours and grading papers as his two biggest peeves. “I did teach a class here [at the University of Cincinnati] and all of the grading was pure bluff,” he continues. “I even told students at the New School for example… if you don’t give me any of your shitty papers, you get an A. If you give me a paper I may read it and not like it and you can get a lower grade.” He received no papers that semester. But it’s office hours that are the main reason he does not want to teach.
“I can’t imagine a worse experience than some idiot comes there and starts to ask you questions, which is still tolerable. The problem is that here in the United States students tend to be so open that sooner or later, if you’re kind to them, they even start to ask you personal questions [about] private problems… What should I tell them?”
“I don’t care,” he continued. “Kill yourself. It’s not my problem,””

Slavoj Žižek (1949) Slovene philosopher

As quoted by Eugene Wolters, " Professor of the Year: 'If You Don't Give Me Any of Your Shitty Papers You Get an A http://www.critical-theory.com/professor-of-the-year-if-you-dont-give-me-any-of-your-shitty-papers-you-get-an-a/'", Critical-Theory.com, May 26 2014; square brackets and lack of accent marks as in orginal

Colin Wilson photo
André Maurois photo
Louis-ferdinand Céline photo
Pope Pius X photo

“Idleness, theft, and viciousness dishonor your mother who in pain bore you.”

Mark Rosenfelder American language inventor

Some of the original tenets in Jippirasti http://www.almeopedia.com/Jippirasti#Jippir.E2.80.99s_demands, another Almean religion
Fictional sayings

Marianne von Werefkin photo
David Brinkley photo

“[Bill Clinton] has not a creative bone in his body. Therefore he is a bore and will always be a bore.”

David Brinkley (1920–2003) American journalist

http://news.google.com/newspapers?nid=1842&dat=19961118&id=jHw0AAAAIBAJ&sjid=AckEAAAAIBAJ&pg=1354,2780351

Samuel Butler (poet) photo

“But still his tongue ran on, the less
Of weight it bore, with greater ease.”

Samuel Butler (poet) (1612–1680) poet and satirist

Canto II, line 443
Source: Hudibras, Part III (1678)

William H. McNeill photo
Bell Hooks photo

“Betty Friedan's The Feminine Mystique is still heralded as having paved the way for contemporary feminist movement-it was written as if these women did not exist. Friedan's famous phrase, "the problem that has no name," often quoted to describe the condition of women in this society, actually referred to the plight of a select group of college-educated, middle and upper class, married white women-housewives bored with leisure, with the home, with children, with buying products, who wanted more out of life. Friedan concludes her first chapter by stating: "We can no longer ignore that voice within women that says: 'I want something more than my husband and my children and my house.'" That "more" she defined as careers. She did not discuss who would be called in to take care of the children and maintain the home if more women like herself were freed from their house labor and given equal access with white men to the professions. She did not speak of the needs of women without men, without children, without homes. She ignored the existence of all non-white women and poor white women. She did not tell readers whether it was more fulfilling to be a maid, a babysitter, a factory worker, a clerk, or a prostitute, than to be a leisure class housewife. She made her plight and the plight of white women like herself synonymous with a condition affecting all American women. In so doing, she deflected attention away from her classism, her racism, her sexist attitudes towards the masses of American women. In the context of her book, Friedan makes clear that the women she saw as victimized by sexism were college-educated, white women who were compelled by sexist conditioning to remain in the home. … Specific problems and dilemmas of leisure class white housewives were real concerns that merited consideration and change but they were not the pressing political concerns of masses of women. Masses of women were concerned about economic survival, ethnic and racial discrimination, etc. When Friedan wrote The Feminine Mystique, more than one third of all women were in the work force. Although many women longed to be housewives, only women with leisure time and money could actually shape their identities on the model of the feminine mystique.”

p. 1-2 https://books.google.com/books?id=uvIQbop4cdsC&pg=PA1.
Feminist Theory: From Margin to Center (1984), Chapter 1: Black Women: Shaping Feminist Theory

Fernando J. Corbató photo
Zooey Deschanel photo

“My eyes are so bleary
I guess I'm young but I feel so weary
I've tried to express it
But I think its all a bore
Its at the heart of me,
A very part of me”

Zooey Deschanel (1980) American actress, musician, and singer-songwriter

"Black Hole".
She & Him : Volume One (2008)

Letitia Elizabeth Landon photo

“What is the world that lies around our own? Shadowy, unsubstantial, and wonderful are the viewless elements, peopled with spirits powerful and viewless as the air which is their home. From the earth's earliest hour, the belief in the supernatural has been universal. At first the faith was full of poetry; for, in those days, the imagination walked the earth even as did the angels, shedding their glory around the children of men. The Chaldeans watched from their lofty towers the silent beauty of night — they saw the stars go forth on their appointed way, and deemed that they bore with them the mighty records of eternity. Each separate planet shone on some mortal birth, and as its aspect was for good or for evil, such was the aspect of the fortunes that began beneath its light. Those giant watch-towers, with their grey sages, asked of the midnight its mystery, and held its starry roll to be the chronicle of this breathing world. Time past on, angels visited the earth no more, and the divine beliefs of young imagination grew earthlier. Yet poetry lingered in the mournful murmur of the oaks of Dodona, and in the fierce war song of the flying vultures, of whom the Romans demanded tidings of conquest. But prophecy gradually sank into divination, and it is a singular proof of the extent both of human credulity and of curiosity, to note the various methods that have had the credit of forestalling the future. From the stars to a tea-cup is a fall indeed”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

Literary Remains

Paul Bourget photo
Alastair Reynolds photo

“Am I that fascinating to you, or are you just more bored than I imagined?”

Source: Chasm City (2001), Chapter 27 (p. 438).

“No one ever wanted to see it as anything other than a boring play about a middle-aged man having a mid-life crisis. I think it’s about rather more than that - or maybe it’s not. Maybe that’s exactly what it is about.”

Patrick Marber (1964) English comedian, actor and screenwriter

Of his play Howard Katz.
Interview in Jewish Chronicle, 26 September 2007 http://thejc.com/home.aspx?AId55759&ATypeId1&searchtrue2&srchstrpatrick%20marber&srchtxt1&srchhead1&srchauthor1&srchsandp1&scsrch0

F. Scott Fitzgerald photo
Wilfred Thesiger photo
Letitia Elizabeth Landon photo
Brandon Boyd photo
Gideon Mantell photo
Charles Bernstein photo
Martin Amis photo
John W. Gardner photo
Mary McCarthy photo

“Bored with your present enemies? Make new ones! Tell two of your women friends that they look alike.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Women & men

Joanna MacGregor photo
Robert Solow photo

“Mythology is wondrous, a balm for the soul. But its problems cannot be ignored. At worst, it buys inspiration at the price of physical impossibility […]. At best, it purveys the same myopic view of history that made this most fascinating subject so boring and misleading in grade school as a sequential take of monarchs and battles.”

Stephen Jay Gould (1941–2002) American evolutionary biologist

"Baseball and the Two Faces of Janus", p. 259; originally published as "The Virtues of Nakedness" in The New York Review of Books (1990-10-11)
Triumph and Tragedy in Mudville (2003)

Bruce Springsteen photo
Jackson Pollock photo

“As to what I would like to be. It is difficult to say. An Artist of some kind. If nothing else I shall always study the Arts. People have always frightened and bored me, consequently I have been within my own shell and have not accomplished anything materially.”

Jackson Pollock (1912–1956) American artist

Quote in Pollock's letter, Los Angeles 22 October, 1929 to Charles and Frank in New York; published in: Jackson Pollock (2011) American Letters: 1927-1947. p. 16
1925 - 1940

George Soros photo

“If investing is entertaining, if you're having fun, you're probably not making any money. Good investing is boring.”

George Soros (1930) Hungarian-American business magnate, investor, and philanthropist

As quoted in The Winning Investment Habits of Warren Buffett & George Soros (2006) by Mark Tier, p. 217

“Of the many people's of the earth, the Romans may have had the most boring religion of all. …basically a businessman's religion of contractual obligations.”

Thomas Cahill (1940) American scholar and writer

Source: Sailing the Wine-Dark Sea: Why the Greeks Matter (2003), Ch.VII The Way They Went: Greco-Roman Meets Judeo-Christian

James Frazer photo
Samuel R. Delany photo

“You can be bored with anything if you try hard enough.”

Source: Nova (1968), Chapter 3 (p. 36)

Irvine Welsh photo
Luc Besson photo

“This film is extremely visual. It is difficult to describe in words without running the risk of losing or boring the reader.
I have come up with a simplified summary, therefore, like a readers guide, which will conjure up the images in as few words as possible :
— the beginning is Leon: The Professional
— the middle is Inception
— the end is 2001: A Space Odyssey
Don't interpret this as pretension on my part, merely a visual, emotional and philosophical point of reference.”

Luc Besson (1959) French film director, writer, and producer

"NOTA", for his film Lucy, as quoted in "Luc Besson's Statement Of Intent For 'Lucy' Compares The Film To '2001,' 'Inception' & 'Leon The Professional'" by Kevin Jagernauth, in Indiewire (28 July 2014) http://blogs.indiewire.com/theplaylist/luc-bessons-statement-of-intent-for-lucy-compares-the-film-to-2001-inception-leon-the-professional-20140728

“Nietzsche is never boring. He is always interesting, exciting, thrilling, glittering, breathtaking. He possesses a kind of brilliance and tempo which I believe was unknown in former times.”

Leo Strauss (1899–1973) Classical philosophy specialist and father of neoconservativism

Seminar on Nietzsche's Beyond Good and Evil (1971–1972)

Frederick Rolfe photo
Marcel Duchamp photo
André Maurois photo
Karl Pilkington photo
O. Henry photo

“A story with a moral appended is like the bill of a mosquito. It bores you, and then injects a stinging drop to irritate your conscience.”

O. Henry (1862–1910) American short story writer

"The Gold that Glittered"
Strictly Business (1910)

Linus Torvalds photo
Thom Yorke photo
Ian Fleming photo

“Those whom the Gods wish to destroy, they first make bored.”

Source: From Russia with Love (1957), Ch. 11 : The Soft Life

David Lange photo

“a man whose life is so boring that if it flashed past he wouldn't be in it”

David Lange (1942–2005) New Zealand politician and 32nd Prime Minister of New Zealand

Referring to former Labour Party member Peter Dunne.
Source: [Pryor, Nicole, Rare stumble by political chameleon, 8 June 2013, The Press, 8 June 2013, A16]

Cormac McCarthy photo

“A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained weddingveil and some in headgear of cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or saber done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses’ ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.”

Source: Blood Meridian (1985), Chapter IV

Noel Coward photo
Billy Connolly photo
Doug Stanhope photo
John Milton photo
Joanna Newsom photo
Paul Graham photo
Robert Olmstead photo
John Updike photo

“One out of three hundred and twelve Americans is a bore, for instance, and a healthy male adult bore consumes each year one and a half times his own weight in other people's patience.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

“Confessions of a Wild Bore” in Assorted Prose (1965)

James K. Morrow photo
Amir Khusrow photo

“During the attack, the catapults were busily plied on both sides… ‘Praise be to God for his exaltation of the religion of Muhammad. It is not to be doubted that stones are worshipped by Gabrs,74 but as the stones did no service to them, they only bore to heaven the futility of that worship, and at the same time prostrated their devotees upon earth’…”

Amir Khusrow (1253–1325) Indian poet, writer, musician and scholar

About Sultan ‘Alau’d-Din Khalji (AD 1296-1316) and his generals conquests in Warangal (Andhra Pradesh) Elliot and Dowson, History of India as told by its own Historians,Vol. III, p. 81-85
Khazainu’l-Futuh

Paul Krugman photo
Chris Rock photo

“You can be married and bored, or single and lonely. Ain't no happiness nowhere.”

Chris Rock (1965) American comedian, actor, screenwriter, television producer, film producer, and director

Never Scared (HBO, 2004)

Robert Denning photo

“Cooking is like decorating — it never bores me.”

Robert Denning (1927–2005) American interior designer

"Denning's Pot-au-Feu – A decorator indulges his passion for cuisine bourgeoise", by Suzanne Hart, House & Garden, March 1992

Michael Swanwick photo
Marsden Hartley photo
Sueton photo

“No one was allowed to leave the theatre during his recitals, however pressing the reason. We read of women in the audience giving birth, and of men being so bored with listening and applauding that they furtively dropped down from the wall at the rear, since the gates were kept barred, or shammed dead and were carried away for burial.”
Cantante eo ne necessaria quidem causa excedere theatro licitum est. Itaque et enixae quaedam in spectaculis dicuntur et multi taedio audendi laudandique clausis oppidorum portis aut furtim desiluisse de muro aut morte simulata funere elati.

Of Nero's public performances in musical competitions.
Source: The Twelve Caesars, Nero, Ch. 23

Martin Amis photo
Theodor Mommsen photo

“The fall of the patriciate by no means divested the Roman commonwealth of its aristocratic character. We have already indicated that the plebeian party carried within it that character from the first as well as, and in some sense still more decidedly than, the patriciate; for, while in the old body of burgesses an absolute equality of rights prevailed, the new constitution set out from a distinction between the senatorial houses who were privileged in point of burgess rights and of burgess usufructs, and the mass of the other citizens. Immediately, therefore, on the abolition of the patriciate and the formal establishment of civic equality, a new aristocracy and a corresponding opposition were formed; and we have already shown how the former engrafted itself as it were on the fallen patriciate, and how, accordingly, the first movements of the new party of progress were mixed up with the last movements of the old opposition between the orders. The formation of these new parties began in the fifth century, but they assumed their definite shape only in the century which followed. The development of this internal change is, as it were, drowned amidst the noise of the great wars and victories, and not merely so, but the process of formation is in this case more withdrawn from view than any other in Roman history. Like a crust of ice gathering imperceptibly over the surface of a stream and imperceptibly confining it more and more, this new Roman aristocracy silently arose; and not less imperceptibly, like the current concealing itself beneath and slowly extending, there arose in opposition to it the new party of progress. It is very difficult to sum up in a general historical view the several, individually insignificant, traces of these two antagonistic movements, which do not for the present yield their historical product in any distinct actual catastrophe. But the freedom hitherto enjoyed in the commonwealth was undermined, and the foundation for future revolutions was laid, during this epoch; and the delineation of these as well as of the development of Rome in general would remain imperfect, if we should fail to give some idea of the strength of that encrusting ice, of the growth of the current beneath, and of the fearful moaning and cracking that foretold the mighty breaking up which was at hand. The Roman nobility attached itself, in form, to earlier institutions belonging to the times of the patriciate. Persons who once had filled the highest ordinary magistracies of the state not only, as a matter of course, practically enjoyed all along a higher honour, but also had at an early period certain honorary privileges associated with their position. The most ancient of these was doubtless the permission given to the descendants of such magistrates to place the wax images of these illustrious ancestors after their death in the family hall, along the wall where the pedigree was painted, and to have these images carried, on occasion of the death of members of the family, in the funeral procession.. the honouring of images was regarded in the Italo-Hellenic view as unrepublican, and on that account the Roman state-police did not at all tolerate the exhibition of effigies of the living, and strictly superintended that of effigies of the dead. With this privilege were associated various external insignia, reserved by law or custom for such magistrates and their descendants:--the golden finger-ring of the men, the silver-mounted trappings of the youths, the purple border on the toga and the golden amulet-case of the boys--trifling matters, but still important in a community where civic equality even in external appearance was so strictly adhered to, and where, even during the second Punic war, a burgess was arrested and kept for years in prison because he had appeared in public, in a manner not sanctioned by law, with a garland of roses upon his head.(6) These distinctions may perhaps have already existed partially in the time of the patrician government, and, so long as families of higher and humbler rank were distinguished within the patriciate, may have served as external insignia for the former; but they certainly only acquired political importance in consequence of the change of constitution in 387, by which the plebeian families that attained the consulate were placed on a footing of equal privilege with the patrician families, all of whom were now probably entitled to carry images of their ancestors. Moreover, it was now settled that the offices of state to which these hereditary privileges were attached should include neither the lower nor the extraordinary magistracies nor the tribunate of the plebs, but merely the consulship, the praetorship which stood on the same level with it,(7) and the curule aedileship, which bore a part in the administration of public justice and consequently in the exercise of the sovereign powers of the state.(8) Although this plebeian nobility, in the strict sense of the term, could only be formed after the curule offices were opened to plebeians, yet it exhibited in a short time, if not at the very first, a certain compactness of organization--doubtless because such a nobility had long been prefigured in the old senatorial plebeian families. The result of the Licinian laws in reality therefore amounted nearly to what we should now call the creation of a batch of peers. Now that the plebeian families ennobled by their curule ancestors were united into one body with the patrician families and acquired a distinctive position and distinguished power in the commonwealth, the Romans had again arrived at the point whence they had started; there was once more not merely a governing aristocracy and a hereditary nobility--both of which in fact had never disappeared--but there was a governing hereditary nobility, and the feud between the gentes in possession of the government and the commons rising in revolt against the gentes could not but begin afresh. And matters very soon reached that stage. The nobility was not content with its honorary privileges which were matters of comparative indifference, but strove after separate and sole political power, and sought to convert the most important institutions of the state--the senate and the equestrian order--from organs of the commonwealth into organs of the plebeio-patrician aristocracy.”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

The History of Rome - Volume 2

Anthony Burgess photo

“And now, as so often happened, my brain in a fever took over the datum of the dream and enriched and expanded it. Norman Douglas spoke pedantically on behalf of the buggers. `We have this right, you see, to shove it up. On a road to Capri I found a postman who had fallen off his bicycle, you see, unconscious, somewhat concussed. He lay in exactly the right position. I buggered him with athletic swiftness: he would come to and feel none the worse.’ The Home Secretary nodded sympathetically while the rain wept on to him in Old Palace Yard. `I mean, minors. I mean, there’d be little in it for us if you restricted the act to consenting males over, say, eighteen. Boys are so pliable, so exquisitely sodomizable. You do see that, don’t you, old man?’ The Home Secretary nodded as if to say: Of course, old public-school man myself, old boy. I saw a lot of known faces, Pearson, Tyrwit, Lewis, Charlton, James, all most reasonable, claiming the legal right to maul and suck and bugger. I put myself in the gathering and said, also most reasonable, that it was nothing to do with the law: you were still left with the ethics and theology of the thing. What we had a right to desire was love, and nothing hindered that right. Oh nonsense, he’s such a bore. As for theology, isn’t there that apocryphal book of the Bible in which heterosexuality is represented as the primal curse?”

Anthony Burgess (1917–1993) English writer

Fiction, Earthly Powers (1980)

Mordecai Richler photo

“So far as one can generalize, the most gracious, cultivated, and innovative people in this country are French Canadians. Certainly they have given us the most exciting politicians of our time: Trudeau, Lévesque. Without them, Canada would be an exceedingly boring and greatly diminished place.”

Mordecai Richler (1931–2001) Canadian author, screenwriter and essayist

Reported in Donald Smith, D'une nation à l'autre: des deux solitudes à la cohabitation (Montreal: Éditions Alain Stanké, 1997), p. 61.
Other

Emma Goldman photo
Pat Condell photo
Alan Hirsch photo
François-Joachim de Pierre de Bernis photo

“To-day we only smile, we laugh no more,
And e'en our very pleasures seem to bore.”

François-Joachim de Pierre de Bernis (1715–1794) Catholic cardinal

On ne rit plus, on sourit aujourd'hui,
Et nos plaisirs sont voisins a l'eunui.
Réflexions sur les passions et sur les goûts (1741).
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 170.

Jorge Luis Borges photo

“I suppose he had the good luck to be executed, no? I had an hour's chat with him in Buenos Aires. He struck me as a kind of play actor, no? Living up to a certain role. I mean, being a professional Andalusian… But in the case of Lorca, it was very strange because I lived in Andalusia and the Andalusians aren't a bit like that. His were stage Andalusians. Maybe he thought that in Buenos Aires he had to live up to that character, but in Andalusia, people are not like that. In fact, if you are in Andalusia, if you are talking to a man of letters and you speak to him about bullfights, he'll say, 'Oh well, that sort of this pleases people, I suppose, but really the torero works in no danger whatsoever. Because they are bored by these things, because every writer is bored by the local color in his own country. Well, when I met Lorca, he was being a professional Andalusian… Besides, Lorca wanted to astonish us. He said to me that he was very troubled about a very important figure in the contemporary world. A character in whom he could see all the tragedy of American life. And then he went on in this way until I asked him who was this character and it turned out this character was Mickey Mouse. I suppose he was trying to be clever. And I thought, 'That's the kind of thing you say when you are very, very young and you want to astonish somebody.' But after all, he was a grown man, he had no need, he could have talked in a different way. But when he started in about Mickey Mouse being a symbol of America, there was a friend of mine there and he looked at me and I looked at him and we both walked away because we were too old for that kind of game, no? Even at that time.”

Jorge Luis Borges (1899–1986) Argentine short-story writer, essayist, poet and translator, and a key figure in Spanish language literature

Richard Burgin, Conversation with Jorge Luis Borges, pages 92-93.
Conversations with Jorge Luis Borges (1968)

Gore Vidal photo