Quotes about flat
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James Salter photo
Marine Le Pen photo
Poul Anderson photo
Jack Kerouac photo
Piet Mondrian photo
Bion of Borysthenes photo
Ibn Khaldun photo
Donald J. Trump photo

“I've seen these so-called journalists flat-out lie. I say that because incompetence doesn't begin to explain the inaccurate stories they have written.”

Donald J. Trump (1946) 45th President of the United States of America

Source: 2010s, 2015, Crippled America: How to Make America Great Again (2015), p. 12

Kent Hovind photo
S.M. Stirling photo

“The waxen line of the bowstrings struck their leather bracers with a light whapping sound … A man dropped from each end of the attackers' rough formation, with the flat punching smack of arrowheads striking flesh loud enough to hear.”

S.M. Stirling (1953) Canadian-American author, primarily of speculative fiction

The Sword of the Lady https://en.wikipedia.org/wiki/The_Sword_of_the_Lady

Cesare Pavese photo

“Consider this point carefully: nowadays, suicide is just a way of disappearing. It is carried out timidly, quietly, and falls flat. It is no longer an action, only a submission.”

Cesare Pavese (1908–1950) Italian poet, novelist, literary critic, and translator

This Business of Living (1935-1950)

Yaroslav Alexandrovich Evdokimov photo
Joe Biden photo

“Good morning everyone. This past week we've seen the best and the worst of humanity. The heinous terrorist attacks in Paris and Beirut, in Iraq and Nigeria. They showed us once again the depths of the terrorist's depravity. And at the same time we saw the world come together in solidarity. Parisians opening their doors to anyone trapped in the street, taxi drivers turning off their meters to get people home safety, people lining up to donate blood. These simple human acts are a powerful reminder that we cannot be broken and in the face of terror we stand as one. In the wake of these terrible events, I understand the anxiety that many Americans feel. I really do. I don't dismiss the fear of a terrorist bomb going off. There's nothing President Obama and I take more seriously though, than keeping the American people safe. In the past few weeks though, we've heard an awful lot of people suggest that the best way to keep America safe is to prevent any Syrian refugee from gaining asylum in the United States. So let's set the record straight how it works for a refugee to get asylum. Refugees face the most rigorous screening of anyone who comes to the United States. First they are finger printed, then they undergo a thorough background check, then they are interviewed by the Department of Homeland Security. And after that the FBI, the National Counterterrorism Center, the Department of Defense and the Department of State, they all have to sign off on access. And to address the specific terrorism concerns we are talking about now, we've instituted another layer of checks just for Syrian refugees. There is no possibility of being overwhelmed by a flood of refugees landing on our doorstep tomorrow. Right now, refugees wait 18 to 24 months while the screening process is completed. And unlike in Europe, refugees don't set foot in the United States until they are thoroughly vetted. Let's also remember who the vast majority of these refugees are: women, children, orphans, survivors of torture, people desperately in need medical help. To turn them away and say there is no way you can ever get here would play right into the terrorists' hands. We know what ISIL - we know what they hope to accomplish. They flat-out told us. Earlier this year, the top ISIL leader al-Baghdadi revealed the true goal of their attacks. Here's what he said: "Compel the crusaders to actively destroy the gray zone themselves. Muslims in the West will quickly find themselves between one and two choices. Either apostatize or emigrate to the Islamic State and thereby escape persecution." So it's clear. It's clear what ISIL wants. They want to manufacture a clash between civilizations. They want frightened people to think in terms of "us versus them."They want us to turn our backs on Muslims victimized by terrorism. But this gang of thugs peddling a warped ideology, they will never prevail. The world is united in our resolve to end their evil. And the only thing ISIL can do is spread terror in hopes that we will in turn, turn on ourselves. We will betray our ideals and take actions, actions motivated by fear that will drive more recruits into the arms of ISIL. That's how they win. We win by prioritizing our security as we've been doing. Refusing to compromise our fundamental American values: freedom, openness, tolerance. That's who we are. That's how we win. May God continue to bless the United States of America and God bless our troops.”

Joe Biden (1942) 47th Vice President of the United States (in office from 2009 to 2017)

Weekly presidential address http://www.c-span.org/video/?401096-1/weekly-presidential-address (21 November 2015).
2010s

Richard Henry Dana Jr. photo
James Russell Lowell photo

“Ez fer war, I call it murder—
There you hev it plain an' flat;
I don't want to go no furder
Than my Testyment fer that.”

James Russell Lowell (1819–1891) American poet, critic, editor, and diplomat

No. 1, st. 2
The Biglow Papers (1848–1866), Series I (1848)

Anthony Burgess photo
Giorgio de Chirico photo

“.. the flat surface of a perfectly calm ocean [which] disturbs us.... by all the unknown that is hidden in the depth.”

Giorgio de Chirico (1888–1978) Italian artist

Quote of De Chirico, April/May 1919; as quoted in 'Giorgio de Chirico', MoMa online https://www.moma.org/artists/1106#fnref1
De Chirico compared the metaphysical work of art to this image of a calm ocean
1908 - 1920

Mart Laar photo
Joseph Conrad photo

“Coming in from the eastward, the bright colouring of the [Nore] lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond… [The inward-bound ships] all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.”

The Nore to Hope Point
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Ralph Nader photo
Lech Kaczyński photo
Dennis Miller photo

“Hey folks, tonight I wanna talk about global warming. Now, The World is Hot and Flat Society is growing increasingly hysterical and that indeed is causing me to sweat a little. In the last month or so, I've heard suggestions that those skeptical of Al Gore's spiritual crisis are deniers and one good way to serve the planet would be to have one less kid and I've also read that mankind is 'a virus' and human beings are 'the AIDS of the earth.' Global warming is officially becoming creepy and I can't tell yet if it's facisitc or fetishistic but it's kinda like piercing or tattoos, I don't even wanna get one, because I see how hooked people are and it spooks me. I just find it odd that we've come to a point in history where if I don't concede that if Manhattan will be completely submerged in 2057 I'm thought to be a delusional contrarian by some of my more zealous fellow citizens. I'm sorry Angst Squad, but if we commissioned a public works project (let's call it 'The Manhattan Project') and tried our hardest to submerge Manhattan in the next 50 years, we couldn't pull it off, mainly because it wouldn't be environmentally sound and you guys would hang it up in the permitting process. Simply put, I can't worry about the earth right now because I'm too worried about the world. Why can't I take terrorism as seriously as Al Gore takes global warming? There are times that you think that liberals only fear car bombs if they have leaky exhaust systems. And why am I constantly beaten over the head with 'the delicate balance of nature'? Am I the only one who watches Animal Planet? Every time I turn it on, I see some demented harp seal chucking peguins down his gullet like they were maitre d'Tic-Tacs. To me, nature always appears more unbalanced than Gary Busey with a clogged eustachian tube. Listen, the weather is just like Hilary's explanation for her war vote: we just don't know, do we? We're here to miss our next Tuesday's weather much less the year 2057. Relax, we'll replace oil when we need to. American ingenuity will kick in and the next great fortune will be made. It's not pretty, but it is historically accurate. We need to run out of oil first. That's why I drive an SUV: so we run out of it more quickly. I consider myself at the vanguard of the environmental movement and I think the individuals who insist on driving hybrids are just prolonging our dillemma and I think that's just selfish. Come on, don't you care about our Mother Earth? Don'tcha?”

Dennis Miller (1953) American stand-up comedian, television host, and actor

6/17 The Half Hour News Hour
The Buck Starts Here

Robert Jordan photo
Piet Mondrian photo
Ben Gibbard photo
Hoagy Carmichael photo

“I'm a Cranky Old Yank in a Clanky Old Tank on the Streets of Yokohama with my Honolulu Mama Doin’ Those Beat-o, Beat-o Flat-On-My-Seat-o, Hirohito Blues”

Hoagy Carmichael (1899–1981) American composer, pianist, singer, actor and bandleader

1947 song title, generally agreed to be the longest title of any commercially published song.

Rick Warren photo

“The election's coming just in a couple of weeks, and I hope you're praying about your vote. One of the propositions, of course, that I want to mention is Proposition 8, which is the proposition that had to be instituted because the courts threw out the will of the people. And a court of four guys actually voted to change a definition of marriage that has been going for 5,000 years.
Now let me say this really clearly: we support Proposition 8 — and if you believe what the Bible says about marriage, you need to support Proposition 8. I never support a candidate, but on moral issues I come out very clear.
This is one thing, friends, that all politicians tend to agree on. Both John McCain and Barack Obama, I flat out asked them "what is your definition of marriage?" and they both said the same thing. It is the traditional, historic, universal definition of marriage: one man and one woman, for life. … There are about 2% of Americans are homosexual or gay, lesbian people. We should not let 2% of the population determine — to change a definition of marriage that has been supported by every single culture, and every single religion, for 5,000 years. … So I urge you to support Proposition 8, and pass that word on. I'm going to be sending out a note to pastors on what I believe about this, but everybody knows what I believe about it, and they heard me at the civil forum when I asked both Obama and McCain on their views.”

Rick Warren (1954) Christian religious leader

regarding California Proposition 8 to amend the state constitution to not recognize same-sex marriage, as quoted in "News & Views 10/23/2008 Part 3 (Prop 8)" in Pastor Rick's News and Views (23 October 2008) http://www.saddleback.com/blogs/newsandviews/index.html?contentid=1502

Justin D. Fox photo
China Miéville photo
Nick Griffin photo
Karen Blixen photo
Amanda Lear photo
Eduardo Torroja photo
Frederick Douglass photo
Daniel Handler photo
Chris Rea photo
Fernand Léger photo

“Instead of opposing comic and tragic characters [as Molière and Shakespeare] and contrary scenic states, I organize the opposition of contrasting values, lines, and curves. I oppose curves to straight lines, flat surfaces to molded forms, pure local colors to nuances of gray. These initial plastic forms are either superimposed on objective elements or not, it makes no difference to me. There is only a question of variety.”

Fernand Léger (1881–1955) French painter

Quote from 'Notes on Contemporary Plastic Life', 'Kunstblatt', Berlin 1923; as quoted in The documents of 20th century art – Functions of Painting by Fernand Léger, in Thames and Hudson Ltd, London 1973, p. 25
Quotes of Fernand Leger, 1920's

Piet Mondrian photo
Jacob Maris photo

“Almost all new French art [ French Impressionism ] has for me a flat, empty character without any distance and depth in colors. The paintings look like white sheets of paper with colors on it.”

Jacob Maris (1837–1899) Dutch painter

Bijna alle nieuwe Fransche kunst [Impressionisme] heeft voor mij een plat, leeg karakter zonder afstand en diepte in kleur. De schilderijen lijken witte velletjes papier met kleurtjes erop.
Quote of Jacob Maris, in: 'Veerpont - Jacob Maris', Frank van der Velden https://www.rembrandtcirkel.nl/ul/cms/attachment/file/document/6/0/7/607/607/1/veerpont.pdf; Vereniging Rembrandt, Spring 2005, p. 24
he lived for several years in Paris, till 1871

Francis Bacon photo

“It is a feeling at once stimulating and flat, to know that someone you do not love is in love with you.”

Mignon McLaughlin (1913–1983) American journalist

The Complete Neurotic's Notebook (1981), Love

Thomas Gainsborough photo
Sarah Dessen photo
Miguel de Cervantes photo

“There is a remedy for all things but death, which will be sure to lay us out flat some time or other.”

Miguel de Cervantes (1547–1616) Spanish novelist, poet, and playwright

Source: Don Quixote de la Mancha (1605–1615), Part II (1615), Book III, Ch. 10.

Philip K. Dick photo
M. K. Hobson photo
Colin Wilson photo

“As flat as an open can of coke, left on a programmer's desk over the weekend.”

Rick Cook (1944) American writer

The Wizardry Consulted (1995)

“We came down from the trees, up from the grasslands, and into an SUV. We drove. We motored. We headed for that Texas horizon, flat as the flat-line on a heart monitor, straight to the brink of extinction, all the while pumping gas.”

Andrea Lewis (writer) Microsoft employee

"Cryonic Freeze" Cutthroat, A Journal of the Arts, Vol. 14, No. 1 (Winter 2013) "Felix, Living History Enactor, Despairs."
2010-

Ian McEwan photo
Werner Herzog photo
Vitruvius photo
François Englert photo

“Three distinct geometries on S7 arise as solutions of the classical equations of motion in eleven dimensions. In addition to the conventional riemannian geometry, one can also obtain the two exceptional Cartan-Schouten compact flat geometries with torsion.”

François Englert (1932) Belgian theoretical physicist

[10.1016/0370-2693(82)90684-0, 1982, Spontaneous compactification of eleven-dimensional supergravity, Physics Letters B, 119, 4–6, 339–342]

Willy Russell photo
Theo van Doesburg photo
Toby Young photo
Auguste Rodin photo

“I admit, of course, that the artist does not see nature as the vulgar do. His emotion reveals to him the inner truths that underlie appearance. But the only principle In art is to copy what one sees. Every other method is ruinous. No one can embellish Nature. It is simply and solely a question of seeing. Doubtless a mediocre man, when he copies will never produce a work of art. He looks without seeing. No matter how minutely he observes, the result will be flat and without character. But the artist's trade is not for mediocre men, and no amount of training can supply them with talent. The artist sees - he sees with his heart. He sees deep into the heart of Nature. To the artist everything in Nature is beautiful.
The vulgarian imagines that what looks to him ugly In Nature is not material for the artist. He would forbid us to represent what displeases and offends him. He makes a grave mistake. What is commonly called ugliness in Nature may become a great beauty in art.
In the realm of realities, people regard as ugly everything that is deformed and diseased and that suggests sickness, weakness and suffering. They regard as ugly everything that defies regularity, which is to them the symbol and condition of health and strength. A hump is ugly, bow-legs are ugly, misery in rags is ugly. Ugly, again, are the soul and conduct of the immoral, the vicious, the criminal man, the abnormal man who is an enemy of society; ugly is the soul of the parricide, the traitor, the unscrupulous slave of ambition. And it is right that the lives and the of which we can expect only evil should be given an odious epithet.”

Auguste Rodin (1840–1917) French sculptor

Rodin on realism, 1910

Kenneth Grahame photo
Charles Bukowski photo
Katherine Heigl photo
Pierre-Auguste Renoir photo

“There is something in painting which cannot be explained, and that something is the essential. You come to Nature with your theories, and she knocks them all flat.”

Pierre-Auguste Renoir (1841–1919) French painter and sculptor

As quoted in Masterpieces of painting from the National Gallery of Art (1944), p. 168
undated quotes

Joseph Conrad photo
Johann Hari photo

“The climate-change deniers are rapidly ending up with as much intellectual credibility as creationists and Flat Earthers… They are denying the reality of a force that — unless we change the way we live pretty fast — will kill millions.”

Johann Hari (1979) British journalist

The shame of the climate change deniers, JohannHari.com, April 24, 2005, 2007-01-26 http://www.johannhari.com/archive/article.php?id=606,

Pete Doherty photo
Bernard Cornwell photo
Brigham Young photo
Richard Quest photo
Yoshida Kenkō photo
Anthony Burgess photo

“Defiling their shadows, infidels, accursed of Allah, with fingernails that are foot-long daggers, with mouths agape like cauldrons full of teeth on the boil, with eyes all fire, shaitans possessed of Iblis, clanking into their wars all linked, like slaves, with iron chains. Murad Bey, the huge, the single-blowed ox-beheader, saw without too much surprise mild-looking pale men dressed in blue, holding guns, drawn up in squares six deep as though in some massed dance depictive of orchard walls. At the corners of the squares were heavy giins and gunners. There did not seem to be many horsemen. Murad said a prayer within, raised his scimitar to heaven and yelled a fierce and holy word. The word was taken up, many thousandfold, and in a kind of gloved thunder the Mamelukes threw themselves on to the infidel right and nearly broke it. But the squares healed themselves at once, and the cavalry of the faithful crashed in three avenging prongs along the fire-spitting avenues between the walls. A great gun uttered earthquake language at them from within a square, and, rearing and cursing the curses of the archangels of Islam on to the uncircumcized, they wheeled and swung towards their protective village of Embabeh. There they encountered certain of the blue-clad infidel horde on the flat roofs of the houses, coughing musket-fire at them. But then disaster sang along their lines from the rear as shell after shell crunched and the Mamelukes roared in panic and burden to the screams of their terrified mounts, to whose ears these noises were new. Their rear dissolving, their retreat cut off, most sought the only way, that of the river. They plunged in, horseless, seeking to swim across to join the inactive horde of Ibrahim, waiting for. action that could now never come. Murad Bey, with such of his horsemen as were left, yelped off inland to Gizeh.”

Anthony Burgess (1917–1993) English writer

Fiction, Napoleon Symphony (1974)

Robert G. Ingersoll photo

“In televisionland we are all sophisticated enough now to realize that every statistic has an equal and opposite statistic somewhere in the universe. It is not a candidate's favorite statistic per se that engages us, but the assurance with which he can use it.
We are testing the candidates for self-confidence, for "Presidentiality" in statistical bombardment. It doesn't really matter if their statistics be homemade. What settles the business is the cool with which they are dropped.
And so, as the second half hour treads the decimaled path toward the third hour, we become aware of being locked in a tacit conspiracy with the candidates. We know their statistics go to nothing of importance, and they know we know, and we know they know we know.
There is total but unspoken agreement that the "debate," the arguments which are being mustered here, are of only the slightest importance.
As in some primitive ritual, we all agree — candidates and onlookers — to pretend we are involved in a debate, although the real exercise is a test of style and manners. Which of the competitors can better execute the intricate maneuvers prescribed by a largely irrelevant ritual?
This accounts for the curious lack of passion in both performers. Even when Ford accuses Carter of inconsistency, it is done in a flat, emotionless, game-playing style. The delivery has the tuneless ring of an old press release from the Republican National Committee. Just so, when Carter has an opportunity to set pulses pounding by denouncing the Nixon pardon, he dances delicately around the invitation like a maiden skirting a bog.
We judge that both men judge us to be drained of desire for passion in public life, to be looking for Presidents who are cool and noninflammable. They present themselves as passionless technocrats using an English singularly devoid of poetry, metaphor and even coherent forthright declaration.
Caught up in the conspiracy, we watch their coolness with fine technical understanding and, in the final half hour, begin asking each other for technical judgments. How well is Carter exploiting the event to improve our image of him? Is Ford's television manner sufficiently self-confident to make us sense him as "Presidential"?
It is quite extraordinary. Here we are, fully aware that we are being manipulated by image projectionists, yet happily asking ourselves how obligingly we are submitting to the manipulation. It is as though a rat running a maze were more interested in the psychologist's charts on his behavior than in getting the cheese at the goal line.”

Russell Baker (1925–2019) writer and satirst from the United States

"And All of Us So Cool" (p.340)
There's a Country in My Cellar (1990)

RuPaul photo
Anton Mauve photo

“.. it is really beautiful here with that freezing weather. o you should see now the distance, and the fields with their black earth and flat shadows it would strike you, how lovely the sun is shining in the Betuwe.. (translation from original Dutch, Fons Heijnsbroek, 2018)”

Anton Mauve (1838–1888) Dutch painter (1838–1888)

(version in original Dutch / origineel citaat van Anton Mauve, uit zijn brief:) ..het is hier zo mooi met dat vriesende weer. o je moest thans de verschieten eens zien, en die akkers met zijn zwarte aarde en vlakken schaduwen dat zou je frapperen, heerlijk schijnt de zon in de ..
in a letter to Willem Maris, 1860's; as cited in 'Zó Hollands - Het Hollandse landschap in de Nederlandse kunst sinds 1850', Antoon Erftemeijer https://www.franshalsmuseum.nl/wp-content/uploads/2017/12/zohollands_eindversie_def_1.pdf; Frans Hals museum | De Hallen, Haarlem 2011, p. 31
1860's

Maurice Denis photo
Gabriele Münter photo
James K. Morrow photo
Will Cuppy photo
Joyce Carol Oates photo
Bill Engvall photo
Gabriele Münter photo
Ted Cruz photo

“Today, the global warming alarmists are the equivalent of the flat-Earthers. It used to be [that] it is accepted scientific wisdom the Earth is flat, and this heretic named Galileo was branded a denier.”

Ted Cruz (1970) American politician

Interview with the Texas Tribune https://www.washingtonpost.com/news/the-fix/wp/2015/03/25/ted-cruz-compares-climate-change-activists-to-flat-earthers-where-to-begin/, Washington Post (March 24, 2015)
2010s

Victor Davis Hanson photo
Richard D. Ryder photo