Quotes about ink

A collection of quotes on the topic of ink, likeness, paper, writing.

Quotes about ink

Julius Evola photo
Alfred Freddy Krupa photo
Carlos Ruiz Zafón photo
George Orwell photo
Vladimir Nabokov photo
George Orwell photo
Carlos Ruiz Zafón photo
Jonathan Safran Foer photo
Johann Georg Hamann photo
Patrick Rothfuss photo
Virginia Woolf photo
Virginia Woolf photo
Ellen DeGeneres photo
Christopher Morley photo

“When you sell a man a book you don't sell just twelve ounces of paper and ink and glue - you sell him a whole new life. Love and friendship and humour and ships at sea by night - there's all heaven and earth in a book, a real book.”

Variant: When you sell a man a book you don’t sell him just twelve ounces of paper and ink and glue - you sell him a whole new life. Love and friendship and humour and ships at sea by night - there’s all heaven and earth in a book, a real book I mean.
Source: Parnassus on Wheels

Christopher Morley photo
Alice Munro photo
Mark Twain photo

“The very ink with which all history is written is merely fluid prejudice.”

Mark Twain (1835–1910) American author and humorist

Source: Pudd'nhead Wilson and Other Tales

Vladimir Nabokov photo

“Ink, a Drug.”

Source: Bend Sinister

Lewis Carroll photo

“Then proudly smiled that old man
To see the eager lad
Rush madly for his pen and ink
And for his blotting-pad –
But, when he thought of publishing,
His face grew stern and sad.”

Lewis Carroll (1832–1898) English writer, logician, Anglican deacon and photographer

Poeta Fit, Non Nascitur, last stanza
Rhyme? and Reason? (1883)

Lewis Carroll photo

“"Our Second Experiment", the Professor announced, as Bruno returned to his place, still thoughtfully rubbing his elbows, "is the production of that seldom-seen-but-greatly-to-be-admired phenomenon, Black Light! You have seen White Light, Red Light, Green Light, and so on: but never, till this wonderful day, have any eyes but mine seen Black Light! This box", carefully lifting it upon the table, and covering it with a heap of blankets, "is quite full of it. The way I made it was this - I took a lighted candle into a dark cupboard and shut the door. Of course the cupboard was then full of Yellow Light. Then I took a bottle of Black ink, and poured it over the candle: and, to my delight, every atom of the Yellow Light turned Black! That was indeed the proudest moment of my life! Then I filled a box with it. And now - would anyone like to get under the blankets and see it?"Dead silence followed this appeal: but at last Bruno said "I'll get under, if it won't jingle my elbows."Satisfied on this point, Bruno crawled under the blankets, and, after a minute or two, crawled out again, very hot and dusty, and with his hair in the wildest confusion."What did you see in the box?" Sylvie eagerly enquired."I saw nuffin!" Bruno sadly replied. "It were too dark!""He has described the appearance of the thing exactly!"”

the Professor exclaimed with enthusiasm. "Black Light, and Nothing, look so extremely alike, at first sight, that I don't wonder he failed to distinguish them! We will now proceed to the Third Experiment."</p>
Source: Sylvie and Bruno Concluded (1893), Chapter 21: The Professor's Lecture

Sharon Stone photo

“An individual who isn't worth the ink it would take to write about him.”

Sharon Stone (1958) American actress and fashion model

About Steven Seagal
Sharon Stone tells all and then some http://web.archive.org/web/20030220075717/http://www.salon.com/people/col/reit/1999/08/13/stone/

W.B. Yeats photo

“All shuffle there; all cough in ink;
All wear the carpet with their shoes;
All think what other people think;
All know the man their neighbour knows.
Lord, what would they say
Did their Catullus walk that way?”

W.B. Yeats (1865–1939) Irish poet and playwright

The Scholars http://poetry.poetryx.com/poems/1682/, st. 2
The Wild Swans at Coole (1919)

Ogden Nash photo
Isaac Bashevis Singer photo
Orhan Pamuk photo

“The question we writers are asked most often, the favorite question, is: Why do you write? I write because I have an innate need to write. I write because I can’t do normal work as other people do. I write because I want to read books like the ones I write. I write because I am angry at everyone. I write because I love sitting in a room all day writing. I write because I can partake of real life only by changing it. I write because I want others, the whole world, to know what sort of life we lived, and continue to live, in Istanbul, in Turkey. I write because I love the smell of paper, pen, and ink. I write because I believe in literature, in the art of the novel, more than I believe in anything else. I write because it is a habit, a passion. I write because I am afraid of being forgotten. I write because I like the glory and interest that writing brings. I write to be alone. Perhaps I write because I hope to understand why I am so very, very angry at everyone. I write because I like to be read. I write because once I have begun a novel, an essay, a page I want to finish it. I write because everyone expects me to write. I write because I have a childish belief in the immortality of libraries, and in the way my books sit on the shelf. I write because it is exciting to turn all life’s beauties and riches into words. I write not to tell a story but to compose a story. I write because I wish to escape from the foreboding that there is a place I must go but—as in a dream—can’t quite get to. I write because I have never managed to be happy. I write to be happy.”

Orhan Pamuk (1952) Turkish novelist, screenwriter, and Nobel Prize in Literature recipient

" My Father's Suitcase", Nobel Prize for Literature lecture http://nobelprize.org/nobel_prizes/literature/laureates/2006/pamuk-lecture_en.html (December 7, 2006).

Christopher Morley photo

“Printer's ink has been running a race against gunpowder these many, many years.”

The Haunted Bookshop (1919)
Context: Printer's ink has been running a race against gunpowder these many, many years. Ink is handicapped, in a way, because you can blow up a man with gunpowder in half a second, while it may take twenty years to blow him up with a book. But the gunpowder destroys itself along with its victim, while a book can keep on exploding for centuries.

Brandon Sanderson photo
Julia Quinn photo

“To call that writing, madam, is an insult to quills and ink across the world.”

Julia Quinn (1970) American novelist

Source: To Catch an Heiress

Stephen Fry photo

“Wine can be a better teacher than ink, and banter is often better than books”

Stephen Fry (1957) English comedian, actor, writer, presenter, and activist

Source: The Fry Chronicles

Mark Strand photo

“Ink runs from the corners of my mouth.
There is no happiness like mine.
I have been eating poetry.”

Mark Strand (1934–2014) Canadian-American poet, essayist, translator

Source: Selected Poems

Anita Loos photo

“Memory is more indelible than ink.”

Anita Loos (1889–1981) Actress, novelist, screenwriter, TV producer
Patrick Rothfuss photo
Rachel Caine photo
Patrick Rothfuss photo
T.S. Eliot photo
Umberto Eco photo

“I love the smell of book ink in the morning.”

Umberto Eco (1932–2016) Italian semiotician, essayist, philosopher, literary critic, and novelist
George Gordon Byron photo

“A drop of ink may make a million think.”

George Gordon Byron (1788–1824) English poet and a leading figure in the Romantic movement
Margaret Atwood photo
Leonard Cohen photo
Brian Andreas photo

“Waiting for the pen to dry up so he can start fresh with thoughts that are worth new ink.”

Brian Andreas (1956) American artist

Source: Story People: Selected Stories & Drawings of Brian Andreas

Steven Wright photo
Ian McEwan photo
Henry Rollins photo
George Gordon Byron photo
Garth Nix photo
Alexandre Dumas photo
Nikos Kazantzakis photo
Jasper Fforde photo
James A. Owen photo
Brandon Boyd photo
Austin Grossman photo
Dejan Stojanovic photo
Ogden Nash photo

“The sky is now indelible ink,
The branches reft asunder;
But you and I we do not shrink;
We love the lovely thunder.”

Ogden Nash (1902–1971) American poet

Many Long Years Ago (1945), A Watched Example Never Boils

Yoshida Kenkō photo
Peter Greenaway photo
Peter Greenaway photo
Lin Yutang photo
Ellen Kushner photo
Tanith Lee photo
Robert Jeffress photo
Lyndon B. Johnson photo
Robert Anton Wilson photo

“Animals outline their territories with their excretions, humans outline their territories by ink excretions on paper.”

Source: Prometheus Rising (1983), Ch. 4 : The Anal Emotional Territiorial Circuit, p. 68

Antoine Bethea photo

“It was important for me to get involved with ‘Ink, Not Mink’ just because of what it’s about. It’s about really talking about the cruelty to animals, what they have to go through. I’m most definitely a big fan of ink, as you can see, and … I would rather wear ink than mink any day.”

Antoine Bethea (1984) American football player, defensive back, safety

"Colts Safety Antoine Bethea Signs With PETA’s No-Fur Team" https://www.peta.org/media/news-releases/colts-safety-antoine-bethea-signs-petas-fur-team/, interview with PETA (18 December 2013).

Jacob M. Appel photo

“Much as constitutional guarantees of press freedom do little good for prospective publishers if they do not have access to paper or ink, the right to aid in dying is strikingly useless if nobody is willing to help.”

Jacob M. Appel (1973) American author, bioethicist, physician, lawyer and social critic

Big Sky Dilemma: Must Doctors Help Their Patients Die? http://www.huffingtonpost.com/jacob-m-appel/big-sky-dilemma-must-doct_b_275034.html, The Huffington Post (2009-09-02)

Michael Moore photo

“I stopped reading the comics page a long time ago. It seems that whoever is in charge of what to put on that page is given an edict that states: “For God’s sake, try to be as bland as possible and by no means offend any one!” Thus, whenever something like Doonesbury would come along, it would be continually censored and, if lucky, eventually banished to the editorial pages. The message was clear: Keep it simple, keep it cute, and don’t be challenging, outrageous or political.
And keep it white!
It’s odd that considering all the black ink that goes into making the comics section (and color on Sundays) that you rarely see any black faces on that page. Well, maybe it’s not so odd after all, considering the makeup of most newsrooms in our country. It is even more stunning when you consider that in many of our large cities like New York, Los Angeles, or Chicago where the white population is barely a third of the overall citizenry, the comics pages seem to be one of the last vestiges of the belief that white faces are just…well, you know…so much more happy and friendly and funny!
Of course, the real funnies are on the front pages of most papers these days. That’s where you can see a lot of black faces. The media loves to cover black people on the front page. After all, when you live in a society that will lock up 30 percent of all black men at some time in their lives and send more of them to prison than to college, chances are a fair number of those black faces will end up in the newspaper.
Oops, there I go playing the race card. You see, in America these days, we aren’t supposed to talk about race. We have been told to pretend that things have gotten better, that the old days of segregation and cross burnings are long gone, and that no one needs to talk about race again because, hey, we fixed that problem.
Of course, nothing could be further from the truth. Sure, the “whites only” signs are down, but they have just been replaced by invisible ones that, if you are black, you see hanging in front of the home loan department of the local bank, across the entrance of the ritzy suburban or on the doors of the U. S. Senate”

Michael Moore (1954) American filmmaker, author, social critic, and liberal activist

100 percent Caucasian and going strong!
Foreword to "The Boondocks Treasury: a Right to be Hostile" by Aaron McGruder, (2003).
2003

Hendrik Werkman photo

“As paint I use lightfast printing ink, usually pure, but also mixed. Mixing is not difficult at all, it but can happen in very different ways. Secret means are not applied, but I can not work on them, except in solitude (at sunshine). No one works in this way. I believe that no one else can obtain the same color effects, except after a lot of practice and experience. Sometimes one print goes up to 50 times under the printing-press. [I make] Never more than one piece per day.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands):Als verf gebruik ik lichtechte drukinkt, meestal puur, ook wel gemengd. Het mengen is wel geen kunst maar kan zeer verschillend gebeuren. Geheime middelen worden niet toegepast, maar ik kan er niet aan werken, dan alleen in eenzaamheid (bij zonneschijn). Door niemand wordt op deze wijze gewerkt., ik geloof dat ook niemand anders dezelfde kleureffecten zou kunnen krijgen dan na veel oefening en ervaring. Soms gaat één druk tot 50 maal onder de pers. Nooit meer dan één ex. Per dag.
Quote from Werkman's letter (6.) to August Henkels, 24 Jan. 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 134
1940's

Brandon Boyd photo

“My secret arsenal is an infinite, ageless ink well. It's a fountain of youth and a patriot's weapon of choice.”

Brandon Boyd (1976) American rock singer, writer and visual artist

Lyrics, A Crow Left of the Murder... (2004)

Harry V. Jaffa photo

“Pro-slavery impulse still governs the Democratic Party, the party of government sinecures. It is the party that wants to use political power to tax us not for any common good, but to eat while we work. Consider the Great Society and its legacy. In the fall of 1964, I was on the speech-writing staff of the Goldwater campaign. In September and October I went on a number of forays to college campuses, where I debated spokesmen for our opponents. My argument always started from here. In 1964 the economy, thanks to the Kennedy tax cuts, was growing at the remarkable annual rate of four percent. But federal revenues were growing at 20 percent; five times as fast. The real issue in the election, I said, was what was to happen to that cornucopia of revenue. Barry Goldwater would use it to reduce the deficit and to further reduce taxes; Lyndon Johnson would use it to start vast new federal programs. At that point I could not say what programs, but I knew that the real purpose of them would be to create a new class of dependents upon the Democratic Party. The ink was hardly dry on the election returns before Johnson invented the war on poverty; and proved my prediction correct. One did not need to be cynical to see that the poor were not a reason for the expansion of bureaucracy; the expansion of bureaucracy was a reason for the poor. Every failure to reduce poverty was always represented as another reason to increase expenditures on the poor. The ultimate beneficiary was the Democratic Party. Every federal bureaucrat became in effect a precinct captain, delivering the votes of his constituents. His job was to enlarge the pool of constituents. But every increase in that pool meant a diminution of our property and our freedom.”

Harry V. Jaffa (1918–2015) American historian and collegiate professor

1990s, The Party of Lincoln vs. The Party of Bureaucrats (1996)

Hendrik Werkman photo

“The subject reports itself, it is never looked for. Afterwards a small drawing will follow for the color-planes which are determined immediately. These colors will be printed by large logs and updated and enlivened with the hand-roller. For pressing I use an old hand-press with lever (from c. 1800)... Sometimes it is necessary to press heavily, other times only very light. Sometimes one half of the block is rolled in [with ink] bold, the other half only skimpy. By first printing sometimes the first layer of paint on a piece of paper, a gentle tint appears which is then printed on the original. Another time I print the first print of the paper back on the original... As soon as the color-planes have been applied, the first state is reached, so to say..
.. Of course all kinds of side-steps can be made, while working. In case of enlivening the picture - both in terms of color or decoration - the main goal I always keep in mind.”

Hendrik Werkman (1882–1945) Dutch artist

version in original Dutch (origineel citaat van Hendrik Werkman, in het Nederlands): Het onderwerp meldt zichzelf en wordt nooit gezocht, daarna volgt een kleine tekening voor de kleurvlakken die meteen vaststaan. Deze kleuren worden met groote houtblokken gedrukt en met de handrol bijgewerkt en verlevendigt. Als pers gebruik ik een oude handpers met hefboom (c. 1800).. .Soms is het noodig zwaar te drukken, soms heel licht; soms wordt de ene helft van het blok vet ingerold [met inkt], de andere helft schraal, ook wordt door eerst op een stuk papier de eerste laag verf af te drukken een lichte tint gekregen die dan op het origineel afgedrukt wordt, een andere keer druk ik de eerste druk van het papier weer op het origineel af.. Zijn de kleurvlakken aangebracht, dan is als het ware de eerste staat bereikt..
.Het spreekt vanzelf dat onder het werk verschillende zijsprongetjes gemaakt kunnen worden. Ter verlevendiging, zowel wat kleur als wat versiering aangaat: het hoofddoel staat steeds voor oogen.
Quote from Werkman's letter (6.) to August Henkels, 24 Jan. 1941; as cited in H. N. Werkman - Leven & Werk - 1882-1945, ed. A. de Vries, J. van der Spek, D. Sijens, M. Jansen; WBooks, Groninger Museum / Stichting Werkman, 2015 (transl: Fons Heijnsbroek), p. 134
1940's

Larry Andersen photo
Tom McCarthy (writer) photo
Ralph Steadman photo
Charles Dickens photo

“If the people at large be not already convinced that a sufficient general case has been made out for Administrative Reform, I think they never can be, and they never will be…. Ages ago a savage mode of keeping accounts on notched sticks was introduced into the Court of Exchequer, and the accounts were kept, much as Robinson Crusoe kept his calendar on the desert island. In the course of considerable revolutions of time, the celebrated Cocker was born, and died; Walkinghame, of the Tutor's Assistant, and well versed in figures, was also born, and died; a multitude of accountants, book-keepers and actuaries, were born, and died. Still official routine inclined to these notched sticks, as if they were pillars of the constitution, and still the Exchequer accounts continued to be kept on certain splints of elm wood called "tallies." In the reign of George III an inquiry was made by some revolutionary spirit, whether pens, ink, and paper, slates and pencils, being in existence, this obstinate adherence to an obsolete custom ought to be continued, and whether a change ought not to be effected.
All the red tape in the country grew redder at the bare mention of this bold and original conception, and it took till 1826 to get these sticks abolished. In 1834 it was found that there was a considerable accumulation of them; and the question then arose, what was to be done with such worn-out, worm-eaten, rotten old bits of wood? I dare say there was a vast amount of minuting, memoranduming, and despatch-boxing on this mighty subject. The sticks were housed at Westminster, and it would naturally occur to any intelligent person that nothing could be easier than to allow them to be carried away for fire-wood by the miserable people who live in that neighbourhood. However, they never had been useful, and official routine required that they never should be, and so the order went forth that they were to be privately and confidentially burnt. It came to pass that they were burnt in a stove in the House of Lords. The stove, overgorged with these preposterous sticks, set fire to the panelling; the panelling set fire to the House of Lords; the House of Lords set fire to the House of Commons; the two houses were reduced to ashes; architects were called in to build others; we are now in the second million of the cost thereof, the national pig is not nearly over the stile yet; and the little old woman, Britannia, hasn't got home to-night…. The great, broad, and true cause that our public progress is far behind our private progress, and that we are not more remarkable for our private wisdom and success in matters of business than we are for our public folly and failure, I take to be as clearly established as the sun, moon, and stars.”

Charles Dickens (1812–1870) English writer and social critic and a Journalist

"Administrative Reform" (June 27, 1855) Theatre Royal, Drury Lane Speeches Literary and Social by Charles Dickens https://books.google.com/books?id=bT5WAAAAcAAJ (1870) pp. 133-134

George Villiers, 2nd Duke of Buckingham photo

“The blackest Ink of Fate, sure, was my Lot,
And, when she writ my Name, she made a blot.”

George Villiers, 2nd Duke of Buckingham (1628–1687) English statesman and poet

Pretty-man, Act III, sc. iv
The Rehearsal (1671)

Nick Cave photo

“King Ink feels like a bug,
Swimming in a soup-bowl.”

Song lyrics, Prayers on Fire (1981), King Ink

Bel Kaufmanová photo
Paul Davies photo
Agatha Christie photo
Herbert Giles photo

“During the four hundred years of Han supremacy the march of civilization went steadily forward. Paper and ink were invented, and also the camel's-hair brush, both of which gave a great impetus to the arts of writing and painting.”

Herbert Giles (1845–1935) British sinologist and diplomat

The Civilization of China https://www.gutenberg.org/files/2076/2076-h/2076-h.htm (1911), p. 37

Johann Wolfgang von Goethe photo

“Modern poets put a lot of water into their ink.”

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

Neuere Poeten tun viel Wasser in die Tinte.
Maxim 749, trans. Stopp
Variant translation: Modern poets mix a lot of water with their ink.
Maxims and Reflections (1833)

Roger Raveel photo

“Hugo [Claus], Now you should see my recent works. A drawing in ink, three pencil drawings and two sketches in oil-paint: a still-life and a landscape in the strongest colors you can imagine. I still have to work on the landscape, but I really think it will be the best of my paintings till now.... but the happiest thing is, I have acquired much more freedom.”

Roger Raveel (1921–2013) painter

version in original Flemish (citaat van Roger Raveel, in het Vlaams): Hugo [Claus], nu zoudt U eens moeten mijn laatste werk zien, een pentekening, drie potloodtekeningen en twee studies met olieverf: een stilleven en een landschap in de hevigste kleuren die Ge U kunt indenken. Aan dat landschap moet ik nog werken maar ik denk dat het mijn beste werk zal zijn, van mijn schilderwerk, en drie tekeningen vind ik mijn beste maar het gelukkigste is dat ik een veel grotere vrijheid heb verworven.
Quote of Raveel, in a letter to his friend Hugo Claus, from Machelen aan de Leie, 20-24 March 1948; as cited in Hugo Claus, Roger Raveel; Brieven 1947 – 1962, ed. Katrien Jacobs, Ludion; Gent Belgium, 2007 - ISBN 978-90-5544-665-0, p. 50 (translation: Fons Heijnsbroek)
1945 - 1960

Robert W. Service photo

“There's the wretched rent to pay,
Yet I glower at pen and ink:
Oh, inspire me, Muse, I pray,
It is later than you think!”

Ballads of a Bohemian (1921), It is later than you think http://plagiarist.com/poetry/4052/

“Tell him you’ll pay any fine within reason. That dragon-cod can’t even read his own name unless it’s written in gold ink.”

Avram Davidson (1923–1993) novelist

Source: Rogue Dragon (1965), Chapter VII (p. 73)