Quotes about lining
page 14

Chinua Achebe photo
Henry Adams photo
F. Scott Fitzgerald photo
Ronda Rousey photo
Ayumi Hamasaki photo

“If one day
They are connected
And form lines”

Ayumi Hamasaki (1978) Japanese recording artist, lyricist, model, and actress

Forgiveness
Lyrics, Memorial Address

Jackie DeShannon photo
Ogden Nash photo

“Every New Year is the direct descendant, isn't it, of a long line of proven criminals?”

Ogden Nash (1902–1971) American poet

"Good-by, Old Year, You Oaf or Why Don't They Pay the Bonus?" in The Primrose Path (1935)

Neville Chamberlain photo
Martin Luther King, Jr. photo

“And as I ponder the madness of Vietnam and search within myself for ways to understand and respond in compassion, my mind goes constantly to the people of that peninsula. I speak not now of the soldiers of each side, not of military government in Saigon, but simply of the people who have been under the curse of war for almost three continuous decades now. I think of them too because it is clear to me that there will be no meaningful solution until some attempt is made to know these people and hear their broken cries. Now let me tell you the truth about it. They must see Americans as strange liberators. Do you realize that the Vietnamese people proclaimed their own independence in 1945, after a combined French and Japanese occupation. And incidentally, this was before the communist revolution in China. They were led by Ho Chi Minh. And this is a little known fact, these people declared themselves independent in 1945, they quoted our Declaration of Independence in their document of freedom. And yet our government refused to recognize, President Truman said they were not ready for independence. So we failed victim as a nation at that time of the same deadly arrogance that has poisoned the international situation for all of these years. France then set out to reconquer its former colony. And they fought eight long, hard, brutal years, trying to reconquer Vietnam. You know who helped France? It was the United States of America, it came to the point that we were meeting more than 80% of the war cost. And even when France started despairing of its reckless action, we did not. And in 1954, a conference was called at Geneva, and an agreement was reached, because France had been defeated at Dien Bien Phu. But even after that and even after the Geneva Accord, we did not stop. We must face the sad fact that our government sought in a real sense to sabotage the Geneva Accord. Well, after the French were defeated, it looked as if independence and land reform would come through the Geneva agreement. But instead the United States came and started supporting a man named Diem, who turned out to be one of the most ruthless dictators in the history of the world. He set out to silence all opposition, people were brutally murdered merely because they raised their voices against the brutal policies of Diem. And the peasants watched and cringed as Diem ruthlessly rooted out all opposition. The peasants watched as all this was presided over by United States influence, and then by increasing numbers of United States troops, who came to help quell the insurgency that Diem's methods had aroused. When Diem was overthrown they may have been happy, but the long line of military dictatorships seemed to offer no real change, especially in terms of their need for land and peace. And who are we supporting in Vietnam today? It's a man by the name of General Ky, who fought with the French against his own people, and who said on one occasion that the greatest hero of his life is Hitler. This is who we're supporting in Vietnam today. Oh, our government, and the press generally, won't tell us these things, but God told me to tell you this morning. The truth must be told.”

Martin Luther King, Jr. (1929–1968) American clergyman, activist, and leader in the American Civil Rights Movement

1960s, Why I Am Opposed to the War in Vietnam (1967)

John Keats photo
Robert A. Heinlein photo
Rufus Wainwright photo
Warren G. Harding photo
Joanna Newsom photo

“Picking through your pocket lining, well what is this?
Scrap of sassafras, eh Sisyphus?”

Joanna Newsom (1982) American musician

Ys (2006)

Nathanael Greene photo

“Before I came into the department, your Excellency was obliged often to stand Quarter-master. However capable the principal was of doing his duty, he was hardly ever with you. The line and the staff were at war with each other. The country had been plundered in a way that would now breed a kind of civil war between the staff and the inhabitants. The manner of my engaging in this business, and your Excellency's declaration to the Committee of Congress, that you would stand Quarter-master no longer, are circumstances which I wish may not be forgotten; as I may have occasion, at some future day, to appeal to your Excellency for my own justification. One thing I can say, with truth and sincerity, that I have conducted the business with as much prudence and economy, as if my private fortune had been answerable for the disbursements. And I believe your Excellency will do me the justice to say, the department has cooperated with your measures as far as circumstances were to be governed by me; and this you had reason to apprehend would not have been the case had I not taken direction of the business. And here, in justice to my colleagues, I shall mention that I think them entitled to your Excellency's personal esteem, from the warmth of their wishes, and a desire to promote your ease and convenience.”

Nathanael Greene (1742–1786) American general in the American Revolutionary War

Letter to George Washington (24 April 1779)

Harry Chapin photo

“And if our future
Lies on the final line
Are we brave enough
To see the signals and the signs?”

Harry Chapin (1942–1981) American musician

I Wonder What Would Happen to this World
Song lyrics, Living Room Suite (1978)

Martin Luther King, Jr. photo
Prem Rawat photo
Charles Stross photo
Ilana Mercer photo
Edwin Arnold photo
George W. Bush photo

“My meetings with [Ahmed Chalabi] were very brief. I mean, I think I met with him at the State of the Union and just kind of working through the rope line, and he might have come with a group of leaders. But I haven't had any extensive conversations with him.”

George W. Bush (1946) 43rd President of the United States

1 June 2004, remarks on Iraqi Interim Government http://georgewbush-whitehouse.archives.gov/news/releases/2004/06/20040601-2.html
2000s, 2004

Brian W. Aldiss photo
Frederick Douglass photo
Robert E. Howard photo
Donald Barthelme photo
Roberto Clemente photo
Ragnar Frisch photo

“I approached the problem of utility measurement in 1923 during a stay in Paris. There were three objects I had in view :
:(I) To point out the choice axioms that are implied when we think of utility as a quantity, and to define utility in a rigorous way by starting from a set of such axioms;
:(II) To develop a method of measuring utility statistically;
:(III) To apply the method to actual data.
The results of my study along these lines are contained in a paper “Sur un Problème d’Économic Pure”, published in the Series Norsk Matematisk Forenings Skrifter, Serie I, Nr 16, 1926. In this paper, the axiomatics are worked out so far as the static utility concept is concerned. The method of measurement developed is the method of isoquants, which is also outlined in Section 4 below. The statistical data to which the method was applied were sales and price statistics collected by the “Union des Coopérateurs Parisien”. From these data I constructed what I believe can be considered the marginal utility curve of money for the “average” member of the group of people forming the customers of the union. To my knowledge, this is the first marginal utility curve of money ever published.”

Ragnar Frisch (1895–1973) Norwegian economist

Frisch (1932) New Methods of Measuring Marginal Utility. Mohr, Tübingen. p. 2-3: Quoted in: Dagsvik, John K., Steinar Strøm, and Zhiyang Jia. " A stochastic model for the utility of income http://www.ssb.no/a/publikasjoner/pdf/DP/dp358.pdf." (2003).
1930s

Roger Ebert photo

“The movie stars six teenage characters who have been marketed on TV and in toy stores. They have names, but no discernible personalities. None of them ever says anything more interesting than "You guys!" As teenagers, they are skilled in-line skaters and karate fighters, but they don't get their real powers until they turn into faceless clones in Power Rangers uniforms with plastic masks and helmets. Is that the message? Faceless conformity is the way to success? Certainly the Rangers are not individuals in or out of uniform, but I wonder if they don't represent a triumph of merchandising over creativity. Children's heroes have traditionally been individualistic and eccentric. The Rangers are not, properly speaking, even characters. They are color-coded products… Paging through the movie's press kit, I came across this quote attributed to Amy Jo Johnson, who plays Kimberly, the Pink Power Ranger: " `Mighty Morphin Power Rangers™: The Movie' is a mix between Star Wars and The Wizard of Oz. " I wonder if Amy Jo actually said "TM" when she was delivering that wonderfully fresh and spontaneous quote, which is so much more involved than anything she says in the movie. More to the point, I wonder if she has ever seen "Star Wars" or "The Wizard of Oz."”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/mighty-morphin-power-rangers-the-movie-1995 of Mighty Morphin' Power Rangers: The Movie (30 June 1995)
Reviews, Half-star reviews

Suniti Kumar Chatterji photo
Francisco De Goya photo

“Always lines, never forms. Where do they find these lines in Nature? Personally I see only forms that are lit up and forms that are not, planes that advance and planes that recede, relief and depth. My eye never sees outlines or particular features or details… …My brush should not see better than I do.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

Goya, in a recall of an overheard conversation
conversation of c. 1808, in the earliest biography of Goya: Goya, by Laurent Matheron, Schulz et Thuillié, Paris 1858; as quoted by Robert Hughes, in: Goya. Borzoi Book - Alfred Knopf, New York, 2003, p. 176
probably not accurate word for word, but according to Robert Hughes it rings true in all essentials, of the old Goya, in exile
1800s

John Taylor photo

“In paper, many a poet now survives
Or else their lines had perish'd with their lives.
Old Chaucer, Gower, and Sir Thomas More,
Sir Philip Sidney, who the laurel wore,
Spenser, and Shakespeare did in art excell,
Sir Edward Dyer, Greene, Nash, Daniel.
Sylvester, Beaumont, Sir John Harrington,
Forgetfulness their works would over run
But that in paper they immortally
Do live in spite of death, and cannot die.”

John Taylor (1578–1653) English poet of the 16th and 17th centuries

From "The Praise of Hemp-seed" http://ebooks.gutenberg.us/Renascence_Editions/taylor1.html, published 1620. This is the earliest surviving printed reference to the death of William Shakespeare and Francis Beaumont, who had both died in 1616.

Owen Wilson photo
Max Ernst photo

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Donald Pleasence photo
Ralph Waldo Trine photo
Alfred P. Sloan photo
Joseph Conrad photo

“This stretch of the Thames from London Bridge to the Albert Docks is to other watersides of river ports what a virgin forest would be to a garden. It is a thing grown up, not made. It recalls a jungle by the confused, varied, and impenetrable aspect of the buildings that line the shore, not according to a planned purpose, but as if sprung up by accident from scattered seeds. Like the matted growth of bushes and creepers veiling the silent depths of an unexplored wilderness, they hide the depths of London’s infinitely varied, vigorous, seething life. In other river ports it is not so. They lie open to their stream, with quays like broad clearings, with streets like avenues cut through thick timber for the convenience of trade… But London, the oldest and greatest of river ports, does not possess as much as a hundred yards of open quays upon its river front. Dark and impenetrable at night, like the face of a forest, is the London waterside. It is the waterside of watersides, where only one aspect of the world’s life can be seen, and only one kind of men toils on the edge of the stream. The lightless walls seem to spring from the very mud upon which the stranded barges lie; and the narrow lanes coming down to the foreshore resemble the paths of smashed bushes and crumbled earth where big game comes to drink on the banks of tropical streams.Behind the growth of the London waterside the docks of London spread out unsuspected, smooth, and placid, lost amongst the buildings like dark lagoons hidden in a thick forest. They lie concealed in the intricate growth of houses with a few stalks of mastheads here and there overtopping the roof of some four-story warehouse.”

London Bridge to the Royal Albert Dock
The Mirror of the Sea (1906), On the River Thames, Ch. 16

Donald J. Trump photo

“You're going to have a deportation force, and you're going to do it humanely and you're going to bring the country -- and, frankly, the people, because you have some excellent, wonderful people, some fantastic people hat have been here for a long period of time. Don't forget, Mika, that you have millions of people that are waiting in line to come into this country and they're waiting to come in legally. And I always say the wall, we're going to build the wall. It's going to be a real deal. It's going to be a real wall. There was a picture in one of the magazines where they had a wall this tall and they were taking drugs over the wall. They built a ramp over the wall and the truck was going up and down. They were using it like a highway; the wall is like a highway. It's not going to happen. It's going to be a Trump wall. It's going to be a real wall. And it's going to stop people and it's going to be good. But your friend Thomas Friedman called me and said, hah, there should be a big door. I said going to be a big door. I love the expression. There's going to be a big beautiful nice door. People are going to come in and they're going to come in legally. But we have no choice. Otherwise, we don't have a country. We don't even know how many people. We don't know if it's 8 million or if it's 20 million. We have no idea how many people are in our country. And then you see what happened with Kate in San Francisco. You see what happens with all of the things going on, all of the tremendous crime going on. It costs us $200 billion a year for illegal immigration right now. $200 billion a year, maybe $250, maybe $300. They don't even know. We're going to stop it. We're going to run it properly and we're going to stop it.”

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

On his immigration plan (2015 November 11)
2010s, 2015

Andrea Dworkin photo
Thomas Young (scientist) photo

“Treasure maps; Czarist bonds; a case of stuffed dodos; Scarlett O'Hara's birth certificate; two flattened and deformed silver bullet heads in an old matchbox; Baedeker's guide to Atlantis (seventeenth edition, 1902); the autograph score of Schubert's Unfinished Symphony, with Das Ende written neatly at the foot of the last page; three boxes of moon rocks; a dumpy, heavy statuette of a bird covered in dull black paint, which reminded him of something but he couldn't remember what; a Norwich Union life policy in the name of Vlad Dracul; a cigar box full of oddly shaped teeth, with CAUTION: DO NOT DROP painted on the lid in hysterical capitals; five or six doll's-house-sized books with titles like Lilliput On $2 A Day; a small slab of green crystal that glowed when he opened the envelope; a thick bundle of love letters bound in blue ribbon, all signed Margaret Roberts; a left-luggage token from North Central railway terminus, Ruritania; Bartholomew's Road Atlas of Oz (one page, with a yellow line smack down the middle); a brown paper bag of solid gold jelly babies; several contracts for the sale and purchase of souls; a fat brown envelope inscribed To Be Opened On My Death: E. A. Presley, unopened; Oxford and Cambridge Board O-level papers in Elvish language and literature, 1969-85; a very old drum in a worm-eaten sea-chest marked F. Drake, Plymouth, in with a load of minute-books and annual accounts of the Winchester Round Table; half a dozen incredibly ugly portraits of major Hollywood film stars; Unicorn-Calling, For Pleasure & Profit by J. R. Hartley; a huge collection of betting slips, on races to be held in the year 2019; all water, as far as Paul was concerned, off a duck's {back]”

Tom Holt (1961) British writer

The Portable Door (2003)

Augustus De Morgan photo

“In order to see the difference which exists between… studies,—for instance, history and geometry, it will be useful to ask how we come by knowledge in each. Suppose, for example, we feel certain of a fact related in history… if we apply the notions of evidence which every-day experience justifies us in entertaining, we feel that the improbability of the contrary compels us to take refuge in the belief of the fact; and, if we allow that there is still a possibility of its falsehood, it is because this supposition does not involve absolute absurdity, but only extreme improbability.
In mathematics the case is wholly different… and the difference consists in this—that, instead of showing the contrary of the proposition asserted to be only improbable, it proves it at once to be absurd and impossible. This is done by showing that the contrary of the proposition which is asserted is in direct contradiction to some extremely evident fact, of the truth of which our eyes and hands convince us. In geometry, of the principles alluded to, those which are most commonly used are—
I. If a magnitude is divided into parts, the whole is greater than either of those parts.
II. Two straight lines cannot inclose a space.
III. Through one point only one straight line can be drawn, which never meets another straight line, or which is parallel to it.
It is on such principles as these that the whole of geometry is founded, and the demonstration of every proposition consists in proving the contrary of it to be inconsistent with one of these.”

Augustus De Morgan (1806–1871) British mathematician, philosopher and university teacher (1806-1871)

Source: On the Study and Difficulties of Mathematics (1831), Ch. I.

Ernst Ludwig Kirchner photo

“Down there it's still Summer, I suppose, whereas our sun [in Switzerland] is already gilding the mountains and the larches are turning yellow, but the colours are wonderful, like old, dark red satin. Down here in the valley the huts stand out in the strongest Paris blue against the yellow fields. Here one really learns the values of the individual colours for the first time. And the harsh, monumental lines of the mountains.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

Letter to Nele van de Velde ((daughter of Henry van de Velde), from Frauenkirch, 13 October 1918; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 223-224
1916 - 1919

Robert Rauschenberg photo
Pendleton Ward photo
Gertrude Stein photo

“The head-lines which do not head anything they simply replace something but they do not make anything.”

Gertrude Stein (1874–1946) American art collector and experimental writer of novels, poetry and plays

Source: Everybody’s Autobiography (1937), Ch. 5

Ernest Hemingway photo

“The faces that were young once were old as mine but everyone remembered how we were. The eyes had not changed and nobody was fat. No mouths were bitter no matter what the eyes had seen. Bitter lines around the mouth are the first sign of defeat. Nobody was defeated.”

Ernest Hemingway (1899–1961) American author and journalist

It is July 1959 and Hemingway is in Marceliano's bar in Pamplona, where he has not been since before the Spanish Civil War. In the following paragraph Hemingway mentions for contrast an unpleasant American journalist in his early twenties whose 'handsome young face already showed the traced lines of bitterness around the upper lips.'
Source: The Dangerous Summer (1985), Ch. 9

Pappus of Alexandria photo
Jason Biggs photo

“Truth be told, I don’t really prepare much. I’m not a very serious actor in those regards. I learn my lines, I show up, I take direction.”

Jason Biggs (1978) American actor

Interview with Larry Smith, basis for Bigg's character on the show Orange Is the New Black, interview excerpted in: — [December 4, 2014, http://popwatch.ew.com/2014/07/16/larry-smith-jason-biggs-orange-is-the-new-black/, Jason Biggs talks 'Orange is the New Black' with real-life Larry, Ariana Bacle, July 16, 2014, Entertainment Weekly]

Mahatma Gandhi photo

“It is a better world with some buffalo left in it, a richer world with some gorgeous canyons unmarred by signboards, hot-dog stands, super highways, or high-tension lines, undrowned by power or irrigation reservoirs. If we preserved as parks only those places that have no economic possibilities, we would have no parks. And in the decades to come, it will not be only the buffalo and the trumpeter swan who need sanctuaries. Our own species is going to need them too. It needs them now.”

Wallace Stegner (1909–1993) American historian, writer, and environmentalist

This is Dinosaur: Echo Park Country and its Magic Rivers is a collection of essays and photographs edited by Wallace Stegner and published by Alfred A. Knopf in 1955. This passage is from the collection's first essay, "The Marks of Human Passage", which is by Stegner (page 17).

Richard Brinsley Sheridan photo

“Date not the life which thou hast run by the mean of reckoning of the hours and days, which though hast breathed: a life spent worthily should be measured by a nobler line, — by deeds, not years…”

Richard Brinsley Sheridan (1751–1816) Irish-British politician, playwright and writer

Pizarro (first acted 24 May 1799), Act iv, Scene 1. Compare: "Who well lives, long lives; for this age of ours / Should not be numbered by years, daies, and hours", Guillaume de Salluste Du Bartas, Second Week, Fourth Day, Book ii.

George F. Kennan photo
Lee Smolin photo
Theo van Doesburg photo
Ralston Bowles photo

“When did he cross that line from a person to a textile shrine?”

Ralston Bowles (1952) American musician

From the song "Velvet Elvis" on the album The Grand Rapids Collection (2005)

W.E.B. Du Bois photo
Ingrid Newkirk photo
Linda McQuaig photo
Zainab Salbi photo
Sara Malakul Lane photo
Robert Hunter photo

“Let my inspiration flow, in token lines suggesting rhythm, that will not forsake me, till my tale is told and done”

Robert Hunter (1941–2019) American musician

"Lady With a Fan"
Song lyrics, (1977)

Howard Dean photo
Paul Klee photo

“The longer a line, the more of the time element it contains. Distance is time whereas a surface is apprehended more in terms of the moment.”

Paul Klee (1879–1940) German Swiss painter

Exact Experiments in the Realm of Art (1927)
1921 - 1930

Roberto Clemente photo

“Bragan and Walker talked to me the most. The fellow who helped me most of all was Buck Clarkson. I think he lives in Donora. He managed me in the Puerto Rican League when I was a boy. He used to see me throw a ball from the outfield 400 feet on the line, most of the time wild. And I hit good. Buck Clarkson used to tell me I am as good as anybody in big leagues. That helped me a lot.”

Roberto Clemente (1934–1972) Puerto Rican baseball player

Evaluating previous managers, as quoted in "Sidelight on Sports: Roberto Remembers" https://news.google.com/newspapers?id=6KNhAAAAIBAJ&sjid=22wDAAAAIBAJ&pg=7371%2C4597940 by Al Abrams, in The Pittsburgh Post-Gazette (Friday, March 31, 1972), p. 10
Baseball-related, <big><big>1970s</big></big>, <big>1972</big>

KatieJane Garside photo
Paul Signac photo
Paul Weller (singer) photo
Aristarchus of Samos photo
Alan Moore photo
June Vincent photo
Harold Macmillan photo
Malcolm Muggeridge photo

“WE MUST INVENT FUTURIST CLOTHES, hap-hap-hap-hap-happy clothes, daring clothes with brilliant colours and dynamic lines. They must be simple, and above all they must be made to last for a short time only in order to encourage industrial activity and to provide constant and novel enjoyment for our bodies.”

Giacomo Balla (1871–1958) Italian artist

(Manuscript, 1913); as quoted at dekorera.tumblr: futurist manifesto of men's clothing http://dekorera.tumblr.com/post/3212646425/futurist-manifesto-of-mens-clothing-by-giacomo
Futurist Manifesto of Men's clothing,' 1913/1914

Tom Robbins photo

“Her surname resembled a line from an optometrist's examination chart.”

Still Life with Woodpecker (1980)

Yves Klein photo
Julian Schwinger photo
Mandell Creighton photo
Letitia Elizabeth Landon photo

“The lines were fill'd with many a tender thing,
All the impassion'd heart's fond communing.”

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

Written under a Picture of a Girl Burning a Love Letter from The London Literary Gazette (16th November 1822) Fragments in Rhyme II - Lines Written under a Picture of a Girl Burning a Love Letter
The Improvisatrice (1824)

Al Gore photo
Howie Rose photo
Steven Pinker photo
Nicholas Roerich photo
Roger Ebert photo
Barry Sanders photo
H. Beam Piper photo
Richard Rumelt photo
André Maurois photo