Quotes about pencil
page 2

“You hear people in restaurants competing with each other "I love you". "No, I love you". "Yeah, but I REALLY love you. I love pencils that you have sucked and thrown away ten years ago. I love your eyebrows and your ancestry and EVERYTHING ABOUT YOU! Just eat your food and let me love you, don't speak!" But what they don’t know, of course, at the time is that that dialogue is actually from a really bad science fiction film written by nature - really, what they're saying to one another is: "The race must continue, the race must continue! My vadudium is pointing at your phenungulator, the race must continue!"”

Dylan Moran (1971) Irish actor and comedian

Like, Totally (2006)

Love, People, Food, Nature

“As far as my own experience is concerned, I sometimes begin a drawing with no preconceived problem to solve, with only the desire to use pencil on paper, and make lines, tones, and shapes with no conscious aim; bur as my mind takes in what is so produced, a point arrives where some idea becomes conscious and crystallizes, and then a control and ordering begin to take place.”

Henry Moore (1898–1986) English artist

Source: 1925 - 1940, The sculptor speaks' (1937), p. 255

Idea, Problem, Drawing

“I put my pencil upon the paper, doubtfully, and drew little lines, considering my theme. But I would not long hesitate in this manner, for I knew that all creation must be chaos first, and then gestures in the void before it can cast out the completed thing.”

Hilaire Belloc (1870–1953) writer

Source: The Four Men: A Farrago (1911), p. 160

“Still I should paint my own places best; painting is with me but another word for feeling, and I associate "my careless boyhood" with all that lies on the banks of the Stour; those scenes made me a painter, and I am grateful; that is, I had often thought of pictures of them before ever I touched a pencil, and your picture ['The White Horse'] is one of the strongest instance I can recollect of it.”

John Constable (1776–1837) English Romantic painter

Quote from John Constable's letter to Rev. John Fisher (23 October 1821), from John Constable's Correspondence, part 6, pp. 76-78
1820s

Feeling, Horse, Painting

“The student of mathematics often finds it hard to throw off the uncomfortable feeling that his science, in the person of his pencil, surpasses him in intelligence,—an impression which the great Euler confessed he often could not get rid of. This feeling finds a sort of justification when we reflect that the majority of the ideas we deal with were conceived by others, often centuries ago. In a great measure it is really the intelligence of other people that confronts us in science.—Mach, Ernst.”

Ernst Mach (1838–1916) Austrian physicist and university educator

Source: 20th century, Popular Scientific Lectures, (Chicago, 1910), p. 196: Mathematics seems possessed of intelligence

People, Feeling, Intelligence, Mathematics

“I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies—as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.”

Ben Hecht (1894–1964) American screenwriter

from "Elegy for Wonderland", by Ben Hecht, Esquire Magazine, March 1959

Bird

“I finished my first woodcut in Dresden in 1905 after the Xylographic art, cutting out of the hard boxwood the clean sketches with the slate pencil. Then followed the rounded iron, to arrive at the woodcut more freely through the simply ripped out sketch on the log (alder, lime tree, poplar), which would be utilized from here on out. Then finally came a short cobbler knife, and without a pré-sketch, the hand cuts freely into the wood a woodcut, just like it would work on paper with the pen.”

Erich Heckel (1883–1970) German artist

Heckel later summarized in this way his woodcut developments, mainly developed during his years in Die Brücke <br class="br">Source: Brücke' Zeichnungen, Aquarelle, Druckgraphik, Magdalena M. Moeller; Verlag Gerd Hatje, Stuttgart 1992, p. 21; as quoted by Louise Albiez https://www.researchgate.net/publication/272168564Claire (incl. translation), Brücke und Berlin: 100 Jahre Expressionismus; submitted to the Division of Humanities New College of Florida, Sarasota, Florida, May, 2013 p.12

Art, Tree

“I received a draft of a beautiful Tree penciled on a large sheet of white paper bearing ripe fruit I saw it plainly it looked very singular and curious to me. I have since learned that this tree grows in the Spirit Land. Afterwards the spirit showed me plainly the branches, leaves, and fruit presented or drawn upon paper. The leaves were checked or (unreadable) and the same color you see here. I entreated Mother Ann to tell me the name of this tree which she did Oct 1st 4th hour PM by moving the hand of a medium to write twice over Your Tree is the Tree of Life.”

Hannah Cohoon (1781–1864) American artist

Hand printed below Hannah Cohoon's painting of "The Tree of Life" dated July 3, 1854

Life, Beauty, Color, Tree

“I knew more things in the first ten years of my life than I believe I have known at any time since. I knew everything there was to know about our house for a start. I knew what was written on the undersides of tables and what the view was like from the tops of bookcases and wardrobes. I knew what was to be found at the back of every closet, which beds had the most dust balls beneath them, which ceilings the most interesting stains, where exactly the patterns in wallpaper repeated. I knew how to cross every room in the house without touching the floor, where my father kept his spare change and how much you could safely take without his noticing (one-seventh of the quarters, one-fifth of the nickels and dimes, as many of the pennies as you could carry). I knew how to relax in an armchair in more than one hundred positions and on the floor in approximately seventy- five more. I knew what the world looked like when viewed through a Jell-O lens. I knew how things tasted—damp washcloths, pencil ferrules, coins and buttons, almost anything made of plastic that was smaller than, say, a clock radio, mucus of every variety of course—in a way that I have more or less forgotten now. I knew and could take you at once to any illustration of naked women anywhere in our house, from a Rubens painting of fleshy chubbos in Masterpieces of World Painting to a cartoon by Peter Arno in the latest issue of The New Yorker to my father’s small private library of girlie magazines in a secret place known only to him, me, and 111 of my closest friends in his bedroom.”

Bill Bryson (1951) American author

Source: The Life And Times of the Thunderbolt Kid (2006), p. 36

Life, Women, Secret, World

“Not a flower
But shows some touch, in freckle, streak or stain,
Of his unrivall'd pencil.”

William Cowper The Task

Source: The Task (1785), Book VI, Winter Walk at Noon, Line 240.

Flowers

“Two centuries ago Leibnitz invented a calculating machine which embodied most of the essential features of recent keyboard devices, but it could not then come into use. The economics of the situation were against it: the labor involved in constructing it, before the days of mass production, exceeded the labor to be saved by its use, since all it could accomplish could be duplicated by sufficient use of pencil and paper. Moreover, it would have been subject to frequent breakdown, so that it could not have been depended upon; for at that time and long after, complexity and unreliability were synonymous.”

Vannevar Bush book As We May Think

As We May Think (1945)

Time, Dependency

“It’s quite a problem for retired people, I do see. All of a sudden the evening starts starting after breakfast. All those hours with nothing to stay sober for. Or nothing to naturally stay sober during, if you see what I…We used to laugh at Malcolm’s dad, the way he used to mark up the wireless programs in Radio Times in different-coloured pencils. Never caught him listening to any of them but it was an hour taken care of.”

Kingsley Amis book The Old Devils

The Old Devils (1986)

People, Way, Nature, Problem

“Inside there was a wall three feet away. And between the wall and the door, in this unbelievably tiny space, a girl in a lemon-coloured shirt sat at a desk, with word processor, potted plant, mug of pencils, furry gonk, and wadges of orange paper. It was incredible that anyone or anything could function in such a space. It was like suddenly discovering a family of otters in one of your shoes.”

Hugh Laurie book The Gun Seller

The Gun Seller (1996)

Family, Shoe, Girl

“I was able to compare the sexual equipment of the various men I made love with and there were amazing differences, in both length and massiveness. One handsome married man, who used to arrive with two Danishes from a very good bakery, had a penis about the size and shape of a lead pencil; he shall remain nameless. In my experience there was usually a relation to height, as Philip Rahv and Bill Mangold, both tall men, bore out. There may be dwarfish men with monstrously large organs, but I have never known one. It was not until later, after my second divorce, that I met an impotent man or a pervert (two of the latter)… None of my partners, the reader will be relieved to hear, had a venereal disease.”

Mary McCarthy (1912–1989) American writer

Source: Intellectual Memoirs: New York 1936–1938 (1992), Ch. 2

Love, Men, Disease

“On one side, lemons are selling for a shilling a dozen; on the other, oranges for sixpence. One man blows a horn in your ear, and offers you the Standard; another exerts his lungs, and shews you the Courier. Pencils are to be had for a penny; and penknives, with from three to six blades each, for eighteen pence a-dozen. A fellow with a trunk turns its corner on your temples; another deposits a box, with the grocery of a family —sugar, soap, candles, and all—on your toes. A gigantic gentleman nearly knocks you down in his hurry; and an elderly Jew slips past you so neatly, that you tumble over him before you are aware. Every body is always too late, and therefore every body is in a bustle. Two policemen keep the peace; and half-a-dozen individuals, whose notions on the law of property are at variance with established principles or prejudices, attend for the purpose of breaking it. Add to these some females with shawls and sharp elbows; and pattens, whose iron rings are for the benefit of foot-passengers. Such is the White Horse Cellar, and the pavement from Dover Street to Albemarle Street.”

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

Heath's book of Beauty, 1833 (1832)

Family, Peace, Law, Past

“Graphic work as the expressive movement of the hand holding the recording pencil.... is so fundamentally different from dealing with tone and color that one can use this technique quite well in the dark, even in the blackest night. On the other hand, tone (movement from light to dark) presupposes some light, and color presupposes a great deal of light.”

Paul Klee (1879–1940) German Swiss painter

Quote (1912), # 928, in The Diaries of Paul Klee, translation: Pierre B. Schneider, R. Y. Zachary and Max Knight; publisher, University of California Press, 1964
1911 - 1914

Color, Light, Night

“I had before me the product of two mutually exclusive philosophies. Economism would insist that having made the perfect pencil, Thoreau should make more pencils and sell them for money with which to buy more material to make still more pencils to sell for money to buy still more material, and so on, because the making and selling of pencils is the whole content of life. Thoreau did not believe it is the whole content of life. It was clear that economism's philosophy was the only one which my companion was capable of accepting. Detach him from his particular specialised practice of it, and existence would have no further meaning for him; and in this he was representative of the great bulk of society in this present age.”

Albert Jay Nock (1870–1945) American journalist

Source: Memoirs of a Superfluous Man (1943), p. 173

Life, Money, Age, Perfection

“Far out across the Mojave there arose the shimmer of heat. I made my way up the path to the Ford. In the seat was a copy of my book, my first book. I found a pencil, opened the book to the fly leaf, and wrote: To Camilla, with love, Arturo I carried the book a hundred yards into the desolation, toward the southeast. With all my might I threw it far out in the direction she had gone. Then I got into the car, started the engine, and drove back to Los Angeles.”

John Fante book Ask the Dust

Source: Ask the Dust (1939), Chapter Nineteen

Love, Books, Angels, Cars

“One simple method is to take a pen or pencil and hold it up against a blank wall or ceiling. Now concentrate on the pen as if it is the most important thing in the world. Then allow your sense to relax, so you see the pen against the background of the wall. Concentrate again. Relax again. Keep on doing this until you become aware of the ability to focus attention at will. You will find that this unaccustomed activity of the will is tiring; it produces a sense of strain behind the eyes. My own perception is that if you persist, in spite of the strain, the result is acute discomfort, followed by a sudden immense relief - the 'peak experience.”

Colin Wilson (1931–2013) author

Source: Access to Inner Worlds (1990), p. 33

World, Sense

“In order to create an image almost similar to that of a pencil case standing up and walking, I try to eliminate all excess by cutting. I have the feeling that this process (of "cutting off") is linked in some way to "elegance". Elegance and so-called "eliminating excess", or the beauty that remains after excess has beeen eliminated…”

Yohji Yamamoto (1943) Japanese fashion designer

Kiyokazu Washida. The Past, the Feminine, the Vain in Talking to Myself (2002), Ch. 3: Feedom or the Vain.

Beauty, Way, Feeling

“Legrand scratched his cheek with one of Conté's lead pencils and started to Koranize: I say unto you that you have been brought low by kings who lie with houris on the fat sofas of Stamboul and by those that were once among you and came from lands of the sunset, men pale but warlike, to steal your camels and women and snatch the bread from your teeth, in no wise to raise you high among the peoples of the earth. Meanwhile the C-in-C got on with other things - gunpowder factory, street-lighting, Paris-style café, accommodation for laundresses, a balloon demonstration.”

Anthony Burgess (1917–1993) English writer

Fiction, Napoleon Symphony (1974)

Women, Men, People, Lie

“Let him [who would be an architect] be educated, skillful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of the jurists, and be acquainted with astronomy and the theory of the heavens.”

Vitruvius book De architectura

Source: De architectura (The Ten Books On Architecture) (~ 15BC), Book I, Chapter I, Sec. 3

Education, Music, History, Understanding

“Well, maybe it was just that I wasn't going to like anybody because I had to work and I had to explain to my teachers why I wasn't keeping up. I'd fall asleep and things in class and they'd lecture me about the reality of their classroom. I said, 'You want to see my reality?' I opened up my backpack to where you usually keep your pencils. That's where I kept my bills… electric bills, rent… That was my reality.”

Eddie Vedder (1964) musician, songwriter, member of Pearl Jam

L.A. Times 5/1/94, "He Didn't Ask for All This".

Reality, Teachers

“I wish I had a pencil-thin mustache,
the "Boston Blackie" kind.
Or a two-toned Ricky Ricardo jacket,
And an autographed picture of Andy Divine.”

Jimmy Buffett (1946) American singer–songwriter and businessman

Pencil Thin Mustache
Song lyrics, Living & Dying in 3/4 Time (1974)

“They [Apple] have hired people we've fired. We always jokingly call Apple the "Tesla Graveyard." If you don't make it at Tesla, you go work at Apple. I'm not kidding…. cars are very complex compared to phones or smartwatches. You can't just go to a supplier like Foxconn and say: Build me a car. But for Apple, the car is the next logical thing to finally offer a significant innovation. A new pencil or a bigger iPad alone were not relevant enough.”

Elon Musk (1971) South African-born American entrepreneur

All Charged Up in Berlin http://global.handelsblatt.com/edition/271/ressort/companies-markets/article/all-charged-up-in-berlin in Handelsblatt (25 September 2015)

People, Cars

“As a theorist I have great advantages. All I need is a pencil (now a ball pen) and an empty pad of paper. There are analysts who sit and look vacantly out the window, but after the age of 20 I was not one of them. I ought to envy the new generation who have grown up with the computer, but I don’t. None of them known to me sits idly at the console, improvising and experimenting in the way that a composer does at the piano. That ought to become increasingly possible. But up to now, in my observation, the computer is largely a black box into which researchers feed raw input and out of from which they draw various summarizing measures and simulations. Not having access to look around in the box, the investigator has less intuitive familiarity with the data than used to be the case in the bad old days.”

Paul A. Samuelson (1915–2009) American economist

“My Life Philosophy: Policy Credos and Working Ways,” in M. Szenberg (ed.) Eminent Economists: Their Life Philosophies (1992)
1980s–1990s

Age, Way, Envy, Drawing

“Standing still as a statue in the October shadows, he looked, grotesquely, more like a patriot than anything usually seen on a baseball field. A trick of light perhaps. Yet what famous athlete last died for a cause bigger than himself? Clemente could sometimes seem like a pest, a nagging narcissist, with only his burningly serious play to deny it. Yet when that plane crashed carrying relief supplies to Nicaragua we saw what he had meant all along. It was like the old Clemente crashing into the right field wall in a losing game: the act of a totally serious man.
By chance I met Clemente once, in the humble role of autograph-seeker. He was doing wind sprints down at the Pirate training camp in Bradenton, Florida. And although I claimed I was getting an autograph for my son (true, for a change), he looked at me with a hidalgo’s contempt – at a grown man simpering over a blunt pencil; he turned his back abruptly and did another wind sprint, then slashed his name onto my scorecard and sauntered away. To hell with you, Clemente, I thought. But on the way out, I saw him funning with three old ladies from Allentown, Pennsylvania, and I have never seen sweeter courtesy.”

Wilfrid Sheed (1930–2011) English-American novelist and essayist

From the foreword to Clemente! (1973) by Kal Wagenheim

Way, Game, Hell, Light

“I have been living a hermit-life, though always with my pencil in my hand... How much real delight have I had with the study of landscape this summer! Either I am myself improved in the art of seeing nature, which Sir Joshua call painting, or nature has unveiled her beauties to me less fastidiously. Perhaps there is something of both, so we will divide the compliment.”

John Constable (1776–1837) English Romantic painter

Quote from Constable's letter to Rev. John Fisher (22 July 1812), as quoted in Richard Friedenthal, Letters of the great artists – from Blake to Pollock (Thames and Hudson, London, 1963), p. 40
1800s - 1810s

Life, Beauty, Art, Nature

“For many years I suffered from a severe and continuous nervous breakdown tending to melancholia — and beyond. During about the third year of this trouble I went, in devout faith and some faint stir of hope, to a noted specialist in nervous diseases, the best known in the country. This wise man put me to bed and applied the rest cure, to which a still-good physique responded so promptly that he concluded there was nothing much the matter with me, and sent me home with solemn advice to "live as domestic a life as far as possible," to "have but two hours' intellectual life a day," and "never to touch pen, brush, or pencil again" as long as I lived. This was in 1887.
I went home and obeyed those directions for some three months, and came so near the borderline of utter mental ruin that I could see over.
Then, using the remnants of intelligence that remained, and helped by a wise friend, I cast the noted specialist's advice to the winds and went to work again — work, the normal life of every human being; work, in which is joy and growth and service, without which one is a pauper and a parasite — ultimately recovering some measure of power.
Being naturally moved to rejoicing by this narrow escape, I wrote The Yellow Wallpaper, with its embellishments and additions, to carry out the ideal (I never had hallucinations or objections to my mural decorations) and sent a copy to the physician who so nearly drove me mad. He never acknowledged it.”

Charlotte Perkins Gilman (1860–1935) American feminist, writer, commercial artist, lecturer and social reformer

"Why I Wrote The Yellow Wallpaper" in The Forerunner (October 1913) http://www.library.csi.cuny.edu/dept/history/lavender/whyyw.html

Life, Disease, Faith, Hope

“I pretty much use sketchbooks to note down great ideas of somebody else I've just had. A good sketchbook means you don't actually need to bother with having a memory yourself. You can get away with a fair bit of substance abuse if you always carry a notepad and a sharp pencil around with you.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

from "Street Sketchbook" by Tristan Manco
Other sources

Idea, Memory

“Writing is simple. First you have to make sure you have plenty of paper… sharp pencils… typewriter ribbon. Then put your belly up to the desk… roll a sheet of paper into the typewriter… and stare at it until beads of blood appear on your forehead.”

Jeff MacNelly (1947–2000) American cartoonist

Prof. Cosmo Fishhawk, in Shoe

Appearance

“Just around the same time that the string picture was formed, asymptotic freedom was discovered and made possible, in QCD, a more precise and successful theory of the strong interactions. Yet there has always been a striking analogy between QCD and string theory. If the hypothesis of quark confinement in QCD is true in its usual form, than a widely separated quark and antiquark are joined by a “color flux tube.” This has an obvious analogy to the notion of a meson as a string with charges at its ends, as assumed in string theory. Explaining this analogy would mean understanding quark confinement. This would be quite a nice achievement, since it is a longstanding sore point in theoretical physics that despite real experiments and computer simulations supporting the quark confinement hypothesis and despite a lot of ingenious work explaining qualitative criteria for quark confinement and why this notion is natural, there is no convincing, pencil and paper demonstration of quark confinement in QCD.”

Edward Witten (1951) American theoretical physicist

Color, Understanding, Support, Nature

“Here she drew forth a small pocket-book, took from it a card and a pencil and, after meditating a moment, wrote a few words. It is our privilege to look over her shoulder, and if we exercise it we may read the brief query: […].”

Henry James book The Portrait of a Lady

XLIV
The Portrait of a Lady (1881)

Books, Exercises, Reading

“Oh pale and brittle pencils ever to try
One grass-blade's curve, or the throat of one bird
That clings to twig, ruffled against white sky.”

Robinson Jeffers (1887–1962) American poet

"Love the Wild Swan" (1935)
Context: I hate my verses, every line, every word.
Oh pale and brittle pencils ever to try
One grass-blade's curve, or the throat of one bird
That clings to twig, ruffled against white sky.
Oh cracked and twilight mirrors ever to catch
One color, one glinting flash, of the splendor of things.

Bird, Grass

“You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true.”

Ernest Hemingway (1899–1961) American author and journalist

Letter to Bernard Berenson (24 September 1954); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker
Context: You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.

“From Alan, I learned to take a more instinctive and intuitive approach to pencil work. I used to let my mind get far too far ahead of my pencil, which can be productive, but removes the serendipitous switch of direction when the pencil and hand discover an idea the mind’s eye had missed.”

John Howe (illustrator) (1957) Canadian illustrator

On Alan Lee
In the Artist's Studio interview (2010)
Context: From Alan, I learned to take a more instinctive and intuitive approach to pencil work. I used to let my mind get far too far ahead of my pencil, which can be productive, but removes the serendipitous switch of direction when the pencil and hand discover an idea the mind’s eye had missed. Drawing at the right speed is a sort of graphic contrapposto providing what I’d be tempted to call an “intuitional resilience” unobtainable with more energetic methods. I very much enjoyed working with him, a situation of symbiosis between enthusiasm and despair, the former because his work is just so good, the latter because his work is just so good. He is hard to keep up with, but then I believe he says the same of me. He is a dear friend and a wonderful artist.

Idea, Learning

“A canvas map lay under my helmet with its four silver stars. Only five years before on May 7, as a lieutenant colonel in civilian clothes, I had ridden a bus down Connecticut Avenue to my desk in the old Munitions building. I opened the mapboard and smoothed out the tabs of the 43 divisions now under my command. They stretched across a 640-mile front of the 12th Army Group. With a china-marking pencil, I wrote in the new date: D plus 335. I walked to the window and ripped open the blackout blinds. Outside the sun was climbing into the sky. The war in Europe had ended.”

Omar Bradley (1893–1981) United States Army field commander during World War II

Closing words, p. 554
A Soldier's Story (1951)

Sun, War, Clothes, Star

“Saepe stilum vertas, iterum quae digna legi sint scripturus. Often must you turn your pencil to erase, if you hope to write something worth a second reading.”

Horace book Satires

Book I, satire i, lines 72-3, (transl. Rushton Fairclough, 1926)
Satires (c. 35 BC and 30 BC)

Hope, Reading

“I believe—when somebody gave me a pencil and a sheet of paper—was to create a world for myself, basically. It sort of made everything fall to the wayside. The environment where I was growing up, the poverty—all of that just sort of fell to the wayside, and I was able to create these worlds and enter into it. And I think that sort of isolated me a lot from other kids in the neighborhood, even isolated me while I was going to school. And my earliest recollections of entering school was the times when it was art time, and they had easels and they had paint and they had brushes…”

Gronk (artist) (1954) American artist

On when he discovered his love for art in “Oral history interview with Gronk, 1997 Jan. 20-23” https://www.aaa.si.edu/collections/interviews/oral-history-interview-gronk-13586#transcript (Smithsonian Archives of American Art)

School, Painting, Time, Art

“Our folks understood that there was a war upon us and that school was a weapon that outdid any Glock. Yet the whole process—with its equally spaced desks, precisely timed periods and lectures, with its standardized pencils and tests—felt unnatural to me. But much as I hated their terms, having been impressed into them, I hated more the failing. So I was left with a great unconscious sadness, an emptiness which, even when I was alone, I was not fully aware. But it worked on me like an invisible weight, altered my laughter, posture, my approach to girls. Fuck what you have heard or what you have seen in your son. He may lie about homework and laugh when the teacher calls home. He may curse his teacher, propose arson for the whole public system. But inside is the same sense that was in me. None of us ever want to fail. None of us want to be unworthy, to not measure up.”

Ta-Nehisi Coates (1975) writer, journalist, and educator

Source: The Beautiful Struggle: A Memoir (2008), p. 169-170.

School, Home, Time, Hate

“Entire islands and groves of memory suddenly sprung up and I found myself face to face with a deeper awareness of what I can only describe as numerous versions of my singular self and my solitary destiny, pencil sketches of possibility bitch hoe slut thot saw myself as a clown, a poet, a slave, an orator, a prophet and a beggar and a healer and a warrior.”

Aberjhani (1957) author

(Angels and Shakespeare, p. 114).
Book Sources, I Made My Boy Out of Poetry (1998)

Self-confidence, Bitch, Memory

“Your body is like a piece of dynamite. You can tap it with a pencil all day, but you'll never make it explode. You hit it once with a hammer: Bang! Get serious. Do 40 hard minutes, not an hour and half of nonsense. It's so much more rewarding.”

Jason Statham (1967) English actor, film producer, martial artist and former diver

Making love

“…My house is my laboratory, set apart from the rest of the world, and when my son was small I spent most of my time there. I often wrote poems while doing housework. I always had pencils and paper throughout the house: in the laundry, in the dining room, in the kitchen…”

Lucha Corpi (1945)

On how she included domesticity in her poems in the book Truthtellers of the Times: Interviews with Contemporary Women Poets https://books.google.com/books?id=LkVO9mmfwZYC&pg=PA23&lpg=PA23&dq

World, Time, Housing

“God just put a love for it inside of me, I love telling stories, drawing and painting. Animation is a fairly solitary art form. But what happens when you sit in a theater with an audience and you hear their audible responses to your work—the crying, the laughter—there is nothing like it. I just love storytelling. I am a ham actor with a pencil. I love performing on canvas or on paper or right now on a digital screen.”

John Pomeroy (1951) animator

Animation professor returns to roots as illustrator of Disney biography https://www.lipscomb.edu/now/animation-professor-returns-roots-illustrator-disney-biography (May 8, 2019)

God, Drawing, Painting, Art

“Write your plans in pencil and give God the eraser.”

Paulo Coelho (1947) Brazilian lyricist and novelist

God

Quotes about pencil page 2

Quotes about pencil
page 2