Quotes about story
page 24

“It was a simple story, really. Yes, God had told us to get a ship, and repeatedly He had confirmed His guidance using all the ways we had learned for hearing His voice. He used the Wise Men Principle; He used Scriptures which He seemed to lift off the pages for us; He used provision of money and people, and that inner conviction -- but we had failed in the way we had carried out His guidance. We had subtly turned from the Giver to the gift.”

Loren Cunningham (1935) American missionary

Cited in: "The God They Never Knew" (website) claimed from Loren Cunningham and Janice Rodgers, Is That Really You, God? Hearing the Voice of God, p. 107.
retrieved from http://web.archive.org/web/20011115090120/http://www.geocities.com/Athens/Acropolis/1082/geotisjr.htm on 19:19, 2 May 2007, (UTC)

Patricia Rozema photo
Jeremy Rifkin photo
Daniel Handler photo
Michael Chabon photo
George W. Bush photo
Arundhati Roy photo

“To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory.
He tells stories of the gods, but his yarn is spun from the ungodly, human heart.
The Kathakali Man is the most beautiful of men. Because his body is his soul. His only instrument. From the age of three he has been planed and polished, pared down, harnessed wholly to the task of story-telling. He has magic in him, this man within the painted mark and swirling skirts.
But these days he has become unviable. Unfeasible. Condemned goods. His children deride him. They long to be everything that he is not. He has watched them grow up to become clerks and bus conductors. Class IV non-gazetted officers. With unions of their own.
But he himself, left dangling somewhere between heaven and earth, cannot do what they do. He cannot slide down the aisles of buses, counting change and selling tickets. He cannot answer bells that summon him. He cannot stoop behind trays of tea and Marie biscuits.
In despair he turns to tourism. He enters the market. He hawks the only thing he owns. The stories that his body can tell.
He becomes a Regional Flavour.”

page 230-231.
The God of Small Things (1997)

Aron Ra photo

“The original 1954 Japanese film, Gojira was iconic, and only made a couple mistakes of any significance. (1)They killed him in the end, and we saw his body turned to skeleton. Not the best way to begin 60 years worth of sequels. (2) Godzilla was depicted as a dinosaur, and was associated with living trilobites. Even if there was some sort of ‘realm that time forgot’ out in the Pacific somewhere, Trilobites were already extinct before the first dinosaurs, and Godzilla was clearly no dinosaur. The conceptual artists reportedly referenced illustrations of dinosaurs, but that’s not what they rendered. All bi-pedal dinosaurs [Therapods] were digigrade, walking on their toes, like birds, and usually only three or four digits. Godzilla was plantigrade and pentadactyle, (having five digits and walking on the whole foot) just like lizards. It even looks like a lizard, apart from the fact that no reptile has an actual nose or external ears. In a sense, what Toho pictures created was actually an oriental dragon. These tend to mix reptilian and mammalian traits. Amusingly in 1954, Toho made a giant lizard and called it a dinosaur. In 1998, Tristar re-designed Godzilla as a dinosaur, but called it a lizard. Of course that wasn’t the only thing Tristar did wrong. They tried to ruin the monster completely. They took away the only thing that worked in decades of sequels, the look of the monster itself. Then they took away everything that made Godzilla appealing to Kaiju fans, then they tied it down and shot it. Such disrespect. If you’re going to make a movie that already has a fan-base, and they are the ones who will decide whether your film will pay off, respect those fans and the story they’re paying to see.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Patheos, Weighing in on Godzilla http://www.patheos.com/blogs/reasonadvocates/2014/06/08/weighing-in-on-godzilla/ (June 8, 2014)

George William Curtis photo
Joseph McCabe photo
David Dixon Porter photo

“Lincoln seemed to me to be familiar with the name, character, and reputation of every officer of rank in the army and navy, and appeared to understand them better than some whose business it was to do so; he had many a good story to tell of nearly all, and if he could have lived to write the anecdotes of the war, I am sure he would have furnished the most readable book of the century. To me he was one of the most interesting men I ever met; he had an originality about him which was peculiarly his own, and one felt, when with him, as if he could confide his dearest secret to him with absolute security against its betrayal. There, it might be said, was 'God's noblest work an honest man,' and such he was, all through. I have not a particle of the bump of veneration on my head, but I saw more to admire in this man, more to reverence, than I had believed possible; he had a load to bear that few men could carry, yet he traveled on with it, foot-sore and weary, but without complaint; rather; on the contrary, cheering those who would faint on the roadside. He was not a demonstrative man, so no one will ever know, amid all the trials he underwent, how much he had to contend with, and how often he was called upon to sacrifice his own opinions to those of others, who, he felt, did not know as much about matters at issue as he did himself. When he did surrender, it was always with a pleasant manner, winding up with a characteristic story.”

David Dixon Porter (1813–1891) United States Navy admiral

Source: 1880s, Incidents and Anecdotes of the Civil War (1885), p. 283

Robert M. Price photo
Gilbert Ryle photo
Michael Chabon photo
Tori Amos photo
John Gray photo
George Gerbner photo
Marlon Brando photo
George Gerbner photo

“You know, who tells the stories of a culture really governs human behavior. It used to be the parent, the school, the church, the community. Now it's a handful of global conglomerates that have nothing to tell, but a great deal to sell.”

George Gerbner (1919–2005) American writer, freelancer and sociologist

George Gerbner, 86; Educator Researched the Influence of TV Viewing on Perceptions, Los Angeles Times, 29 December 2005, 1 December 2014, Oliver, Myrna http://articles.latimes.com/2005/dec/29/local/me-gerbner29,

Waheeda Rehman photo
Pierre-Auguste Renoir photo

“What seems most significant to me about our movement is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.”

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

Quoted in: Charles Altieri (1989) Painterly Abstraction in Modernist American Poetry, p. 169: Talking about the movement of Impressionism.
undated quotes

Max Beckmann photo

“I am working here [Amsterdam] on my last big triptych, which will be a tremendous story, and which gives me a more intense life and exhilaration. My God, life is worth living!”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

In a letter to Stephan Lackner, Amsterdam, 1939; as quoted in Max Beckmann, Stephan Lackner, Bonfini Press Corporation, Naefels, Switzerland, 1983, p. 5
1930s

Jeffrey Moussaieff Masson photo
Ann Coulter photo

“The only standard journalists respect is: Will this story promote the left-wing agenda?”

Ann Coulter (1961) author, political commentator

2004, How to Talk to a Liberal (If You Must) (2004)

“On the side of physics, there were a few key figures in Oxford who realized, in all probability unlike the majority of their colleagues in the physics department, that physics without interpretation is only part of the story, and that theories like quantum mechanics need careful foundational reflection.”

Harvey Brown (philosopher) (1950) Philosopher of physics

Physics and Philiosophy in Oxford: a prosperous example of interdisciplinarity, in [Innovation and interdisciplinarity in the university, EDIPUCRS, 2007, 8-574-30677-0, 304 http://books.google.com/books?id=-OGr007TQ0AC&printsec=frontcover#PPA304,M1]

Ernst Bloch photo
Phil Ochs photo

“The final story, the final chapter of Western man, I believe, lies in Los Angeles.”

Phil Ochs (1940–1976) American protest singer and songwriter

Source: The Broadside Tapes 1 (made in the 1960s; published c. 1980), Liner notes

Margaret Atwood photo
P. L. Travers photo

““Myth, Symbol, and Tradition” was the phrase I originally wrote at the top of the page, for editors like large, cloudy titles. Then I looked at what I had written and, wordlessly, the words reproached me. I hope I had the grace to blush at my own presumption and their portentousness. How could I, if I lived for a thousand years, attempt to cover more than a hectare of that enormous landscape?
So, I let out the air, in a manner of speaking, dwindled to my appropriate size, and gave myself over to that process which, for lack of a more erudite term, I have coined the phrase “Thinking is linking.” I thought of Kerenyi — “Mythology occupies a higher position in the bios, the Existence, of a people in which it is still alive than poetry, storytelling or any other art.” And of Malinowski — “Myth is not merely a story told, but a reality lived.” And, along with those, the word “Pollen,” the most pervasive substance in the world, kept knocking at my ear. Or rather, not knocking, but humming. What hums? What buzzes? What travels the world? Suddenly I found what I sought. “What the bee knows,” I told myself. “That is what I’m after.”
But even as I patted my back, I found myself cursing, and not for the first time, the artful trickiness of words, their capriciousness, their lack of conscience. Betray them and they will betray you. Be true to them and, without compunction, they will also betray you, foxily turning all the tables, thumbing syntactical noses. For — note bene! — if you speak or write about What The Bee Knows, what the listener, or the reader, will get — indeed, cannot help but get — is Myth, Symbol, and Tradition! You see the paradox? The words, by their very perfidy — which is also their honorable intention — have brought us to where we need to be. For, to stand in the presence of paradox, to be spiked on the horns of dilemma, between what is small and what is great, microcosm and macrocosm, or, if you like, the two ends of the stick, is the only posture we can assume in front of this ancient knowledge — one could even say everlasting knowledge.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

"What the Bee Knows" in Parabola : The Magazine of Myth and Tradition, Vol. VI, No. 1 (February 1981); later published in What the Bee Knows : Reflections on Myth, Symbol, and Story (1989)

Harsha of Kashmir photo
Ralph Vary Chamberlin photo
James Burke (science historian) photo

“Following the trail of events from some point in the past to a piece of modern technology is rather like a detective story, with you as the detective, knowing only as much as the people in the past do, and like them having to guess at what was likely to happen next.”

James Burke (science historian) (1936) British broadcaster, science historian, author, and television producer

Connections (1979), 1 - The Trigger Effect
Context: And that's why following the trail from the past up to the emergence of the modern technology that surrounds us in our daily lives, and affects our lives, is rather like a detective story. Because, at no time in the past, did anybody have anything to do with the business of inventing or changing things, ever know what the full effect of his actions would be. He just went ahead and did what he did for his own reasons, like we do. That's how change comes about. And it's like a detective story because if you follow the trail from the past up to a modern man-made object, the story is full of sudden twists and false clues and guesswork, and you never know where the story is heading until the very last minute.
Context: I would say it was a pretty safe bet, that the one magic wish most people would like to be granted would be to be able to see into the future. Think what it would mean. And backing the right horse! But we can't. We have to guess about tomorrow and we have to act on that guess, and it's never been any different. And that's why following the trail from the past up to the emergence of the modern technology that surrounds us in our daily lives, and affects our lives, is rather like a detective story. Because, at no time in the past, did anybody have anything to do with the business of inventing or changing things, ever know what the full effect of his actions would be. He just went ahead and did what he did for his own reasons, like we do. That's how change comes about. And it's like a detective story because if you follow the trail from the past up to a modern man-made object, the story is full of sudden twists and false clues and guesswork, and you never know where the story is heading until the very last minute.

Thomas Gainsborough photo

“Do you consider, my dear maggotty sir [cosy-name for his friend], what a deal of work history pictures require to what little dirty subjects of coal horses and jackasses and such figures as I fill up with; no, you don't consider anything about that part of the story... But to be serious (as I know you love to be), do you really think that a regular composition in the Landskip [landscape] way should ever be filled with History, or any figures but such as fill a place (I won't say stop a gap) or create a little business for the eye to be drawn from the trees in order to return to them with more glee.”

Thomas Gainsborough (1727–1788) English portrait and landscape painter

Quote from Gainsborough's letter to his friend William Jackson of Exeter, from Bath 23 Aug. 1767; as cited in Thomas Gainsborough, by William T, Whitley https://ia800204.us.archive.org/6/items/thomasgainsborou00whitrich/thomasgainsborou00whitrich.pdf; New York, Charles Scribner's Sons – London, Smith, Elder & Co, Sept. 1915, p. 379 (Appendix A - Letter I)
1755 - 1769

Frida Kahlo photo
Richard Rodríguez photo
James Salter photo

“I have never been able to write the story. I reach a certain point and cannot go on. The death of kings can be recited, but not of one’s child.”

James Salter (1925–2015) American novelist and short-story writer

Burning the Days (1997 memoir)

Kid Cudi photo

“This is my story, this is my song If you feel it, muthafucka, you can't go wrong to the screw-face niggaz, whatch you on? Get off that, get a goal and focus dawg”

Kid Cudi (1984) American rapper, singer, songwriter, guitarist and actor from Ohio

-Down and Out
Music

Earl Warren photo

“We may not know the whole story in our lifetime.”

Earl Warren (1891–1974) United States federal judge

On the assassination of President John F. Kennedy, quoted in Minute by Minute (1985)
Undated

Jane Taylor photo

“Who ran to help me when I fell,
And would some pretty story tell,
Or kiss the place to make it well?
My mother.”

Jane Taylor (1783–1824) British poet

Ann Taylor, "My Mother," from Original Poems for Infant Minds (1804)
Misattributed

Anthony Eden photo
Mark Rowlands photo

“That's the story that went around,
But here's the real low-down:
Put the blame on Mame, boys,
Put the blame on Mame.”

Doris Fisher (1915–2003) American musician

Song Put the Blame on Mame

Angela Davis photo
Marie de France photo

“Anyone who intends to present a new story must approach the problem in a new way and speak so persuasively that the tale brings pleasure to people.”

Ki divers cunte veut traitier,
Diversement deit comencier
E parler si rainablement
K'il seit pleisibles a la gent.
"Milun", line 1; p. 97.
Lais

Anthony Hamilton photo

“Chyna Black is like an open road,
Tells me stories, releases my soul.”

Anthony Hamilton (1971) American singer, songwriter, and record producer

Chyna Black.
Song lyrics, Comin' from Where I'm From (2003)

Jason Blum photo

“On the July 12, 2005, edition of Fox News's The Big Story, host John Gibson said that White House deputy chief of staff Karl Rove should be given "a medal" for outing covert CIA operative Valerie Plame, adding that Plame "should have been outed by somebody."”

John Gibson (media host) (1946) American radio talk show host

Fox's Gibson: Rove deserves "a medal ... Because Valerie Plame should have been outed by somebody" http://mediamatters.org/items/200507130004

Jennifer Beals photo
Lois Duncan photo

“Killing Mr. Griffin doesn't encourage violence in schools any more than the story of Cain and Able encourages children to kill their younger brothers.”

Lois Duncan (1934–2016) American young-adult and children's writer

On violence in her novels, interview in Absolute Write (2002)
1990–2002

Richard Halliburton photo
Jerome K. Jerome photo
Ralph Vary Chamberlin photo
Charles Stuart Calverley photo
Jane Austen photo
Hunter S. Thompson photo
Noam Cohen photo
Yury Dombrovsky photo
Kelly Clarkson photo

“This sad story always ends the same
Me standing in the pouring rain.”

Kelly Clarkson (1982) American singer-songwriter, actress

The Trouble With Love Is
Lyrics, Thankful (2003)

Dennis Miller photo
George Pólya photo
Charles Fort photo
Tanith Lee photo
Mitch Albom photo
Richard Russo photo
Veronica Roth photo

“There’s no way to please everyone, because that mythical book with the ending that every single person wants can’t exist—you want different things, each one of you. The only thing I can do, in light of that fact, is write an honest story as best I can.”

Veronica Roth (1988) American author

About the End of Allegiant (SPOILERS), Roth, Veronica, Veronica Roth, October 28, 2013, November 3, 2013 http://veronicarothbooks.blogspot.com/2013/10/about-end-of-allegiant-spoilers.html,
Quoted at:
Veronica Roth offers huge explanation for 'Allegiant's' big twist – will it appease you?, Sims, Andrew, Hypable, October 28, 2013, November 6, 2013 http://www.hypable.com/2013/10/28/allegiant-review-tris-dies-veronica-roth-response/,

Lafcadio Hearn photo
Peter Atkins photo
Harry Chapin photo
Dinesh D'Souza photo
Fritz Leiber photo

“To understand why George fell for this story, one must remember his stifled romanticism, his sense of personal failure, his deep need to believe. The thing came to him like, or rather instead of, a religious conversion.”

Fritz Leiber (1910–1992) American writer of fantasy, horror, and science fiction

“Time Fighter” (p. 67); originally published in Fantastic Universe, March 1957
Short Fiction, A Pail of Air (1964)

John Updike photo
Amber Benson photo
Bruno Schulz photo
Alice A. Bailey photo
Robert Fisk photo

“I do truly treasure this story. It proves my point that the Los Angeles Times -- along with the big East Coast dailies -- should all be called U. S. OFFICIALS SAY.”

Robert Fisk (1946) English writer and journalist

March 21, 2006: http://seattlepi.nwsource.com/opinion/263664_fisk21.html, March 21, 2006
2006

David Baboulene photo

“Stories are the architects of the human mind.”

David Baboulene (1960) UK author

The Story Book (2010)

Harry Chapin photo
Robert Charles Wilson photo

“Ziegler said, “You know the story in the Bible, the story of Abraham and Isaac?”
“Of course.”
“God instructs Abraham to offer his son as a sacrifice. Isaac makes it as far as the chopping block before God changes his mind.”
Yes. Jacob had always imagined God a little appalled at Abraham’s willingness to cooperate.
Ziegler said, “What’s the moral of the story?”
“Faith.”
“Hardly,” Ziegler said. “Faith has nothing to do with it. Abraham never doubted the existence of God—how could he? The evidence was ample. His virtue wasn’t faith, it was fealty. He was so simplemindedly loyal that he would commit even this awful, terrible act. He was the perfect foot soldier. The ideal pawn. Abraham’s lesson: fealty is rewarded. Not morality. The fable makes morality contingent. Don’t go around killing innocent people, that is, unless you're absolutely certain God want you to. It’s a lunatic’s credo.
“Isaac, on the other hand, learns something much more interesting. He learns that neither God nor his own father can be trusted. Maybe it makes him a better man than Abraham. Suppose Isaac grows up and fathers a child of his own, and God approaches him and makes the same demand. One imagines Isaac saying, ’No. You can take him if you must, but I won’t slaughter my son for you.’ He’s not the good and faithful servant his father was. But he is, perhaps, a more wholesome human being.””

Robert Charles Wilson (1953) author

The Fields of Abraham (pp. 21-22)
The Perseids and Other Stories (2000)

Ingmar Bergman photo
Boniface Mwangi photo

“Chemical reasoning, as used both in applications and in basic research, resembles a detective story in which tangible clues lead to a mental picture of events never directly witnessed by the detective.”

David W. Oxtoby (1951) President of Pomona college

Principles of Modern Chemistry (7th ed., 2012), Ch. 1 : The Atom in Modern Chemistry

André Maurois photo
Neil Gaiman photo
Malcolm McDowell photo

“I do recall one particular night shoot… We were called to the set at four o'clock in the afternoon. As usual, nothing was ready. They'd built a set of Tiberius's grotto, on three acres, and were assembling all of the extras and background. The producers worriedly asked if I would go into Peter's trailer (he was playing Tiberius) and go through the lines with him, which we did few times.
And then he told me the most remarkable story – whether it is true or not I have no idea – about his grave-robbing Etruscan tombs. He said the best way to find Etruscan jewellery and artefacts was to find the drains in the tombs, and very gingerly sift through them with your fingers because, as the bodies decompose, all of the artifacts deposit themselves into the channels. The thought of Peter O'Toole on his hands and knees in an Etruscan catacomb makes for a lovely image.
We spent hours and hours in this trailer. He was smoking … it certainly wasn't tobacco. By the time we got onto the set, 12 hours had passed. We couldn't believe our eyes: the set was covered with people engaging in every sexual perversion in the book. We were totally bemused.
Peter would start off his speech, "Rome was but a city…" then pause, look around, and say to me: "Are they doing the Irish jig over there?"”

Malcolm McDowell (1943) English actor

I'd look over and there would be two dwarves and an amputee dancing around some girls splayed out on a giant dildo. This went on quite a few times.
As quoted in "Malcolm McDowell on Peter O'Toole: Caligula, catacombs and chicken gizzards" https://www.theguardian.com/film/filmblog/2013/dec/17/malcolm-mcdowell-peter-otoole-caligula-graves, The Guardian (17 December, 2013)

Wendy Doniger photo
Francis Escudero photo
William Saroyan photo

“All I can do is write my stories for mankind, and rest easy.”

William Saroyan (1908–1981) American writer

Three Times Three (1936)

John Updike photo